this practice that allowed both ... MAIL ART
Public Sphere expresses its solidarity with the Cuban blogger Yoani Sanchez, who was detained and beaten by members of the police in Havana. Yoani published an interview and his testimony about the facts.
View: http://esferapublica.org/nfblog/?p=6349
View:
http://www.desdecuba.com/generaciony/
For the right to freedom of expression! is not censorship, not repression!
Wednesday, November 25, 2009
Tuesday, November 17, 2009
Microsuede Or Microfiber?
suppression / intimidation of Cuban blogger Yoani Sánchez
From:
http://www.elpais.com/articulo/cultura/incendio/destruye/legado/artista/brasileno/Helio/Oiticica/elpepucul/20091018elpepicul_6/Tes
A fire destroyed the heritage of Brazilian artist Hélio Oiticica Lost
2,000 works valued at 138 million, in this twentieth century classic FRANCH
BARON - Rio de Janeiro - 18/10/2009
Brazilian culture was seriously injured last Friday night. 90% of the collection of the artist Hélio Oiticica (1937-1980), one of the founders of Brazilian neoconcretism became engulfed in flames after declaring a fire in the family home in the neighborhood of Jardim Botânico, in the southern Rio de Janeiro. The fire swallowed 2,000 works of Oiticica, including paintings, audiovisual material, facilities, books, projects and notes the artist, all valued at about $ 200 million (about 138 million euros), according to estimates by the family. In 2007 the Tate Modern in London gave him a retrospective. 
The news on other web sites in English 
in other languages \u200b\u200b In 2007 the Tate Modern in London gave him a major retrospective
For the time being ruled that the fire was intentional. "I feel like a failure, because my mission since I retired was to care for his work," he said, destroyed, César Oiticica, brother of the artist, who dined at the house at the time of the accident. The unfortunate loss includes works consecrated as Parangolés Bólides or famous. Gullar with the poet and artists Lygia Clark and Amilcar de Castro, Oiticica lit the Neoconcrete movement.
The body of Oiticica was not covered by insurance and was circumstantially on the first floor of the family home in a studio equipped with devices to control the humidity and temperature, presence sensors and fire. In vain did both apparatus. "It's the worst that could happen to Brazilian culture," lamented yesterday César Oiticica in the local press. Reason does not lack the brother of one of the worst offending exponents of contemporary Brazilian art, since the works were stored in the Jardim Botânico home after a fight over money between the heirs of Oiticica and the city of Rio de Janeiro . Many of the works had been removed burned last April Municipal Art Center Hélio Oiticica, where he had opened a major retrospective of the artist. Non-payment of about 267,000 reais (about 100,000 euros) to the family caused a serious battle that ended early closure of the sample and the transfer of works to the house where the fire occurred.
Oiticica's work, marked by a strong theoretical component, often sought to provoke the viewer's active participation. One of its most decorated was christened Penetrables, a maze made with suspended plates. The artist, who also inspired his work Tropicalia movement, hit Brazilian society with the phrase "Be Merginal, is hero," screenprinted on a banner over the figure of a dead drug dealer.
From:
http://www.elpais.com/articulo/cultura/incendio/destruye/legado/artista/brasileno/Helio/Oiticica/elpepucul/20091018elpepicul_6/Tes
A fire destroyed the heritage of Brazilian artist Hélio Oiticica Lost
2,000 works valued at 138 million, in this twentieth century classic FRANCH
BARON - Rio de Janeiro - 18/10/2009
Brazilian culture was seriously injured last Friday night. 90% of the collection of the artist Hélio Oiticica (1937-1980), one of the founders of Brazilian neoconcretism became engulfed in flames after declaring a fire in the family home in the neighborhood of Jardim Botânico, in the southern Rio de Janeiro. The fire swallowed 2,000 works of Oiticica, including paintings, audiovisual material, facilities, books, projects and notes the artist, all valued at about $ 200 million (about 138 million euros), according to estimates by the family. In 2007 the Tate Modern in London gave him a retrospective.
The news on other web sites in English 
in other languages \u200b\u200b In 2007 the Tate Modern in London gave him a major retrospective For the time being ruled that the fire was intentional. "I feel like a failure, because my mission since I retired was to care for his work," he said, destroyed, César Oiticica, brother of the artist, who dined at the house at the time of the accident. The unfortunate loss includes works consecrated as Parangolés Bólides or famous. Gullar with the poet and artists Lygia Clark and Amilcar de Castro, Oiticica lit the Neoconcrete movement.
The body of Oiticica was not covered by insurance and was circumstantially on the first floor of the family home in a studio equipped with devices to control the humidity and temperature, presence sensors and fire. In vain did both apparatus. "It's the worst that could happen to Brazilian culture," lamented yesterday César Oiticica in the local press. Reason does not lack the brother of one of the worst offending exponents of contemporary Brazilian art, since the works were stored in the Jardim Botânico home after a fight over money between the heirs of Oiticica and the city of Rio de Janeiro . Many of the works had been removed burned last April Municipal Art Center Hélio Oiticica, where he had opened a major retrospective of the artist. Non-payment of about 267,000 reais (about 100,000 euros) to the family caused a serious battle that ended early closure of the sample and the transfer of works to the house where the fire occurred.
