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Tuesday, December 28, 2010
Patron St Of Gallbladder
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Friday, December 24, 2010
Reebok Resistance Bands How Tos
Christmas
"Instead of believing in God, believe in nothing provisionally ', intoxicated destiny and work, sometimes about politics. Karl Löwith in his combat with Nietzsche, came to these conclusions. The nothing can be even Christmas, a very colorful distraction dell'acromia daily hell. A place where to focus for a few weeks time thoughts, in exchange sdolcinature and nostalgia that should mitigate the swift violence of the time (for the subject, please refer to "Roman Christmas," a post from this blog in 2009). Another matter is the announcement "Puer natus est": for Catholics gives meaning to life and history, also rescues those who are already dead. Refers to the Incarnation of the Word, the God who takes human form and that in turn confirms humanity "in his image and likeness" in a sublime game of mirrors around the medium of the body, so despised by the wisdom extracristiana. In this incarnation he testified Western art. It remains to trace in the representation of the crib. That i pochi lettori dell’«Almanacco» provino la gioia – è il nostro migliore augurio – di ascoltare l’introito della messa di Natale nella melodia gregoriana, naturalmente in latino: «Puer natus est nobis,/ et filius datus est nobis:/ cuius imperium super humerum eius/ et vocabitur nomen eius,/ magni consilii Angelus./ Cantate Domino canticum novum: quia mirabilia fecit». (Se nei pressi non troveranno una chiesa dove, secondo i dettami di Benedetto, si celebri in rito romano antico, che lo rinvengano almeno riprodotto questo «canticum novum» che gli angeli intonarono nella notte santa. Le canzoncine natalizie, anche le più commoventi, impallidiscono di fronte a un tale strabiliante proclama.)
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Thursday, December 23, 2010
Broken Capillaries When Pregnant On Stomach
MAGIC ......
Today I discovered the magic of a blog. There 's a section where you read the comments and so' I discovered that I have left their comments even from America and Brazil, and I apologize to them if I did not answer, I'm not rude. I'm just a real IMBRANATAAAAA !!!!! SIGH Sobh ARGHHHHHH. sorry, excusez-moi, perdonooooo!
If one day, following another divine illumination, I'll be able 'to understand how to send a comment to someone .... ANSWER' at all.
MERRY CHRISTMAS :-) 
Today I discovered the magic of a blog. There 's a section where you read the comments and so' I discovered that I have left their comments even from America and Brazil, and I apologize to them if I did not answer, I'm not rude. I'm just a real IMBRANATAAAAA !!!!! SIGH Sobh ARGHHHHHH. sorry, excusez-moi, perdonooooo!
If one day, following another divine illumination, I'll be able 'to understand how to send a comment to someone .... ANSWER' at all.
MERRY CHRISTMAS :-)
Wednesday, December 22, 2010
What Bus Goes To Canada
Immagini dal Cesena Comics
The photos of the meeting Riccado Crosa Davide Fabbri and during the meeting with Denis Medri "authors" of Romagna held at the Cesena Comics.
The photos of the meeting Riccado Crosa Davide Fabbri and during the meeting with Denis Medri "authors" of Romagna held at the Cesena Comics.
How To Stop Swollen And Tender Breasts
A Sunday without Messiaen
~ LA DECADENZA DELLE BUONE MANIERE CATTOLICHE ~
Messa dell’Avvento in una parrocchia romana a pochi passi da San Pietro. Sotto l’altarino dove si celebra il sacrificio, le luci intermittenti di un presepio improvvisato danno il ritmo isterico delle discoteche, distraggono i fedeli e offendono il sacro rito. A un lato dell’altare, un alberello secco dove sono appesi foglietti con i desideri auguranti dei parrocchiani, come è d’uso ormai nelle grandi stazioni ferroviarie: lo spirito natalizio che scivola nelle mode adolescenziali dei lucchetti a Ponte Milvio, tradizioni inventate per ragazzi senza liturgia. All’altro lato dell’altare hanno trasportato addirittura un pianoforte, dove una volenterosa giovinetta e dei suoi amici con chitarre elettriche e acustiche strimpellano nenie che non sarebbero consentite neppure nel più paesano dei palchi rock. Questa dunque la modernità della Chiesa di Roma? Una sottospecie di una sottocultura? Modi luterani senza la serietà della forma tedesca? Veniva allora da pensare, anche per l’organo che stava lì accanto imponente e muto, a Olivier Messiaen, uno dei massimi musicisti del XX secolo, che per sessant’anni fu organista in the Parisian church of the Trinity. In the late thirties he composed for the Christmas cycle du Seigneur The Nativity: the traditional time, preconciliar, in which the Church does not give in to modern, Messiaen accompanied the liturgy with the other world sounds (listen to the song Dieu nous seems to me, the most famous of the cycle, disturbances of air, amazing rhythms), the Catholica could hold the reins of modern quell'impetuoso had invented, but now you have to humiliate the community of the faithful with a piece of music and picture with have nothing to do with the great culture. Rather, a poor substitute for the television more affordable. The decline of good manners Catholic saddened even ardent days of Advent.
Messa dell’Avvento in una parrocchia romana a pochi passi da San Pietro. Sotto l’altarino dove si celebra il sacrificio, le luci intermittenti di un presepio improvvisato danno il ritmo isterico delle discoteche, distraggono i fedeli e offendono il sacro rito. A un lato dell’altare, un alberello secco dove sono appesi foglietti con i desideri auguranti dei parrocchiani, come è d’uso ormai nelle grandi stazioni ferroviarie: lo spirito natalizio che scivola nelle mode adolescenziali dei lucchetti a Ponte Milvio, tradizioni inventate per ragazzi senza liturgia. All’altro lato dell’altare hanno trasportato addirittura un pianoforte, dove una volenterosa giovinetta e dei suoi amici con chitarre elettriche e acustiche strimpellano nenie che non sarebbero consentite neppure nel più paesano dei palchi rock. Questa dunque la modernità della Chiesa di Roma? Una sottospecie di una sottocultura? Modi luterani senza la serietà della forma tedesca? Veniva allora da pensare, anche per l’organo che stava lì accanto imponente e muto, a Olivier Messiaen, uno dei massimi musicisti del XX secolo, che per sessant’anni fu organista in the Parisian church of the Trinity. In the late thirties he composed for the Christmas cycle du Seigneur The Nativity: the traditional time, preconciliar, in which the Church does not give in to modern, Messiaen accompanied the liturgy with the other world sounds (listen to the song Dieu nous seems to me, the most famous of the cycle, disturbances of air, amazing rhythms), the Catholica could hold the reins of modern quell'impetuoso had invented, but now you have to humiliate the community of the faithful with a piece of music and picture with have nothing to do with the great culture. Rather, a poor substitute for the television more affordable. The decline of good manners Catholic saddened even ardent days of Advent.
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Monday, December 20, 2010
Bay Area Adult Basketball Camp
Studying the experience of e-book
On Sunday of Sole-24 ore last week, in a section dedicated to e-books, Roberto Casati apre un articolo: "Non mi risultano dati scientifici che comparino l'esperienza di leggere un e-book a quella di leggere un libro su carta" (a p. 22). I dati, però, ci sono e possono essere considerati ormai assestati.
Naturalmente, il modo in cui Casati parla della lettura è molto generico. Che cosa si intende per "comparino l'esperienza"? Per esempio, potremmo intendere una descrizione delle diversità di comportamento. E qui le cose cambiano molto da un tipo di testo all'altro. I romanzi - beh, si leggono su Kindle e iPad esattamente come su carta: una pagina alla volta, dall'inizio alla fine.
Diversa è la situazione per i libri di studio. Per esempio, Jenny Lau ha sintetizzato in questo modo la bibliografia recente in un articolo intitolato Students’ experience of using electronic textbooks in different levels of education ( Scroll , 1, 1, 2008):
Learning behaviour changes when one accesses text in electronic format. Students are accustomed to scan through the text to get an overview of the material. This, however, becomes difficult while using an electronic version (Waycott & Kukulska-Hulme, 2003). Instead of scanning through the text, students may skim it. When reading electronic text, students prefer to start from the table of contents to determine which chapters seem relevant (Hernoon, Hopper, Leach, Saunders, & Zhang, 2007). Highlighting, underlining, and taking notes, Activities That Are Considered to support active reading, are not Equally represented in digital form. For instance, medical students taking notes Found That Was not in electronic format as natural as with paper (Morton, Foreman, Goede, Bezzant, & Albertine, 2007) (p. 5).
Or, we may decide to answer Casati on this point not so much trying to figure out if the experiences are different, as if the rating is different. Lau found greater acceptance in the bibliography (obvious) of electronic texts by younger generations. If the preference goes to those absolute, however, things change, as shown by an original study by William Douglas Woody, David B. Daniel and Crystal A. Baker, E-books or textbooks: Students prefer textbooks, published Computers & Education, 55, 2010, pp. 945-948 (unfortunately, only available for a fee or subscribe to networks). The abstract says it all:
Previous research has demonstrated That the experience of reading e-books is not equivalent to reading textbooks. This study examines factors influencing preference for e-books as well as Reported use of e-book content. Although the present student cohort is The Most technologically savvy to ever enter universities, students do not prefer e-books over textbooks Their regardless of gender, computer use or comfort with computers. No Significant correlations Existed Between the number of e-books previously used and overall preference of e-books: Participants who HAD previously used an e-book still preferred print texts for learning. Despi Easily the ability to access books through supplemental content via hyperlinks and other features, Were students more Likely to use special features books in print Than in e-books.
In essence, given a choice, students prefer to study books on paper. And, since they react in this way, even students who have already used e-book, the probable cause of this preference is not the habit, but the simple usability. The experts know this, but it will take a while ' of time before these findings become common knowledge ... 
On Sunday of Sole-24 ore last week, in a section dedicated to e-books, Roberto Casati apre un articolo: "Non mi risultano dati scientifici che comparino l'esperienza di leggere un e-book a quella di leggere un libro su carta" (a p. 22). I dati, però, ci sono e possono essere considerati ormai assestati.
Naturalmente, il modo in cui Casati parla della lettura è molto generico. Che cosa si intende per "comparino l'esperienza"? Per esempio, potremmo intendere una descrizione delle diversità di comportamento. E qui le cose cambiano molto da un tipo di testo all'altro. I romanzi - beh, si leggono su Kindle e iPad esattamente come su carta: una pagina alla volta, dall'inizio alla fine.
