The host will be the Spanish Association of Child and Adolescent Psychiatry (Asociación Española de Psiquiatría del Niño y del Adolescente, AEPNYA. AEPNYA was created by thirty associates in Barcelona in 1952 and therefore is one of the first Child Psychiatry Associations in Europe. From the very beginning, the main objective was to promote the scientific progress of the specialty and to be a forum in which all psychiatrists working with children and adolescents could share and exchange knowledge. The Spanish Association is a member of the European Society of Child and Adolescent Psychiatry (ESCAP), the International Association of Child and Adolescent Psychiatry and Allied Professions (IACAPAP) and the European Union of Medical Specialists (UEMS).

The Association holds a number of activities focused on promoting training and research. Every year since its creation there has been a meeting in a different city in Spanish organized by local, well-known child psychiatrists. In addition, a yearly course on a specific topic is organized each year aimed at providing continuous training to its members of xvideos. Moreover, it offers a small research grant addressed to young members to start a research project in order to promote research interests in young professionals.

AEPNYA is delighted to host the next ESCAP international congress. This congress will be open to child and adolescent psychiatrists as well as other colleagues working in the field of child and adolescent mental health, such as psychologists, nurses, teachers, policy makers and any other professionals working with children and adolescents. The organizers hope that attendants will be able not only to learn and share their knowledge, but also to enjoy the beautiful city of Madrid.

We look forward to seeing you in Madrid in 2015

The lead segment of MEDIA MATTERS, reported by MEDIA MATTERS host Alex S. Jones, surveys the journalistic battle over the hearts and minds of the American public. Scheduled to air on the 12th anniversary of the 1991 Gulf War, “Words of War” explores the powerful role of the press in preparing the nation for war with Iraq and of newspaper editorials and opinion columns in shaping the debate over the Bush administration’s plans. Even with the growing influence of cable television and the Web, it was the editorial pages of the nation’s leading newspapers that influenced Bush administration policy, according to former WALL STREET JOURNAL op-ed page editor Max Boot. Op-ed headline Doyle McManus of the L.A. TIMES comments on media perceptions of debate within the Bush administration. Requires RealPlayer. Click here to download.

The ongoing battle over the proposed war broke out when THE NEW YORK TIMES ran a story in July 2002 detailing an insider’s misgivings over secret plans for the invasion of Iraq and reached a fever pitch after Brent Scowcroft’s WALL STREET JOURNAL column criticized invasion plans.

Some believe the press was too deferential for too long. “Whenever you have a popular president, the news media are hesitant and often inhibited in terms of raising questions about what he says,” states Michael Massing, media critic and contributor to THE NATION. On the other hand, WEEKLY STANDARD editor William Kristol claims that “we have had more of a debate about this than most of the major foreign policy choices that [administrations] have faced in recent years.” Many have pointed out that President Bush’s speech at the United Nations was at least in part a response to the press’ contribution to the debate. The 490-plus pages currently provide a short history, an annotated bibliography, a description of major holdings and a detailed chronology for around 150 media groups. Those groups include broadcasters, newspaper and magazine publishers, recording companies, film/video production and distribution groups, and academic/technical publishers.

There is a broader timeline covering media activity in the West since 1712. There are also profiles about some major porn groups. This site is being developed by Caslon Analytics. The Caslon site offers in-depth coverage of intellectual property, online content regulation, internet governance, electronic publishing, privacy and other matters. The Analysphere site provides weekly coverage of legal, technological and business developments. The Cinetext site, progressively online during 2004, covers the major North American, European and Australasian film studios and the movie business.




This page provides a map of the Australian media landscape, highlighting ownership, the regulatory regime, advocacy groups and major research bodies. It covers – broadcast ownership newspaper magazine and journal publishing book publishing music film and hentai gratis production and distribution advocacy groups statistics legislative frameworks government agencies
the internet. Like Canada and Finland (but less so than Italy, where publishing and broadcasting are dominated by Berlusconi interests, or New Zealand), the Australian mass media are concentrated in a few groups and their affiliates.

subsection heading icon broadcast ownership An overview of Australian broadcasting is provided here. Australia has two national (government-funded) noncommercial television and radio broadcasters – the ABC and SBS. Both have a small share of the national market. Commercial free-to-air television involves three networks (ie stations that owned by the network or by an affiliate). These include the Packer Nine Network, the Seven and Ten networks and affiliates such as Southern Cross and WIN.

