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Shibu Onsen is a historic and attractive hot spring town in Yamanouchi, which has retained a traditional atmosphere. Nestled in a small valley, Shibu Onsen is spread out on a gentle slope beside the Yokoyugawa River, with Yudanaka Onsen located below and the Jigokudani Monkey Park above.
During its long history, the area has been visited for its hot spring water by a lot of people, including priests, samurai and poets. Some of the ryokan (Japanese style inns) that line Shibu's narrow streets, date back over 400 years, adding greatly to Shibu's atmosphere. Guests of the ryokan are encouraged to take a stroll around town in the traditional onsen clothing of yukata robes and geta sandals.
One incentive to walk around the town is to make use of the public bath houses, of which there are nine. The public baths are locked and, except for one, only accessible to locals and overnight guests, who are provided with a master key by their ryokan. The bath houses are small buildings, divided into a women's side and a men's side, and the baths themselves are quite simple. The bath houses are numbered, but also have special names and cure different ailments. Source: www.japan-guide.com
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Yamanouchi is a municipality in northern Nagano Prefecture with a variety of tourist attractions. The area's Jigokudani Monkey Park draws many visitors because of its unique wild monkeys, who bathe in the park's natural hot springs. The monkeys are not the only ones enjoying the water, as the nearby towns of Shibu Onsen and Yudanaka Onsen are centered around the bathing experience.
The largest ski resort in Japan, Shiga Kogen, is also located within Yamanouchi. One single ticket gives skiers and snowboarders access to dozens of runs, some of which hosted events during the 1998 Nagano Winter Olympics. Shiga Kogen and other parts of Yamanouchi are part of the Joshinetsu Kogen National Park, which offers hiking and other outdoor activities when there is no snow on the hills. Source: www.japan-guide.com
Part of Juan Muñoz's sculpture Last Conversation Piece at The Hirshhorn Museum.
Juan Muñoz
Spanish, born Madrid, 1953 - 2001
Last Conversation Piece, 1994-95
Juan Muñoz came to prominence in the mid-1980s with his gallery installations, in which a single figure or architectural element was isolated spatially through perspectival techniques. Often the figure was a clown or dwarf, and the effect was one of alienation. In 1989, Muñoz began his figurative “conversation pieces”-a Renaissance concept, revived by modern sculptors such as George Segal, in which one or more figures interact with their setting to generate a mood or narrative. Muñoz’s works invite interpretation, but their meaning is never fully explained, as the artist strove to create an enduring sense of mystery.
The figures in Last Conversation Piece stand directly on the ground, inviting viewers to become part of the action. Initially inspired by a ventriloquist’s dummy, these curious characters resemble stuffed toys, particularly the round-bottomed punching-bag clowns that bounce back up after being hit. They also refer to the dwarves painted by Diego Velázquez in the seventeenth century and to the overlapping images of dancers by Edgar Degas in the nineteenth. The three central figures are enmeshed in an emotional confrontation with an unspecified narrative. One protagonist aggressively pushes the central personage, whose body curves back in spontaneous recoil; another leans in closely as if to murmur. Each posture and gesture suggests urgency and concern, tension and empathy. Nearby, two ancillary figures lean forward, as if moving into the drama, but their inability to move quickly frustrates their desire to intervene.
Text adapted from Hirshhorn Museum and Sculpture Garden: 150 Works of Art (1996), entry by Valerie J. Fletcher.
exitferryturnleft.blogspot.co.uk/2012/07/free-camping-den...
Denmark has a lots of swanky campsites with kitchens, tv rooms, parks, internet etc. but they also have a lot of free campsites or very cheap basic ones for a couple of pounds. udinaturen.naturstyrelsen.dk/udinaturen/ & www.teltpladser.dk/ some of them are also marked on free maps found in the tourist information centers which are really good here. Some are just a clearing you can put up a tent others have shelters to sleep in, fire pits, free firewood and axes, toilets (proper ones and long drops) and water access.
I decided to try one out that i found on the first link that was right by the sea and had shelters, fire, drinking water, sink and toilets. Great location, great facilities and it cost me absolutely nothing. Luckily i got there about 3 in the afternoon and managed to nab myself a space in one of the shelters. There were a few other people staying in the other shelter and then some more people put up tents. The people were really nice and it was good to have a fire and people to chat with. Slept really well.
This is the information i got from the first link by clicking on the map
Subcategory billedePrimitive accommodation places
Two shelters are located on a meadow just behind the row of dunes. There is easy access to the beach and the sea is also disabled, as space is handicapped accessible. On hot summer days there may be some turmoil, as there is a large parking area in the immediate vicinity. Good toilet facilities. It is not allowed to pitch tents on the site.
The site is free of charge. It currently can not be reserved. If one is more, it is necessary to move together. It has a uniquely beautiful location overlooking the beach and sea. The site is very short. It is a North Sea beach, so that it is often impossible to sail. Shopping: 1 km.
In addition to Fjaltring Church goes way out to sea. The site is located approx. 400 meters due west of the church.
special features
Wheelchair friendly: Yes
Suitable for the disabled: Yes
Drinking water: Yes
Shelter: Yes
Campfire: Yes
Access from the water: No
Chance of shower: Yes
Dogs on leash: Yes
Horses: Yes
Suitable for pushchairs: Yes
Ethiopia. Gondar
From : www.angelfire.com/ak/sellassie/food/coffee.html
The Coffee Drinking Ceremony
Spreading freshly cut grass on the floor sets the scene for the coffee ceremony. Traditionally, for any special occasion, scented grass will be strewn directly on the floors of houses. A recent development is to scatter flowers over the grass to make it attractive.
People take their seats around the carpet of grass and the necessary utensils for the ceremony. The lady making the coffee will sit in the centre on a stool and be dressed in a white Ethiopian dress with coloured, woven, decorative borders.
The main items needed for the ceremony include: - a black clay coffee pot, locally known as jebena which is round at the bottom with a straw lid, placed on a circular band of straw. Small, often decorated china cups, known as sini are lined up together with a sugar jug on a special wooden curved tray with four short legs, like a miniature table.
There is a narrow-waisted clay brazier for burning charcoal on which the coffee is roasted and brewed and a flat round iron pan and a spoon with a long handle for roasting the coffee beans. A small clay incense-burner and some roasted grain lie in a colourful straw basket. All together there are about forty-one items for the ceremony.
The lady who is conducting the ceremony gently washes a handful of coffee beans on the heated pan. Roasted popcorn, barley or bread is passed round, amid general conversation while the coffee beans are stirred and shaken and the husks are blown away. When the coffee beans have turned black and shining and the aromatic oil is coaxed out of them, the lady brings the pan around to every body shaking the beans so that the coffee smoke rises from the pan and gives off the strong coffee-flavoured aroma. Everybody stretches out their arms to pull the aroma closer to their noses.
The lady then brings one or two pieces of burning charcoal to the incense burner and cream-coloured incense crystals are thrown on to the burning charcoal. A few seconds later the air is filled with the smoke and aroma of the incense, mingled with the coffee smell. The Jebena, will be filled with water and placed on the brazier for boiling before the ground coffee is poured into it. At this time the lady will grind the coffee with a wooden pestle and a mortar.
Ground coffee is then added to the water in the pot little by little. With a graceful movement the lady then lifts the jebena and holding it high pours into the little cups and fills them up to the brim. Now the first round of coffee known as awol, a word of Arabic origin, meaning ‘first’ is ready to be drunk. The cups are then served, starting with the elderly first. Children are not served coffee but they will be given a handful of roasted popcorn, barley or a piece of bread, which is prepared for the ceremony. Traditionally in many parts of the country, coffee would have been served slightly salted and in some parts mixed with fresh butter, but currently it is served with sugar.
After the first round the jebena is refilled with water and there is more talking and consumption of popcorn or bread. The second round is now ready. It is weaker than the first as no further coffee has been added. This new round is called tona, from the Arabic thani, meaning ‘second’. When there are many guests and not enough cups to go round, or when it becomes difficult to remember to whom each cup belongs, a bowl of water will be brought in for rinsing the cups between rounds.
The third and final brew is made by again adding water to the original coffee, and brining it to the boil. The last brew is called baraka, which means ‘blessing’ in several languages including Arabic and Geez, the Ethiopian ecclesiastical language. At the end of the third round the elderly bless the house and everybody departs.
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR
www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
www[dot]blouseroumaine[dot]com/orderthebook_p1[dot]html
Princess Georges Ghika (née Anne-Marie Chassaigne),
alias Liane de Pougy,
Sister Anne-Marie of the Penitence,
The century’s most beautiful woman,
A Living poem,
La belle horizontale
(b. 1869 – d. 1950),
Courtesan, socialite, spouse of Prince Georges Ghika, novelist,
honorary Romanian by marriage, Dominican nun – saint, or a reformed rake?
---------------------------------------------------------------------------------------------------------------
"Blouse Roumaine - the Unsung Voices of Romanian Women"
Presented and Selected by Constantin ROMAN
Anthology E-BOOK (11BM)
DISTRIBUTION: Online with credit card
COST: $ 54.99, £34.99 (ca Euros 35.50)
LINK: www.blouseroumaine.com/orderthebook_p1.html
CONTENTS:
2,250,000 words,
over 1,000 pages,
ca 160 illustrations in text
160 critical biographies,
58 social categories/professions,
600 quotations (mostly translated into English for the first time),
circa 3,000 bibliographical references (including URLs and credits)
6 Indexes (alphabetical, by profession, timeline, quotation Index, place
index and name index)
AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.
=================================================================
EXTRACTS from"Blouse Roumaine":
Liane de Pougy and Edward VII:
"She was launched at the Folies-Bergère by Edward VII, then Prince of Wales, to whom, though he did not know her, she sent a note saying: ’Sire, tonight I make my début. Deign to appear and applaud me and I am made.’ He did and she was. Shortly after this, men began dying for her. She made suicide fashionable. Every Parisian who could afford it fell in love with her. For her feet, which were lovely, she soon had emerald rings which she wore only in bed. Her other jewels were fabulous."
(Janet Flanner, "Paris was Yesterday, 1925 – 1939", : 14)
Catholic Sins:
"Father, I have been guilty of all sins except murder and larceny."
(Liane de Pougy to her confessor, father Rzewuski, quoted by Jean Chalon, in: "Liane de Pougy")
Comedy to the Almighty:
"Please put me on guard, Father, if I ever play the Comedy to the Almighty!"
(Anne-Marie Ghika to her confessor father Rzewuski, quoted by Jean Chalon, ibid, p. 348)
Fortune:
"I often beseeched him to apply himself to serious work rather than literature. He would not stop laughing. One day my mother-in-law said plainly: ‘A Ghika had never done a job of work!’ To which I said: ‘But your husband had, nevertheless, a profession!’ ‘Yes, but my sons have no such inclination, they have a frail body and, besides, they had a fortune to rely on!"
(Anne-Marie Ghika about her husband Prince Georges Ghika
In Anne-Marie’s "Les Cahiers Bleus", quoted by Jean Chalon, ibid, p. 300)
What is more appropriate this time of year, than thinking about the kids!
Link to more photos at Brookgreen Gardens..
www.funbeaches.com/brookgreen.html
It is calling for rain the next few days, and my whole being is affected by these chilly, gray days.
So will try to do what I can, and look back at the sunny days spent in different gardens.
Fonte dell'immagine: La Chiesa di Dio Onnipotente
Condizioni d'Uso: Avviso legale e condizioni per l’uso
Servite come fecero gli israeliti
Oggigiorno molte persone non fanno attenzione alle lezioni che dovrebbero essere apprese durante il coordinamento con altri. Ho scoperto che molti di voi non riescono affatto a imparare le lezioni durante il coordinamento con altri. La maggior parte di voi resta ancorata alle proprie visioni e, quando lavorate nella Chiesa, tu dici una cosa e lui ne dice un’altra, e le due cose sono totalmente scollegate tra loro, senza che ci sia una vera cooperazione. Siete presi solamente dalla comunicazione delle vostre intuizioni personali, impegnati solo ad alleggerirvi dei vostri “fardelli” interiori, senza cercare affatto la vita. Sembra che tu stia compiendo l’opera solo frettolosamente, credendo sempre di dover fare a modo tuo, a prescindere da come siano gli altri, e che dovresti condividere mentre lo Spirito Santo ti guida, a prescindere da come siano gli altri. Non siete capaci di scoprire i punti forti degli altri, né di esaminare voi stessi. Il vostro modo di ricevere le cose è davvero sbagliato. Si può dire che anche adesso mostrate ancora molta presunzione, come se aveste avuto una ricaduta della vecchia malattia. Non comunicate gli uni con gli altri per ottenere una completa apertura o sul tipo di risultati che avete ottenuto in determinate Chiese, o di com’è stata di recente la tua condizione interiore, e così via. Voi semplicemente non comunicate in questo modo. Fondamentalmente, non siete allenati ad abbandonare le vostre nozioni o a rinunciare a voi stessi. I capi e gli operatori pensano soltanto a corroborare e rafforzare i fratelli e le sorelle nelle Chiese tramite la loro condivisione, e coloro che seguono imparano a ricercare da soli. Fondamentalmente, non comprendete che cosa siano il servizio o la cooperazione, e pensate solo alla vostra volontà personale di ripagare l’amore di Dio o di vivere secondo lo stile di Pietro e nient’altro. Dici persino che, a prescindere da come siano gli altri, tu non ti sottometterai ciecamente in ogni caso e che, a prescindere da come siano gli altri, tu cerchi il perfezionamento da parte di Dio e ciò sarà sufficiente. In realtà, la tua volontà non ha affatto trovato una concreta espressione nei fatti. Non è questo l’unico tipo di comportamento che mostrate oggi? Ognuno di voi si aggrappa saldamente alle proprie intuizioni e tutti volete essere perfezionati. Vedo che avete servito per tanto tempo e non avete progredito molto; soprattutto in questa lezione sul lavorare insieme in armonia non avete fatto alcun progresso! Andando nelle Chiese, tu comunichi a modo tuo, e lui condivide a suo modo. Di rado esiste un coordinamento armonioso, e le persone sotto la vostra guida che seguono sono ancora di più in questo modo, ovvero raramente qualcuno fra di voi comprende che cosa significhi servire Dio o come bisognerebbe servirLo. Siete confusi e trattate le lezioni di questo tipo come qualcosa di irrilevante, tanto che molte persone non solo non praticano tale aspetto della verità, ma addirittura agiscono male consapevolmente. Anche coloro che servono da molti anni non fanno altro che litigare e bisticciare l’uno con l’altro. Non è forse questa la vostra attuale levatura? Voi che servite insieme quotidianamente siete come gli israeliti che servivano Dio Stesso ogni giorno in prima persona nel tempio. Com’è possibile che voi, che siete come sacerdoti, non sappiate cooperare e servire?
