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Vivimos en la época de la información, las nuevas tecnologías como Internet han facilitado que los conocimientos fluyan por todo el mundo de forma instantánea. De esta forma, todo el que quiera puede estar al tanto de los hechos que sucedan en cualquier lugar del mundo aunque este se encuentre a miles de kilómetros de nuestra computadora.
Esta facilidad a la hora de acceder a la información ha facilitado que mucha gente se concientice de los problemas que acontecen en el mundo actualmente. Este hecho ha provocado que los intereses de muchísimas giren hacia los movimientos sociales que buscan una mejora de la sociedad en la que vivimos a través de proyectos de cooperación en lugares donde existen diferentes problemas.
A la vez, el numero de organizaciones, instituciones y organismos sociales que trabajan sobre ello se han multiplicado, creando redes de trabajo muy interesantes que fomentan la colaboración y cooperación entre zonas y personas que quizás nunca en sus vidas se conozcan personalmente, pero que facilitan la actuación y proporcionan conocimientos que pueden ser muy valiosos para mejorar la calidad de vida de la población sobre la que se trabaja.
Este movimiento de personas concientizadas con una visión internacionalista del desarrollo humano se ha convertido en un rayo de esperanza para las sociedades del llamado tercer mundo. Estos movimientos están haciendo ver a las poblaciones de estas regiones que ya no son zonas ignoradas y/u olvidadas, sino que sienten el cariño de la cercanía de las millones de personas que consideran que el progreso humano se debe hacer de forma igualitaria en el mundo, luchando contra la actual tendencia de vivir con lujo y derroche en el primer mundo, a costa de la penuria y la miseria de los llamados países del tercer mundo.
La esperanza es el sueño del hombre despierto, tal y como dijo Aristóteles, las personas están despertando y comenzando a darse cuenta de que, a miles de kilómetros de , muchas personas sienten como si fuesen suyos los problemas de los países menos desarrollados, aunque nunca los sufran. Todos formamos la humanidad, y todos debemos sentirnos responsables de ella.
Javier Collado Ruano y José María Barroso Tristán
Concrete forms used to pour closure walls on multi-story building in Florida. For more information on aluminum concrete forms visit www.wallties.com
20 Days to reduce localised fat accumulation.
Call us : 416-823-2202
5891 Bathurst St., North York, Ontario
Villa Martelli, 14 de abril de 2014 -
Se lleva a cabo el Encuentro Federal de la Palabra en Tecnópolis, en el Pabellón Cultural de Tecnópolis, Del 09 al 20 de Abril.
bajo el lema "La fuerza de la palabra. Hip hop, rima y nuevas formas", el Pabellón Cultural será sede de diversas expresiones artísticas que invitarán al público a sumarse y participar. Habrá clases abiertas de rima a cargo del sello Sudamétrica; de graffiti, de la mano del Taller de Arte Urbano; de distintos estilos de baile, como hip hop y break dance.
En este espacio, también tendrá lugar la competencia "Final Matemáticas ZOO". Por primera vez, representantes de hip hop de ocho ciudades de distintos puntos del país se enfrentarán en una batalla grupal de rimas sin precedentes. Además, habrá música en vivo de la mano de grupos como Actitud María Marta, Cafundó+10+kódigo y Dj Pharuk, y de bandas ganadoras del concurso federal Maravillosa Música, como Broda Crew y Koxmoz.
Fotos: Silvina Frydlewsky / Secretaría de Cultura de la Presidencia de la Nación
Actually this is very tiny flower, no more than 5 mm. At this magnification is looks really unusual like something alien. Taken using extension tubes and reversed 35mm lens.
Aunt Rebekah holding her new nephew, Hendrix, while Haidyn plays with his hair. I have some better ones of aunt and nephew that I probably post later, but I love the bonds being formed here.
This statue is one of hundreds at Caesars Palace in Las Vegas.
If you would like a print of this photo, go to:
fineartamerica.com/featured/the-male-form-paul-mashburn.html
Directions scanned from General Printing, by Cleeton & Pitkin, 1953, McKnight & McKnight Publishing Company, Bloomington, IL, in which are described the steps one would take toward tying a standing form of lead type used in letterpress printing.
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husbandâs passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as âCourtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
Collaboration with Nadya Prilutskaya
www.flickr.com/people/35165895@N03/
The object is made for Exhibition called "Transformation". Constructed from natural elements it shows transformation states of a tree - grass, timber, paper, ash.
X-ray form I took to QScan in Cleveland so that my podiatrist can create orthotics for my shoes. #talipes #orthapedic
Formado em 2000, o JAM Project é um grupo de cantores japoneses especializados em temas de animês (desenhos animados), tokusatsus (séries live-action) e jogos de videogames japoneses. É o principal expoente do gênero.
