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January 08 2012

0572 58b0 500
Munich, Residence Garden in Winter | München, winterlicher Hofgarten - pencil | Bleistift -  by oAnth, Dec 2011 - under CC BY-NC-ND

permalink to refer to
Reposted from02mydrawings-01 02mydrawings-01

December 31 2011

Thomas Pogge: Medicine for the 99 percent | Video on

TED Talks Can we incentivize companies to produce much-needed drugs? At TEDxCanberra, Thomas Pogge proposes a $6 billion plan to revolutionize the way medications are developed and sold.





// oAnth - original video source:

December 30 2011

Pina Trailer--*ENGLISH SUBS*.DivX Quality--2011--Wim Wenders | youtube

Wim Wenders, Pina, German trailer- film release with English subtitles. Genre: Entertainment, Documentary / Drama - directed by: Wim Wenders- Cast: Pina Baus... (Såg just #pina Fantabolous! Missa inte!


// oAnth - original source:


Japon zone d'exclusion nucléaire |

Qu'est-ce qu'une évacuation soudaine ressemble? Après que chacun est parti, ce qui arrive aux endroits qu'ils ont abandonné? National Geographic Magazine envoyé photographe d'Associated Press David Guttenfelder à la zone d'exclusion autour de l'usine nucléaire de Fukushima au Japon la puissance Daiichi à découvrir. Évacués peu après la 11 Mars séisme et le tsunami a entraîné une crise de radiations nucléaires, la région a été largement épargnée, avec de la nourriture en décomposition sur les tablettes des magasins et des sacs à dos des enfants en attente dans les salles de classe. La région peut subir le même sort que la ville de Pripyat, en Ukraine après la Tchernobyl il ya 25 ans en cas de catastrophe. Ce n'est pas la première fois Guttenfelder a obtenu un rare aperçu d'un endroit peu voir, comme The Big Picture en vedette ses photographies de la Corée du Nord dans un poste plus tôt. Nous avons recueilli ici des images obsédantes Guttenfelder juste sorti d'un lieu abandonné, et des personnes aux prises avec la perte. - Lane Turner ( 39 photos au total )...




// oAnth - original source:


M.C. Escher Eye Drawing |

" M.C. Escher was one of the world’s most famous graphic artists. ...




... He created many visual riddles, and an amazingly detailed piece titled “Eye” that offers lots of detail for students to imitate.
Students may use either soft drawing pencils or black charcoal pencils. Whichever media, they need to be able to sharpen their tools to make fine detailed lines.
1. I started by passing out a cardboard template of an eye shape to trace. It really helps to speed things up so students can focus on the following steps.
2. A partial circle is drawn, one that touches the top of the eye.
3. An inner circle is added, along with eyelashes and a rectangle “highlight” that is to stay white.
4. Crease lines are added above the lashes. The inner circle is shaded in to look black, and lines radiating around it are added. They eye is colored in a dark gray.
5. Light shading is added above and below the eye, and on the right side of the eye. All the shading is rubbed with a paper stump to blend in.

CA Visual Art Standard: Creative Expression, Grade Four
2.1 Use shading (value) to transform a two-dimensional shape into what appears to be a three-dimensional form (e.g., circle to sphere)."





quotation completed by oAnth - original source:


See it on, via manually by oAnth - from my contacts

Egypt: 2011 in Blog Posts

The year 2011 is coming to an end, and with all the events took place in Egypt, it is important to list the most important or controversial blog posts of the year.

Maikel Nabil: “The Army and The People were never One Hand”


Maikel Nabil

This blog post by Maikel Nabil Sanad [Ar] is important on many levels: Sanad was sentenced to jail for what wrote in that blog post, to be the first prisoner of conscience after the start of the Egyptian Revolution. Also, the post came less than a month after Egyptian president Hosni Mubarak stepped down, when the moment the majority of Egyptians didn't criticize the military either out of fear or because they didn't see that they deserved any criticism. What Sanad wrote in the post was challenging to the way many people used to see the military at the time. In the post, Sanad listed many examples of arrest and torture during and after the 18 days of the revolution that he saw as proof that the Army was never with the Egyptian revolution, and hence he was accused of “insulting the military institution and publishing false news about it” and “disturbing the public security” - crimes for which he was sentenced to three years in prison, which were then reduced to two years. Sanad continues a hunger strike, which he started almost 130 days ago, against his sentence. Add to all this, the fact that his arrest is not getting enough support on the street and in the media, because of his controversial opinions in his blog posts. However, it was this blog post that opened the door for breaking the taboo of criticising the military, and since then it became normal to see blogs criticizing and attacking it [Ar].

