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A partir de segunda-feira (10), 15 escolas de Itajaí realizam as eleições para escolha de seus representantes no projeto Câmara Mirim. Ao todo, 4.374 estudantes de 6º ao 9º ano poderão votar nos 47 candidatos a vereador mirim. O projeto é promovido pela Câmara de Vereadores de Itajaí, por meio da Escola do Legislativo Maria Rosa Heleno Schulte.
Os alunos votarão somente nos candidatos de suas escolas. O estudante que receber o maior número de votos na unidade de ensino será automaticamente eleito vereador mirim titular. As duas vagas restantes para completar a legislatura e as vagas de suplentes serão determinadas posteriormente por meio de um sorteio realizado pela Câmara de Vereadores.
Os vereadores mirins eleitos participarão de atividades de formação sobre política e cidadania e de sessões ordinárias em que poderão discutir indicações e requerimentos, entre outras atividades.
Dados das candidaturas
Esta é a primeira edição do projeto Câmara Mirim em Itajaí. Após a adesão das escolas interessadas em participar do processo, foi aberta a inscrição de candidatura dos alunos do 8º ano. Participam da eleição 28 meninas e 19 meninos.
As escolas com o maior número de candidatos são o Colégio Salesiano, com sete, e as Escolas Básicas João Duarte e Marechal Olímpio Falconieri da Cunha, com cinco candidatos cada. Os maiores colégios eleitorais são o Salesiano, com 569 eleitores, a escola Marechal Olímpio Falconieri da Cunha, com 537, e Colégio de Aplicação Univali (CAU), com 507.
Eleição 10/10/2022
Centro Educacional Pedro Rizzi - 8h às 11h e das 14h às 17h
Colégio Cenecista Pedro Antônio Fayal - matutino
Escola Básica Antônio Ramos – Início às 8h e às 14h
Escola Básica Ariribá – Início às 8h30
E. B. de Campo Maria do Carmo Vieira - 8h às 8h30 e 13h às 13h30
E. B. Elias Adaime – 8h às 9h e das 14h às 15h
E. B. Gaspar da Costa Moraes - matutino
E. B. João Duarte - 8h às 11h
E. B. José Medeiros Vieira – não informado
Escola Básica Professora Judith Duarte de Oliveira - Início 8h30 e às 13h30
Escola S (Sesi Itajaí II) - 9h30 às 12h
Colégio de Aplicação Univali (CAU) - 8h às 15h30
Eleição 11/10/2022
Colégio Salesiano Itajaí - 7h25 às 11 horas
E. B. Marechal Olímpio Falconieri da Cunha - 9h às 11h e das 15h às 17h
E. B. Prof.ª Edy Vieira Wendhausen Rothbarth – matutino
Co-Director of the American Indian Movement Orange County, CA - Jim La Pointe and Treasurer, Danielle Adams.
The Washington Family, 1789-1796
Edward Savage
West Building, Main Floor — Gallery 62
This group portrait represents George Washington’s military, political, and family life. The president, in a Revolutionary War uniform, rests his hand on a plan for Washington, DC, the site for the new US capital. His wife, first lady Martha Washington, and her grandchildren join him at their Virginia plantation estate, Mount Vernon.
Research now suggests that the figure standing just outside the family group is Christopher Sheels, an enslaved attendant to the president. Unlike the four family members, Sheels is painted in shadow. Old damage to the paint makes it even harder to see his face clearly. Sheels’s presence signals that the president’s household depended on the labor of enslaved people, as did the economy of the young nation.