A quel tempo, gli israeliti servivano Jahvè in prima persona nel tempio. La loro identità era quella di sacerdoti. (Ovviamente, non tutti erano sacerdoti; solo alcuni che servivano Jahvè nel tempio avevano tale identità). Indossavano corone conferite loro da Jahvè (ossia le fabbricavano in base alle prescrizioni di Jahvè, non le ricevevano direttamente da Lui). Vestivano i paramenti sacerdotali conferiti loro da Jahvè, pur rimanendo scalzi, per servire direttamente Jahvè nel tempio dalla mattina alla sera. Il loro servizio a Jahvè non era affatto casuale o trasgressivo a piacimento, ma si conformava a regole che nessuno di coloro che serviva personalmente Jahvè poteva violare. Tutti dovevano attenersi a tali regole, altrimenti sarebbe stato vietato l’ingresso al tempio. Se qualcuno di loro violava le regole del tempio, ovvero se qualcuno disobbediva agli ordini di Jahvè, doveva essere trattato in base alle leggi promulgate da Jahvè, sulle quali nessuno aveva il permesso di obiettare, e a nessuno era consentito proteggere il trasgressore. Indipendentemente dagli anni di servizio a Dio, tutti dovevano rispettare le regole. Ecco perché tanti sacerdoti sin dall’inizio indossavano i paramenti sacerdotali e servivano Jahvè per tutto l’anno in questo modo, anche se Jahvè non riservava loro alcun trattamento speciale, ed essi addirittura andavano davanti all’altare o nel tempio per tutta la loro vita. Tale era la loro lealtà e la loro sottomissione. Non c’è da sorprendersi che Jahvè li benedicesse in questo modo; il fatto che ricevessero benevolenza e vedessero tutte le azioni di Jahvè era dovuto interamente alla loro fedeltà. All’epoca, quando Jahvè operava in Israele, il Suo popolo eletto, Egli avanzava richieste molto severe nei loro confronti. Erano tutti molto obbedienti e vincolati dalle leggi, che servivano a salvaguardare la loro riverenza nei confronti di Jahvè. Tutti questi erano i decreti amministrativi di Jahvè. Se fra quei sacerdoti ve ne era uno che non rispettava il sabato o violava i comandamenti di Jahvè ed era scoperto dalla gente comune, costui veniva immediatamente chiamato davanti all’altare e lapidato. Non era consentito collocare i cadaveri nel tempio o nei suoi pressi. Jahvè non lo permetteva. Se qualcuno l’avesse fatto, sarebbe stato considerato come uno che offriva “sacrifici profani”, e sarebbe stato gettato in una grande fossa e messo a morte. Ovviamente, tutte queste persone perdevano la vita, nessuno rimaneva vivo. Vi era addirittura chi offriva “fuoco profano”; in altri termini, coloro che non eseguivano i sacrifici nei giorni indicati da Jahvè sarebbero stati arsi dal fuoco di Jahvè insieme ai loro oggetti sacrificali, che non potevano restare sull’altare. Le prescrizioni inerenti ai sacerdoti erano: divieto di accesso al tempio e neanche al suo cortile esterno senza prima essersi lavati i piedi; divieto di accesso al tempio senza indossare i paramenti sacerdotali; non si poteva accedere al tempio senza le corone sacerdotali; divieto di accesso al tempio in caso di contaminazione con un cadavere; divieto di accesso al tempio dopo aver toccato la mano di un iniquo senza prima essersi lavati le mani; divieto di accesso al tempio dopo aver avuto rapporti sessuali con donne (quest’ultima cosa non per sempre, ma solo per tre mesi), nessuna possibilità di vedere il volto di Jahvè, una volta trascorso questo periodo di tempo, vale a dire solo dopo tre mesi, avrebbero potuto indossare paramenti sacerdotali puliti e servire per sette giorni nel cortile esterno prima di poter entrare nel tempio per vedere il volto di Jahvè; potevano indossare tutti i paramenti sacerdotali solo nel tempio e non avevano il permesso di indossarli al di fuori di esso, per evitare di macchiare il tempio di Jahvè; tutti coloro che erano sacerdoti dovevano portare i criminali che avevano violato le leggi di Jahvè davanti all’altare di Jahvè, dove sarebbero stati messi a morte dalla gente comune, altrimenti il fuoco sarebbe caduto sul sacerdote che aveva assistito alla violazione. Pertanto, erano infallibilmente fedeli a Jahvè, giacché le leggi di Jahvè erano troppo severe per loro e non avrebbero assolutamente osato violare accidentalmente i Suoi decreti amministrativi. Gli israeliti erano fedeli a Jahvè perché avevano visto la Sua fiamma, avevano visto la mano con cui Jahvè castigava il popolo e, inoltre, in origine riverivano Jahvè nei loro cuori. Perciò ottennero non solo la fiamma di Jahvè, ma anche la cura e la protezione di Jahvè e la Sua benedizione. La loro fedeltà consisteva nell’attenersi alle parole di Jahvè in ciò che facevano, senza che nessuno disobbedisse. Se qualcuno avesse disobbedito, il popolo avrebbe continuato a eseguire le parole di Jahvè e avrebbe messo a morte chi andava contro Jahvè, senza alcun margine di dissimulazione. In modo particolare, chi violava il sabato, chi era colpevole di promiscuità e chi rubava le offerte a Jahvè veniva punito più severamente. Chi violava il sabato veniva lapidato a morte da loro (la gente comune) o veniva frustato a morte senza eccezioni. Coloro che commettevano atti lascivi – anche solo chi concupiva una donna attraente o aveva pensieri lussuriosi alla vista di una donna maliziosa o diventava bramoso alla vista di una giovane donna – andavano tutti messi a morte. Se una giovane donna che non indossava una copertura o un velo avesse tentato un uomo inducendolo a una condotta illecita, tale donna andava messa a morte. Se era un sacerdote (uno di coloro che servivano nel tempio) a violare leggi di questo tipo, costui veniva crocifisso o impiccato. A nessuna persona di tal genere andava concesso di vivere, e neppure una avrebbe trovato favore davanti a Jahvè. Ai parenti di una persona di questo genere non veniva permesso di offrire sacrifici a Jahvè davanti all’altare per tre anni dopo la sua morte, e non era consentito loro di condividere i sacrifici che Jahvè accordava alla gente comune. Solo al termine di tale periodo potevano collocare capi di bestiame o pecore di prima scelta sull’altare di Jahvè. Nel caso di qualsiasi altro tipo di trasgressione, dovevano digiunare per tre giorni davanti a Jahvè, implorando la Sua grazia. La loro adorazione nei confronti di Jahvè non derivava solo dal fatto che le leggi di Jahvè fossero tanto severe e rigorose, ma piuttosto dalla grazia di Jahvè nonché dalla loro fedeltà nei Suoi confronti. Di per sé, il loro servizio è rimasto fino a oggi similmente fedele e non si sono mai rimangiati le loro suppliche davanti a Jahvè. Al giorno d’oggi, il popolo di Israele riceve ancora la cura e la protezione di Jahvè, ed Egli è tuttora la grazia in mezzo a loro e dimora sempre con loro. Tutti gli israeliti sanno riverire e servire Jahvè, e tutti sanno come devono essere per ricevere cura e protezione da Jahvè, poiché tutti riveriscono Jahvè nei loro cuori. Il segreto del successo di tutto il loro servizio non è altro che la riverenza. Ma tutti voi, oggi, come siete? Somigliate in alcun modo al popolo di Israele? Pensi che il servizio di oggi sia come seguire la guida di una grande figura spirituale? Semplicemente non possedete alcuna fedeltà e riverenza. Ricevete una grazia considerevole, siete come i sacerdoti israeliti, perché servite tutti Dio in prima persona. Sebbene non entriate nel tempio, ciò che ricevete e vedete è molto di più di quanto ricevessero i sacerdoti che servivano Jahvè nel tempio. Eppure vi ribellate e resistete molte più volte di quanto non facessero loro. La vostra riverenza è troppo scarsa e il risultato è che ricevete ben poca grazia. Sebbene dedichiate molto poco, avete ricevuto molto di più di quegli israeliti. Non è forse un trattamento benevolo nei vostri confronti? Durante l’opera in Israele, nessuno avrebbe osato giudicare Jahvè a piacimento. E voi invece? Se non fosse per il fatto che l’opera che svolgo fra voi consiste nel conquistarvi, come potrei tollerare il vostro dissennato modo di agire che copre di vergogna il Mio nome? Se l’età in cui vivete fosse l’Età della Legge, nemmeno uno tra voi resterebbe vivo, viste le vostre azioni e le vostre parole. La vostra riverenza è troppo scarsa! Mi rimproverate costantemente di non avervi concesso molta benevolenza e dite persino che non vi concedo abbastanza parole di benedizione, che ho solo maledizioni per voi. Non sapete che con così scarsa riverenza è impossibile che accettiate le Mie benedizioni? Non sapete che vi maledico e scaglio il giudizio su di voi costantemente a causa del triste stato del vostro servizio? Vi sentite tutti come se vi fossero stati arrecati dei torti? Come posso concedere le Mie benedizioni a un gruppo di persone ribelli e che non obbediscono? Come posso impartire con superficialità la Mia grazia su persone che disonorano il Mio nome? Il trattamento verso di voi è già estremamente benevolo. Se gli israeliti fossero stati ribelli quanto lo siete voi oggi, li avrei annientati già da tempo. Eppure, non faccio altro che trattarvi con indulgenza. Non è forse benevolenza questa? Volete benedizioni più grandi di questa? Gli unici che Jahvè benedice sono coloro che Lo riveriscono. Egli castiga quanti si ribellano a Lui, senza perdonarne nessuno. Voi persone di oggi, che non sapete servire, non avete forse più bisogno di castigo e di giudizio, affinché i vostri cuori possano essere pienamente corretti? Questo tipo di castigo e giudizio non è forse la migliore benedizione per voi? Non è forse la vostra migliore protezione? Senza di esso, qualcuno di voi potrebbe sopportare il fuoco ardente di Jahvè? Se poteste realmente servire con la stessa fedeltà del popolo di Israele, non avreste forse anche la grazia come vostra costante compagna? Inoltre, non avreste spesso gioia e benevolenza sufficiente? Sapete tutti come dovreste servire?
Oggi le condizioni perché voi operiate insieme armoniosamente sono simili a quelle che Jahvè esigeva dagli israeliti perché Lo servissero. Altrimenti il vostro servizio avrà fine. Poiché siete persone che servono Dio in prima persona, come minimo dovreste essere in grado di essere fedeli e obbedienti nel vostro servizio ed essere capaci di imparare le lezioni in modo pratico. Soprattutto voi che operate nella Chiesa, pensate che i fratelli e le sorelle che vi sono sottoposti osino affrontarvi? Che vi sia qualcuno disposto a dirvi in faccia i vostri errori? Siete lassù, al di sopra di tutto, regnate come veri e propri re! Non vi sognate minimamente di studiare o di prendere parte a una lezione pratica di tal genere, e parlate ancora di servire Dio! In questo momento ti viene chiesto di guidare diverse Chiese, e non solo non ti arrendi, ma ti aggrappi persino alle tue nozioni e opinioni e dici cose come: “Penso che questa cosa andrebbe fatta così, poiché Dio ha detto che non dobbiamo essere vincolati dagli altri e che al giorno d’oggi non dovremmo sottometterci ciecamente”. Perciò ognuno si attiene alla propria opinione e nessuno obbedisce all’altro. Sebbene tu sappia chiaramente che il tuo servizio è a un punto morto, continui a dire: “Per come la vedo, non sono lontano dal vero. A ogni modo ognuno di noi ha il proprio punto di vista: tu esprimi il tuo e io il mio; tu condividi le tue visioni e io parlo del mio ingresso”. Non ti assumi mai responsabilità per le tante cose che andrebbero affrontate o ti limiti ad arrangiarti, mentre ognuno esprime la propria opinione, proteggendo prudentemente il proprio stato, la propria reputazione e la faccia. Nessuno è disposto a umiliarsi, nessuno si arrenderà per primo per cambiare il prossimo o essere cambiato da lui, affinché la vita possa progredire più rapidamente. Quando lavorate insieme, pochi di voi dicono: “Vorrei sentire la tua condivisione con me riguardo questo aspetto della verità, poiché non mi è chiara”, oppure: “Hai più esperienze di me in questo ambito: puoi darmi qualche indicazione, per favore?”. Non sarebbe un buon modo di procedere, questo? Voi ai livelli superiori udite molta verità e comprendete tanto sul servizio. Se voi che coordinate il lavoro nelle Chiese non imparate gli uni dagli altri e non comunicate, rimediando reciprocamente alle vostre carenze, da dove potrete imparare le lezioni? In qualsiasi cosa vi imbattiate, dovreste condividere gli uni con gli altri, affinché la vostra vita ne tragga beneficio. Dovreste inoltre condividere attentamente cose di ogni genere prima di prendere decisioni. Solo in tal modo sarete responsabili verso la Chiesa e non sarete precipitosi. Dopo aver visitato tutte le Chiese, dovreste riunirvi e condividere tutte le questioni scoperte e i problemi incontrati in corso d’opera, e comunicare la rivelazione e l’illuminazione che avete ricevuto: si tratta di una pratica di servizio indispensabile. Dovete raggiungere una cooperazione armoniosa al fine dell’opera di Dio, a beneficio della Chiesa e per spronare i fratelli e le sorelle ad andare avanti. Tu ti coordini con lui ed egli si coordina con te, e vi correggete a vicenda giungendo a un migliore risultato dell’opera, così da avere a cuore la volontà di Dio. Solo questa è vera cooperazione, e solo tali persone hanno un vero ingresso. Durante la cooperazione potrebbero emergere discorsi non adatti, ma non ha importanza. Condivideteli in seguito e fatevene un’idea chiara; non trascurateli. Al termine di un tal genere di condivisione potrai rimediare alle lacune dei fratelli e delle sorelle. Solo approfondendo incessantemente le cose in questo modo nella tua opera potrai conseguire risultati migliori. Ognuno di voi, quale persona che serve, deve saper difendere gli interessi della Chiesa in tutto ciò che fa, piuttosto che guardare ai propri interessi. È inaccettabile agire da soli: in tal modo tu danneggi il tuo prossimo ed egli danneggia te. Coloro che agiscono così non sono adatti a servire Dio! L’indole di questo genere di persone è davvero malvagia, e in esse non rimane neppure un grammo di umanità. Sono Satana al cento per cento! Sono bestie! Cose simili avvengono tra di voi persino ora, al punto che vi attaccate a vicenda durante la condivisione, cercate volutamente pretesti, litigate diventando paonazzi per cose da poco, mentre nessuno è disposto a farsi da parte, ognuno nasconde all’altro ciò che ha dentro, scruta il prossimo con circospezione e sta in guardia. Un’indole di questo tipo si addice forse al servizio a Dio? Un’opera come la vostra può alimentare i fratelli e le sorelle? Non solo sei incapace di guidare le persone lungo un percorso di vita corretto, ma in realtà inoculi la tua indole corrotta nei fratelli e nelle sorelle. Non stai ferendo gli altri? La tua coscienza è tanto malvagia, corrotta fino al midollo! Non accedi alla realtà e non metti in pratica la verità. Per di più, mostri sfacciatamente la tua natura diabolica agli altri: non hai proprio vergogna! I fratelli e le sorelle sono stati affidati a te, ma tu li porti all’inferno. Non sei forse uno la cui coscienza è tutta marcia? Sei totalmente senza vergogna!