O objetivo do grupo é preservar as características originais do gênero musical, que desde a década de 90 tem a interferência do marketing da indústria fonográfica, envolvendo artistas do pop-rock japonês.
A formação atual é composta por Hironobu Kageyama, Masaaki Endoh, Masami Okui, Yoshiki Fukuyama, Hiroski Kitadani e Ricardo Cruz.
© Photo by Tasos Tsoukalas
www.facebook.com/pages/Tasos-Tsoukalas-Photography-/29358...
e-mail : t.tsoukalas1978@yahoo.com
Copyright - All Rights Reserved - Black Diamond Images
Family Sapindaceae
A now rare tree from subtropical rainforest north from Tintenbar (Richmond River) to Mudgereeba Creek, in SE Queensland.
The species occasionally produces a yellow fruiting form as opposed to the more usual red fruiting form.
IDENTIFYING AUSTRALIAN RAINFOREST PLANTS,TREES & FUNGI - Flick Group --> DATABASE INDEX
The restoration of the Yale University Art Gallery reawakens one of America’s great architectural beauties from a slumber that has lasted too long. Like the return of a long-lost friend, however, it may resurrect a few old wounds.
Overseen by Polshek Partnership Architects, best known for producing sleek contemporary designs, the restoration puts Louis I. Kahn back on the pedestal he so richly deserves. All the elements of his genius are here: the bold geometric forms, the crisp lines, the sensitive use of light, the tactile love of materials. The first of his great masterpieces, the building foreshadows the atavistic landmarks of his late career.
Years of callous alterations have now been reversed, restoring those elements in all their glory. The west facade has been rebuilt so that its glass and steel frame regains its original lightness; a sunken exterior court that was senselessly roofed over to make room for more gallery space has been restored, allowing light to spill down once more into the lower galleries.
The elegance of that west wall, gently set back from the street, contrasts with the forceful concrete-block facade of the main entrance, an opaque, expressionless screen. Inside the building this quality of restraint gives way to an intoxicating blend of muscularity and delicacy. The deep triangulated beams of the ceilings, with their deep shadows, lend the rooms a mystical air; the stark silolike concrete cylinder housing the staircase reaffirms the galleries’ status as sacred space.
Even the minor alterations are dead on. The lobby was renovated by Joel Sanders, a rising New York talent who shows Kahn the proper respect without kowtowing to the master. Mr. Sanders’s subdued contemporary furniture and discreet ebony cabinets reinforce the building’s intimate atmosphere, transforming the lobby into a welcoming living room.
From here you gaze out at one of the original building’s strangest features: the incorporation of an old rough-hewn stone retaining wall that Kahn used to frame his outdoor courtyard to lock the building into its historic surroundings. But the true revelation occurs when you step into the galleries.
Every museum director and curator embarking on a new building project should be required to tour these rooms. The potent thrust of the concrete-beam ceiling draws you into them as if you were being lured into a sacred tomb. You gaze up in awe, and then turn to the paintings.
Most of the paintings, which range from early Italian Renaissance to contemporary, are displayed on partitions supported on steel legs that break the rooms down into a series of small informal spaces. Paintings by Monet, Renoir and Pissarro hang in big gilded frames along the concrete-block wall that runs the length of the main facade.
These are not the crude concrete blocks associated with prisons and old college dormitories. Custom designed, their small dimensions — four by six inches — look comparatively refined. The paintings pop.
As with all of Kahn’s great buildings the entire space is animated by his masterly handling of light. Big plate-glass windows are discreetly hidden behind thin white scrims. A narrow vertical slot of glass overlooking the entrance court gives visitors an opportunity to orient themselves vis-à-vis the outdoors and allows a stream of light to wash down a back wall.
The stunning variety of the light and the tension between the forms and materials — the delicacy of the partitions, say, versus the brute weight of the concrete — keep us alert. Everything here feels warmly alive.
1901 Oldsmobile curved dash. At the Naples airport car show. 2019. The gasoline-powered Curved Dash Oldsmobile and is credited as being the first mass-produced automobile, meaning that it was built on an assembly line using interchangeable parts.
The beautiful white form of this now nationally rare wet meadow flower. Unusually it is in the majority at this reserve. Other shots below show the extent of them on the reserve. Upper Waterhay, Wiltshire Wildlife Trust Reserve, Nr. Cricklade, Wiltshire, UK. 2017-04-10.
I handmade this ring using fold forming techniques but with random folds so they would not come out too symmetrical. I also fused silver in the middle of the blossoms to add some color contrast and texture. The blossoms were soldered to the ends of a sterling silver wire and then wrapped to form this unique ring.