Nipples Pregnant Foto

Coffee Philosophical

The October 15 began in Florence, the "Celebration of Creativity" now in its fourth edition, among the countless events there is also a "Coffee Philosophy" theme will be "Philosophy, politics, religion and the topics covered will be: the encounter / clash between different religious cultures in an increasingly global society, the sense of" sacred " the delicate relationship between politics and religion and between church and state.

The most interesting meetings I think they are those of Saturday, October 17 and those of Sunday, October 18:
Saturday, October 17, 16:00 Religion and Politics SERGIO Givon, Emilio Gentile, Carlo Galli
Sunday, October 18, at 16.00 church and state Sergio Caruso, Gustavo Zagrebelsky , PIER PAOLO Portinari

About Zagrebelsky meeting on Sunday with former President of the Constitutional Court and Professor of Constitutional Law at the Faculty of Law in Turin, I bring to your attention the exegesis that, just yesterday, Zagrebelsky ha condotto del momento politico-istituzionale che stiamo traversando, analisi che ritengo molto delucidante.

Gustavo Zagrebelsky e la sua invidiabile lampada da tavolo.

LA DEMOCRAZIA DELEGITTIMATA
di Gustavo Zagrebelsky
Repubblica 15 Ottobre 2009

Si annuncia, anzi è in corso, una crisi istituzionale di vasta portata. A che cosa sia e a che cosa essa chiami coloro che occupano posti di responsabilità nel nostro Paese, sono dedicate le considerazioni seguenti, esposte in quattro punti concatenati tra loro, dall' astratto the concrete.
1. What are they and what are the institutions . The human race has discovered the institutions to curb the 'aggressiveness el' instinct to dominate that thrive - in a longer, more in less - in all of us to spread trust and cooperation, to ensure some 'stability and security in human relations and protect as much of the freedom that is compatible with social life. In a word: to drive away again and again, even one day, the "trials of strength" that accompany it, like ghosts can materialize, contact between humans. The institutions are primarily used to this: to neutralize our destructive instincts and civilized. Because in the end we are wild animals, we can also say: we need to tame, harnessing and directing our energy in structures, procedures, safeguards and controls, thus transforming them from destructive to constructive works of lasting.
not seem excessive to speak of the works and days of our country at this time, proceed so far and the bottom, that this little summary of the famous writing of Sigmund Freud's "Civilization and Its Discontents" (1929). It is a warning about what happens when the institutions s' weaken or disappear, swallowed up by the ego of those who impersonate and use them for their own interests. Or - and this is the same - is a warning about the dangers of spreading the idea that when they are encumbrances, or have betrayed their function and are now simply covers the political struggle. In short, this is the worst outburst of energy, that institutions and the "sense of the institutions" can not control. This is exactly our risk, the slope on which we made because of what, with an expression which was not abused longer grasps the drama, called "de-legitimization." Without institutions, everything becomes possible. The "showdown" pre-political, that is outside the rules we have set ourselves to "institutionalize" the physiological political conflict, is to doors.
2. pre-political conflict. Look what happens. Leave aside the too many who, as always happens, without waiting to see discover how things are going to stand by the "right way". Besides the many indifferent, taken dell'assillo of other problems, those who are stakeholders are divided by a rift that can not or will not fill. On the one hand, there are those who swear on the belief that there is an ongoing conspiracy against the President of the Council and its majority, led by criminal methods oligarchs politically irresponsible and corrupt judiciary, an end to anti-democratic: to contradict the result of free elections and put nothing in the will of millions of voters. On the other side, you would swear on the belief that, however, the way crime is that of a prime minister, in order to avoid criminal charges in court to answer some very serious and defamatory, wants to place itself above the Constitution and the law, changing for his own use and consumption. Thus, we face two charges: the attack on democracy, on the one hand, to attack the rule of law, on the other. This split is pre-political. Not about how to act within the rules of politics that are given by the Constitution, but even if you stay inside, or get out. Fly In fact, in both directions, on charges of forcing a groped. Someone speaks of "coup", without realizing what dice o forse rendendosene ben conto. Quando questo veleno entra in circolo, tutto – atti e parole che, nella normalità, sarebbero inimmaginabili o apparirebbero disgustose intimidazioni e prepotenze – diventa lecito, anche a fini preventivi.
