Tuesday, October 2, 2007
Job Position Filled Letter
Mastrantonio FREITAS, JOHN HENRY
Mastrantonio FREITAS, JOHN HENRY
President of the College of Architects Region V
How assumes the office of president? (From the human point of view. This is professional, but also as Buenos Aires, if it is) First of all I must clarify that I was appointed to lead this delegation elected by fellow directors, all of them young, without a majority. I accepted because even the most votes so requested and because I have learned to manage teams: You must collect and amass all the ideas and carry out what the team decides. The designation I consider it an honor but also a task. The youth of the board, pulling me, I read as a sign of an era that we hope all the "elders" of a youth wakes up, or solidarity. Because I believe that we live in a society asleep, unaware of others. I must also acknowledge what they did the previous two old directories: clean up a school financially ruined. That gives us another time. That gives us enough time to undertake the overdue task that has the Guild. I think the main and most urgent is to create a space for internal debate about taking a common ethic, since we have the greater responsibility, (sounds redundant) on the intervention and proper construction of our cities. In this issue, we have an urgency and an exquisite thought field for this purpose, because we have the city of Valparaiso before us. I was not born in Valparaiso, was born in Santiago, is my original sin.
How can reconcile the equity issue with modernity?
has seen a mall next to the Parthenon? No, because the investment that causes human development can not eat the attractions, because they are a great potential for human development. The assets must be understood in its original sense: they are the property of past generations who have to manage. Simple, but we live in a generation asleep, we do not realize and put up big pseudo debates in advance deaf. If we, as architects, we heard this, would do the works of architecture that are ours in this time, for the people of today. We would not be just a real estate firm to hire us. See what is taught in schools of architecture and see what we do then in terms of new works. For us, the artists functional architecture only caters for human habitation. Adequately address the here and now puts us in our true modernity. But we need our schools and those of other related professions, teach the hard stuff that is received when trying to rehabilitate buildings. All offices serving needs, that is the poetic mood of a city in each period. Cities are clusters of people served. The need is not a god but a demon, equally poetic.
What you need to be built in the area and really could give a better quality of life for citizens? Before construction, planning. And in the midst of it, a large public square where debate a common destiny. 
Mastrantonio FREITAS, JOHN HENRY
President of the College of Architects Region V
How assumes the office of president? (From the human point of view. This is professional, but also as Buenos Aires, if it is) First of all I must clarify that I was appointed to lead this delegation elected by fellow directors, all of them young, without a majority. I accepted because even the most votes so requested and because I have learned to manage teams: You must collect and amass all the ideas and carry out what the team decides. The designation I consider it an honor but also a task. The youth of the board, pulling me, I read as a sign of an era that we hope all the "elders" of a youth wakes up, or solidarity. Because I believe that we live in a society asleep, unaware of others. I must also acknowledge what they did the previous two old directories: clean up a school financially ruined. That gives us another time. That gives us enough time to undertake the overdue task that has the Guild. I think the main and most urgent is to create a space for internal debate about taking a common ethic, since we have the greater responsibility, (sounds redundant) on the intervention and proper construction of our cities. In this issue, we have an urgency and an exquisite thought field for this purpose, because we have the city of Valparaiso before us. I was not born in Valparaiso, was born in Santiago, is my original sin.
How can reconcile the equity issue with modernity?
has seen a mall next to the Parthenon? No, because the investment that causes human development can not eat the attractions, because they are a great potential for human development. The assets must be understood in its original sense: they are the property of past generations who have to manage. Simple, but we live in a generation asleep, we do not realize and put up big pseudo debates in advance deaf. If we, as architects, we heard this, would do the works of architecture that are ours in this time, for the people of today. We would not be just a real estate firm to hire us. See what is taught in schools of architecture and see what we do then in terms of new works. For us, the artists functional architecture only caters for human habitation. Adequately address the here and now puts us in our true modernity. But we need our schools and those of other related professions, teach the hard stuff that is received when trying to rehabilitate buildings. All offices serving needs, that is the poetic mood of a city in each period. Cities are clusters of people served. The need is not a god but a demon, equally poetic.
What you need to be built in the area and really could give a better quality of life for citizens? Before construction, planning. And in the midst of it, a large public square where debate a common destiny.
Saturday, June 16, 2007
Muscletech Rapid Muscle Growth
photo Greetings from the Norwegian Arctic
Hi Road Traveling With
for sending me - and others - information for cultural affairs in Valparaiso. I hope you continue to do so.