Diversa è la situazione per i libri di studio. Per esempio, Jenny Lau ha sintetizzato in questo modo la bibliografia recente in un articolo intitolato Students’ experience of using electronic textbooks in different levels of education ( Scroll , 1, 1, 2008):
Learning behaviour changes when one accesses text in electronic format. Students are accustomed to scan through the text to get an overview of the material. This, however, becomes difficult while using an electronic version (Waycott & Kukulska-Hulme, 2003). Instead of scanning through the text, students may skim it. When reading electronic text, students prefer to start from the table of contents to determine which chapters seem relevant (Hernoon, Hopper, Leach, Saunders, & Zhang, 2007). Highlighting, underlining, and taking notes, Activities That Are Considered to support active reading, are not Equally represented in digital form. For instance, medical students taking notes Found That Was not in electronic format as natural as with paper (Morton, Foreman, Goede, Bezzant, & Albertine, 2007) (p. 5).
Or, we may decide to answer Casati on this point not so much trying to figure out if the experiences are different, as if the rating is different. Lau found greater acceptance in the bibliography (obvious) of electronic texts by younger generations. If the preference goes to those absolute, however, things change, as shown by an original study by William Douglas Woody, David B. Daniel and Crystal A. Baker, E-books or textbooks: Students prefer textbooks, published Computers & Education, 55, 2010, pp. 945-948 (unfortunately, only available for a fee or subscribe to networks). The abstract says it all:
Previous research has demonstrated That the experience of reading e-books is not equivalent to reading textbooks. This study examines factors influencing preference for e-books as well as Reported use of e-book content. Although the present student cohort is The Most technologically savvy to ever enter universities, students do not prefer e-books over textbooks Their regardless of gender, computer use or comfort with computers. No Significant correlations Existed Between the number of e-books previously used and overall preference of e-books: Participants who HAD previously used an e-book still preferred print texts for learning. Despi Easily the ability to access books through supplemental content via hyperlinks and other features, Were students more Likely to use special features books in print Than in e-books.
In essence, given a choice, students prefer to study books on paper. And, since they react in this way, even students who have already used e-book, the probable cause of this preference is not the habit, but the simple usability. The experts know this, but it will take a while ' of time before these findings become common knowledge ...
Sunday, December 19, 2010
Friday, December 17, 2010
Wednesday, December 15, 2010
Fredericton To Toronto Bus Ticket
Flames of Rome
~ squads
OF CULTURE AND THE WISDOM OF Ceronetti ~
Yesterday those who fight against cuts to the "culture" and the school received the baptism of fire during a decisive battle supreme in the palace while the conspirators were acting against the legitimately elected government, with the pampered students studied synchrony raged alma city of Rome, he burned his most beautiful squares, it tamper with the delicate baroque heart. The culture, the most fragile, disfigured by something else that the issues of funding, became a cause of riots, like the bread to the hungry populace than once. In the same hour, Guido Ceronetti, a figure in front of which all the dolls disappear idolized by young destroyers (gazzettieri of culturame, television pro death, installers bloom ...) sent the "Print" an article in which, with the wisdom of some old , said his amen faced with shortage of money for cultural enterprises. Indeed, reversing the cliché of the small conservative who can not conceive of the knowledge and beauty if not in the ways they have learned in school by teachers without imagination, Ceronetti tried to imagine an Italy free of Scala, evitando le nostalgie delle soubrette in pensione. Quest’«Almanacco», che ricorda spesso come l’arte pittorica languisca da molti decenni, non si commuove per un museo che deve risparmiare o che chiude, anzi nei mesi scorsi ha ripetuto che ben vengano i tagli, ovvero i progetti per sottrarre i soldi pubblici ai party e alle inaugurazioni. Oggi perciò è lietissimo che anche Ceronetti scriva: «non chiamiamo ‘cultura’ un evento turistico estivo, costosamente mondano»; ed è lietissimo che il Maestro delle marionette, evitando di cadere nei trabocchetti feticisti, possa addirittura proporre delle scelte, discutibili come tutte le scelte, certo, ma ancorate al dato assai prosaico che i fondi dello Was not a well of St. Patrick: "If a budget eater della Scala wisdom of the state (there never was) could restore dignity Pompeii, I would not hesitate a moment to give everything to the excavations and protect them from neglect and dirt. [...] The opera, like film, vixit. His languid progressive is inevitable. " To end on a sentence of bigots scandalosissima ear: "If the scale closes, what's wrong?".
Years ago, the writer had mentioned in his column, the sentence read on a placard hoisted by a young man who had been forcibly removed by a procession of the left: "I am a happy precarious. Idolatry of the place fisso è voglia di schiavitù». Un altro dogma della protesta attuale veniva così destrutturato. Nemico giurato del Luogo Comune, recentemente aveva bollato il nome che si erano dati i congiurati neofuturisti: «futuro è un tarocco che porta sgarro, mai adottare una parola così vacua, così flagellata dai venti del Nulla. Il futuro non lo puoi conoscere, non sai dove siano le sue stive, non esiste: la politica lavora (se è un lavorare) sul presente; se è saggia, il prossimo giro di presente ne ricaverà mirabilia, (forse)...».
Yesterday those who fight against cuts to the "culture" and the school received the baptism of fire during a decisive battle supreme in the palace while the conspirators were acting against the legitimately elected government, with the pampered students studied synchrony raged alma city of Rome, he burned his most beautiful squares, it tamper with the delicate baroque heart. The culture, the most fragile, disfigured by something else that the issues of funding, became a cause of riots, like the bread to the hungry populace than once. In the same hour, Guido Ceronetti, a figure in front of which all the dolls disappear idolized by young destroyers (gazzettieri of culturame, television pro death, installers bloom ...) sent the "Print" an article in which, with the wisdom of some old , said his amen faced with shortage of money for cultural enterprises. Indeed, reversing the cliché of the small conservative who can not conceive of the knowledge and beauty if not in the ways they have learned in school by teachers without imagination, Ceronetti tried to imagine an Italy free of Scala, evitando le nostalgie delle soubrette in pensione. Quest’«Almanacco», che ricorda spesso come l’arte pittorica languisca da molti decenni, non si commuove per un museo che deve risparmiare o che chiude, anzi nei mesi scorsi ha ripetuto che ben vengano i tagli, ovvero i progetti per sottrarre i soldi pubblici ai party e alle inaugurazioni. Oggi perciò è lietissimo che anche Ceronetti scriva: «non chiamiamo ‘cultura’ un evento turistico estivo, costosamente mondano»; ed è lietissimo che il Maestro delle marionette, evitando di cadere nei trabocchetti feticisti, possa addirittura proporre delle scelte, discutibili come tutte le scelte, certo, ma ancorate al dato assai prosaico che i fondi dello Was not a well of St. Patrick: "If a budget eater della Scala wisdom of the state (there never was) could restore dignity Pompeii, I would not hesitate a moment to give everything to the excavations and protect them from neglect and dirt. [...] The opera, like film, vixit. His languid progressive is inevitable. " To end on a sentence of bigots scandalosissima ear: "If the scale closes, what's wrong?".
Years ago, the writer had mentioned in his column, the sentence read on a placard hoisted by a young man who had been forcibly removed by a procession of the left: "I am a happy precarious. Idolatry of the place fisso è voglia di schiavitù». Un altro dogma della protesta attuale veniva così destrutturato. Nemico giurato del Luogo Comune, recentemente aveva bollato il nome che si erano dati i congiurati neofuturisti: «futuro è un tarocco che porta sgarro, mai adottare una parola così vacua, così flagellata dai venti del Nulla. Il futuro non lo puoi conoscere, non sai dove siano le sue stive, non esiste: la politica lavora (se è un lavorare) sul presente; se è saggia, il prossimo giro di presente ne ricaverà mirabilia, (forse)...».
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Tuesday, December 14, 2010
Shady Grove Fertility Center
Kamkwamba, The Boy Who Harnessed the Wind
Question: You can learn just by reading? Yes, of course, but how far?
The Boy Who Harnessed the Wind , told directly by the boy of the title (William Kamkwamba, in collaboration with Bryan Mealer), is also an answer to this question. The book, in fact, is the story of how a few years ago a boy from Malawi has been in the lead, in a village almost entirely devoid of electricity, to build a wind generator to bring light into the house. Without encouragement or to have teachers, but only a library with some shelf di libri in inglese arrivati per donazione.
Un libro in particolare, Explaining physics (sembrerebbe questo ), gioca un ruolo fondamentale, perché fornisce le indicazioni necessarie: a capire i principi alla base della dinamo, o la differenza tra corrente continua e corrente alternata, o il modo per cambiare la tensione. Non che il protagonista non abbia già qualche base, dall'inglese all'algebra (imparati in scuole con i buchi nel pavimento, senza libri né attrezzature); però in un contesto in cui nessuno, dalla famiglia ai pochi proprietari di biciclette e luci elettriche, ha la minima idea di come funzioni la corrente.
Il libro, insomma, è la storia di un successo. With a history that takes shape, however, only half of the text, because the first sections recount the life of William Kamkwamba, the story of his family, and especially the famine of 2001, which (along with the sale, made shortly before, reserves national grain, and the disappearance of profits resulting ...) leading to starvation of the whole village and the rest of the country. Then, in a few years, dropped out of school, the main character is almost by chance to create his windmill. After the success of the radio and local newspapers notice it, and from there to a TED conference up - well, it's short, but it quickly:
Il racconto è avvincente. Soprattutto, però, fa ricordare che i libri permettono a volte di fare cose sorprendenti, quando incontrano un lettore preparato a prenderli sul serio. 
Question: You can learn just by reading? Yes, of course, but how far? The Boy Who Harnessed the Wind , told directly by the boy of the title (William Kamkwamba, in collaboration with Bryan Mealer), is also an answer to this question. The book, in fact, is the story of how a few years ago a boy from Malawi has been in the lead, in a village almost entirely devoid of electricity, to build a wind generator to bring light into the house. Without encouragement or to have teachers, but only a library with some shelf di libri in inglese arrivati per donazione.
Un libro in particolare, Explaining physics (sembrerebbe questo ), gioca un ruolo fondamentale, perché fornisce le indicazioni necessarie: a capire i principi alla base della dinamo, o la differenza tra corrente continua e corrente alternata, o il modo per cambiare la tensione. Non che il protagonista non abbia già qualche base, dall'inglese all'algebra (imparati in scuole con i buchi nel pavimento, senza libri né attrezzature); però in un contesto in cui nessuno, dalla famiglia ai pochi proprietari di biciclette e luci elettriche, ha la minima idea di come funzioni la corrente.
Il libro, insomma, è la storia di un successo. With a history that takes shape, however, only half of the text, because the first sections recount the life of William Kamkwamba, the story of his family, and especially the famine of 2001, which (along with the sale, made shortly before, reserves national grain, and the disappearance of profits resulting ...) leading to starvation of the whole village and the rest of the country. Then, in a few years, dropped out of school, the main character is almost by chance to create his windmill. After the success of the radio and local newspapers notice it, and from there to a TED conference up - well, it's short, but it quickly:
Il racconto è avvincente. Soprattutto, però, fa ricordare che i libri permettono a volte di fare cose sorprendenti, quando incontrano un lettore preparato a prenderli sul serio.