A light-skinned man, woman, boy, and girl, and a brown-skinned man sit and stand around a table spread with papers and a map in this horizontal portrait. The light-skinned man sits on a red upholstered chair at the table to our left, and his body faces our right in profile. His legs are crossed, and he rests his right elbow, closer to us, on the back of the chair. He has a sloping, rounded nose, dark eyes, jowls along his jawline, and his closed mouth juts forward. His left arm rests on an open pamphlet on the table next to a sword with a delicate silver hilt. To our left, the young boy stands also looks to our right in profile, next to the older man's chair. The boy wears a dusky rose-pink suit with a white lacy collar. With his right hand, he pulls back a dark green cloth covering a globe on a wooden stand along the left edge of the canvas. The woman sits at the right side of the table, across from the man. She has dark eyes, full cheeks, a double chin, and her pale lips are closed. She wears a voluminous ivory satin gown and petticoat with a black lace shawl, and an ivory cap with a satin bow covers her gray hair. She points to a spot on a map on the table with a closed fan held in her right hand. The young girl, wearing a gauzy white dress with a pine-green sash at the waist, stands on the far side of the table near the woman, holding the curling edges of the map. Behind the women, the brown-skinned man wears a rust-orange and gray uniform, and stands with one hand tucked into his vest in the shadows at the edge of the composition. His features are indistinct but he faces our left in profile. The room has a gold-and-yellow checkerboard floor, and a red cloth drapes from columns frame the scene to each side. It is unclear whether a river view at the back of the room is seen through an open window or door, or if it is a large painting behind the people.
Edward Savage's The Washington Family quickly became a veritable icon of our early national pride. In the winter of 1789–1790, President Washington and his wife posed for Savage in New York City, then the nation's capital. Mrs. Washington's grandchildren, taken in by the Washingtons after their father's death, probably also sat for their oil portraits in New York. Savage began to incorporate the separate life studies of their faces into a group portrait engraved on a copper plate. After a stay in England, he resumed the family portrait in Philadelphia—this time, however, in large format as an oil on canvas. The Washington Family was exhibited in 1796.
Savage's catalogue states that Washington's uniform and the papers beneath his hand allude to his "Military Character" and "Presidentship" respectively. With a map before her, Martha Washington is "pointing with her fan to the grand avenue," now known as Pennsylvania Avenue. An enslaved man dressed in livery and a supposed vista down the Potomac complete the imaginary scene.
Savage's self–taught ability to distinguish between satins, gauzes, and laces is nothing short of astonishing. However, the anatomy alternates between wooden and rubbery, and the family strangely avoids eye contact. Despite Savage's lack of experience, his huge Washington Family remains one of the most ambitious projects ever undertaken by a federal artist.
Edward Savage was a self-taught painter and engraver who became proprietor of a paintings gallery and natural history museum in Philadelphia, New York and Boston. Although his abilities improved, his talent never equaled his ambition. Born in 1761 in Princeton, Massachusetts, he painted commissioned copies of portraits by John Singleton Copley and a naively painted full-length portrait of Abraham Whipple (United States Naval Academy, Annapolis) in the mid-1780's before making portraits of George and Martha Washington in New York in 1789-1790. He went to London in 1791, where he published prints of his portraits of Henry Knox and Washington and had some contact with Benjamin West. He returned to Massachusetts in 1794, painted portraits, and married Sarah Seaver of Boston.
Savage went to Philadelphia in 1795, where from July he exhibited his panorama of London. The following February he opened the Columbian Gallery, "a large collection of ancient and modern Paintings and Prints." (Gazette of the United States, 20 February 1796). From then until 1801 he worked in Philadelphia as a painter, engraver, print publisher and gallery operator. Although his painting and engraving techniques had improved in England, he relied considerably on the assistance of his apprentice John Wesley Jarvis and English engraver David Edwin. Later they and others claimed that their talents added significantly to the quality of Savage's work in these years.
