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RE-design VALUE (week2)
9th > 13th May
Workshop: Customer Definition & Customer Experience
9th May (Monday) > Value Creation
With:
João Casaca > Senior Product Designer at Bliss Applications
Luis Fernando Correa
Asesor Previsional
ASESORIA PREVISIONAL PARA PENSIONARSE MEJOR
Reunión previsiona inicial
Al entrevistarme con una persona que quiere jubilarse, generalmente me preguntan
si trabajo para alguna compañía de seguros o AFP.
Al aclarar el tema me dicen que han preferido llamar a un asesor previsional,
porque no tienen idea del tema jubilaciones y han pensado que es mejor asesorarse
para ver lo que le conviene más.
La figura del asesor previsional es independiente, libre de conflictos de interés
y su misión es asesorar integralmente a cada persona que le toca asesorar para
pensionarlo de la mejor forma posible de acuerdo a sus circunstancias e intereses.
Con un contrato, más un poder que se emite en el sitio Web de la Superintendencia
de Pensiones que firmamos juntos ante notario, un asesor previsional está capacitado
para gestionar todo el tramite jubilación a una persona que se quiere jubilar
y conseguirle una mejor pensión que la persona que hace el trámite solo. "Pastelero
a tus pasteles"
Lo que conviene más
Los partícipes del sistema previsional, o las personas o entidades que están
autorizados para hacer trámites de pensión son tres, las AFP, las compañías
de seguros (con sus agentes) y los asesores previsionales inscritos en el registro
que llevan en conjunto la Superintendencia de Pensiones y la Superintendencia
de Valores y Seguros.
La intermediación o comercialización de sistema previsional, ha sido regulada
por la ley de tal manera que exclusivamente el asesor previsional está en condiciones
de entregar toda la información necesaria, útil y vinculante de las modalidades
claves del sistema de pensiones, es decir participar activamente facultado
por la ley para asesorar y eventualmente intermediar, cuando el afiliado voluntariamente
lo decida, ya sea el contrato de renta vitalicia que es una modalidad de pensión,
el retiro programado que es otra modalidad de pensión, o una combinación de
estas.
Acorde a los resultados de la prueba de actualización de conocimientos que
cada 5 años debemos rendir los asesores previsionales, indican que tenemos
más o menos la misma competencia con diferencia de matices, ya que cada asesor
es diferente.
A quien usted elija como su asesor previsional dependerá de su afinidad y confianza
con la persona que lo va a orientar y aconsejar para finalmente pensionarse
lo mejor posible.
Para tomar contacto con este asesor previsional y comenzar a aclarar sus dudas
para su futura jubilación busque en Google de Chile por: que me conviene para
jubilarme.
Muchas gracias.
Copyright Luis Fernando Correa Rosado 2015. All rights reserved. Teléfonos
+569 93402000 y 224945500 Email: luisfdo.correa@vtr.net * No pierda este dato.
* Removibles lfcr_@vtr.net
The dominant element of art is Value because of the dark values of the trees, fence, pole and powerlines and the light value of the sun. The principle is movement because my eye is drawn toward the sun and then moves to the trees on the left then to the bottom to the fence and pole.
Value as target. Investing in the future.
8th of June 11:00AM-12:30PM
Concept of values and its meaning for life of societies, organizations and individuals; values as the very core of human decision‐making. How do we know our values? Transformation of values in today’s world. Interaction of different value systems: how to deal with values of the Other? Values of Ukrainian society vs European values: implications for everyday decisions. Role of state in nurturing values.
Moderator: Denis Poltavets - Director of Program Development. Civil Society Development Expert: Since 2016, Program Development Director at the Aspen Institute Kyiv; since 2007, cooperated with the Aspen Ukraine Initiative as a moderator; Program Development Manager of the International Renaissance Foundation, an expert and project coordinator of the UN Development Program in Ukraine; Degree in psychiatry.
Pascal Gelien - Professor of sociology of art and politics at the Antwerp Research Institute for the Arts (Antwerp University - Belgium) where he leads the Culture Commons Quest Office (CCQO).
Nataliia Zabolotna - the founder of the Forum UKRAINIAN ID, the President of the Foundation for Humanitarian Development of Ukraine
Yevhen Hlibovitsky - Expert on long-term strategies. He is engaged in research on values and is a participant in the Nestor Expert Group (Visa for Ukraine in 2025), the Univsk Expert Group (Visa for Lviv in 2025), Dnipropetrovsk Group DYB (Strategy 2030), initiator and expert in the strategy group for Kyrgyzstan. Member of the Supervisory Board of the National Public Broadcasting Company of Ukraine.
