Replacing Cigarette Lighter In 05 Focus

Hoping

BONU annual TOTUS

HAPPY NEW YEAR TO ALL

Just Give It To Him I Love You Man

Arabian note

After break more or less forced, perhaps for the Tortuga's guilt, it was decided to bring a short written about music, and as it should according to her the first of many (we are not sure though), the seemed appropriate to start from, say, away.

THOUSAND AND ONE NOTE

The foundations of modern notation.

it took about ten years. Ten years of laborious and methodical store songs for the liturgy, a really huge effort. The Craft Master Cantore, until the development of a notation that would actively act as a "tonic mnemonic", consisted of the systematic and voracious assimilation of songs and melodic fragments in order to secure the future of the tradition of the chant.

Christian chant of the West, therefore, developed for centuries after the Christ event, without any recourse to formalize written into the register. The first official documents to have survived that demonstrate that this practice be traced back roughly 150 years earlier in the year one thousand, although in all probability the Primicerio the Meistersinger, signs began to put music on parchment, for their own use and consumption, many years before.

The information used to reproduce the gesture with his hand to indicate to make the ascent or descent of the melody. This gesture, called technically "chironomico" transcoded was written mainly using punctuation marks, the syllables of the text were sovrappostedelle rough indication on the pitch, claims which were named " neumes .

The "notation neumatic" assumed geographic characterizations markedly and was linked to the will of the privileged maggiormante precision in the height of the notes (derivation Aquitaine school) rather than the evolution of rhythm and expressive nuances (St. Gallen), in any case, given the mere support function to a purely oral tradition, we took care to remind the singer only the particular sophistication of interpretation that even a prodigious memory could not observed.

The level of approximate notation neumatic was the beginning, extremely high. The punctuation marks which appear on the syllables of the text, were in "open field", ie without any reference that could afford to express something assolutomriguardo the height of the notes. This type of notation called "neumatic adiastematica" could only indicate whether the melody lines for large, than original intonation, ascended or descended. To be able to say "what extent" was moving, it would take references.

The initial idea was to put a line around which to place the signs. With the adoption of the line as a reference, the notation, which was now in a position to say anything more against the intervals between notes, became "intervallic". In the final configuration of the evolution of "diastemanzia" led to the adoption of four lines. The systematization of these techniques occurred during the eleventh through the intervention of a Benedictine monano born in Talla, near Arezzo, and from this area of \u200b\u200bthe Casentino was named.

Guido d'Arezzo, in which music had more merit than those relating to the development in the notation, did nothing, the Treaty refers to the appearance on the coordination of the suggestions and attempts made in different geographical areas by disseminating the essence, the summary of the different acquired knowledge. His system of notation was explained in Prolugus in Antiphonarium, this system provided for the adoption of the "tetragrammaton " and the division of it on a scale showing the internal parts or musical phrases to them.

the need was not yet ripe, however, to indicate the exact length of known by virtue of the fact that the song " monodic " posed no problem of "coordination" between different voices. Basically with the advent of polyphony irrunciabile become a system that can enable different voices to coordinate precise in using the "clock", and to build this rhythmic mechanism will need to define the unit of measurement basis on which all the scaffold construction.

Guido d'Arezzo, however, assumed a major role in the music of the Middle Ages for another two basic important innovations. First, the so-called salmisazione summed up in a brilliant mnemonics procedure in order to facilitate the singers in the intonation of the interval of a semitone.

Another important innovation introduced by Guido concerned the invention of musical notes. The trick mnemotechnical invented to remember the exact pitch of the notes was based on certain syllables of the first stanza of ' liturgical hymn in honor of St. John the Baptist :

" UT laxis quaent - Re fibris sounding - I ra gestorum -

FA mules tuorum - SOL ve chickens - THE bii rearum - S ancte I Ohannes.

Guido known as the issuing of this verse began to form an ordered sequence of intervals of tones and semitones. The first syllables of each hemistich allowed to sing an ascending series of six notes (series called "hexachord"), they became the names of the notes:

ut - re-mi - do - sol - la-you.

The

it was introduced in 1482 by Bartolomeo Ramis de Pareja, while the transition from ut to do is attributed to Giovanni Battista Doni , who had used the first syllable of his surname.

The foundations of modern notation had been placed.

Enzo Carlucci

article that appeared in "Medi extra virgin olive oil", No. 33 October 1999

How Long Does Hiv Rash Last For?

market, property, anarchy

What is certain is that to believe in Tortuga in this space would have only talked about music and also in a rough, but do not rely on Tortuga, not for anything even the military service of the state in his foresight had provided trying to make him do the service for their country in the Navy, as a promise looks like a sailor.

But after days of heavy rain , here we are again talking about a matter which in its central importance, and for this you want to re-propose an old article of nine years, who knows rescued where, which deals with the now trite and hackneyed question of Anarchy (whatever that is) and the market (whatever that is).

For my part I can not help but warn potential readers and say that this thing has a little tired, as theoretical practices almost useless. Vista well stage we are going through.

market, property, anarchy

of Pietro Adamo

criticism on Charles Oliva last issue , Peter Adam reply explaining why, in his view, anarchism can not be "liberal."

