Thursday, September 30, 2010
Wednesday, September 29, 2010
HUNAGI's contribution to the Jacob Fleming Event "Geospatial Intelligence Summit"
HUNAGI SG delivered a presentation and will co-chair (with ESA representative) the roundtable discussion devoted to the involvement of the citizen (voluntary geospatial data collection)
KIKOSI NI HIKI SIJABADILI KITU
kocha mkuu wa timu ya soka ya tanzania jan b polusen ameweka waizn kikosi kitakacho ingia kambini kesho huku baadhi ya wachezaji wakiongezwa akiwemo kipa wa majimaji ya said mohamed
ammbacho atachuja na kubakiza kumi nane siku ya jumanne
SHABAN KADO,JUMA KASEJA, SAID MOHAMED HAO NI MAKIPA CB AGGREY MORIS,ERASTO NYONI,NDIRI HAROUB, SHADRAK NSAJIGWA,HARUNA SHAMTE SALMIN KASIM, STEPHANO MWASIKA, MD HENRY JOSEPH,SHABAN NDITI, NURDIN BAKARI, JABIRI AZIZ SELEMAN KASSIM, IDRISA RAJABU ,SALUM MCHAKU,STKER, DAANY MRWANDA,MOHAMED BANKA, JONH BOKO MUSA HASAN MGOSI,
Tuesday, September 28, 2010
Roanoke Times Editorial Political Pabulum and Bias
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Roanoke Times, 9-28-10, Pg 5: U.S. seeks to monitor social media
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What a gross editorial minimizing of the significance of Obama demanding internet media programs must provide a gateway for government access and monitoring.
What happened to the editorial diatribes about first amendment rights and the thrashing of the constitution when Bush utilized the Patriot Act for telephone surveillance of foreign terrorists calling into the US?
http://roanokeslant.blogspot.com/2010/06/yet-more-gross-roanoke-times-aclu.html
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http://roanokeslant.blogspot.com/2007/08/democrats-spying-on-you.html
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Roanoke Times, 9-27-10, Pg 1 & 14: Road money, VDOT’s audit turned up a pot, but not enough to carry Virginia into the future. Found money is the most fun to spend.
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What a sugar-coated view of this situation that was meant to cover-up the malfeasance of two Democrat administrations and the hundreds of square feet of Roanoke Times print lamenting and bashing the Republicans for not wanting to raise additional taxes for VDOT projects.
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The Roanoke Times Editors didn’t even have the intellectual honestly to print the amount (almost $1 billion) that was found by audits initiated by Republican Gov. McDonnell; instead they labeled it a “potful”.
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VirginiaBsiness.com: VDOT audit finds almost $1 billion in unspent funds
http://www.virginiabusiness.com/index.php/news/article/vdot-audit-finds-almost-1-billion-in-unspent-funds/
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These are yet more examples of the published intellectual bias and slant of the Roanoke Times Editors that disqualifies them as a valid newspaper organization and relegates them to yet another of the Democrat party’s media outlets.
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Some prior blog items:
http://roanokeslant.blogspot.com/2010/01/roanoke-times-convulses-at-power.html
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http://roanokeslant.blogspot.com/2009/09/get-roanoke-times-for-latest-political.html
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Roanoke Times, 9-28-10, Pg 5: U.S. seeks to monitor social media
-
What a gross editorial minimizing of the significance of Obama demanding internet media programs must provide a gateway for government access and monitoring.
What happened to the editorial diatribes about first amendment rights and the thrashing of the constitution when Bush utilized the Patriot Act for telephone surveillance of foreign terrorists calling into the US?
http://roanokeslant.blogspot.com/2010/06/yet-more-gross-roanoke-times-aclu.html
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http://roanokeslant.blogspot.com/2007/08/democrats-spying-on-you.html
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Roanoke Times, 9-27-10, Pg 1 & 14: Road money, VDOT’s audit turned up a pot, but not enough to carry Virginia into the future. Found money is the most fun to spend.
-
What a sugar-coated view of this situation that was meant to cover-up the malfeasance of two Democrat administrations and the hundreds of square feet of Roanoke Times print lamenting and bashing the Republicans for not wanting to raise additional taxes for VDOT projects.
-
The Roanoke Times Editors didn’t even have the intellectual honestly to print the amount (almost $1 billion) that was found by audits initiated by Republican Gov. McDonnell; instead they labeled it a “potful”.
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VirginiaBsiness.com: VDOT audit finds almost $1 billion in unspent funds
http://www.virginiabusiness.com/index.php/news/article/vdot-audit-finds-almost-1-billion-in-unspent-funds/
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These are yet more examples of the published intellectual bias and slant of the Roanoke Times Editors that disqualifies them as a valid newspaper organization and relegates them to yet another of the Democrat party’s media outlets.
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Some prior blog items:
http://roanokeslant.blogspot.com/2010/01/roanoke-times-convulses-at-power.html
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http://roanokeslant.blogspot.com/2009/09/get-roanoke-times-for-latest-political.html
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Matthew 6:13, Pelosi & The Pseudo-BlueDogs
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Roanoke Times, 9-27-10, Pg 3: Taxes: Democrats confident of tax vote after elections.
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Lead us not into temptation, we can find it all by our selves!
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Pelosi, the wicked witch of the West (San Francisco) led the naïve newly elected pseudo-bluedogs into the swamps of massive deficits, debt and taxes with her “siren song” of socialistic populism.
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With dark clouds now gathering over the reelections of her Congressional Minions, the witch is now faced with a rebellion against her plan for a vote on massive tax increases during this prolonged jobless recession.