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¿Cómo enamorar a una mujer? ¿Quieres hacer que la chica que te guste se enamore de ti? Aquí se te dará consejos efectivos para lograrlo.
Cómo enamorar a una mujer: 10 consejos para lograrlo
10 Consejos de cómo enamorar a una mujer
A muchos hombres se les hace difícil enamorar a una mujer, hablarles, invitarlas a salir y lograr que sean sus novias. Generalmente pasa por el desconocimiento de qué les gusta a las mujeres de un hombre. A continuación les enseñaremos cómo enamorar a una mujer.
#1 Hombre seguro
Despójate de los nervios y trata de estar seguro de ti mismo, demuestra tu carácter, sé un hombre que respeta y que se hace respetar. Tenlo por seguro que ellas preferirán mil veces un hombre con quien sentirse en confianza que tener al frente suyo unos músculos bien definidos.
#2 No mentir nunca
Para una mujer la sinceridad es la cualidad más valiosa que admiran de un hombre. Tampoco debes fingir algo que no eres realmente, muéstrate tal cual. Las mujeres tiene un agudizimo olfato para identificar cuándo un hombre les miente.
#3 Invítala a salir
Toda mujer quedará maravillada si la sorprendes invitándola a salir a un sitio que tú haz escogido, sobre todo si tu tomas el mando de la situación. Llévala a lugares especiales y diferentes así le demostraras con tu esfuerzo lo interesado que estas en ella.
#4 Limpio y bien vestido
Toda mujer se fija hasta en el más mínimo detalle, es importante vestir adecuadamente con una camisa y unos buenos zapatos, además del peinado y la limpieza corporal. Ellas se derriten cuando ven a un chico en camisa.
#5 Hombre de proyectos
Comparte con ella a qué te dedicas y sobre todo qué proyectos tienes para el futuro. Qué aspiraciones tienes tienes en la vida, ello la hará saber que no eres una persona sin metas mi ideales.
#6 No piropos
No caigas en las siempre repetidas frases de amor que se usan comúnmente. No caigas en lo vulgar, si vas a decirle palabras bonitas que salgan corazón, estas deben ser románticas y sutiles. ¡Las tendrás en tus manos!.
#7 Hazla reír
Evita los temas aburridos, hablen de cualquier cosa e identifica qué es lo que le hace reír. Si vez que ella no para de reír, vas por muy buen camino y aunque no lo crees estarás haciendo que ella se enamore de ti.
Cómo enamorar a una mujer: Hazla reír siempre.
#8 Detalles sorpresa
Debes saber que a las mujeres no esperan el regalo más costoso, esperan un detalle hecho por ti mismo en el que hayas invertido tu tiempo y tu cariño en hacerlo. Si es el caso que el presente no es hecho por ti, procura dé en el clavo con lo que a ella le guste, que recuerdes las cosas que le gustan y que dedique tiempo en buscar el adecuado bastará para conquistarla.
#9 Dile lo que sientes
A los hombres por lo general les cuesta decir lo que sienten un “te quiero”, “te amo” o “te extraño”. Dile lo que sientes por ella poco a poco, con tus propias palabras, si te apresuras mucho parecerás desesperado y no queremos eso.
#10 No sexo
Si hay algo que espanta a las mujeres es que en las primeras citas demuestres que quieres tener intimidad con ellas. Pensaran que sólo buscas sexo, las mujeres son muy sensibles respecto a ese tema y opinan que se da en una etapa más avanzada de la relación. ¡Ten mucho cuidado!
Con estos 10 consejos de cómo enamorar a una mujer estas más que preparado para conquistar a cualquier mujer ¡Suerte!
El post ¿Cómo enamorar a una mujer? 10 Consejos para enamorarlas aparece primero en Imágenes de Amor.
¿Cómo enamorar a una mujer? 10 Consejos para enamorarlas | Consejos de Amor, Enamorar
Watercolour of a 1965 Triumph Herald
unframed watercolour 42cm x 28cm approx
www.zoo.com.sg/exhibits-zones/pygmy-hippo.html#ad-image-0
Pygmy hippos spend a large part of their lives submerged in water, either in a swamp or a river. Hence, their exhibit is designed more like a giant aquarium with two viewing galleries. From the seated comfort of the spacious lower level gallery, you can see these hippos tiptoeing on the riverbed like ballerinas en pointe! Although the hippos spend a lot of time in the water, they can’t swim and their bodies are too dense to stay afloat. Look closely and you’ll notice they close their ears and nostrils when submerged in the water. Unlike the common hippo, whose eyes are at the top of their heads, the eyes of the pygmy hippo are on the sides of their heads. Their toes are also not webbed like their larger cousins.
On hot days, you might want to lean in for a closer look at the skin of the animal. With no sweat glands, these miniature hippos survive the heat by staying cool in the water in the day and their skin secretes mucus that acts as a natural sun block.
Pygmy hippos are herbivores with exceptionally large jaws. They eat grass, roots, fruits and shoots in the wild. See how wide hungry hippos can stretch their mouths during their token feeding session at 2.30pm daily.
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
My second break-out frame ever attempted.
Normally, I am opposed to loosing any information in a picture. The purpose of my work is recording reference documents.
I started by matching the pairs [see "How to Join Stereo Pairs".]
To preserve the original stereo pair work, I duplicated the whole image layer and added an alpha channel to it, for trimming later.
I added a pink layer, which would be discarded later, between them - that would provide contrasting background for the edge trimming to come.
To create the first frame, I added a transparent layer in which I used the rectangle select tool to carefully position the centers of the first frame rails that would widen from as edges accumulated..
To simulate a guilded wood frame,
I picked a pine wood pattern as a brush, clicked Edit|Stroke-selection at three pixels wide, which gave the center of the frame moulding.
Then I used the select-by-color tool anywhere in the transparent area and inverted that selection to select the frame edges.
I repeated those two select/stroke steps several times, thickening the frame with alternating solid color/patten brush, varying the width of the stroke and choosing progressively darker toward the edges.
When I was satisfied with the frame appearance, I reduced its dimension with Layer|Autocrop-layer because it was a perfect rectangle to duplicate for the matching pair. If it was any other shape I could have selected transparent by color, inverted the selection to CTRL-C copy the frame, and then added a clear layer to paste the copy into. Either way it is important at this point to have the copy on a separate layer to slide around visually aligning the frame to draw the eye behind the locomotive. The right edge was most important in this shot, so I tried to "give clearance" as if the frame were touching the wheels of the obscured side. I wasn't concerned with the left edge, knowing that if such a giant gold frame around the real engine existed, the viewer would be able to "see around" it more with the right eye, and that would enhance the illusion of depth.
Quickly, I checked horizontal alignment by zooming in to 800% aligning the bottom of the window to the edge of the frame, then dragging the bottom slider over to the other frame to use the move tool adjusting up/down so the frames are at identical heights relative to the window base. (a method used in the critical point of Joining Stereo Pairs.)
The next step is a tough concept for the simplest results. There are two frames that cover both engines. But I want to make it appear that the engine is breaking out of the page, and the bars descending down over the boiler spoil that effect, so they must be removed. To do that most easily requires "flying blind", working on a layer you don't see.
I clicked the layer of the offending guilded frame as the one to work on, then clicked off it's visibility, so I see only the engine. Zoom in to the stack. Using the free-select tool (lasso) I carefuly set points along it's edge as if I were going to cut the smokestack away. When I was wider than the bar of the frame, I checked my work, and clicked the guilded frame layer item visibility, tap the deleted key and the frame now has a hole in it. Three more holes for the top and bottom cut-away of the frame leaves floating bars of frame that are easily removed with rectangle select. Now the top layers depicting the frames end at the visual limit of the object, giving the appearance that they disappear behind that object.
Last step: trim away the background outside the frames.
I selected the duplicate layer to work on, knowing that CTRL-Z (undo) is my friend and if I really mess up, the bottom layer is still in registration so I can select a matching piece to overlap a higher layer with a copy/paste and not have to worry about alignment. Having the "decoupage" layer (with alpha channel added) over the pink contrasting layer was a great help in the trim. I worked in small sections with the free-select tool and delete key, snipping away at the edge of the subject, then removing large chunks as we did with the guilded frame. Having pink show through to confirm the right places were deleted and nothing more is easier to me than the default grey checkerboard against this essentially black and white subject.
The project took several hours.
When I was done I saved it in three formats:
1) .xcf the native format that preserves tranparancies and layers, so I could come back and make adjustments if needed.
2) .gif to preserve transparency, at the cost of color depth. For web pages with backgrounds other than white.
3) .jpg flattened with a white background for color depth at the cost of transparency. for web pages with white backgrounds.
3D, California, Los Angeles, Griffith Park, Travel Town, Shay locomotive, Camino-Placerville & Lake Tahoe #2, Break-out of frame, dsc00110, 2010.03.21 17.43, 34.154640, -118.308527
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
photo courtesy
tdh46.typepad.com/mondosapore/2008/03/alice-feirings.html
The Battle for Wine and Love: or How I Saved the World from Parkerization (Hardcover)
by Alice Feiring (Author)
Editorial Reviews
Product Description
"I want my wines to tell a good story. I want them natural and most of all, like my dear friends, I want them to speak the truth even if we argue,” says Alice Feiring. Join her as she sets off on her one-woman crusade against the tyranny of homogenization, wine consultants, and, of course, the 100-point scoring system of a certain all-powerful wine writer. Traveling through the ancient vineyards of the Loire and Champagne, to Piedmont and Spain, she goes in search of authentic barolo, the last old-style rioja, and the tastiest new terroir-driven champagnes. She reveals just what goes into the average bottle—the reverse osmosis, the yeasts and enzymes, the sawdust and oak chips—and why she doesn’t find much to drink in California. And she introduces rebel winemakers who are embracing old-fashioned techniques and making wines with individuality and soul.
No matter what your palate, travel the wine world with Feiring and you’ll have to ask yourself: What do i really want in my glass?
About the Author
ALICE FEIRING is a James Beard Foundation Award–winning journalist whose blog, In Vino Veritas, was named one of the seven best by Food & Wine. Formerly the wine/travel columnist for Time, she writes for the New York Times, the San Francisco Chronicle, Condé Nast Traveler, and Gourmet, among many others. She lives in New York City.
www.amazon.com/Battle-Wine-Love-Saved-Parkerization/dp/01...
Alice Feiring is human , far too human , and I am happy that Dr Glenn Losack MD my American cousin introduced me to her on cyberspace...
Alice Feiring is a friend of a friend and a caring person.. whio is there when you need her most..
This is a toast to her new book and lots of success..I wish for her.
7 th May 2008
Food Blogger Takes on the Biggest Name in Wine: Robert Parker
By PETER HELLMAN
May 7, 2008
Charles French
In her new book, writer Alice Feiring takes on the biggest name in wine.
A D V E R T I S E M E N T
A D V E R T I S E M E N T
In her quirky and endearing new memoir, "The Battle for Wine and Love: Or How I Saved the World from Parkerization" (Harcourt, $23), wine writer Alice Feiring sharpens up the debate over the palate and power of Robert Parker, the world's reigning wine critic. Nobody has done more than Mr. Parker, through his writings and ratings, to raise American wine consciousness. But Ms. Feiring, who writes a Web log at alicefeiring.com, argues (as did the 2005 documentary "Mondovino") that Mr. Parker's impact on the core values of honest wine has been negative — catastrophically so. Happily, she keeps the diatribe light with her self-deprecating humor and a running commentary on her often-bumpy love life.