N he recently I often be courted. Not only for my (admittedly exceptional) psychophysical virtue: because I happen to be courted openly anarchist. The experience is new. From right and left, secular and less secular, academics and movements Undeground , I receive signals of respect and appreciation. We live in clearance times (at least cultural). The fall of the schemes of socialism has apparently boosted all the traditions left marginalized and criminalized in the century. I think I see a kind of anarchy race (another example of purity and almost "untouched" on the left, libertarian socialism): The ultras of free magazines, newspapers moderate parties of the bodies of former Marxist left, the environmental movements and the like, the unrepentant former champions of the "communist revolution", are almost a race to take possession of some piece of anarchist thought, claiming affinity with their own paradigms. Good
Carlo Oliva, column "A" for many years, however, accuses me of making customs clearance of an inverse sign, ie groped - at par with D'Alema & Co. - to legitimize a particular political philosophy, anarchism in my case - with the use of the theme of 'liberal legacy. " Partly right. But before venturing into a specific response to the objections of fellow Oliva, which roughly accuses me, with my apology for ' liberal ethos, of playing the game of Berlusconi, I want to clarify the meaning of the vocabulary that I used and the relationships anarchism with terms (liberal civilization, market, private property) that seem to inspire in some uncontrolled visceral aversion.
If you speak in public of "civilization" or ethos liberal you can be sure to evoke a specific set of images: the rampant neo-liberalism, the companies of the duo Reagan / Thatcher, mass redundancies in the industries of the northern hemisphere, the intent of the Far East kids sewing Nikes for a loaf of bread, and so on . But from my point of view, the term has an entirely different meaning. The "ethos liberal" I mean the action taken in the course of modern and contemporary art against the concepts of absolutism, autocracy, hierarchy, privilege, on behalf of the ideals attached to individual freedom and human rights. Sure, it was an effort largely produced by those classes and social groups who were fighting for their own self-affirmation (the "bourgeois" Charles seems likely), but interpreted in a narrow sense the class phenomenon would ignore the very central instance, the pursuit of individual and collective liberation. In the throes of modernization subaltern groups have often seized the slogans of freedom, "liberal", reshape and second for their own needs. In many instances (revolutionary or less) slips of speech that are gathered to widen the sphere of freedom, universalisation of the underlying fundamentals and applying them in every sphere of human action. And the protagonists of this "slip" are often men and women from the upper classes lowest, claiming not only the freedom of religion or of the press, but that association, the sexual, economic, up to postulate a general redesign of the company based on the principle of free experimentation

against totalitarianism

of this ethos son is anarchism. Indeed, in some ways, only anarchism gave dignity of thought to these systematic trends of liberal civilization. And if liberalism has become, over the centuries, essentially a justification of the status quo, this does not prejudice any potential revolutionary. "Heroic era of liberal philosophy, which spread gradually over religion, science, economics and politics, from the sixteenth to the eighteenth century, the Liberals were saying more or less what I say, "admitted Paul Goodman, complaining the next" disaster "traditional" And that is why, "he concluded," that, after the nineteenth century, some of us liberals have chosen to call themselves anarchists. " ¹
Within this ethos are however both the market and private property. Now, to understand how these "horrors" are not only integrated in a libertarian society, but it can not form an essential part, in my opinion one must look to the experience of the twentieth century not stopping the practical effects of the recent neo-liberalism. The phenomenon of totalitarianism, both in their determination of daily life, as in the classic cases of fascism and communism, and in that trend all'irregimentazione culture of dissent that we have learned to distinguish the actual functioning of western societies of the late twentieth century , has taught us some lessons that we can not give up, or that in any social system the measure of freedom is proportional to the power of choice, and that the centralization of the economic and political restricts the measures as necessary. The opposite process, that best embodies the libertarian project, is built on thesis of a general decentralization of these same options. But, if we assume some form of central unit that has plans and resource allocation, which probably reproduces the totalitarian logic, we should - if married to the bottom of the implications of the principle of freedom to experiment - trust in the free and spontaneous play interactions between communities and between communities and individuals. I call the "market" the framework within which lies the network of relationships, a framework which, in my opinion should be characterized by more or less intuitive correlation between supply and demand and free adaptation of human resources.
The difference between the "free market" capitalism of the late twentieth century, this hypothetical "market society" libertarian lies in the setting of background: when the "market" Berlusconi is designed, a little 'religiously, in an absolute faith in its ability to regulate inland exclusively economic (cartels in the narrow sense of "financial"), the "market" libertarian should be understood as a product of logic and of an imaginary economy dropped by the link / domain, or as the result of a free game in which cultural considerations also enter and social, which may take the aspect of individual decisions and collective decisions, community and transcomunitarie. Let me be clear: I'm not saying the community (whatever form it takes in practice) it is for the control of economic life, but that the community and the individual should be able to participate in the complex interactions each contributing its own specific socio-economic values, ethical, sexual, religious or otherwise, in a "free play", which requires a constant search for balance, however, reached only by way of (knowingly) Provisional.
Within this "market" libertarian, I believe the property is an important function. Too often it is believed that the slogan Proudhon "Property is theft" corresponds Apology Anarchist communism (as I think I think my interlocutor Oliva). In fact, Proudhon closes his pamphlet of 1840 with a violent attack on communism, which he accuses of violating "the autonomy of conscience and equality." His ideal was founded before the "equality of conditions, namely the means, not equality of wealth, which means it must be equal to the worker's work", and then - surprise, surprise - the "personal possession" , the only "condition of social life", and finally, the "free association, and freedom, which is limited to maintain equality in the means of production and equivalence in trade," the fundamentals of "one form of society possible." In a treatise later, he came to redefine the role of ownership in the community as "an instrument of security, freedom, justice and order" 2. I just mentioned
Proudhon, known as the inventor of just above slogans to show that the anarchist views on property are far from trivial dall'appiattirsi on its negation. While most of the libertarians of the late nineteenth century accepted the logic of communism, it is equally true that other trends of the movement - represented by the same worthy Proudhon, for example - have taken a risk with greater insight inherent in the idea of \u200b\u200ba totalitarian companies without owners, in which the only true "owner" is the state, community or other appropriate authority.