Gli storici diranno di chi è la responsabilità della stasis , del punto morto al quale siamo arrivati. Ma noi ora vi siamo dentro e non possiamo consolarci pensando, ciascuno sulle proprie posizioni, che la storia ci darà ragione. Abbiamo il dovere di districarci nella difficoltà, per noi e i nostri figli, ai quali vorremmo consegnare un Paese pacifico e civile. Non serve a nulla, a questo punto, la ricerca della responsabilità originaria. Serve solo ad attizzare il conflitto. Non serve a nulla lo scambio di accuse tra due fronti che sembrano non ascoltarsi più. Anzi, serve a scavare ancora il fosso e a dare spazio all´avventura. Nessuno ha da rinunciare alle proprie idee, al giudizio su sé e su gli altri. Ma ora si tratta di prendere atto che la spaccatura esiste come "dato", come "cosa" che minaccia le istituzioni e, con esse, la convivenza ch'esse devono assicurare.
3. "Delegittimazione democratica" delle istituzioni". La minaccia alla convivenza va di pari passo con l'indebolimento delle istituzioni, con la loro "delegittimazione". È una storia che viene da lontano, che si ripete ogni volta, con l'affermarsi nella pratica e nel senso comune di un'idea identification of politics as a leader among his people ("I want to be someone like you") and of a people in its head ("I want to be like you"). Quest'immedesimazione in history has taken many forms and many names: plebiscite democracy, demagoguery, Caesarism, Bonaparte, Peronism, and so on. takes other forms and names today and will take in the future as a result of the technical resources quell'immedesimazione. In any case, however, those who govern in the people identifying with salt on there and people look down on everything, I can not conceive that there may be limits and controls. In the name of which, incidentally? Some judge or lawyer that wig is not that himself? Politics as identification o "identitaria" non ha bisogno d´istituzioni; le sono d'impaccio, anzi nemiche. Esse non possono che raffreddare un rapporto che si vuole invece caldo, tra capo e corpo, leader e seguaci. Nascono movimenti, simboli, inni, motti e frasi fatte, eventi e opere, ricorrenze, spettacoli, esempi, che celebrano e rafforzano quel rapporto e quella vicinanza, facendo appello indifferentemente, secondo che occorra, a nobili slanci altruistici o gretti sentimenti egoistici; ora adulando supposte virtù patriottiche, ora stuzzicando nascosti impulsi volgari. Si tratta di rappresentare il "paese reale" per impiantarvi una cosa che viene chiamata democrazia, anzi "vera democrazia", in contrapposizione a quella "falsa", "formale", "Empty", that is mediated by the institutions.
We assist in this process. In the name of "true democracy" (I can do what I want because I have the people on my side: true or false), the institutions that do not conform are labeled as enemies. Do not even imagine they can do their duty honestly that is not a burden to keep this or that but, for example, to apply the law and defend the Constitution or, for institutions of information, simply post news. Need to be allies of the enemy. If the power is "right" means you accuse of being "leftist." If the power had never left, the very concept of democracy le farebbe accusare d'essere "di destra". Ma le istituzioni della democrazia pur esistono e non è pensabile di eliminarle, a favore di una demagogia pura e semplice. Bisogna pur salvare le forme, anche per non essere banditi dal consorzio delle nazioni civili. Allora, via alle intimidazioni o – ed è lo stesso – alle seduzioni e, se non basta, via alle riforme per ridurre l'autonomia e l´indipendenza delle istituzioni non allineate. Così, si cambia regime dall'interno, lasciando l'involucro ma svuotato della sostanza. Così è per il governo, da rendere obbediente al "primus inter pares", per il Parlamento, da ridurre a esecutore passivo del governo; del presidente della Repubblica, per l'intanto tenant to make submissive, why not elected by the people (learn co-existence, waiting for the presidential system), the Constitutional Court and the judiciary, to be reformed to remove them from the sphere of law and move them to that of (subordination) policy.



The fourth point I intentionally resected, thus breaking the chain, because I find it less convincing analysis of the three points above , But if you want to examine independently the validity, click on "Democracy de-legitimized "and you will be taken directly to the article in the integrity" of the Press Room ".