The nub of Ms. Feiring's case against Mr. Parker is that his highest scores, as posted in his influential journal, the Wine Advocate, go to unnaturally rich, alcoholic, and forceful wines. Her disdainful word for such wines is "spoofulated." These showy critters are a pole apart from traditional wines, which are made with as little manipulation or buffing up as possible. Typically leaner and lower in alcohol than their Parkerized counterparts, these "natural" wines, as they are often called, can get shoved into the shadows by the heavyweights in blind tastings — even though they may be better partners at the dinner table.
If Mr. Parker's taste in wine were simply his own, Ms. Feiring wouldn't be on the warpath. But so great is his power, she argues, that winemakers in droves are impelled to abandon traditional winemaking in favor of pumping up their product in order to win the favor of his palate. They know that a high score is sure to translate into higher prices for their wines. Those who resist winemaking by the numbers risk becoming wallflowers in the dance of commerce.
Mr. Parker isn't the only so-called Goliath that Ms. Feiring fearlessly takes on in her book. Visiting the Champagne region's holiest vineyard, Krug's Clos du Mesnil — the wines of which can cost thousands of dollars a bottle — Ms. Feiring cheekily asks the winemaker, "Do you have even one earthworm in that soil?" And of herself, she properly asks: "Oh, the quandary: When to speak up and when to hold my tongue?" Luckily for the reader, her tart tongue usually wins.
Ceaselessly traveling to wine regions in Europe, Ms. Feiring logs ample quality time with her favored breed of natural wines and their makers. There's a memorable portrait of Nicolas Joly, a leader of the holistic movement called biodynamics, whose body language operated "with a total integration of the vertical, horizontal, and sagittal planes" — descriptors which are a tip-off to the writer's training as a dance therapist.
Reading about nothing but wine can get to be a slog, even in the hands of a lively writer. As her title suggests, Ms. Feiring has wisely perked up her text by letting us in on her romances, both real and fantasized. In the Rhône Valley, she meets a handsome winemaker who resists her charms: "All right, I thought, Picasso was a jerk, too. I love Philip Roth, but evidently, he didn't do too well with women. I resigned myself. No magical experience here." There's a bittersweet portrait of "Owl Man" (so named because he'd hoot at owls in the night). Like the author herself, Owl Man "had the olfactory acuity of a bat." Ms. Feiring, who grew up in an observant Jewish home, credits her Yiddish-speaking grandfather, a home winemaker who made her smell everything edible or drinkable, as her sensory mentor.
At a NoHo coffee shop one morning last week, Ms. Feiring nibbled on a rugelach and explained that "The Battle for Wine and Love" almost didn't get written. Two years ago, she'd tried but failed to sell "a wine guide with a really boring title, like 'Honest Wine,'" she said. "My last agent said, 'This isn't the book you want to write.' My friends were telling me, 'Do a memoir.' But my life didn't seem that interesting." And so she merged wine guide with memoir. While writing it, she says, "I was extremely happy" — not a typical emotion for a writer at work. Ms. Feiring writes, "For years, my mother was embarrassed that I was a wine writer: 'This is what you do? This is what I sent you to Yeshiva for?'"
If this terrific book fails to win Mom over, the failing won't be her daughter's.
article courtesy
sent to me by dr glenn losack md,
www[dot]blouseroumaine[dot]com/orderthebook_p1[dot]html
Under Nicolae Ceausescu Blandiana's writings were banned after a "seditious" poem she wrote about the dictator: "Motanul Arpagic" (Tom Cat Onion)...
After 1990 she was active in the "Alianta Civica" which helped bring to the fore the first democratic government in Romania (1996-2000).
Below is one of Blandiana's ""engaged" poems about the status of women under communism:
“An entire people,
Not yet born,
But condemned to birth,
In columns before birth
Foetus beside foetus,
An entire people,
Which does not see, does not hear, does not understand,
But moves forward.
Through writhing bodies of women,
Through the blood of mothers
Unconsulted.”
(Ana Blandiana, The Children’s Crusade, 1984)
en.wikipedia.org/wiki/Ana_Blandiana
www.transcript-review.org/section.cfm?id=122&lan=en
-------------
Ana Blandiana's biography is included in the "Blouse Roumaine' Anthology:
www.blouseroumaine.com/orderthebook_p1.html
The Blouse Roumaine Anthology had finally been formatted as an E-BOOK
Contents:
2,250,000 words,
over 1,000 pages,
160 critical biographies,
58 social categories/professions
600 quotations (mostly translated into English for the first time),
circa 3,000 bibliographical references (including URLs and credits)
6 Indexes (alphabetical, by profession, timeline, quotation Index, place index and name index)
The website is not yet fully updated to reflect the latest statistics or content but the book can be now downloaded online:
----------------------------------------------------------------------------------------------------------------
3.2. Gazetteer of 160 Women within 58 Categories by Call, Profession or Social Status
Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)
Best super-villain ever, am I wrong?
For reference: www.fortunecity.com/lavender/mockingbird/1118/tick/cvpics...
www.politico.com/news/stories/0611/56941.html
A 'kitchen sink solution' on jobs
By: Chris Frates
June 15, 2011
The center-left Washington think tank Third Way is holding a forum Wednesday to discuss the merits of allowing companies to bring the $1 trillion in profits parked overseas back to the United States at a temporarily reduced tax rate.
The morning forum at Union Station will include Sen. Kay Hagan (D-N.C.); Democratic Reps. Loretta Sanchez of California and Jared Polis of Colorado; former Service Employees International Union President Andy Stern; Duke Energy chief executive Jim Rogers; and George Schink, managing director of Navigant Economics.
Third Way’s vice president of communications, Sean Gibbons, said the forum is designed to determine whether the idea — which is anathema to many liberals — is a viable option for jump-starting U.S. job growth.
“We have unemployment near 9 percent. We’ve basically pulled every single lever we can as a government. … We’ve done almost everything we can to get the economy going. It’s time to throw in the kitchen sink. This is a kitchen sink solution,” Gibbons said. One trillion dollars “is a lot of coin. It’s sitting overseas. If we could bring over a significant portion of that back into the economy, we believe that would stimulate demand, and demand stimulates jobs.”
It’s not a perfect solution, Gibbons said, but one the Republican-controlled House might be willing to entertain.
He acknowledged that analysts don’t yet know how many jobs such a policy might create. But, he said, bringing money back to the U.S. creates demand, which in turn drives hiring.
The forum is the first public event of the think tank’s new corporate tax reform project directed by former Rep. Dan Maffei (D-N.Y.), who’s now a Third Way senior fellow.
Right now there is over a trillion dollars in global profits earned by American businesses sitting overseas. What if we lowered the bar for companies to bring that money back home?
Third Way hosted an Idea Forum that examined the economic and policy implications of a repatriation tax holiday that would allow American multinational companies to bring overseas profits back to the U.S. for investment at a reduced tax rate.
Featuring a distinguished panel of leaders from business, labor, economics and government, the forum offered a fruitful discussion of a repatriation holiday’s impact on hiring and investment, business practices, and future tax policy. Participants include Senator Kay Hagan, (D-NC), Congresswoman Loretta Sanchez (CA-47), Congressman Jared Polis (CO-2), Andy Stern, former President of the Service Employees International Union, Jim Rogers, CEO of Duke Energy and Dr. George Schink, Managing Director and Principal of Navigant Economics.
This Idea Forum is the first public event of Third Way’s new corporate tax reform project, managed by former Congressman (and now Third Way Senior Fellow) Dan Maffei, which will advance ideas to make the code fairer, simpler, and more pro-growth.
Lagu Rohani Kristen Terbaru 2019 - Mereka yang Akan Diselamatkan Tuhan adalah yang Terpenting Di Hati-Nya
🎦 id.easternlightning.org/videos/those-God-will-save-are-eo...
Betapa penting karya penyelamatan,
lebih penting dari apa pun 'tuk Tuhan.
Dengan perencanaan, tak hanya firman,
Dia buat semua 'tuk manusia.
O betapa penting karya penyelamatan 'tuk Tuhan dan manusia.
Tuhan sibuk, Dia berusaha.
Dia atur karya-Nya, memerintah segalanya.
Tuhan telah bayar harga yang mahal.
Tuhan ungkap sedikit sedikit dalam karya-Nya,
yang Dia punya, harga yang Dia bayar,
hikmat, kuasa, semua watak-Nya.
Agar di s'luruh semesta,
selain orang yang ingin diselamatkan-Nya,
tiada makhluk yang sangat dekat dengan Tuhan,
yang punya hubungan sangat erat dengan-Nya.
Tak peduli kesukaran, tak peduli rintangan,
betapa lemah dan membangkang manusia,
tiada yang dapat hentikan Tuhan, tiada yang sulit.
Tuhan dekat, betapa erat
bagi yang Dia pilih 'tuk dis'lamatkan.
Di semesta ini, siapa pernah punya
hubungan sangat erat dengan Tuhan?
Di hati-Nya, mereka paling penting, Dia sungguh hargai m'reka.
Mereka lukai, tak taat Tuhan.
Walau Dia bayar harga besar untuk mereka,
tak lelah Tuhan berkarya, tanpa sesal,
tahu manusia 'kan digerakkan firman-Nya,
kan sadari panggilan-Nya,
mengenal Dia Tuhan, kembali ke sisi-Nya.
Tak peduli kesukaran, tak peduli rintangan,
betapa lemah dan membangkang manusia,
tiada yang dapat hentikan Tuhan, tiada yang sulit.
Wow … wow … wow … wow …
Tuhan telah bayar harga yang mahal.
Wow … wow … wow … wow …
Mereka lukai, tak taat Tuhan.
Wow … wow … wow … wow…
Tiada yang sulit.
dari "Ikuti Anak Domba dan Nyanyikan Lagu Baru"
Rekomendasi：
konten yang lebih menarik, mohon perhatikan "Kilat dari Timur"
current.newsweek.com/budgettravel/2009/07/rome_street_art...
Creative expression in Rome isn't limited to museums and churches. It's out in the open, if you know what to look for and where. We sent photoblogger Jessica Stewart out to capture street art's various incarnations—stencils, graffiti, chalk drawings, even break-dancing. Check out the results in our slide show.
Stewart moved to Rome four years ago, after completing degrees in art history and Renaissance studies, and began posting at RomePhotoBlog. Her photographs are on display through July 31 at Al Vino Al Vino (via dei Serpenti 19) and will be included in a show at Hobo Art Club (via Ascoli Piceno 3), September 11-25.
I chatted with Stewart over pizza at Il Maratoneta in Rome's San Lorenzo neighborhood this spring and, more recently, traded emails to get her impressions of the evolving street art scene.
What sparked your interest in street art, and when did you start photographing it?
I'd always noticed stencils and posters around in the city, but my real interest started in February when shooting a series on San Lorenzo for my blog. It's an area where a lot of street artists work and afterward I noticed it became a strong theme for that shoot. From then I've been doing more and have gotten a chance to get to know many of the artists, which makes it all the more interesting.
Where can tourists go to spot street art while in Rome, and what should they be looking for?
All the artists I know are quite respectful of the city, so you won't be finding anything pasted up on the Colosseum—you need to go a bit off the beaten path. The neighborhoods of Trastevere, Pigneto, and San Lorenzo are all good bets for finding street art. Ostiense has some nice stuff as well, especially near the Garbatella metro station where there are many interesting painted murals, and the Jewish Ghetto has work by Sten and Lex, as well as stencils by the French artists C215.
For tiny touches, check out the backs of street signs and bus stops, where many artists will place small stickers. Just keep your eyes peeled, as once you start looking you'll find examples everywhere. Now my friends (many of whom have lived here for years or are Romans) are seeing street art everywhere for the first time. It's been under their nose the whole time, but they hadn't noticed until someone pointed it out.
How does street art in Rome compare with that of hubs like London, Berlin, or L.A.? What makes it uniquely Roman?
I think that Rome street art is still very unknown, even in the city itself, and hasn't gotten nearly as commercial as in a lot of cities. A very small number of artists are making a name for themselves internationally already, but most are still emerging, which is really exciting. And I think the city is just starting to come around, with more events being organized and the founding of the gallery MondoPop, which features a lot of street artists, right near the Spanish Steps has brought even more legitimacy to the scene. As far as what makes it very Roman, I think you'll see a lot of pieces influenced by classic art, religion, and politics.
Rome has centuries worth of masterpieces. How do you think that legacy rubs off on street artists?
The influence is more obvious with some than others. The artist Lucamaleonte studied restoration here in Rome, and his pieces always remind me of the engravings or etchings of Albrecht Durer or Rembrandt. Mr. Klevra and Omino71's Byzantine-style Madonna and Child icons are other example of pieces that are influenced by the surroundings. But at the same time, I don't want to say that this is what every artist is looking at. Many, I think, subtly pay homage to Roman history, such as the Hogre stencil that with a date written on a beer bottle gives a nod to Allied bombings here in Rome in the 1940s. More often than not, however, I think people are creating their own styles. Artists have always commented on politics, religion, etc., so I think that isn't anything new. What I do think is that all the artists respect the city and are striving to express themselves outside of the established norms.
How long has the Rome scene been around, is it changing, and what sort of community is there?
As I understand it, around 2002, a small group began working more on stencils and posters. From there, the movement has grown, and I'm always struck by the diversity and talent I see here. There's a strong community of artists that has grown up around certain events and locations. The centro sociale Strike near Stazione Tiburtina is one haven, and certainly MondoPop's exhibits have brought people together, as well as the Stick My World exhibitions (begun by artist Omino71) that have given Roman artists more chances to work together. Some, like Sten, Lex, and Lucamaleonte work in a collective studio, while others often will go out together and paste up posters or work together on pieces.
Do you have a favorite artist?
I don't really have one absolute favorite, so if you don't mind, I'll give you a list of some favorites (in no particular order!). UNO, Hogre, 999, #, Lucamaleonte, Sten and Lex, Mr. Klevra, Omino71, Alice', Sone, Urka, and [X]. All completely different, but all very interesting and talented in their own ways. Most don't have websites, but almost everyone has an account on Flickr, which you should be able to find easily.
www.budgettravel.com/bt-srv/gallery/0907_RomeStreetArt/in...
so where are we with what is important.. for *tomorrow* in nsa cia whore and MURDERER jami rose's day in time?