Oiticica's work, marked by a strong theoretical component, often sought to provoke the viewer's active participation. One of its most decorated was christened Penetrables, a maze made with suspended plates. The artist, who also inspired his work Tropicalia movement, hit Brazilian society with the phrase "Be Merginal, is hero," screenprinted on a banner over the figure of a dead drug dealer.
Thursday, October 29, 2009
Is Biotene Safe During Pregnancy
On a large loss that puts on the table to discuss issues
photos courtesy Henaro
sun Under the opening of the exhibition "Art / Latin America: state of siege" in the city of Valparaiso, as part of the events constituting the Triennial Chile 2009, Friday 9 October at 12 noon will be held at the National Council for Culture and Arts of Valparaiso, an informal meeting of curators and researchers involved in this series of five exhibitions that were opened that day. Attendees
desk:
Henaro Sol (Mexico), Maris Bustamante (Mexico), María Sol Baron Pino (Colombia), María Victoria Maher (Colombia), Gustavo Buntinx (Peru), Graciela Carnevale (Argentina); Paulina Varas (Chile), Alberto Madrid (Chile), Juan Castillo (Chile) and Gabriel Peluffo (Uruguay) exhibit curator STATES OF SITE.
starts with a discussion of the Mexican artist formerly of NO-group Maris Bustamante, from which opens a conversation between members of the board (with audience participation) on issues related to operational files , historiographical methodologies, field research and museology, art and land, art and politics and other topics relating to local scenes and critical historiography of Latin American contemporary art.
The desk is approached as an instance of exchange of experience and may be of interest to students and researchers in the cultural field. Go
photos courtesy Henaro
sun Under the opening of the exhibition "Art / Latin America: state of siege" in the city of Valparaiso, as part of the events constituting the Triennial Chile 2009, Friday 9 October at 12 noon will be held at the National Council for Culture and Arts of Valparaiso, an informal meeting of curators and researchers involved in this series of five exhibitions that were opened that day. Attendees
desk:
Henaro Sol (Mexico), Maris Bustamante (Mexico), María Sol Baron Pino (Colombia), María Victoria Maher (Colombia), Gustavo Buntinx (Peru), Graciela Carnevale (Argentina); Paulina Varas (Chile), Alberto Madrid (Chile), Juan Castillo (Chile) and Gabriel Peluffo (Uruguay) exhibit curator STATES OF SITE.
starts with a discussion of the Mexican artist formerly of NO-group Maris Bustamante, from which opens a conversation between members of the board (with audience participation) on issues related to operational files , historiographical methodologies, field research and museology, art and land, art and politics and other topics relating to local scenes and critical historiography of Latin American contemporary art.
The desk is approached as an instance of exchange of experience and may be of interest to students and researchers in the cultural field. Go
Tuesday, October 13, 2009
Craigslist 2 Person Tent
at the Triennale in Chile
chutzpah!! Trim culture, personnel layoffs, closing (or risk) of important cultural initiatives, projects canceled or suspended ... The majority of cultural producers have wages (which have the advantage of monthly salary) weak or close to it while others, verrry few truly gross charge amounts. tremendous. (Sol)
Work: Dan Perjovschi
:::::::::::::::::::::::::::::::::::: ::::::::::::::::::::::::::::::::::
From: http://www.exonline.com.mx/diario/noticia/comunidad/expresiones/la_alta_burocracia_cuesta_5_mil_becas/737542 
The high bureaucracy costs 5 000 scholarship s Luis Carlos Sánchez 
While in the second half of the culture sub-sector suffered a reduction of over one and a half million dollars of its budget, 30 high-level officials of the National Council for Culture and the Arts (CONACULTA), the National Institute of Fine Arts (INBA ) and the National Institute of Anthropology and History (INAH) receive a total of more than 40 million pesos a year, an amount that would reach the same period for create more than five thousand young artists program grants, awarded by the National Fund for Culture and the Arts (Fonca).
According to information Transparency Obligations Portal of the federal government, these public servants' salaries remain among 85 000 956 to 190,000 pesos a month, but up to now announce any cut in their perceptions. Meanwhile, the Draft Budget Federal Expenditures for 2010 envisages a reduction of 23.87 percent for the subsector, which is not known so far to affect the perceptions of staff.
The industry's highest salary belongs to the president of Conaculta, Consuelo Sáizar, who receives a monthly amount of 190 000 21 pesos, only 18 thousand dollars below the President of the Republic. This amount added in a year reaches two million 280 thousand 255 pesos. Among his monthly compensation includes six thousand 750 pesos for cell phone expenses and right up to two vehicles, plus the cost of maintenance.