Monday, December 13, 2010
African American Hfmd
~ L’ARTE DI UN MONDO IRREDENTO ~
L’arte today - not the tricks of charlatans - one that nevertheless exists and resists, but enters the one-way street, leading us through the maze of anxiety - images that refuse to face, that wonderful verse in the rhythmic construction waive punctuation, and breaks that dampen the obsessions, music afraid that eschew any mention melodic - the art dell'asperità pursued now by hermits rather noble, far from high society and fashion, striking resemblance to the Protestant religion. Contrary to the easy consolations, it ends up a little discipline 'with the devil ignore any consolation. The artist as universal priest luterano deve incaponirsi ad avvelenare la dolcezza del mondo per mostrare soltanto l’aspetto tragico. Nessun cibo per i sensi, nutrimento amaro invece per l’intelletto affinché demistifichi ogni illusione, testimoni con mistica scabra della vuotaggine del reale, anche se la mistica un tempo provava a dire la contentezza traboccante per ogni alba che si ripete. Quel forzare i confini del dicibile per eccesso di amore, da parte della creatura che prova a intonare un Magnificat straripante, era la sua gloria e talvolta la sostanza del linguaggio speciale dell’arte. Oggi, festa di santa Lucia, protettrice della vista, gli artisti che si denominano ‘visivi’ dovrebbero meditare sullo sguardo cattolico placed on the redeemed world and beautiful. In the darkness of what was, until the Gregorian calendar reform, the darkest days of the year, the Church celebrates the holy light that draws in the name: the "valley of tears" on earth, the eye must be able to see the splendor.
L’arte today - not the tricks of charlatans - one that nevertheless exists and resists, but enters the one-way street, leading us through the maze of anxiety - images that refuse to face, that wonderful verse in the rhythmic construction waive punctuation, and breaks that dampen the obsessions, music afraid that eschew any mention melodic - the art dell'asperità pursued now by hermits rather noble, far from high society and fashion, striking resemblance to the Protestant religion. Contrary to the easy consolations, it ends up a little discipline 'with the devil ignore any consolation. The artist as universal priest luterano deve incaponirsi ad avvelenare la dolcezza del mondo per mostrare soltanto l’aspetto tragico. Nessun cibo per i sensi, nutrimento amaro invece per l’intelletto affinché demistifichi ogni illusione, testimoni con mistica scabra della vuotaggine del reale, anche se la mistica un tempo provava a dire la contentezza traboccante per ogni alba che si ripete. Quel forzare i confini del dicibile per eccesso di amore, da parte della creatura che prova a intonare un Magnificat straripante, era la sua gloria e talvolta la sostanza del linguaggio speciale dell’arte. Oggi, festa di santa Lucia, protettrice della vista, gli artisti che si denominano ‘visivi’ dovrebbero meditare sullo sguardo cattolico placed on the redeemed world and beautiful. In the darkness of what was, until the Gregorian calendar reform, the darkest days of the year, the Church celebrates the holy light that draws in the name: the "valley of tears" on earth, the eye must be able to see the splendor.
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Wednesday, December 8, 2010
How To Mix Two Songs On Garageband
Presentation by Eisner, December 9
Will Eisner (1917-2005) è stato uno dei più importanti autori di fumetti del Novecento. Oggi è celebrato soprattutto per il suo stile personale e per i suoi personaggi di grande successo, a cominciare da Spirit , oltre che per essere stato il creatore della graphic novel moderna. In aggiunta alla sua attività di soggettista e disegnatore, però, Eisner è stato anche un insegnante e un importante teorico del fumetto. A partire dagli anni Ottanta therefore conducted manual are both reflections of the artist on this means of communication and, thanks to a huge amount of graphs and tables showing examples of great writers, true image galleries.
As already told this blog, Fabio Gadducci and myself have translated the most famous of the two manuals Eisner (Comics and Sequential Art and Graphic Storytelling and Visual Narrative ), published this year by Rizzoli in a single volume with Title The Art of Comics . Thursday, December 9 will present the work at the Museum of Graphic of Pisa (Palazzo Lanfranchi) 17.30. 
Will Eisner (1917-2005) è stato uno dei più importanti autori di fumetti del Novecento. Oggi è celebrato soprattutto per il suo stile personale e per i suoi personaggi di grande successo, a cominciare da Spirit , oltre che per essere stato il creatore della graphic novel moderna. In aggiunta alla sua attività di soggettista e disegnatore, però, Eisner è stato anche un insegnante e un importante teorico del fumetto. A partire dagli anni Ottanta therefore conducted manual are both reflections of the artist on this means of communication and, thanks to a huge amount of graphs and tables showing examples of great writers, true image galleries.
As already told this blog, Fabio Gadducci and myself have translated the most famous of the two manuals Eisner (Comics and Sequential Art and Graphic Storytelling and Visual Narrative ), published this year by Rizzoli in a single volume with Title The Art of Comics . Thursday, December 9 will present the work at the Museum of Graphic of Pisa (Palazzo Lanfranchi) 17.30.
Thursday, December 2, 2010
Ladies Wearing Girdles And Stockings.
Smolderen, Naissances de la bande dessinée
In the debate on the birth of comics, the recent Naissances de la bande dessinée Smolderen Thierry (Les impressions nouvelles, sl, 2009) is a contribution not perfect but very important.
Why, "not perfect"? Simply because Smolderen devotes much attention to definitions and things marginal, or wrong. The book has the subtitle "de William Hogarth à Winsor McCay, and, of course, being the starting point, the work of Hogarth is one of the things Smolderen focus more. However, his argument is strange: Hogarth is important not because his recordings are comics (are not), but because the sue opere sono costruite per essere decifrate (sono "diagrammatiques") e combinano elementi di tradizioni grafiche diverse in un modo che ricorda la polifonia bachtiniana del romanzo dell'epoca. Entrambi questi aspetti diventeranno importanti nel secolo successivo, e saranno alla base del protofumetto dell'Ottocento. In Hogarth convivono, secondo Smolderen, in questo modo:
"Cherchez le diagramme!" est le mot d'ordre, la règle du jeu. Quel que soit son parcours dans l'image, l'oeil découvre à chaque lecture de noveaux rapports, de nouvelles articulations ironiques. Car c'est là que réside toute la modernité d'Hogarth: sa vision polémique de la société anglaise s'exprime par diagramme interposed, by playing all layers of the graphic language of his time. The implementation of this "Polyphonic" graphic is what brings the inventors of the modern novel as Henry Fielding and Laurence Sterne, who similarly confronted in their work all the veins, all records of spoken and written at the time ( p. 15).
Gli Aspetti che in questa Tornano Ricostruzione sound obvious. Innanzitutto the "decifrabilità delle opere è una costante delle arte grafiche, di non un'invenzione Hogarth! E is the "Polifonia", sarà davvero da passata ad Hogarth authorized e Grandville Dore come? Può anche darsi, in my darker side mid Realta Hogarth non molto "Polifonico"; in some cases is clearly imitated by later artists, but to show that he is at the root of everything ... Well, it would take at least another book!
objectionable comments are then in other parts of the book. Indeed, it is curious, at least for me, see how often oscillates between Smolderen convincing analysis (for example, when showing the sharp opposition between the formal and Little Jack McCay's Little Nemo ) and other ... less. But the feeling is not the end of a book that does not work. Beyond the (many) points that are not convincing, the author has certainly hit the main problem. In response to a historical cartoon that in the graphic production of the nineteenth seek only embryos of modern comics, Smolderen reconstructs a complex environment. Identifies a wider range of "ancestors" of the graphic narrative to which few have thought about before: from the repertoires of facial expressions of the actors in the service until the early photographic sequences designed to reconstruct the phases of the fast movements. On these points also
Smolderen, rather than tell, show: the illustrations of the book is just amazing, and it all seems the result of research at first hand. The cover does not do justice to this amazing gallery, never seen around, and often very beautiful.
From my point of view, then, one of the most interesting (even if marginal in this discussion) is the way many nineteenth century authors link the work on the stylized image of a theoretical reflection. In search, of course, a "grammar" of gestures and expressions. The examples taken from Cruikshank and Grandville, at pp. 36 and 37, are the most fascinating, but not the only ones, and go along with the many attempts to codify the time and "write" so many things that, unlike the language, then have proved very refractory to schematization. However, even if you try that much can not go, see how some brilliant personalities try to address the problem is indeed very informative! 
In the debate on the birth of comics, the recent Naissances de la bande dessinée Smolderen Thierry (Les impressions nouvelles, sl, 2009) is a contribution not perfect but very important.
Why, "not perfect"? Simply because Smolderen devotes much attention to definitions and things marginal, or wrong. The book has the subtitle "de William Hogarth à Winsor McCay, and, of course, being the starting point, the work of Hogarth is one of the things Smolderen focus more. However, his argument is strange: Hogarth is important not because his recordings are comics (are not), but because the sue opere sono costruite per essere decifrate (sono "diagrammatiques") e combinano elementi di tradizioni grafiche diverse in un modo che ricorda la polifonia bachtiniana del romanzo dell'epoca. Entrambi questi aspetti diventeranno importanti nel secolo successivo, e saranno alla base del protofumetto dell'Ottocento. In Hogarth convivono, secondo Smolderen, in questo modo:
"Cherchez le diagramme!" est le mot d'ordre, la règle du jeu. Quel que soit son parcours dans l'image, l'oeil découvre à chaque lecture de noveaux rapports, de nouvelles articulations ironiques. Car c'est là que réside toute la modernité d'Hogarth: sa vision polémique de la société anglaise s'exprime par diagramme interposed, by playing all layers of the graphic language of his time. The implementation of this "Polyphonic" graphic is what brings the inventors of the modern novel as Henry Fielding and Laurence Sterne, who similarly confronted in their work all the veins, all records of spoken and written at the time ( p. 15).
Gli Aspetti che in questa Tornano Ricostruzione sound obvious. Innanzitutto the "decifrabilità delle opere è una costante delle arte grafiche, di non un'invenzione Hogarth! E is the "Polifonia", sarà davvero da passata ad Hogarth authorized e Grandville Dore come? Può anche darsi, in my darker side mid Realta Hogarth non molto "Polifonico"; in some cases is clearly imitated by later artists, but to show that he is at the root of everything ... Well, it would take at least another book!
objectionable comments are then in other parts of the book. Indeed, it is curious, at least for me, see how often oscillates between Smolderen convincing analysis (for example, when showing the sharp opposition between the formal and Little Jack McCay's Little Nemo ) and other ... less. But the feeling is not the end of a book that does not work. Beyond the (many) points that are not convincing, the author has certainly hit the main problem. In response to a historical cartoon that in the graphic production of the nineteenth seek only embryos of modern comics, Smolderen reconstructs a complex environment. Identifies a wider range of "ancestors" of the graphic narrative to which few have thought about before: from the repertoires of facial expressions of the actors in the service until the early photographic sequences designed to reconstruct the phases of the fast movements. On these points also
Smolderen, rather than tell, show: the illustrations of the book is just amazing, and it all seems the result of research at first hand. The cover does not do justice to this amazing gallery, never seen around, and often very beautiful.