Savage exhibited his London panorama in New York in 1797 and moved there in 1801, where he reopened the Columbian Gallery. He is listed in New York city directories through 1810 as a "historical painter and museum proprietor". Gallery exhibits included his paintings of The Washington Family, Liberty, The Landing of Columbus ("from a picture in the collection of the Grand Duke of Tuscany") and his copy of West's Cupid Stung by a Bee. Engravings of "Liberty, Columbus, Etna, Vesuvius, a large whole length of Washington...and many other Prints published by E. Savage" were for sale. The museum offered natural history exhibits that were "arranged, agreeably to the ideas of Sir Hans Sloane, and with the addition of a number of paintings, and other interesting articles, will form a complete source of amusement for every class, particularly the amateurs of Arts and Sciences." (The Daily Advertiser 10 June 1802). Charles Bird King was a pupil in 1800-1805. In the winter of 1805-1806 he and Charles Willson Peale exchanged natural history specimens. The following summer he made a sketching trip to Niagara Falls.
Savage went briefly to Baltimore in 1810, where he advertised as a portrait painter in March (American, and Commercial Daily Advertiser, 19 March 1810). He moved that year to Boston, where he re-established the Columbian Museum on Tremont Street. He died seven years later, in 1817, on his farm in Princeton, Worcester County, Massachusetts. One of many talented artists of the Federal period, Savage is best remembered as one of the first proprietors of a museum and picture gallery. [This is an edited version of the artist's biography published in the NGA Systematic Catalogue]
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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A prefeita Marília Campos empossou conselheiros e representantes do Conselho Municipal de Assistência Social da Secretaria de Desenvolvimento Social, nesta segunda-feira (8), no auditório da Prefeitura de Contagem. A cerimônia deu início a nova fase dos trabalhos que tem a missão de garantir políticas públicas capazes de erradicar a miséria e reduzir a pobreza no município.
Marília agradeceu aos conselheiros e representantes por terem aceito a tarefa e lembrou que o Sistema Único de Assistência Social – Suas, foi implementado no município em 2005, durante o seu primeiro mandato como prefeita. “Na época, os benefícios eram encarados como favor e usados como moeda de troca, inclusive trocados por votos. Mas o Suas veio para fazer uma grande transformação. Os benefícios passaram a ser políticas públicas. Agora, vocês podem me ajudar a governar e fortalecer o Suas, além de possibilitar o diálogo com toda a cidade”, enfatizou.
Durante a solenidade, a presidenta do Conselho Municipal de Assistência Social, Miralva Amaral, salientou sobre a nobreza da política pública de assistência social, que segundo ela, está na promoção do acesso da população aos serviços públicos de qualidade. Destacou ainda sobre a atenção às demandas específicas dos usuários, lembrando que os direitos garantidos pelo Fundo Nacional de Assistência Social são capazes de consolidar a assistência como política federativa e republicana.
Para a secretária municipal de Desenvolvimento Social, Viviane França, os conselhos são esferas de diálogo com a população. Ela explicou que a preocupação da atual gestão é trabalhar com todos os segmentos e construir um planejamento junto com os beneficiários diretos das políticas do Suas.
Ainda de acordo com a prefeita Marília Campos é importante a defesa das políticas sociais, que se encontram, atualmente, ameaçadas pela política de teto de gastos. “Precisamos lutar pelas políticas sociais, principalmente, nessa conjuntura, quando muitas pessoas necessitam de proteção e de amparo. Mas esbarramos na política de teto de gastos”, finalizou.
A superintendente de Assistência Social, Michele de Castro Caldeira, agradeceu aos conselheiros e toda equipe pelo trabalho dos últimos anos e lembrou também sobre o corte de verbas causado pela pandemia. “Esperamos que nos próximos dois anos consigamos avançar no controle social das políticas públicas. O Suas é uma política para os mais necessitados e nunca foi tão importante a participação popular, a consolidação das políticas de direito e do Sistema Único de Assistência Social – Suas”, enfatizou.
Fotos: Janine Moraes/PMC
Héctor Astudillo se reunio con integrantes de la sociedad civil acapulqueña, más tarde escucho las inquietudes y necesidades de representantes ejidales de Guerrero y recibio la adherencia al proyecto por un #GuerreroEnPaz de la perredista Gisela Ortega en la Colonia Zapata de Acapulco.
