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BISÍU

By: ANTONIO LÓPEZ GUZMÁN.

The elders in the early days there was a beautiful Bisíu be called, was all it can feel a being. He and we had the wonderful power of making sounds and talking. He was one of the first who spoke of the need for a party gifts. Therefore, a hint of the people, was to get some fruits called Sime, some fruit for party gifts. These fruits are given in the tree called sëmeinë or Seme, also currency call fifty, is a fruit that has lots of butter, and is a food that makes the progress of human instincts (eat barbecue).

Human beings, having eaten the fruit of fifty currency have felt its effect Bisíu learned, became his disciples went their living descendants who lived in a part of the earth. Other things you learned from Bisíu were: deer, tapirs and wild pigs, bear little resemblance lusty animals to humans. They all learned the knowledge that brought the fruit of the tree of similarity. The others were paired in the deep forest green.

Bisíu produced a sound like a deer, Dante and he bristles hill is why since he habla entonces Bisíu Language of fertile mountain, which is why the trumpet Yuruparí suena en la Actualidad giving those voices.

BISÍU

1. GSE Mamarógere bisíu aríyuhpe maria dohpáta aríyuhpe
2. Will Aripa dohpa bihsí yupë IGE bisíu
3. anger will merely Aripa mere name Kemeri YUHP, oa mere nyamaa
4. gamuyera nege Maharis arikoma anger.
5. GSE dahígë bisíu aríperera dohpa bihsí yupë.
6. igeta pooge Arigo Poori is YUHP
7. sëmegëge ige mere stop mahara meríanyora
8. iri seanyorá poori iROG paroríre Peam diúu mërinyorá
9. iri seme Peam diodóge yurinyahayoro anger, poásériro váyoro
10. ige ige dahíge bisíu paarúge obíatu nuguka yuhp
11. MASA Dahíge Beige dohpa váyuhpe
12. Dahir mahsápe gameúnyora bisíure ige ige paarúge obíatu do pere

BISÍU

1. From the beginning there Bisíu, he was like us.
2. Like all animals, had Bisíu sexual orientation.
3. Bisíu wanted the deer and all animals that mate.
4. The coupling sweet do forest animals.
5. Bisíu, friendly, did so sweetly.
6. Was Bisíu who collected the fruits of similarity to suggest to young people.
7. Friends climbed Bisíu (teens) in a tree of similarity.
8. They picked the fruit of the tree, and throwing.
9. A sheath with a mature pit was falling on the hearth, and produced an odor suggestive.
10. The smell nice fruit sweetness to sacrifice Bisíu impregnated.
11. Thus began the friendship of Bisíu with forest animals.
12. Bisíu was summoned again by the people who asked for more explanations because
apparent damage to the young was very large.

Programming For The Astrostart Car Starter

The Corners From my House

corner of my house. Artist's Book, 2007

"The house is home to the dream, the house protects the dreamer, the house allows us to dream in peace. The house supplants human life contingencies, multiply their advice. Without it, man would one be dispersed. He holds through the storms of heaven and the storms of life is body and soul. It is the first world of human beings. Being away is a value. Life begins well, begins enclosed, protected, all warm in the lap of a house "

Gaston Bachelard

" The corners of my house "also comes from personal experience, situations that lead us to take and strongly embrace family history has been built for many years at home, who holds in his hands a great treasure. If the project was introduced in the poetic memory dear, would be unforgivable to leave out of memory as the place is The House, before the book begins an experience or rather a process that traps more and more, as Bachelard would in his Poetics of Space, (1957 ), ... the value of protecting and resistance of the house are transposed in human values. Home acquires the physical and moral energies of a human body. And so as the house has passed the concept of simple geometric shape, writing and notary, has taken the form of a being, companion and advisor and why not, mother. Events happen there, through which our humanity, moments of boredom, loneliness, reflection, relaxation, affection and entertainment.

The house as a "private space" is the first human being, here he meets to plan it all inside; happens in this space daily living, encounters with mirrors, windows, walls as he is, so the house becomes a way of being, in its extension. A house is a journal that contains the complete works of a family regardless of the number of members that form, a small company that is sorted, is sorted and distributed according to their own parameters for the subspaces which in turn will identify with its inhabitants.