From my point of view, then, one of the most interesting (even if marginal in this discussion) is the way many nineteenth century authors link the work on the stylized image of a theoretical reflection. In search, of course, a "grammar" of gestures and expressions. The examples taken from Cruikshank and Grandville, at pp. 36 and 37, are the most fascinating, but not the only ones, and go along with the many attempts to codify the time and "write" so many things that, unlike the language, then have proved very refractory to schematization. However, even if you try that much can not go, see how some brilliant personalities try to address the problem is indeed very informative!
Wednesday, December 1, 2010
Pull A Fire Alarm Online
Splinters of pain in the doorway of the museum
~ REFLECTIONS OF A POET around the Arctic. ~
Paul Valery speaks of "SUPERSTITION OF THE NEW AND UNDER EMBEZZLES MEN 'BORN TO CREATE' patrons' Incorruptible ' THE ARTISTS' intentions but do not provide miracle." ~
«L’art délicat de la durée…»
PAUL VALÉRY
«Ai miei occhi, l’arte appare come un combattimento contro quello che non è. […] Tutte le potenze umane devono impegnarsi per sostenere e mantenere in vita ciò che nasce e tende a ricadere nel nulla». Paladino dell’aspirazione all’eterno si presenta dunque, nella citazione riportata, l’ingegnosissimo Paul Valéry che meditò a lungo, e in modo elaborato, su quella singolare attività umana, la creazione, alla vigilia del suo totale stravolgimento a opera degli ultimi moderni. Il poeta ligure-francese, si sa, non era un tipo ingenuo, diffidente anzi verso conceptions of the good-natured beauty, art procedures gave very articulate intellectuals, like philosophy, which is also considered "a matter of form" (a bit 'like the Italian Renaissance did not distinguish art from science): artists thought, therefore, his followers - and the writing of the sprawling French philosophers of the twentieth century is perhaps a bit 'from this lesson, and much of the unbridled subjectivity of existentialism, so mingled with writers, sometimes lyrical affair with Hermeticism . The author of Cimitière marin urged them with a rhetorical question: "Perhaps the philosopher thinks Ethics monadology or are things more serious than a suite in D minor? ". Even so, it would have been satisfied by the "conceptual" of our contemporaries who performs with excessive severity thoughts trails, primitive captions-cards: he seeks to understand painting. The fan of Leonardo also knew that the art of his time was developing next to the 'industry profits, "an economic system of the useless, with its own press, its own market, its own stock and also" large banks of storage, where they are earning the enormous capital 'products over the centuries: the museums. The rest was the ancient hatred of the museum by del poeta che lavorava al ministero della Guerra, nulla a che vedere con il disprezzo avanguardistico per gli archivi, ben più elegante idiosincrasia lo muoveva, infastidito dal gesto del custode che gli sottrae all’ingresso il bastone da passeggio e dal cartello che gli vieta di fumare. Luogo senza voluttà, lo definì, dove ci si sente come a scuola.
Di fronte alla produzione estetica contemporanea, quel che appare più irritante è senz’altro la facilità delle sue trovate, di quelle che si ha l’impudenza di chiamare ‘opere’; mancanza di metodo, avrebbe sentenziato Valéry. L’inventore di Monsieur Teste , modello di lucidità asperissima (ispirato, sembra, severe as the grumpy Degas, the master of penalty), is the most cruel scourge of nonsense that could be seen already in his time. But do not fight the charges social perspicacity shine while dark theories circulating. Unwittingly provides little interested in the future, understands immediately what is happening in the field of art. Leafing through his many writings on the subject we extracted small quotes to mention the misadventures of Beauty in the West that claims to post-Christian. Paris, in the first half of the twentieth century, was still a great observatory.
T .. myth .. 's . or riginalit à
"I do not see themselves as the products arising from the desire for 'perfection'. We observe in passing that this desire was outdated before fading down the idea and the insatiable thirst for originality . Why you need to search for perfection 'the legacy , imitation or tradition, ascension to the object in degrees absolute, "while the frantic hunt for originality rejects the past and its degree of perfection, while residing' the differ in its essence "(Letter to Leo Ferrero, 1928).
T .. n ews
"The new one is exciting of these poisons that end up be more required of any food, once we have mastered, you always increase the dose and make it deadly. It is strange that you attack in this way to the most perishable of things, which is their quality of being new. You do not know then that the most innovative ideas must be given a certain air of nobility, no hurry, quite mature, and these ideas must seem unusual but not around for centuries, and are not made and this morning, but only forgotten and rediscovered. The unique taste of the novelty indicates a degeneration of the critical spirit, since Nothing is easier than judging the novelty of a work ( Choses tues). "Nothing is easier," is why the 'critical' now we fill the eyes with the adjective new anodyne in their pages. But because they need "a certain air of nobility" still use the word 'art' and evokes all that is traditional.
T .. reality .. outer
The strange taste of mystical Gnostic who wins the artists of the twentieth century is judged harshly by Valéry. "According to popular opinion and out of time there is an 'internal street' where the externals are excluded because the are harmful, and therefore the scents, colors, images and ideas are perhaps out of trouble and confusion to its perfection, therefore we claim that beings who are consumed with the desire, in joy or trade secret of their perceptions incommunicable them feel more alive and derive more alive than the fruits are more advanced in their depth and in their contempt, more detached from the outside, from what they see as the outside. Life that makes use of those terms are defined and who is satisfied of their ghosts, opposes easily a certain 'life of the mind', or soul, or a life of the pure, one and the other removed from surface agitation that makes what you touch and see. In many essays is the formal warning to consider the meaning of the adversary as accomplices, and deal with essential organs such as pimps. 'Preventative cogitationem odoratus', says among other things, Saint Bernard. I'm not so sure that meditation and the sealed inner deviation are always innocent, or that those who are isolated in itself is pure perfection. [...] Why you want the fund, the fund demanded of ourselves, the appearance of the fund that are in us, for some strange accident, or for an indefinite aspettativa, sia più importante da osservare […] che la figura di questo mondo? […] Una vita dedita ai colori e alle forme non è a priori meno profonda né meno ammirevole di una vita trascorsa tra le ombre ‘interiori’» ( Berthe Morisot ). Questa conclusione è la base morale della storia dell’arte in Occidente. Il Beato Angelico guida in Paradiso la schiera dei cantori della beltà terrena.
L a .. r e s i s t e n z a .. d e l .. m o n d o
Secondo lui, i successori degli Impressionisti avevano definitivamente eliminato l’Avversario, l’oggetto esterno, per impotenza o perché seduced by short-cuts that were less representation. So masterful play those famous lines of Monsieur Teste well say that the resistance that the author, artist, lies in forging the works: "It's not live live without objection, that living without resistance, the prey, the 'attacking another person, identified the rest of the world, obstacle and shadow of the ego - other self - rival intelligence, irrepressible - the enemy's best friend, hostility divine fatal - intimate. "
T .. similarity
allow a certain importance to the similarity and representation. It could take several similarities: the natural, social and intellectual. "The problem of the portrait is one of the more subtle art. It is in fact performing work which, by definition, is subject to a condition not only 'art', the likeness, which is satisfied by comparing an image with a template, or recall the memory of this unequivocal through that. The finding necessary and sufficient, no relation that imposes itself with the pleasure of the eye [...] I realize that the era that saw the decline of taste and attention to be scrupulously neglecting sees the face of the living as much, if not to abandon of all, the age-old practice of copying works of the masters in museums' (De la rassemblance et de l'art).
D escription
"a purely descriptive (as if there are many) is no more truth in that part of the work . [...] In addition, each description is reduced to the enumeration of parts or aspects of a thing seen, and this inventory can be done in any order, that introduces a kind of randomness in the execution. ( Autour de Corot ).
R ealismo
Yes, realism is guilty of naivety, the will to betrays the realistic portrayal of reality. Very ahead of Italian neo-realism does not seem to have been much cited in debates fumosissimi intelligentsia of coffee in Piazza del Popolo. "The arts of 'imitation' move between the well-defined idea of \u200b\u200brepresenting 'exactly' the 'reality', to try to match what you get from a good photograph or fingerprint, and the effects of intervention 'living organism that must make such a representation. But this living organism is far from being similar to any other of his kind. It is made of links "(De la ressemblance et de l'art ).
L '. inflation .. of .. comments
"Modern artists are made of systems to resist a bit 'of time only with the aid of appropriate literature. But neither Titian or Veronese, Tintoretto or Strong said they needed someone who will 'present'. It was enough to prevail. Of the sonnets are dedicated to them, they are not explained. They did not offer the intentions, but of miracles [...]. What's more certain in its intentions and more certain in its effect to a portrait of pure Raphael? "(Article italien ). The art of the last century, it's like a cryptogram, a puzzle that needs butts words. Jean Clair wrote: "A few times we have known as such a divorce between poverty and inflation produced the works of the comments that even the most insignificant of them manages to provoke." Of course, rely on word since the image is aborted.
E clock .. of .. slow
really scandalous years in future post: "Whether it's letters or the arts, the rush to publish or to showcase what you have done looks overall. There is the pressure of the demands of life, but it is not the only power in the game. Our age is very hard with all the virtues that make use of the term. It encourages, threatens, stuns, does not allow you to pass more than two decades to try to live for centuries. The work of mere exercise without hope of immediate fruits of the long preparation of himself to the difference in the world, the will to submission to the constraints that seem unnecessary or are bothersome: we have become impossible or unbearable. At a time when time does not cost anything, there could be an ideal of perfection [...]. more I know, I'm more here is what we're saying through all their great works all the masters. These works bore a prolonged examination. They were worth enough to be copied. Not yet felt that the design or the art of writing were, for a special privilege, exempted from requiring all of our actions directed to some domain of our natural resources. The piano, the mystique itself, requiring years of training, the length of the shooting, boredom and resentment of apprenticeship "(De la ressemblance et de l'art).
I n .. name .. 's . art .. Italian
Rarely was so critical of the "superstition of modernity 'as in the article on the exhibition of Italian Renaissance art in 1935, where thinking of our great painters of centuries exclaimed: "Blessed are those artists, you'd think, that nothing prevented him from becoming consumed in large." At that time, running toward the war, wrote: "The days that we live in are no less difficult or less disturbing circumstances, nor the future less uncertain than in the order of the creations of the mind than it is in the political and that of material needs. We can in front of this dazzling collection of paintings and sculptures do not reflect incomparable very bitterly on the current state of our art? [...] We see attorno, negli uomini e nelle loro opere, come anche in noi stessi, gli effetti di confusione e di dissipazione che ci infligge il movimento disordinato del mondo moderno. Le arti non si accordano con la fretta. ( L’art italien ).