Greetings from the Norwegian Arctic
Nedberg, Audhild 
Hi Road Traveling With
for sending me - and others - information for cultural affairs in Valparaiso. I hope you continue to do so.
Greetings from the Norwegian Arctic
Nedberg, Audhild
64.941*(yg Zc-16.4)/(wa Xt Yg Zc)
impertinence of the State's relationship with cultural * Mural painting policy
By Richard Muñoz Ojeda
Recent history tells us that before the issue of cultural dictatorship flowed more naturally, theaters filled, there was no VAT on books, direct appropriations, and even there the state through Quimantú editorial distributed books everywhere and a very low cost.
During the 17 years of darkness, speak of the culture was like talking of Labour rights for employers. It canceled all manifestations, whether by the death of artists, for their persecution or that they left the country seeking to save their lives and continue their artistic and cultural development.
The only expressions clearly validated were those of traditional sense, country or, on the other hand, the cultivation of an artistic elite. Only in the second half of the '80s, began to appear signs of culture under the umbrella of fighting against the dictatorship and where it was much harder to silence these voices.
With the advent of the Coalition to power in the '90s, born timidly National Development Fund for the Arts, Fondart, who worked for 10 long years plagued by criticism and reluctance on the part of artists and cultural managers, who vilified the funding mechanism, arguing that always rested with them, that resources were scarce and were not ready to embrace the creative process to a rational form, the project (see box).
In this sense, Justo Pastor Mellado said that "the model of the form installs an implicit conceptualization ritualized subordination to the project design. This may be more or less serious according to the areas in which you are applying. The state only from the power forms management, defines the limits of creation, establishing the triangle proponent of Goals-Fundamentals-Overview. "
However, over the years by artists and not therefore have been fashioned after this system and have taken unusual preconceived experts value projects, which boast saying that a coherent project is an approved project.
The bottom
since 2004 is established in Chile's new cultural institutions that had initially maintained the same ominous acronym of funding, Fondart, but in the short go, the picture became clear to the authorities and decided to include the whole cultural package under the concept of "cultural backgrounds" that brings together all the scaffolding of possible applications and areas of cultural expression.
However, fundamental problems still remain and are related to the insistence of speaking of "cultural industry", which although they want to apply to music, film and book, these parameters would not be comparable to regions.
Cultural Industry The concept was born in the 40s in a critical text of the Frankfurt School, Adorno and Horkheimer, who railed against what he wanted to think of culture as a commodity. "Why humanity instead of reaching a truly human state, is sinking into a new form of barbarism " [1] .
While these cases may appear to some prejudice, the fact is that if we speak of Industry, follow a series of steps for the product, artwork or other expression, have a legitimate route, ie, must be respected a particular value chain and to not respect it, you break the chain that is ultimately what happens today.
Well, first is funding the development, but not put on the same scale distribution or "circulation" as he likes to call this process Ignacio Aliaga, one of the highest standards of the Council National Culture and today has a privileged place in the Cultural Center Cineteca Palacio de La Moneda. Timidly
has been introducing a media item when submitting a project but finally completed work does not "circulate" enough and how Vanessa Grimaldi said in his article "Who hit bottom?" Invisible No Town 16, the works appear until it pays the local theater, but from then on it is not known what happens to her. Moreover, the Board of Culture and authorities have been detected in the speech for a while this great fallacy, but in particular do little or nothing to solve it and, quite the contrary, encroach on the minimum gestures that were beginning to consolidate, I mean the abrupt end of the magazine "Pause" which dealt, in its format, to circulate the winning works by different cultural backgrounds.
more vehement, "the industry sets an exemplary cultural bankruptcy of the culture, the decline in the commodity. The transformation of the cultural act abolished its critical power value and dissolved in it traces of an authentic experience " [2] .
today that is outlined in the cultural field, should be the market to regulate financial flows, regulating and ordering relations, supply and demand.
All, of course, in the context of understanding the cultural product as a commodity to be traded on the market to the highest bidder. Cristian Galaz believes that guidance on the issue of resources, inefficient market has shown up to say what is better [3] .
In the same magazine "Pause", George Yúdice-one of the great ideologists of the "cultural industry", states that it should emphasize the key role of State in the promotion of cultural industries through subsidies, credits, incentives tax, bank accounts and other mechanisms satellite, in addition, to protect national culture and local trading For example, exceptions and / or cultural reserves in the World Trade Organization, free trade agreements. Does the Chilean government this concern? [4] .