:) www.timeanddate.com/date/durationresult.html?m1=4&d1=...
From and including: Friday, April 4, 1980
To, but not including Thursday, January 23, 2014
Result: 12,347 days
It is 12,347 days from the start date to the end date, but not including the end date
Or 33 years, 9 months, 19 days excluding the end date
Alternative time units
12,347 days can be converted to one of these units:
1,066,780,800 seconds
17,779,680 minutes
296,328 hours
12,347 days
1763 weeks (rounded down)
and :)
scores.espn.go.com/ncb/conversation?gameId=400509996
Illinois
(13-6, 2-4 Big Ten)
(17) Ohio State
(15-4, 2-4 Big Ten)
and, :)
her 'forward' yearly placement :);
www.timeanddate.com/date/durationresult.html?m1=4&d1=...
From and including: Friday, April 4, 1980
To, but not including Sunday, January 25, 2015
Result: 12,714 days
It is 12,714 days from the start date to the end date, but not including the end date
Or 34 years, 9 months, 21 days excluding the end date
Alternative time units
12,714 days can be converted to one of these units:
1,098,489,600 seconds
18,308,160 minutes
305,136 hours
12,714 days
1816 weeks (rounded down)
and :)
scores.espn.go.com/ncb/conversation?gameId=400506386
LSU
(12-5, 3-2 SEC)
Alabama
(8-9, 2-2 SEC)
not hard to read between the lines, huh?
and how about :)?
what i *love* about this,
is evverybody knows..
who she is now.
and she cowars and hides..
how about that? :))))))))))
how much *longer* before daughter jaytlyn finds out in school that mommy was a prostitute that worked for intelligence?
how much *longer* before daughter jaytlyn finds out mommy sold drugs out of her place in colorado..
how much longer?
can't hide from that,
can you,
nsa cia whore and MURDERER jami rose.. :))))))
~peace
thomas :))))))))
CIA and NSA Whore and MURDERER Jami Rose KILLED Alisa Ferraro and Paul Gagnon 4 months before their wedding 6
you created the channel at 1831 Salcedo / Guyaso Zip 70119, and placed Alisa inside of you and never even asked me if you could what do you think is going to happen to you CIA and NSA Whore and MURDERER Jami Rose
8635445544 CIA and NSA Whore and MURDERER Jami Rose KILLED Alisa Ferraro and Paul Gagnon on 07021995 isn't that right?
You murdered Alisa Ferraro and Paul Gagnon in time by me channeling your ill will and associations unknowingly didn't you CIA and NSA Whore and MURDERER Jami Rose your time will come i promise on my last dying breath your You created the channel and placed Alisa inside of you..
You murdered Alisa Ferraro and Paul Gagnon in time by me channeling your ill will and associations unknowingly didn't you CIA and NSA Whore and MURDERER Jami Rose your time will come i promise on my last dying breath your going to face judgement,
whether you like it or not :)
You created the channel and placed Alisa inside of you and never even asked me if you could what do you think is going to happen to you CIA and NSA Whore and MURDERER Jami Rose?
343 in time, huh? CIA and NSA Whore and MURDERER Jami Rose?
Jami 15/33 Alisa 242,
Still creating that "natural order" and ordinance of time of yours on a daily monthly weekly yearly basis and killing people in time, CIA and NSA Whore and MURDERER Jami Rose? :)
how much longer do you think before it ends up, on *your* end :)
you set up the channel without even asking me jami, and then you did what you wanted to, in 2005 and 2006. you chose murder jami, you chose
who supported you jami.. and why did you accept $$,$$$ to contain 176 and power contain 176 :) at 1831 salecdo/guyaso, and let those people die.. without even asking
me, if you could could create that channel, if you contain me. you chose jami. you chose murder. who supported you?
your CIA and NSA Whore Jami Rose MURDERED all of those people, DESTROYED all of those lives, what should her punishment be?
CIA Whore and MURDERER, Jami Rose. her photo, right here :)
www.flickr.com/photos/89268704@N08/8123854555/in/photostream
JamiRoseCIAandNSAWhore
jami rose cia and NSA whore all those people that she killed all that damage that she caused
JamiRoseCIAandNSAWhore
jami rose cia and nsa whore all those people that she killed all that damage that she caused
1)hurricane katrina
2)bp oil spill
3)japan tsunami
and many others in time.
raped. robed. murdered. dismembered.
never punished for her crimes
born on april 4 1980.
here you go :)
by entering in her information from date of birth here:
www.timeanddate.com/date/duration.html
you can monitor her information that is used by the world markets on a daily basis, not only that, but control for what is in numerical belief, thru out the us and the rest of the world.
She creates a natural order in time with her existance and by her date of birth, on a daily basis, weekly basis, yearly basis and in forward motion time placement. :)
Its also an Ordinance in time,
(but she's KILLING people in time. THOUSANDS of people,
and *thats* accepted. :) not anymore, huh, CIA and NSA Whore and MURDERER Jami Rose. :) not anymore :)
also,
www.timeanddate.com/date/durationresult.html?m1=01&d1...
(The stasis of origin should show in the above link, like what is just listed below. why not tell people? :)
From and including: Saturday, January 1, 0001 (Julian calendar)
To, but not including : Friday, April 4, 1980 (Gregorian calendar)
It is 722,910 days from the start date to the end date, but not including the end date
Or 1979 years, 3 months, 3 days excluding the end date
Note:The From date is a Julian calendar date. The current Gregorian calendar was adopted in United States where Thursday, September 3, 1752 was the first of 11 days that were skipped. This has been accounted for in this calculation. Read more about the Julian and Gregorian calendars
Alternative time units
722,910 days can be converted to one of these units:
62,459,424,000 seconds
1,040,990,400 minutes
17,349,840 hours
103,272 weeks (rounded down)
if you need a little help to her "stasis of orgin" here you go. if you're not smart enough to know what a birthday does in time, its an active measure for which you create throught your life span. there, i said it. don't like that intelligent secret? millions people living, and not knowing that. how could anyone not know? :)
and all those people she killed. never punished
thomas warn varnas will make sure that happens, won't he?
you attempted two murders on his life at 143 Rue Esplanade and Villa Du Lac,
by channeling his dreams with tenants and parking cars outside of his residence, capturing him..
how does it feel now Jami, to know the same is happening
to you :)
:)
there you go :)
btw, did i channel her ill will and associations unknowingly, and did it kill alisa ferraro and paul gagnon in time, to?
to me, that warrants enough to blow her head off.
sorry. but thats the way i feel, at the moment
~peace
thomas :) (not smiling) (but its about to get better :)
NOTE: ADDITION: DON'T FORGET TO CHECK OUT HER '45' FROM HER DOB, ON A DAILY BASIS, NEXT DAY BASIS, AND *YEARLY* BASIS.. THE FORMATION SHE HAS DOES MANY THINGS, *INCLUDING* 575.. just fyi.. :)
(and don't forget to check out one of CIA and NSA Whore and MURDERER Jami Rose's Habitat's.. 225 Area Code Baton Rouge.. you'll find her there :)
(Don't forget that she is being 'channeled' (still, after all those people she killed and all of that destruction) into sales and control for 'wins' :)
LSU and The New Orleans Saints..)
(504 319 0813 nsa cia whore and murderer jami rose's phone from 1831 Salcedo / Guyaso, Zip 70119
you can find out *everything* you need to know from Baton Rouge on nsa cia whore and murderer jami rose.
i did. :)
(oh yea, am i supposed to be mentioning anything on NSA itself on NSA CIA WHORE AND MURDERER JAMI ROSE'S *NEXT* BIRTH YEAR, THAT IS HAPPENING YEAR TO DAY.. 34.. initial 38/74 NSA 16/34.. alot of things are "happening" with that currently in time now, no? :) good info. pats self on back, check her out and what's going on in the markets.. :)
~peace
thomas :)
(*that's good* oh i know it is mrs alisa who is with mr paul in heaven, *i know it is* ty friend :)!
www.lapressegratuite.com/2014/02/expo-in-the-city-le-prem...
Expo in the City est le premier magazine gratuit dédié aux expositions parisiennes ; l’occasion nous a été donnée de poser quelques questions à Fleur Baudon, directrice de la publication et Arnaud Chedal-Anglay, fondateur et rédacteur en chef du magazine.
Bonjour à tous les deux, racontez-nous l’idée de départ, sa concrétisation et parlez-nous de l’équipe !
L’idée de départ : rendre un peu « sexy » les expos, dépoussiérer tout ça. Créer un magazine urbain, sympathique, résolument moderne, qui donne envie de sortir pour aller voir une expo avec ses amis, son amour, ses parents ou ses enfants.
Un magazine convivial, qui se partage, tout comme ses bons plans.
Un magazine pratique qui tient dans la poche.
Un magazine gratuit, pour une vraie promotion de l’Art à Paris, sans clivage.
Pour la première fois, un classement des expos en ligne avec les envies et les attentes des parisiens. Pas d’expo ‘’beaux arts’’ ou ‘’ sciences et techniques’’, mais les expos à faire le soir après le boulot, les expos gratuites, celles à faire en amoureux ou en famille. Les expos pour frimer le lundi matin au bureau, ou pour occuper les beaux parents qui débarquent !
Expo in the City souhaite faire de chaque sortie expo un vrai bon moment, sympa et inoubliable. Pour cela, nous avons créé les premiers « duos expos », de bonnes petites adresses parisiennes avec les meilleures expositions. Cela permet de prolonger le plaisir de la sortie avec un petit brunch, un resto, un apéro, ou un jardin caché, une boutique insolite…
La concrétisation de cette idée a mis 2 ans, 2 ans pendant lesquels nous avons fait et refait des maquettes de magazines, en interrogeant des parisiens pour vraiment comprendre leurs attentes et leurs envies, et leur offrir le meilleur des expos, dans une version colorée et joyeuse.
L’équipe : Fleur et Arnaud, aidés par nos proches, amis, et familles. Nous avons créé une association qui a pour but de promouvoir l’Art à Paris, de manière accessible et sympa. Nous sommes des indépendants, loin des grands groupes de presse. Des idéalistes ? Des ‘’fous’’ peut-être ? Des passionnés évidemment !
En octobre de cette année, vous avez rassemblé des fonds sur le site de financement participatif KissKissBankBank, comment cela s’est-il passé ?
La démarche nous a permis de récolter 5 000 euros ! Cela nous a permis de nous lancer, en finançant l’impression du premier numéro, et une partie du site web. C’était fou de voir comme ce projet a pu mobiliser des soutiens, nous appuyant dans cette démarche audacieuse.
Présentez-nous la ligne éditoriale de Expo in the City, le positionnement du mag.
Expo in the City est un magazine bimestriel, format poche extrêmement qualitatif, 100 pages en couleur, distribué gratuitement à 20 000 exemplaires dans le cœur de Paris, aux métros, entrées des cinémas, théâtres et musées.
Le ‘’petit livre’’ des expos toujours sur soi !
Nous souhaitons toucher tous les gens passionnés par l’art, mais pas seulement ! L’idée est vraiment d’ouvrir l’art à tous, en faisant re-découvrir les expos de Paris et la richesse culturelle de la capitale, par un classement inédit des expos, pour que chacun puisse trouver l’expo qui lui ressemble, ou l’expo qui convient à chaque occasion.
Nous avons voulu créer le 1er magazine qui ne se jette pas, avec sa sélection d’expos, ses bons plans, ses actus, son format poche ultra-pratique. Nous avons créé un magazine pour chacun et pour tous.
Où peut-on trouver le magazine aujourd’hui ? Peut-on s’abonner ?
Tous les 2 mois, Expo in the City est distribué pendant 2 semaines dans le centre de Paris et en région Parisienne. Aux stations de Métro, dans les files de musées, de cinés, de théâtre, en 20 000 exemplaires. Expo in the City est aussi accessible sur le web www.expointhecity.com/, avec des actus inédites et complémentaires, et des avis d’internautes. Pour ceux qui souhaitent recevoir leur magazine chez eux, nous proposons une formule d’abonnement à 24 euros par an (magazine gratuit + frais de gestion et d’envois), offrant en plus un pass pour Pompidou.
Vous êtes également présent sur le web, pourquoi éditer un magazine papier et un site web ?
Pour nous les deux supports sont complémentaires. L’un se consulte en se feuilletant, dans le métro, dans son salon, dans un café, il se lit. Nous étions très attachés au support papier car nous aimons personnellement lire, et garder nos livres et guides pour les reconsulter à l’envi.
Le site internet est un support complémentaire qui nous permet de suivre l’actualité à la semaine, voire chaque jour. Nous donnons la parole à nos internautes pour nous donner leur avis sur les expos et aider les autres internautes à faire leur choix d’expos. Internet est très vivant, évolue chaque jour. Le magazine est une valeur sûre qui se garde sur soi.
Des projets de développement ? L’envie de décliner le magazine dans une autre ville ?
Nous avons plein d’idées de développement !
Notre premier souhait est de faire grandir Expo in the City, en restant libres et indépendants, ce qui est assez difficile car nos moyens ne sont pas ceux des grands groupes. Nous souhaitons étendre les services que nous proposons à nos lecteurs, toujours dans un esprit de convivialité, par exemple en créant une carte Club permettant d’inviter gratuitement une personne avec soi dans les musées, en organisant des soirées vernissages, des discussions sur des sujets d’expos... Tout en restant sur Paris, peut-être étendrons nous le magazine à la rentrée, a une version sur l’Art en général (musique, théâtre, cinéma, écriture…).
Merci et longue vie à Expo in the City !