Market and anarchy

And after the experience of the early twentieth century, many theorists of anarchism have recovered the idea of \u200b\u200b"possession" as a barrier to the formation (or reformation) of the mechanisms of coercion state, first set in the frame of the aforementioned "market society" based on the interaction libertarian individual / community (which in some ways implies a constant risindacazione tangible property rights), emphasizing the other instances are linked to its membership possible (and perhaps desirable) collective state.
I think this picture is one of the most significant landmarks of some of the most powerful post-processing of the classic exponents of anarchism. The reference can be immediate in the case of Camillo Berneri, self-described "liberal", who declared himself in favor of "free competition between labor and trade cooperative and individual work and trade" 3. Or in the case of Colin Ward, whose gradualist perspective, decentralized federalist and appears to assume, as a basis for generalization of anarchic experimentation, a "market society" libertarian.
may be more nuanced and problematic in the case of Luce Fabbri who has repeatedly reaffirmed its commitment to the socialist model in terms of "collective ownership of means of production and exchange", but his repeated insistence on the 'association that multiplies and extends up to the limits of the known universe and the possibilities irradiation of individual action, "or" multiply indefinitely the projections of individual effort, "also seems to imply, with its references to a certain extent bound to a context focused on some kind of choice / competition between different options , a form of living together is not very different from the "market" libertarian.
I can now respond to criticism by fellow Oliva. Are substantially agree on the idea that traditions should be considered as a whole and certainly the world of contemporary tardocapitalismo owes much to a substantial moderate and static interpretation of the principles of liberalism. But that does not mean that all traditions should be put on the same floor. There are serious structural differences between socialism, communism, anarchism, and liberalism. The most compelling among them is that only the community ("real", of course) seems to imply structural - or at least that is the lesson of history - the fall of totalitarianism: "Many roads lead to dictatorship by democracy and not liberalism," wrote in the early thirties Rudolf Rocker, meaning "democracy" different versions of the principle of the general will - among which the best known at the time was that communist) 5.
Yes, Charles is right. I believe that you actually give free society without private property. In complex societies, non-tribal, from ancient Egypt to France until the Soviet Union of the Sun King, absolutism tends to totalitarianism has always focused on the denial of property rights of individuals. In the case of fascism, it was still accepted, though in a context in which they had taken for granted over the needs of the nation.

Freedom of enterprise

short, although private property appears to be not sufficient condition to indicate how "free" a certain company, appears to me that it represents a necessary condition for private property, and then, but not necessarily individual. The steps of Berner and Camillo Luce Fabbri above involves (in the first thinker explicitly) a social world in which the mechanisms of production are assigned mostly to cooperatives and communities compete against each other in economic terms. This kind of voluntary communism in an "open" (in which rules are in force no explicit prohibition of any form of private property) seems perfectly congruent with the principles of (Possible) libertarian society.
is true that the anarchist insistence on complete freedom (including the economic sphere) causes some to see the theoretical affinity with the ultra liberalism. This affinity is there and I think it is true. There are also obvious and marked differences. As I wrote above, the ideal "market" libertarian takes place in a context where cross instances not only economic, but ethical, political, social, and so on. The free trial anarchic power all the spheres in which man acts, not just the economic one: just the interaction of these spheres should be some sort of limit the scope of "market". The reason for which Berlusconi is exquisitely conservative liberalism is that it is a "free trial" limited to the economic sphere: it is known that, in terms of family, sex, religion, etc., the forzaitalioti are not as "liberal." But, my dear Charles, for anarchists the freedom of enterprise is, as it were, an essential principle, genetic: we can not sacrifice our deepest identity as a left short-sighted and protectionist statolatra allowed the right to appropriate the words of 'order of freedom. There is a risk of being on the side of liberals? This will run the risk (we can not do), taking care to emphasize, whenever we will have the opportunity, the difference between us and them.
ask me to choose between the oppressed and the oppressors, between "masters and who is not master." I'm surprised you're so sure you can safely identify the two categories. The social reality of the world tardocapitalista seems a bit 'complex to the sleeve of this kind. On large corporations sull'intreccio and business / political hegemony in this world we agree (in the negative, that is). But on other social subjects I find most difficult to pronounce: the civil servant, the best symbol of parasitism, the worker (para) state interest in protection of its privileges indefinitely (paid from the rest of the population), the opposite spectrum, the small businessman "creative" (there are, it seems), the merchant overburdened by taxes, I'm not sure you can tell which categories (if "oppressed" or "oppressors") these individuals belong to, even though the latter two are clearly "masters." And even if you speak of those who live in situations of real distress (the "downtrodden") are not sure you can share recipes and economic policies are usually proposed by them or by their spokesman, I seem to culminate with their insistence protectionism, in a strong enhancement of the powers associated with their state and pilasters.

1. P. Goodman, Distinct from Liberalism Is Anarchism? , now Patterns of Anarchy, edited by L. Krimerman and L. Perry, Anchor Books, New York 1966, pp. 55-56.
2. PJ Proudhon, What is property? , tr. com. Laterza, Bari 1978, pp. 268, 286, 290, 292; The size of libertarian PJ Proudhon , tr. com. edited by N. Berti, New Town, Rome 1982, pp. 190-191.
3. C. Berneri to L. Battistelli, unpublished in Letters, vol. I, edited by A. Chessa and PC Masini, Family Archive Berneri, Pistoia 1980, p. 19. Berneri calls itself "Liberal" in that same letter, but in the edition mentioned above the term has been incorrectly transcribed as "liberal" (if you see the original in the Archives of Family Berneri Reggio Emilia).
4. L. Fabbri, Road, Edizioni Social Studies, Montevideo, 1952, pp. 17-18.
5. R. Rocker, Nationalism and Culture , tr. com. 2 vols., Anarchism Editions, Catania 1977, I, p. 155.

Source: A magazine anarchist year number 253 29 April 1999

Sam Adams Keg Sales 43201

Tortuga

November 4 will be released in bookstores Tortuga to (Mondadori Strade Blu), the new novel by Valerio Evangelisti. An adventure story, but documented pirate boardings, love affairs, duels, not without a philosophical background. ( www.eymerich.com )

Well what about ... thanks, but there was no need ... Your short paper I liked and put in the blog, that's all, it was not all this need Startup, even the title of a book ...., Thanks.

купить Berlinwood

Escape from Gotham City

And it goes well, we also give to science fiction ...