Teresita Alvarez Vicencio, director general of the INBA, collecting 171 000 901 pesos monthly, the same amount each month will receive Alfonso de Maria y Campos, INAH director.
The combined salary of the three officials amounts to about six million 405 thousand 887 pesos per year, ie a million pesos more than 745 000 what it cost in 2008 the National Theatre Shows, as investment of four million 660 thousand pesos. Twenty
officials with salaries of over one million dollars per year are in the Conaculta: two of them hold the technical secretary, with a monthly collection of 161 thousand 336 pesos, 12, CEO of structure (which includes the addresses Library, Cultural Liaison, Popular Culture, Fonca, Social Communication and the National Center for the Arts, among others), who earn 119 thousand 747 pesos, and eight, the deputy general director, with a percepcióde 85 000 965 pesos each one. With
Sáizar, the 23 officers represent an annual cost to the treasury 30 million 617 thousand 106 pesos. 
between INAH and the INBA add up to seven high-ranking officials perceive, among all, nine million 846 thousand 905 pesos per year.
INBA Assistant Directors-General of Artistic Education and Research, Administration and Fine Arts received each month 95 thousand 354 pesos, that in one year totaling three million 432 thousand 764 pesos. The INAH
administrative secretary and technical secretary also receive 95 000 354 pesos, which added a year is two million 288 thousand 509 dollars from the treasury. Excelsior
Consuelo Sáizar sought yesterday to fix a position on that, but until The closure of this issue went unanswered.
chutzpah!! Trim culture, personnel layoffs, closing (or risk) of important cultural initiatives, projects canceled or suspended ... The majority of cultural producers have wages (which have the advantage of monthly salary) weak or close to it while others, verrry few truly gross charge amounts. tremendous. (Sol)
Work: Dan Perjovschi
:::::::::::::::::::::::::::::::::::: ::::::::::::::::::::::::::::::::::
From: http://www.exonline.com.mx/diario/noticia/comunidad/expresiones/la_alta_burocracia_cuesta_5_mil_becas/737542
The high bureaucracy costs 5 000 scholarship 
While in the second half of the culture sub-sector suffered a reduction of over one and a half million dollars of its budget, 30 high-level officials of the National Council for Culture and the Arts (CONACULTA), the National Institute of Fine Arts (INBA ) and the National Institute of Anthropology and History (INAH) receive a total of more than 40 million pesos a year, an amount that would reach the same period for create more than five thousand young artists program grants, awarded by the National Fund for Culture and the Arts (Fonca). According to information Transparency Obligations Portal of the federal government, these public servants' salaries remain among 85 000 956 to 190,000 pesos a month, but up to now announce any cut in their perceptions. Meanwhile, the Draft Budget Federal Expenditures for 2010 envisages a reduction of 23.87 percent for the subsector, which is not known so far to affect the perceptions of staff.
The industry's highest salary belongs to the president of Conaculta, Consuelo Sáizar, who receives a monthly amount of 190 000 21 pesos, only 18 thousand dollars below the President of the Republic. This amount added in a year reaches two million 280 thousand 255 pesos. Among his monthly compensation includes six thousand 750 pesos for cell phone expenses and right up to two vehicles, plus the cost of maintenance. Teresita Alvarez Vicencio, director general of the INBA, collecting 171 000 901 pesos monthly, the same amount each month will receive Alfonso de Maria y Campos, INAH director.
The combined salary of the three officials amounts to about six million 405 thousand 887 pesos per year, ie a million pesos more than 745 000 what it cost in 2008 the National Theatre Shows, as investment of four million 660 thousand pesos. Twenty
officials with salaries of over one million dollars per year are in the Conaculta: two of them hold the technical secretary, with a monthly collection of 161 thousand 336 pesos, 12, CEO of structure (which includes the addresses Library, Cultural Liaison, Popular Culture, Fonca, Social Communication and the National Center for the Arts, among others), who earn 119 thousand 747 pesos, and eight, the deputy general director, with a percepcióde 85 000 965 pesos each one. With
Sáizar, the 23 officers represent an annual cost to the treasury 30 million 617 thousand 106 pesos.
between INAH and the INBA add up to seven high-ranking officials perceive, among all, nine million 846 thousand 905 pesos per year. INBA Assistant Directors-General of Artistic Education and Research, Administration and Fine Arts received each month 95 thousand 354 pesos, that in one year totaling three million 432 thousand 764 pesos. The INAH
administrative secretary and technical secretary also receive 95 000 354 pesos, which added a year is two million 288 thousand 509 dollars from the treasury. Excelsior
Consuelo Sáizar sought yesterday to fix a position on that, but until The closure of this issue went unanswered. Thursday, October 1, 2009
Dojinshi Futanari Foto
(...)
