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Considerada um dos melhores orquidários do Brasil, a Orquidácea não só é um espaço dedicado à comercialização dessas belas flores, como também tornou-se um dos pontos turísticos de Guararema, apesar de se tratar de um projeto privado.
A história da Orquidácea está alinhavada à própria história de seu idealizador, Roberto Giorchino, que, desde muito jovem, nutria uma grande paixão pelas orquídeas – paixão esta herdada de sua mãe, D. Cecília B. Giorchino. Em sua casa, D. Cecília possuía cerca de trinta vasos das flores e contava com a ajuda de seu filho, Roberto, para mantê-las sempre bem cuidadas e floridas.
Paralelamente à vivência de Roberto entre as orquídeas, o renomado orquidófilo José Dias Castro, nos finais da década de 70, falece, deixando um acervo muito significativo dessas flores.
Vislumbrando seu futuro, Giorchino adquire então as plantas, as leva para Guararema, e funda, em meados de 1979, o Orquidário Pérola do Vale, hoje conhecido nacionalmente como Orquidácea e torna as orquídeas um dos símbolos da cidade.
A Orquidácea encontra-se localizada na Estrada Heitor Pereira de Souza, 4415 (antiga estrada Municipal de Itapema) e funciona de segunda à sexta das 7 às 11 horas e das 13 às 16h:30 e nos sábados, domingos e feriados das 9 às 16 horas. Excursões com dia e hora marcados.
Consider yourself blessed to see one of these-a calypso orchid. On trail to Upper McCord Creek Falls in John B. Yeon State Park. Taken by Stephanie E. Sigmon with Canon EOS 30 D on 5/7/09.
I really like this photo, it was taken with my former shity camera...so I consider it an achievement!
Government considers providing loan for college students to buy TAB or Laptop on their very first day at college, said education secretary Nazrul Islam Khan.
Underprivileged students of higher secondary level across the country will get their stipends and other financial assistance from the...
thebangladeshtoday.com/2015/06/govt-considers-providing-l...
Almost every homeowner would like to see lower utility bills, especially in the summer and winter when running the central climate control system costs a substantial amount. You can spend less on heating and cooling each month if you replace your home’s old windows with new, energy-efficient models.
New window technologies have increased energybenefits and comfort, and have provided more practical options for consumers.
Did you know that by replacing your windows you may qualify for a tax incentive? Being smart is also being thrifty.
Find out more on our website | bit.ly/1akhYFn
Part 1 explains why corporations pay less taxes than people, but how do they manage to pay next to no taxes at all? Read more at www.thinkingcap.org.uk
Please consider making a donation for the free photos at lucid-motion-images.com/donate or via Venmo @lucid-motion-images4pay
Found here: img229.imageshack.us/img229/1232/1210300064121rv8ej8.jpg
And here: digg.com/comedy/Reality_sucks_3
Considerada uma das mais lindas trilhas do mundo pela national geographic, com duração de 5 dias e 4 noites
Please consider making a donation for the free photos at lucid-motion-images.com/donate or via Venmo @lucid-motion-images4pay
¿Por qué soy reina?
considero que tengo actitud, fortaleza y entrega total en mi vida y en lo que me proyecto... lucho por lo que quiero y soy una gran admiradora del balance que hay en la vida del ser humano!! soy de las que piensa que cada día es el comienzo de un nuevo amanecer y de una nueva historia en el cual debemos dejar una marca no para que nos recuerden si no para llegar al éxito de la vida !!! de antemano gracias a los que voten por mi... att lady bastidas
Ciudad Balance dará 10 millones de pesos a la Reina de la Capital de la Confianza Total. www.ciudadbalance.com
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Photography and the Black Arts Movement, 1955–1985
September 21, 2025 - January 11, 2026
The first exhibition to consider photography’s impact on a cultural and aesthetic movement that celebrated Black history, identity, and beauty.
Uniting around civil rights and freedom movements of the 1960s and 1970s, many visual artists, poets, playwrights, musicians, photographers, and filmmakers expressed hope and dignity through their art. These creative efforts became known as the Black Arts Movement.