ESCAPE FROM GOTHAM CITY

Valerio Evangelisti

The gargantuan size of the Vortex, the giant space station that ran for the UN all the satellite communications networks, revolved lazy about herself as she makes yet another circumnavigation of the earth . Inside, the severity Artificial rendered imperceptible motions of the endless steel castle floating in space. Yet Mr. Omori, chief of police of Tokyo, seemed to feel a little dizzy, as he followed a team of technicians in the corridor that linked the body of the station within one of the most remote.
"We are confident that the ground is stable?" asked worried, in his English grotesque in which each vowel tended to resemble an "a".
Roubert, the chief engineer, turned with a gleam in his eyes ironically. "Of course. If you feel a little dizzy, and only because, in this arm gravity is lower. The reason is obvious: external modules in the rotation is slower than in central body. "
" Yeah. I should have thought, "murmured Omori, smiling contrite. He used to consider any error or omission, as venial as a serious fault. In those cases, the usual impassive in her face was bruised by an embarrassed smile, as much larger strong was uncomfortable. They were the only circumstances in which he smiled.
herself together very soon. The hall was finished, and they were going down a spiral staircase that seemed endless, including luminescent storied walls of printed circuit boards. Roubert and his four jumped technical from step to step with ease, demonstrating familiarity with that environment. Omori, however, tried to rest the foot with caution; but soon was forced to accelerate the descent, not to lose contact with their classmates. Finally
Roubert and the other rested on a spacious hall, and waited for the Japanese to reach them. The engineer made a circular gesture, indicating the circuit and the lights around them. "Here, Mr. Omori, his country's all here."
The policeman carefully hid his astonishment. "All of Japan?" he asked in a neutral tone.
"In a way, yes. Here are stored the data of all the people in possession of identity cards. What do you call her man?"
"Hajime Murakami. But I do not know whether it has an identity card."
"Let's see."
Roubert approached a small screen embedded in the wall, surmounted by the words "BIOMUSE. As a side hung a headset. The detached from the hook and lime on the ears. The screen is automatically turned on, suffocated with a sizzle.
Roubert put her index finger and thumb to the root of the nose, then closed his eyes, as if thinking hard. When he opened them, a long row of names all the same, followed by a series of data was flowing on the screen. He shook his head. "As there are hundreds Hajime Murakami. Can you tell me more? I just an adjective, or a noun that has a bearing on the life of the person looking."
"Think of the word subversive ... No, wait. Think Chukaku-Ha. It 's the name the terrorist group that owns Murakami. "
" The year of reference? "
" The present. The 2068. "
The engineer was concentrated again by pressing the headset over his ears.
They spent a few seconds, then appeared on the screen the movie an event. A phalanx of young, probably students, advanced, carrying flags hoisted on long bamboo poles . miner's football helmet, covered with writing. At one point, the procession stopped. The first row of the demonstrators down the bamboo. The shot widened to encompass a group of men in uniform seen from the back. The straps cross on their steel blades supporting bodices. They had very large helmets, which covering their neck. If it were not for the visor made of Plexiglas, those cops would have mistaken for combatants of World War Prussians.
"They look like samurai," murmured one of the technicians.
"The trouble is that others appear to be samurai." Omori touched with the index screen. "You see those bamboo? Cut on the bias, are sharp as knives. For this the agents are retreating, while the procession is on." Perhaps you would
dwelt in other explanations, but in the meantime the picture had changed. Now you could see a room with walls of reddish brick, lit by cold neon lights. A policeman in uniform routine, sitting behind a desk, was taking the fingerprints of a young man bent in front of him, dressed as a prisoner. Two other policemen were following the operation a few feet away.
"Behold, here is that our images are deformed!" Omori said, suddenly excited. "When, shortly, the prisoner will turn around, we can not see his face!"
Roubert shrugged. "A common fault of transmission. You're all set. Registration is intact."
on the screen, the officer left the hands of the young man who stood up. Then he turned slowly. From the lips of Roubert and his men came out amazed exclamation. The prisoner had the same face of Batman. Pointed ears, black mask, triangular holes for eyes, square jaw. Batman himself, drawn with a few brush strokes and bright colored. But the text fits perfectly to the body.
"There is a lack of transmission" Omori said sadly.
"Every time I try to see Murakami, get that picture ridiculous. Someone has tampered with the Vortex."
"But it is not possible!" Roubert said. Pressed strongly around the skull cap. "There will be other frames, no? The entrance to the cell, the meeting with fellow arm ... Now I concentrate better. Hajime Murakami. Hajime Murakami. ... Hajime Murakami"
other images did not appear on the screen. Appeared instead of a written, all in capital letters: "Hajime MURAKAMI, BELONGING TO CHUKAKU-HA. Escaped from prison March 18, 2068. FALSE CERTIFICATE OF GOOD CONDUCT conveyed by the network. FALSE PERMISSION. CURRENTLY disappeared. "
Roubert tore the headphones from her head and shrugged." I just do not understand. "False statement", "false permit." The network must have been manipulated, but I do not understand. The access is strictly controlled, all the earth. It 's a very serious thing. "
One of the technicians, a lanky boy with blond hair and thin, snorted and shrugged." It's not so bad. The Adventurer is the only one in all of Japan. Indeed, as far as I know, all over the world. Sooner or later the recapture. "
Omori glared at him. "She did not understand the question, young man. The essence of a state are its prisons. That 's where they are sanctioned illegal conduct, and that those who govern you master of the lives of others. Do you understand?"
"Not really."
"Government wants to say always become master of the lives of others, with their consent or not. When you can not just have the jail. That is the complete domination on the existence of those who have transgressed the rules. Good governments have good prisons, because they have strict rules, that good laws. Now I think she understands me. "
Roubert, without losing sight of the screen, he waved his hand. "It is I who do not understand. Okay, here someone has taken control of a piece of the network. But what does it matter? They managed to escape to only one of them. "
Omori sighed." Maybe I have not explained well. There is around an individual who has already disobeyed twice: first when he violated the law giving itself to subversive activities, the second when it is removed from the constraints prison. The freedom of man is in itself an anomaly. What's more, he and his friends know manipulate our control systems. If we do not take, the area removed from our command will grow like wildfire. "
Roubert looked at the floor." What must we do? "Murmured humiliated.
" You tell me. "The tone of quiet Omori hours a leaked some irritation. "There will be some kind of security system, which allows you to isolate the corrupted data."
It took a few seconds before the engineer mournful mutter: "No, not there. The network is too complicated. It 's impossible to control all the joints. The only safe filters are those that govern access."
"But there must be a virus, an apparatus for detecting parasitic programs!"
"Unfortunately not. I repeat, only access is controllable." This time
Omori could not help a snort of indignation away.
"will not tell me there is not a safety system! I mean a human guard!"
's face Roubert suddenly brightened.
"Oh, yes there is! The Webmaster! I had forgotten! You know, everything is so automatic that ..."
"The contacts, then!" Japanese shouted, pointing to the headset. "He understands that every minute can mean an expansion of the out of control? And it is those who are from March to work! Now we are in May!"
For fast, Roubert kicking the headset to the contrary. The straightened up with an awkward gesture, then narrowed his eyes. Almost immediately on the screen flashes "WEBMASTER" superimposed on a human face. The Omori
face of pessimistic temperament, after all expected: a prominent jaw, mask with triangular holes for the eyes, ears and tip similar to a cat.
"Good morning, gentlemen," Batman said, curling his lips into a sly smile. "Here's an update on citizens who are now freed from the domination of Gotham City."
It gave the place a fast sequence of identity cards. Only that each card was blank, and the photo that accompanied it was the man bat. Then returned to the original Batman. "I have not counted, but several thousand. And do you know lovely? Is just the beginning ... As we say in French?"
"Ce n'est qu'un début" said Roubert mechanically.
The grotesque face on the screen widened his smile. "Exactly. Ce n'est qu'un début ... "