Image courtesy: Andrea Valencia file and Neus Mexico participates in the TRIENNIAL CHILE 2009
NO-EXPOSURE ON THE RESEARCH GROUP OF SOL HENAR
Henaro Sol Mexican curator was invited to participate in Triennial of Chile to develop research on
Non-Group, a leading Mexican group of the seventies. The exhibition will be held under the curatorial ART / LATIN AMERICA: State of siege led by Uruguayan Gabriel Peluffo Linari in which they are exposed five-productions of important files American collectives: Non-Group (Mexico, 1977-1983)
Tucumán Arde (Argentina, 1968), Collective Action Art - EACH (Chile, 1979-1985);
RED Workshop 4 (Colombia, 1972 - 1976), Collective Shares of Art - EACH (Chile, 1979-1985) and EPS Huayco (Peru, 1980-1982).
This is the first time that takes place an exhibition on the production of the Non-Group. Its four members were MARIS BUSTAMANTE (owner of the patent for taco), Melquiades Herrera (Nobel Prize in painting), RUBEN VALENCIA (holder of the title of critical kicker) and Alfredo Núñez (owner of dropouts). They are the four members / founders in the early stages but also collaborated Katia Mandoki, Andrea di Castro and Hersúa. Non-Group was one of the groups that developed the first practical non-theoretical objectual the Juan Acha defended and discussed for example, when he led the 1st Symposium Latinomericano Objectual Art-No (1981, Medellín, Colombia) to which he invited participate to the Non-Group.
Influenced by the strident movement against "the conceptual fayuca" (as one of its members say, Rubén Valencia), the Non-Group generated participatory communication strategies with (the) public (s) in each their "mounts Plastic moment, "a term mainly promoted by Maris Bustamante and the events they called organized and is now known under the name or art-action performances.
Production of Non-Group was characterized by acid position before the official scene, the humor and the defense of non-objectualism what was distinguished from most collaborative strategies or group for that period. The group stayed together for six years and became involved in projects outside of Mexico in the cities of Paris, Medellin, Los Angeles and Sao Paulo. In 1983 the group opts for individuals and each of the four pillars of the Non-Group decided to continue with his own creative process.
The exhibition brings together an important set of heterogeneous documents of the Non-Group: photographs, posters, art-object, publications, video, text, text, handbills, photocopy art, prints and exhibits for the first time also Colombia editorial draft Agenda 83, the artistic-political agenda that produced the No-group in solidarity with the Colombian reality and the dissident movement M-19 Movement (April 19). For this publication involved a forty other producers, many of them members of other groups with whom the Non-Group maintained a close relationship: Process Pentagon (Felipe Ehrenberg, Carlos Aguirre, Lourdes Grobet), Group MIRA (Melecio Galván, Arnulfo Aquino, Rebecca Hidalgo, Jorge Perez Vega) Peyote and the Company (Adolfo Patiño) and Group Addition (Oliverio Hinojosa) plus the involvement of other visual artists, graphic communications, cartoonists, photographers and writers.
In one of the members of the Non-Group, Melquiades Herrera, exhibited some documents produced after the group disbanded. Part of the photographic series "Surreal Mexico News, photographs Hinojosa on it and some videos made in collaboration with Jorge Prior.
Parallel to the exhibition will take place from 6 to 8 October at the Centro Cultural Matucana 100 (Santiago, Chile) Discussion Images, imagination and critical imagination, directed by Richard Kelly. In this Henaro Sol curator participate with a presentation entitled "NO-GROUP (1977-1983), a collective jiggling the artistic straitjacket." Among the guests at the various symposia include Manuel Borja (Spain), Néstor García Canclini (Argentina-Mexico), Andrea Giunta (Argentina), Ana Longoni (Argentina) Rolnik Suely (Brazil) and Marcelo Expósito (Spain). In the city of Valparaiso where they will present the exhibition, the artist Maris Bustamante will speak on the plurality of production of Non-Group and Non-Mexican objectualism. (Day and time tbc). GENERAL INFORMATION
LATIN AMERICAN ART Exhibition
: State of siege
Guest Curator: Gabriel Peluffo Linari (Uruguay)
NO-GROUP EXHIBITION, research: SOL HENAR
trienaldechile.cl
Image courtesy: Andrea Valencia file and Neus Mexico participates in the TRIENNIAL CHILE 2009
NO-EXPOSURE ON THE RESEARCH GROUP OF SOL HENAR
Henaro Sol Mexican curator was invited to participate in Triennial of Chile to develop research on
Non-Group, a leading Mexican group of the seventies. The exhibition will be held under the curatorial ART / LATIN AMERICA: State of siege led by Uruguayan Gabriel Peluffo Linari in which they are exposed five-productions of important files American collectives: Non-Group (Mexico, 1977-1983)
Tucumán Arde (Argentina, 1968), Collective Action Art - EACH (Chile, 1979-1985);
RED Workshop 4 (Colombia, 1972 - 1976), Collective Shares of Art - EACH (Chile, 1979-1985) and EPS Huayco (Peru, 1980-1982).