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Many of these Democrats are now hiding from their voting record of Cap&Tax, ObamaCare, Bailouts, TakeOvers and the Nonjob-generating trillion dollar stimulus of money we don’t have and can’t pay back.
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The Democrat election strategy has now been reduced to its lowest common denominator “class warfare”.
Let’s Tax and denigrate those nasty rich people! Down with those who have rightfully achieved financial success within the American free enterprise system. After all, the top 5% are only paying 60% of the taxes. Let’s stoke the fires of class warfare with the 50% of the people who pay no net income taxes at all. This is not a new approach, the text book on this strategy was “Das Kapital” written by Karl Mark in 1906.
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The bad news for America is that these people have massive amounts of campaign money and spin-doctors to saturate their friendly media in order to white-wash their voting records.
Hopefully the voters will see through the facade and vote them out on Nov 2nd.
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http://roanokeslant.blogspot.com/2010/09/obamas-economic-mission-accomplished.html
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http://roanokeslant.blogspot.com/2010/09/obama-hawking-class-and-race-warfare.html
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Roanoke Times, 9-27-10, Pg 3: Taxes: Democrats confident of tax vote after elections.
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Lead us not into temptation, we can find it all by our selves!
-
Pelosi, the wicked witch of the West (San Francisco) led the naïve newly elected pseudo-bluedogs into the swamps of massive deficits, debt and taxes with her “siren song” of socialistic populism.
-
With dark clouds now gathering over the reelections of her Congressional Minions, the witch is now faced with a rebellion against her plan for a vote on massive tax increases during this prolonged jobless recession.
-
Many of these Democrats are now hiding from their voting record of Cap&Tax, ObamaCare, Bailouts, TakeOvers and the Nonjob-generating trillion dollar stimulus of money we don’t have and can’t pay back.
-
The Democrat election strategy has now been reduced to its lowest common denominator “class warfare”.
Let’s Tax and denigrate those nasty rich people! Down with those who have rightfully achieved financial success within the American free enterprise system. After all, the top 5% are only paying 60% of the taxes. Let’s stoke the fires of class warfare with the 50% of the people who pay no net income taxes at all. This is not a new approach, the text book on this strategy was “Das Kapital” written by Karl Mark in 1906.
-
The bad news for America is that these people have massive amounts of campaign money and spin-doctors to saturate their friendly media in order to white-wash their voting records.
Hopefully the voters will see through the facade and vote them out on Nov 2nd.
-
http://roanokeslant.blogspot.com/2010/09/obamas-economic-mission-accomplished.html
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http://roanokeslant.blogspot.com/2010/09/obama-hawking-class-and-race-warfare.html
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'PRIMEIRA E ULTIMA, NOTAS SOBRE O MONUMENTO' CURATED BY RODRIGO MOURA AT LUISA STRINA IN SAO PAULO
Alexandre da Cunha (both concrete sculptures), Bernardo Ortiz (wall drawings)
Pedro Reyes (table), Mauro Restiffe (left photograph), Claudia Andujar (right photographs)
Erika Verzutti (starfruits sculpture), Giuseppe Gabellone (left photographs), Matheus Rocha Pitta (gray sculpture), Marcius Galan (far back sculpture), Robert Kinmont (right photographs)
Alexandre da Cunha (both concrete sculptures), Bernardo Ortiz (wall drawings), Jonathas de Andrade (right photographs), Gabriel Sierra (railing)
Laura Lima (long black hat), Marta Minujin (left wall), Gabriel Sierra (black railing), Claudia Andujar (right photographs)
Pedro Reyes (table), Cildo Meireles (right photographs), Gabriel Sierra (black railing)
Gabriel Sierra (black railing), Jonathas de Andrade (photographs)
Lorenzato (paintings)
Galeria Luisa Strina is pleased to invite you to the opening of
'Primeira e última, Notas sobre o monumento',
19 September 2010, from 12PM to 5PM.
This will be the first exhibition in the gallery’s new space, at Rua Padre João Manuel, 755, and the last at Rua Oscar Freire, 502, where it functioned for the past 36 years.
Curated by Rodrigo Moura
Alain Resnais & Chris Marker, Alexandre da Cunha, Bernardo Ortíz, Carlos Garaicoa, Cildo Meireles, Claudia Andujar, Deimantas Narkevicius, Erika Verzutti, Gabriel Sierra, Giuseppe Gabellone, Hitoshi Nomura, Jonathas de Andrade, Laura Lima, Lorenzato, Lygia Clark, Marcius Galan, Marta Minujín, Matheus Rocha Pitta, Matías Duville, Mauro Restiffe, Pedro Motta, Pedro Reyes, Robert Kinmont e Tonico Lemos Auad.
20 Sept. – 17 Dec. 2010
Primeira e última, Notas sobre o monumento
First and last, Notes on the monument
Rodrigo Moura
The history of the monument is inextricably linked with the history of sculpture. It is also part and parcel with the history of the winner. In their criticism of these relations, the artists have constructed some of the most interesting works in the last 50 years.
This exhibition is not interested in proposals for new monuments per se, but in the critical reading that the artists have been making of sculpture and of the monument. Artist Marta Minujín, who pioneered the work of deconstructing iconic monuments beginning in the 1970s, presented her Obelisco deitado [Reclining Obelisk] at the First Bienal Latino-Americana (São Paulo, 1978) stripping away the verticality and solidity from the monument’s archetypical image. More than 30 years later, the same image reemerged in the work of Tonico Lemos Auad, but here without the materiality of the object and in the transformation of the terrace of a gallery into a grassy field.