This place is the corner of the world is full of feelings, secrets, echoes of laughter and voices, there are woven like a spider man ages. The issue should be pursued memory as the corners of the house are just that ... corners of memory, places where domestic draw pictures, images that allude to the intimate poetry of memory and oblivion as she belongs to the world of memories. Are those same memories that give value to the house so special, especially the childhood memories that time there were no divisions all were habitable spaces and places for the game while we were banned, as they get older and We consummated the different stages of life, ranging events and experiences, thus, the concept of home has already been established is become more valuable according to the intensity of episodes.

Here are some verses, which covers dreams the memories of a childhood home, William Goyen (1954) in the House of Breath:
"think they can come into the world in a place that at first would not know name even, which is the first time and that in this anonymous place, unknown, it can grow, move until we know his name, to speak with love, you call home, to sink roots in our hosting loves to the point that every time we talk about it, we do like lovers, nostalgic charm, and poems brimming with desire " [ 1]

The shell, is the spiral that contains us, she is our mistress and we are their owners, the time has witnessed all the caresses and care that are etched in walls as a form of compensation to benefit when the city gives us not deserve. Reblujo's room, the room went into exile, the room turned into a bedroom and some are so big that it echoes silence, others by contrast, are too small to test the privacy of their residents.

For each house there is a particular concept about the order and disorder, disorder becomes part of their own codes, in this way shows the reality of individuals possibly a reflection of its interior, there is the truth of each man, outside, confused, camouflages, you lose, then this relationship "outside" and "inside" becomes magical.
Better than "throwing the house out the window" is watching the world from the bowels of the house, is the act sincere to both, "telling her to my house which Invisible Cities are still my favorite and tell the world how universal turns out to be "home."

[1] GOYEN, William. The house of breath. P. 67. Op. BACHELLARD, Gaston. The Poetics of Space
. 1957. P. 90.

Tattoos With Keratosis Pilaris

the Garden of Memory. Book Art, 2007.

Conduct praise of forgetfulness does not mean to vilify the memory, and even less to ignore the memory, but neglect to acknowledge the work of the first and detect their presence in the second ...

... memories or fingerprints, later to return them, "what remains is the product of a erosion caused by forgetfulness. The memories are shaped by oblivion as the sea shapes the contours of the shore

Marc Augé

"The Garden of Remembrance" for the inventory of words that are linked to all of memories summoned clinging to the memory over time, through the exodus or simply because they reappear in a shooting without being cited as St. Augustine reminds us when it relies on memory to ask you something:

"... sometimes spontaneously recall show, but sometimes slow to come, as if from secret and remote receptacles. Sometimes the memories are while I get something else and I planted in the middle, as saying: "Are we what you're looking for?". I turn away then from the mind those images as hand and suppress the memory until you quit in the middle of the cloud and this I remember clearly the look " [1] .

memory to treasure the memories through images after logging in through the senses as crossing a door, since we can not keep things physically thus, the image is the way to reaffirm its presence and step at a time of our lives and we can access them evocative of that form back to where they were awakened.
inventory or glossary is a fraction of the imagination which was founded in memory as a result of experiences that mark and leave footprints that can be cleared only oblivion. Are word-image, words, visual, many of them also present in the collective imagination.

Thus, the memory retains from colors and shapes, sound perceptions, tastes, smells up memories of the soft, hard, how soft and rough, even the doctrines of the liberal arts, ie la Memoria Intelectual de la que hace referencia San Agustín:

“…en ella se conservan todos los conocimientos adquiridos en el estudio de las artes liberales que no han sido olvidadas todavía, y están como bajo custodia en un lugar todavía más interior, aunque este no es en realidad un lugar. En esta memoria no tengo ni lugares, ni imágenes, sino que en ella poseo las realidades mismas. Porque la idea de lo que es la literatura y el arte de disputar y el discernimiento de los diversos géneros en que se dividen las cuestiones; y todo cuanto de eso he llegado a saber lo conservo en la memoria de un modo tal que no queda fuera de mi aquello cuyas imágenes conservo” [2] .