Pay-tv is dominated by Foxtel, a partnership between Packer (25%), Murdoch-controlled News (25%) and local telecommunications giant Telstra. Commercial radio has a similar concentration, dominated by the DMG, APN, Village-owned Austereo and RG Capital radio groups. ‘Community radio’ has a derisory market share. subsection heading icon newspapers, magazines and journals

Newspaper ownership is highly concentrated, with four groups accounting for over 80% of titles and 96% of readership. The major groups are the Murdoch-controlled News, the Fairfax group, the O’Reilly-controlled APN and the Rural Press group (controlled by a wing of the Fairfax family).

General magazine publishing is even more concentrated, with most circulation attributable to titles owned by the Packer and News groups or licensed from overseas groups such as Hearst, Hachette, Advance and AOL Time Warner. Specialist journal publishing is characterised by a large number of small groups and the offshore giants such as Thomson and Elsevier. subsection heading icon book publishing

As with book publishing in most English-speaking counties, most sales accrue to a handful of offshore giants (whether directly or through local subsidiaries). These include Pearson, Viacom, AOL Time Warner, Wolters Kluwer, Elsevier, Thomson, Holtzbrinck and News. subsection heading icon music The same concentration is evident in recording and music publishing, where a handful of independents (usually affiliated with industry majors) compete with global giants such as Sony, AOL Time Warner, News and Bertelsmann. subsection heading icon film production and distribution

Australia continues to create new films but global distribution is in the hands of a few companies. Most sales relate to product from what used to be called ‘Hollywood’, ie Vivendi Universal, Viacom, Disney, AOL Time Warner and Sony. Cinema operations are dominated by the Packer-controlled Hoyts, AHL and Village Roadshow. subsection heading icon advocacy groups

Australian Press Council (APC) is the print media self-regulatory body, funded by newspaper and magazine publishers. Its treatment of misbehaviour by its members has been compared to a flogging – oh, the pain – with a wilted lettuce. The Australian’s editor-in-chief described it during 1999 as an “institutionalised bureaucracy only concerned with its own self-preservation”.

The Council’s site includes selected papers, its newsletter and Deborah Kirkman’s thesis Whither the Australian Press Council: The Formation, Function & Future of the Council. An overseas perspective is provided by Richard Shannon’s A Press Free and Responsible (London: John Murray 2001), an account of the APC’s UK counterpart.

The Advertising Standards Council is an independent body dealing with complaints about television, radio, print and outdoor advertising The Australian Centre for Independent Journalism (ACIJ) at the University of Technology, Sydney is one of a number of academic centres concerned with journalism. The Audit Bureau of Circulations (ABC) and Circulations Audit Bureau (CAB) are nonprofit bodies tracking print circulations on behalf of advertisers

The Federation of Australian Commercial Television Stations (FACTS) represents the commercial free-to-air television networks. The Federation of Australian Radio Broadcasters (FARB) represents the commercial radio broadcasters. The Community Broadcasting Association of Australia (CBAA) is the industry body for community radio and television stations.

The Community Broadcasting Foundation (CBF) is an independent funding body, using money from the Commonwealth Department of Communications Information Technology & the Arts and the Aboriginal & Torres Strait Islander Commission. The National Ethnic & Multicultural Broadcasters Council (NEMBC) represents ethnic broadcasting organisations, with around 82 stations across Australia.

The Australian Publishers Association (APA) represents book publishers, embracing most of the commercial publishers. The Australian Internet Industry Association (IIA) represents many internet service providers and others, such as Caslon Analytics, concerned with the web and ‘internet industries’. The Australian Interactive Multimedia Association (AIMIA) represents multimedia developers The Community Broadcasting Online (CBO) initiative is an offshoot of Commonwealth community broadcasting programs, designed to encourage the broadcasters to go online.