This is the first time that takes place an exhibition on the production of the Non-Group. Its four members were MARIS BUSTAMANTE (owner of the patent for taco), Melquiades Herrera (Nobel Prize in painting), RUBEN VALENCIA (holder of the title of critical kicker) and Alfredo Núñez (owner of dropouts). They are the four members / founders in the early stages but also collaborated Katia Mandoki, Andrea di Castro and Hersúa. Non-Group was one of the groups that developed the first practical non-theoretical objectual the Juan Acha defended and discussed for example, when he led the 1st Symposium Latinomericano Objectual Art-No (1981, Medellín, Colombia) to which he invited participate to the Non-Group.
Influenced by the strident movement against "the conceptual fayuca" (as one of its members say, Rubén Valencia), the Non-Group generated participatory communication strategies with (the) public (s) in each their "mounts Plastic moment, "a term mainly promoted by Maris Bustamante and the events they called organized and is now known under the name or art-action performances.
Production of Non-Group was characterized by acid position before the official scene, the humor and the defense of non-objectualism what was distinguished from most collaborative strategies or group for that period. The group stayed together for six years and became involved in projects outside of Mexico in the cities of Paris, Medellin, Los Angeles and Sao Paulo. In 1983 the group opts for individuals and each of the four pillars of the Non-Group decided to continue with his own creative process.
The exhibition brings together an important set of heterogeneous documents of the Non-Group: photographs, posters, art-object, publications, video, text, text, handbills, photocopy art, prints and exhibits for the first time also Colombia editorial draft Agenda 83, the artistic-political agenda that produced the No-group in solidarity with the Colombian reality and the dissident movement M-19 Movement (April 19). For this publication involved a forty other producers, many of them members of other groups with whom the Non-Group maintained a close relationship: Process Pentagon (Felipe Ehrenberg, Carlos Aguirre, Lourdes Grobet), Group MIRA (Melecio Galván, Arnulfo Aquino, Rebecca Hidalgo, Jorge Perez Vega) Peyote and the Company (Adolfo Patiño) and Group Addition (Oliverio Hinojosa) plus the involvement of other visual artists, graphic communications, cartoonists, photographers and writers.
In one of the members of the Non-Group, Melquiades Herrera, exhibited some documents produced after the group disbanded. Part of the photographic series "Surreal Mexico News, photographs Hinojosa on it and some videos made in collaboration with Jorge Prior.
Parallel to the exhibition will take place from 6 to 8 October at the Centro Cultural Matucana 100 (Santiago, Chile) Discussion Images, imagination and critical imagination, directed by Richard Kelly. In this Henaro Sol curator participate with a presentation entitled "NO-GROUP (1977-1983), a collective jiggling the artistic straitjacket." Among the guests at the various symposia include Manuel Borja (Spain), Néstor García Canclini (Argentina-Mexico), Andrea Giunta (Argentina), Ana Longoni (Argentina) Rolnik Suely (Brazil) and Marcelo Expósito (Spain). In the city of Valparaiso where they will present the exhibition, the artist Maris Bustamante will speak on the plurality of production of Non-Group and Non-Mexican objectualism. (Day and time tbc). GENERAL INFORMATION
LATIN AMERICAN ART Exhibition
: State of siege
Guest Curator: Gabriel Peluffo Linari (Uruguay)
NO-GROUP EXHIBITION, research: SOL HENAR
Center for the Study of Contemporary Urban Development - Santo Domingo no 
DUC . 4, Valparaiso, Chile
Opening: Friday, October 9 - 19.30 hrs. Closing: December 5 www. DUC . 4, Valparaiso, Chile 
trienaldechile.cl Tuesday, September 29, 2009
Tamil Kavithai In Family
EXPOSURE ON THE NO-GROUP
http://www.jornada.unam.mx/2009/09/24/index.php?section=cultura&article=a03n3cul Taken September 24, 2009
Disappearance of Space Theatre Ballet
The owners of CNCA and INBA even received phone calls: Angel Vargas Orozco
Amid expressions of outrage, sadness and solidarity of members of the medium dance and cultural community, last night announced the disappearance of Space Ballet Theater, one of the flagship institutions of modern dance in Mexico, which turned 43 last Sept. 15.
As anticipated La Jornada on Wednesday, that determination irreversible, according to Gladys Orozco, founder and director of the group, responds to economic reasons it was impossible to meet the expenses for keeping a project of this size that includes a group of artists, a theater and a school.
According to the dancer, since 1976 the subsidy received from the federal government had not been updated since 2000 (the date was 213 pesos a month), to which must be added that two months ago did not receive a penny of that amount and that of the National Council for Culture and the Arts (CNCA) and the National Institute of Fine Arts (INBA), Consuelo Sáizar and Teresa Vicencio, respectively, we have ignored the extent that they receive calls or phone. Then came the
when unable to pay the rent (in the site, which is 80 thousand pesos a month) and our dancers (whose salary is higher than 9 thousand 500 pesos per month), said Orozco, who said the 35 workers ballet will be settled according to law, for which they are applying for personal loans.
http://www.jornada.unam.mx/2009/09/24/index.php?section=cultura&article=a03n3cul Taken September 24, 2009
Disappearance of Space Theatre Ballet
The owners of CNCA and INBA even received phone calls: Angel Vargas Orozco
Amid expressions of outrage, sadness and solidarity of members of the medium dance and cultural community, last night announced the disappearance of Space Ballet Theater, one of the flagship institutions of modern dance in Mexico, which turned 43 last Sept. 15.