Primeira e última, Notas sobre o monumento [First and last, Notes on the monument] marks the transition between the historic space where Galeria Luisa Strina operated for more than three decades and its new installations, now being inaugurated. It thus proposes an homage to the gallery’s past, while also pointing to its future – in this temporal movement that is characteristic of the monument’s construction.
Modern sculpture saw the incorporation of the pedestal as part of the work itself, opening the way for sculpture’s nomadic condition. The base is the world. This principle appears in Erika Verzutti’s infinite column, a mention to Brancusi and made of starfruits. Other artists are interested in using the pedestal itself as a sculptural body to be investigated, as Marcius Galan is doing in his work in progress.
As could not be otherwise, sculpture plays a central part in this exhibition: Gabriel Sierra has created a work that occupies virtually all of the gallery’s new space, proposing a kind of urbanism for it, a path-design within the curatorial project; Alexandre da Cunha has revisited the concrete monument on the basis of appropriation, collage and re-signification of urban fixtures; Pedro Reyes’s sculpture proposes an effort of construction aimed at destruction – circularly – as in the myth of Sisyphus.
In the work by Giuseppe Gabellone, the sculpture appears exclusively for the camera: once it is photographed, it will be destroyed, its materiality remaining only in the image. Matheus Rocha Pitta’s proposal would be inglorious, were it not ironic: remaking the Wall of China, out of paper and in miniature scale. The works by Carlos Garaicoa are small sculptures in paper where the old and the new (not so new) come together and clash. Laura Lima has created an inverted pedestal, a space to be “worn” by the spectator, a gala article of clothing for the inauguration.
Robert Kinmont, a yet little-known historic artist, presents a series of photographs documenting an action carried out in 1967, where the body is overlaid to the landscape in shots of verticality and concentration, a solitary monument. In Tardiology (1968—69), Hitoshi Nomura investigates the decadence of the monument, induced by the passage of time and the elements, in an act that orchestrates sculpture, performance and photography.
Bernardo Ortiz works with drawing on the border between facsimile and the document, bringing together series that allude to a stroll through the city, but also an analysis between real space and abstraction. In the drawing of Matías Duville, we see what is nearly a representation of land art: a negative, entropic space, between construction and the ruin, between the natural landscape and that created by man.
The work by Claudia Andujar, one of the most active photographers over the last 50 years in Brazil, functions within the exhibition as a kind of connecting thread: aerial images of São Paulo that show the city from a certain distance, transforming it into a deceptive reality; images of a deserted (post-apocalyptic? still under construction?) Brasília that we hardly recognize, consisting mainly of land and sky; the photo of a Yanomami funeral rite.
Amadeo Luciano Lorenzato witnessed the 20th century discreetly from his open-air studio in the outskirts of Belo Horizonte. A nearly invisible artist in the history of Brazilian art, he is fundamental for the construction of this exhibition. His paintings portray an imaginary Brasília; a housing complex in the suburbs (for the minimalists, a reinvention of the monument); paired sculptures by Amílcar de Castro and Franz Weissmann; an automobile cemetery. Monuments captured from a distance.
Photography appears recurrently in the exhibition, whether in the documentation of anonymous roadside monuments in the work by Pedro Motta, or to compose narratives of great events in history, as in the image by Mauro Restiffe of Obama’s emblematic inauguration ceremony; or in less great historical developments, such as the semi-abandoned modernist building depicted in the work by Jonathas de Andrade.
The photographic documentation of the work Tiradentes: Totem-monumento ao preso politico [Tiradentes: Totem-monument to the political prisoner] (1970) by Cildo Meireles refers to a crucial moment in art history, where the artist leaves the institution to make a monument consisting of an ephemeral action with a long-term impact: the burning of animals. A brutal criticism of the Brazilian military regime and its practice of arresting and imprisoning those who opposed it.
The video by Deimantas Narkevicius revisits the history of the 20th century, reinstating it as a farce. We see the taking down of a statue of Lenin, in Vilnius, which in the edited video looks like it were being seen for the first time, rather than the last.
There is moreover a discrete homage to Lygia Clark, an artist who brought about an indelible revolution in our notion of space, by the inclusion of one of her Bichos [Animals], transforming the gallery’s office into an exhibition space.
Les statues meurent aussi [Statues also die, 1953] a milestone in the genre of film essays, co-directed by Alain Resnais and Chris Marker, is a manifesto against colonizers' appropriation of African art, a symbolic death of the statues.
The hypothesis of this exhibition is that the monument is an attempt to forestall the passage of time and forgetfulness and, in the last analysis, our own disappearance – in this sense, the monument would be almost a metaphor of the artwork. There is also something erotic in this desire for permanence after death. But this same desire points to the possibility of an imminent end, either as a transformation or as ruin. For every beginning there is an end.
GALERIA LUISA STRINA
Rua Oscar Freire 502, Cerqueira César, 01426-000 - São Paulo SP, Brasil, T 55 11 3088 2471
Rua Padre João Manuel 755, Cerqueira César, 01411-001 - São Paulo SP, Brasil
Visiting hours: Monday to Friday, from 10AM to 7PM; Saturdays from 10AM to 5PM
info@galerialuisastrina.com.br
www.galerialuisastrina.com.br
Monday, September 27, 2010
WHAT WAS AN ELECTORAL CAMPAIGN DOING INSIDE THE SAO PAULO BIENAL? THE CENSORSHIP OF ROBERTO JACOBY AND THE BRIGADA INTERNACIONAL'S PARTICIPATION
work after censored
Brigada Internacional from Argentina participating in the Bienal supporting Dilma, the presidential candidate of the PT
censored video
visit http://brigadainternacionalargentina.blogspot.com/
visti the 29 Sao Paulo Bienal website
Sao Paulo is Burning: The Spectre of Politics at the Biennal
"The 29th Sao Paulo Biennial is anchored in the idea that it is impossible to separate art and politics." In view of the events of the past 48 hours, there are serious reasons to doubt the honesty of this statement.