Self-criticism: "It should be noted that while the National Fund for Culture and the Arts, is essential for the allocation of public resources for culture and the arts, not enough to adequately discharge the duties of the State in this area " [5] . Carlos Cabezas
confirms what was mentioned by former presidential adviser on culture and states in relation to Fondart that "I see that many jobs have been saved and are not displayed anymore. I think the assignment on circulation of works should have a broader view " [6] .
finished with these words of former Minister of Culture José Weinstein: "I see that even in the case of disciplines that if you can keep as cultural industries need to keep a significant state support, or I do not think that the book or in the cinema or on disk can withdraw state support. I can not imagine any part of the arts and culture left to the market, you have to think that they must support themselves and do not think that is possible " [7] .
In short: How relevant is your relationship with state agents cultural, not knowing what happens to the resources and interact with other cultural agents only through this mechanism? [8] .
(insert)
Project as a mechanism of power
We note that the reality we live shows us that power in this globalized world is focused on who ultimately holds it.
In our "democracy" the power lies largely in the government, according to a survey of assessment made by the UNDP report in 2004 about this report, "persist in Chile institutional and cultural burdens that reduce the democratic capacity of society. Some are in favor of removal, and others are pending. Democracy is the result of self-determination and social power. There can be no social power, in that it requires human development without a solid democracy. "Do we have a strong democracy?
other hand, the state has installed this "device" (project) as Foucault would say, by way of interference have to apply, ultimately, power. Thus, the French philosopher, you see the truth as power, rather than as standard, ie, knowledge - in this case the dynamics of the project-has value. Jesús Martín Barbero
gives us signs of how in the world of power is made all coercive speech, and that in one way or another, produce and binding enforcement mechanisms (such as projects or forms thereof).
In this sense, Justo Pastor Mellado, has a very critical stance on the subject: "The efforts of the current administration of the agency to make more transparent the procedures for nomination, due to the perception that the authority has had about his growing lack credibility. Surprisingly, the online application set a range of demand that allowed the rationalization of the proposals and their attachment to a format that, strictly speaking, determined epistemologically effective tolerance of them. "
rope operates under the ideology of "social and cultural impact," which appears as an unwritten condition of their need, "says Mellor.
* This item may be defined as the presentation of the thesis work of Master in Cultural Management of the author, where he elaborates on the subject.
[1] Culture as a consumer industry, his criticism at the School of Frankfurt, Joseph A. Zamora.
[2] Industry (s) Cultural (s) Genesis of an idea. And Jean Marie Mattelart Piemme. Oscar Lucien translation. Humanitas. Thematic Portal Humanities.
[3] See Cultural Industries. Time definitions. Debate. Pause Journal of the National Council for Culture and the Arts. Issue 2 November 2004.
[4] See Interview with George Yúdice. Pause Journal of the National Council for Culture and the Arts. Number 6 January 2006.
[5] See Squella Augustine. Rider in the rain, Culture in the Government of Lagos. Page 139.
[6] See Cultural Industries. Time definitions. Debate. Pause Journal of the National Council for Culture and the Arts. Issue 2 November 2004.
[7] interview published in the Journal Culturarte, by Carlos Morales, the former minister.
[8] The same case can be replicated to other government departments where they provide funds and monitors are not the result, but see the example of Chiledeportes.
Recent history tells us that before the issue of cultural dictatorship flowed more naturally, theaters filled, there was no VAT on books, direct appropriations, and even there the state through Quimantú editorial distributed books everywhere and a very low cost.
During the 17 years of darkness, speak of the culture was like talking of Labour rights for employers. It canceled all manifestations, whether by the death of artists, for their persecution or that they left the country seeking to save their lives and continue their artistic and cultural development.
The only expressions clearly validated were those of traditional sense, country or, on the other hand, the cultivation of an artistic elite. Only in the second half of the '80s, began to appear signs of culture under the umbrella of fighting against the dictatorship and where it was much harder to silence these voices.
With the advent of the Coalition to power in the '90s, born timidly National Development Fund for the Arts, Fondart, who worked for 10 long years plagued by criticism and reluctance on the part of artists and cultural managers, who vilified the funding mechanism, arguing that always rested with them, that resources were scarce and were not ready to embrace the creative process to a rational form, the project (see box).