To cite some of these word-images that lie in the most secret, from the book The Garden of Memory: Mourning

forget
Patch Paternoster

Poetics of forgetting ma

Knit Pá

cronopios death

Tissue Loss

rice pudding Fragment
needles

January 5

Mother Maternity

song

House last

Nicholas
Dress Ulises

Enoe
Ofelia Women

family

five p.m. Santa Teresa

thread

Time Life Stations

On the issue of forgotten memory also plays a role in as it is a memory component.
For the memories and has ensured the weight of forgetfulness, such as early childhood memories that we hardly caught in the web of time. Where it has been since?, Where lay the search? but forget it is not as unfavorable as it sounds, it is worth remembering, but also let fade and forget.

[1] SAN AGUSTIN. Confessions. Ediciones San Pablo. Buenos Aires, Argentina. 1994. P. 314.
[2] SAN AGUSTIN. Confessions. Ediciones San Pablo. Buenos Aires, Argentina. 1994. P. 318.

Why Am I Attracted To Teachers

Garden of Memory Memory Being in Confessions of Penelope

be in memory. Digital media. 2006

"hide and reveal presences things at once, rotate to the origin and return to the immediate, zoom in and contrary elements. The image returns the viewer with a plurality of views and ways. Thus the image is split into a verbal or visual poem. The image not only informs the experience. But fixed and reveals. Makes it an aesthetic presence. "

Octavio Paz

Developed as a book artist, this work is the collection of identity documents carefully preserved for their value as: the card, the birth certificate, the fragments of the album for children, identity photos, some of them with different makeup and accessories that reveal a change of image or personality for a moment and manuscripts alluding to record moments to give evidence at risk of forgetting.

be in memory by images of a person known or unknown but not far from having a sense of self-recognition, projection or regression.
A picture is not simply a copy of an event, a desire to stay or an obligation imposed by society, goes far beyond the desire to stay, to approach a particular date, all these practices belong to the ritual carried out in almost every home, continuously track the best moments, this is how it is organized almost in chronological order, the photo of the parents' marriage, the mother and (o) aunts in pregnancy, the arrival of the first newborn babies (can not miss the lock of hair to the side), baptisms, birthdays, trips, tours and you can not miss the surprise of reaching to cover the face of angry and drunk until they reach the first grandchildren and history repeats itself: more pictures and albums.

is quite possible that the family album to vary according to material, means of distribution, type of image and even social class, however, its role remains to be preserved.
And it is so important to the image as the "eyes."

"Looking is not receiving, but the visible sort, organize experience. (...) The look is not ritual or commemorative look familiar, that is the private forum we practice, for example, home browse an album of reproductions. But cultures of the gaze, in turn are not independent of the technical revolutions that come to change the format each time, materials, the amount of images that a society should take care " [ 1] .

Then the image and look act inseparably. Ever wondered what we would we without a self-image of our face?, so if we have clear is that nearly everyone has been teased or comments regarding identity documents, particularly the ballot and let's face it, deep down that we hardly see that image is missing or always on details, we want to do your best because this should be the means of control necessary, without it we do not exist in society, with the majority, everyone should have a face to the state- (...) But the point is the photo ID. It was said that ID cards are a form of control exercised by those in power through them register people (everybody should have sided with the state) and their identity is made public. So what happens when a person is identified? What caught her those documents and that leave out? What kind of subject is constructed with those photos that lack context and are born together with the public? What about reception? " [ 2]

The photo identity documents or have everything but intimacy, are passed from hand to hand, the intimacy goes beyond being a photo shoot, that face is beyond the actually is, is the mask of my true self, but Who am I? What is my identity? The term "person of Latin personata is translated as a masquerade, that is, a person from its etymology means mask. Photo Identity then is not only the image of a mask, this image does not reveal who I am, tastes, feelings, character, personality, weaknesses or points of view, among others.

"(...) that distorts my inner truth is, contrary to everything that makes me appear identity firm, steady, straight and rigid behavior, behavior inflexible, thus distorting my privacy is any impression of solidity and fixity as that required in-just-public documents that determine my personality in civil or social identity. That, as identical to introduce myself, without weakness, without cracks or weaknesses, without fear or trembling, distorts the truth of my life (of my death, my death) because it distorts false, misrepresents its fragility with the appearance of firmness . Nothing is more opposed to identity privacy, because privacy is what keeps us from being identical. (...) To be intimate is not able to identify with anything or anyone, can not be identified by anything or anyone ... "
(Pardo, 1996b, p. 47. Quoted by Camilo Restrepo)

Thus, intimacy-identity go hand in hand but on opposite sides, thus the image of identity is questionable.
However, we found family albums plus a few passport size photos, photos, narratives, those that can not be without a story, printed a story, even when people who barely know.