The work that is shaping up to become the most interesting at the Sao Paulo Biennial has not been made by any artist, but by the institution itself, when it issued the order to cover some imposing panels with plain paper, to prevent visitors from seeing two large photographs: the friendly, attractive face of Dilma Rousseff opposite the sour expression of José Serra, her Social Democratic rival in Brazil’s presidential elections.
The Argentinean artist Roberto Jacoby’s work for the biennial consisted of socialising his space and allowing it to be managed by the Argentinean Brigade for Dilma, which openly proceeded to spread propaganda in favour of the Workers’ Party (PT) candidate as Lula’s successor, choosing to be part of an exceptional historic moment of unity, solidarity, redistribution and democracy that is opening up in Latin America.
According to the – not very convincing – justification that has been issued by the Sao Paulo Biennial Foundation, a report by the Electoral Attorney General’s office has decreed that the work qualifies as an “electoral offense” in that breaks the law that prohibits the “transmission of propaganda of any nature” in spaces that are run by public authorities. However, the Biennial itself had contacted the legal authorities in the first place to report the work that they had invited.
In a statement to the press, one of the curators of the Biennial, Agnaldo Farias, declared that “we can not contest the court ruling, because we even run the risk of going to jail. If we had known in advance that the work dealt with Dilma, we would have warned the artist, because we’d have known there would be problems.” The curators’ arguments that they had been “taken unawares” by the evolution of the work does not stand up to scrutiny, given that the censured photograph is included in the Biennial’s catalogue and web site.
The only possible response to this cowardly statement is a question: what does an established art curator think he is asking for when he invokes the word “politics”? Aside from this specific case, it is not unusual to see curatorial projects that use the link between “art and politics” to exhibit documentary cemeteries or portraits of faraway strange or poor people. Jacoby’s political artwork at this Biennial effectively opposes the disempowerment of political art that is currently exercised in the institutional mainstream.
So what happens when an artist is serious about the need to turn an artistic space into a public space, in order to generate political confrontation – rather than false consensus – in real time, and in the very belly of the art system? El alma nunca piensa sin imagen / The soul never thinks without images – which is the title of the work – does not just consist of electoral propaganda in favour of Dilma: the section of the exhibition allocated to Jacoby was also transformed into a machine for producing antagonism between different opinions, taking sides and forcing the art establishment to become involved in a discussion on the verifiable fact that, today, in a geopolitical space like Latin America, there is more experimentation, more creativity and – ultimately – more hope in the realm of politics – from institutions to social movements – than in the contemporary art system.
Jacoby is participating in the Biennial on two counts, given that he is also part of the collective of artists, sociologists and militants from several Argentinean cities who produced the historic exhibition Tucumán Arde (Tucumán is Burning) in 1968, a project that is mistakenly documented on the Biennial web site – and this is a serious and telling symptom – as a work by the Grupo de Arte de Vanguardia of the city of Rosario. Tucumán Arde was closed down at the labour union headquarters in Buenos Aires, due to pressure from the army during the dictatorship of General Onganía: its provocation consisted in overflowing the art system in order to embrace the social protest against the existing system. The other way round, El alma nunca piensa sin imagen seems to have been censured for having brought into the centre of the art system an activity in favour of a non-artistic process that takes place in the political institution. The Argentinean Brigade for Dilma exhibits it as something much more real – in that it is more imperfect and ultimately complex – than the immaculate halo that usually surrounds the word “politics” in curatorial texts.
Buenos Aires / Sao Paulo, September 23rd , 2010
To publicly support this declaration, email:
elalmanuncapiensasinimagen@gmail.com
Please support, distribute, and publish in your blogs.
Members of the Argentinean Brigade for Dilma:
Adriana Minoliti, Alejandro Ros, Ana Longoni, Alina Perkins, Cecilia Sainz, Cecilia Szalkowicz, Daniel Joglar, Fernanda Laguna, Francisco Garamona, Florencia Hipolitti, Paula Bugni, Hernán Paganini, Javier Barilaro, José Fernández Vega, Julia Ramírez, Kiwi Sainz, Laura Escobar, Lidia Aufgang, Lucas Rubinich, Mariano Andrade, Mariela Scafati, Mariela Bond, María Granillo, Nacho Marciano, Roberto Jacoby, Santiago Villanueva, Syd Krochmalny, Tomás Espina, Víctor Florido, Victoria Colmegna.