La Basílica de Nuestra Señora del Pilar es el edificio más representativo de Zaragoza, el templo barroco más grande de España y uno de los centros de peregrinación más importantes del país. Se considera el primer templo de culto mariano de la Cristiandad y en él se conserva la columna (o pilar) que la Virgen María, la noche del 2 de enero del año 40, entregó al apóstol Santiago cuando éste se encontraba a orillas del río Ebro convirtiendo a los primeros cristianos. Según la tradición, la Virgen en vida vino a Zaragoza a confortar y animar al apóstol en su empresa y al entregarle la columna le pidió que sobre ella levantase una capilla en la que se venerase su imagen.
Se conoce la existencia de varios templos anteriores al actual. Sobre una pequeña capilla dedicada a Santa María la Mayor que databa del siglo VIII se levantó, tras la Reconquista de Zaragoza en 1118, un templo románico que fue arrasado en un incendio. En 1515 se inauguró un nuevo templo gótico-mudéjar que fue sustituido por el templo barroco.
El templo actual es el resultado de un complejo y dilatado proceso constructivo que arranca a finales del siglo XVII y concluye a mediados del siglo XX, configurándose, sin embargo, como un edificio de carácter unitario de grandiosas dimensiones, armónicas proporciones y gran amplitud espacial. Fue diseñado por Felipe Sánchez y modificado por Francisco Herrera el Mozo y Ventura Rodríguez.
Presenta planta rectangular de salón con tres naves de igual altura, siendo más ancha la central, y capillas entre contrafuertes rodeando todo el perímetro del templo. Se plantea de este modo como iglesia de peregrinación para circular por ella sin molestar el culto. Cuenta con diferentes tipos de cubiertas (bóvedas, cúpulas) que se alternan de forma dinámica sobre gruesos pilares de sección cuadrada, salvo los que soportan la gran cúpula central que son poligonales. Los muros se articulan a base de pilastras que enmarcan las embocaduras de las capillas. La decoración interior es obra de Ventura Rodríguez, quien siguiendo tendencias clasicistas, sustituyó los elementos decorativos de estilo barroco que se proyectaron en origen.
Elemento a destacar en el interior del edificio es la Santa Capilla, templete de planta oval diseñado por Ventura Rodríguez, que se sitúa en el segundo tramo de la nave central. Fue construida para albergar el Camarín de la Virgen, donde se ubican la Santa Columna y la imagen de la Virgen y que, según la tradición, es el lugar en el que los depositó María y donde deberán permanecer hasta el final de los tiempos. Sobre los altares de la Santa Capilla, dos grupos escultóricos de José Ramírez de Arellano en mármol de Carrara representan a los siete convertidos con Santiago y la Venida de la Virgen respectivamente. Este conjunto es una exaltación de María a través de los sentidos. En la retórica del barroco es muy importante la persuasión, y nada mejor para ello que la narrativa plástica del milagro en los tres altares. Todo se cubre con una bóveda elíptica calada que deja ver la decoración pictórica de la cúpula pintada por Antonio González Velázquez.
Del interior cabe destacar de igual modo la bóveda del coreto, frente a la Santa Capilla, decorada por un joven Goya y que plasma el tema "La Gloria o Adoración del Nombre de Dios"; la cúpula que representa la "Regina Martyrum", también pintada por Francisco de Goya; las cúpulas decoradas por los hermanos Bayeu, el Retablo Mayor, obra de Damián Forment y el coro de Nicolás de Lobato, Esteban de Obray y Juan de Moreto.
Al exterior, el templo presenta cuatro fachadas construidas en ladrillo y piedra, de gran severidad compositiva, con muros articulados por pilastras y arcos enmarcando las puertas, siendo la fachada principal la que concentra los elementos más relevantes como el relieve realizado en piedra caliza por Pablo Serrano que representa la Venida de la Virgen del Pilar a Zaragoza. El conjunto se completa con las potentes cúpulas cubiertas con tejas vidriadas rematadas con linterna y cupulín y las esbeltas torres de los ángulos que acentúan la monumentalidad del edificio y le confieren un dinamismo de marcado acento ascensional.