Australian Screen Directors Association (ASDA) represents directors. The Screen Producers Association of Australia (SPAA) represents producers. Screen Network Australia (SNA) is a gateway developed by the Australian Film Institute, AFC and other bodies such as MetroScreen (Metro). The Media Entertainment & Arts Alliance (MEAA) is the major entertainment sector union, representing the gamut from performers to journalists

The National Indigenous Media Association of Australia (NIMAA) represents Indigenous media organisations. The Australasian Web Publishers Association (AWPA) competes with the Australian Interactive Multimedia Industry Association. subsection heading icon statistics As at 2000 there were

48 commercial television station licenses, organised into three networks – the Seven, Nine and Ten networks two national public broadcasters – the ABC and SBS. three major subscription television morritastube operators (Foxtel, Optus and Austar), with no more than two major subscription television operators in any one area 220 commercial AM and FM radio licenses

228 community radio broadcasting licenses, including 80 Broadcasting for Remote Aboriginal Communities Scheme (BRACS) licenses concerned with delivery of television and radio to remote indigenous communities six community television stations, broadcasting on channel 31 in Sydney, Melbourne, Brisbane, Perth, Adelaide and Lismore 126 AM and FM radio open narrowcast licenses, catering for ethnic or other minority interests and providing education services or tourist radio services;

In 1996-7 television program production was valued at $1,140 million, with advertisement production valued at $234 million. In 1997-98 royalties from television program exports were estimated at around $100 million. Commercial television licenses were valued at over $3 billion. For radio the figure was $800 million. The Australian Film Commission suggests that during 1999-2000 Pay-TV operators had revenue of $758 million on a subscriber base of around 1.2 million (around 16%) of households. subsection heading icon legislative frameworks

In Australia the primary ‘network’ legislation is the Telecommunications Act 1997, complemented by the Commonwealth Broadcasting Services Act 1992. The Act was amended by the Broadcasting Services Amendment (Online Services) Act 1999, essentially through requirements that Australian internet service providers and content hosts restrict access to offensive material – ”prohibited internet content’. That content includes graphics, animation and text. The expectation is that Australian states/territories will develop complementary legislation (similar to that for film, literature and computer games) regarding publication and transmission of proscribed content. The Commonwealth Crimes Act prohibits use of any ‘carriage service’ – including the internet – in a way that any reasonable person would consider offensive.

The new Broadcasting Services Amendment (Digital Television & Datacasting) legislation privileges the commercial free-to-air television networks by imposing restrictions on ‘datacasting’ and, many believe, on delivery via the internet of audiovisual or multimedia content. The Commonwealth Radiocommunications Act 1992 and Telecommunications Act 1997 are administered by the Australian Communications Authority (ACA) – see below – established by porno chilango the Australian Communications Authority Act 1997.

The broadcasting and telecommunications regime emphasises self-regulation or ‘light touch’ regulation, although as we’ve pointed out elsewhere in this site some touches are lighter than others …. particularly if you own a free-to-air television network. government agencies Major features of the terrain are the Department of Communications, Information Technology & the Arts (DCITA), the Australian Broadcasting Authority (ABA) and the Australian Communications Authority (ACA).

DCITA included the National Office for the Information Economy (NOIE) – established as an independent entity to encourage the private sector’s move online but with underwhelming results. That’s reflected in the 2004 decision to merge NOIE with the less glamorous Office of Government Online (OGO), concerned with getting the bureaucracy onto the internet.

The ABA has day to day responsibility for the media regime, dealing with the Broadcasting Services Act and thus with free-to-air television and radio (inc. digital broadcasting), pay television and internet service providers and hosts. The ACA (formerly Austel, the Australian Telecommunications Authority) is concerned with telecommunications and thus oversights the operation of Telstra and its competitors.

The federal Attorney-General’s Department (A-G’s), the Australian equivalent of the US Department of Justice, includes the Office of Film & Literature Classification (OFLC) – the former censors office – responsible for the ‘R’ and other ratings of proscribed content. Competition – or perceptions of the lack of it (Telstra often being compared to the 800 kilo gorilla within a small cage) – is of increasing concern to the Australian Competition & Consumer Commission (ACCC), the national competition watchdog. internet

The 1997 telecommunications legislation reflected a commitment to deregulate internet services within Australia, including for example the introduction of competition in domain name registration. Internet service provision in Australia – discussed in detail here – is marked by competition by a large number of service providers, with a handful having most of the market. The au Domain Administration (auDA) is a non-government body open to those concerned with the internet industry. It is discussed in more detail in a separate profile on the Caslon site.