Photography was central to the movement, attracting all kinds of artists—from street photographers and photojournalists to painters and graphic designers. This expansive exhibition presents 150 examples tracing the Black Arts Movement from its roots to its lingering impacts, from 1955 to 1985. Explore the bold vision shaped by generations of artists including Billy Abernathy, Romare Bearden, Kwame Brathwaite, Roy DeCarava, Doris Derby, Emory Douglas, Barkley Hendricks, Barbara McCullough, Betye Saar, and Ming Smith.
Poet Larry Neal, who coined the term Black Arts Movement, described it as “a cultural revolution in art and ideas.” This movement included poets, playwrights, musicians, filmmakers, photographers, and painters. They came together to make art that advanced civil rights and celebrated Black history, identity, and beauty.
This cultural revolution shook up the art world in the 1950s and ’60s. It embodied the struggle for self-determination championed by global freedom movements. New collectives, workshops, and collaborations emerged. Creatives made art that promoted Black dignity, hope, and freedom. They asked, how could art inspire social and political change? And what would it look like?
Photography was a driving force from the beginning, playing a critical role as both a communications tool and art form. Learn more about the movement and photography’s part in it—major themes in our exhibition Photography and the Black Arts Movement, 1955–1985.
Our exhibition begins in 1955, more than a decade before Larry Neal named the Black Arts Movement. That year, several events—and photographs of those events—helped catalyze the civil rights movement.
In September, Jet magazine was one of several publications that printed open-casket photographs of Emmett Till, a 14-year-old boy from Chicago who was lynched in Mississippi. Those disturbing images were seen across the country, including by a woman in Montgomery, Alabama: Rosa Parks. That December, Parks sat in the front, “white only” section of a segregated bus. The driver demanded that she give up her seat to a white passenger. She refused. As she later recounted, Emmett Till was on her mind in that moment.
Parks, in turn, was photographed sitting at the front of the segregated bus. Those images, and others like them, brought widespread awareness to the struggles for equal rights. Organizations like the Student Nonviolent Coordinating Committee (SNCC) encouraged photography of their marches, demonstrations, and acts of nonviolent civil disobedience. SNCC even taught some members to use a camera. Lifelong activist Maria Varela became a SNCC photographer after recognizing the need for more images of Black life to support the movement.
The beginning of the Black Arts Movement is often pinned to poet, playwright, and writer Amiri Baraka founding the Black Arts Repertory Theatre/School in New York City’s Harlem neighborhood in 1965. Nikki Giovanni, Gwendolyn Brooks, and Audre Lorde were among the many writers and poets active in the movement. Some collaborated with visual artists, even forming collectives such as the Organization of Black American Culture (OBAC) in Chicago.
OBAC writers, scholars, painters, and photographers collaborated to create the Wall of Respect community mural in 1967. It commemorated key figures in African American history, including W. E. B. Du Bois, Muhammad Ali, and Nina Simone. The mural was like a two-story collage that covered the facade of a building in the city’s South Side neighborhood. It incorporated paintings by several artists alongside mounted photographs by Roy Lewis and Darryl Cowherd. At the center was Amiri Baraka’s poem “SOS,” which opens, “Calling all black people.” The mural was demolished in 1972, but photographs by Roy Lewis and Robert Sengstacke continue to spread its message.
Music was an equally important part of the Black Arts Movement. Musicians John Coltrane and Sun Ra both performed at a fundraiser for Amiri Baraka’s Black Arts Repertory Theatre/School. Their experimental and expressive jazz inspired Black Arts Movement writers and artists.
In Coltrane at the Gate, photographer Adger Cowans depicted the saxophonist’s energy. Ming Smith captured the magic of a Sun Ra performance. For his homage to saxophonist Charlie Parker (who was commonly known as “Bird”), painter Raymond Saunders embraced the spontaneous spirit of jazz. Saunders collaged a newsprint photograph below the word “bird” written in a chalklike white script.
The Black Arts Movement celebrated the “beauty and goodness of being Black,” as Larry Neal put it. Photographer Kwame Brathwaite helped popularize the phrase “Black is beautiful.” Brathwaite was a pioneer of uplifting Black identity. He helped found groups that challenged conventional standards of beauty and celebrated African heritage. They organized fashion shows, created “Black is beautiful” products, and operated a photography studio.
