31.8.07

Rudofsky, arquitectura sin arquitectos


Bernard Rudofsky (April 13, 1905 - 1988) was an Austrian-born American writer, architect, collector, teacher, designer, and social historian.
After earning a doctorate in architecture in Austria then working in Germany, Italy and a dozen other countries, Rudofsky had temporarily settled in Brazil in the 1930s to open an architectural practice and built several notable residences in São Paulo. An entry in a 1941 design competition brought an invitation from MOMA to tour the US; as an Austrian native, in the wake of Pearl Harbor Rudofsky was given the options of staying in the US. He remained based in New York City until his death, while continuing to travel, sometimes for years at a stretch. Rudofsky variously taught at Yale, MIT, Cooper-Hewitt, Waseda University in Tokyo, and the Royal Academy of Fine Arts in Copenhagen. He was a Ford, Fulbright and Guggenheim Fellow.
Most influential for organizing a series of controversial MOMA exhibits in the 1940s, 1950s and 1960s, Rudofsky is best remembered today for a number of urbane books that still provide relevant design insight concealed in entertaining, subversive sarcasm. His interests ranged from vernacular architecture to Japanese toilets to sandal design. Taken together his written work constitutes one sustained argument for humane and sensible design.
For instance, "Now I Lay Me Down to Eat" is a tour of historical and cultural alternatives to the design problems of everyday life – dining, sleeping, sitting, cleansing, and bathing – and was "neither meant to spread dangerous heresies nor to undermine our birthright to make the worst of possible choices. Rather, it demonstrates by means of random examples that life can be less dull than we make it." By contrast Rudofsky makes western design solutions, if not ridiculous and arbitrary, certainly open to improvement. It might be worth asking why the standard American-style toilet is effectively a septic humidifier, and why American-style bathtubs are impossible for adults to lie down in and are as a matter of routine permanently fixed two or three feet away from a septic humidifier.
In 1944 Rudofsky and his wife Berta were invited to the legendary Black Mountain College for two weeks. Bernard gave two lectures on the sad state of clothing design, calling contemporary dress "anachronistic, irrational, impractical and harmful" and literally unsuitable. One of his lectures was called "How Can People Expect to Have Good Architecture When They Wear Such Clothes?"


“Le Centre Canadien d’Architecture (CCA) présente Les enseignements de Bernard Rudofsky du 4 juillet au 30 septembre 2007. Les enseignements de Bernard Rudofsky est la première rétrospective qui examine la vie et l’oeuvre de l’architecte, designer et critique contreversé, dont les constructions, les expositions et les concepts de mode ont remis en question les idées mêmes de confort et de culture dans le monde occidental. Présentée em collaboration avec l’Architekturzentrum Wien et le Getty Research Institute, Los Angeles, et en association avec le CCA, l’exposition Les enseignements de Bernard Rudofsky jette un regard sur la diversité des contributions d’un pionnier unique et sous-estimé du modernisme et met en lumière la pertinence actuelle des principes de Rudofsky.” Pour plus d’informations…
(Source: Steffen Böddeker, Directeur des communications, Centre Canadien d’Architecture).

29.8.07

Haden, Cuándo te podré olvidar, (Charlie)


"Cuando te podré olvidar" es un tema del músico Charlie Haden. Lo que no se puede olvidar es la calidad de su música. Nacido en Iowa por los 40, sigue presentándose asiduamente en Boston, New York y Chicago, ciudad esta última donde se celebra un gran festival de jazz desde el 31.08.07. Es maestro de músicos, ganador de premios Grammy y colaborador habitual de otras grandes figuras de la world music.

An acoustic bassist of extraordinary gifts, Haden’s talents as a musicain have been in constant demand by his fellow artists. As a result, he has collaborated with a genuinely stunning array of musicians, including Hank Jones, Don Cherry, Dewey Redman, Paul Motian, Jack DeJohnette, Michael Brecker, Kenny Barron, and Pat Metheny (with whom Haden shared a 1997 “Best Jazz Instrumental Individual/Small Group” Grammy® Award for their Beyond the Missouri Sky) .
Haden’s love of world music has also seen him teaming with a variety of diverse international players, including Brazilian guitarist Egberto Gismonti, Argentinean bandoneon master Dino Saluzzi, and Portuguese guitar giant Carlos Paredes. In addition, Haden has explored diverse streams of American popular music with both his acclaimed Quartet West, as well as on such recent collections as 2002’s inventive alliance with Michael Brecker, AMERICAN DREAMS.

Cowboys de medianoche


En el marco del Festival de Films de Montreal, dentro de la seccion Cine bajo las estrellas, se proyecto en la plaza de las Artes el film de 1969 Midnight Cowboy. No puedo evitar el recuerdo de Eduardo Darnauchans con su cancion Perdidos en la Noche: Ratso y cowboy juntos... Tantas almas perdidas en las noches de tantas ciudades, se encontraran alguna vez?