Mohamed Abo El-Ghait: “The Poor Come First Son of B*tches”

A #jan25 martyr

A #Jan25 Martyr

When I asked people on Twitter which blog posts they saw as the most important in 2011, this blog post [Ar] was the second one to get recommendations after Maikel Nabil's post. It was written in June, a few months after the constitution amendments referendum. At the time, there was a huge debate on whether to have the parliamentary elections first and then let the parliament write the country's post-revolution constitution, or have a committee to write the constitution then have the parliamentary and presidential elections later on. The debate was huge, and reached it's peak during the referendum. Mohammed Abo El-Ghait's wrote that post as he saw that the majority of those who participated in the revolution didn't care about such an “elitist” debate as their goal then was related to improving their living standards. In the post, he also did two important things, he first sort-of coined that expression, which Alaa Abdel-Fattah used later on in another important blog post called “The Dream Comes First [Ar]“, as well as many others who played on this expression in their discussions. The second thing he did, is that he challenged that mindset that the Egyptian revolution was a peaceful revolution powered by the middle and upper class. He started his post with photos of poor people, or what Egyptian call “Sarsageyya,” making fun of them because the way they dress, the background and the visual effects they have in those photos, then he shocked the readers by telling them that those photos are for martyrs who died during the revolution even though the media insists on showing the photos of the middle-class martyrs only.

Alyaa El-Mahdy: “Nude Art”

Alyaa nude photo

Alyaa Nude Photo

We can have a similar debate to that that took place among the board of the Society of Independent Artists regarding Marcel Duchamp's urinal whether what Alyaa El_Mahdy published in her blog post [Ar] was art or not. However, this post with the nude photographs of herself and some others is possibly one of the most visited blog posts in Egypt during this year. She has had more than 5 million visitors to her blog to date, and you can safely assume that almost all of those visits are to that specific post.

Alyaa has been featured and interviewed later on by many national and international newspapers, and Ahmed Abd El-Fatah also tweeted [Ar] that the feature about her in Al-Masry Al-Youm English (one of the leading English-language newspapers in Egypt) got the highest number of visits in the newspaper's history. Her decision to publish nude photos of herself also ignited a heated debate online as well as offline. Personally, I know people who never read a blog post in their lives, yet have visited Alyaa's blog.

More Blog Posts

Three days before the beginning of the Egyptian revolution on January 25, and few days after the Tunisian one, Zeinobia wrote a list of lessons she believes we should learn from the Tunisian revolution. One day after Mubarak stepped down, and while people were celebrating their victory and leaving Tahrir Square back to their homes, Hossam El-Hamalawy wrote a post warning that the revolution is far from over. He also defended the workers' right to strike, which he believes is an integral part the revolution just like demonstrations in the squares. During the sit-in in Tahrir in July, Sandmonkey wrote a post entitled, “Tahrir: an Exercise in Nation Building“, in it he said that away from the political value of the sit-in as a sort of pressure to achieve the revolution's demands, those taking part in the protest were having a fascinating social experiment as “Tahrir was very quickly becoming a miniature-size Egypt, with all of its problems, but without a centralized government. And the parallels are uncanny”. He went on comparing the parallels, and ended his post saying:

“basically if you are interested in figuring out what the problems facing our society and the best way to solve them, Tahrir is where you should be heading to right now”.

Sandmonkey's post reminds me of that post of Obliviology, where she to some extent also described Tahrir Square but during the 18 days of the revolution this time. And finally, another interesting post is that of Karim Shafei [Ar] - which was featured by Ayesha Saldanha here - where he described Cairo (the capital of Egypt) and in ironic way, compares it to mini-independent-states and not just a single city.