La Catedral-Basílica cuenta con un tesoro que encierra un gran número de objetos de orfebrería litúrgica, destacando sobre todo el llamado Joyero de la Virgen, con coronas, diademas, resplandores, etc. de piedras preciosas, y la colección de más de 350 mantos de la Virgen.
En el templo están enterrados la mayoría de los arzobispos zaragozanos de la Edad Moderna, así como los cuerpos de San Braulio y del general Palafox, entre otros. Como curiosidad hay que citar las dos bombas de la guerra civil, expuestas en uno de los pilares, que cayeron sobre el edificio pero no llegaron a explotar. También cabe destacar la presencia de las banderas de España y de los diferentes países hispanoamericanos, por ser la Virgen del Pilar la patrona de la Hispanidad.
Radiónica celebró su sexto aniversario con un concierto que se realizaró en la Media Torta de Bogotá.
La emisora se caracteriza por tener un repertorio sonoro versátil y reúne en el espectáculo siete géneros musicales: Koyi K Utho (industrial), La Derecha (rock), El Sin Sentido (alternativo) y Providencia (reggae); además de contar con los nuevos sonidos de las agrupaciones como Like Some Cat From Japan (electro), Monsieur Periné (soul - jazz) y el poder del Caribe representado en Systema Solar.
The Sampler represented 30 artists at the GBK Pre American Music Award Lounge at EVO, Downtown LA November 20-21, 2009.
All photos by Quinn Starr
Represents anti-nuclear war activism in Loudoun County. Dagmar Wilson was a noted anti-nuclear testing activist and artist.
La representante de la FAO en Chile, Eve Crowley, entregó a las autoridades de la Corporación Nacional Forestal de Chile (CONAF) informes sobre la “Evaluación de la muerte regresiva de la Araucaria Araucana en Chile” y “Evaluación estratégica de gestión de incendios en Chile”.
Teams representing the U.S. Military Academy, U.S. Army ROTC programs from across the United States, U.S. Service Academies and International Military Academies compete in the second day of the 2025 Sandhurst Military Skills Competition at West Point, N.Y. on May 3, 2025. The annual competition takes place on May 2-3 on West Point and has a total of 48 teams participating. (U.S. Army photo by Sgt. 1st Class Alan Brutus)
This picture represents me because I like cities and where I live. I emphasized the building because I live in an apartment. When I first came to Canada the house that I lived in was an apartment. It had a beautiful view from it. When I look at these buildings they all look the same and look like ordinary houses, but these houses have different stories and different views. And I have experienced different things while I lived in my apartment. The people who live in these houses might have different story just like me. That is why this picture represents me.
Persons with disabilities in North Macedonia have never been represented by an MP or another elected official with a disability, even though they constitute a significant part of the population. When opportunities for political participation arise, it seems that persons with disabilities are the ones most deprived of possibilities to engage. To support their empowerment, WFD organised the first Political Academy for Equal Participation this weekend, giving space to engaged activists and individuals in the field to further develop their skills for political participation. The academy was organised in cooperation with Polio Plus and funded by the UK Government. We look forward to see more activists present in the political and public space advocating for the rights of persons with disabilities.
Una gestión inclusiva: el alcalde Cuadrado Prats se reunió con empresarios y representantes de Ciudad Empresarial a discutir los ejes del desarrollo comunal
Toledo, 3 de febrero de 2020.- El presidente de Castilla-La Mancha, Emiliano García-Page, mantiene en el Palacio de Fuensalida, una reunión de trabajo con representantes de la Confederación de Empresarios de Castilla-La Mancha (CECAM) y de los sindicatos Comisiones Obreras y UGT. (Fotos: D. Esteban González // JCCM)
Representing Opus
The Oxfam Water Challenge is a fundraising challenge event where New Zealand companies join together to make a big splash — a splash that ensures safe water flows to communities in rural Melanesia.