Vakhtang Kebuladze - philosopher
a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.
The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]
Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that
the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]
In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as
a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]
The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]
Several bronze plaques commemorate elevator scenes from three major films:
In the Line of Fire,[14][15] September 1993, "Green Square" elevator
True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators
Forget Paris,[15] November 1994, "Yellow Diamond" elevator
It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.
In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).
The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]
1. the different shades of black from light to dark
2. the bench
3.the bench
4. again try to get more of the surrondings and focus a little less on the bench
This is the test film of my recently acquired Praktica IV camera. For the test, I choose the normal lens of my Asahi Pentax Spotmatic that fits perfectly to the Praktica. The lens can be used in its "Auto" mode. The diaphragm is stopped down automatically to the selected aperture value by pressing the shutter release.
The Praktica camera was loaded with a 36-exposure Fomapan Creative 200 and exposed for 160 ISO. Expositions were determined using a Minolta Autometer III with a 10° finder for selective measurements privileging the shadow areas. The weather was relatively clear (15h-16h30) giving typical exposures of 1/100s at f/8.I tested here the "high-speed" values 1/50s, 1/100s, 1/200s and 1/500s. I used the regular protective Skylight 49mm filter and the original Asahi shade hood specifically designed for the lens.
Rue Bodin, February 2, 2024
69001 Lyon
France
After exposure, the film was processed using Adox Adonal (= Agfa Rodinal) developer at dilution 1+25, 20°C for 5min.
The film was then digitized using a Sony A7 body adapted to a Minolta Auto Bellows III and a Minolta Slide Duplicator using a lens Minolta Bellow Macro Rokkor 50mm f/3.5 at a reproduction ratio of 1:1. The reproduced RAW files obtained were processed in LR prior the the final JPEG editions.
All views of the film are presented in the dedicated album either in the printing framed versions and unframed full-size jpeg accompanied by some documentary smartphone Vivio Y76 color pictures.
--------------------------------------
About the camera :
I got the camera body Praktica IV and a set of related KDH Leipzig accessories from an eBay seller near Paris, France.. The whole arrived to me on January, 31, 2024, in Lyon, France.
The Praktica IV was designed by the prestigious KW (Kamera Werk Niedersedlitz) German company in Dresden on the basis of their previous Praktica FX SLR camera's. The camera was produced first under the KW name starting from June 1959 then in the Kombinat VEB Pentacon after the merge of the company in 1960.
166.800 Praktica IV and V (6 models) were produced until January 1966. Praktica IV essentially incorporates a condenser focusing screen plus a pentaprism. Due to the Praktica FX architecture the Pentaprism looks protruding from the camera body with an unusual style. It fits lenses with M42x1 mount and the mirror has no automatic return. The shutter is made of two horizontal curtains of rubberized fabric giving 1/500s to 1/2s plus B in two registers of slow speeds (1/2s to 1/10s) and high speeds (1/25s to 1/500s). The film is advanced coupled to the shutter cocking using either the right upper button or the rapid lever underneath the body.
The Praktica IV handles the "Auto" M42 lenses with the lever for automatic iris closing upon the release. Sequentially, when pressing the shutter release button, the diaphragm closes to the indicated value, the mirror is lift-off and finally the shutter is erased at the given value. If a non-auto (manual closing) M42 is used the pushing lever could be cancelled (declutched) moving a small red button to the right in the mirror chamber.
The camera camera came without lens but with a body cap and the original ever-ready leather bag with et "Ernermann tower" Pentacon logo. This model is likely the second Praktica IV essentially the same as the initial KW one with a different front plate. The camera was likely art of a collection and is completely preserved without use marks.
The KDH Leipzig (Kurt-Dieter Huffziger Foto- und Kinozubehör) accessories set included:
-A panoramic tripod head
-A set of three extension tubes M42x1)
- A big aluminum shade hood (screw-on 49mm) for wide-angle lens.
- A M42x1 metal body cap in its original box.
- An accessory shoe fitting the the Praktica IV eye piece.
-------------------------------------
About the lens :
For the test film I equipped the Praktica IV with a normal lens from Asahi Optical Company (originally (旭光学工業株式会社, Asahi Kōgaku Kōgyō Kabushiki-Gaisha) Super-Takumar 1:1.8 f=55mm (screwing M42 mount). The lens came with my ASAHI PENTAX Spomatic SP (acquired in July 2022) camera produced in Japan from 1964 to 1971.