In Untitled (Portrait, Reels as Necklace), Brathwaite adorned the model with a necklace made from film developing reels to “expose” her beauty. More than a decade later, Carla Williams created a self-portrait that echoed Brathwaite’s work. Showing herself in curlers, Williams challenged popular notions of beauty.
Small collectives of visual artists and photographers came together around the principles of the Black Arts Movement. In New York, the Kamoinge Workshop photography collective met regularly to critique each other’s work, debate photography’s purpose and aesthetics, and share tips. They created a space for their art by developing their own portfolios and exhibitions. The workshop also produced the groundbreaking Black Photographers Annual between 1973 and 1980.
A group of Chicago artists formed AfriCOBRA. The collective’s founders defined their own aesthetic principles, aimed at creating “images that jar the senses and cause movement” and “images designed for mass production.”
The Black Arts Movement made an impact beyond the United States. In Great Britain, Raphael Albert organized and photographed Black beauty pageants in London. James Barnor focused on style, migration, and Black city life in London and in Accra, Ghana. Horace Ové photographed the British Black Power Movement. He also captured scenes of the West African and West Indian communities in London, like his Walking Proud, Notting Hill Carnival.
Samuel Fosso opened his first photography studio in Bangui, Central African Republic, at age 13. After finishing with clients, Fosso would use his studio to experiment with self-portraits. He wore an array of costumes and adopted personas, often taking inspiration from the pictures of Black Americans he saw in magazines shared by American Peace Corps volunteers.
By the end of the 1970s, the literary arm of the Black Arts Movement had waned, but a new generation of artists and photographers carried on its spirit. Coming out of art school, photographers such as Carrie Mae Weems and Lorna Simpson explored more personal, metaphorical, and conceptual ideas.
In her Family Pictures and Stories series, Weems made her own family the subjects. The intimate photographs presented a counterargument to claims that many Black Americans faced poverty and struggle as a result of weak family structures. Weems paired the photographs with brief stories about each family member.
www.nga.gov/stories/articles/what-black-arts-movement-sev...
manpodcast.com/portfolio/no-725-photography-the-black-art...
.
Adrian Piper
American, b. 1948
Art for the Art World - 1976
_______________________
Photography and the Black Arts Movement, 1955–1985
September 21, 2025 - January 11, 2026
The first exhibition to consider photography’s impact on a cultural and aesthetic movement that celebrated Black history, identity, and beauty.
Uniting around civil rights and freedom movements of the 1960s and 1970s, many visual artists, poets, playwrights, musicians, photographers, and filmmakers expressed hope and dignity through their art. These creative efforts became known as the Black Arts Movement.
Photography was central to the movement, attracting all kinds of artists—from street photographers and photojournalists to painters and graphic designers. This expansive exhibition presents 150 examples tracing the Black Arts Movement from its roots to its lingering impacts, from 1955 to 1985. Explore the bold vision shaped by generations of artists including Billy Abernathy, Romare Bearden, Kwame Brathwaite, Roy DeCarava, Doris Derby, Emory Douglas, Barkley Hendricks, Barbara McCullough, Betye Saar, and Ming Smith.
Poet Larry Neal, who coined the term Black Arts Movement, described it as “a cultural revolution in art and ideas.” This movement included poets, playwrights, musicians, filmmakers, photographers, and painters. They came together to make art that advanced civil rights and celebrated Black history, identity, and beauty.
This cultural revolution shook up the art world in the 1950s and ’60s. It embodied the struggle for self-determination championed by global freedom movements. New collectives, workshops, and collaborations emerged. Creatives made art that promoted Black dignity, hope, and freedom. They asked, how could art inspire social and political change? And what would it look like?
Photography was a driving force from the beginning, playing a critical role as both a communications tool and art form. Learn more about the movement and photography’s part in it—major themes in our exhibition Photography and the Black Arts Movement, 1955–1985.
Our exhibition begins in 1955, more than a decade before Larry Neal named the Black Arts Movement. That year, several events—and photographs of those events—helped catalyze the civil rights movement.
In September, Jet magazine was one of several publications that printed open-casket photographs of Emmett Till, a 14-year-old boy from Chicago who was lynched in Mississippi. Those disturbing images were seen across the country, including by a woman in Montgomery, Alabama: Rosa Parks. That December, Parks sat in the front, “white only” section of a segregated bus. The driver demanded that she give up her seat to a white passenger. She refused. As she later recounted, Emmett Till was on her mind in that moment.