"beyond the fixed poses, stereotypes, clichés, outdated codes, beyond the rituals of chronological order and the inevitable scansion of family events (Birth, baptism, communion, marriage, holidays, etc..), The family album is always an object of worship, care, worked, maintained as a mummy, kept in a safe (and baby's first tooth or lock Grandma's hair), it opens with emotion, a sort of vaguely religious ceremonial, as if it were to summon the spirits (...) " [ 3]

Somehow Photos the family album we corroborate our way in the world, our belief there is already evidence that assures us of a past time expressed in time and place. Rachel, the replicant believes that human Blade Runner (1982) saved as evidence of his childhood a picture which associates the memory at that was bitten by a spider, which ensures the human condition in the memory.

(...) No doubt that what gives value to such albums are neither represented in the contents themselves, or plastic or aesthetic qualities of the composition or the degree of similarity or realism of clichés, but its pragmatic dimension, its status index, weight irreducible reference to the fact that this is real physical traces of individual persons who have been there and they have special relations with those who look at the photos. That alone explains the cult of which tend to be family photos and that makes these albums in a kind of funeral monuments (...) "

be in memory is to think about the value given to picture books this monument so exalted in the home. The work contains some fragments of this kind, associated with passport photographs and some documents like the charter, the ballot of baptism and civil registration.

[1] Debray, Regis. LIFE AND DEATH OF THE PICTURE. Paidós editions Iberica SA, Barcelona, \u200b\u200b
1994. P. 38.
[2] RESTEPO, Camilo. PHOTO CAPTION. Editorial EAFIT Fund. Colombia,
2002. P. 50
[3] DUBOIS, Philippe. The photographic act. Op. Camilo Restrepo. The photograph. Page 43

Gia Vs Igi Certification

Confessions of Penelope, installation. 2005-6
Category First Prize Winner in the Making Shows Artists Visual Arts Department of Caldas 2007.

"I've always been fascinated by the needle, the magic power of the needle.

The needle is used to repair the damage.

is a vindication of forgiveness. "

Louis Bourgeois

This section intuits the relationship between art and everyday life. No looking for places or areas with a particular character or theme or persons with special features to find the relationship between art and the universe, and Javier Gil has pointed out in "In the Garden of Venus" (2003)


... beauty rests in the ordinary and mundane things. It is not the exclusive province of the arts, or the speeches looking for some truth in the name of art or spirit. Pertaining to life and is not colonized or reachable, emerge anywhere, anytime. We must not create a separate space to find the beauty in fact look at some place or in any particular practice is deprived of seeing her in the rest of existence " [ 1] .


While it is true that life experiences can not be ignored when entering the territory of aesthetics, art can address various issues even in the midst of daily life, simplicity is very close to the traditions of the East, they are based more on simple things and in this regard is important to highlight the condition of the existence of women in the history of mankind, the presence of women in art is a mirror that lets appreciate the maternal relationship can be established human beings with the universe.
And later, the author expresses this beautifully: Learning to grasp the substance accidentally as big as small a universe in detail, in a gesture there is perceptual ability of someone who knows a woman.


The metaphor is inscribed in Greek tragedy the Odyssey: Penelope, the woman waiting for the hero while tirelessly weaves in some semblance of patience and stoicism. His work is made of endless waiting and stubborn confidence in the return of her lover, while doing the world is falling to pieces, waiting to rebuild their tireless work.
Confessions of Penelope is a small drum set Bayadere, those where grandmothers embroidered long. Each contains a relationship between woman art, woman-time universe woman, woman-house. Photos, pins, patches, hooks, bits of thread - intimately remembered objects they represent an everyday world that identifies a specific group in society such as seamstresses, dressmakers, highlighting the way of perceiving the world, and also noted domestic activity of many women, giving a ritual value and validity as evidence of a culture that leads to the construction of women as a category contained in the human.