«L’art délicat de la durée…»
PAUL VALÉRY
«Ai miei occhi, l’arte appare come un combattimento contro quello che non è. […] Tutte le potenze umane devono impegnarsi per sostenere e mantenere in vita ciò che nasce e tende a ricadere nel nulla». Paladino dell’aspirazione all’eterno si presenta dunque, nella citazione riportata, l’ingegnosissimo Paul Valéry che meditò a lungo, e in modo elaborato, su quella singolare attività umana, la creazione, alla vigilia del suo totale stravolgimento a opera degli ultimi moderni. Il poeta ligure-francese, si sa, non era un tipo ingenuo, diffidente anzi verso conceptions of the good-natured beauty, art procedures gave very articulate intellectuals, like philosophy, which is also considered "a matter of form" (a bit 'like the Italian Renaissance did not distinguish art from science): artists thought, therefore, his followers - and the writing of the sprawling French philosophers of the twentieth century is perhaps a bit 'from this lesson, and much of the unbridled subjectivity of existentialism, so mingled with writers, sometimes lyrical affair with Hermeticism . The author of Cimitière marin urged them with a rhetorical question: "Perhaps the philosopher thinks Ethics monadology or are things more serious than a suite in D minor? ". Even so, it would have been satisfied by the "conceptual" of our contemporaries who performs with excessive severity thoughts trails, primitive captions-cards: he seeks to understand painting. The fan of Leonardo also knew that the art of his time was developing next to the 'industry profits, "an economic system of the useless, with its own press, its own market, its own stock and also" large banks of storage, where they are earning the enormous capital 'products over the centuries: the museums. The rest was the ancient hatred of the museum by del poeta che lavorava al ministero della Guerra, nulla a che vedere con il disprezzo avanguardistico per gli archivi, ben più elegante idiosincrasia lo muoveva, infastidito dal gesto del custode che gli sottrae all’ingresso il bastone da passeggio e dal cartello che gli vieta di fumare. Luogo senza voluttà, lo definì, dove ci si sente come a scuola.
Di fronte alla produzione estetica contemporanea, quel che appare più irritante è senz’altro la facilità delle sue trovate, di quelle che si ha l’impudenza di chiamare ‘opere’; mancanza di metodo, avrebbe sentenziato Valéry. L’inventore di Monsieur Teste , modello di lucidità asperissima (ispirato, sembra, severe as the grumpy Degas, the master of penalty), is the most cruel scourge of nonsense that could be seen already in his time. But do not fight the charges social perspicacity shine while dark theories circulating. Unwittingly provides little interested in the future, understands immediately what is happening in the field of art. Leafing through his many writings on the subject we extracted small quotes to mention the misadventures of Beauty in the West that claims to post-Christian. Paris, in the first half of the twentieth century, was still a great observatory.
T .. myth .. 's . or riginalit à
"I do not see themselves as the products arising from the desire for 'perfection'. We observe in passing that this desire was outdated before fading down the idea and the insatiable thirst for originality . Why you need to search for perfection 'the legacy , imitation or tradition, ascension to the object in degrees absolute, "while the frantic hunt for originality rejects the past and its degree of perfection, while residing' the differ in its essence "(Letter to Leo Ferrero, 1928).
T .. n ews
"The new one is exciting of these poisons that end up be more required of any food, once we have mastered, you always increase the dose and make it deadly. It is strange that you attack in this way to the most perishable of things, which is their quality of being new. You do not know then that the most innovative ideas must be given a certain air of nobility, no hurry, quite mature, and these ideas must seem unusual but not around for centuries, and are not made and this morning, but only forgotten and rediscovered. The unique taste of the novelty indicates a degeneration of the critical spirit, since Nothing is easier than judging the novelty of a work ( Choses tues). "Nothing is easier," is why the 'critical' now we fill the eyes with the adjective new anodyne in their pages. But because they need "a certain air of nobility" still use the word 'art' and evokes all that is traditional.
T .. reality .. outer
The strange taste of mystical Gnostic who wins the artists of the twentieth century is judged harshly by Valéry. "According to popular opinion and out of time there is an 'internal street' where the externals are excluded because the are harmful, and therefore the scents, colors, images and ideas are perhaps out of trouble and confusion to its perfection, therefore we claim that beings who are consumed with the desire, in joy or trade secret of their perceptions incommunicable them feel more alive and derive more alive than the fruits are more advanced in their depth and in their contempt, more detached from the outside, from what they see as the outside. Life that makes use of those terms are defined and who is satisfied of their ghosts, opposes easily a certain 'life of the mind', or soul, or a life of the pure, one and the other removed from surface agitation that makes what you touch and see. In many essays is the formal warning to consider the meaning of the adversary as accomplices, and deal with essential organs such as pimps. 'Preventative cogitationem odoratus', says among other things, Saint Bernard. I'm not so sure that meditation and the sealed inner deviation are always innocent, or that those who are isolated in itself is pure perfection. [...] Why you want the fund, the fund demanded of ourselves, the appearance of the fund that are in us, for some strange accident, or for an indefinite aspettativa, sia più importante da osservare […] che la figura di questo mondo? […] Una vita dedita ai colori e alle forme non è a priori meno profonda né meno ammirevole di una vita trascorsa tra le ombre ‘interiori’» ( Berthe Morisot ). Questa conclusione è la base morale della storia dell’arte in Occidente. Il Beato Angelico guida in Paradiso la schiera dei cantori della beltà terrena.
L a .. r e s i s t e n z a .. d e l .. m o n d o
Secondo lui, i successori degli Impressionisti avevano definitivamente eliminato l’Avversario, l’oggetto esterno, per impotenza o perché seduced by short-cuts that were less representation. So masterful play those famous lines of Monsieur Teste well say that the resistance that the author, artist, lies in forging the works: "It's not live live without objection, that living without resistance, the prey, the 'attacking another person, identified the rest of the world, obstacle and shadow of the ego - other self - rival intelligence, irrepressible - the enemy's best friend, hostility divine fatal - intimate. "
T .. similarity
allow a certain importance to the similarity and representation. It could take several similarities: the natural, social and intellectual. "The problem of the portrait is one of the more subtle art. It is in fact performing work which, by definition, is subject to a condition not only 'art', the likeness, which is satisfied by comparing an image with a template, or recall the memory of this unequivocal through that. The finding necessary and sufficient, no relation that imposes itself with the pleasure of the eye [...] I realize that the era that saw the decline of taste and attention to be scrupulously neglecting sees the face of the living as much, if not to abandon of all, the age-old practice of copying works of the masters in museums' (De la rassemblance et de l'art).
D escription
"a purely descriptive (as if there are many) is no more truth in that part of the work . [...] In addition, each description is reduced to the enumeration of parts or aspects of a thing seen, and this inventory can be done in any order, that introduces a kind of randomness in the execution. ( Autour de Corot ).
R ealismo
Yes, realism is guilty of naivety, the will to betrays the realistic portrayal of reality. Very ahead of Italian neo-realism does not seem to have been much cited in debates fumosissimi intelligentsia of coffee in Piazza del Popolo. "The arts of 'imitation' move between the well-defined idea of \u200b\u200brepresenting 'exactly' the 'reality', to try to match what you get from a good photograph or fingerprint, and the effects of intervention 'living organism that must make such a representation. But this living organism is far from being similar to any other of his kind. It is made of links "(De la ressemblance et de l'art ).
L '. inflation .. of .. comments
"Modern artists are made of systems to resist a bit 'of time only with the aid of appropriate literature. But neither Titian or Veronese, Tintoretto or Strong said they needed someone who will 'present'. It was enough to prevail. Of the sonnets are dedicated to them, they are not explained. They did not offer the intentions, but of miracles [...]. What's more certain in its intentions and more certain in its effect to a portrait of pure Raphael? "(Article italien ). The art of the last century, it's like a cryptogram, a puzzle that needs butts words. Jean Clair wrote: "A few times we have known as such a divorce between poverty and inflation produced the works of the comments that even the most insignificant of them manages to provoke." Of course, rely on word since the image is aborted.
E clock .. of .. slow
really scandalous years in future post: "Whether it's letters or the arts, the rush to publish or to showcase what you have done looks overall. There is the pressure of the demands of life, but it is not the only power in the game. Our age is very hard with all the virtues that make use of the term. It encourages, threatens, stuns, does not allow you to pass more than two decades to try to live for centuries. The work of mere exercise without hope of immediate fruits of the long preparation of himself to the difference in the world, the will to submission to the constraints that seem unnecessary or are bothersome: we have become impossible or unbearable. At a time when time does not cost anything, there could be an ideal of perfection [...]. more I know, I'm more here is what we're saying through all their great works all the masters. These works bore a prolonged examination. They were worth enough to be copied. Not yet felt that the design or the art of writing were, for a special privilege, exempted from requiring all of our actions directed to some domain of our natural resources. The piano, the mystique itself, requiring years of training, the length of the shooting, boredom and resentment of apprenticeship "(De la ressemblance et de l'art).
I n .. name .. 's . art .. Italian
Rarely was so critical of the "superstition of modernity 'as in the article on the exhibition of Italian Renaissance art in 1935, where thinking of our great painters of centuries exclaimed: "Blessed are those artists, you'd think, that nothing prevented him from becoming consumed in large." At that time, running toward the war, wrote: "The days that we live in are no less difficult or less disturbing circumstances, nor the future less uncertain than in the order of the creations of the mind than it is in the political and that of material needs. We can in front of this dazzling collection of paintings and sculptures do not reflect incomparable very bitterly on the current state of our art? [...] We see attorno, negli uomini e nelle loro opere, come anche in noi stessi, gli effetti di confusione e di dissipazione che ci infligge il movimento disordinato del mondo moderno. Le arti non si accordano con la fretta. ( L’art italien ).
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Saturday, November 27, 2010
Pokemon Gold Hm Remover
Mechanics of hours lost
Che cosa si fa quando gli studenti occupano e bloccano le lezioni? Domanda interessante, soprattutto quando i loro obiettivi (= fermare il percorso parlamentare del DDL sull'università) sono perfettamente ragionevoli e, per quel che mi riguarda, condivisi.
Dunque, protestare va benissimo. Salire sui tetti va bene... l'ho fatto anch'io (foto n. 8, in posa un po' improbabile). I cortei vanno bene. Le dichiarazioni di indisponibilità dei ricercatori non solo vanno bene, ma in molti casi cancellano una situazione di illegalità (visto che molti di noi, me compreso, dedicano a lezioni, esami e tesi più tempo di quanto permesso dalla law, and then do something that you should not do ...).