Thanks to @Sarahngb, @7okaha, @BentAboEs3oud, @IbrahimNegm, @YMetry, @Sankafollah, @Biiishi, @HusseinElGammal, @NermeenEdrees, @SlipknotMody and all those who helped in suggesting blog posts for me to include here.

Paying for Parking | 2011-12-29

Parking is too cheap and the price is too sticky. As Tyler wrote in his NYT column:

If developers were allowed to face directly the high land costs of providing so much parking, the number of spaces would be a result of a careful economic calculation rather than a matter of satisfying a legal requirement. Parking would be scarcer, and more likely to have a price – or a higher one than it does now – and people would be more careful about when and where they drove.

The subsidies are largely invisible to drivers who park their cars – and thus free or cheap parking spaces feel like natural outcomes of the market, or perhaps even an entitlement. Yet the law is allocating this land rather than letting market prices adjudicate whether we need more parking, and whether that parking should be free. We end up overusing land for cars – and overusing cars too. You don’t have to hate sprawl,

Slowly things are beginning to change, however, as this excellent piece on parking in LA and parking scholar Donald Shoup describes:

Shoup is not opposed to all parking lots; he’s against cities requiring parking lots. “Would you require every home to come with a pool or every office to include a dining room because someone might want it?” asks Shoup. “Why not let developers build parking where the market demands it and charge its true value?”

…This spring the DOT plans to introduce an $18.5 million smart wireless meter system based on Shoup’s theories. Called ExpressPark, the 6,000-meter array will be installed on downtown streets and lots, along with sensors buried in the pavement of every parking spot to detect the presence of cars and price accordingly, from as little as 50 cents an hour to $6. Street parking, like pork bellies, will be open to market forces. As blocks fill, prices will rise; when occupancy drops, so will rates. In an area like downtown, ideal for Shoup’s progressive pricing, people will park based on how much they’re willing to pay versus how far they are willing to walk to a destination. In a trendy area like Melrose Avenue’s shopping district, where parking on side streets is forbidden to visitors, Shoup would open those residential blocks to market-priced meters, wooing home owners by guaranteeing that meter profits would be turned over to them in the form of property tax deductions. (That benefit could add up to thousands of dollars a year per household.)

Brooklyn’s Park Slope neighborhood is already experimenting with a version of the system, and so are San Francisco, Seattle, and Washington, D.C.

In D.C. you can now pay many parking meters via cell-phone. I’ve used the system and it works well.

Here are previous MR posts on parking.

Reposted from02mysoup-aa 02mysoup-aa

Boys in Albanian Countryside |

United Nations Photo has added a photo to the pool:
Young boys and a flock of grazing sheep.
Photo ID 296621. 01/01/1991. Mamurras, Albania. UN Photo/G Accascina.



// oAnth - original source: via

Whoa There, Methuselah! The Ethics of Immortality

The notion of immortality arises out of our first awareness of death. It is impossible for us to imagine ourselves ceasing to exist. The concept of an afterlife, Ponce de Léon's fabled Fountain of Youth, enduring fame, and offspring as the torchbearers of the family name - these are all embodiments of our desire to keep some piece of our being intact post mortem – even in the absence of consciousness.




//oAnth: original www-site

Logiciel gratuit en Francais pour créer ses pdf mais fait aussi des économies d'encre et papier |

Il suffit d'utiliser GreenCloud comme imprimante par défaut, et vous pourrez
- Prévisualiser, éditer et supprimer les pages inutiles
- économiser du papier en diminuant la quantité d'encre
- Imprimer recto-verso en 1 clic
- Imprimer plusieurs pages par feuille de papier,
ou même créer un PDF et l'envoyer directement par dropbox ou Google Docs

fait par une société Francaise basé à Toulouse, et gratuit pour les particuliers et les micro entreprises. 