Parks, in turn, was photographed sitting at the front of the segregated bus. Those images, and others like them, brought widespread awareness to the struggles for equal rights. Organizations like the Student Nonviolent Coordinating Committee (SNCC) encouraged photography of their marches, demonstrations, and acts of nonviolent civil disobedience. SNCC even taught some members to use a camera. Lifelong activist Maria Varela became a SNCC photographer after recognizing the need for more images of Black life to support the movement.
The beginning of the Black Arts Movement is often pinned to poet, playwright, and writer Amiri Baraka founding the Black Arts Repertory Theatre/School in New York City’s Harlem neighborhood in 1965. Nikki Giovanni, Gwendolyn Brooks, and Audre Lorde were among the many writers and poets active in the movement. Some collaborated with visual artists, even forming collectives such as the Organization of Black American Culture (OBAC) in Chicago.
OBAC writers, scholars, painters, and photographers collaborated to create the Wall of Respect community mural in 1967. It commemorated key figures in African American history, including W. E. B. Du Bois, Muhammad Ali, and Nina Simone. The mural was like a two-story collage that covered the facade of a building in the city’s South Side neighborhood. It incorporated paintings by several artists alongside mounted photographs by Roy Lewis and Darryl Cowherd. At the center was Amiri Baraka’s poem “SOS,” which opens, “Calling all black people.” The mural was demolished in 1972, but photographs by Roy Lewis and Robert Sengstacke continue to spread its message.
Music was an equally important part of the Black Arts Movement. Musicians John Coltrane and Sun Ra both performed at a fundraiser for Amiri Baraka’s Black Arts Repertory Theatre/School. Their experimental and expressive jazz inspired Black Arts Movement writers and artists.
In Coltrane at the Gate, photographer Adger Cowans depicted the saxophonist’s energy. Ming Smith captured the magic of a Sun Ra performance. For his homage to saxophonist Charlie Parker (who was commonly known as “Bird”), painter Raymond Saunders embraced the spontaneous spirit of jazz. Saunders collaged a newsprint photograph below the word “bird” written in a chalklike white script.
The Black Arts Movement celebrated the “beauty and goodness of being Black,” as Larry Neal put it. Photographer Kwame Brathwaite helped popularize the phrase “Black is beautiful.” Brathwaite was a pioneer of uplifting Black identity. He helped found groups that challenged conventional standards of beauty and celebrated African heritage. They organized fashion shows, created “Black is beautiful” products, and operated a photography studio.
In Untitled (Portrait, Reels as Necklace), Brathwaite adorned the model with a necklace made from film developing reels to “expose” her beauty. More than a decade later, Carla Williams created a self-portrait that echoed Brathwaite’s work. Showing herself in curlers, Williams challenged popular notions of beauty.
Small collectives of visual artists and photographers came together around the principles of the Black Arts Movement. In New York, the Kamoinge Workshop photography collective met regularly to critique each other’s work, debate photography’s purpose and aesthetics, and share tips. They created a space for their art by developing their own portfolios and exhibitions. The workshop also produced the groundbreaking Black Photographers Annual between 1973 and 1980.
A group of Chicago artists formed AfriCOBRA. The collective’s founders defined their own aesthetic principles, aimed at creating “images that jar the senses and cause movement” and “images designed for mass production.”
The Black Arts Movement made an impact beyond the United States. In Great Britain, Raphael Albert organized and photographed Black beauty pageants in London. James Barnor focused on style, migration, and Black city life in London and in Accra, Ghana. Horace Ové photographed the British Black Power Movement. He also captured scenes of the West African and West Indian communities in London, like his Walking Proud, Notting Hill Carnival.
Samuel Fosso opened his first photography studio in Bangui, Central African Republic, at age 13. After finishing with clients, Fosso would use his studio to experiment with self-portraits. He wore an array of costumes and adopted personas, often taking inspiration from the pictures of Black Americans he saw in magazines shared by American Peace Corps volunteers.
By the end of the 1970s, the literary arm of the Black Arts Movement had waned, but a new generation of artists and photographers carried on its spirit. Coming out of art school, photographers such as Carrie Mae Weems and Lorna Simpson explored more personal, metaphorical, and conceptual ideas.