Conversely, blocking traffic, trains and planes will not do, and that's it. All right, do it all in Italy: from protesters to the milk quota fines up to the fans. But that does not make it any less odious bullying of this kind - even if done in the name of worthy goals.
and block the lessons? Even this is not good, but for a short time is tolerable, and perhaps not too many effects. Of course, the pretense of tiny minorities (as a rule, actively participates in protests over 5% of students) to speak on behalf of all is ridiculous. The practice of preventing blocking classroom lessons is simply an act of arrogance.
said ... A parcel not arrive or arrive. A train is on time or is delayed. But a university course that works is not necessarily a course where all the hours were held: the course work if students learn, period. The lessons from this point of view, are just one tool in the service of a result.
And then, the hours lost are a problem? The surprise (but not so much for the experts) is that it is very difficult to say. For the University of Pisa, now, a credit is equal to 7 hours. Two years ago corresponded to 6 hours: 12 credits from the courses are then passed 72 to 84 hours. This means that the knowledge of students increased 15%? Hard to understand, but probably not. Certainly, the programs of many courses seem to have been unchanged, and the total number of hours required for commitment to students has not changed.
In essence, teaching gives structure to the study, but it seems there is a direct proportion between time spent in the classroom and learning. As noted also Luca Serianni , perhaps in Italian schools the lessons are / were too many. Even the University of Pisa, the debate on the number of hours needed to reach a loan move between 5 (advocated by many teachers of Literature and Philosophy) and 8 (required, it seems, by many teachers of scientific disciplines). All this, of course, with the same expected results, and in the absence of hard data demonstrating the greater effectiveness of a solution either.
So, assuming that the fluctuation band of 5-8 corresponds to reality, in a semester with 10 or 11 weeks or even three or four weeks of block teaching may not have practical effects on the teaching of many subjects. This does not mean that the occupation (not unanimous) is an acceptable form of protest: one can not impose on others their will, except in the manner provided by law. It means, however, that this rude, unlike many others, perhaps not produce major consequences - and, paradoxically, potrebbe addirittura portare a un apprendimento più efficace (!)... se, per esempio, i sostenitori delle 5 ore avessero ragione. 
Che cosa si fa quando gli studenti occupano e bloccano le lezioni? Domanda interessante, soprattutto quando i loro obiettivi (= fermare il percorso parlamentare del DDL sull'università) sono perfettamente ragionevoli e, per quel che mi riguarda, condivisi.
Dunque, protestare va benissimo. Salire sui tetti va bene... l'ho fatto anch'io (foto n. 8, in posa un po' improbabile). I cortei vanno bene. Le dichiarazioni di indisponibilità dei ricercatori non solo vanno bene, ma in molti casi cancellano una situazione di illegalità (visto che molti di noi, me compreso, dedicano a lezioni, esami e tesi più tempo di quanto permesso dalla law, and then do something that you should not do ...).
Conversely, blocking traffic, trains and planes will not do, and that's it. All right, do it all in Italy: from protesters to the milk quota fines up to the fans. But that does not make it any less odious bullying of this kind - even if done in the name of worthy goals.
and block the lessons? Even this is not good, but for a short time is tolerable, and perhaps not too many effects. Of course, the pretense of tiny minorities (as a rule, actively participates in protests over 5% of students) to speak on behalf of all is ridiculous. The practice of preventing blocking classroom lessons is simply an act of arrogance.
said ... A parcel not arrive or arrive. A train is on time or is delayed. But a university course that works is not necessarily a course where all the hours were held: the course work if students learn, period. The lessons from this point of view, are just one tool in the service of a result.
And then, the hours lost are a problem? The surprise (but not so much for the experts) is that it is very difficult to say. For the University of Pisa, now, a credit is equal to 7 hours. Two years ago corresponded to 6 hours: 12 credits from the courses are then passed 72 to 84 hours. This means that the knowledge of students increased 15%? Hard to understand, but probably not. Certainly, the programs of many courses seem to have been unchanged, and the total number of hours required for commitment to students has not changed.
In essence, teaching gives structure to the study, but it seems there is a direct proportion between time spent in the classroom and learning. As noted also Luca Serianni , perhaps in Italian schools the lessons are / were too many. Even the University of Pisa, the debate on the number of hours needed to reach a loan move between 5 (advocated by many teachers of Literature and Philosophy) and 8 (required, it seems, by many teachers of scientific disciplines). All this, of course, with the same expected results, and in the absence of hard data demonstrating the greater effectiveness of a solution either.
So, assuming that the fluctuation band of 5-8 corresponds to reality, in a semester with 10 or 11 weeks or even three or four weeks of block teaching may not have practical effects on the teaching of many subjects. This does not mean that the occupation (not unanimous) is an acceptable form of protest: one can not impose on others their will, except in the manner provided by law. It means, however, that this rude, unlike many others, perhaps not produce major consequences - and, paradoxically, potrebbe addirittura portare a un apprendimento più efficace (!)... se, per esempio, i sostenitori delle 5 ore avessero ragione.
Thursday, November 25, 2010
Cervix More Sensitive Before Period
The statue of Mao The smell of blood
~ SINISTRI ARREDAMENTI ~
Il giornalista fascista Ugo Dadone, che nel dopoguerra ospitò a Roma l’esule Ezra Pound, teneva sulla tazza del cesso un ritratto di Badoglio e mostrava con rabbia la sistemazione del «traditore». Era una specie di vendetta che si concedeva in quell’appartamento di pochi metri, a pianterreno, dove si cucinava minestroni ineleganti he shared with the silent and sometimes poet with a friend on the floor above, another veteran of the defeat. In the small refuge of the vanquished to the Colle Oppio there were no holy ideological regimes swept away trinkets, ornaments symbolic only of the poor furnishings and scarring in the toilet.
The other night, ran on the television video image of a house kitsch: recasts belonged to the Communist who was also president of the Chamber, immaculate sofas lined up and red cushions, under the rules of the glossy magazines, trinkets sported by newly rich, was the 'exact counterpart of the clothes we wear when we saw him was for all media. Affairs of taste, his business. But the camera, focusing devoutly emphatic about the objects scattered, full-length crossed numerous statues and busts of Mao Tse Tung. Impressive as the public reacts sensitivity unfair: if in the most remote villages are rinvenisse at the house of a local councilor clockwise ducetto a souvenir of a trip to Predappio, Italy urlerebbe all'abominio, rites constitutional repair immediately would play everywhere, with great emotion for the insult to the victims of that regime, but if a man who was charged by his father of his country shows in her home in the left statue, even if you do. Yet despite the glamorous advertising pop sprayed from the bloodthirsty despot, none of the wise brings more in dubbio che il Grande Timoniere fece fuori molti milioni di cinesi, cifre ben più rilevanti di quelle degli stermini europei. Sappiamo, nelle epoche del tutto-uguale e del sempre-uguale, appena si parla di numeri ti obiettano l’espressione «calcoli macabri», e poi la Cina è così affollata che anche i massacri sono in scala. Ai tempi delle varie carneficine, i tardo-illuministi si affannavano a spiegare che forse, sì, Mao ne ammazzò come nessun altro nella storia moderna ma, grazie a lui, le masse furono alfabetizzate: il valore della scrittura, per i mandarini d’ogni latitudine, è sacrosanto. Qualcun altro ricordava che i campi di lavoro, i Lager utilizzati negli anni Cinquanta dai comunisti appena arrivati power, derived from the imperial tradition, and so be it. Even in Germany, the custom of the massacres of Jews can be traced back to the plague of 1348 (from Rome when the pope sent his messengers to explain that the outbreak had nothing to do with synagogues and good Germans continued undeterred with their fixed ideas), but would not be considered a valid reason, at least we hope, because our dignitaries, even with the utmost indulgence to the wickedness consumed in private, filling their living rooms and dining room with pictures of the registry and brown shirt mustache. Nor will want to make odious distinctions between victims, counting in different ways Jews and the peasants, or the Europeans and Asians. Behind Communism c’era almeno un sogno di fratellanza – insistono gli apologeti – mentre gli sterminatori tedeschi erano soltanto ‘cattivi’. Chissà come si consoleranno le vittime del comunismo, torturate e uccise per un fine sì nobile cui erano chiamati a far da concime. Magari anche per dar lustro ai vezzi mondani di un vecchio capopolo.
I vinti di oggi fan finta di niente. Rifondano ostinati, affondano sornioni il rosso giocattolo, rinunciano alla violenza, rispolverano le idee più assolutiste, nascondono il georgiano baffuto, ostentano quello cinese, velato di esotismo. Naturalmente, dando continuamente lezioni di etica ai poveri peccatori veniali e ogni tanto perfino al papa. Sempre compiaciuti.
Il giornalista fascista Ugo Dadone, che nel dopoguerra ospitò a Roma l’esule Ezra Pound, teneva sulla tazza del cesso un ritratto di Badoglio e mostrava con rabbia la sistemazione del «traditore». Era una specie di vendetta che si concedeva in quell’appartamento di pochi metri, a pianterreno, dove si cucinava minestroni ineleganti he shared with the silent and sometimes poet with a friend on the floor above, another veteran of the defeat. In the small refuge of the vanquished to the Colle Oppio there were no holy ideological regimes swept away trinkets, ornaments symbolic only of the poor furnishings and scarring in the toilet.
The other night, ran on the television video image of a house kitsch: recasts belonged to the Communist who was also president of the Chamber, immaculate sofas lined up and red cushions, under the rules of the glossy magazines, trinkets sported by newly rich, was the 'exact counterpart of the clothes we wear when we saw him was for all media. Affairs of taste, his business. But the camera, focusing devoutly emphatic about the objects scattered, full-length crossed numerous statues and busts of Mao Tse Tung. Impressive as the public reacts sensitivity unfair: if in the most remote villages are rinvenisse at the house of a local councilor clockwise ducetto a souvenir of a trip to Predappio, Italy urlerebbe all'abominio, rites constitutional repair immediately would play everywhere, with great emotion for the insult to the victims of that regime, but if a man who was charged by his father of his country shows in her home in the left statue, even if you do. Yet despite the glamorous advertising pop sprayed from the bloodthirsty despot, none of the wise brings more in dubbio che il Grande Timoniere fece fuori molti milioni di cinesi, cifre ben più rilevanti di quelle degli stermini europei. Sappiamo, nelle epoche del tutto-uguale e del sempre-uguale, appena si parla di numeri ti obiettano l’espressione «calcoli macabri», e poi la Cina è così affollata che anche i massacri sono in scala. Ai tempi delle varie carneficine, i tardo-illuministi si affannavano a spiegare che forse, sì, Mao ne ammazzò come nessun altro nella storia moderna ma, grazie a lui, le masse furono alfabetizzate: il valore della scrittura, per i mandarini d’ogni latitudine, è sacrosanto. Qualcun altro ricordava che i campi di lavoro, i Lager utilizzati negli anni Cinquanta dai comunisti appena arrivati power, derived from the imperial tradition, and so be it. Even in Germany, the custom of the massacres of Jews can be traced back to the plague of 1348 (from Rome when the pope sent his messengers to explain that the outbreak had nothing to do with synagogues and good Germans continued undeterred with their fixed ideas), but would not be considered a valid reason, at least we hope, because our dignitaries, even with the utmost indulgence to the wickedness consumed in private, filling their living rooms and dining room with pictures of the registry and brown shirt mustache. Nor will want to make odious distinctions between victims, counting in different ways Jews and the peasants, or the Europeans and Asians. Behind Communism c’era almeno un sogno di fratellanza – insistono gli apologeti – mentre gli sterminatori tedeschi erano soltanto ‘cattivi’. Chissà come si consoleranno le vittime del comunismo, torturate e uccise per un fine sì nobile cui erano chiamati a far da concime. Magari anche per dar lustro ai vezzi mondani di un vecchio capopolo.