// oAnth - original source:

See it on, via manually by oAnth - from my contacts

December 29 2011

Le corbeau vole bien bas - - Les trucs qui m'énervent |

//oAnth - original www-site:


"Aujourd'hui, j'ai reçu dans ma boite-aux-lettres une lettre anonyme décrivant les activités extra-conjugales d'un habitant du quartier, avec photos et profil internet. La lettre a probablement été distribuée à tous les habitants aux alentours...


Le monsieur est présenté comme un homme marié se faisant passer pour célibataire pour des avoir des aventures d'un soir, et fréquente soit-disant un club sado-maso. Le papier dénonce ainsi ses "victimes" (oh mon dieu, il était marié il ne l'avait pas dit). La lettre est même signée "Le club des victimes".



Le fait que ce soit vrai ou non n'a aucune importance. Ce genre de courrier est totalement abject. Qu'on approuve ou pas les mœurs de quelqu'un ou ses pratiques sexuelles avec d'autres adultes consentants, ça ne justifie pas de telles bassesses. Ce n'est pas parce qu'on a été échaudé(e) qu'on a le droit de faire ça. Le niveau de moralité de la personne qui a écrit cette lettre ne vaut que la merde qu'elle a raclé pour mieux l'étaler sur les murs.



Ah tiens, comme par hasard, le monsieur participe à la vie politique locale. Comme c'est commode, cette campagne calomnieuse.


Ça me dégoute."




completed quotation by oAnth

Mosman House by Popov Bass Architects |

Mosman House, Australia - /// #architecture #contemporary #design #concrete modern...

 // quotation by oAnth:


A careful selection of sustainable external materials and details ensure the longevity of the building’s lifespan. A low maintenance home, it has no painted external walls and low water use vegetation. It has minimal energy and water consumption having light filled spaces sheltered from the heat, north orientation with large overhangs, cross flow ventilation, high performance glazing, energy and water efficient fixtures, solar power for hot water and pool, photovoltaics and a rain water collection facility for irrigation, toilets and laundry.

The building is designed as a private home for the long term use of its owners with a high level of finish and detailing within the budget requirements.


Dulwich Picture Gallery saves St Cecilia from ruin – but who painted her?

As the rescued baroque picture goes on display following conservation work, the hunt for the artist begins

It was in the most sorry state imaginable – terribly torn, with parts peeling off, no frame, and almost black – and for about 150 years lay unloved at the back of the stores in one of the world's oldest public galleries.

Now, after a campaign that was launched in 2009 to restore it, the Dulwich Picture Gallery has put on display the baroque painting of St Cecilia, the patron saint of music – and it has turned out to be something of a stunner.

"This picture is a total dream to work on," said the gallery's chief curator, Xavier Bray. "Paintings that need a total restoration tend to be very exciting. There's always that chance you might uncover a lost Caravaggio; highly unlikely, but a chance certainly of uncovering a very good picture."

The painting looks wonderful, shines a light on the fascinating history of the gallery itself, and also raises a new mystery: just who was the painter?

The work was bought in 1790 by one of the gallery's founders, Noel Joseph Desenfans, under the impression it was by the Bolognese master Annibale Carracci. Bray said it was "not good enough" to be a Carracci, but whoever did paint it could have been inspired by the Carracci school.

Desenfans and his business partner Sir Francis Bourgeois, the gallery's other founder, thought they had a masterpiece and so wanted it hung prominently in the "skylight" room of the beautiful home they shared in what is now Hallam Street, in the West End of London.

They also wanted it hung as a companion piece to a portrait of the actor Sarah Siddons by their friend Joshua Reynolds. But that meant making it much bigger, a job that Bourgeois, a not terribly distinguished landscape painter, took on with vigour.

Exactly what was on their mind is open for debate. "I wonder whether it was about the personification of theatre on one side and in St Cecilia the personification of music," said Bray.

They may also have been paying homage to their friend Reynolds, elevating his place in art history by placing work by the still-alive English artist in the same room as Bolognese masters.

There is talk about the relationship between the two founders; some have even speculated of a ménage a trois involving Mrs Desenfans. Certainly they were close as all three are buried together in the gallery's mausoleum, their bones mixed up because of a German wartime bomb.

