1) Halle all continuous functions g: (0, + infinity) -> R such that g (x ^ y) = g (x) ^ g (y) for all x, y.
Saturday, January 29, 2011
Female Genitaila Tattoo
1) Halle all continuous functions g: (0, + infinity) -> R such that g (x ^ y) = g (x) ^ g (y) for all x, y.
Tuesday, January 18, 2011
Az Driver License Template
The jury, Liliana Heker, Guillem Martínez and Juan Sabia, was issued on 15 May. Bases
http://www.dc.uba.ar/events/
For questions about the contest write to conc_lit_clementina@dc.uba.ar
http://www.dc.uba.ar/
For inquiries write to in
Pavilion I, Ciudad Universitaria Buenos Aires
http://www.dc.uba.ar
Monday, January 17, 2011
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Fabian: Hello.
Sunday, January 16, 2011
Shiny Stone Location Heart Gold
Tuesday, January 11, 2011
Effects Of Not Wearing A Retainer
In Part 17 - A 19
the
Sunday, January 9, 2011
How Much Are Hair Colour Coupons Maplestory
by Ana Woolf
M2G yesterday and today Back then, in November 1997, I was 29, just days shy of my 30. The end of the story, or the beginning of many others, was: to return home and build "our Magdalena 2nd Generation" (M2G) with my colleague Florence Coppola and Mar del Plata Natalia Marcet. I wanted my space of expression as "new generation", I also moved the constant questions about what it meant to be a woman today in the Argentine theatrical field, do we have the same problems in the '80s? And again: what we have here in Argentina and Latin America the same problems there in Europe? This and other concerns, the need to do something for the women I knew and I knew they had difficulties in developing their art and make it become work, and also the extreme "solitude" that no group was as an artist, gave birth to M2G. With the distance, and more closely, I know it was and is also the need to follow in the footsteps of one who is my teacher and want her to feel proud of me as I am of her and her work for and with other women. Activities and organizations of workshops, lectures, meetings closed research and an international festival. Then came a moment of "suspension" where he continued working M2G (2002-2008) but in a small format, where it grew and deepened relationships and the desire to build great things turned into something concrete: to survive with our art possible through partnerships (ie two, three women) in our potential areas and spreading every time we had opportunity Magdalena principles. Two years ago, have returned to action. Thanks to Julia Varley who is always at the right time, reunion to another artist from Argentina, Gabriela Bianco (ADAS, Association Argentina Arts and Signs) who promotes the idea of \u200b\u200brestarting our meetings, to turn us Marcet Natalie and me, Laura D'Anna, Natalia Tesone. Natalia Rey, who in turn introduces us to Sandra Califano, who in turn introduced us to his sister Sabrina Califano, were also Susana Freire, Nilda Blanco and later Marcela Brito. And we were walking. And this blog was one of our more concrete possibilities of feeling that we did, we can begin to spread the network, perform a common task that could be kept constant without depending on the time of foreign economic aid, only of our willingness to continue building and the generous donation of time each of those who write and edit so generously.
had been 10 years since our inception. If I stand with one foot on both sides of the transition between a past that is present went ahead and know that these years were, for us, the onset, years of incubation of these other projects' a little bit bigger 'appear to be emerging now and this new outlet to the outside. Years of construction and consolidation of an artistic discourse, an artistic space. Years out of the country, in my case, and rethink operating principles and "non-functioning" of our first attempt at Red full of youthful enthusiasm but with little anchorage in reality: economic, fundamental problem was not in degree or anticipate or predict. Our enthusiasm led us to organize and maintain the Red
The M2G has a particular structure because we are artists who live in Argentina. Some parallel work done to solve their daily expenses. We pay a monthly fee to have "cash in petty cash and still not have "big box." We have legal status (we are on track to be ...) a non-profit NGOs have profit but we definitely could, this is our aspiration. Some of the women who were in our reset in 2008 were, others left, new ones were added and other follow us closely and cooperate when we can. The 4 women most active at this time is 4 actresses have in common a sight that I went ( Traveling ). These movements taught me that we need a "community art project that women activists of an organization (art) for this is kept alive and not be eaten and destroyed by the organizational and the tensions it generates. We have a blog that serves as on-line magazine. Out every month with articles, reports and notes on women working in the artistic and social space. We have a home outside Buenos Aires with its own activity in the city of Junín founded by Mario Diaz who found his own artistic independence and identity in this "thing" called M2G magdalenasjunin@live.com and independently organized meetings, and theatrical Moved and for the people of his city.
This year we have organized and three meetings in the city of Buenos Aires "modest but real and convincing," And if we know the faces "(May 2010)," And if we still know "(September). The third was in December, "And if we work together" initial step for a future national festival-international-Latin American (?) In 2011.