I vinti di oggi fan finta di niente. Rifondano ostinati, affondano sornioni il rosso giocattolo, rinunciano alla violenza, rispolverano le idee più assolutiste, nascondono il georgiano baffuto, ostentano quello cinese, velato di esotismo. Naturalmente, dando continuamente lezioni di etica ai poveri peccatori veniali e ogni tanto perfino al papa. Sempre compiaciuti.
http//almanaccoromano.blogspot.com/feed 
Wednesday, November 24, 2010
Which Is Better Alumawood Or Vinyl
THE EXHIBITION OF MASKS ~ ~ Pre-Columbian
Lightning review the Rome show on one of the pre-Columbian civilizations: "Teotihuacan. The City of the Gods "(and demons, should be added), which rears up already on the steps of the Palazzo delle Esposizioni Umberto monstrous masks that terrify humans. It is a quote from Ernst Jünger, we've already reported on the 'Almanac', but is perfect for the occasion and we repeat it: "If the freedom of conscience, if peace should spread, can not miss the inner brake. The same goes for art. [...] There is a Justice of the shapes and lines that we perceive as beauty. [...] The taste offends us rather barbaric. The world is full of works that are subject to suggestion exercised by the gods, demons and forces of nature, without which man can respond to freedom. The gloom, the heavy earth, the absence of eyes, the stark vividness, the confusion, the colossal size, strength, lush, the face mask to oppress us: in fact we feel that everything is connected to blood sacrifices. " "If there was a metropolis in which they were officially adopted models and colors of ancient Dahomey, or buildings in the old Mexican style, soon there would be officially established the human sacrifices. However, there would be seen the horror and splendor of those ancient empires, but a new barbarism, rediscovered '
Lightning review the Rome show on one of the pre-Columbian civilizations: "Teotihuacan. The City of the Gods "(and demons, should be added), which rears up already on the steps of the Palazzo delle Esposizioni Umberto monstrous masks that terrify humans. It is a quote from Ernst Jünger, we've already reported on the 'Almanac', but is perfect for the occasion and we repeat it: "If the freedom of conscience, if peace should spread, can not miss the inner brake. The same goes for art. [...] There is a Justice of the shapes and lines that we perceive as beauty. [...] The taste offends us rather barbaric. The world is full of works that are subject to suggestion exercised by the gods, demons and forces of nature, without which man can respond to freedom. The gloom, the heavy earth, the absence of eyes, the stark vividness, the confusion, the colossal size, strength, lush, the face mask to oppress us: in fact we feel that everything is connected to blood sacrifices. " "If there was a metropolis in which they were officially adopted models and colors of ancient Dahomey, or buildings in the old Mexican style, soon there would be officially established the human sacrifices. However, there would be seen the horror and splendor of those ancient empires, but a new barbarism, rediscovered '
http / / almanaccoromano.blogspot.com / feed 
Tuesday, November 23, 2010
One Piece Nami Wedding Dress
SNOW WHITE COLLECTION KNITTING WINTER 2010/11
Still Heads Grilled microfiber super hot ... 
Still Heads Grilled microfiber super hot ...
Sunday, November 21, 2010
Seborrheic Dermatitis And Hair Loss
Prison love
Nuns ~ ~ THE MYSTERY OF
Maybe after having welcomed the nihilism of matrix situationist burying an object drawn in a forest in order to lose it forever, for the greater glory of the inscrutable "useless beauty", the columnist will be asked to do with utilitarianism extremist pro cloistered nuns are closed in a monastery. Already, despite the ecclesiastical innovations, modernized the liturgy, social Christianity, some nuns remain behind bars to shock the positivists ever. This Sunday the Church celebrates the day grateful "Pro Orantibus" and answers the question of controversy: those places are the lungs of Catholicism, because there comes a special prayer to the sky, through their filter and do not breathe the earth is damned. This ancient theory of the ecological balance, the elite of the praying which compensates for the bulk of energy dissipation. We will close for a whole life in the cloister, with much greater radicalism of any aesthetic performance, making pale small ephemeral afflictions of body art and the great passions of romantic torment, it is not a game nor of self, love is the supreme folly, addressed to God That dedication is not opposed to life, the transfiguration, the lights. What do know, however, the followers of all contemplative practices of delights? The mystery of the cloistered hermitage and in general, remains a taboo for modern, locked in cages as they are selfish to their neuroses.
Maybe after having welcomed the nihilism of matrix situationist burying an object drawn in a forest in order to lose it forever, for the greater glory of the inscrutable "useless beauty", the columnist will be asked to do with utilitarianism extremist pro cloistered nuns are closed in a monastery. Already, despite the ecclesiastical innovations, modernized the liturgy, social Christianity, some nuns remain behind bars to shock the positivists ever. This Sunday the Church celebrates the day grateful "Pro Orantibus" and answers the question of controversy: those places are the lungs of Catholicism, because there comes a special prayer to the sky, through their filter and do not breathe the earth is damned. This ancient theory of the ecological balance, the elite of the praying which compensates for the bulk of energy dissipation. We will close for a whole life in the cloister, with much greater radicalism of any aesthetic performance, making pale small ephemeral afflictions of body art and the great passions of romantic torment, it is not a game nor of self, love is the supreme folly, addressed to God That dedication is not opposed to life, the transfiguration, the lights. What do know, however, the followers of all contemplative practices of delights? The mystery of the cloistered hermitage and in general, remains a taboo for modern, locked in cages as they are selfish to their neuroses.
http / / almanaccoromano.blogspot.com / feed 
Friday, November 19, 2010
Thursday, November 18, 2010
Florastor Vs Threelac
Intervista ad Antonio Dessì
The blog " games on our table " recently interviewed Antonio Dessì , illustrator, concept artist, graphic designer, author, art director. During the chat Dessì brought as an example Rigor and games related to its character.
"Depending on the style you want to adopt you contact illustrators and graphic designers who are able to meet the needs of production. Are taken into account many sources of inspiration and sometimes it relies on existing brand (as in the case of Rigor Mortis for ' Yes, Dark Lord! ' and ' Kragmortha '). "
Click here to read the entire interview with Antonio Dessì 
The blog " games on our table " recently interviewed Antonio Dessì , illustrator, concept artist, graphic designer, author, art director. During the chat Dessì brought as an example Rigor and games related to its character.
"Depending on the style you want to adopt you contact illustrators and graphic designers who are able to meet the needs of production. Are taken into account many sources of inspiration and sometimes it relies on existing brand (as in the case of Rigor Mortis for ' Yes, Dark Lord! ' and ' Kragmortha '). "
Click here to read the entire interview with Antonio Dessì
Tuesday, November 16, 2010
Super Protector License Plate Legal
Black & Decker
Una delle differenze fondamentali tra testi elettronici e testi su carta, comunque, è: la carta occupa spazio. E così, dopo anni di rinvii, finalmente ho comprato assi e viti e ho messo assieme una libreria per il garage. Il tutto, in sostanza, per contenere un bel po' di numeri di Topolino e Urania che altrimenti sarebbero rimasti nelle casse dell'ultimo trasloco. Non è una cosa sana... anche perché il valore di mercato del contenente, probabilmente, non è molto superiore al costo del timber needed to contain it.
But, so much so ... A row of titles lined up is always satisfying.
Next step - and I work for a future evening: rearrange the collection of PDF on your computer. Will be quicker, but, I fear, much less fun. 
Una delle differenze fondamentali tra testi elettronici e testi su carta, comunque, è: la carta occupa spazio. E così, dopo anni di rinvii, finalmente ho comprato assi e viti e ho messo assieme una libreria per il garage. Il tutto, in sostanza, per contenere un bel po' di numeri di Topolino e Urania che altrimenti sarebbero rimasti nelle casse dell'ultimo trasloco. Non è una cosa sana... anche perché il valore di mercato del contenente, probabilmente, non è molto superiore al costo del timber needed to contain it.
But, so much so ... A row of titles lined up is always satisfying.
Next step - and I work for a future evening: rearrange the collection of PDF on your computer. Will be quicker, but, I fear, much less fun.
Friday, November 12, 2010
How To Get Gun Powdin Poptropica
Cesena Comics: articolo de Il Resto del Carlino
'On Sundays especially' between comics and cartoon characters
On 14 November in the center of Cesena are planning a series of initiatives designed to get in touch with the most imaginative representations
Cesena, November 12, 2010 - On November 14, 2010 in the center of Cesena will be held the sixth round of the series "... especially on Sundays," which will coincide with the last day of Cesena Comics, a festival dedicated to the comic and the drawing animation. The program includes a series of initiatives designed to get in touch with the most imaginative representations that combine words and form.
The opening is scheduled at 16, when in different parts of the city will begin performances and recreational activities for children between 8 and 10 years, in the Pinacoteca Comunale in via Aldini 26, the Avenue Library 17 Cherry will lead a workshop manual on a blend of comics and architecture, entitled "The Grand Tour of Italy in Peanuts," while the streets of the historic center, will start touring the animated show "I'll give you the Middle Ages," by performances in the round and his duo of minstrels vagrant clerics. Also at 16 there will be two cultural events, one at Mascherpa Coffee (in Corso Garibaldi 26), where the author and screenwriter Michael Petrucci Matteo Casali will present the opera "The robber and his Big Band miserable," an outstanding example history of comics, and the other at the Cafe feet (in Corso Garibaldi 52) together Ichiguchi to Keiko, who will present his book "From Japan to Europe. The long adventure of an author of manga. " There will be a speech by Andrea Baricordi Kappa Edizioni.
The library arrive in Piazza Giovanni Paolo II, at 16, will lead guests on a trip around Eastern Europe with "Li and the Moon" animated reading to discover China played by Cristina Sedioli. Afterwards there will be a creative workshop to learn how to build animated Chinese dragon. The event organized by the library in Viale Carducci 27 Mondadori, instead, be aimed at young people aged between 11 and 14 years and will be "The Strange Case of the Yellow Kid and digital natives ", a short course in science edited by the co-operative brace.