Safest Way To Store Things In Freezer

GAZE OF THE EAST: "The taste of watermelon" by Tsai Ming-Liang (2005) Experiments

" A watermelon can not express what the words say, a watermelon in this hot weather is more severe nde gesture of love. Offer watermelon is the most sincere and economical to say what we have at heart, to inform the person a loved one that otherwise would not ever dare. The code watermelon is direct, immediate and precise. A small yellow watermelon means-the two of us there just friends -Izia. A large red watermelon as a gift shows the hotter of all loves. A small watermelon red indicates a love so that is about to explode. "

A-Shiang Taipei C hyi is a girl who hears these words on TV , Hsiao-Kang sadistically masturbating a woman through a large watermelon red, the city is gripped by a severe drought and the government recommends consumption of watermelons. "The taste of watermelon (but it sounds like the original title" The wayward cloud "that derives from a song and alludes to the loneliness of the human encounters) is the ideal result of" What Time Is It over there? "Shiang-Chyi returns from Paris and meets Hsiao, love who they like CONOS has never disappeared. It no longer sells watches (as in the previous film), has become a porn actor and works in an apartment in the same building where he lives Shiang-Chyi. The director Tsai Ming-Liang shows the loneliness of two characters (and their love) in a bleak urban landscape: the geometric compositions of the shooting on large infrastructure put in Taipei at the mercy of their players alienation, existential emptiness of the city and its population. The dramatic dark and empty carry is interspersed with musical interludes sung five of taste extremely kitsch, very colorful and imaginative, is mandated to tone down and explain the mood of the characters. These consist of entr'actes times more mobile and adventurous (as compared to the rest): the cinema of silence, the long shots still is an aesthetic choice for the director. (I quote an example at the end of break).

The film opens with a long shot over a basement and an extreme and fetish sex scene where the watermelon is physical metaphor of the vagina: the enjoyment of the woman is back at the fake sex pornography. All this in assembly and Shiang-Chyi alternate drinking watermelon juice in his apartment, and how can economize water bottles . Nel loro girovagare i due si rincontrano su di un altalena in un parco. Il regista compone la scena con quattro lunghe statiche inquadrature della durata totale di 6 minuti. Nella prima la protagonista ruba una bottiglia d'acqua, per pulire un anguria, a l'ignaro ex-amante che sta dormendo;

Nella seconda lo riconosce, si siede davanti a lui e rimane a guardarlo fino a che a sua volta si addormenta nella terza.

Nell'ultima inquadratura Hsiao-Kang si sveglia e guarda la recognizing girl, she wakes up and asks the one question / dialogue between the two films, "still sell watches?" confirming the identity of the protagonists of "What Time Is It There?".

Director in the composition of this scene invites us to look at. It is daily, it is not built to stimulate emotions easily (see: the contemporary American film special effects). To do this makes use of the pure simplicity of the still pictures at the edge of boredom: not using any technical device and drama to keep us in front. Only the "Watching" images, there must stimulate and carries the necessary information for the film. She looks at him while he sleeps, he looks at you while sleeping and we watch them through the camera (camera) is an invitation to investigate the watch and its points of view. The camera becomes a strong presence, not camouflaged, but his language reveals it to us with force as if it were a character in the scene.

is that after about 40 minutes Tsai Ming-Liang takes its characters to work in a museum where you steal water from public toilets and he dressed as a porn actor. This is the most metacinematografica the film: the camera takes a "set pornographic" featuring actor and actress, operatore, addetto luci e regista.

Il film svela i mezzi del proprio mestiere in modo agghiacciante: lo fa con un porno che celebra drammaticamente il falso sesso come nella prima scena dell'anguria. Non manca l'umorismo: a causa della siccità il regista è costretto a simulare la doccia tramite una bottiglia bucata, e le bottiglie finiranno prima del previsto. Quale è la differenza tra la mdp del film stesso e quella del set pornografico? La “nostra” ci m ostra un immagine che dobbiamo indagare (solo 3 inquadrature, 2 lunghe e ultima con eiaculazione facciale forse solo per provocazione) mentre la mdp del porno monta le immagini per dare ad un determinato pubblico una determ inata attrazione (cinema degli effetti speciali come cinema pornografico?). Qui (come in una scena allo stesso modo successiva) si concentra la maggior parte dei dialoghi del film: insignificanti. La solitudine dei protagonisti è comunicazione impossibile e solitudine sessuale, anche chi ha dei sentimenti sembra non riuscire a mostrarli a causa di una repressione che sembra costretta. Non a caso Hsiao-Kang si masturba di nascosto mentre guarda la collega recitare, si eccita di fronte al falso e lo fa con vergogna in un impulso di liberazione come di chi è costretto in catene a reprimere la propria sessualità, e anche qui il regista ci mostra in un macro l'eiaculazione dell'attore. E' in un video-noleggio porno che i due protagonisti si scambiano le unic he effusioni del film: un bacio che sfocia in enfasi sessuale improvvisa subito interrotta da Hsiao-Kang come a voler dire “meglio di no, ti voglio bene” che porta con sé un sesso malato.