Supporting this declaration (updated: 25/9/2010)
Marcelo Expósito (Barcelona/Buenos Aires), Gachi Hasper (Buenos Aires), Diana Aisenberg (Buenos Aires), Cecilia Sainz (Buenos Aires), Federico Geller (Buenos Aires), Helena Chávez (México), Fernanda Nogueira (Sao Paulo), Miguel López (Lima), Francisco Reyes Palma (México), Marina de Caro (Buenos Aires), Octaviano Moniz Barreto (Bahia), Damián Ríos, Inés Patricio (Rio de Janeiro), Hugo Salas, Guadalupe Maradei (Buenos Aires), Federico Brollo (Buenos Aires), Hugo Vidal (Buenos Aires), Leo Ramos (Resistencia), Ramiro Larraín (Buenos Aires), Inés Martino (Rosario), Compartiendo Capital (Rosario), David Gutiérrez Castañeda (México/Bogotá), Hernán Rodolfo Ulm (Argentina), Beba Eguía (Buenos Aires), Ricardo Piglia (Buenos Aires), Mariana Serbent (Mendoza), Laura García Hernàndez, Magdalena Jitrik (Buenos Aires), José Curia, Leandro Katz (Buenos Aires), Adrián Pérez (Buenos Aires), Eduardo Grüner (Buenos Aires), Carolina Senmartín (Còrdoba), Mariana Botey (México), Carlos Aranda (México), Daniel Duchowney (Argentina), Aldo Ambrozio (Brasil), Carlos Banzi (Argentina), José Luis Meirás (Buenos Aires), Gabriela Nouzeilles (Princeton), Lía Colombino (Asunción), Museo del Barro (Asunción), Taller Crìtica (Asunción), Fernando Davis (Buenos Aires), William López (Bogotá), José Ignacio Otero (Buenos Aires), Leonardo Retamoso Palma (Santa María), Emilio Tarazona (Lima), Ricardo Resende (Sao Paulo), María Cristina Pérez (Rosario), Gustavo López (Bahía Blanca), Marcelo Diaz (Argentina), José Luis Tuñón (Comodoro Rivadavia), Carlos Dias (Brasil), Claudia del Río (Argentina), Juan Manuel Burgos (Còrdoba), Marcos Ferreira de Paula (Sao Paulo), Amalia Gieschen (Argentina), Suely Rolnik (Sao Paulo), Cristina Ribas (Rio de Janeiro), André Mesquita (Sao Paulo).
*****
Roberto Jacoby's Proposal for the Bienal (in spanish and portuguese):
Proyecto General
Oficina de campaña en apoyo de Dilma Rousseff
Instalación de una oficina de campaña en favor de Dilma Rousseff en la Bienal de Sao Paulo, por las elecciones presidenciales de Brasil el 3 de octubre de 2010.
Todo el espacio (unos 130 metros cuadrados) estará cubierto con afiches de la campaña del PT, banderas, carteles, volantes, camisetas, pins y pasacalles.
Habrá un escenario con micrófono y parlantes, donde se harán conferencias, palestras y el público de la Bienal podrá hablar libremente.
Se proyectará un video de Spots de opiniones a favor de la candidatura de Dilma Rousseff.
Se instalarán computadoras con wifi, impresoras, mesas de serigrafía, máquinas para fabricar pins, se producirán afiches, volantes, camisetas, jingles, y se registrará las opinones del público en diversos formatos. El público también podrá escribir cartas con sus opiniones y pegarlas en las paredes.
La Brigada Internacional Argentina de apoyo a Dilma viajará a Brasil y realizará talleres, paneles y actividades diversas durante el 20 y el 26 de Septiembre.
Se invita a artistas, intelectuales y activistas para el desarrollo de estas actividades hasta el 12 de Diciembre.
*****
Descripçao:
22 artistas e intelectuais argentinos viajam a SP para participar do projeto. Elles sempre usaram as camisetas da Brigada.
• Instalamos nos nossos 200 metros quadrados uma “unidade básica” do Partido dos Trabalhadores, de Lula para fazer campanha a favor de sua candidata Dilma Rousseff. Esta eleição é absolutamente decisiva para nossas vidas: se o Brasil cai nas mãos da direita ou seja Serra, tchau América Latina, tchau Argentina. O futuro ficará para mais adiante. Para isso esperamos contar com o apoio do PT y de activistas sociales y culturales.
No espaço haverá:
o Uma gigantografia cuja imagem adjunto no iste email.
o Um cenário (também uma caixa para guardar nossas coisas)
o Um microfone
o Duas caixas de som
o Duas luzes par 1000
o Luz ambiente com um dimmer
o Paredes com cartazes, reproduzindo uma unidade básica
o Faixas, etc.
o Mesas de trabalho, serigrafia, etc.
o Laptops com acesso à Internet
o 1 ou 2 impressoras.
o Scanner
o Um liquidificador e frutas
o E coisas necessárias que forem surgindo
• O que nós faríamos seriam oficinas, conversas, conferências, danças, técnicas gráficas, etc., relacionados com Dilma e as eleições.
• Dirigimo-nos sobretudo às pessoas jovens, estudantes e universitários que gostariam de fazer parte da campanha, mas que não estão no PT e não sabem o que e nem como fazêlo.
• Convidaremos a pessoas interessadas e aos assistentes da bienal para que se integrem a fazer as coisas, participar das palestras, ouvir as rádios, etc.
• Por exemplo: oficina de jingles ou ritmos, cartazes, broches, panfletos, fanzines, teatro de fantoches, etc.
• Tudo será feito na hora e distribuído no momento.
• Teremos um blog onde subiremos no momento as produções para que em qualquer parte do Brasil qualquer pessoa possa fazê-los. Criaremos uma red através de Factbook e Twitter.
• As atividades estarão programadas por faixa de horários para que não se sobreponham, evitando que se perturbem: por exemplo, que um orador esteja falando e que se esteja batucando ao mesmo tempo.
• Como apoio à campanha desde Argentina, faremos uma série de clips de celebridades argentinas conhecidas entre todos nós ou que sejam fáceis de contatar. Os clips se filmarão com celulares, i-pods ou blackberrys e se subirão ao blog. Também estarão num monitor na sala.
• Tudo mais
Sunday, September 26, 2010
Obama The Summary Executioner
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Roanoke Times, 9-26-10, Pg 9: White House says case involves state secrets.