Brand: Suntoys
Series: N/A
Livery: Starletmotor, COSPOR, esso, S.MOTOR, YWAA, FREBIRD, Morris Grace, #88
Scale: 1/64
Base: Black plastic -
Collector/casting number: 8106
Country of manufacture: China
Place/date of purchase: Value Village 2022
Condition: Light play ware 9/10
Remarks/comments:
For a photo walk along the Rhône banks, Lyon, France, I took again my Praktica IV camera but equipped this time with a Helios-44M lens :2 f=58mm, the normal lens of my Zenit 122 camera.
With the Helios-44M-6 lens, the diaphragm is stopped down automatically to the selected aperture value by pressing the shutter release but there is no auto/manual selection possible from the lens. For all the views the lens was equipped with a yellow screw-on 52mm filter assuming a coefficient of x2. The lens was also equipped with generic modern cylindric shade hood.
The Praktica camera was loaded with a 36-exposure Ilford HP5+ and exposed for 200 ISO instead of 400 to compensate the yellow filter absorption. Expositions were determined using a Minolta Autometer III with a 10° finder for selective measurements privileging the shadow areas. The weather was relatively cloudy (13h30-16h30) giving typical exposures of 1/100s at f/8.
February 6, 2024
69002 Lyon
France
After exposure, the film was processed using Adox Adonal (= Agfa Rodinal) developer at dilution 1+25, 20°C for 6min.
The film was then digitized using a Sony A7 body adapted to a Minolta Auto Bellows III and a Minolta Slide Duplicator using a lens Minolta Bellow Macro Rokkor 50mm f/3.5 at a reproduction ratio of 1:1. The reproduced RAW files obtained were processed in LR prior the the final JPEG editions.
All views of the film are presented in the dedicated album either in the printing framed versions and unframed full-size jpeg accompanied by some documentary smartphone Vivio Y76 color pictures.
--------------------------------------
About the camera :
I got the camera body Praktica IV and a set of related KDH Leipzig accessories from an eBay seller near Paris, France.. The whole arrived to me on January, 31, 2024, in Lyon, France.
The Praktica IV was designed by the prestigious KW (Kamera Werk Niedersedlitz) German company in Dresden on the basis of their previous Praktica FX SLR camera's. The camera was produced first under the KW name starting from June 1959 then within the Kombinat VEB Pentacon after the merge of the company in 1960.
166.800 Praktica IV and V (6 models) were produced until January 1966. Praktica IV essentially incorporates a condenser focusing screen plus a pentaprism. Due to the Praktica FX architecture the Pentaprism looks protruding from the camera body with an unusual style. It fits lenses with M42x1 mount and the mirror has no automatic return. The shutter is made of two horizontal curtains of rubberized fabric giving 1/500s to 1/2s plus B in two registers of slow speeds (1/2s to 1/10s) and high speeds (1/25s to 1/500s). The film is advanced coupled to the shutter cocking using either the right upper button or the rapid lever underneath the body.
The Praktica IV handles the "Auto" M42 lenses with the lever for automatic iris closing upon the release. Sequentially, when pressing the shutter release button, the diaphragm closes to the indicated value, the mirror is lift-off and finally the shutter is erased at the given value. If a non-auto (manual closing) M42 is used the pushing lever could be cancelled (declutched) moving a small red button to the right in the mirror chamber.
The camera camera came without lens but with a body cap and the original ever-ready leather bag with et "Ernermann tower" Pentacon logo. This model is likely the second Praktica IV essentially the same as the initial KW one with a different front plate. The camera was likely art of a collection and is completely preserved without use marks.
The KDH Leipzig (Kurt-Dieter Huffziger Foto- und Kinozubehör) accessories set included:
-A panoramic tripod head
-A set of three extension tubes M42x1)
- A big aluminum shade hood (screw-on 49mm) for wide-angle lens.
- A M42x1 metal body cap in its original box.
- An accessory shoe fitting the the Praktica IV eye piece.
-------------------------------------
About the lens :
The normal lens fitted on the camera using the M42 mount is the multi-coated version 6 of the Helios 44M manufactured at Юпитер, (Оптико-механический завод «Юпитер» , "Jupiter") Valday, Novgorod region. Helios-44 lens directly derived from the Carl Zeiss Jena Biotar lens 1:2 f=58mm.
It came with my Zenit-122 that was produced in 1994 by the Russian company KMZ (Красногорский механический завод, Krasnogorskiy Mechanicheskiy Zavod) located in the Moscow region. Zenit-122 were also manufactured by BelOMO factory. From 1990 to 2005, about 2 millions of Zenit-122 were overall produced. The camera is built on the tough previous Zenit chassis and uses the same curtain Leica-type shutter with no slow speeds. The body is cased with ABS (Acrylonitrile Butadiene Styren) thermoplastic. Zenit-122 is equipped with a two CdS cells for light metering (25-400 ISO) using a LED indicator in the viewfinder.