[1] GIL, Javier. Validity of Beauty. Eye of the journal Programs
Art and Design at the University of Bogotá Jorge Tadeo Lozano. 2003. P. 10.

Putting Walk Through Walls On Gpsphone

In Memoriam Book Details

Caratula In Memoriam. Artist's book. 2007

In Memoriam. Installation. 2006 .

"... In Memoriam is a name that comes from postmortem spaces and memorials ... is a tangible expression of permanence or, at least for duration, is proof of authenticity ... involves different time scales, moved to this by a registration body or past event and at the same time, in its aspiration of sustainability, it is projected into the future. We understand our name, in memory, the presence of the previously charged absence " [1] .

In Memoriam is past (dis) continuous, remembered and evoked by a pictorial language that is characterized by an emotional narrative, is a proposal that offers a tribute to a loved one party, not as a general experience or everyday life, but as a personal experience but that establishes relationships between a group. This tribute is a work full of visual words and pictures become words, intimate poetic elements, in the project is to clearly reveal the face of death look from the art.

Quotidien Morimura ie we die every day, every moment of our existence is a step toward death, death still remains one of the great questions of human beings in their journey through the world. Said Fustel de Coulanges (1864), "It was probably the face of death when the man had first Once the idea of \u200b\u200bthe supernatural and decided to wait beyond what he saw. Death, which was the first mystery, puts man in the way of the other mysteries, raise their thinking visible to the invisible, the passenger to the eternal, the human to the divine " [ 2 ]

separation from loved ones has been and remains one of the most devastating events that we experience, and although we are reluctant to accept it belongs to the comedy of life. Dying is part of our nature and give it a ritual value is part of every culture, no culture which is not characterized by their way of expressing loss and bereavement.

"Every civilization is the life of his way, which is unlike any other, and each has its sepulchral forms, but it would be as a civilization if it were somehow the (...)" [ 3]

"Every culture is characterized by its way of apprehending and dealing death, his own funeral rites, their practice of mourning and burial, his own assessment of the existence of collective life or individual life. No culture without cult of ancestors, without ritualization of mourning, not places and institutional modes of burial " [ 4]

Perhaps more tragic that the time is precisely the ritualization of mourning, this comprises a series of stages, all equally important , and that death is more natural it is, is the mystery that makes us human. The work of mourning, when death visits, carried out from the memories experiential, material, emotional and among the sharper the image of the absent, more shocking is the experience. Which means that what is imagined is not lost, at least in our memory. This value of the image in the process mourning is recurrent not only in the photograph exponents of cinema have produced films in which once again reflects the fact of death and the work of mourning to name a few: Sixth Sense, So far and so close or City of Angels Hollywood version, Ghost, Hiroshima Mon Amour.

"The work of mourning goes well by keeping a picture of one that is valid for a delivery. If the origin is confirmed, the astonishment at the mortal, download founder of mankind, would entail at the same time the religious impulse and the impulse plastic " [5] .

The confrontation with the body leads to the fundamental drive when we reflect on the mirror of the decline and loss. We are taken to another place where the image becomes the absent presence of the lost object, and all that remains is the nostalgia, the melancholy that tells us how to fill the void of extinction.

In Memoriam is a tribute in the midst of mourning and signifies the most poetic way of approaching already gone, is to recognize the loss in all respects, and release feelings to reinvent the image of the absent. The photographic images, almost always as evaded in the work of mourning, are just the support for this work, an image that is drawn through poems, songs and phrases that enhance the look of the loss, without ignoring the feelings of sadness and nostalgia, do not preclude discover and express the beauty even in pain.

[1] Aninat, Teresita. Thesis "in memory". Universidad de Chile. 2004. P. 46
[2] op. Debray, Regis. LIFE AND DEATH OF THE PICTURE. Paidós editions Iberica SA, Barcelona
, 1994 p. 26
[3] Debray, Regis. LIFE AND DEATH OF THE PICTURE. Paidós editions Iberica SA, Barcelona
, 1994. Page 25
[4] Derrida, Jacques. Aporia; Dying - awaiting (en) "limits of truth"
Paidós Editorial, Barcelona, \u200b\u200b1998. Page 77
[5] Debray, Regis. Life and Death of the Image. Iberian Paidós editions. Barcelona, \u200b\u200b1994.Pág. 26