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Obama has declared to the courts and the world that he has the sole and independent and unchallengeable right to target and kill American citizens throughout the world; and the Democrats, Liberals, Progressives, ACLU and their media minions stand totally mute!
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The Roanoke Times demonstrates through their editorial silence the stark hypocrisy between the liberal-progressive media coverage of Bush vs. Obama. Where is the indignant and sanctimonious outrage? Where are the threats of impeachment? Where are the lists of violations of the Constitution and due process and habeas corpus being committed by Obama?
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The Roanoke Times this week filled their paper with heartfelt sympathy and regret and apologies for the State execution of a woman convicted of the murder of her husband and stepson for money, yet these summary executions by Obama, without trial or due process, results in “the sound of silence.” What a pathetic example of politically motivated standards of justice and morality.
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Sept 24, 2010 White House Seeks to Dismiss Suit Filed for Radical Cleric
“The lawsuit filed on the cleric's behalf seeks to have a court declare that the Constitution and international law bar the government from carrying out targeted killings; seeks to block the targeted killing of al-Awlaki; and seeks to force the U.S. government to disclose the standards for determining whether U.S. citizens can be targeted for death.”
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“The Obama administration on Saturday invoked the state secrets privilege which would kill a lawsuit on behalf of U.S.-born cleric Anwar al-Awlaki, an alleged terrorist said to be targeted for death or capture under a U.S. government program.”
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“In its court papers, the Justice Department said that the issues in the case are for the executive branch of government to decide rather than the courts.”
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http://www.foxnews.com/politics/2010/09/25/white-house-seeks-dismiss-suit-filed-radical-cleric/
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Prior Item – same hypocrisy
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Dec 24, 2009 The Obama Doctrine: Summary Execution Better Than Water-Boarding
The liberals and left-wingers who have been so upset with our treatment of terrorists and Obama who just can’t close GITMO fast enough are now perfectly happy summarily killing targeted people in yet another country, Yemen! Apparently the liberals are OK with killing people without arrest, charges or legal process!
They have embraced the new Obama Doctrine: Summary Execution Better Than Water-Boarding. It’s also cheaper, simpler and lots faster.
Talk about your liberal bipolar-conflicted political, mental and ethical processes and the height of gross hypocrisy.
http://roanokeslant.blogspot.com/2009/12/obama-doctrine-summary-execution-better.html
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Roanoke Times, 9-26-10, Pg 9: White House says case involves state secrets.
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Obama has declared to the courts and the world that he has the sole and independent and unchallengeable right to target and kill American citizens throughout the world; and the Democrats, Liberals, Progressives, ACLU and their media minions stand totally mute!
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The Roanoke Times demonstrates through their editorial silence the stark hypocrisy between the liberal-progressive media coverage of Bush vs. Obama. Where is the indignant and sanctimonious outrage? Where are the threats of impeachment? Where are the lists of violations of the Constitution and due process and habeas corpus being committed by Obama?
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The Roanoke Times this week filled their paper with heartfelt sympathy and regret and apologies for the State execution of a woman convicted of the murder of her husband and stepson for money, yet these summary executions by Obama, without trial or due process, results in “the sound of silence.” What a pathetic example of politically motivated standards of justice and morality.
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Sept 24, 2010 White House Seeks to Dismiss Suit Filed for Radical Cleric
“The lawsuit filed on the cleric's behalf seeks to have a court declare that the Constitution and international law bar the government from carrying out targeted killings; seeks to block the targeted killing of al-Awlaki; and seeks to force the U.S. government to disclose the standards for determining whether U.S. citizens can be targeted for death.”
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“The Obama administration on Saturday invoked the state secrets privilege which would kill a lawsuit on behalf of U.S.-born cleric Anwar al-Awlaki, an alleged terrorist said to be targeted for death or capture under a U.S. government program.”
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“In its court papers, the Justice Department said that the issues in the case are for the executive branch of government to decide rather than the courts.”
-
http://www.foxnews.com/politics/2010/09/25/white-house-seeks-dismiss-suit-filed-radical-cleric/
-
-
Prior Item – same hypocrisy
-
Dec 24, 2009 The Obama Doctrine: Summary Execution Better Than Water-Boarding
The liberals and left-wingers who have been so upset with our treatment of terrorists and Obama who just can’t close GITMO fast enough are now perfectly happy summarily killing targeted people in yet another country, Yemen! Apparently the liberals are OK with killing people without arrest, charges or legal process!
They have embraced the new Obama Doctrine: Summary Execution Better Than Water-Boarding. It’s also cheaper, simpler and lots faster.
Talk about your liberal bipolar-conflicted political, mental and ethical processes and the height of gross hypocrisy.
http://roanokeslant.blogspot.com/2009/12/obama-doctrine-summary-execution-better.html
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HELP ELLEN CANTOR FINISH HER FILM 'PINOCHET PORN'!
DONATE HERE!
"Pinochet Porn" is a soap opera-like narrative about five children growing up during the Pinochet regime, and their subsequent maturation into adulthood. Shot on Super-8, this feature-length film is based on a 2005 hand drawn film script "Circus Lives from Hell". The story while disclosing the intertwined lives of these five characters, also reveals its nature as a microcosm of surrounding political discord, cycles of destruction, and mounting violence. It is at once tragic and comedic. Segments of a particular history are made observable through the circumstances of the lives depicted, all obliquely revolving around the Pinochet regime in Chile. Within this story, childhood fantasy is permeated by structures of annihilation, which the characters later create in their own lives as adults. The story ends with the question: Is tragedy a choice? The title refers to the complex intimate relationships of the characters; but more so, to the regime’s systematic, sadistic destruction of individual lives - policies furtively upheld by the United States, United Kingdom, and the Papacy. This film stretches across the twentieth and twenty-first centuries, extending across continents, countries, cities…. It reaches from the shtetl, the barrio, the concentration camp, into a digital age of increasing mobility and globalization. Yet, despite genuine progress, it describes a world plagued by colonialism, imperialism, fascism, and terrorism.