In her Family Pictures and Stories series, Weems made her own family the subjects. The intimate photographs presented a counterargument to claims that many Black Americans faced poverty and struggle as a result of weak family structures. Weems paired the photographs with brief stories about each family member.
www.nga.gov/stories/articles/what-black-arts-movement-sev...
manpodcast.com/portfolio/no-725-photography-the-black-art...
.
Consider the lilies of the field, how they grow,; they toil not, neither do they spin: yet I say unto you, that even Solomon in all his glory was not arrayed like one of these.
Matthew 6:28b,29
Please consider making a donation for the free photos at lucid-motion-images.com/donate or via Venmo @lucid-motion-images4pay
Consider supporting me further by buying me a tea on Ko-Fi: ko-fi.com/trinkety
---If you use any of my pictures, please tag back to me or link to me in some way.
--- Do not trace my photographs in your artwork, referencing them is fine but directly tracing them is rude.
--- Please Don't create meme's using these photos.
--- If you would like a photo of yourself taking down contact me and I will remove it, no questions asked.
Considerado patrimônio da advocacia, o prédio, localizado na Rua 1 com a Avenida Goiás, teve preservadas suas características originais históricas, no estilo Art Déco.
Consider supporting me further by buying me a tea on Ko-Fi: ko-fi.com/trinkety
---If you use any of my pictures, please tag back to me or link to me in some way.
--- Do not trace my photographs in your artwork, referencing them is fine but directly tracing them is rude.
--- Please Don't create meme's using these photos.
--- If you would like a photo of yourself taking down contact me and I will remove it, no questions asked.
Por considerar que corresponde al estado fortalecer y transformar la dinámica social para permitir a los trabajadores ser partícipes del acontecer familiar y social, es decir, “hacer comunidad”, la 60 Legislatura aprobó un exhorto a las dependencias públicas, a los 125 ayuntamientos y a las empresas de la entidad a establecer horarios que permitan la compatibilidad entre la vida familiar y las actividades laborales.
Please consider making a donation to Dana Farber if you download the files.
www.rundanafarber.org/2012/mooseman_fundraiser
Or contact me at catmarlson@hotmail.com if you want the file without the watermark.
Please consider making a donation to Dana Farber if you download the files.
www.rundanafarber.org/2012/mooseman_fundraiser
Or contact me at catmarlson@hotmail.com if you want the file without the watermark.
El técnico azulgrana considera que sus hombres deben ser "muy agresivos en defensa y en ataque" para batir el Maccabi
Jackson: "Será un partido muy físico"
En la misma línea que su entrenador, Edwin Jackson preveía "un partido muy físico". El francés ha reconocido que le falta un poco de ritmo y de confianza para transmitir en los partidos las buenas sensaciones de los entrenamientos.
Este jueves, Barça y Maccabi, segundo y tercero de su grupo del Top 16, protagonizan un duelo capital en la Euroliga. El técnico Xavi Pascual lo tenía claro: "Debe ser un partido grande, un clásico de Europa, con nuestro público a nuestro lado, con muy buen ambiente. Esperamos ofrecer nuestra mejora versión".
En la rueda de prensa previa al encuentro, el entrenador azulgrana ha recordado los dos compromisos europeos previos, que han llevado al equipo a una situación muy favorable. "Después del partido clave contra el Alba de Berlín, nos planteamos el del Panathinaikos como para dar un paso más. Sin duda, ante el vigente campeón es una noche para dar otro más", manifestaba.
Agresividad en los dos lados
Pascual ha destacado el potencial físico del Maccabi y es por eso que indicaba: "Tenemos que ser muy agresivos en defensa y en ataque". Asimismo, considera que el Barça "está creciendo" y lamentó el desacierto en la ejecución del lanzamiento de los últimos partidos, especialmente el de Gran Canaria. También ha expresado su decepción por la baja de Abrines, en una posición muy castigada por las lesiones esta temporada.
Javier Fernandez Auditor
via: ift.tt/1KWMEP5
Os Secretários Gerais e Executivos dos Três Espaços Linguísticos, reuniram-se no dia 21 de Abril de 2008, em Lisboa, tendo estado igualmente presentes os Secretários Gerais da ALECSO e da União Latina.