Il falso come tema portante del film ritorna anche nella composizione drammatica. Tsai Ming-Liang's film tells the story through the shadows of the characters, projections of reality. It 's a false world that needs to come up with the girl that simulates a party with a watermelon. Shiang-Chyi is a colleague of Hsiao-Kang fainted in the elevator, the rescued, finds pornographic DVDs in his possession. He discovers that his ex-seller of watches is a porn star. The girl looks at movies and we become spectators of a spectator is not interested in pornographic video emotions: she is surprised by the implications of his view, is forced to look at images from a harsh and uncomfortable reality.

From here you get to the final scene which caused a scandal at the Berlin Film Festival 2005. The girl fainted in the set is shown pornography. Show must go on, even if you turn fainted. It 's like watermelon, only an object that reference to delight viewers of porn that therefore look like the image of the fetish of the screen.

Shiang-Chyi assists spectator from a window, the two lay in a desperate pessimism, under the false sex she begins to moan, stopped at the end of the raw blowjob / protagonist with ejaculation her face surrounded by her sex.

Places To Play Airsoft

by photo - Act III

ROME - October 3, 2009 March for Freedom of Information

Article 21 of the Italian Constitution (Section I and II):
Everyone has the right to freely express their thoughts in speech, writing or any other means of communication.
The press can not be subjected to authorization or censorship.

I-The people in the Piazza del Popolo

II-People


Nanni course came on a Vespa.



Ezio Mauro - Director of Republic



Eugenio Scalfari - Founder of the Republic

III-Panoramas pinciana

I have also spoken widely Times ( "Thousands to march on Rome in protest at Mr Berlusconi's press clampdown ") and the New York Times ( " Thousands Defend Role of Press in Italy ").

Grocery Business Name

Leonardo (again) and the puddles. [Continued from the Air]

followed by: "The Clouds "

arousing the mind

Leonardo Da Vinci had a habit to note down his thoughts, wherever he was, on the individual sheets, using a few words written in a code is not always comprehensible. Each subject was developed and repeated several times.

After Leonardo's death, his heir Francesco Melzi gathered these writings in a collection entitled to treatise on painting, including several copies circulated (pardon the redundancy) in Italian academic circles. The thousands of pages in the condensed treatment may be considered the most significant work of Leonardo and his most important text on the art.
Now What has this to do with clouds?
Chapter XX of the Treaty the painter Leonardo suggests a bizarre practice of inspiration, which seems quite remember the process of imaginatively clouds described in the previous post. The practice consists of:

1) Attach the eye with a pool, a wall smeared with a stain any
2) Wait
3) Admire the extraordinary appearance of faces, landscapes and anything else you normally surface yet stunning forms.

So the Da Vinci:

"And that is: if you relate in any walls stained with various stains or stones various mixed, if arai invention to some site, there you will see similarities de 'different countries, adorned with mountains, rivers, rocks, dawn, plains, valleys and large hills in several ways you can still see many battles and acts of figures ready , strange faces and clothes and air of infinite things, which you can reduce complement and bona form. It intervenes in such walls and blends are as of bells, which 'touches their name and you'll find all you Vocabulaire Imagine "(p.151)

There is therefore something that unites the dirty walls, puddles, the clouds (and the bells) and makes it a well from which they emerge, through long and focused observation, fantastic images? It seems
che il trait d'union di tutte queste superfici sia il disordine, il caso, la non-struttura. In tutti i casi gli stimoli che ci vengono proposti sembrano costitutivamente ambigui, confusi. “Ci sono altri passi, anche più interessanti, in cui Leonardo esamina la capacità che le cose confuse hanno di destare l’ingegno a nuove invenzioni”.

La macchia, il contorno, il non definito.
Nel 1788 Il medico e poeta romantico tedesco Justinus Kerner utilizzava delle macchie d’inchiostro su fogli di carta piegata per stimolare la fantasia sua e dei suoi amici. Kerner coniò per le sue chiazze il termine Kleksographien (dal tedesco: Kleks = stain) and wrote many poems about the mysterious apparitions that these spots suggests. Being a spiritualist (and first physician to document the 'appearance of certain phenomena and Geister medium) not surprising that it was mostly about ghosts. The way in which these images are formed in the spots we have described in verse by the same Kerner:

Diese Bilder aus dem Hades,
At schwarz und schauerlich,
(Geister sind's, sehr niedern Grades,)
Haben selbst gebildet sich
Ohn Zuthun mein, mir zum Schrecken, Einzig
nur - aus Tintenflecken. 1 [1]

These images dall'Ade
all black and horrible
(spirits are, of vile degree)
of whether they are given form
Without my help, arising from my terror,
so, only, on the stains 'ink.