As anticipated La Jornada on Wednesday, that determination irreversible, according to Gladys Orozco, founder and director of the group, responds to economic reasons it was impossible to meet the expenses for keeping a project of this size that includes a group of artists, a theater and a school.
According to the dancer, since 1976 the subsidy received from the federal government had not been updated since 2000 (the date was 213 pesos a month), to which must be added that two months ago did not receive a penny of that amount and that of the National Council for Culture and the Arts (CNCA) and the National Institute of Fine Arts (INBA), Consuelo Sáizar and Teresa Vicencio, respectively, we have ignored the extent that they receive calls or phone. Then came the
when unable to pay the rent (in the site, which is 80 thousand pesos a month) and our dancers (whose salary is higher than 9 thousand 500 pesos per month), said Orozco, who said the 35 workers ballet will be settled according to law, for which they are applying for personal loans.
Friday, September 25, 2009
Commnity Service Log Sheet
Lately I'm obsessed with space and procedural content (thanks Spelunky ). I was bored and started to do this:
I hope in the future (near or far, I do not care) to become any space exploration game some sort.
Kidde Smoke Detector Beeps After Disconnecting
effects of budget cuts to culture in Mexico ... Sol
TALKS
Art in dialogue and tension with the social and cultural transformations of the contemporary world.
Director: Richard Kelly Images, imagination and critical imagination (6-7-8 October, Santiago) Matucana 100 Cultural Centre Avenue Matucana 100, Estación Central, Santiago 
societies in the image, the overexposure of the visual media and the beautification of the daily advertising, dilute the specific criticism of art forms. Is becoming more diffuse the regime of artistic autonomy in a world where the economy and culture speak the same language of becoming-good image. "Through what sense operations of the forces generating events art is capable of uneven cultural signs of capitalism? How to plot against it, the political and the aesthetic? How can disrupt the critical imagination passive relationship between images and imagination that sets the neoliberal hegemony through its communication industries and entertainment? TUESDAY, 6
9:30 to 11:00 hrs.
Opening: Ticio Escobar (Paraguay's Minister of Culture, General Curator Triennial Chile) Nelly Richard (Director, International Symposia Triennial Chile, Vice Chancellor of Outreach, Communications and Publications ARCIS U.)
Conference:
Fernando Castro (University Autónoma de Madrid, Spain)
Presentation:
Ticio Escobar (Chile Triennial)
11:15 -13:30 hrs.
Adriana Valdes (U. de Chile)
Pablo Oyarzun (U. de Chile)
Galende (U. ARCIS) Isabel Garcia (Center for Documentation of Cultural Arts Center Palacio de la Moneda)
Roberto Amigo (Universidad de Buenos Aires, Argentina)
Justo Pastor Mellado (Independent Curator)
WEDNESDAY 7
9:30 to 11:00 hrs.
Carballas Monica (University of Vigo, Spain)
Ana Longoni (University of Buenos Aires, Argentina)
Sergio Rojas (Universidad de Chile)
11:15 to 13:30 hrs. Maria Sol Baron
Pino (Pontificia Universidad Javeriana, Colombia) María Victoria
Maher (Co-director of Parallel 10, Colombia)
Henaro
Sol (Research / Independent Curator, Mexico)
16:00 to 17:30 hrs.
Conference: Manuel Borja
(Director Museo Nacional Centro de Arte Reina Sofia, Spain)
Presentation:
Francisco Brugnoli (Vice President for Extension of the University of Chile, Director Museum of Contemporary Art MAC)
THURSDAY 8
9:30 to 11:00 hrs.
Suely Rolnik (PU Catolica de Sao Paulo, Brazil)
Willy Thayer (UMCE)
Marcelo Expósito (Universidad Nomad, Spain)
11:15 to 13:30 hrs.
Gustavo Buntinx (Micromuseo, Peru)
Graciela Carnevale (Artist, Argentina)
Soledad Novoa (U. de Chile / U. SEK)
16:00 to 18:30 hrs.
Eva Grinstein (Critical / Curator Independiente, Argentina)
Felix Suazo (Visual Artist, Venezuela)
Patricia Hakim (Artist, Argentina)
Marcos Figueroa (Universidad Nacional de Tucumán, Argentina)
-COMPREHENSIVE-VALDIVIA VALPARAISO Y IN: http://www.trienaldechile.cl/trienal-2009/coloquios/
TALKS
Art in dialogue and tension with the social and cultural transformations of the contemporary world.