Whatever the truth, the Bourgeois additions were not a good thing. In 1842 the Victorian art critic Anna Jameson wrote that she had "seldom seen a picture so shamefully maltreated – so patched and repainted … [Sir Francis Bourgeois's] hand is clearly distinguishable."

Bray said: "These additions very quickly started to peel off and then eventually the canvas gets ripped and slashed and was almost totally black. It ended up in a really sad state."

In 2009 the Friends of Dulwich Picture Gallery adopted the painting and the results of the spectacular conservation can now be seen.

The gallery now very much wants to establish who the painter is.

Bray has tried all his friends in the curating world and been through all the artists of the Bolognese, Neapolitan and Veronese schools. "I've been trying all over Italy to find a similar hand. It is a really tricky one but now it's cleaned, people will be able to make a more educated guess."

Bray's best guess so far – a wild one, he cheerfully admits – is that it could be the work of a woman artist. He is aware he might be criticised for a hunch that is partly based on the artist's attention to the detail of what St Cecilia is wearing, her jewellery, and her hair. "There is a woman artist called Ginevra Cantofoli who trained in Bologna.

"I need to see much more by her and I need to go and see her work, but it does seem uncannily close.

"I'm sure it will happen one day, I'll find out who painted it. It will probably come from being in Italy, having a good lunch and stumbling in to a church and seeing an altarpiece by the same hand."

There are many other possibilities and Bray said he can sound like he's naming the Italian football team when speculating. "It's still a mystery but it's a fantastic conundrum for the gallery to have. It may even be a painting by a good painter early in his career. Could it be an early Guercino when he hasn't got it quite right?"

The painting now hangs at eye level at Dulwich, near a painting that is definitely by Carraccia, around the corner from the Reynolds and not far from a painting that Desenfans and Bourgeois also once hung in their skylight room.

Domenichino's The Adoration of the Shepherds was sold by the then cash-strapped Dulwich in the 1970s but has been loaned back to them by the National Gallery of Scotland to help the gallery celebrate its 200th birthday.

Bray admits he was not always a fan of the restored painting.

"It has grown on me, I have to admit. When I first saw her I thought her expression was pretty weedy, but it's grown on me.

"It is a good example of a baroque 17th century Bolognese painting and Dulwich is the place to come for anyone interested in the baroque."

Great Restorations

One of the trickiest restorations of recent decades was the National Gallery's huge altarpiece, Cima's The Incredulity of St Thomas, partly because of the sorry state it has been in for much of the last 200 years. Commissioned in 1497 and completed in 1504, the altarpiece was already in bad condition when it was submerged in the salty water of Venice's Grand Canal in the 1820s. The flood, at the Accademia, caused major damage but did not stop the National Gallery buying it in 1870 for £1,800.

The work needed almost continuous blister laying. In 1947, when the extremely cold winter led to the gallery's heating being turned up, it suffered more flaking than any almost any other picture.

It was not until 1969 that it was taken out of the stores and the dramatic decision was made to transfer the painting to a new panel. It was an enormous risk but successful and the work now looks serenely down on visitors to room 61.

John Martin's The Destruction of Pompeii and Herculaneum was also the victim of flood. This time it was 1928 and the desperately out of fashion Victorian painter's work was in Tate's basement stores on Millbank. The Tate suffered its worst flood when the Thames burst its banks, causing terrible damage to works.

The Martin was torn in two and lost about a fifth of its surface, including the volcano. It was considered "damaged beyond repair".

In 2010, with this year's big Martin show in mind, it was decided to restore the painting's missing section.

Now, if you look very closely, you can see which is Martin's brushwork and which is restorer Sarah Maisey's. She said: "I've tried to tone down a lot of the detail. I wanted the overall impact of Martin's work to have been retained but ultimately wanted people to be able to appreciate what was left of John Martin's work." © 2011 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

Urbanism: When it bends the rules and breaks the law.

Getting ready for a TEDx talk in a few weeks, I’ve once again been noticing how the places that I love the most usually break the law. The contemporary development codes and bylaws, that is, whic...
// oAnth: original www-site:


Moodle - LMS


..para los interesados en MOODLE, os recomiendo esta página de Gisele Brugger...@juandoming

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