I'm already going 40. And moms are really MAGDAS and / or symbolic (say "aunts"). We playing hopscotch
Freeze Patch Soul Silver Rom
Nasa Yuwe
home Weavers
by Natalia Marcet
Liliana Alzate. Actress. Teachers. Colombian
I met in Cali.
I had spoken of it Ricardo Ruiz Angulo, a former pupil of La Candelaria. With her mythical shared study days.
Then I crossed in Bogota, and then again in Cali.
Being in the Teatro La Mascara, waiting to go to the airport, going, I said "I would answer a few questions about your job?
I had seen while arming with Daniel, the Technical Chamber, the start of FAT, the workshops that are taught at the Chamber: weaving, theater, yoga for children, mothers ... people from all vulnerable sectors of the Valle Del Cauca.
knew this work and the other developed by the Corporación Colombiana de Teatro in Bogotá, as well as by Ines Salazar in Medellín and the other partner in Barranquilla, is part of a project sponsored and supported by Magdalena Norway, led by Geddy Aniksdaal. (Of these works discuss the coming months)
and Scrolling.
Your resume says
Actress, researcher and theater director, Master of the Universidad del Valle in Colombia and Latin American Literature 2010. Meritorious thesis. Specialization the University of Rosario in Bogotá in theory and theater critic 1992-1994, BA in art education Forest University 1999 - 2003 . He currently serves as an actress and researcher in the group stage Mask of Cali since 2006 . has been teaching the arts faculty of the University of Valle 2006-2009. And currently teaching high school department of Fine Arts until l to date.
had also seen action in ugly women, led by Lucy Bolaños in MAP Theater, as part of Women on Stage Festival, organized by the Corporación Colombiana de Teatro.
Then, the questions had answers.
1 .- With that working population?
currently in theater Mask develops a project with vulnerable groups, addressing human rights issues, gender, discrimination, etc., with various groups. Those are mine are, for example, a neighborhood youth Siloam (Sector outskirts of the city), aged between 7 and 18. And in this sector this year I work as a pilot mobile school. Five of them are already working with me two years ago, so with them we have convened two groups: a young child and another where they replicate what they have learned the methodology is the collective creation and this semester the Forum Theatre of Augusto invisible Boal, who had the pleasure of being in Rio de Janeiro in 2000 in an experiment on the EITALC (theatrical school American and Caribbean)
With them we work in the community in two specific sectors, THE STAR, a sports high up in the neighborhood, in a somewhat dangerous area where gangs and drug abuse abound in the streets, and in a communal house in the half of the small sector. Together from time to time. By this end of semester get together on stage all trying to tie up the process for submission in February in a popular festival that marks the end of the project in the Mask.
The other group that I have are the women weavers of origin Yuwe Nasa (indigenous community in southern Colombia) that have attempted, with the help of the indigenous council Cali, recover the lost memory of these women who go with their daughters and grandchildren to the games. With them we are working on their rituals and historical figures, and the importance of tissue in the construction of feminine thought Yuwe Nasa.
Finally I have another group of young African descent in another suburb of Cali, where the majority of its black community is the amount of forced displacement that has prevailed in the country especially from the Colombian Pacific coast. With them just started working a few months ago, and they are part of an NGO, open workshop, working with them on several fronts including training and has a firm order cultural. With this group I'm working the black oral tradition in his memory are also looking for family, music and narration to regain their youth contexts. They and they particularly want to work on gender violence.
2 .- How does the stage for the transformation of personal life?
This question for me is about believing that the theater is basically a healing tool, rather than just an aesthetic or artistic product. Specifically in the social drama is a cornerstone for the transformation of high-risk communities and socially sensitive situations, such as moral, physical and spiritual. The Theatre of the Oppressed techniques are tools that I have found conducive to this because their techniques are based on the study interactive scenes that simulate reality and role playing. A staging follows a phase of analysis and collective dialogue on how to resolve conflict situations presented. The starting point is to discover the creative impulse and intuitive to the person to put in the service of the theatrical creation of the group through exercises and theater games to develop imagination and creativity, create emotional openness and receptivity on the other sensory and for the other. Building a way to use the scene that evidently transformed their lives and conflicts. Can not find economic solutions to their problems, but if a bunch of options, exits to get a better quality of life. More respect for herself and those around her. Finally theater awareness to participants and public actors and their application is as a means of intervention, transformation of social reality and consciousness. Remains a small revolution in itself and that encourages other mode of expression beyond words. The limitations of the human being can be released through the theatrical image and sound, which promotes an understanding of conflict situations and characters of the community in which it is lodged.