Find out more at www.oxfam.org.nz/owc
Photos: Hakan Nedjat Photography
From the exhibition L'Art de la paix - Secrets et trésors de la diplomatie. Petit Palais, Paris, 2016.
Senador Ruben Figueiró; Ervander Cesar Ferreira; Jorge Luiz Araújo Silva, vice-coordenador da Comissão Nacional QESA Brasil.
MWFW 2015 Presents Represent
Models SCALA
Photorapher: Kodaijin Starfall
Website: sirenproductionsl.com
Facebook: www.facebook.com/pages/Siren-Productions-SL/9057300461180...
Brasília, 30/05/2025. O corregedor-geral de Justiça do Amazonas, desembargador José Hamilton Saraiva dos Santos e demais representantes da Corregedoria-Geral de Justiça do Amazonas participaram do 7.º Fórum Nacional Fundiário. Promovido em Brasília sob a organização do Colégio de Corregedoras e Corregedores-Gerais dos Tribunais de Justiça do Brasil (CCOGE) o Fórum representou uma oportunidade para promover o debate sobre a regularização fundiária no Brasil, respeitando as especificidades regionais, buscando fomentar soluções inovadoras que promovam o acesso à Justiça, em consonância com o direito constitucional de entregar a quem é de direito uma moradia digna. Foto: Chico Batata
Ahorran espacio y coste al eliminar la necesidad de un microcontrolador adicional
Bolymin, Inc., empresa representada en España por Anatronic, S.A., anuncia la disponibilidad de cuatro nuevos sistemas compuestos por un display LCD monocromo y un microcontrolador embebido PIC de 16 bit y bajo consumo.
Al eliminar la necesidad de un microcontrolador adicional, estos sistemas se convierten en una magnífica solución para ahorrar espacio y coste en múltiples aplicaciones con dispositivos móviles y reproductores de medios.
Las principales características de estos sistemas embebidos son memoria Flash de 64 KB y SRAM de 8 KB, así como EEPROM de 64 KB actualizable (opción de 128 KB), mínimo consumo de corriente, funciones ‘power-on reset’ (POR) y watchdog programable y un amplio número de herramientas de desarrollo y notas de aplicación.
Los cuatro nuevos sistemas embebidos también se distinguen por unas excelentes capacidades de conectividad a través de puerto serie dual (uno RS232 y otro compartido con RS422 y RS485), puerto RS232 / 422 / 485, junto con diver de EEPROM I2C, driver LCM y soporte de una tensión de 4.5 a 5.5 V.
Estos sistemas embebidos de display para crear una solución programable se presentan con manual de usuario, disco de software y cable ISP (como opción).
A continuación se enumeran los cuatro sistemas:
•BEGV606M: Módulo BO2002A + microcontrolador PIC de 16 bit.
•BEGV627M: Módulo BO12864G + microcontrolador PIC de 16 bit.
•BEGV629M: Módulo BL12864G + microcontrolador PIC de 16 bit.
•BEGV639M: Módulo BG24064A + microcontrolador PIC de 16 bit.
Le Mazda5 2015 représente une toute nouvelle catégorie de véhicules en Amérique du Nord. Le marché des petits véhicules multi-activités connaît une croissance rapide au Japon et en Europe. Voici les principales raisons d’acheter un Mazda5 : son style unique sport, son intérieur accueillant et polyvalent, sa tenue de route et son confort de roulement de qualité supérieure, sa performance nerveuse et son ensemble de sécurité complet. www.lauriermazda.com/neuf/mazda5
Un mayor precio para los cultivadores de caucho del Caquetá y Putumayo es el resultado más representativo del cierre del convenio entre la Corporación Centro de Investigación en Caucho (Cenicaucho) y el programa REM-Visión Amazonía, iniciativa del Ministerio de Ambiente y Desarrollo Sostenible.