Foram adoptadas diversas resoluções.
Relativamente à intercompreensão das línguas latinas, considerando que a diversidade cultural e linguística é uma das riquezas fundamentais do património da Humanidade e que o seu respeito constitui um elemento necessário das políticas de desenvolvimento, os TEL concordam na necessidade de encorajar a diversidade linguística, desde a infância, a fim de criar condições para a formação do cidadão plurilingue.
As delegações das Organizações presentes neste encontro recomendaram a difusão das decisões acima mencionadas junto dos órgãos especializados, bem como a sua introdução nos programas escolares dos diferentes sistemas educativos, procurando a divulgação das abordagens plurilingues nas escolas e a formação de educadores especialistas nos métodos de intercompreensão.
No que se refere ao Plurilinguismo, reafirmaram a vontade comum de incentivar os países membros a ratificarem a Convenção da Unesco sobre a protecção e a promoção da diversidade das expressões culturais. Igualmente, confirmaram a intenção de colaborar com a Unesco no sentido de promover o Ano Internacional dos Idiomas.
Neste ano de 2008, proclamado Ano Internacional dos Idiomas pela Organização das Nações Unidas, os Três Espaços Linguísticos reiteraram o vínculo com o princípio do multilinguismo. Além de destacarem o objectivo da quinta reunião de trabalho dos TEL, expressaram também o interesse no programa estratégico da União Europeia em prol do multilingues.
As delegações presentes reiteraram também o compromisso de respeitar a Agenda de Túnis a favor da Sociedade da Informação e, principalmente, a sua Grande Orientação C8 "Diversidade e Identidade Culturais, Diversidade Linguística e Conteúdos Locais" que recomenda a criação de terminologias, dicionários, tesauros e ferramentas de tradução automatizada, para facilitar a todos a compreensão, a expressão e a transmissão de conhecimentos.
Desta forma, comprometeram-se a reunir uma equipa de especialistas para elaborar um projecto de criação de um instrumento comum de enriquecimento, colecta, harmonização e difusão terminológica.
Os representantes dos Três Espaços Linguísticos mencionaram a importância do uso da sinalização multilingue nos Estados membros e concordaram em criar um Grupo de Trabalho para o aprofundamento da questão e a sensibilização dos Ministros da Cultura e Turismo para a inclusão deste assunto nas agendas das próximas reuniões.
No domínio das indústrias culturais, tendo em vista a Resolução sobre a diversidade cultural, assinada a 20 de Outubro de 2006, em Paris, as delegações foram unânimes em enfatizar a relevância e actualidade do tema. Consideraram, ainda, a importância da criação de mecanismos para a elaboração de políticas culturais harmonizadas e o aprofundamento da pesquisa e da cooperação, sobretudo, nas áreas das novas tecnologias ponderando a sua rápida evolução. Nesse sentido, será constituído um grupo de trabalho para estudar as formas de maximizar a eficiência da distribuição e difusão dos bens culturais no âmbito dos TEL.
As delegações assumiram a responsabilidade de informar os Estados membros sobre os projectos e as recomendações adoptadas durante a reunião.
Foi ainda programada uma reunião técnica, em Lisboa, num prazo de 45 a 60 dias, para implementação das decisões tomadas nesta reunião.
Os Secretários Gerais congratularam-se com a presença no Encontro do Dr. Jorge Sampaio, Alto Representante do Secretário-Geral das Nações Unidas para a Aliança das Civilizações, cuja intervenção foi acolhida com elevado apreço.
A reunião foi concluída com a leitura solene de um texto em homenagem ao poeta e pensador antilhano Aimé Césaire, recentemente falecido, pela sua relevante contribuição para a igualdade e solidariedade entre todos os povos.
Ao término dos trabalhos, o Secretário-Geral Ibero-Americano, Enrique Iglesias, propôs que a próxima reunião dos TEL tivesse lugar em Madrid, em 2009, o que foi consensualmente aceite pelos presentes.