In this sense, Justo Pastor Mellado said that "the model of the form installs an implicit conceptualization ritualized subordination to the project design. This may be more or less serious according to the areas in which you are applying. The state only from the power forms management, defines the limits of creation, establishing the triangle proponent of Goals-Fundamentals-Overview. "
However, over the years by artists and not therefore have been fashioned after this system and have taken unusual preconceived experts value projects, which boast saying that a coherent project is an approved project.
The bottom
since 2004 is established in Chile's new cultural institutions that had initially maintained the same ominous acronym of funding, Fondart, but in the short go, the picture became clear to the authorities and decided to include the whole cultural package under the concept of "cultural backgrounds" that brings together all the scaffolding of possible applications and areas of cultural expression.
However, fundamental problems still remain and are related to the insistence of speaking of "cultural industry", which although they want to apply to music, film and book, these parameters would not be comparable to regions.
Cultural Industry The concept was born in the 40s in a critical text of the Frankfurt School, Adorno and Horkheimer, who railed against what he wanted to think of culture as a commodity. "Why humanity instead of reaching a truly human state, is sinking into a new form of barbarism " [1] .
While these cases may appear to some prejudice, the fact is that if we speak of Industry, follow a series of steps for the product, artwork or other expression, have a legitimate route, ie, must be respected a particular value chain and to not respect it, you break the chain that is ultimately what happens today.
Well, first is funding the development, but not put on the same scale distribution or "circulation" as he likes to call this process Ignacio Aliaga, one of the highest standards of the Council National Culture and today has a privileged place in the Cultural Center Cineteca Palacio de La Moneda. Timidly
has been introducing a media item when submitting a project but finally completed work does not "circulate" enough and how Vanessa Grimaldi said in his article "Who hit bottom?" Invisible No Town 16, the works appear until it pays the local theater, but from then on it is not known what happens to her. Moreover, the Board of Culture and authorities have been detected in the speech for a while this great fallacy, but in particular do little or nothing to solve it and, quite the contrary, encroach on the minimum gestures that were beginning to consolidate, I mean the abrupt end of the magazine "Pause" which dealt, in its format, to circulate the winning works by different cultural backgrounds.
more vehement, "the industry sets an exemplary cultural bankruptcy of the culture, the decline in the commodity. The transformation of the cultural act abolished its critical power value and dissolved in it traces of an authentic experience " [2] .
today that is outlined in the cultural field, should be the market to regulate financial flows, regulating and ordering relations, supply and demand.
All, of course, in the context of understanding the cultural product as a commodity to be traded on the market to the highest bidder. Cristian Galaz believes that guidance on the issue of resources, inefficient market has shown up to say what is better [3] .
In the same magazine "Pause", George Yúdice-one of the great ideologists of the "cultural industry", states that it should emphasize the key role of State in the promotion of cultural industries through subsidies, credits, incentives tax, bank accounts and other mechanisms satellite, in addition, to protect national culture and local trading For example, exceptions and / or cultural reserves in the World Trade Organization, free trade agreements. Does the Chilean government this concern? [4] .
Self-criticism: "It should be noted that while the National Fund for Culture and the Arts, is essential for the allocation of public resources for culture and the arts, not enough to adequately discharge the duties of the State in this area " [5] . Carlos Cabezas
confirms what was mentioned by former presidential adviser on culture and states in relation to Fondart that "I see that many jobs have been saved and are not displayed anymore. I think the assignment on circulation of works should have a broader view " [6] .
finished with these words of former Minister of Culture José Weinstein: "I see that even in the case of disciplines that if you can keep as cultural industries need to keep a significant state support, or I do not think that the book or in the cinema or on disk can withdraw state support. I can not imagine any part of the arts and culture left to the market, you have to think that they must support themselves and do not think that is possible " [7] .
In short: How relevant is your relationship with state agents cultural, not knowing what happens to the resources and interact with other cultural agents only through this mechanism? [8] .
(insert)
Project as a mechanism of power
We note that the reality we live shows us that power in this globalized world is focused on who ultimately holds it.