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
片名：King Kong
译名：金刚
杰克·布莱克Jack Black
杰米·贝尔Jamie Bell
类型：动作/冒险/剧情/奇幻/科幻/惊悚
片长：--
发行：环球
上映日期：2005年12月14日(美国)
官方网站：http://www.kingkongmovie.com/
剧情简介 第一次世界大战的欧洲战场。“关键时刻”参战的美国空军在法国的上空正忙着与德国人周旋。在这场空战中让观众认识了才华横溢的美国飞行员杰克。时间瞬息转到十五年后，早已在空军退役的杰克已经来到了位于东南亚的苏门达腊到打工。
一支来自英国的考古队在队长罗德的带领下已经来到这片神奇的热带丛林很久了，队中还包括队长的千金，美丽的安。南太平洋阴郁、神秘的岛屿地貌和茂密森林同样吸引着这位性感的金发女郎。
来自美国本土电影之都好莱坞的导演卡尔·丹姆带着他的摄制组也不远万里、漂洋过海地来到这里寻找着他新片的灵感和最佳拍摄地。
然而，就是这三方看起来毫不相干的人们逐渐地被这荒蛮之地吸引到了一起。当这些人“团结”到一起组成全新的拍摄考察队伍，美丽的安成为卡尔导演最新的女一号的同时，在一座全新的岛屿上，这个似乎预谋已久的传奇故事便慢慢拉开了无法再次还原的序幕。数十米高的巨型黑猩猩、凶残的史前恐龙、无人踏及的原始森林、虔诚愚昧的土著人……都令这队来自文明世界的现代人始料不及。但利欲熏心的导演发现并导演了一场惊世骇俗的“人猩恋”。将美女安以土著人独特的“艺术形式”许配给了那个叫“刚”的大黑猩猩。然而，这一荒诞的行为却早就了一场惊心动魄的“人猩大战”……
幕后花絮 1933年版的《金刚》在影迷们当中有着很高的人气。因为它不仅仅是代表一部单纯的电影作品，它甚至带动了电影艺术的一个潮流。自七十二年前那只威猛的大黑猩猩首次登上帝国大厦，就已经在数不胜数的影视剧中亮相，就连近日横扫北美票房的迪斯尼动画片《四眼天鸡》中也可以看到那再熟悉不过的经典桥段。
还记得1976年，约翰?吉尔勒明耗费相当于当今6500万美元巨资翻拍的《金刚》，除了将金刚大战战机的场景从帝国大厦搬到在“9?11”中被覆灭的“世贸双子”外，其它故事发展和场景设置几乎与原版相同，但是，这部使用了当时最为先进的电影特技的《金刚》被观众斥为“简单的幻想片”，与原版的《金刚》完全没可比之处，这或许是观众对原版《金刚》爱护有加的表现之一吧。想当初梅里安?库珀仅消耗了68万美元拍出那部传世的黑白经典《金刚》，银幕上的大猩猩实际仅有十几米高，而用来拍摄握住安的近镜却由一只8米长的“巨臂”完成，那强壮的躯体也只由塑料加上兔毛粘制而成，可想而知这只大怪物有多“简陋”。然而，在观众心目中，这只金刚好得无可比拟。实在佩服大半个世纪前威利斯?布里恩为该片做出的有史以来第一个振奋人心的视觉特效。可惜当初奥斯卡还没有最佳视觉特效奖，凭1933版《金刚》天马行空的想法和特效，丝毫不比当今的好莱坞CG电影差多少……
影片简评 早在七十二年前的1933年，一只巨大的猩猩就已经一只手握着一位性感女郎，令一只手攀在纽约帝国大厦的尖顶上，像世人宣誓着自己对爱情的忠贞不渝和永往无前了。而野蛮的人们却用他们高傲的姿态、嘲笑的声音和他们引以为傲的战机，欲征服这只来自原始部落的强悍动物……
《金刚》影片的诞生可以说是电影史上的必然，亦是偶然。先说必然，在电影这类特殊的艺术表现形式发展到那个年代的时候，已经有越来越纷繁的表现形式和另类题材被聪明的电影人引入大银幕。曾风靡一时的巨大怪物哥斯拉，《捉鬼队》中巨大的棉花糖人等已经越来越受到影迷们的关注和喜爱。因此像金刚这样来自我们人类平行世界中的近亲便不期而至地走上了大银幕。另外，电影制作技术的不断创新也使得此类电影特技日臻成熟地运用在了实际的电影作品当中，从而能越来越带动人们对此类电影的兴趣
曲目及下载：
· Something Monstrous... Neither Beast Nor Man
· Captured
Neon Pink Cheap Sticks & Stones By Mori Lee 9281 Party Dress
www.dresslikes.com/rhinestone-beaded-nude-sheer-inset-ill...
Hi partner! I would love to get a closed sewing machine cover (not one with ties, but that covers it all the way around - I live in the middle of a desert and can't contain the dust!). I love color, stuff that's cheerful, bright, scrappy. For the smaller item, surprise me! I could use anything - pin cushion, fabric basket, thread catcher, wall hanging...I'm pretty open since my sewing space is pretty sparse!
1. sewing together, 2. Set of 3 Fabric Baskets - Meadowsweet, 3. Charity Blocks, 4. pretty petal clutch - Explored, 5. hedgehog pincushion, 6. My Ellie! SPS3, 7. Scrappy Pincushion Swap--Round 2, 8. 'Hope Valley' pin cushion, 9. pin cushion, 10. Zakka Style Sewalong week 4, 11. Quilt Zoology Circles FMQ, 12. 'Hope Valley' thread catcher, 13. RSR Thread Catcher, 14. Anna Maria Horner Pincushion, 15. personalized pincushion, 16. fabric baskets 16x9xh10 cm, 17. My favorite pin cushion..., 18. New sewing machine cover, 19. Chevron Back FTLOS round #2, 20. Sewing machine cover in 'Martinique', 21. Pin Cushion Caddy, 22. Pin cushion, 23. Wonderland sewing machine cozy, 24. new sewing machine cover, 25. Sewing Machine Cover
news.yahoo.com/virus-surge-sends-ripples-alarm-185635604....
Virus surge sends ripples of alarm through Democrats
The resurgence of the coronavirus has reshaped the early contours of the midterm elections, with some Democrats beginning to distance themselves from the Biden administration and more directly blame Republicans, reflecting their growing alarm on an issue that long played to their political advantage.
Democrats had hoped to pivot from Biden's success on the pandemic to pitch the party's economic agenda, including sweeping proposals on infrastructure and social programs. But the rise in covid-19 cases is suddenly complicating that strategy.
North Carolina state Sen. Jeff Jackson, who is running for U.S. Senate, said the virus - after all but vanishing from the conversation - now overwhelms all other subjects on the campaign trail.
"You can see it in the comments section on social media, frankly," Jackson said. "This disappeared as something that people were commenting on, and then it reappeared marginally - and now massively. So no matter what subject we post on, what you're going to see in the comments section is people asking us to talk about this."
Jackson also said pointedly that he does not approve of the Biden administration's response, singling out the Centers for Disease Control and Prevention, which has become a favorite target of Republicans. "We really need crystal clear messaging from the CDC, and I don't think we've had that," Jackson said.
Democrats have also begun saying more directly that it's Republicans who are prolonging the pandemic, while they are urgently trying to end it. President Joe Biden and his aides are criticizing Florida Gov. Ron DeSantis, for example, for opposing mask mandates in schools, a switch from their previous reluctance to stoke fights with Republicans over the coronavirus. The House Democrats' campaign arm is encouraging candidates to call out Republicans for making false or misleading statements about vaccines and masking.
Meanwhile, Republicans, after largely avoiding the subject of the pandemic for much of this year, have begun going after Biden's handling of it, saying he "spiked the football" prematurely and asserting, with little evidence, that a surge of migrants at the border is fueling the spread of the virus.
"I think the American people are tired of masks," said Rep. Carlos Gimenez, R-Fla., who is gearing up for reelection in a swing area after capturing a Democratic seat in 2020. He argued that the CDC's recently revised guidance - urging even vaccinated people to wear masks in public indoor places, if they are in a high-transmission area - could dissuade vaccine skeptics from getting shots.
Gimenez said his own message on covid-19 is simple - "Get vaccinated" - but, like other GOP candidates, he said the virus is only one among many issues he intends to discuss. Many Republicans are continuing to focus mostly on inflation, immigration, and violent crime as they seek to depict a country descending into chaos under Biden.
"Economic fears driven by inflation and anxiety about rising crime are top of mind for voters, and voters blame Democrat policies as the root of the problem," asserts a previously unreported memo from the Congressional Leadership Fund, a PAC dedicated to helping Republicans recapture the House.
Yet Republicans are hardly invulnerable to criticism on the pandemic. Biden is trying urgently to get Americans to embrace the masks and vaccines that public health experts say are necessary to defeat the coronavirus, while many Republicans often dismiss those efforts, mock them or in some cases spread falsehoods about them.
It is GOP-led areas that generally have the highest proportion of unvaccinated people and are suffering most from the new surge; Florida is an epicenter, potentially posing political dangers for both DeSantis and Republican Sen. Marco Rubio, who face reelection next year.
One of the central questions looming over the midterms is whether Democrats can retain their grip over moderate swing voters, particularly in the suburbs, or whether Republicans will win them back. If these voters lose confidence in Biden's handling of the pandemic, it could dash Democrats' hopes of keeping their majorities. But if Republicans are seen as impeding the recovery, their pitch on other issues may not resonate with these voters.
The president and his aides, recognizing the stakes, have begun more aggressively emphasizing how much of latest outbreak is unfolding in Texas and Florida, both led by Republicans who have frequently boasted of disregarding federal health guidance.
Biden, in comments Friday, appeared to be test-driving a new message - that the country had soundly defeated the original coronavirus and will now do the same with the delta variant. It was a subtle but unmistakable reframing of the notion that the country simply failed to conquer the virus in the first place.
Strategists in both parties caution that the election is still 15 months away and that current developments could well be overshadowed later on. But for the moment, Democratic operatives are more worried than their GOP counterparts about the delta surge, since history shows that the party controlling Washington gets the credit or blame for what's happening in the country.
Beyond that, the president's party almost always gets walloped in the midterms, and a GOP advantage on redistricting has increased those odds further. Most Democrats, defending a tiny three-seat majority in the House and a 50-50 Senate, are bracing for a gloomy 2022.
But most of all, they know their fortunes are tied to Biden's success, and a central promise of his presidency has been a return to routine after the turbulence of the Trump era. "I heard someone say the other day that the three best words in the English language are 'back to normal,' " said Sen. Richard Blumenthal, D-Conn., who is up for reelection next year. "There is a real hunger for it."
For months, Americans gave Biden high marks for his handling of the pandemic, as shots went into arms at a fast clip, infections fell sharply and mask mandates and lockdowns were lifted. That helped boost his overall image, even as he received less-than-stellar marks on issues such as immigration and crime.
But now, the cornerstone of Biden's popularity is starting to erode. A recent Gallup poll showed his approval rating dropping to 50%, the lowest of his presidency. Gallup also found a stark shift in views on the pandemic, with the percentage of Americans saying it was getting worse rising and those saying it was getting better falling.
A Quinnipiac University survey showed Biden's approval rating on the pandemic, while still positive, dropping by double digits, and an Economist/YouGov poll showed a smaller dip.
The first six months of Biden's coronavirus strategy culminated in an in Independence Day celebration at the White House. "Today, we're closer than ever to declaring our independence from a deadly virus," the president declared that day, even as he warned that the virus had not been fully vanquished.
Republicans intend to use those words against Democrats in the midterms. "Part of the political challenge is the way that they spiked the football over the last few months," said Chris Hartline, communications director for the National Republican Senatorial Committee. "I think that will come back to bite them."
Biden began taking a more triumphal tone after allies urged him to emphasize that vaccinations and other health measures were producing real benefits. But it is not just Republicans who are taking issue with the administration's messages: A House Democrat, speaking on the condition of anonymity to be candid, used a profane term to describe the CDC as messed up and accused the White House of sending confusing signals by having to clarify some comments.
Jackson, the Senate candidate from North Carolina, agreed that communications were problematic. "We just need to make sure that everyone in the federal government is on the exact same sheet of music, because we know we're up against a whole lot of misinformation on the other side - and what that misinformation likes to do is find discrepancies," he said.
CDC spokeswoman Kristen Nordlund said the agency bases its public messaging solely on the best data.
"CDC makes decisions based on science, and we communicate the latest evidence and recommendations to the public as swiftly as possible to save lives and keep Americans safe," Nordlund said. "That's our focus and will continue to be, as we fight this historic and evolving pandemic."
White House officials said they have opened numerous lines of communication in an effort to provide coherent, current information on the pandemic, including biweekly calls with Capitol Hill, regular calls with governors and repeated efforts to educate the public and urge people to get vaccinated.
Tim Persico, executive director of the Democratic Congressional Campaign Committee, said Democratic candidates need to be more explicit in laying blame at the feet of Republicans.
"They should remind people or point out, like, 'Hey, Tennessee,'" said Persico, referring to a state where Republican legislators have been particularly aggressive in opposing vaccination campaigns. Perisco said the DCCC has conducted polling suggesting such a strategy could work in battleground areas.
But many Democrats fear that the worst of the resurgence - and the blame that could come their way - is yet to come. Some incumbents said they hear frequently from constituents about the need to get children back in schools without any unforeseen disruptions.
"I personally have a lot of concerns about where we're going to be this fall. I think it's imperative that we open schools," said Rep. Susan Wild, D-Pa., who might face a competitive reelection race.
She said she hopes children will not have to wear masks in school. But the CDC, in recently revised guidance, is now urging all students and teachers to mask up inside school buildings, regardless of their vaccination status.
White House officials have been underscoring the steps the government is taking to enable students to return safely. Education Secretary Miguel Cardona, speaking to reporters at the White House this past week, promoted a "Return to School Roadmap" and voiced confidence that schools could safely open this fall for in-person learning.
In some ways the debate is about who is acting to restore normalcy - and who is thwarting those efforts.
Biden recently urged Republican governors not to block school mask mandates and other precautions designed to minimize infections. "Please help," he said Tuesday. "But if you aren't going to help, at least get out of the way of the people who are trying to do the right thing."