Director: Richard Kelly Images, imagination and critical imagination (6-7-8 October, Santiago) Matucana 100 Cultural Centre Avenue Matucana 100, Estación Central, Santiago
societies in the image, the overexposure of the visual media and the beautification of the daily advertising, dilute the specific criticism of art forms. Is becoming more diffuse the regime of artistic autonomy in a world where the economy and culture speak the same language of becoming-good image. "Through what sense operations of the forces generating events art is capable of uneven cultural signs of capitalism? How to plot against it, the political and the aesthetic? How can disrupt the critical imagination passive relationship between images and imagination that sets the neoliberal hegemony through its communication industries and entertainment? TUESDAY, 6 9:30 to 11:00 hrs.
Opening: Ticio Escobar (Paraguay's Minister of Culture, General Curator Triennial Chile) Nelly Richard (Director, International Symposia Triennial Chile, Vice Chancellor of Outreach, Communications and Publications ARCIS U.)
Conference:
Fernando Castro (University Autónoma de Madrid, Spain)
Presentation:
Ticio Escobar (Chile Triennial)
11:15 -13:30 hrs.
Adriana Valdes (U. de Chile)
Pablo Oyarzun (U. de Chile)
Carlos Pérez Villalobos (Universidad Diego Portales) 
16:00 to 18:30 hrs. Federico 
Galende (U. ARCIS) Isabel Garcia (Center for Documentation of Cultural Arts Center Palacio de la Moneda) Roberto Amigo (Universidad de Buenos Aires, Argentina)
Justo Pastor Mellado (Independent Curator)
WEDNESDAY 7
9:30 to 11:00 hrs. Carballas Monica (University of Vigo, Spain)
Ana Longoni (University of Buenos Aires, Argentina)
Sergio Rojas (Universidad de Chile)
11:15 to 13:30 hrs. Maria Sol Baron
Pino (Pontificia Universidad Javeriana, Colombia) María Victoria
Maher (Co-director of Parallel 10, Colombia)
Henaro
Sol (Research / Independent Curator, Mexico)
16:00 to 17:30 hrs.
Conference: Manuel Borja
(Director Museo Nacional Centro de Arte Reina Sofia, Spain)
Presentation:
Francisco Brugnoli (Vice President for Extension of the University of Chile, Director Museum of Contemporary Art MAC)
THURSDAY 8
9:30 to 11:00 hrs.
Suely Rolnik (PU Catolica de Sao Paulo, Brazil)
Willy Thayer (UMCE)
Marcelo Expósito (Universidad Nomad, Spain)
11:15 to 13:30 hrs.
Gustavo Buntinx (Micromuseo, Peru)
Graciela Carnevale (Artist, Argentina)
Soledad Novoa (U. de Chile / U. SEK)
16:00 to 18:30 hrs.
Eva Grinstein (Critical / Curator Independiente, Argentina)
Felix Suazo (Visual Artist, Venezuela)
Patricia Hakim (Artist, Argentina)
Marcos Figueroa (Universidad Nacional de Tucumán, Argentina)
-COMPREHENSIVE-VALDIVIA VALPARAISO Y IN: http://www.trienaldechile.cl/trienal-2009/coloquios/
Thursday, August 27, 2009
Church Newsletter Templates
Programmer art x_x
Thanks for existing artists.
Ah, yes, you can load new scenes. It is quite easy, we define an area (a rectangle) and the scene to load, when the player comes up there ... yuttini! new scene loaded
I have tremendous problems for naming variables and tags, hope I'm not alone in the world.
Friday, May 15, 2009
Ammonium Sulfate And Ammonia Buffer
A * / pathfinding and holapercy
to character movement implemented a * algorithm.
What you do is find the shortest path between two points, in this case, where the character is located and where we want to move. Obviously the algorithm is in charge of border barriers (non-navigable nodes) that may be on the road.
In the image above the green node is the origin, destination red, white nodes are navigable and grays are the obstacles. The purple represents the nodes that were analyzed.
I will not explain in depth how the algorithm because there several articles very good.
The algorithm is based on two functions, h (x) and g (x).
g (x) = distance from the origin to x
h (x) = distance from x to the target
For h (x) usually uses the shortest distance (a straight line between points). This feature can be varied to find more realistic ways, for example to avoid unnecessary roads with switchbacks, among other things.
Starting from the initial node is added to its adjacent nodes (good ones) to a list of possible nodes to visit. After the list is chosen which has a lower value of g (x) + h (x) and in turn for each selected node is the adjacent add to a list of possible candidates.
As grid, to know that nodes can navigate and which are not generated using the above .
The only problem we could have is if you click on an area that is not painted in blue, as this node is not navigable and the algorithm would not ever consider. To fix this, if the player tries to move to a non-navigable area was first looking for a valid node for use as a destination.
For example, clicking on the door, the character will move to one of the blue nodes on the floor near it.
added more things at stake in these weeks, the most interesting (or that was fun to do) is the scripting. Through the scenes xml can script Elemeno different actions for the game, whether players, items, objects, etc ...
I guess the next post will be about that. 
to character movement implemented a * algorithm.