This no-budget film has elicited collaboration from some of the most gifted people in the field. Your support would allow us to finish our film. All proceeds will go towards film processing, transfer and telecine, film shoots and editing. Your support is essential to helping us accomplish our vision and fulfil this goal.
YOUR DONATION WILL HELP US FINISH OUR FILM!!
Directed by : Ellen Cantor
Director of Photography : John Brattin
Art Director : Jay Kinney
STARRING :
LIA GANGITANO!! - Pinochet's identical-twin daughters
Jim Fletcher - the Dictator
Andrew Haynes - the suffering Wife, the toy Boyfriend
Jay Kinney - the toy Boyfriend
Michel Auder- Husband One (he married both sisters!)
Spencer Sweeney - Husband Two (the young man)
John Thomson - Husband Three (he taught her about conceptual art...)
Ellen Cantor - Husband Four (the best friend), the Maid
Harri Kupiainen - Husband Five (the rock star!!)
Danny McDonald - Husband Six (he got her pregnant!)
Sofia Elisabeth Von Herrlich - the Baby!
Patrick Blumer - the Clown boy
Brandon Olson - the castrating man-eating demonic Girlfriend
Stephen Ward - Mambo Cha Cha (the famous DJ!)
Tristan Hughes-Freeland - Mambo Cha Cha as a child
Annabel Sexton - his little Sister
Rosalie Knox - the Nun
Jim Fletcher - the Dictator
Andrew Haynes - the suffering Wife, the toy Boyfriend
Jay Kinney - the toy Boyfriend
Michel Auder- Husband One (he married both sisters!)
Spencer Sweeney - Husband Two (the young man)
John Thomson - Husband Three (he taught her about conceptual art...)
Ellen Cantor - Husband Four (the best friend), the Maid
Harri Kupiainen - Husband Five (the rock star!!)
Danny McDonald - Husband Six (he got her pregnant!)
Sofia Elisabeth Von Herrlich - the Baby!
Patrick Blumer - the Clown boy
Brandon Olson - the castrating man-eating demonic Girlfriend
Stephen Ward - Mambo Cha Cha (the famous DJ!)
Tristan Hughes-Freeland - Mambo Cha Cha as a child
Annabel Sexton - his little Sister
Rosalie Knox - the Nun
with special guest STAR appearances:
Francesca Gangitano
Carmel McMahon
Emma Nilsson
Mateo Kamzelas
Shandi Sullivan
Ryan Harman
Malcom Hamilton
Cate Giordano
Kerry Davis
Debbi Martini
Jo Murray
Arturo Carlo Samperi Malagnino
Nuutti Kataja from Dead Combo!!
and MORE to come ...
Cerith Wyn Evans - Osha the sex guru!
Narrated by : Pablo Leon de la Barra
Assistant Editor : Simon Popper, Nikos Pantazopoulos
Camera Assistance : Cate Giordano
Copy Editor : Nikos Dimitros
Creative Production Assistance : Jill Herman
Technical Assistance : Clinton Curtis, Glen Fogel
Saturday, September 25, 2010
Latest Publication News
Regarding my latest publications:
If you have a piece published or to be published in the same issues listed below, please let me know and I will update this blog to include your name.
Please e-mail me at: pattiekake@earthlink.net or message me on Facebook. Thanks.
My essay, The Invasion of Literary Brooklyn,
My flash fiction piece, Betty,
has just been accepted for the October Rusty Typer.
And also happy to learn that Linda Lerner has work that will appear in that same issue
Gulf Coast Poems and Blood Diamond
are in First Literary Review 2010 IIi
http://rulrul.4mg.com/rich_text.html
Check out these other amazing poets listed:
Michael Ceraolo, Mitch Corber, Ted Jonathan, Diane Mofazelli, Karen Neuberg, Michael Reiss, John Todras, and Zev Torres
Scheduled Departures
has just been accepted for the Long Island Quarterly 2011.