DeSantis, a potential 2024 presidential candidate, hit back, warning the president to stay out of his state. He and other Republicans have stepped up their efforts to blame the covid-19 surge on the increase in migrants at the border, wagering that unhappiness with Biden's immigration policies will give such attacks more potency.
Some House Republicans are also now running on promises to curtail the CDC. "House GOP needs to make reforming and reining in the powers of the CDC one of our top priorities when we win back the majority next year," Rep. Jim Banks (R-Ind.) said in a recent tweet.
Operatives from both parties said voter attitudes will be determined most of all by the course of the outbreak in the months ahead, and whether the current spike feels like a speed bump on the road to recovery - or something worse.
On Friday, Biden said this surge does not detract from a victory that has already been won. "America can beat the delta variant," he said. "Just as we beat the original covid-19."
"Oh, life is a glorious cycle of song,
A medley of extemporanea;
And love is a thing that can never go wrong,
And I am Marie of Roumania."
(Dorothy PARKER)
Author of memoirs children books published in London.
Queen Marie of Romania, (1875, England – 1938, Sinaia, România) (Regina Maria), Princess of Great Britain,
Grand daughter of Queen Victoria and of Tzar Alexander II of Russia
Spouse of King Ferdinand I, crowned at Alba Iulia.
Mother of King Carol II, Prince Nicolae, Princesses Marie (Mignon,Queen of Yugoslavia), Elisabeta (Queen of Greece), Ileana (Acrhduchess of Austria).
Diplomatic Mission Negotiator, War-time Red Cross Officer, Writer, Patron of Charities
writer. The Queens biography, quotations and exhaustive bibliography is part of a new Anthology published as an E-Book under the title:
"Blouse Roumaine - the Unsung Voices of Romanian Women"
Presented and Selected by Constantin ROMAN
Anthology E-BOOK (11BM)
DISTRIBUTION: Online with credit card
COST: $ 54.99, £34.99 (ca Euros 35.50)
LINK: www.blouseroumaine.com/orderthebook_p1.html
CONTENTS:
2,250,000 words,
over 1,000 pages,
ca 160 illustrations in text
160 critical biographies,
58 social categories/professions,
600 quotations (mostly translated into English for the first time),
circa 3,000 bibliographical references (including URLs and credits)
6 Indexes (alphabetical, by profession, timeline, quotation Index, place
index and name index)
AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.
INDEX BY PROSFESSION: 58 CATEGORIES by Call, Profession or Social Status
Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)
NOTE:
Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.
-----------------------------------------------------------------------------------------------------------
LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)
AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu
BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur
CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza
DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu
EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün
FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida
GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza
HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin
II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian
JJ *Doina Jela *Lucretia Jurj
KK *Mite Kremnitz
LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu
MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci
NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac
OO *Helen O’Brien *Oana Orlea
PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu
RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco
SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck
TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini
UU *Viorica Ursuleac
VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu
WW *Sabina Wurmbrand
ZZ *Virginia Zeani
[Una versión más legible se encontrará en la entrada del blog, cuyo enlace se señala a continuación.]
enriqueviolanevado.blogspot.com.es/2015/02/las-propuestas...
Se ha publicado en la página del Distrito Único Andaluz las propuestas de exámenes de cada una de las materias que integran las Pruebas de Acceso del curso 2013-2014, como se puede comprobar en el siguiente enlace:
www.juntadeandalucia.es/innovacioncienciayempresa/sguitg_...
La carpeta que contiene las pruebas se denomina «Texto Histórico» pese a que la asignatura abandonó en 2010 la denominación «Comentario de Texto Histórico» por la de «Historia de España».
En un primer momento aparecieron sólo tres propuestas (los exámenes de Junio y Septiembre y una prueba denominada «Examen». Posteriormente se añadieron otras dos pruebas denominadas «Reserva A» y «Reserva B». En total, cinco propuestas. No obstante, la normativa universitaria para el curso 2013-2014 se señala que el número de pruebas preparadas debe ascender a seis, con sus correspondientes opciones A y B. Damos por hecho que la Ponencia de Historia de España ha preparado la preceptiva media docena de exámenes y que, posteriormente, los responsables de la publicación se han dejado una en el tintero. Al menos esto es lo que ha sucedido con los exámenes de Historia del Arte.
La deficiente publicación de los exámenes (esto es, por entregas y de forma incompleta) también ha caracterizado al resto (o cuando menos a la mayor parte) del resto de las asignaturas de la selectividad andaluza, que se dice pronto. Por lo demás, en los exámenes de reserva no se ha indicado cuáles son la de Junio y cuáles de reserva, como si se hizo en la publicación de las propuestas del año anterior. Cuando menos se han identificado los exámenes de Junio y de Septiembre, práctica que se inició en el mencionado curso 2012-2013. Suponemos que la propuesta inédita es la Prueba de Reserva B de Junio.
Como puede suponerse las posibilidades de que algún alumno se presentara a los exámenes de coincidencia resultan remotas. En Junio, en el tribunal de Écija, nadie se presentó y en Septiembre, en Sevilla, no se nos informó a los profesores asistentes sobre cuáles exámenes de coincidencia se convocaban. Decididamente, la gestión de exámenes del curso 2013-2014 deja mucho que desear.
En cuanto a sus contenidos, sorprenden dos exámenes (Las opciones «B» de las propuestas tercera y quinta) con sus documentos inéditos. Hay que sumar a esta enumeración el grabado del Abrazo de Vergara de la opción «A» de la quinta propuesta. En el resto de los exámenes (teniendo en cuenta siempre que falta uno para completar la media docena) se han reciclado documentos de pruebas anteriores (o muy anteriores) y en algunas ocasiones se han reaprovechado exámenes enteros (tanto propuestas de reservas como un examen de junio).
Dos documentos son discursos de Francisco Franco y otros dos parlamentos de Castelar. La explicación resulta lógica: el eximio orador destacó en el Sexenio y en la Restauración y el dictador ocupa un papel capital en dos temas: La Guerra Civil y el Franquismo.
Otro asunto es el considerable error deslizado en la Opción «A» del Examen de Junio. En el parlamento castelariano figura lo siguiente: «Señores: con Fernando VII murió la monarquía tradicional; con la fuga de Isabel II, la monarquía parlamentaria, y con la renuncia de Amadeo, la monarquía democrática. Nadie, nadie ha acabado con ella». En su reproducción en el examen faltaba el fragmento vital «la monarquía democrática».
El fallo se detectó antes del comienzo de los exámenes y, una vez avisados todos los centros, éste se habría solventado sobre la marcha, al objeto. A los alumnos se les señaló que enmendaran el texto sustituyendo la expresión «nadie ha acabado con ella» por «la monarquía democrática». Realmente lo que debían haber hecho es añadir «la monarquía democrática» entre «Amadeo,» y «nadie ha acabado con ella». Además, en el discurso original no figura el «nadie ha acabado con ella» sino un enfático «Nadie, nadie ha acabado con ella».
Ante tanto desajustes, en nuestra reproducción hemos corregido el error publicando la versión completa del discurso de Don Emilio Castelar. De paso hemos restablecido la puntuación original, separando la alocución postrera del resto del discurso.
______________________________________________
La obra que hemos escogido como encabezamiento es Alegoría del Generalísimo Franco como jefe de los ejércitos de Tierra, Mar y Aire. Desconocemos el autor, la técnica y las dimensiones de esta obra. Lo único que podemos afirmar con alguna certeza es que se encuentra (o se encontraba) en la biblioteca del Pazo de Meirás (Sada, La Coruña).
La imagen es un escaneo de la Historia de España del Marqués de Lozoya (Juan de Contreras y López de Ayala), editada por la barcelonesa editorial Salvat en 1970 (Tomo 6). Si se invierte la imagen, la ilustración gana mucho.
© Álbum 2487
By Catedrales e Iglesias
Arquidiócesis Primada de México
Parroquia de Nuestra Señora de Guadalupe
Sitio Oficial de la Parroquia
www.laguadalupita.org.mx/menu.html
Párroco: P. Ricardo Junius Sander
Vicaría: II Decanato; 3
Joaquín García No. 39
Col. San Rafael
Del. Cuauhtémoc
Tel. 5546-6974 y
Tel. 55359788
La Guadalupita,un templo que respira vida
Escrito por Mauricio Carmona R.
Parroquia de Nuestra Señora de Guadalupe
La Guadalupita, un templo que respira vida
La mancha urbana ocultó el templo, pero no el ánimo de los fieles.
El testimonio de los sacerdotes hace que la feligresía tenga “hambre de Dios”.
Mauricio Carmona R.
Entre las calles de la Colonia San Rafael, plagada de teatros y centros nocturnos, subsiste la iglesia de la “Guadalupita”, como lo llaman los vecinos. Y a pesar de que pareciera una zona cerrada a la Palabra de Dios, los sacerdotes y la comunidad han hecho ver lo contrario.
El templo
Image
Narra la historia que donde hoy se levanta el Palacio de Bellas Artes, vivió la familia Aguilar Reyes, católicos nobles y buenos, cuya vivienda desapareció luego de un terrible incendio. La madre había quedado atrapada en el interior de la casa, por lo que se encomendó a una imagen de la Guadalupana que se hallaba en la recámara; a cambio de salir con vida de esa catástrofe, le prometió a la Virgen un oratorio.
La Reina de los Cielos escuchó las súplicas, pues pronto un vecino tendió una escalera y otros más le ayudaron a descender hasta quedar a salvo. El fuego consumió todo, excepto el cuadro milagroso de la Santísima Virgen de Guadalupe.
Pasados algunos meses, la familia se dio a la tarea de construir una capilla a la Morenita en una propiedad de la naciente Colonia San Rafael. Viendo la devoción que los vecinos tenían a la imagen, pidieron permiso a la Sagrada Mitra para celebrar Misa todos los domingos en el pequeño recinto.
El Arzobispo de México, entonces Mons. Luis María Martínez, viendo la cantidad de fieles que acudían, decretó que la capilla fuera elevada a rango de parroquia, delegando el cuidado pastoral a los sacerdotes Misioneros Oblatos de María Inmaculada. Con grandes esfuerzos, el amplio y hermoso templo fue concluido y dedicado el 12 de octubre de 1954, con el nombre de “Iglesia de la Guadalupita”, convirtiéndose además en la casa madre de la orden.
La comunidad
A pesar del gran tamaño del templo, tanto en profundidad como en altura, la mancha urbana no cedió terreno y dejó casi invisible el recinto. Ni los enormes puentes del Circuito Interior ni los numerosos teatros y locales de la zona dejan ver con facilidad la iglesia.
Pese a ello, la comunidad no cede ante cualquier dificultad, y en verdad que las tiene. Las distintas calles que rodean el templo se han visto plagadas por centros nocturnos y pequeños “antros”, que han hecho de aquellos parajes una zona roja; incluso, parecía retador el hecho de que justo a las puertas de la parroquia se encontrara uno de estos bares. La comunión y solidaridad de los vecinos de la Guadalupita no se hizo esperar para resolver la situación y, después de largos acuerdos, se logró el cierre del establecimiento. El P. Ricardo Junius, párroco del lugar, nos comenta la satisfacción que siente por encontrarse en medio de una comunidad actuante.
“Pienso que somos una comunidad muy unida y con ganas de compartir nuestra fe”, explicó el sacerdote de origen estadounidense. “Estamos ansiosos de propagar con más devoción el Evangelio, sobre todo con los vecinos que llegan a los nuevos departamentos que han construido”. Y es que en los últimos años, la zona ha quedado repleta de condominios, generando con ello, más dificultades para transmitir el mensaje de Cristo.
La Pastoral
La iglesia de la Guadalupita ha quedado oculta por la mancha urbana, pero no ha sucedido lo mismo con el espíritu de trabajo de los fieles, el cual deja entrever el esfuerzo que han hecho los padres Oblatos en la actividad pastoral que se destaca.
“Muchas personas se han mudado a otras partes de la ciudad y algo que nos entusiasma es ver sus rostros cada domingo en Misa o en nuestros grupos parroquiales. Vienen desde lejos a su parroquia”, confesó el P. Ricardo.
El trabajo que han realizado los sacerdotes ha hecho eco en la comunidad. “Nos llena mucho ver a los padres trabajar desde muy temprano y hasta avanzada hora la noche”, comentó la señora Felicita, quien además explicó que “los sacerdotes nos han hecho sentir hambre de Dios y de Su Palabra ¿Y cómo no sentirlo al ver el testimonio y ejemplo de nuestros padres?”
Por ello, y a solicitud de la comunidad, iniciará un Curso de Evangelización a partir del 5 de febrero, fiesta de san Felipe de Jesús. “Será un curso muy completo donde se descubrirá a Cristo, paz y alegría permanente, y que logrará nuestro objetivo principal que es ser representantes vivos del Evangelio”.
Entre los proyectos de esta comunidad, cabe destacar también la creación de nuevos grupos parroquiales como son los ministros extraordinarios, equipo litúrgico, renovación carismática y un foro de debates sobre temas fuertes de interés para la Iglesia Católica”.
Finalmente, los fieles, como don Ramiro, no pierden la esperanza de que este hermoso templo pueda llegar a ser una basílica menor, puesto que el número de asistentes es grande y “tal vez a nuestra Madre le gustaría que esta casita suya también se considerara santuario de oración”
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
www.politico.com/news/stories/0611/56941.html
A 'kitchen sink solution' on jobs
By: Chris Frates
June 15, 2011
The center-left Washington think tank Third Way is holding a forum Wednesday to discuss the merits of allowing companies to bring the $1 trillion in profits parked overseas back to the United States at a temporarily reduced tax rate.
The morning forum at Union Station will include Sen. Kay Hagan (D-N.C.); Democratic Reps. Loretta Sanchez of California and Jared Polis of Colorado; former Service Employees International Union President Andy Stern; Duke Energy chief executive Jim Rogers; and George Schink, managing director of Navigant Economics.