Kafka en Francia



LETTRE AU PÈRE
FRANZ KAFKA - THIBAULT DE MONTALEMBERT
La Lettre au père de Franz Kafka, mise en scène par Thibault de Montalembert, est un texte limpide à la portée universelle. A trente-six ans, après avoir écrit Le Procès, le Château et la Métamorphose, l’auteur adresse à son père une missive tragique et incendiaire qui ne parviendra jamais à son destinataire. Il y reproche à son géniteur son jugement permanent et ses accusations d’échec et de nullité sociale. Cette lettre, terrible de lucidité et subtilement drôle, est un point d’incandescence dans l’oeuvre de Kafka. Le comédien Thierry De Peretti l’interprète avec justesse et ardeur. Petit, vif, le regard clair, le cheveu en bataille, il incarne Kafka, d’abord enfant, en maillot, puis adulte, adoptant le gilet qui symbolise le costume bourgeois. Ses déplacements, régis entièrement par le sens et les impulsions du personnage, sont chorégraphiés par le Japonais Yutaka Takei. Des éléments scéniques simples - table, chaise, craie - rappellent l’enfance et l’école. Quelques traces au mur. Le jeu des douches de lumière et des poursuites qui s’entrecroisent traduisent les angoisses du fils, son impression d’être toujours sous le regard du père, soumis à un jugement qui l’écrase. Le public, d’emblée, est plongé dans l’univers de Kafka : une ambiance inquiétante, pleine des doutes et des peurs de la première jeunesse et des extravagances du monde des adultes.
"Une heure et quinze minutes d’un théâtre où l’engagement physique du comédien et la beauté formelle déployée autour de lui - les sons de Nicolas Baby et les lumières de Jean-Luc Chanonat - éclairent Kafka, sa rage, son humour, sa lucidité, d’un éclat aveuglant." OLIVIER SCHMITT, LE MONDE 2, 10 MARS 2007

28.8.07

Les 3 Ptits cochons



Hacia mucho tiempo que no escuchaba aplausos en un cine. Sin ser una pelicula que pasara a la historia, Los tres cerditos es una comedia entretenida, siendo como es un espejo de la vida en pareja, tal vez porque es divertido reirse del aburrimiento, la incomunicacion, la insinceridad, etc.
Con dialogos sencillos, planteo de situaciones tragicomicas, primeros planos de hombres bellos y mujeres otro tanto y no mucho mas, no se hace necesario mirar el reloj por parte del espectador para esperar el final.
Los guionistas usan con no demasiada profundidad el argumento del cuento Los tres cerditos que uno de los protagonistas lee a sus hijas. Y son tres los hermanos que son bastante desprolijos en sus relaciones de pareja, cochinos se podria decir. Edipicos pero desvergonzados, inconscientes y reprimidos, van por la vida enredando a sus familias en sus devaneos.
Encarnan un retrato perfecto de la sociedad montrealesa, pero el modelo es aplicable a muchos escenarios del orbe.

Les rencontres entre les frères rythment le récit de Les 3 p’tits cochons, qui a pris l’affiche hier et mettant en vedette Paul Doucet, Claude Legault et Guillaume Lemay-Thivierge.

François Houde
Le Nouvelliste
Trois-Rivières

L’hospitalisation de leur mère, inconsciente, est l’occasion pour trois frères de se retrouver. En fait, les rencontres à l’hôpital leur servent à faire le tour de leur situation maritale. Les trois caractères s’y révèlent: Rémi, l’aîné, est la voix de la raison pendant que Mathieu est dévoré par l’envie d’aller voir ailleurs et que Christian, le cadet, voit en Mathieu le modèle qu’il veut émuler.

Patrick Huard a choisi la comédie dramatique pour sa première oeuvre en tant que réalisateur. Pas tellement étonnant compte tenu de son parcours. Ici, ce n’est pourtant pas le rire qui domine. En fait, certains en seront déçus, on ne retrouve pas, dans Les 3 p’tits cochons de gros gags lourds et irrésistibles. Ou très peu, disons. Le film est plutôt décliné sur le mode du sourire et, surtout, du divertissement.

«J’espère que les gens vont quitter la salle en étant content d’avoir vu le film et qu’ils aient eu l’impression que ça leur ressemblait, qu’ils se sont reconnus quelque part dans cette histoire», disait Huard en entrevue la semaine dernière.

Les personnages, nés du scénario de Pierre Lamothe et Claude Lalonde mais auquel Patrick Huard a collaboré, sont intrigants parce qu’ils nous ressemblent, bel et bien. Mais on n’est pas aussi superficiels que ça, enfin, espérons-le. Seul le Rémi de Paul Doucet, tout en nuances, semble avoir vraiment plusieurs couches qu’on a envie d’explorer.

On a peut-être été trop gâté par le cinéma québécois. Des films comme Gaz Bar Blues, C.R.A.Z.Y. ont mis la barre haute avec leurs histoires captivantes, leurs personnages souvent rigolos mais complexes et profondément vrais. En comparaison avec ce qu’on a produit de meilleur, Les 3 p’tits cochons fait pâle figure. Cette espèce de «chronique de la vie de couple» comme le décrit Huard lui-même, manque de substance. Le scénario est un peu léger et nous laisse sur notre faim. Que comprend-on des vies de couples de nos personnages au terme du film pas grand-chose, en somme. L’épilogue du film, dont on s’attendrait à ce qu’il donne un sens à l’oeuvre, n’y arrive que très partiellement.

Bien sûr, tout ça se laisse regarder avec plaisir. Ceux qui ne recherchent qu’un divertissement seront satisfaits.