Coming Home
will be in Lips-Number 34/35 which is scheduled for April 2011. And also happy to learn that Roxanne Hoffman and Linda Lerner have work that will appear in that same issue
HUNSPACE-HUNAGI Space Workshop in Visegrád
Awareness & Strategy Workshop for the participants
Hildemann & Partners (Germany)
Additional photo coverage:
http://picasaweb.google.com/HUNAGIalbums/SpaceWorkshopTraining?feat=directlinkAdditional photo coverage:
Infoday on selected relevant topics for SMEs
Moderator: Pál Bárczy
Gunilla Stjernevi (Procurement Office, ESA)
The European Space Agency – it's procurement process and contracting principles
Nora Bougharouat (SME Office, ESA)
ESA SME Policy and main business paths to ESA Programmes (by G.Stjernevi)
Hans Bracquené (VRI, SME4SPACE, Belgium)
SME participation in traditional ESA Member States: the case of Flanders
Edit Herczog (European Parliament member)
EU Space policy
Előd Both (Hungarian Space Office)
Opportunities in FP7 Space programme
Ferenc Dombai (OMSZ, Hungary)
Tasks in EUMETSAT
Tamás Bárczy (ADMATIS Ltd., Hungary)
Prime/subcontractor/supplier hierarchies under ESA rule
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The completed program on 23rd September 2010:
Opening session
Moderator: Judit Lafferthon
Kálmán Kovács Hungarian Space Council, chairman
Mónika Németh Ministry of National Development, director general
Pál Bárczy HUNSPACE, chairman
Mauro Salvemini EUROGI, president (his welcome address was read by request)
Gabor Remetey-Fülöpp HUNAGI, Secretary-general
HUNAGI - an interdisciplinary national GI association
HUNAGI - an interdisciplinary national GI association
GI-related business and cooperation opportunities on the European scene
Moderator: Gábor Remetey-Fülöpp
György Büttner (FÖMI, Head of Environmental Department, Hungary)
GMES Initial Operations
Ildikó Dobi (OMSZ, Hungarian Meteorology Service)
The cooperation between EUMETSAT and OMSZ
Walter Mayer (PROGIS Ltd, Austria)
Holistic AGRO-ICT – solutions considering also the integration of horizontal and vertical stakeholders
Bernard Pacher (ADCON Telemetry Ltd, Austria)
Scalable wireless sensor networks for country-wide, multi-purpose environmental data collection (presented by Walter Mayer)
Péter Hargitai (GeoAdat Ltd, Hungary)
KEO System – Integrating European Observation Solutions
János Tegzes (INFOTERRA Hungary Ltd, Hungary)
Infoterra: 10 years in GIS
Zoltán Verrasztó (Middle-Danube-Valley Inspectorate for Environmental Protection, Hungary), Dusan Kocicky (Esprit s.r.o., Slovakia), Róbert Németh (Cholnoky Nonprofit Ltd., Hungary)
Development of environmental monitoring system using GIS tools in the river Ipoly catchment area
Tamás Horváth (FÖMI, GNSS Services, Hungary)
The Hungarian GNSS reference station infrastructure – Services and applications
Gábor Bakó, Zsófia Feldhoffer (Interspect Ltd.)
Extreme large resolution imaging – its advantages and new opportunities
Thailand: Thai Banknote Expo 25-26 Sept 2010
Bank of Thailand (BOT) has organised "Thai Banknote Expo", a two day event to let public know more about history of Thai banknotes, identification of counterfeits, taking care of banknotes, etc. Commemorative banknotes issued during the last 10 years are also on sale. Public can exchange soiled banknotes as well.
On 26th there will be 300 lots of banknotes for auction. The lots are mainly made up of specimen notes and banknotes having solid serial numbers.
Many banknotes are on display following the theme "Best of Thai banknotes". Extremely rare banknotes right from the 1st series to unissued varieties are on display. The unissued notes and provisional issues are just awesome. I did not even know that some of these banknotes ever existed. They have not been reported in catalogues or numismatic websites. I will cover them next week.
Overall the expo was small but very informative. Below images show the atmosphere inside the expo.
Wenger to have £40m kitty
With Arsenal announcing record pre-tax profits of £56 million for the year ending May 31 (see below), the future looks bright from a financial perspective for the Gunners. Goal.com UK analyses the results and suggests that boss Arsene Wenger could have a whopping £40m to spend in January...
Fergie: Torres not a cheat
Manchester United manager Sir Alex Ferguson moved to correct his comments over Fernando Torres' actions during the 3-2 win against Liverpool on Sunday. The Scot denied he had suggested the Spaniard had dived to win a free-kick that Steven Gerrard levelled the scores from
Manchester United manager Sir Alex Ferguson moved to correct his comments over Fernando Torres' actions during the 3-2 win against Liverpool on Sunday. The Scot denied he had suggested the Spaniard had dived to win a free-kick that Steven Gerrard levelled the scores from
JT & Lamps not untouchable'
EXCLUSIVE: Chelsea legend Graeme Le Saux has declared that Frank Lampard and John Terry are not untouchable, insisting that Carlo Ancelotti has a selection "headache" with the form of his players. Le Saux also declared that the Champions League
EXCLUSIVE: Chelsea legend Graeme Le Saux has declared that Frank Lampard and John Terry are not untouchable, insisting that Carlo Ancelotti has a selection "headache" with the form of his players. Le Saux also declared that the Champions League
Mancini backs Chelsea for title
Manchester City boss Roberto Mancini has already conceded defeat in the Premier League title race by admitting Saturday's opponents Chelsea will win the championship "easily". Mancini spent more than £100m in the summer to compete, but seems to have acknowledged it still wasn't enough...
Manchester City boss Roberto Mancini has already conceded defeat in the Premier League title race by admitting Saturday's opponents Chelsea will win the championship "easily". Mancini spent more than £100m in the summer to compete, but seems to have acknowledged it still wasn't enough...
Friday, September 24, 2010
Leonardo Dicaprio Wallpapers
Leonardo Dicaprio wallpaperLeonardo Dicaprio pictureLeonardo Dicaprio photo
BURO DE INTERVENCIONES PUBLICAS: TIRE SWINGS IN THE PUBLIC SPACE OF GUATEMALA
The Buró de Intervenciones Públicas (Bureau of Public Interventions, BIP) is a collaborative project by Stefan Benchoam and Christian Ochaita that originated as a direct response to the lack of public spaces and infrastructures for recreation and socialization in Guatemala City, Guatemala. Their work incorporates various elements of architecture, art, design, and urbanism, hoping to modify the way in which citizens relate with the open spaces of their cities.
Their projects encourage the use of public spaces through playful elements and unusual occurrences, and are developed through their collaboration with other artists, collectives and people in general.
The interventions and occurrences that they organize can be read as Situationist gestures that generate reflection and debate about their city. On the other hand, each one is presented as a viable solution to the lack of initiative from the municipal and central government agencies.
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