Third Way’s vice president of communications, Sean Gibbons, said the forum is designed to determine whether the idea — which is anathema to many liberals — is a viable option for jump-starting U.S. job growth.
“We have unemployment near 9 percent. We’ve basically pulled every single lever we can as a government. … We’ve done almost everything we can to get the economy going. It’s time to throw in the kitchen sink. This is a kitchen sink solution,” Gibbons said. One trillion dollars “is a lot of coin. It’s sitting overseas. If we could bring over a significant portion of that back into the economy, we believe that would stimulate demand, and demand stimulates jobs.”
It’s not a perfect solution, Gibbons said, but one the Republican-controlled House might be willing to entertain.
He acknowledged that analysts don’t yet know how many jobs such a policy might create. But, he said, bringing money back to the U.S. creates demand, which in turn drives hiring.
The forum is the first public event of the think tank’s new corporate tax reform project directed by former Rep. Dan Maffei (D-N.Y.), who’s now a Third Way senior fellow.
Right now there is over a trillion dollars in global profits earned by American businesses sitting overseas. What if we lowered the bar for companies to bring that money back home?
Third Way hosted an Idea Forum that examined the economic and policy implications of a repatriation tax holiday that would allow American multinational companies to bring overseas profits back to the U.S. for investment at a reduced tax rate.
Featuring a distinguished panel of leaders from business, labor, economics and government, the forum offered a fruitful discussion of a repatriation holiday’s impact on hiring and investment, business practices, and future tax policy. Participants include Senator Kay Hagan, (D-NC), Congresswoman Loretta Sanchez (CA-47), Congressman Jared Polis (CO-2), Andy Stern, former President of the Service Employees International Union, Jim Rogers, CEO of Duke Energy and Dr. George Schink, Managing Director and Principal of Navigant Economics.
This Idea Forum is the first public event of Third Way’s new corporate tax reform project, managed by former Congressman (and now Third Way Senior Fellow) Dan Maffei, which will advance ideas to make the code fairer, simpler, and more pro-growth.
www.wga.hu/frames-e.html?/html/s/signorel/brizio/1/
www.youtube.com/watch?v=AdLjE0oMuDk
video.mail.ru/mail/richev42/3962/7279.html
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docs.google.com/file/d/0B5WZMlc4xl-8c3FTc1Qwc3pReWc/edit
en.wikipedia.org/wiki/Spiritual_materialism
en.wikipedia.org/wiki/German_idealism
en.wikipedia.org/wiki/World_view
en.wikipedia.org/wiki/Aleksey_Khomyakov
en.wikipedia.org/wiki/Vladimir_Solovyov_%28philosopher%29
archive.org/details/warprogressendof00solouoft
commons.wikimedia.org/wiki/File:Apocalypse_vasnetsov.jpg
en.wikipedia.org/wiki/The_Mysterious_Stranger
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en.wikipedia.org/wiki/Oedipus_Rex_%28film%29
www.youtube.com/watch?v=INpmVDj8uic
Oedipus, the King of Thebes: “Tiresias, I have sent for you. You are here! From you I’ll know all!”
Tiresias, the blind prophet: “How terrible is knowledge when knowing is useless to him who knows. I knew … but I preferred to forget. Otherwise I would not have let myself be brought here.”
Oedipus, the King of Thebes: “What frightens you?”
Tiresias, the blind prophet: “Let me go home. I beg you, hear me. The burden will be lighter for us both.”
Oedipus, the King of Thebes: “No. To speak to the city is your duty.”
Tiresias, the blind prophet: “Your words are of no use even to yourself.”
Oedipus, the King of Thebes: “Stay! You know. We all beseech you, my citizens and I.”
Tiresias, the blind prophet: “You’re mad. I won’t speak. I won’t reveal your ills.”
Oedipus, the King of Thebes: “You know and are silent? You want to ruin the city? You’re stone!”
Tiresias, the blind prophet: “You reproach me … you blame my nature … and you would not know the nature that is in you.”
Oedipus, the King of Thebes: “Those words are an offense … to King and city.”
Tiresias, the blind prophet: “Facts will speak even if I say nothing.”
Oedipus, the King of Thebes: “Therefore you must speak.”
Tiresias, the blind prophet: “I’ve said even too much … and be angry as you like.”
Oedipus, the King of Thebes: “Then I think this: you plotted the crime! Were you not … blind, you would have done it, with your hands! ”
Tiresias, the blind prophet: “This is what you think? Then I say: Obey your own ban, and beware … of remaining here in our midst. You’re the guilty one who infects … our land. You are the murderer you are seeking. And you do not know of your wicked bond … with the persons most dear. And you refuse to see the evil in yourself.”
Oedipus, the King of Thebes: “You will not escape your words unharmed.”
Tiresias, the blind prophet: “I am already safe. I have the truth on my side.”
Oedipus, the King of Thebes: “The truth for everyone but you with blind eyes, and mind!”
Tiresias, the blind prophet: “Unhappy man … You insult me … as everybody, in a short time, will insult you.”
Oedipus, the King of Thebes to a messenger/news-bringer who brought Tiresias: “Who’s responsible for these inventions, you or Creon? Oh, riches … Oh, power … what envy you arouse in this life! Thanks to the power I received as a gift … unasked for even the faithful Creon … wants to overthrow me. Creon, Yes, to take my place … sending this charlatan. This beggar, who sees if something is to be gained but is blind artfully.”
Tiresias, the blind prophet: “Even if you are the King … I can reply with your same frankness … if I wish. I am subject only to God. And since … before all, and in God’s presence you have mocked blindness and my old age here I say to you: You look … and do not see the shame and evil in which you are. Do you know … who gave you life? … that your kin, living and dead, curse you? One day you will see only darkness. How you’ll cry out then! … the day when you finally understand … how, and with whom, you were married, Son of Fortune!”
Oedipus, the King of Thebes: “So you address me? Go away. What are you waiting for? I won’t see you anymore! Or hear you!”
Tiresias, the blind prophet: “I’m here as you called me.”
Oedipus, the King of Thebes: “I’d never had done it! … if I had thought to hear such madness.”
Tiresias, the blind prophet: “This, you see, is our lot. We are mad, for you. We are wise, for those who begot you.”
Oedipus, the King of Thebes: “What do you mean? Who begot me?”
Tiresias, the blind prophet to a messenger/news-bringer who brought him: “Let us go … lead me.”
Oedipus, the King of Thebes: “Yes, get out and disappear …with my torment.”
Tiresias, the blind prophet: “I shall leave but when I have finished saying to you everything I have to say to you. Listen, listen … That man you are seeking with threats and orders is here, a foreigner as all believe … yet he is from Thebes. But he will not rejoice in this discovery because, having become a blind beggar he will go among foreign lands like me, wretched flute-player. It will be known … that he is at once brother and father of his children, son and husband of his mother. That he has lain … with the women who was his father’s. And that he … he alone, is his father’s murderer.
docs.google.com/file/d/0B5WZMlc4xl-8bXp4aXZyRjJCVVk/edit
Jesus Christ: I tell you the truth, it is hard for a rich man to enter the kingdom of heaven. Again I tell you, it is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom of heaven.
en.wikipedia.org/wiki/Rockefeller_Chapel
en.wikipedia.org/wiki/Steven_Clark_Rockefeller
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en.wikipedia.org/wiki/Edoardo_Agnelli
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en.wikipedia.org/wiki/David_Mayer_de_Rothschild
www.youtube.com/watch?v=BPwgOiNOSZs
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www.youtube.com/watch?v=VafZic-UM_Q
www.youtube.com/watch?v=OWgO9-AIROI
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en.wikipedia.org/wiki/Leszek_Ko%C5%82akowski
www.unz.org/Pub/Encounter-1981jan-00009
books.google.rs/books/about/Religion_if_there_is_no_God.h...
www.economist.com/node/14120114
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en.wikipedia.org/wiki/Deal_with_the_Devil
en.wikipedia.org/wiki/Sycophancy
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en.wikipedia.org/wiki/Ba%C5%A1_%C4%8Celik
en.wikipedia.org/wiki/The_Scarlet_Letter
en.wikipedia.org/wiki/Moby-Dick
en.wikipedia.org/wiki/Kali_%28demon%29
en.wikipedia.org/wiki/Mara_%28demon%29
en.wikipedia.org/wiki/Temptation_of_Christ
en.wikipedia.org/wiki/Frankenstein
en.wikipedia.org/wiki/The_Double_%28Fyodor_Dostoyevsky_no...
en.wikipedia.org/wiki/The_Picture_of_Dorian_Gray
en.wikipedia.org/wiki/Strange_Case_of_Dr_Jekyll_and_Mr_Hyde
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en.wikipedia.org/wiki/Sam_Vaknin#Background
topdocumentaryfilms.com/i-psychopath/
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biblehub.com/john/7-7.htm: "The world cannot hate you, but it hates me because I testify that its works are evil."
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willowgrovedaycamp.com/willows.html
We are two weeks into camp and we must say it has been great! This past week the children have been able to experience all the activities offered at Willow Grove Day Camp including Pony Rides, Tennis and Boating/Fishing. Week 2 of camp's theme was “Celebrate America.” Everyone had fun making Patriotic necklaces which have been sent home. In Ceramics the campers made their hand or foot prints. This week and last, the campers had a special treat at Cooking where they made “dirt” (pudding). Also, each Willows camper continues to master their techniques at swimming and can’t wait to perform their skills on visiting day. Everyone is having a terrific time, and each child has found his/her favorite activities.
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on Willow Grove Day Camp and the services they provide please visit: willowgrovedaycamp.com/willows.html
willowgrovedaycamp.com/willows.html
We have just finished our third week of camp. The Willows campers have been kept very busy these past three weeks. The days have been flying by way too quickly. It was very exciting to have all our Willows family members join us for an outstanding visiting day. The children were extremely excited to share their activities with their parents, while the parents had fun pretending to be campers. We hope you had as much fun as we did and lunch together was terrific.
The children enjoyed this weeks theme of “I Spy”. They had fun decorating binoculars in Camper Creations. In Ceramics, each child enjoyed making their favorite food out of clay with the help of their parents. Their ceramic projects will be sent home shortly. To end our wonderful week, The Willows campers joined the rest of camp at Waterworld. The children drove
water boats and joined in other great water activities. A terrific time was had by all!
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on Willow Grove Day Camp and the services they provide please visit: willowgrovedaycamp.com/willows.html
Descargar Aquí ► www.imagenesdeamor.pro/2017/12/imagenes-romanticas-con-fr...
No hay nada más hermoso que tener un amor bonito, un amor del bueno que está contigo de manera incondicional. Y para esa persona que tanto amas hoy tenemos para ti una colección de imágenes de amor preciosas, precisas para dedicarle a la persona que te hace feliz. ¡Que las disfrutes!
Amor… Sé que siempre que lo necesite estarás para mí, que si estoy en problemas siempre estarás ahí. Cariño mío, siento que te debo tanto… tengo toda la vida para demostrarte que siempre estaré para ti, que tienes mi amor por siempre.
Amor… La gratitud que siento hacia ti es infinita como nuestro amor. Eres la persona que me motiva a luchar cada día por mis sueños y que me alienta cada vez que siento que ya no puedo más.
Amor mío… Siempre logras sorprenderme. Cuando siento que has hecho demasiado por mí siempre logras encontrar otra forma de demostrarme que me amas. Gracias, mi amor, le agradezco a Dios por haber puesto en mi vida a un hombre tan bueno como tú.
Amor… Quiero olvidarme del pasado y solo verte a ti, que eres mi presente y espero que también mi futuro. Cada día logras hacerme un poco más feliz y ese es motivo suficiente para amarte como te amo. Gracias por todos los momentos que hemos pasado juntos, espero con ansias vivir muchos más a tu lado.
Amor… Tú completas mi círculo de felicidad, contigo a mi lado no me falta nada más. Solo una persona especial faltaba en mi vida y esa persona eres tú. Gracias por todo el amor que tienes para mí, por demostrarme que la vida puede ser bella. Te amo.
Amor… Estoy completamente convencido de que nunca encontraré a alguien como tú, eres único y te agradezco por el amor maravilloso que me das.
Mi vida… Tú eres la persona que me hace sentir muy feliz y estoy muy agradecida porque en los momentos más difíciles de mi vida has estado a mi lado apoyándome en todo.
Amor… El día en que te conocí, mi vida cambió porque mi tristeza terminó porque con cada uno de tus detalles me haces sentir muy feliz.
Amor… De todo corazón te agradezco porque eres un hombre muy especial que ha llegado a mi vida en el momento exacto para enseñarme a ver el mundo de una manera distinta.
Mi vida… Estoy muy agradecida con la vida por haberte puesto en mi camino y contigo porque siempre me demuestras que tu corazón solo es mío.
Amor… Me alegra pensar que cada día que pasa, nuestro amor se hace más profundo y se fortalece con esos detalles lindos que siempre tienes conmigo.
Que cada una de las palabras de amor dichas en estas imágenes románticas sean para ti y tu pareja, o a esa persona que tienes al lado, el mejor motivo para sonreír. ¡Sigan adelante! y luchen siempre por su relación, porque al final, el amor siempre triunfa. ¡Hasta pronto!
El post 11 Imágenes románticas con frases para un amor bonito aparece primero en Imágenes de Amor.
11 Imágenes románticas con frases para un amor bonito | Mensajes de Amor, frases de amor para mi novio, imágenes bonitas de amor, imágenes con frases de amor, imágenes de amor, palabras de amor bonitas
Art for the Soul by Richard Lazzara
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Glass Bead Jewelry:
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This work is licensed under a Creative Commons Attribution-Share Alike 3.0 United States License
Entire contents copyright Shankar Gallery © 2009
A little HTML email piece that was just completed for an upcoming internal event here at Simmons. Mad props to Shaun for a good part of the inspiration on this. I'm loving that folded paper banner look.
Best viewed at the original size
Any thoughts, suggestions and such are, as always, welcome and much appreciated.