Que dire des interprètes si ce n’est qu’ils sont compétents:

Rémi (Paul Doucet) semble avoir la part la plus discrète du trio de frangins mais on finit par se rendre compte qu’il est le plus intéressant des trois. Il est interprété de belle façon par Doucet qui, de toute évidence, est heureux dans les subtilités.
Le rôle de grand adolescent semble fait sur mesure pour Guillaume Lemay-Thivierge, très à l’aise.
Claude Legault est impeccable.
L’inexpérience de Patrick Huard à la réalisation paraît, mais pas de façon grossière. Les transitions entre les scènes sont parfois abruptes, l’éclairage est à certains moments carrément déficient et son scénario n’est pas suffisamment serré; il reste encore des scènes inutiles dont certaines scènes de sexe impliquant Mahée Paiement, dont on se demande si elles sont nécessaires, si elles servent le propos. Mais justement, c’est bien là le problème: c’est quoi le propos?

27.8.07

Kyudo, arqueria japonesa




Habiendo leido hace tiempo el libro de Herrigel llamado El Zen y el arte de la arqueria, me senti particularmente interesada en la presentacion del arte del Kyudo en el Festival o Matsuri de la amistad entre Japon y Canada. Los participantes de la demostracion efectuaron la practica en absoluto silencio y con precision milimetrica, como era de esperarse, aunque el entorno no fuera el mas propicio.

Kyudo, which literally means The Way of the Bow, is considered by many to be the purest of all the martial ways. In the past, the Japanese bow was used for hunting, war, court ceremonies, games, and contests of skill. The original word for Japanese archery was kyujutsu (bow technique) which encompassed the skills and techniques of the warrior archer. Some of the ancient schools, known as ryu, survive today, along with the ancient ceremonies and games, but the days where the Japanese bow was used as a weapon are long past. Modern kyudo is practiced primarily as a method of physical, moral, and spiritual development.
No one knows exactly when the term kyudo came into being but it was not until the late nineteenth century when practice centered almost exclusively around individual practice that the term gained general acceptance. The essence of modern kyudo is said to be synonymous with the pursuit of truth, goodness, and beauty.
Truth in kyudo is manifested in shooting that is pure and right-minded, where the three elements of attitude, movement, and technique unite in a state of perfect harmony. A true shot in kyudo is not just one that hits the center of the target, but one where the arrow can be said to exist in the target before its release.
Goodness encompasses such qualities as courtesy, compassion, morality, and non-aggression. In kyudo, goodness is shown by displaying proper attitude and behavior in all situations. A good kyudo archer is a person who maintains his or her composure and grace even in times of great stress or conflict.
Beauty both enhances life and stimulates the spirit. In kyudo, truth and goodness, themselves, are considered beautiful. Beauty can also be found in the exquisite grace and artistry of the Japanese bow and the elegance of the traditional archer's attire. It is also present in the refined etiquette that surrounds the kyudo ceremony. Etiquette, which is simply common courtesy and respect for others, is an essential element of kyudo practice.

Much has been written about the philosophical connections of kyudo. Perhaps most known is the book Zen in the Art of Archery by Eugen Herrigel. In his book Mr. Herrigel sets forth his experiences with kyudo in the 1930's. It was a beautifully written account that has been translated into many languages, giving people worldwide their first glimpse of the art. Unfortunately, the book was very one-sided in its description of kyudo as a Zen art and is responsible for a lot of the current misconception surrounding the practice of kyudo as a religious activity.While kyudo is not a religion it has been influenced by two schools of Eastern philosophy: The previously mentioned Zen, a form of Buddhism imported from China, and Shintoism, the indigenous faith of Japan. Of the two, the influence of Shintoism is much older. Ritualistic use of the bow and arrows have been a part of Shintoism for over two thousand years. Much of the kyudo ceremony, the attire worn by the archers, and the ritual respect shown for the equipment and shooting place are derived from ancient Shinto practice.The influence of Zen, on the other hand, is more recent, dating back to the Kamakura Period (1185-1333) when the warrior archers adopted Zen as their preferred method of moral training. Zen's influence on kyudo became even greater in the seventeenth and eighteenth centuries when Japan, as a whole, experienced a period of civil peace. During that time the practice of kyudo took on a definite philosophical leaning. This is the period when sayings like "one shot, one life" and "shooting should be like flowing water" were associated with the teaching of kyudo. Because of its long and varied past, modern Japanese archery will exhibit a wide variety of influences. Today, at any given kyudojo (practice hall), one can find people practicing ancient kyujutsu, ceremonial court games, rituals with religious connections, and contests of skill. The key to understanding kyudo is to keep an open mind and realize that any style of kyudo you see or practice is but a small part of a greater whole, and that each style has its own history and philosophical underpinnings which make them all equally interesting and important.

Carretera perdida


Tan facil, facil, no es
horizonte lejano
correr y correr
el dia que no llega
dura es la noche en soledad
pero el hombre que mira lejos no aprende a ver

Tan facil, facil, no es
horizonte lejano, correr y correr
historias que no acaban bien, ni mal
transcurren no mas
los amantes siempre quieren su propia canción
Hoy cantamos aqui
carretera perdida en otro pais

Extracto de Carretera perdida, de Buitres.

Que es ser libre


Luego de los miedos irracionales o no que he experimentado en la frontera entre Estados Unidos y Canada, luego de ser amonestados por permanecer en un estacionamiento supuestamente publico me pregunto sobre el significado profundo de la frase declarativa que lucen las matriculas de los automoviles del estado de New Hampshire, Live free or die, que tan extremista me pareciera a primera impresion. La misma inscripcion esta en la roca conmemorativa en un lugar de los montes Apalaches, donde se podia imaginar que el dibujo paisajistico de una cumbre se asemejaba al perfil de un indio, y digo asemejaba porque la estribacion rocosa que oficiaba de nariz de la construccion imaginaria, simplemente se cayo. O se callo? Y pido perdon por la amarga ironia de no tener configurado mi teclado para el idioma en el que escribo, por lo que no puedo acentuar adecuadamente las palabras, apenas intento entonces poner el acento y el enfasis en otras ironias de esta America.