Black Pinky With Black Hair

What remains to be done

a time when we are allowed to live, you know, is not the best, the end of a cycle is said, the pinnacle of decadence, and it shows. He feels if they breathe the air, we're in a vortex that pushes down and it seems that nothing can bring back up, no one or so he thinks more to return to, or almost no one thinks there is a return on that. A situation that can not explain the Tortuga best if not the observation of the facts more materials, so to speak, in the "politics" in the economy, the feelings of people who do not stop at least reflect on what's around him, and continue the path traced by individuals "disreputable," as if both most natural thing there is (and maybe that's the case).

So what is there to do when everything seems to converge toward a total waste away the most basic values \u200b\u200bof human life? When you find that your thought, maybe it's not your own, when the man was crushed to the ground forcefully and even the sight of the stars arouses more emotion, when the life is reduced to a "consume, produce, crack" institutionalized, when ratifying EU treaties shameful, when economic crises are designed for a specific purpose, what remains to be done when we begin to build detention camps for possible future insurgents when food is detached from its natural evolution and is modified to respond to criminal logic, when the war becomes the engine of the world? In short, what is there to do when you are near the end of the story?

Maybe a little, maybe nothing. Although the Tortuga is convinced that at least one thing left to do there.
give oneself to the music ..

PS these two lines (which on second thought I do not know why they were written or for whom) should not be perceived in a negative way, despite everything today c 'is a nice warm sun. And anarchist speaking, while there is struggle there is hope. Profanely (from profane) talking about.

Italia Gropping Train

How much? The school


In this period of "instability" to say the least, with its tragic possible developments ( possible the word is used here in an excess of optimism) La Tortuga (not only) in an increasingly unhealthy curiosity is often asked: What

and how long it takes to precipitate definitavamente the situation?

The film Mary Poppins offers a possible answer ...

Not to mention if it ends the coffee ..

Bake Christmas Cake On A Stove

digital


For a school more efficient, modern training and ready for future challenges ... and " march forced to close in stages the degree of delay we could find in public education "

puntoinformatico From:

The Italian School is thrown on the board touc h

The Government believes, Prime Minister Silvio Berlusconi is officially back to talk about 3 "i" he said scuppered by the left. Now there is no time to lose, he explained, and the digital school must proceed "step by step forced "to" catch up ". on what the technology was carried out in this first phase of the recovery has dwelled Instead the Minister for Education Mariastella Gelmini, who explained how the first of November, will begin deliveries throughout Italy of 10 thousand multimedia interactive whiteboards. Devices that will be addressed at this early stage to middle school. It said the Minister, only a first step, the beginning of a rain distribution in the classroom, so that by the end of 2009, the government expects to place the boards in at least 40 percent of schools. € 20 million spent to launch the project next year will be joined by 10 others, "to make available to other schools - Said Gerlmini - this new way of learning. " must be said that the boards known as" LIM ", are certainly not an invention of the last minute: some years these boards, featuring a touch screen , are spreading in schools. The screen is connected to the laptop, projector and speakers, which can increase the rate of interaction of many different types of courses. In particular, pupils and teachers, that the intention of this government and what has emerged the experiments that have so far held at the regional level in the use of LIM, they can easily adopt the new media outside the computer classes, which often is confined to the use of these technologies. Documents of all kinds, from drawings to text, and can be called "used" on the blackboard, the teacher is that by boys. To take advantage of these tools, of course, teachers must be trained , hence the involvement of ' National Agency for the Development of School , that task will be to link up with at least 24 thousand teachers with whom we will identify new ways to make the most of the educational possibilities.

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Porta Pia / 2

little thought of a Communist intellectual of the first me sity of 900 on Porta Pia:

"Porta Pia .. it was not a shabby episode, militarily and politically. Militarily it was not a grotesque skirmish. It was truly worthy of the Italian military traditions. Porta Pia resembles - in small-to Vittorio Veneto. Porta Pia was the small, easy victory of the aggressor vastly superior opponent helpless, like Vittorio Veneto was easy victory against an opponent who - military-no longer existed. Politically Porta Pia was simply the latest episode of the violent and artificial construction of the Kingdom of Italy. Everything else is rhetoric trinkets. The beautiful phrases Third Rome are completely empty of meaning.