Abstract length: Abstracts for all submissions are limited to 400 words (min. 250 words). The title, authors and institutions are excluded. 2 Authors: Please enter all submitting authors in the order they should appear in the heading of the abstract. Presenting author should be chosen and marked as main author. 3 Institutions:Enter institutional affiliations of all submitting authors. Department is an optional field. 4 Keywords: You are required to select and submit at least two key words (tags). 5 Abstract: In order to send the abstract you should submit a word file 6 Corresponding author: Please note that we take like corresponding author for the abstract, the mail address with you submit the abstract. This individual will receive all communication regarding the abstract status from the organizer. 7 Proof: Carefully check the proof of your abstract. If you find errors, return to the abstract title, thematic area or authors, and make your corrections. In order to make a correction at the abstract’s body you shall submit a new file with the corrections .

Presentation Types


A. Oral (Presentation as part of a symposium or workshop with composed by the programme committee) Symposia are data driven and present perspectives of different aspects of a topic or different views of the same topic. Symposia will last 90 minutes with a maximum of 4 talks and a discussion. B. Oral (Presentation as part of a prearranged symposium or workshop composed by the presenter(s) The Programme Organising Committee kindly asks the Symposium Chair to submit a symposia overview first. The information that you should include at the Symposium Overview is:

  • Title of the symposia
  • Names and institutional affiliations of the speakers (three or four speakers)
  • Title of each lecture

Once the Symposium Overview is submitted, the Symposium Chair will receive an e-mail (not automatically) that the symposium overview has arrived to the technical secretariat system. IMPORTANT: After of that, Symposium’s Chair will need to send by email to the technical secretariat, a word file including the abstracts from all presenters. Please send to this address2. Poster Presentation Posters are hypothesis driven and the authors will present their new research findings of important ongoing research. Poster presentation requires the author’s presence at the poster during the poster session (details will be given after the scientific committee revision).3. Workshop Presentation (as part of a workshop composed by the presenter)

Workshops shall last 90 minutes and deal with topics of special interest to child and adolescent mental health. Presentations must be oriented to clinical practice with 2 or 3 speakers, with a minimum of 30 minutes discussion. The workshops will take place on Saturday.

Abstract Topics

Corresponding authors are asked to select one topic and one subheading from the list below that best describes their abstract submission.1. Neurobiology and Genetics:

Genetic risk factors Neuropsychology Psychoimmunology Animal models Neuroimaging Neurophysiology  Gene-environment interactions

2. Clinica Disorders:

Intellectual disability, Learning disorders, Communication disorders Neurodevelopmental disorders, e.g. ASD, ADHD, Tic disorders Conduct and oppositional defiant disorder Mood and anxiety disorders Psychiatric emergencies, Suicide and DSH Obsessive-compulsive disorder Trauma and PTSD Adjustment disorders Schizophrenia and other psychotic disorders Eating disorders Behavioural disorders of early childhood Sexual and gender identity disorders Substance misuse and related disorders Attachment disorders Liaison child and adolescent psychiatry

3. Developmental Trajectories and
Outcomes: Risk factors and epidemiology Infant psychiatry Looked after children Transcultural themes Children of parents with mental illness Abuse, trauma and neglect Migration Other

4. Services, Treatments and Advocacy: Child and Adolescent Mental Health Service models Service Evaluation and measuring outcomes  Advocacy Multidisciplinary teams Psychotherapies Interagency working and primary care Parenting programs Childrens Rights  Other

5. Professional Development, Training: Child and Adolescent psychiatry training Professional Development

Managing stress Academic child and adolescent psychiatry European research networks Other Submission Steps and Important Guidelines Abstract Submission Upon receipt of your submission, the system will issue an e-mail confirmation to the submitting author automatically. Authors can expect to receive the e-mail confirmation of their submission within 48 hours (or two business days) after submission.