Tambien me pregunto si como latinoamericana podre alguna vez superar los miedos derivados de haber vivido bajo una dictadura militar, paranoias que son desconocidas en las felices e inconscientes mentes de los ciudadanos de estos paises norteamericanos.
.
D.B.

Rito


Una cierta ceremonia, encontrarte.

Un cierto miedo, amarte.

Misterio y ritual, el amor.

Gozo reconocible.


Espejo de apariencias

y aparecidos.

Imagenes y hechizos,

el amor.


Fulgores, relampago.


D.B.


Autoctonos en Norteamerica


En las costas atlanticas del estado de Maine, en Estados Unidos, estan las casas de veraneo de familias tan poderosas como la de los Bush, quienes tienen un baluarte en Kennebunk port. La belleza de los paisajes maritimos y serranos correspondientes a los Montes Apalaches es sobrecogedora y es lo que ha hecho d los estados de Nueva Inglaterra lugares de turismo exclusivos. Pero apenas en la nomenclatura quedan algunos indicios de los primeros pobladores de esas tierras. Cuando inquiero sobre adonde estan los indios, como viven, ya sea en Canada o en Estados Unidos, luego de una mueca de disconformidad, se oyen comentarios despectivos. En Canada la solucion paso por confinar a los aborigenes en reservas, donde no tienen que pagar impuestos y se les ha dado concesiones sobre la venta de alcohol, cigarrillos y sobre la explotacion de casinos. Parece ser una maniobra corriente para mantener al margen a los autoctonos. Estos tienen un alto indice de suicidios, particularmente juvenil y una tasa de alcoholismo y drogadiccion pavorosa. No estan integrados a la sociedad norteamericana en ningun renglon de la vida comunitaria, cultural, social, educativa, practicamente no existen fuera de algun pintoresquismo de tiendas de recuerdos para turistas o en la nomenclatura topografica sobre todo, como antes mencionara.
En la bella costa de Maine lei un cartel de un hotel denominado Abenaki, que ostentaba el clasico dibujo de un penacho de plumas. Esto es lo que dice Wikipedia sobre tal vocablo:

The homeland of the Abenaki, known to them as Ndakinna, which means "our land", extended across most of northern New England and into the southern Canadian Maritimes. The Eastern Abenaki's population was concentrated in portions of Maine east of New Hampshire's White Mountains, while the other major tribe, the Western Abenaki, lived in areas west of the mountains across Vermont and New Hampshire to the eastern shores of Lake Champlain. The southern limits of the Abenaki's homeland were near the present northern border of Massachusetts, excluding the Pennacook country along the Merrimack River in southern New Hampshire. The maritime Abenaki lived around St. Croix and the Wolastoq (St. John River) Valleys near the boundary line between Maine and New Brunswick.
The settlement of New England and frequent wars caused many Abenakis to resort to retreating to Quebec. Two large tribal communities formed near St-Francois-du-Lac and Bécancour. These settlements continue to exist to this day. Three reservations also exist in northern Maine, and seven Wolastoqiyik (Maliseet) reserves are located in New Brunswick and Quebec. Other groups of Abenaki, without reservations, are scattered across northern New Hampshire and Vermont.
The Penawapskewi (Penobscot) have a reservation with 2,000 people on Indian Island at Old Town, Maine. The Pestomuhkati (Passamaquoddy) currently number about 2,500 across three different Maine reservations, Pleasant Point, Peter Dana Point, and Indian Township. The Houlton Band of Maliseet Indians have close to 600 tribesmembers, whereas there are seven Wolastoqiyik (Maliseet) bands in Canada, 470 in Quebec and 2,000 in New Brunswick. Four hundred Wôlinak Abenakis live on a reserve near Bécancour, Quebec (across the river from Trois-Rivières), and almost 1,500 live at Odanak, only 30 miles to the southwest of Trois-Rivières. The remaining Abenaki people are scattered within Quebec, New Brunswick, and northern New England, living in multi-race towns and cities. There are currently about 2,500 Vermont Abenaki in both Vermont and New Hampshire, mainly around Lake Champlain.

Pero una de las grandes ironias del destino es que:

REPORT: Bush Family Compound At Kennebunkport Could Be Submerged By Global Warming
The Natural Resources Council of Maine this week released “one of the most complete depictions ever done of the potential impacts on Maine’s coastline from rising sea levels due to global warming.”
Using the latest available science, NRCM’s analysis shows that coastal businesses, homes, wildlife habitat, transportation systems, and some of the state’s most treasured places are highly vulnerable to sea-level rise.
One “treasured place” in extreme risk is the Bush family compound in Kennebunkport (noted by the yellow arrow below). The area in orange shows land that will be submerged by a sea level rise of 6 feet; the area in red will be underwater after a rise of just 3 feet.
Numerous studies on the future impacts of global warming, including the International Panel on Climate Change, have predicted a sea level rise of up to roughly 3 feet by the end of the century. In other words, unless the problem of climate change is taken seriously, the Bush vacation retreat will under water during the adult lives of Jenna and Barbara’s kids.
The Bush family aren’t the only ones who should be worried. “The Federal Emergency Management Agency estimates that no fewer than one in four U.S. buildings within 500 feet of a coastline will be destroyed by erosion by mid-century, with rising sea levels a big factor.” More on global warming at Climate Progress.
UPDATE: Correction: This post previously stated that the IPCC report predicted a sea level rise of “3 feet or more” by 2100. In fact, the report predicts a rise of up to 88 cm, or 2.85 feet, by 2100. Also, the original post incorrectly suggested that Barbara and Jenna’s would “grow up” by 2100. That has been corrected to note that the year 2100 could occur “in their adult lives.”
We regret the errors.
Digg it!
Filed under:
Posted by Nico September 22, 2006 5:05 pm
Permalink Comment (111)

111 Comments »
I’m not ashamed to make the obvious comment: GOOD!!!!
Comment by George — September 22, 2006 @ 5:15 pm
I may earn some negative karma for this comment, but…
GO GLOBAL WARMING!!!
*cough* :-D
Comment by Jeremy — September 22, 2006 @ 5:17 pm
Finally, some good news on global warning!
Comment by RUCerious — September 22, 2006 @ 5:18 pm
Is this where the word “Irony” fits?
Comment by SpudgeBoy — September 22, 2006 @ 5:20 pm
*smile*
Comment by Kay — September 22, 2006 @ 5:23 pm
There’s always a silver lining. ;-)
Comment by sukabi — September 22, 2006 @ 5:25 pm
Silver lining?
Comment by sukabi — September 22, 2006 @ 5:26 pm
Suddenly, Bush will gain intense interest in the effects global warming!
Comment by Dave M. — September 22, 2006 @ 5:27 pm
Irony is so … ironic, eh?
Comment by Badmoodman — September 22, 2006 @ 5:27 pm
Darn it….
The irony of air polluting oilmen being engulfed by the effects of global warming on the environment is too delicious….
The lord works in mysterious ways I tell ya
Comment by lib4 — September 22, 2006 @ 5:29 pm
oh my god! you’re showing grainy low altitude pictures of the Bush compound in Kennebunkport? Don’t you know the terrorists and evildoers everywhere could get their hands on it and go attack our “glorius leader’?
..on the other hand..
–d
Comment by dubya — September 22, 2006 @ 5:30 pm
RW repsonse will be:
YOU PUBLISHED A MAP OF THEIR ESTATE WITHOUT THEIR PERMISSION…..
Why do you hate America??????????
Comment by lib4 — September 22, 2006 @ 5:31 pm
Na ga duht. The Kennebunkport waters will recede when Bar sneers at them and tells them they don’t belong on her beautiful land with her beautiful mind.
Comment by clb72 — September 22, 2006 @ 5:37 pm
While it will be a tragedy if this should occur, I just can’t help but feel that if the Bush compound is submerged, it will be something they deserved.
Comment by Marie — September 22, 2006 @ 5:41 pm
Send the Army Corp of Engineers to build a levee! Quick! I’d say Catergory 3 protection is good enough.
Comment by hit_escape — September 22, 2006 @ 5:53 pm
“There is no such thing as global warming….glug, glug, glug….”
Comment by Republicans are the fear and smear party — September 22, 2006 @ 5:54 pm
It’s like Katrina for whitie!
Comment by ChuckLA — September 22, 2006 @ 5:54 pm
Wah hoooooo, so sorry bushies….Were broke, get you’re own sand bags.
Comment by Sharon Cox — September 22, 2006 @ 6:02 pm

20.8.07

Too old to rock and roll, too young to die


Al fin halle una incongruencia en la perfeccion montrealesa, digna del peor menemismo. Se trata de la concrecion de las instalaciones para los juegos olimpicos de 1976. Una obra cuyo presupuesto era de doscientos millones de dolares que termino costando cerca de mil cien millones, y en 1976. El arquitecto frances encargado y premiado por su proyecto del velodromo, habia dispuesto un techo corredizo para el estadio central, dado que el mismo no cuenta con columna de soporte. El soporte esta dado por tensores metalicos centrados en una torre lateral de cien metros, siendo esta la torre inclinada mas alta del mundo y en la cual se instalo un funicular para goce y disfrute de los turistas hasta nuestros dias, pero no muchos mas dias. Pronto la torre podria ser desmantelada, para consternacion de los fabricantes de souvenirs. La misma presenta fallas insostenibles sin reparaciones que resultan demasiado costosas para el escaso ingreso que las instalaciones proveen. El estadio tiene capacidad para cincuenta y siete mil espectadores, pero jamas fue colmado salvo en las reuniones de los testigos de Jehova. Ni la presentacion de Pink Floyd, Madonna o Genesis lo lograron, asi como tampoco los populares Alouettes, el equipo de futbol de Montreal orgullo de la provincia. Las gradas se deslizan sobre rieles de acuerdo a las necesidades, ya sea para transformarse en una cancha con forma de diamante para partidos de beisbol, o para partidos de futbol americano, solo Dios sabe como se juega eso que parece ser un deporte. Proximamente los valientes Genesis intentaran llenarlo, tal vez con la gerontologica esperanza de dar un adios decente al publico montreales.


Escandalos en el pais de las maravillas, que los hay, los hay.


D.B.