Así se conoció el pasado sábado 19 de febrero en un evento que tuvo lugar en la planta de la Asociación de Reforestadores y Cultivadores de Caucho del Caquetá (Asoheca), y que contó con la presencia del ministro de Ambiente y Desarrollo Sostenible, Carlos Eduardo Correa; el viceministro de Agricultura, Omar Franco; el coordinador general del programa Visión Amazonía, José Yunis Mebarak, y el alcalde de La Montañita (municipio donde se hizo el evento), Pablo Emilio Zapata, entre otras personalidades.
Mejor calidad de vida
El ministro Correa expresó que la inversión que el Minambiente hizo para los productores caucheros del Caquetá en la planta de Asoheca genera mayores ingresos para las familias campesinas.
“Considerando el aumento del precio de los productos de caucho en el mercado, ahora los productores tienen la posibilidad de mejorar su calidad de vida. Los felicito porque, además, adquirieron un compromiso con la conservación de los bosques y lo han cumplido. Es así, en equipo y con hechos como en el Gobierno Nacional venimos alcanzando metas y protegiendo los recursos naturales de todos los colombianos y del planeta”, dijo Correa, quien conoció cómo funciona la planta antes de compartir y dialogar con la comunidad.
Hacia mercados especializados
Visión Amazonía apoya la cadena del caucho como una de las alternativas productivas sostenibles en la región. En ese sentido, José Yunis Mebarak explicó que como resultado de un convenio con el Centro Internacional de Agricultura Tropical (CIAT) se actualizó la cadena productiva del caucho y su plan de acción en Caquetá y Putumayo.
“Los estudios identificaron la producción de cauchos especiales para atender mercados especializados, y eso hicimos desde el Pilar de Desarrollo Agroambiental de Visión Amazonía, llegar a acuerdos a través de Cenicaucho para apoyar a Asoheca y a Asocap, organizaciones comprometidas con los bosques”, manifestó el coordinador general del programa Visión Amazonía.
Por su parte, el viceministro Omar Franco mencionó que el gremio del caucho optó por una variación a su proceso en la producción de TSR 20 (producto de caucho técnicamente especificado).
Lo anterior, comentó Franco, contó con el respaldo del Ministerio de Agricultura a través de la oficina de Innovación y Desarrollo Tecnológico y del programa Visión Amazonía, “que apoyaron la iniciativa de Asoheca para iniciar la producción del TSR 20 con viscosidad controlada, que tiene un mayor precio en el mercado y que es transferido a los productores campesinos que hacen parte de la asociación, dinamizando la economía local y fomentando la agricultura sostenible con buenas prácticas”.
Se conservan 1024 ha
La innovación tecnológica de Asoheca significa modificaciones a los procesos en planta y actualización del protocolo de producción de caucho con viscosidad controlada; por ello, se hicieron obras de infraestructura como piletas para el manejo del látex y la adquisición de equipos especializados.
Adicionalmente, se llevaron a cabo ajustes tecnológicos en la planta de secado y se implementaron buenas prácticas agropecuarias en las plantaciones para obtener látex de excelente calidad, como materia prima para la producción del caucho con viscosidad controlada.
Ochenta y dos productores de caucho en Caquetá y 33 en Putumayo recibieron asistencia técnica por parte de extensionistas agroambientales de Visión Amazonía, esto para convertir su sistema productivo y su finca en un modelo de finca amazónica que respeta y convive con el bosque en pie, por lo que han firmado acuerdos de conservación de 1024 hectáreas.
Este proyecto, implementado por Cenicaucho, culmina con un acuerdo comercial entre Asoheca y Automundial, que superó las expectativas de los productores caucheros, toda vez que el valor del kilo de caucho ha mejorado las condiciones del precio y una estabilidad de mercado y, por consiguiente, el valor del caucho de viscosidad controlada también alcanza un mayor precio, lo que se refleja en la economía de cada familia productora en Caquetá, ratificando una vez más que es posible producir conservando y conservar produciendo.