Glory Hole In Oc 2011

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Baja Bug Construction

VOTE FOR THE IMAGINATION

Sergio A. Rubiano Romero
District University



Perhaps the dearth of poetic imagination in the Colombian educational framework does not allow the formation of the integral human being. From this arises the need to open an educational proposal that offers an affirmative stance toward the imagination, "We need a practice of the image (imagination) in education" [1], these words of the master Goyes Narváez describe what sentence may be considered a "campaign" as it refers to adopt or take an open mind about the reality, because the contemplation and ownership of this should be a common denominator to fulfill a pivotal role in the educational process is considers then the image as a starting point that generates the opportunity to develop or improve skills, attitudes and skills, including reading, writing and orality, and in this sense, it is the daily environment as an open book where each page has something to say and leave within each student.

In the classroom, they paid little attention to students and their worlds. The educational institutions are like in the movie "The Wall" industries mold conformity looking creatures that do not look beyond their noses, "The important thing is to repair as a way to happiness, in the poetic imagination as an educational practice [ 2], happiness must be considered as a therapeutic element in the daily life of the school.

Hence the urgent need to carry out a "campaign" to promote the election of the poetic imagination ... and although it has lost in previous elections (due to mysterious hands that have been commissioned to defame and subtract the true value), it is necessary to vote for her, because imagination reverses the order of "police and punish" in pedagogy. However, at election time the race gets tough, not only by the mysterious hands, but also by the lack of awareness and ability to understand that people have knowledge, the same action as the tyrant has degenerated knowledge of these, blurring vision and the ability to exercise autonomy should exist forever.

But, regardless of favorable statistics that show the supporters of this dictatorship, calls upon every citizen to rub their eyes, and recognize (in those games in the park in the antics of the breaks, field trips, in friends, pets and other items that were and are part of daily life in the life of a boy) the possibility of wonder as a way of liberation and knowledge. So, this little text adheres "to the head Campaign 'of the poetic imagination Goyes Narváez called Julius Caesar, and gives support to get out from many paradigms which have contaminated waste and school education.

NOTES [1] GOYES NARVAEZ, Julio César. "The poetic imagination. Affective and effective pedagogy, aesthetics and culture. " Magazine "Trial and Error." Year XII. No. 24. Caracas, 2003. p. 17.

[2] Ibid. p. 19.

Photo: Olga Garcia Ortegon.

Do Herpes Look Like Paper Cuts?

ALFORD: A PORTRAIT IN SEPIA

IVAN DARIO MESA BAPTIST UNIVERSITY DISTRICT

The sepia drawing allows use monochromatic color. In the same way the life of Alford is drawn into a single fund: its subjectivity. An individual who creates their own ways of being and the world deserve no less than adjective pioneer. One of the great legacies of modernity is the critical spirit, one's own way, extremely subjective, to assimilate and generate their own value system as well identifying everything that comes from their genuine will to power. But this will always be a rarity. And as such will be accompanied by some hints of melancholy. All melancholic is par excellence a skeptic.

When an individual decides to ignore the apparent normality, it becomes a perpetual foreigner in the scene of mankind. But as no beings are exempt from the imperative of herd no choice but to face it with a touch of social satire. Thus, relationships become a stock that will happen regardless of the will and as such are irrelevant. About Alford

things happen, events, circumstances, but do not seem to have a significant impact in their being. He is immutable, because these events only serve to confirm their ongoing voluntary separation historical time. Not even reaching your desired pleasure it can stimulate a minimum of enthusiasm. Away from normal, it is an eternal anomalous. Remember the character in the story of Peri Rossi "The Statue" or the status of "foreigner." Odious comparison to a man outside the literary experience, if written consents experience is because it is not others, what goes around but not pervasive.

Alford seems that you are interested in this but only as a force for the foreseeable future, ie when it is transmuted into the past. It is the ultimate viewer. As spectator renunciation of action. As their scale of priorities is made up stony early form, the attempt to modify any of its concepts leads to a hopeless solitary confinement. Each time he was interrogated, Alford withdraws, closes on itself. His accounts of successful communications is always red. Silence, in this character is so loaded with significance that is much more eloquent than words.

Photo: Andres Torres Guerrero.