18.8.07

Festival de Films en Montreal


El festival de films de Montreal tendra lugar del 23 de agosto al 3 de setiembre. Esta sera la 31a. edicion. Habra una seleccion especial de films que seran proyectados a cielo abierto en la Plaza de las Artes.

Un monumento al teatro



Llovía, vi luz y entre. Unos amables jovencitos intentaron darme la bienvenida y conducirme hacia el espectáculo ya comenzado. Pero como no les entendí nada y como no me había dado cuenta de que lo que creí que era un amable y refinado café era en verdad una sala teatral con enormes vidrieras a la calle, quedé muda por la sorpresa y sólo atiné a ejecutar los movimientos automáticos propios de un turista, léase tomar apresuradamente todos los folletos disponibles y curiosear rápido el hall. Sin vergüenza alguna hice mutis, agradeciendo y tratando de no golpear la puerta esta vez, y puse la nariz contra el vidrio generoso para observar la obra sin dispensar un centavo, todo fuera por no interrumpir la animada presentación con mi lastimosa y turística presencia. Espectadores con aire elegante y compenetrado, como corresponde a las circunstacias culturosas donde hay que hacer gala de ser parte y conocedor pero de manera discreta, sonreían y aplaudían a una chica ataviada en traje de campesina del siglo XVII, (siempre me gustaron los numeros romanos), mientras unos cuantos espectadores incómodos por haber sido llamados a escena trataban de aparentar soltura, por lo que deduje que no se trataba de una obra clásica de las que me gusta ver, así que desistí de seguir mojándome bajo la lluvia tímida de noche de domingo, e ilusa de mi, dirigí mis confiados pero inconscientes pasos a lo que creía era la dirección correcta hacia la estación de metro mas cercana, sin percatarme de que había pasado bajo el temible portal del Barrio Chino. Pero el relato de mis andanzas en el barrio asiático es harina de otro costal o cebollita de otro wok.
D.B.

Monument national.

Four-storey building erected 1891-4 in Montreal, on St-Laurent Blvd south of Ste-Catherine St, to serve as a French-Canadian cultural centre and to house the administrative services of the St-Jean-Baptiste Association (later Society) of Montreal.

Its 1620-seat theatre, which boasts an orchestra pit, was inaugurated in 1893 while still uncompleted. In the ensuing years it has welcomed innumerable solo artists, opera companies, and other musical troupes and ensembles, including Emma Albani, Eugène d'Albert, Pauline Donalda, Yvette Guilbert, Alfred La Liberté, Ignace Jan Paderewski, Pol Plançon, Edith Piaf, Elisabeth Schumann-Heink, and Eugène Ysaÿe; the Nicosias-Durieu opera troupe in 1899, the Veillées du bon vieux temps 1921-41, the Société canadienne d'operette 1923-33, the Variétés lyriques 1936-55, and the Fridolinons! revues 1938-46.

Numerous orchestral concerts and oratorios were presented there, including Miro's Messe solennelle in 1904 and Alexis Contant's Caïn in 1905. In 1971 the National Theatre School acquired the building for $350,000. It was declared a historic monument by the MACQ in 1976. In 1989 a complete restoration project was announced for its centennial in June 1993.
Author Gilles Potvin

The Canadian Encyclopedia
© 2007 Historica Foundation of Canada. All rights reserved.
Copyright Information

17.8.07

Hochelaga



Hochelaga (dialectic form of Hockelayi, 'at the place of the [beaver] dam'). A former Iroquoian town, strongly palisaded, situated in 1535 on Montreal id., Quebec, about a mile from the mountain first called 'Mont Royal' by Cartier. At that time it contained about 50 typical Iroquoian lodges, each 50 or more paces in length and 12 or 15 in breadth, built of wood and covered with very broad stripe of bark, neatly and deftly joined. Estimating 12 fires and 24 firesides, each of three persons, to every lodge, the total population would have been about 3,600. The upper portion of the lodges was used for storing corn, beans, and dried fruits. The inhabitants pounded corn in wooden mortars with pestles and made a paste of the meal, which was moulded into cakes that were cooked on large hot rocks and covered with hot pebbles. They also made many soups of corn, beans, and peas, of which they had a sufficiency. In the lodges were large vessels in which smoked fish was stored for winter use. They were not travellers like those of 'Canada' and 'Saguenay,' although, according to Cartier, "the said Canadians are subject to them with 8 or 9 other peoples along the river".

Source: James WHITE, ed., Handbook of Indians of Canada, Published as an Appendix to the Tenth Report of the Geographic Board of Canada, Ottawa, 1913, 632p., p. 200.



© 2004 Claude Bélanger, Marianopolis College

15.8.07

Murakami, al ritmo de jazz


Extraido de The New York Times:


Whether in music or in fiction, the most basic thing is rhythm. Your style needs to have good, natural, steady rhythm, or people won’t keep reading your work. I learned the importance of rhythm from music — and mainly from jazz. Next comes melody — which, in literature, means the appropriate arrangement of the words to match the rhythm. If the way the words fit the rhythm is smooth and beautiful, you can’t ask for anything more. Next is harmony — the internal mental sounds that support the words. Then comes the part I like best: free improvisation. Through some special channel, the story comes welling out freely from inside. All I have to do is get into the flow. Finally comes what may be the most important thing: that high you experience upon completing a work — upon ending your “performance” and feeling you have succeeded in reaching a place that is new and meaningful. And if all goes well, you get to share that sense of elevation with your readers (your audience). That is a marvelous culmination that can be achieved in no other way.
Practically everything I know about writing, then, I learned from music. It may sound paradoxical to say so, but if I had not been so obsessed with music, I might not have become a novelist. Even now, almost 30 years later, I continue to learn a great deal about writing from good music. My style is as deeply influenced by Charlie Parker’s repeated freewheeling riffs, say, as by F. Scott Fitzgerald’s elegantly flowing prose. And I still take the quality of continual self-renewal in Miles Davis’s music as a literary model.
One of my all-time favorite jazz pianists is Thelonious Monk. Once, when someone asked him how he managed to get a certain special sound out of the piano, Monk pointed to the keyboard and said: “It can’t be any new note. When you look at the keyboard, all the notes are there already. But if you mean a note enough, it will sound different. You got to pick the notes you really mean!”
I often recall these words when I am writing, and I think to myself, “It’s true. There aren’t any new words. Our job is to give new meanings and special overtones to absolutely ordinary words.” I find the thought reassuring. It means that vast, unknown stretches still lie before us, fertile territories just waiting for us to cultivate them.

Maravillas del sello ECM


Born in Tavistock, Devon in 1944, composer/multi-instrumentalist John Surman is one of the key figures in a generation of European musicians who have crucially expanded the international horizons of jazz during the past thirty years or so.
Long acknowledged as an improviser of world class, Surman has also composed a body of work which extends far beyond the normal range of the jazz repertoire. Already, by the late 60s, it was clear that Surman was a phenomenon.
He started out as a teenager playing the music of fellow Devonian Mike Westbrook, and then amazed the London establishment with displays of extravagant instrumental proficiency combined with a passionate, rumbustious imagination.

Tomarse un respiro

Se dice que mezclar infantes con caracter, perros y hermosos paisajes hace la receta infalible para una pelicula, y si se agregan excelentes actuaciones y la musica de John Surman, mas mucho de pintura local, nada puede salir mal.
Es el caso de esta pelicula presentada en 2003 en el Festival de cine de Toronto.
Llama la atencion la fotografia submarina, que confiere un aire surreal a la narracion.
La escena que me parecio mas subyugante de Piratas del Caribe es aquella en la que un ejercito de calaveras corre bajo el agua, en computarizada imagen. Ahora encuentro de donde pudo haber salido la idea original.
D.B.

Boccanera (Italy) (working title)

Respiro (France)

Respiro: Grazia's Island (International: English title)

Runtime:95 min / Canada:90 min (Toronto International Film Festival) / USA:90 min
Country:Italy / France
Language:Italian
Filming Locations:Lampedusa, Italy
is title)
Author: Howard Schumann from Vancouver, B.C.
Emanuele Crialese's Respiro is alive, sensual, and transcendent. Set in Lampedusa, an island southwest of Sicily, it is a film about mothers and sons, accepting differences, and the power of love to bring renewal and reconciliation.

Gorgeously filmed by cinematographer Fabio Zamarion, Respiro captivates us with its bright Mediterranean sunlight and the expressive faces of the people, tanned and strikingly beautiful.

Winner of the 2002 Cannes Critics Week award, the film is based on a local legend about a mother whose behavior was found to be offensive by the community and whose subsequent disappearance was the catalyst that brought the people together.

Crialese's film has the feeling of myth and legend but also the overtones of the great Italian realist dramas of the 50s and 60s. As gangs of unsupervised pre-teens carry out intermittent warfare among the desolate beaches and rocky landscapes, everyday life centers on fishing. While the husbands do the fishing, wives work in the fish processing plant and the boys help out their fathers and catch fish to use as trade for a chance to win an electric train set.

Grazia (Valeria Golino) is the wife of macho but loving fisherman, Pietro (Vincenzo Amato) and mother of three: 13-year old Pasquale (Francesco Casisa), younger brother Filippo (Filippo Pucillo), and older sister Marinella (Veronica D'Agostino). Golina is radiant as the headstrong young mother and Casisa's performance as Pasquale completely captures the budding sexual awareness of a pre-teen.

The film reflects the warmth of the Italian family and the closeness that Italian sons feel for their mothers but also depicts the old-fashioned attitudes of the tight-knit community, especially the subjugation of women.

Grazia's behavior is increasingly defined by erratic mood swings. She flings dishes across the room, swims naked with her sons, and releases a herd of dogs from captivity, but it is not clear if she is ill or just rebellious and the film walks a tightrope between suggesting madness or the eccentricities of a free spirit. It is soon apparent that the community has their own thoughts about her actions and she is seen as a threat to the social order. When Grazia's antics threaten to reach the breaking point, Pietro's family decides to send her to Milan to receive psychiatric treatment. Pasquale, however, always understanding and protective of his mother, hides her in one of the many caves along the rocky shore, bringing her food and reporting news of the search for her whereabouts. The ending can be interpreted in many different ways but I was touched by its haunting beauty. Is it to be taken literally, a dream of Pasquale's perhaps, or a fairy tale constructed from legend? I'm not sure but in any case, Respiro's combination of magic realism, natural beauty, and humanistic message will have you pricing the tickets for a trip to Lampedusa.

14.8.07

Teatro en los parques


Repercussion Theatre's mission is to deliver professional, classically-based, visually dynamic theatre that is accessible to all, regardless of income, culture, language, age or education.