Visión Amazonía es el programa del Minambiente que trabaja por la reducción de la deforestación en la Amazonía y que promueve un modelo de desarrollo forestal sostenible. Surgió gracias a la cooperación internacional de Noruega, Alemania y Reino Unido. / Feb. 19, 2022. (Fotografía Oficial Ministerio de Ambiente y Desarrollo Sostenible / Emilio Aparicio Rodríguez).
Esta fotografía oficial del Oficial Ministerio de Ambiente y Desarrollo Sostenible está disponible sólo para ser publicada por las organizaciones de noticias, medios nacionales e internacionales y/o para uso personal de impresión por el sujeto de la fotografía. La fotografía no puede ser alterada digitalmente o manipularse de ninguna manera, y tampoco puede usarse en materiales comerciales o políticos, anuncios, correos electrónicos, productos o promociones que de cualquier manera sugieran aprobación por parte del Ministerio de Ambiente y Desarrollo Sostenible.
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Besouros coloridos, provávelmente Pelidnota sumptuosa, um representante bonito da subfamília Rutelinae (Scarabaeidae), comendo uma fruta, Estação de Uberlândia MG
14-XI-2011
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"La LNI s'attaque aux classiques"
Photo issue d'une représentation de novembre 2017, à ESPACE LIBRE (Montréal, QC).
DRAMATURGE EXPLORÉ :
William Shakespeare
INTERPRÈTES : Sophie Caron, Pier-Luc Funk, Florence Longpré
ANIMATEURS-DRAMATURGES: Alexandre Cadieux, François-Étienne Paré
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SUR LA PHOTO :
François-Étienne Paré, Sophie Caron, Florence Longpré, Pier-Luc Funk
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PHOTOS Pascale Gauthier-D. © Théâtre de la LNI
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Un concept innovateur et spectaculaire créé à Espace Libre en 2015, un spectacle audacieux, à la fois enrichissant et ludique, alliant mise à l’épreuve et créativité...
En résumé, chaque représentation met en lumière un artiste majeur de la dramaturgie par une formule en deux temps. D'abord, rencontre avec l'univers de l'auteur : Alexandre Cadieux place l'oeuvre dans son contexte, la décortique et invite les comédien·ne·s à en expérimenter les paramètres par de brèves improvisations. Puis, l'ultime défi : accompagnée d'une trame sonore créée en direct par un musicien ainsi que d'éclairages improvisés, l'équipe doit plonger dans une création spontanée d'une vingtaine de minutes dans le plus grand respect de l'oeuvre explorée, au point où le public aura l'impression de découvrir une pièce perdue, et retrouvée !
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Série de spectacles présentées à ESPACE LIBRE, 28 novembre au 9 décembre
MISE EN SCÈNE
François-Étienne Paré
IDÉATION
François-Étienne Paré,
Étienne St-Laurent
ANIMATION ET DRAMATURGIE
François-Étienne Paré et
Alexandre Cadieux
INTERPRÉTATION
Sophie Caron, Pier‑Luc Funk, Florence Longpré, Jean‑François Aubé, Johanne Lapierre, Marie EVE Morency, Réal Bossé, Suzie Bouchard, Diane Lefrançois, LeLouis Courchesne, Joëlle Paré-Beaulieu, Brigitte Soucy, Salomé Corbo, Amélie Geoffroy, Mathieu Lepage
DIRECTION MUSICALE
Éric Desranleau
ÉCLAIRAGES IMPROVISÉS
Maxime Clermont-M.
PRODUCTION
Théâtre de la Ligue
Nationale d’Improvisation,
en codiffusion avec
Espace Libre
DRAMATURGES / COURANTS DRAMATURGIQUES EXPLORÉS :
Shakespeare, Molière, Ionesco, Sarah Kane, Robert Lepage, Michel Tremblay, Wajdi Mouawad, Carole Fréchette, Larry Tremblay, Michel Marc Bouchard, Commedia dell’arte
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