Rome is the imperial city and Papal city: therein lies its greatness universal. The "Third Rome" is not a dirty city of the province, a filthy nest of beams, for a hotel, whore and parasites. While the two phases of Roman history,

the imperial and papal, have left immortal track, the brief occupation of Savoy leaves only trace of him, the Palace of Justice, statues decorative plaster and grotesque imitations: the scandal born between suppliers and members patriots corrupt thieves, it is worthy of hosting the legal forfeiture of contemporary society. To this the Roman question is not answered. They could not resolve the guns of the King of Savoy. The militaristic violence can not solve international problems. And the question of Rome is an international problem ... "

(Antonio Gramsci. The New Order, Socialist Culture Review Weekly, October 2 1920)

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Porta Pia


In two days there will be the anniversary of the "facts of Porta Pia" festaggiare and dignity, as is appropriate for an important occasion like this, it was decided to organize a small meeting and conference to celebrate "the new Europe, inspired in large secular values, democratic, liberal and modern."

those who love freedom and democracy will not be able to miss the event.

"Rome, September 20, 1870: data epoch of the contemporary world? Heritage and relevance." The call of Marco Pannella and Emma Bonino at the conference in London

Dear, dear,

we are pleased to invite you to attend (part?) At the Conference on the theme:

"Rome 20 September 1870, the date of the epochal
contemporary world? Legacy and current "

to be held Friday from 15 to 19 in 19 representative office of the European Parliament in London, 2 Queen Anne's Gate London SW1H 9AA, continuing Saturday, Sept. 20, from 9 to 19, in the Institute Italian Cultural Institute, 39 Belgrave Square London SW1X 8NX, both kindly concesseci. Please reply to predict its presence, its arrival and give his place at the meeting.

celebrate it with the works that will play twenty historians and scholars of great prestige (British, Italian, France, Hungary, Belgium), the 138esimo anniversary of the conquest of Rome, Italian unification, the disappearance of the Papal States, the new Europe inspired by great secular values, democratic, liberal and modern.

But why here, in London?

Why are not merely the breach of Porta Pia in Rome?

already know that, for the generations who lived through the last century, "the Voice of London" was the voice of freedom and liberation for the oppressed people and those threatened by fierce Nazi dictatorship, communist, militarist.


therefore also celebrate the wonderful London at the time, one that welcomed, protected, for one crucial decades, many of the heroes of the Risorgimento, liberal and continental authors. The London that impressed, among other things, the secular politics of Gladstone, the strong religiosity of Lord Acton, Cardinal Newman High in consonance with the liberal Catholics and / or Rosminiani Italians, especially with Manzoni, the defense of freedom of research , moral, civil, scientific, religious.

more ..

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the Classic Period in Civita Castellana

Civita Castellana, the old Falerii, falisca nation's capital, has a history of three thousand years.
Cited by authoritative sources like the classic works of Livy , in which we find news on continuous wars between Rome and Falerii (from 436 BC to 241 BC): the city resisted attack for centuries and only in the fateful 241 BC was finally defeated by the Romans, who forced the inhabitants to settle in a flat area situated to the north, after having burned to the Falerii soil.
Ovid, a spectator with his wife, describes the splendid procession of the autumn that Falerii, Veiled by the Way, leading to the Temple of Juno Curite: "When my wife's original fertile ground falisca , line the walls torn down by you or Camillo, priests preparing sacred to Juno parties ...".
At the end of the Roman Empire, there was a gradual abandonment of Falerii (coinciding with the invasions of the Goths and Lombards), and a return to the site of the ancient capital of Falisci: the title of a bishopric in the sixth century indicative of continuity.
History Ager Faliscus in ' High Middle Ages is connected with the events that led to the birth and formation of the Duchy Roman, as the old system Falerii Veteres was to play a central role as a nodal point in the primary geographic corridor established between Rome el'Esarcato of Ravenna. The defense of this corridor had imposed a series of fortifications which, under the protection of the Byzantines and the Franks had insured the life of the Duchy and all areas connected with it. In a Privilegium dell'817 Emperor Louis the Pious, is also remembered Castellum , the modern Civita Castellana, which was part of Massa Castellania , already mentioned in the year 727 by Cencio Chamberlain.
Castellum's position, a crossroads and road junction between Sabina and Tuscia, between the Middle Valley and Upper Tiber Valley, and then a bulwark for the Duchy of Rome and Rome itself, was virtue of this role that he also had the bishop's seat at the end of the first millennium, being able to claim the title of Civitas Castellana.

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THE RENAISSANCE AND THE GOVERNMENT OF THE CITY (unpublished studies)

erection Forte Sangallo wanted by Pope Alexander VI Borgia , and entrusted to the architect Antonio da Sangallo the old man from 1494-95 revolutionized the internal urban structure Civita Castellana. The most important consequence was represented by the abandonment of the Piazza del Duomo and the establishment of the new pole in the square of Prato who also became the town square with the construction of the municipal building.
The history of the Renaissance period, there are evidenced by a local news entitled of the history of Civita Castellana Francesco Pechinoli who wrote around 1560;
the story, divided into two parts gives us information on people who held the roles of governor of the city : Alexander VI Borgia (1492-1503), immediately after his ascension to the papal throne, gave Cesare Borgia, known as Valentine, the perpetual government of the city.
The death of Pope Alexander VI in the summer of 1503 also marked the decline of her son, who sent troops to occupy Nepi and Civita Castellana: nell'Istoria it tells how the people resisted the attempts of the Count Oliva, made by Valentino, not allowing to conquer the fortress.
In 1513, for the munificence of Leo X (1513-1521) was built Town Hall, stood as an 'inscription in front of the building: Leonis X Pont. MAXIM. IN VEIO LIBERALITATE. He gave the city government to Dovizi by Bernardo Bibiena.
Giulio de 'Medici, ruler of the city, became pope under the name of Clement VII (1523-34), left the government at the same Cardinal Giovanni Salviati, who remained until the death of the pontiff. During this period, Civita Castellana is involved in the events of the Sack of Rome having to fight against the troops of mercenaries, who had obtained a permit from the Pope to hand over the city and the fortress.
the death of his successor, Clement VII, Paul III Farnese (1534-1549), appointed governor of the city's nephew Alessandro Farnese :"... special grace of the supreme God, kind to get for governor, even rather than as father and protector for the nephew of Paul de 30 years. "
Under the pontificate of Julius III del Monte (1550-1555) the city had a strong hunger for the lack of grain. The pontiff "to please Balduino Mount his brother, Cardinal Farnese removed, giving the city and the regency Rocco fortress of Monte Galletti, who chose as his collaborator's brother Domenico. The pontiff later
Paul IV Carafa (1555-59), appointed governor "as usual" Cardinal Carlo Carafa, August 13, 1555.
A 'exception to the rule was the appointment of Mario Ark on 12 March 1559, it acquired in Civita Castellana temporary government for a short period and was subsequently replaced, the election of Pius IV (1560-65) with Carlo Borromeo.
Following the election of Gregory XIII was entrusted with the government to Filippo Boncompagni 25 July 1577 and in second term April 3, 1581.
On the eve of the papal election Felice Peretti the government of Civita Castellana was still held by Cardinal Boncompagni as reflected in the acts of 1586. Even
Sisto V continues in practice to entrust the government of the city to its cardinal nephew, we find confirmation in the notarial documents preserved at the State Archives of Viterbo. On the death of Sixtus V, Clement VIII Aldobrandini appoints the cardinal-nephew Peter , governor of the city.