In our "democracy" the power lies largely in the government, according to a survey of assessment made by the UNDP report in 2004 about this report, "persist in Chile institutional and cultural burdens that reduce the democratic capacity of society. Some are in favor of removal, and others are pending. Democracy is the result of self-determination and social power. There can be no social power, in that it requires human development without a solid democracy. "Do we have a strong democracy?
other hand, the state has installed this "device" (project) as Foucault would say, by way of interference have to apply, ultimately, power. Thus, the French philosopher, you see the truth as power, rather than as standard, ie, knowledge - in this case the dynamics of the project-has value. Jesús Martín Barbero
gives us signs of how in the world of power is made all coercive speech, and that in one way or another, produce and binding enforcement mechanisms (such as projects or forms thereof).
In this sense, Justo Pastor Mellado, has a very critical stance on the subject: "The efforts of the current administration of the agency to make more transparent the procedures for nomination, due to the perception that the authority has had about his growing lack credibility. Surprisingly, the online application set a range of demand that allowed the rationalization of the proposals and their attachment to a format that, strictly speaking, determined epistemologically effective tolerance of them. "
rope operates under the ideology of "social and cultural impact," which appears as an unwritten condition of their need, "says Mellor.
* This item may be defined as the presentation of the thesis work of Master in Cultural Management of the author, where he elaborates on the subject.
[1] Culture as a consumer industry, his criticism at the School of Frankfurt, Joseph A. Zamora.
[2] Industry (s) Cultural (s) Genesis of an idea. And Jean Marie Mattelart Piemme. Oscar Lucien translation. Humanitas. Thematic Portal Humanities.
[3] See Cultural Industries. Time definitions. Debate. Pause Journal of the National Council for Culture and the Arts. Issue 2 November 2004.
[4] See Interview with George Yúdice. Pause Journal of the National Council for Culture and the Arts. Number 6 January 2006.
[5] See Squella Augustine. Rider in the rain, Culture in the Government of Lagos. Page 139.
[6] See Cultural Industries. Time definitions. Debate. Pause Journal of the National Council for Culture and the Arts. Issue 2 November 2004.
[7] interview published in the Journal Culturarte, by Carlos Morales, the former minister.
[8] The same case can be replicated to other government departments where they provide funds and monitors are not the result, but see the example of Chiledeportes.
Tuesday, April 3, 2007
Can I Use Regular Phone Cable For My Dsl
born in July 1963 the mural policy Chile
born with the monumental mural that was painted on the bridge Capuchin huge site visibility, and that there goes the thick traffic that flows between Valparaiso and Vina del Mar. I had about a hundred and thirty feet long and a height ranging from three to six meters. He worked on three different teams, made up mostly of students from the Universities of Chile and Santa Maria and directed by Gastón Vilavecchia painters, Italian artist based in Grapevine, Nemesio Rivera and Jorge Osorio. Each group developed a different theme, and the magnitude of the task, had to rely on a quasi-business infrastructure.
During the days when the entire performance of the work, the bridge became a virtual object of popular pilgrimage. The committees with all its members would see the progress of the mural. And they had food and drinks for painters.
The mural made a big impression in the area. And triggered a wave initiatives that are sprinkled throughout the province. Murals were painted many important: one commissioned by the port, one at Quintero, etc. In the Command there were still, despite everything, some reluctance, and it was necessary to dissipate the categorical opinion of the candidate, who described the movement as the ultimate wall of his campaign. Was otherwise the Allende Santiago who took the idea to reproduce the example.
The subsequent history is known. The mural became a national phenomenon and mass art blossomed in the 1970 election campaign. What had been born in that month of July 1963 as a local initiative, a product of the imagination of a small group of locals, went on to become one of the most vibrant and original contributions of people's creativity Chile whose echoes, as we said, went beyond our borders.