[ Justinus Kerner, Kleksographien. Mit Illustrationen nach den Vorlagen des Verfassers, Stuttgart, Leipzig, Berlin, Wien 1890 (geschrieben 1857), p. 12. ]

It 's interesting to note that the ambiguous case, and if they come out again, involuntarily, of the forms. In such use of stains Kerner (and his gang) could be considered the predecessor of a famous Swiss psychologist, that Hermann Rorschach, who inspired perhaps by some kleksografica spot, which seems to delight in his youth, he invented the famous namesake and psychological test, the Rorschach inkblots. (Incidentally note the similarity between the Kleksographie of Kerkner below on the left and the table 5 of the Rorschach to the right).

The advantage of the Rorschach in the cloud is that you can replicate, and compare the interpretations given by different subjects.

Both the Rorschach test as the Kleksographien are based on a procedure quite familiar:

1) fix or look at a spot (table Rorschach)
2) Wait
3) Describe the shapes that are delineated.

The Rorschach is a projective psychodiagnostic tests.

Pro - jet, then.
projection comes from the Latin pro-iacio literally throw anti dav. When you remove a content yourself and then porvelo before your eyes and look at it, as if it were something external, so here you are projecting something that belongs to you. Assuming the term in its side, not specifically geometric (orthogonal projections) or psychoanalytic (in this case your boss becomes vostro padre), anche se ci sono tratti comuni ad entrambi questi due sensi.

Ora, la proiezione, ci insegnano gli psicologi, è una facoltà inconscia, particolarmente stimolata in contesti destrutturati, ambigui, non definiti, proprio e non a caso come quelli sopra menzionati. Essa interverrebbe laddove l’informazione è manchevole o poco chiara, provvedendo al suo completamento, alla sua “interpretazione”, attraverso il collegamento col noto, stabilendo un legame con contenuti propri al soggetto che la esercita.

In questo modo si abbozza, in maniera enormemente grossolana e approssimativa, la facoltà che è chiamata in causa da alcuni (Ernst Gombrich, per noi, in particolare) per spiegare il processo di metamorfosi delle nuvole, delle pozzanghere e delle macchie, nonché tutti i processi di illusione, artistica e non, e infine, più in generale, quelli della visione stessa.

I Carracci ed il TAT

Uno tra i primi a rappresentare l'effetto per cui le nuvole assumono sembianze umane fu il Mantegna, che nel quadro " La virtù scaccia il vizio " (il primo in alto) dipinge un volto che assiste alla scena proprio nel cirro in alto a sinistra (particolare qui a fianco).

Sono tuttavia i fratelli Carracci a farci sperimentare giocosamente il modo in cui agisce la nostra, di proiezioni. I due fratelli infatti, oltre ad be counted among the fathers of the genre of caricature (which is based on maybe once a game projection - that of a familiar face on a load), are also the inventors of so-called "playful riddles," that invite the viewer to fill \\ complete with the imagination a sense of whether they have sketched on the canvas, drawing from it the corresponding meaning. Example:
what you see in the picture below left (rectangle surmounted by a triangle)?

The majority of persons who have submitted the application fulfilled "in a shark tank." This gives to reflect on what Damien Hirsch (with his shark in formaldehyde, " contemporary work of art sold more expensive in the world) and the film Jaws have shaped our imagination. In reality it is, at least according to the Carracci, a Capuchin friar asleep behind the pulpit (the fact that the Carracci brothers who had more familiarity with the sharks is important for our point of view). The line surmounted by a circle and a triangle is a mason with his trowel, seen in profile beyond the wall.

In reality the paper there are only four lines (and perhaps this is a projection \\ interpretation), but, as you can see, the operation which we call the projective Carracci, well aware of the mechanism of vision, once failed to give a precise meaning of these signs.

Now it's almost paradigmatic example of the Carracci to understand and elucidate how the projection of the intervening process of vision. It is like an essential operation for reading an image in that it interprets the signs, support them, establishing cross-references between one or the other, creating a whole with respect.

The projection adds to them (the relations between the signs?), And is a crucial addition to the attribution of meaning and understanding of traits that might otherwise remain an unrelated fragmented, unstructured and senseless. It throws a bridge between the visible and invisible, between three lines and a shark looking for an interpretation of the first through the second. The projection selects and organizes the details \\ perceptual signs and, by connection with the well-known, gives us a sense "of those 'riddles, or divinarelli paintings, which were so common among them, and that in a few lines, or signs of great things enclose and disclose. "