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the medieval period


The thirteenth century, shows the development of a community economically and culturally elevated. was built in 1210 and signed by the Duomo "Doctissimo cosmos," the will of "Communitas" and in the same year witnessed the presence of a "Rector" freely elected by the citizens, whose appointment was approved by Innocent III. In 1252 is confirmed by Innocent IV Statutes of Municipal (whose compilation had already been cleared in 1229 and entrusted to the magistrates and citizens learned of the place). Behind these two events we can see a town flourished because of its demographic development evidenced by consumption of salt, the growth of commerce and crafts and the many social classes listed in that statute . E 'which dates from this period, presumably the construction of Court building which would subsequently be incorporated into the building Peretti Montalto.
The mid-fourteenth century was a crucial moment in which the city, taking advantage of the exile of the popes in Avignon, it became independent from the Papal States. In 1354 under the partial domain of Vico, when troops of Albornoz managed to recover the city of Viterbo, Civita Castellana remained in arms can ache the invitation of the papal legate, which required to submit. Cardinal Albornoz sent a punitive expedition in which the city held out for at least two years, it managed to surrender only after having poisoned the waters of the rivers nearby.

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THE PAINTING OF THE CHURCH OF ST ANNE Metterza SAN GREGORIO XV century, the Shrine of Sant'Anna

represents the Madonna and Child with St. Anne of St. John the Evangelist and Saint Anthony Abbot at top probably God the Father blessing between clouds and cherubs.
The fresco is located on the left wall, in symmetry with the fragment depicting Saint Catherine of Alexandria.
The composition is the theme of St Anne Metterza , but the face St Anne is mutilated, like that of St. Anthony and a large part of the shell of the painting, where, in addition to some heads of cherubs, drapery are distinguished from two other figures.
The remaining area painting refers to the environment of the last of the Umbro-Roman 400. interesting and accurate are the pillars of the throne on the grotesque expression of an update of the Ancient culture that develops in Rome since 1470. As a reminder
pinturicchiesco are putti, while scope antoniazzesco the figures of St. John and Christ died below, albeit with elongated faces and a loss of volume. Obvious repainting of indeterminable age.
The particular taste of the painting reflects the fervor that was moving in that period thanks to artists such as Lorenzo da Viterbo and Anthony Massaro said Pastura who worked largely in the province. In this last bring up the spread of taste Umbro besetting the painting.
The artist collaborator Pinturicchio in Rome, in the decoration of the Borgia apartments in the Vatican, in the capital has the ability to deepen their knowledge of Antoniazzo of Aquila.
For then in 1497 in Orvieto, to complete the decoration of the Cathedral of Orvieto .

At the center of the main players merge into a single mass displacement, which is connected through the gestures, the hands of St. Anne on the shoulders of the Virgin and the hands of the Virgin supporting the child, and finally in the hands Baby goldfinch.
Communicative the attitude of the latter, which have the look and the gesture is aimed directly to the faithful, contrasting very strongly with the laying of the blank closed tilting his head.
curve also followed by the child's head. As in a good state of preservation we can not even see the structure of the throne. Which is structured as a niche corners strongly shortened alternating the yellow frame with the green color of the back, in the presence of random colors, in this case refers to the decoration of the Borgia Apartments , as well as the presence of grotesque colored I refer specifically to the visitation of Virgin Borgia apartments in the Vatican museums decorated by Pinturicchio. The whole decoration of the church bears the date of 1494 shown below sull'affresco depicting Santa Caterina d'Alessandria. In conjunction with the construction of the fort of St. Gallen and its decoration. Perhaps a skilled the following?

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conference for the inauguration of the restoration newsstand devotional S . Anna, on Court Street. Dr. Charles Nelli


INTRODUCTION There are many shrines, I counted 35 , you may encounter along the streets of the old town of Civita Castellana.
Therefore, the choice of restricting the field was almost obligatory. To this end, the reasoning that led me to talk about it some and not others has moved up two lines, excluding a priori the quality of the works, then explain why the choice fell on four operas, two of which resumed the subject of Anne, and the other two to the special kind .
FOLK ART
The devotional shrines, erected by popular piety, are the explicit example of how art is a reflection of the needs of the community , the neighborhood and the family, imbued with magical needs religious. If we want art then, the answer to the needs and requirements, then folk art, a term which tends to describe events as precisely newsstands devotional art does not mean the end of the second born in the nineteenth century to piano.Il enhance the production, which arose spontaneously from the soul popular.
The concept of folk art and as a result of "spontaneous demonstration" or collective ethos therefore results in the production of these artefacts that document the community, not as bearers of a single client and as a result of the exaltation of singularity, but true works of art of the people and for the people .
The simple character, and often serial that characterizes much of the production must not be misleading in the description and evaluation of these works.
devotional art, represented by the kiosks, is inspired official cult, but alive and is generated in the private worship as thanks for favors received, which already by ' antiquity represented the individual's direct communication with divinity .