are many names linked to the collective artistic adventure. I want to evoke only a painter, Ramon Meza, who taught the young brigade of Mount Pleasant how to paint the letters in a professional manner. He, unknowingly became one of the pioneers of this vast movement. Patrick Cleary
Clever Facebook Profile Pic Ideas
Valparaiso
all know that this appointment is well deserved for this great port, which has great corners, staircases which almost touch the clouds, a privileged view, dreamlike landscapes, great people and written, popular, artists, writers, professionals, etc. Which have always managed to bring the message of longing, love, heartbreak, sea, mountain, night light throughout the world of our beloved and sometimes left Valparaiso, the port is known for its intricate labyrinth, is made by the sacrifice of their people, their creative people, but it is also true that another part of it has failed to value Pancho today despite being named a World Heritage Site has been in the
forget ourselves, who not see the streets that crap, it was an elevator welcomes the visitor, who has not smelled urine in their alleys, who has not ever seen a child throwing a sweet wrapper or ice cream in the plaza O'Higgins to view and patience of his mother and father, or perhaps Condell spitting in the street, or throw away a bag of excrement or garbage without worrying who is going under her window, or view the damaged or burnt garbage, look at the benches destroyed or striped squares. Let us look
ourselves, living in Valparaiso, Why did you doing here? ... We have much to learn. Valparaiso
one cleaner. Jaime Morales Soto
all know that this appointment is well deserved for this great port, which has great corners, staircases which almost touch the clouds, a privileged view, dreamlike landscapes, great people and written, popular, artists, writers, professionals, etc. Which have always managed to bring the message of longing, love, heartbreak, sea, mountain, night light throughout the world of our beloved and sometimes left Valparaiso, the port is known for its intricate labyrinth, is made by the sacrifice of their people, their creative people, but it is also true that another part of it has failed to value Pancho today despite being named a World Heritage Site has been in the
forget ourselves, who not see the streets that crap, it was an elevator welcomes the visitor, who has not smelled urine in their alleys, who has not ever seen a child throwing a sweet wrapper or ice cream in the plaza O'Higgins to view and patience of his mother and father, or perhaps Condell spitting in the street, or throw away a bag of excrement or garbage without worrying who is going under her window, or view the damaged or burnt garbage, look at the benches destroyed or striped squares. Let us look
ourselves, living in Valparaiso, Why did you doing here? ... We have much to learn. Valparaiso
one cleaner. Jaime Morales Soto
Sunday, April 1, 2007
Diablotek Da Series 400 Watt Atx Power Supply
BIRTH CENTENARY
Centennial President Salvador Allende delNatalicio
1908-2008 Valparaiso welcomes you.
Organising Committee
Centenary Birthday of President Salvador Allende 1908
2008 in Valparaiso, rightly considered this date to the enhancement and dignity it deserves.
Because it represents a utopia, because he defended the least, because it was consistent, because workers did not forget, because Buenos Aires is a universal, because the world pays homage to all the continents, because the new generations come to life, because their ideas are the future, For lifted the Culture and Art of a people, because it is a citizen
closely linked to Valparaiso, because we care the history of Chile, because we want to open more space for democracy in Chile, because we fight for democracy again, because we believe it is possible a more humane and just, And More ..., Salvador Allende 2008 Valparaiso welcomes you, Salvador Allende 2008 Chile welcomes you, Salvador Allende 2008 The
world will celebrate. 
Centennial President Salvador Allende delNatalicio
1908-2008 Valparaiso welcomes you.
Organising Committee
Centenary Birthday of President Salvador Allende 1908
2008 in Valparaiso, rightly considered this date to the enhancement and dignity it deserves.
Because it represents a utopia, because he defended the least, because it was consistent, because workers did not forget, because Buenos Aires is a universal, because the world pays homage to all the continents, because the new generations come to life, because their ideas are the future, For lifted the Culture and Art of a people, because it is a citizen
closely linked to Valparaiso, because we care the history of Chile, because we want to open more space for democracy in Chile, because we fight for democracy again, because we believe it is possible a more humane and just, And More ..., Salvador Allende 2008 Valparaiso welcomes you, Salvador Allende 2008 Chile welcomes you, Salvador Allende 2008 The
world will celebrate.