We bring the performing arts to people in their communities - reaching new audiences and inspiring in them, a lifelong love of theatre.

Home to Montreal's famous Theatre in the Parks / Théâtre en plein air summer theatre festival.

Repercussion Theatre is one of the few theatre companies in the world that tours full outdoor Shakespeare and classically based shows to different communities.

Una interesante y bastante respetuosa versión de las Fourberies d´Escapin de Moliére se presentó en los parques en el verano montrealés del 2007. Presencié la puesta en el coqueto parque de Westmount, donde exquisitos viandantes descorchaban un vino francés, extendían mantel sobre la hierba que más parecía una perfecta alfombra, brindaban como quien se pasea en bateau mouche por el Sena siendo rico y derrochador, y comían báquicamente un generoso racimo de uvas mientras esperaban la representación. Nada de Macdo por aquí. Gustos franceses de los más refinados en un barrio anglosajón. Escapin fue interpretado por un enérgico actor de origen argelino, y en eso se notaba el aire multiétnico del elenco, como se da en Montréal. Pero no en el público ni en la gente que se podía encontrar ese domingo a la tardecita. Pasé cerca de la secundaria Dawson, un college de ricos que padeció una tragedia propia del país limítrofe, una fusillade como decía la prensa. Las calles parecían tan calmas, que imposibilitarían cualquier salida de tono de sus habitantes. En los semáforos de las esquinas se lucían altos girasoles, en los jardines de las lujosas mansiones abundaban aristocráticas especies vegetales.
D.B.

9.8.07

Jerry Garcia esta para comerselo

En Ben and Jerry s se puede probar el sabor de helado Jerry Garcia, una crema voluptuosa de cerezas, cherry como ligera disgresion idiomatica. Por suerte no tienen sabor Jerry Lewis, aunque un Tom y Jerry no estaria mal, tomato and cherry podria transformarse en un helado caprese.
Ben & Jerry's Homemade Inc., was founded in 1978 in a renovated gas station in Burlington, Vermont, USA, by childhood friends and dedicated hippies Ben Cohen and Jerry Greenfield. The two friends started their ice cream careers with a $5 ice cream making correspondence course from Penn State University and a $12,000 investment ($4,000 of which was borrowed).They soon became popular in the local community for their innovative flavours, made from fresh Vermont milk and cream and large portions of whatever ingredients they felt tasted good on the day of making! While they both disagreed at times over flavour combinations, what they did both agree was that they were in this business to enjoy themselves as well as earn a living. As Jerry put it "If it's not fun, why do it?"

Voice Recognition


SPEECH & VOICE RECOGNITION
Speech and vocie recognition refers to the ability of machines to respond to spoken commands. Speech and voice recognition enables “hands-free” control of various electronic devices—a particular boon to many disabled persons—and the automatic creation of “print-ready” dictation. Among the earliest applications for speech & voice recognition were automated telephone systems and medical dictation software (for transcription).
THE TECHNOLOGY
The technology of Automatic Speech Recognition (ASR) and Transcription has progressed greatly over the past few years. Ever since research of this technology began in 1936, the largest barriers to the speed and accuracy of speech & voice recognition were computer speed and power (or the lack thereof). With the average CPU now above a Pentium III and RAM levels at 500 MB and up, accuracy levels have reached 95% and better with transcription speeds at over 160 words per minute.
As mentioned above, the study of automatic speech recognition and transcription began in the 1936 with AT&T's Bell Labs. At that time, most research was funded and performed by Universities and the U.S. Government (primarily by the Military and DARPA - Defense Advanced Research Project Agency). It was not until the early 1980's when the technology reached the commercial market.
Like most emerging technologies, there were several competing research "camps", each working independently to develop speech recognition. Please view the Speech Recognition Timeline to get a full view of its development.
The first company to launch a commercial product was Covox in 1982. Covox brought digital sound (via The Voice Master, Sound Master and The Speech Thing) to the Commodore 64, Atari 400/800, and finally to the IBM PC in the mid ‘80s. Along with (or bundled with) this introduction of sound to computers came an early form of speech recognition.
Another company that was founded in 1982 and whose eventual product has become the overwhelming leader in the speech recognition market was Dragon Systems. Nuance, Inc. now owns and manufactures this product, Dragon Naturally Speaking.

2.8.07

Etnobotánica guaraní


Jardín botánico de Montréal: Japón


A tea garden, ROJI in Japanese, is intended to prepare guests for the tea ceremony. Such gardens traditionally have two parts, an outer garden and an inner one, leading to the tea house. Like the tea ceremony itself, the design of these gardens is based on techniques and rules developed over hundreds of years. The stones and plants are carefully arranged to create sober, natural-looking tableaux. The shrubs, like the serviceberry used here, highlight the cycle of the seasons. The moss suggests the passage of time. The tobi-ishi, or stepping stones, direct visitors' footsteps.Everything in this orderly garden inspires calm and serenity. The tsukubai, the basin in which visitors wash before the tea ritual, forces them to stoop and show their humility, a prerequisite for the ceremony. The stone lantern, created for tea gardens, plays a practical and aesthetic role. A visit to a tea garden is a pleasant experience, offering beauty for the eyes and harmony for the soul.

Ser vegetal



La etnobotánica es la disciplina que relaciona a las plantas y los seres humanos.

Investiga los conocimientos medicinales botánicos, la interacción biológica y social con la flora, y la huella que dejan las plantas en las diversas culturas.

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