The comic will return to the center of the special Sunday - at 17.30 - Black on White in the Court Dandini 18, with "authors" of Romagna, a comparison of local cartoonist Denis Medrano and famous artists design, such as Davide Fabbri and Riccardo Crosa .
A special dinner copyright ", with a fixed menu at 20 € and preceded by an aperitif, will be prepared by the tavern-cafe Fermo Posta, in Pope John XXIII 15 (For reservations please call 0547-610230). Here, at 19, James Nanni will talk about his comic book "The True Story of Lara Canepa."
At 20.30, the square of Maison Lulu Blacksmith, will take place "Drink & Draw: drink and draw, meeting the authors of Cesena Comics characters that the audience will cheer for the opportunity drawing" live ". The event will also Farnedi Henry with his ukulele.
Among the proposals aimed at smaller , remember then the screening of the animated "Home on the Range" scheduled at 14.30 in the Red Room Film San Biagio, and the usual appointment with the toy library run by the Cooperative La Tana The balloon, which from 15.30 to 18.30 hours, in the former Office for Relations with the public under the loggia of the Palazzo Comunale, propose ... Especially for kids, a set of games and activities to spend the day in joy.
Cesena Comics The program, which kicked off on 8 November 2010, was organized by the cultural and Bluebeard Endas Cesena, in collaboration with the Fondazione Cassa di Risparmio di Cesena and the City Cesena. It will close Nov. 14 meeting "... Especially on Sundays", an initiative of the Municipality of Cesena.
All appointments of the day are free of admission, except dinner copyright.
For information contact the IAT number 0547-356327 or e-mail address iat@comune.cesena.fc.it 
'On Sundays especially' between comics and cartoon characters
On 14 November in the center of Cesena are planning a series of initiatives designed to get in touch with the most imaginative representations
Cesena, November 12, 2010 - On November 14, 2010 in the center of Cesena will be held the sixth round of the series "... especially on Sundays," which will coincide with the last day of Cesena Comics, a festival dedicated to the comic and the drawing animation. The program includes a series of initiatives designed to get in touch with the most imaginative representations that combine words and form.
The opening is scheduled at 16, when in different parts of the city will begin performances and recreational activities for children between 8 and 10 years, in the Pinacoteca Comunale in via Aldini 26, the Avenue Library 17 Cherry will lead a workshop manual on a blend of comics and architecture, entitled "The Grand Tour of Italy in Peanuts," while the streets of the historic center, will start touring the animated show "I'll give you the Middle Ages," by performances in the round and his duo of minstrels vagrant clerics. Also at 16 there will be two cultural events, one at Mascherpa Coffee (in Corso Garibaldi 26), where the author and screenwriter Michael Petrucci Matteo Casali will present the opera "The robber and his Big Band miserable," an outstanding example history of comics, and the other at the Cafe feet (in Corso Garibaldi 52) together Ichiguchi to Keiko, who will present his book "From Japan to Europe. The long adventure of an author of manga. " There will be a speech by Andrea Baricordi Kappa Edizioni.
The library arrive in Piazza Giovanni Paolo II, at 16, will lead guests on a trip around Eastern Europe with "Li and the Moon" animated reading to discover China played by Cristina Sedioli. Afterwards there will be a creative workshop to learn how to build animated Chinese dragon. The event organized by the library in Viale Carducci 27 Mondadori, instead, be aimed at young people aged between 11 and 14 years and will be "The Strange Case of the Yellow Kid and digital natives ", a short course in science edited by the co-operative brace.
The comic will return to the center of the special Sunday - at 17.30 - Black on White in the Court Dandini 18, with "authors" of Romagna, a comparison of local cartoonist Denis Medrano and famous artists design, such as Davide Fabbri and Riccardo Crosa .
A special dinner copyright ", with a fixed menu at 20 € and preceded by an aperitif, will be prepared by the tavern-cafe Fermo Posta, in Pope John XXIII 15 (For reservations please call 0547-610230). Here, at 19, James Nanni will talk about his comic book "The True Story of Lara Canepa."
At 20.30, the square of Maison Lulu Blacksmith, will take place "Drink & Draw: drink and draw, meeting the authors of Cesena Comics characters that the audience will cheer for the opportunity drawing" live ". The event will also Farnedi Henry with his ukulele.
Among the proposals aimed at smaller , remember then the screening of the animated "Home on the Range" scheduled at 14.30 in the Red Room Film San Biagio, and the usual appointment with the toy library run by the Cooperative La Tana The balloon, which from 15.30 to 18.30 hours, in the former Office for Relations with the public under the loggia of the Palazzo Comunale, propose ... Especially for kids, a set of games and activities to spend the day in joy.
Cesena Comics The program, which kicked off on 8 November 2010, was organized by the cultural and Bluebeard Endas Cesena, in collaboration with the Fondazione Cassa di Risparmio di Cesena and the City Cesena. It will close Nov. 14 meeting "... Especially on Sundays", an initiative of the Municipality of Cesena.
All appointments of the day are free of admission, except dinner copyright.
For information contact the IAT number 0547-356327 or e-mail address iat@comune.cesena.fc.it
Tuesday, November 9, 2010
Wednesday, November 3, 2010
Muscle Aches More Condition_symptoms
Serianni, The hour of Italian
between appointments and the other, today I read The Italian now: school and humanities Luca Serianni (USC
ito in July by Yale University Press, reprinted in October, bought on the fly Feltrinelli this morning in the price of nine euro).
are usually a bit 'suspicious booklets, pamphlets of this kind. Just over one hundred pages, small format, large type: the content is normally something that would be in twenty or thirty pages of the magazine, and is often recycled in some way. The name is a guarantee Serianni however, and although here we see a haste of production, the circumstances under which the work was made are such as to give special emphasis to the text. Serianni fact he was a consultant for the latest curriculum reform in high school, and his views were then given the opportunity to weigh in an unusual way.
Inside the book there is, in a couple of points (p. 40 and pp. 50-51), the praise of the summary as an educational tool. Fully in line with this, then I try to summarize some speeches more interesting - with a warning that, this being a summary-for-linguists, I leave out the more general (and, as a rule, unanimously shared by the experts) to focus only on those who, to some extent, I am a bit 'more specific, and often more subjective:
between appointments and the other, today I read The Italian now: school and humanities Luca Serianni (USC
ito in July by Yale University Press, reprinted in October, bought on the fly Feltrinelli this morning in the price of nine euro). are usually a bit 'suspicious booklets, pamphlets of this kind. Just over one hundred pages, small format, large type: the content is normally something that would be in twenty or thirty pages of the magazine, and is often recycled in some way. The name is a guarantee Serianni however, and although here we see a haste of production, the circumstances under which the work was made are such as to give special emphasis to the text. Serianni fact he was a consultant for the latest curriculum reform in high school, and his views were then given the opportunity to weigh in an unusual way.
Inside the book there is, in a couple of points (p. 40 and pp. 50-51), the praise of the summary as an educational tool. Fully in line with this, then I try to summarize some speeches more interesting - with a warning that, this being a summary-for-linguists, I leave out the more general (and, as a rule, unanimously shared by the experts) to focus only on those who, to some extent, I am a bit 'more specific, and often more subjective:
- language proficiency, as opposed to literary, lends itself to being measured with questions "closed", so it is easy to verify (p. ix)
- in a context of poor performance of Italian students, "hits the poor mastery of vocabulary and abstract (...) regression of less common vocabulary" (p. x)
- for the teacher, is important "especially" a psychological condition, "which is believed to work and gamble on himself" (p. xii)
- first chapter on considerations of common sense differences between humanistic and scientific culture
- second chapter: the need of presence of Science and Letters in the school "
- Gelmini reform" is definitely toward a balance between humanities and science and technology, made even more evident in the overall reduction of hours: a reduction depends on the choice or the need to economize - can not deny it - but also with sustainable pedagogical principle to reduce the hours of attendance of pupils at school, repingendo the correlation more hours = more profit school "(pp. 19-20)
- inevitable increase in English, but" perplexing the rule to predict right now the last year the use of foreign language for the framework does not language ": it is because teachers are not prepared, and because this could lead to the abandonment of some ability to convey science in Italian, and it is unthinkable that in the areas of gender and language of a waiver of sovereignty (... ) contract with a foreign language "(pp. 20-21)
- however, there are reserves on the increase in class size (p. 21)
- now there is" the marginalization of classical high school compared to high school, which is now the choice is not marked for (...) General preparation and then continue his studies "as a result, the classic has been feminized and meridionalizzato (p. 22)
- Latin weakened (and loses hours, in the post-reform programs) for these reasons and for a number of additional factors, including the reduction of prestige (p. 23)
- in fact, beyond many of the speeches for and against, Latin is important for the "historical significance", and in some schools it is good to maintain this "direct contact with the original texts" (p. 28)
- on the other hand, the weight of the classic version should be resized in teaching del latino (pp. 29-36)
- il docente d'italiano nella secondaria inferiore e superiore deve fare diverse cose contemporaneamente: "insegnare la lingua, prima di tutto", stimolare l'interesse per la lettura, avviare alla conoscenza dei classici, alimentare discussioni su temi di attualità (p. 37)
- più che chiedere opinioni su temi difficili da inquadrare bene, i docenti dovrebbero sviluppare nei discenti "i meccanismi dell'argomentazione" (p. 38)
- esempio di "una lezione sul barocco che valorizzi il rapporto con la pittura coeva", prendendo spunto da Mattia Preti - esempio, devo dire, ben poco credibile, in base alla mia esperienza della didattica liceale! (pp. 41-42)
- importanza del rigore nella valutazione (pp. 42-44), anche perché i problemi di lingua impediscono il successo in pratica in qualunque altra materia (p. 44)
- nella scuola dell'obbligo tutti devono essere portati a determinati obiettivi, ma nelle fasce successive occorre discriminare il valore e non cancellare la responsabilità dei singoli (p. 45)
- esempi di esercizi divertenti (beh, più o meno...) per i vari livelli di scuola (pp. 46-50), e di verifiche di comprensione del testo a livello avanzato (pp. 51-52)
- i problemi del tema e quelli delle prove alternative (pp. 53-60)
- sesto capitolo: i problemi delle grammatiche contemporanee, con qualche suggerimento per intervenire sui punti critici (pp. 61-75)
- settimo capitolo: il problema dell'arricchimento lessicale, con progetto di far arrivare tutti i diciottenni scolarizzati al livello di competenza necessario a "capire pienamente l'editoriale di uno dei grandi quotidiani" (p. 77)
- ottavo capitolo: spunti didattici sulla letteratura a scuola, con osservazioni su come alcuni fenomeni linguistici in Dante possano essere illustrati solo in un corso universitario, altri nello studio liceale, e altri ancora debbano essere proposti all'attenzione di tutti (p. 91)
- nono capitolo: insegnamento dei classici, e mantenimento della lettura dei testi più antichi in lingua originale
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