Live Movie Brazilian Wax
Bridal Shower Invitation Wording Rooms
I that culture in Valparaíso is divided between those who carry out their work with love and dedication - as always, long before the arrival of the machinery of the Council, under the constant Kurtura precarious culture means developing the port and those using the effort of these workers for personal gain and with minimal effort, seeking figuration, to resume or gain some political benefit as usual. My thoughts go to all those who work to make your work a contribution to the development of Valparaiso and my giant arch to the big shots who take advantage of forever. Carlos Morales Osorio / Director Magazine
Culturarte 
Earls Restaurant Penne Alfredo Recipe
Valparaiso Valparaiso, a port of feelings
Era Valparaíso en el año 1834 una población muy atrasada todavía.No había en ella más calle empedrada que la de Planchada, hoy de Serrano. Todas las demás hallábanse en condición rudimentaria: en verano era sofocante el polvo que se levantaba en ellas, y en invierno, por el contrario, formábase un lodo inmenso.Tales eran los lodazales que se formaban, que se veían á menudo carretas enterradas hasta los ejes y á duras penas podían sacarlas dos yuntas de bueyes... El alumbrado público, en aquellos tiempos, consistía en un pequeño farol con vela de sebo, que los vecinos ponían al anochecer en las puertas de las casas, sluggishly and reluctantly, and only obeying the voice of the watchman who was shouting from house to house, "the lantern at the door!" At 9 or 10 at night, or before, the streets were, when there was moon, in complete darkness, because either the microscopic bits of candle lanterns had the consumption or the neighbors had kept their lights and shut their doors calle.Por apparently would be understood how modest, especially in winter, public transit in Valparaiso, in streets without sidewalks and turned into quagmires. Usábanse then laced shoes or boots to purpose, which would allow him through the mud possible and, taking shelter from the rain, a few coats of Barragan. At night was the general custom, to go out every neighbor, bring your flashlight, to Diogenes, to see where it went. Public carriages, had none. The crossings between the port and Almendral was on foot, and the same is going to Polanco, after Fifth Orrego. Had there, "agregael entertaining narrator, whom we copied almost literally a coffee and a golf stick, which served as a solace to the hikers to walk from the distant port ... The Place de la Victoria, then called Orrego, was a continuation of the beach. It stopped the wagons were Travel to Santiago (later relegated to the estuary of Delights). Many of the buildings were roofed reed and they harbored some chinganas. There are something like improvised theater companies that worked cómicas.En As to buildings, only the Port had some houses high, all the balcony, and very few of this construction in the Almendral.
What Does Sweet N Low Do To The Body
Manuel Fuentes
folder for some game 
(* Linares (Chile), 1906 - † Valparaiso, 1996) trade union activist, journalist, polemicist and Chilean writer. Usually considered the leader of the Revolt of the Fleet of Chile occurred in Coquimbo in September 1931. Specifically served as secretary of the "Staff of the Crew." Became involved in that incident after enrolling as a steward on the battleship Almirante Latorre at the beginning of the year. Naval officers subsequently considered joining the Navy as a deliberate political act, from his close to communism. In prison, after the failure of the rebellion, wrote a novel that blends marine adventure and science fiction, revolving around the topic of a Lost Civilization: Thimor (1932). He was sentenced to death, but an amnesty for the brief Socialist Republic of Chile saved his life. In his first Clotaire youth was near Blest and served as labor activist in the nitrate of the Antofagasta Region. He was editor of El Día de Talca, a contributor to The Union and El Mercurio de Valparaíso. He lived in that city from 1938 until his death. Refused to be named poet. Member, along with Mayor Alfonso and Eduardo Anguita the literary group The Mandrake. Http://es.wikipedia.org/wiki/Manuel_Astica
To fix this table
to fix this table limps
this table that I eat and drink, that
I write and I read:
this table that he shook off a leg
and where sometimes, and evening, I tend rustic
brisca
topped with friends and buddies in my neighborhood
that between jack and king and queen riding
between clubs, between gold and between swords, stood as
win our glasses filled with friendship ...
to fix this table anchors
've looked into the dusty box of screws and nails
rusty and crooked
forgotten where you saved the jar
tail resected
the pliers up
head hammer and demolished,
the saw-tooth wear,
added canvas knotted the sailors,
dance ever made the tops of the child.
I found everything
of everything elsewhere is not:
buttons and rusty pins and past trends,
toothless old forks, ivory
linkage of a range
with strips torn from silks,
flirty smiles that hid my grandmother
steel knives dull black,
broken mirrors, old fountain pens obsolete, tin toys
without their wheels,
and their cords, or colors;
a case of ancient geometry
with their nests and rotten old velvet
for the compass and the tracer, the tracer
so useless, so useless
that I never worked or I learned to use;
yellow tangle of zig-zag tube that stretched
broken and does not measure or even a stick;
the plaster head of a decapitated image
that my mother had the holy and miraculous;
plush cat, moth-eaten,
leg scissors, and a string of jet
the same who led the prayers with the family,
with runs of destroyed houses,
and only detract, mutilated, mysteries ...
But the anchor, the anchor can not find, lost and confused
among so many disparate things tiny,
so many things now useless and forgotten
... useless? Why useless? ... Did
useless are the memories that keep
silent sites
spirit sleeping sweetly, the past, a past
awakening from the dust of oblivion,
when we seek the necessary anchor for
set the table with a limp?
Subscribe to:
Posts (Atom)