RE-design VALUE (week2)
9th > 13th May
Workshop: Customer Definition & Customer Experience
9th May (Monday) > Value Creation
With:
João Casaca > Senior Product Designer at Bliss Applications
no added artificial preservatives, flavors or colors
nitrate free meat
real cheddar cheese
organic wheat crackers
Feel free to use this picture. Please credit it to Fresh & Easy
Value as target. Investing in the future.
8th of June 11:00AM-12:30PM
Concept of values and its meaning for life of societies, organizations and individuals; values as the very core of human decision‐making. How do we know our values? Transformation of values in today’s world. Interaction of different value systems: how to deal with values of the Other? Values of Ukrainian society vs European values: implications for everyday decisions. Role of state in nurturing values.
Moderator: Denis Poltavets - Director of Program Development. Civil Society Development Expert: Since 2016, Program Development Director at the Aspen Institute Kyiv; since 2007, cooperated with the Aspen Ukraine Initiative as a moderator; Program Development Manager of the International Renaissance Foundation, an expert and project coordinator of the UN Development Program in Ukraine; Degree in psychiatry.
Pascal Gelien - Professor of sociology of art and politics at the Antwerp Research Institute for the Arts (Antwerp University - Belgium) where he leads the Culture Commons Quest Office (CCQO).
Nataliia Zabolotna - the founder of the Forum UKRAINIAN ID, the President of the Foundation for Humanitarian Development of Ukraine
Yevhen Hlibovitsky - Expert on long-term strategies. He is engaged in research on values and is a participant in the Nestor Expert Group (Visa for Ukraine in 2025), the Univsk Expert Group (Visa for Lviv in 2025), Dnipropetrovsk Group DYB (Strategy 2030), initiator and expert in the strategy group for Kyrgyzstan. Member of the Supervisory Board of the National Public Broadcasting Company of Ukraine.
Vakhtang Kebuladze - philosopher
St Patricks Day Monday Pint of Greene King IPA Indian Pale Ale Beer Alc. 3.4% vol. Excellent Value @ £1.79 per pint at The Masque Haunt Wetherspoon English Pub Old Street Shoreditch London.
Screen capture of banner top-of-page graphic on FOX Nation as of 4/21 at 8:00 pm. Link to current version below:
Is this FOX family values? Speculating who is a bitch on a public website? Would ABC, CBS, NBC sites publish that headline?
The pop of yellow alongside the grey, eerie background is a great portrayal of value, and makes a very visually interesting photo.
A place of fertile soil, traditional values and simple pleasure. And in Dyersville, Iowa, at the century-old Lansing family farm with its quaint, and oh so recognizable house, baseball still ranks as a favorite pastime for all ages. What better place to carve a baseball diamond from a corn field and to make a movie about pursuing one’s dream, no matter how much effort it takes?
Field of Dreams, released in 1989, is a movie that has inspired millions and became an Academy Award nominee for “Best Picture of the Year.” Welcome to this home, this farm, this baseball field, this little piece of heaven on earth. Welcome to this place where reality mixes with fantasy and dreams can come true.
The requiem
There was a monstrous cataclysm in 1990s in our country - the USSR had crushed. The most terrible thing was not a change power or economic course, but a destruction ideological value, which had been felling with meaning life of several generations for many years. These values organized a society and were guidelines for aspirations and progress of each person in the USSR. Their sharp destruction without new ideology in exchange has led to a break in self-consciousness of people.
It is a series about the people who remained in their time. They communicate with this time, materializing it in their own consciousness.
They are incapable to escape from the past and don’t want. Perception of the reality passes through a prism created by consciousness on the basis of last ideological values. Such perception lead to monstrous distortions, therefore the reality excites a horror and a going away from it towards the past.
The main hero of the series – my grandmother. The most part of her conscious life she had lived in the USSR. She had been hardly living ruins of 90s, but the time went and it seemed that she had reconciled. However, reconciliation was only external, it was absent inside (it wasn’t inside). The older she grew the more difficult it was to hide the internal contradictions that were born because of the rejection of reality and herself in it.
The second hero is the bust of Lenin. Lenin embodies ideological field of past values.
The third hero – the reality.
The whole of series is built on the collisions of the heroes and on their interrelations. And in addition on interpretation of the reality of heroes, one of them falls out of it periodically. There is a struggle for what indeed is a reality and who exists in it really.