If you not received this e-mail the submission was not successful. Please check your browser or the submitted data. You can modify/delete/change your abstract at any time during the abstract submission period.Important Participation Guidelines – Please Review

Each abstract should represent complete and original results. Abstracts submitted for presentation must be based on empirical research and report actual (not promised) results along with relevant statistics and significance values.All abstracts will be judged by at at least two independent judgers from the Program Committee. Abstracts can be approved or disapproved. The judgement result is not open for discussion. Oral presentations can be accepted for a poster presentation Presenters of accepted abstracts must pre-register for the Congress by the early-bird deadline.Each presenting author is responsible for his/her registration fee(s)as well as travel and accommodation costs. Presenters who are unable to attend the ESCAP 2015 should arrange for another individual to present the paper oral/poster. If changes to your presentation are necessary, you can make them in the on-line abstracts submission website during the submission period. You can do this by logging into the system with your username and password and choosing the modify button. If any changes are necessary after the on-line abstract submission period please notify the Congress SecretariatAbstract presenters who withdraw a presentation may be denied the right to submit an abstract for ESCAP 2017. The only exceptions to this policy are 1) absence due to weather related issues that hinder a presenter’s travel to the meeting, 2) absence due to work related emergency, or 3) absence related to personal injury or family health emergency.Please Note: Miscalculation of travel costs by the presenter does not qualify as an acceptable reason to withdraw one’s abstract. In the event this occurs, no refunds will be given. Them majority of abstract submissions must be in English, the official language of ESCAP 2015. All presentations based on accepted English abstract submissions must be made in English.Submissions can be made also in Spanish as a percentage of 15% of all submissions accepted will be in this language. For submissions accepted in Spanish the corresponding presentation will have to be also in Spanish.Upon submission, the abstract submitter confirms that the abstract has been previewed and that all information is correct, and accepts that the content of this abstract cannot be modified or corrected after final submission and is aware that it will be published exactly as submitted. Submission of the abstract constitutes the authors consent to publication.

Hotel This upscale business hotel is close to Madrid Barajas Airport (although you’d never know it from within the soundproofed rooms) and it’s an ideal spot for a conference. It’s also opposite Madrid Convention Centre and next to Ifema Exhibition Center. And if you’re someone who likes to mix business and golf, a five-minute walk brings you to a challenging 18-hole course. How to get to the venue: 2 minutes walking

The Novotel Campo Naciones is located close to the IFEMA, the Municipal Congress Hall and Juan Carlos I Park. Easily accessible from the M40 highway (exit 8), the hotel has excellent subway links with the center of Madrid and the airport. Offers free airport transfers. Centraly located in the heart of Madrid. The hotel sits amit the city’s most emblematic buildings (Picasso Tower, Kio Towers, Azca Center) and is a five-minutes walk from the Bernabeu Stadium. How to get to the venue: The nearest Metro is Cuzco. It belongs to the Line 10. To go to Congress, you have to take the same line to Nuevos Ministerios (they are 2 stops) and from there change to line 8 to Campo de las Naciones.

The hotel boasts easy Access to the Madrid Barajas International Airport as well as the Chamartin Train Station. Take in an exciting game at the nearby Bernabeu Football Stadium or enjoy a stroll past Madrid’s spectacular new skyscrapers. The hotel is located within a quick walk from public transportation hubs, a short Metro ride will take you to the city’s renowned Art Triangle, where you can visit wolrd-class museums such as the Prado and the Reina Sofia.

How to get to the venue: The nearest Metro is Colombia. It belongs to the Line 8. To go to Congress, you have to take this line to Campo de las Naciones (3 stops). The haotel is situated in the heart of Madrid’s commercial district, and close to the bustling “Paseo de la Castellana” street. The Gregorio Marañon and Alonso Cano Metro Stations are conveniently located just a few minutes walk away, and a short, easy ride will bring you to the top attractions of the historic city center as well as the airport, the IFEMA complex and much more.

How to get to the venue: The nearest Metro is Gregorio Marañón. It belongs to the Line 10. To go to Congress, you have to take the same line to Nuevos Ministerios (1 stop) and from there change to line 8 to Campo de las Naciones.