Composição das Delegações
- Comunidade dos Países de Língua Portuguesa (CPLP)
•Embaixador Luís Fonseca, Secretário Executivo da CPLP;
•Dr. Helder Vaz Lopes, Director-Geral;
•Prof. Maria Amélia Mingas, Directora Executiva do IILP;
•Dra. Ana Maria Neto, Chefe de Gabinete do SE;
•Dr. Helder Lucas, Conselheiro Político-Diplomático;
•Dr. Paulo Palm, Conselheiro;
•Dr. Márcio Gomes, Conselheiro Cultural;
•Dra. Elda Alvarez, Conselheira Cultural da Missão do Brasil junto da CPLP;
- Organização Internacional da Francofonia (OIF)
•S.E. Senhor Abou Diouf, Secretário-Geral;
•Sr. René Leduc, Conselheiro;
•Sr. Frédéric Bouilleux, Director da Língua Francesa, da Diversidade Cultural e Linguística;
•Mme. Francine Bolduc, Secretária Particular;
•Guy Viard, Oficial de Segurança;
- Secretariado-Geral Iberoamericano (SEGIB)
•Sr. Enrique Iglesias, Secretário-Geral;
•Sr. Fernando Garcia Casas, Director do Gabinete;
•Sr. Rui Baceira, Director de Planificação;
- Organização dos Estados Iberoamericanos (OEI)
•Sr. Fernando Vicario, Director da Cultura, em representação do Sr. Alvaro Marchesi Ullastres, Secretário-Geral;
- União Latina
•Embaixador Bernardino Osio, Secretário-Geral;
•Sr. François Zumbiehl, Director da Cultura e da Comunicação;
•Senhora Dolores Alvarez, Directora a.i. da Promoção e do Ensino das Línguas;
•Sr. Daniel Prado, Director da Terminologia e das Indústrias da Língua;
•Dra. Maria Renée Gomes, Directora da Delegação da União Latina em Portugal;
Observadores :
- Organização Árabe para a Educação, Cultura e Ciência (ALECSO)
•Sr. Mongi Bousnina, Director-Geral;
- Reitorado da Agência Universitária da Francofonia – AUF
•Sr. Patrick Chardenet, representante do Reitor da AUF;
- Associação das Universidades da Língua Portuguesa – AULP
•Prof. Doutora Cristina Montalvão Sarmento, Secretária-Geral
Fortaleza, CE. 16.06.2023: Audiência Pública com o objetivo de debater e propor ações efetivas para melhoria do serviço de saúde prestado à população pela Prefeitura de Fortaleza, considerando todos os níveis de atenção, especialmente a primária. (Foto: Mateus Dantas/CMFOR)
F1 Considers Changes To Make Iconic Monaco GP More Exciting
As critical contract negotiations unfold, Formula 1 is exploring potential modifications to the iconic Monaco Grand Prix to address growing concerns over its suitability for modern racing. Financial and Logistical Hurdles Bloomberg recently reported that F1’s commercial owner, Liberty Media, is urging Monaco’s race organizers to increase their financial commitment to secure a new deal beyond 2025. However, former F1 driver Alex Wurz believes that eliminating the Monaco GP would be like “cutting off its roots,” even though the Principality might suffer more than the sport itself. “It would not change anything about the fame and finances of Formula 1,”…
f1chronicle.com/f1-considers-changes-to-make-iconic-monac...
O Brasil é o maior produtor de café do mundo e agora o café brasileiro também é considerado o melhor, de acordo com Cup of Excellence. Um concurso internacional de qualidade de cafés, feito pelo Cup of Excellence, elegeu Sebastião Afonso da Silva, de Minas Gerais, como o grande vencedor. Ele possui uma fazenda e seu diferencial está na colheita feita à mão, além do clima favorável ao cultivo do grão.
Créditos: Café Moinho Fino
Localizada na Serra da Mantiqueira, a colheita pode ser feita tardiamente, o que mantém os grãos maduros por mais tempo. Apesar de ser um pequeno detalhe, é isto que faz com que este café tenha melhor aproveitamento, tornando-o diferente.
Sebastião conseguiu a maior nota já obtida em concursos ao redor do mundo: 95.18, em um total de 100. As principais características de seu produto são: acidez, doçura e corpo. Uma saca de 60 kgs já chegou a ser vendida por quase R$ 10 mil para Starbucks. Não é a toa que 97% dos brasileiros consumam a bebida durante o dia, nosso café é o melhor do mundo!
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