What you do is find the shortest path between two points, in this case, where the character is located and where we want to move. Obviously the algorithm is in charge of border barriers (non-navigable nodes) that may be on the road.
In the image above the green node is the origin, destination red, white nodes are navigable and grays are the obstacles. The purple represents the nodes that were analyzed.
I will not explain in depth how the algorithm because there several articles very good.
The algorithm is based on two functions, h (x) and g (x).
g (x) = distance from the origin to x
h (x) = distance from x to the target
For h (x) usually uses the shortest distance (a straight line between points). This feature can be varied to find more realistic ways, for example to avoid unnecessary roads with switchbacks, among other things.
Starting from the initial node is added to its adjacent nodes (good ones) to a list of possible nodes to visit. After the list is chosen which has a lower value of g (x) + h (x) and in turn for each selected node is the adjacent add to a list of possible candidates.
As grid, to know that nodes can navigate and which are not generated using the above .
The only problem we could have is if you click on an area that is not painted in blue, as this node is not navigable and the algorithm would not ever consider. To fix this, if the player tries to move to a non-navigable area was first looking for a valid node for use as a destination.
For example, clicking on the door, the character will move to one of the blue nodes on the floor near it.
added more things at stake in these weeks, the most interesting (or that was fun to do) is the scripting. Through the scenes xml can script Elemeno different actions for the game, whether players, items, objects, etc ...
I guess the next post will be about that.
Friday, March 13, 2009
How Mutch You Pay Scooter Insurance
still exist too! Habemus
After a long and heavy holapercy semester in which it was abandoned, has returned to life.
I set set something holapercy-by smaller than sea-every day. So I have a little list with features and things I have to keep adding or fixing.
The first thing I started doing was re-structured in almost everything, it was disgusting and messy (it still is, but to a lesser extent).
The idea, for he who knows not, is to transform holapercy in some kind of adventure game and is relatively simple creation.
I have already done basic things like loading scenes, which are defined in an xml, simple movement of the character and world power lifting. One of the things that interests me is the subject of pathfinding , which still does not study at all.
First I was missing something: to define in which areas of the scene the actors (characters, whether NPCs or the player himself) can move. Looking
AGS, that's what they do "paint" the area where you want to let the characters walk. From this I decided to implement my solution.
A scene consists of 2 layers (probably end up being more to add new features), the first scene itself and then an image with the areas "walkable" painted in blue.
(The fourth was drawn by the old and disgustingly painted by my one afternoon that I had nothing better to do)
As was until now, you could click on either side of the room and the character moved up there, no matter how off the roof or end up on the bed. Combined
:
Then imagine the paint layer as a grid consisting of 16x16 cells, with values \u200b\u200bof 0 (cell on which you can not walk) and 1 (for access). As the window size 640x480 this can be seen as an array of 40x30 (640/16 = 40 480/16 = 30).
cell by cell is scanned to see if there are at most 1 pixel blue and if any, that position is marked as accessible to the characters. That's why the painting is not necessary paint too close to objects like a bed or desk, because with only 1 pixel and could be filled with a cell that is over the object.
Within the game you can press F3 to see the grid and the area over which to walk.
The next step will be to implement an algorithm A * for character movement, using as a navigation map created from the grid layer "painted" scenes. 
After a long and heavy holapercy semester in which it was abandoned, has returned to life.
I set set something holapercy-by smaller than sea-every day. So I have a little list with features and things I have to keep adding or fixing.
The first thing I started doing was re-structured in almost everything, it was disgusting and messy (it still is, but to a lesser extent).
The idea, for he who knows not, is to transform holapercy in some kind of adventure game and is relatively simple creation.
I have already done basic things like loading scenes, which are defined in an xml, simple movement of the character and world power lifting. One of the things that interests me is the subject of pathfinding , which still does not study at all.
First I was missing something: to define in which areas of the scene the actors (characters, whether NPCs or the player himself) can move. Looking
AGS, that's what they do "paint" the area where you want to let the characters walk. From this I decided to implement my solution.
A scene consists of 2 layers (probably end up being more to add new features), the first scene itself and then an image with the areas "walkable" painted in blue.
(The fourth was drawn by the old and disgustingly painted by my one afternoon that I had nothing better to do)
As was until now, you could click on either side of the room and the character moved up there, no matter how off the roof or end up on the bed. Combined
:
Then imagine the paint layer as a grid consisting of 16x16 cells, with values \u200b\u200bof 0 (cell on which you can not walk) and 1 (for access). As the window size 640x480 this can be seen as an array of 40x30 (640/16 = 40 480/16 = 30).
cell by cell is scanned to see if there are at most 1 pixel blue and if any, that position is marked as accessible to the characters. That's why the painting is not necessary paint too close to objects like a bed or desk, because with only 1 pixel and could be filled with a cell that is over the object.
Within the game you can press F3 to see the grid and the area over which to walk.
The next step will be to implement an algorithm A * for character movement, using as a navigation map created from the grid layer "painted" scenes.
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