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Palazzo Montalto in Civita Castellana

The presence of f amiglia Peretti in Civita Castellana is amply documented by large building being erected Montalto Court, that Pope Sixtus V the century Felice Peretti you presumably built in 1589 years Construction of the Ponte Felice Borghetto, an important commercial hub and road joining the papal state with the Adriatic sea and the way to the Shrine of Loreto.
The building was donated by the pontiff to his nephew the Damasceni Cardinal Alessandro Peretti, son of the daughter of his sister, Camilla Peretti, an important Roman lady who bought her prestige thanks to the election of his brother, and indeed the whole family, soon becoming one of the pe rsonalità most influential Roman salons.
Just as the great palaces built by the Roman Pontiff and his family, including the building of Civita Castellana Montalto recalled the slender type and decoration characterized by the use of styles typical of the early sixteenth the architect Domenico Fontana , remembered for having raised the obelisks in Rome. The floor of the building located on the first floor consists of a large hall representation with a frescoed frieze that along the entire wall.
There being no documents that confirm when the period of implementation of this decoration, we must rely on his kind of style and the subjects represented in dating.

The frieze is the succession of landscapes, and candelabra with putti and grotesque allegories of virtue . The most important characteristics is given by ia s coats of cardinal Alessandro Peretti, paintings on the short sides of the room is double coats of of his brother Michael and his two sisters, Flavia and Orsini.
The presence of coats of arms gives us a double term post quem for the dating of the frieze that certainly was done no earlier than March 20, 1589 Flavia Peretti day of the wedding of the Duke of Bracciano Virginio Orsini, identified by the emblem on the far left looking from the front door, and Felice Orsini Marcantonio Colonna, Grand Constable of the kingdom of Naples, located on the bottom right .
Two more coats of arms appear in the decoration of the marriage with Margaret of Michael Peretti Somaglia, Milanese nobleman happened in 1585 years of election to the papacy of Felice Peretti, placed immediately above the front door and coat of arms of the second wedding of Felice Orsini Muzio Sforza in 1595.
Other useful for dating are identified by the presence of feuds recognizable as a representation of Villa Grazioli in Grottaferrata, near Frascati which was acquired by Cardinal in 1614 and then later given to his brother Michael.
The case for a period of time so great, can be explained by the precarious economic conditions that the family was faced immediately after the death of the pope, which in turn has extended the deadline for completing explaining also the obvious stylistic differences inside the frieze . Opera style location for the last dawn of the Mannerist style Sistine typical production, but also very close to civil decorative culture developed in Rome lasted the pontificates of Clement VIII and PaoloV. landscapes and views of great quality are the estates belonging to the family placed next to the coats of arms that represent them: there are the castle of Bracciano and their hunting grounds, the View of Civita Castellana the door downstairs, and in the distance to the bridge and the Castle Borghetto, river views, hunting scenes, castles and villas in the plant and in subjects who remember the type of executive Paul Brill and Antonio Tempesta , two landscape architects, in which the pope often entrusted the direction of Decorative his yards, but different in execution and style to some falls.
Regarding the performance of boys, even in this case the hands that carried out many different shapes are also chronologically.
The report of the Cardinal with Civita Castellana is documented until 1619, died in 1623. Failure to complete Express architecture allows us to suppose that other and paintings were to characterize the rooms of the palace, and certainly a larger number of paintings would be very useful for them to bring back names of certain documents which, unfortunately, still there report. Dr. Carlotta Nelli

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ON VIA SAN GREGORIO nineteenth century, the Shrine of

If the iconography St Anne's Metterza is lost through mid-1500, the cult of the saint does not decrease as well as his representations that range and draw on stories of childhood of the virgin, as the statuette placed inside newsstand on Via San Gregory just after the entrance of the 'homonymous church. This is The mother who taught to read the Gospel to young Mary , this issue has its origins in 1700 taken by Giovan Battista Tiepolo , in the work called the Education of the Virgin of 1732 preserved in Venice in the church of Santa Our Lady of Consolation.
The subject was then taken over by simplified statuary craft and played serially. The shrine of St. Anne is completed with the decoration of the wall inside performed by Oriana Bussani . The cloth is painted a landscape with flowers and trees in the background. The shrine in the shape of arch is decorated with clusters of roses and cherubs made of clay and winged invetraiata. The artist who created the pottery could be detected Giulio Francesconi, stylistic proximity of the putti, the decorative quality and consistency with the dates: actually built around thirty years Caesar Basili (there from memory daughter who now 85enne recalls how the shrine was built a few years before of her marriage took place in 1933.
Giulio Francesconi, native of Viareggio, (whose biography was reconstructed by Prof. Cats in his essay and the reference in detail), comes to Civita Castellana after many trips and stays in a variety of Italian and European locations.
returned from France after a brief stop in his hometown and in Rome and a visit to Normandy, he moved to Civita Castellana, driven by the desire to produce works in ceramics. In ceramics and I quote: "the primordial elements francesconi is to tame: the land, water and fire, in a challenge with paroxysmal man."
So much to reflect in this production his psychological anxieties.
The first city commission shall be of a religious statue of the Produce Zuccherini Mons, bishop of the city, and for the church of the Virgin of SS.ma through two life-size plaster statues, Santa Clara and Santa Paula. But the work that most interests us is the bezel kept the Canonica of the Church of San Benedetto.
This bezel is the Madonna and Child with cherubim , polychrome glazed earthenware in the style of Della Robbia, a reworking of the Madonna of the pillow, made in 1495, and preserved in the Bargello in Florence. The work shows how the Renaissance culture has gained in the first trip from the start, and throughout the artist's production, influenced his art.
civitoniche works are all to be included in the late 20's and early 30. to confirm the authorship of the work coming as we have said time and consistency of style. We see that there is obvious similarity between the children, with particular projection of the cheeks, the projection of the forehead and not the least, the high quality of the product.