Brazilian Wax Closeup

Video ergo sum

the summer of '94, a ninety-Karl Raimund Popper and physically debilitated, die in September of that year-to not give up be firmly based on its concern about the potential negative effects of television. The essay which Popper dedicated his reflections, the eloquent title Television bad teacher, was very well received internationally, but also discussed and criticized, not without some confidence in the ability of an old philosopher, born at the dawn of the twentieth century, to understand half still so young, such as TV, everything shown in the following century. But read again today, after fifteen years, his thoughts and his warnings do not seem so outdated and unfounded. His major concerns are addressed to the force with which the audience can read the race to shape television programs by dragging more and more towards a private fund quality. Violence, sex and sensationalism would thus be the spice of a flat media virtually tasteless and cooked with increasing incompetence.

The problem with this point becomes Popper education: television, defined as mercantilist, continues to occupy an area more extensive in the growth of children who do not yet have the tools to deal independently and critically on the television viewing. The Austrian philosopher, who in the early '30s he had taught in secondary schools in Vienna, emphasizes the artificial, man made, a television is in all respects by man, and therefore can not bear the characteristics of natural and neutrality that seem to implicitly attributed by our society. But Popper television is not doomed to be a bad teacher. He who does not forget that the television medium is an integral part of which it is responsible, whether we like it or not, even the education of children and teenagers. To make the best television fulfills its educational role Popper suggests, perhaps arousing criticism on this point firmer, the establishment of a license, permit, a document certifying the competence and professional quality those who produce, develop and participate in the implementation of programs. Although the proposal appeared to be very naive and a bit more 'rigid and even dangerous - to the possibility that "licensed" to become a caste monopoly of the means and its contents - is clearly a significant accountability gap to be filled.

And the debate that takes daily on the public-television-in and out is always looking for faults, merits and demerits of this irresponsibility. Popper's solution appears to have been abandoned for the moment, but nothing has taken its place.

For the record, we must remember that Popper had as a reference in its investigations of the private television Murdoch and Maxwell, and knew little about the Italian situation. However, it is known Italian author of a provocative text on changes in the anthropological television vo subjecting the man. In Homo Videns , published for the first time three years after the essay Popper, Giovanni Sartori argues, without delay, the impoverishment of the human cognitive by television. The dominance of the visible sull'intellegibile lead the viewer to see the lazy automatic without understanding of the benefit liabilities of a sequence of images without any need for intervention by the abstract capacity and imagination, which are the basis for the development of thinking man, his evolution as a species. Sartori also not forget the role, always in this direction, the internet phenomenon that will bring the ' homo digitalis to replace its recent ancestor homo prensilis . It is not just a genetic modification, television has radically transformed the conditions of our society: public opinion is telediretta, born and depends on the screen. Politics has become videopolitica, and politicians can not help but become moving pictures and to exploit the effectiveness invasive opinion leadering television. Popper, moreover, is still to assume that "a new Hitler would with television, infinite power."

no shortage of those who intend not to demonize the medium of television, not to make the goat sin of lack of accountability on the part of traditional intelligence agencies - school and family in the first place. But the fact remains that the use of television content, ordered by the continuous programming schedule or freely chosen in the network, occupying most of our time, and besides watching, television, broadcasting content, we talk, discuss, and is written, so that even the press can not help but refer to what happens on TV, far beyond the borders of the pages of cultural criticism. The television has become a matter of record, is entirely part of reality. The sensation aroused by the recent revelation of the mother of Sara Scazzi to Chi l'ha visto? the discovery of his daughter's body, without the live TV link to be suspended, it is only the latest example. The problem, as Sartori does not fail to highlight is that the television picture is not real is mediated and constructed by the authors is the product of their choice to act on reality, communicating to the audience's point of view, the own opinion.
Ultimately, apocalyptic or integrated, the big question of the potential of the medium-television message remains open.

Judith Grechi

Gutwire Jumper Leaders

Interview with Massimo Bernardini journalist and host of a TV talk RAI3

begin with a simple question: how did the Italian TV?
Italian television was born in '54, headed the Democracy Cristiana.Fino the late 70's was a highly educational television, but also capable of opening the best in the country, the great intellectuals like Eco, Vattimo, Guglielmi , Furio Colombo . He then realizes that the enlightened management of DC can not be the only guarantee of pluralism, then - and we are in the mid-'70s - was born the so-called Reformation, which coincides with the end of Bernabei direction. The RAI is tripartite: the DC is the first channel, the secular-socialist the second to the Communists and regional television.
Then, in the '80s, comes this strange man from the building called Silvio Berlusconi . And he is the only one who understands something fundamental: to make the fortune of the TV commercial you never have to decide what areas and how to use them, but given the opportunity to force small businesses to participate in the banquet television.

is commonly believed that the arrival of this new television, culturally worse than the previous year, also has a negative impact on people, rimbecillendole
... There is a very banal to address the problem, but if we face it in terms anthropology is very serious. In a society like ours, where so-called educational institutions - the church, school, family, parties, the working class - are losing their strength training, television has taken an apparent weight in terms of anthropological models. This is a real problem, because most of the Italian population receives its heavily on television, at the expense of other media.
The television commercial, by its nature, has never taken a pedagogical or educational problems, but only the task of maximizing profits . Mediaset This was one of the most blatant examples of Europe. However, where there is a fee paid by the citizens la RAI avrebbe dovuto mantenere il proprio lavoro di servizio pubblico, ma con la corsa alla massimizzazione degli ascolti si sta dimenticando cosa voglia dire fare servizio pubblico.

Quale può essere la soluzione?
Sto diventando sempre più scettico a riguardo. Se lei mi avesse fatto questa domanda cinque anni fa, le avrei risposto: sì, bisogna fare, costruire... Dentro la RAI c'è ancora una bella fetta di persone che è cresciuta dentro un grande progetto culturale, e ne ha memoria, ce l'ha nel suo dna, ma non è questa la RAI che ha figliato. E man mano chi ha costruito l’identità forte della prima RAI se ne andrà. Ormai c'è una classe dirigente which largely does not know how to make public service , this is the truth and this is doing to die.

About pluralism, even today the RAI channels, as well as institutional ones. Who is television at the moment, who is the real author, who are those that regulate television programming, writing programs, etc.?
now we are a strong personality that goes for television. An example: Maria De Filippi. E '50% of Channel 5, and then as De Filippi, thanks to its ability to make plays, make the body with the country, to play a certain type of young class. Parallel to De Filipp i can match Carlo Conti. Paradoxically Conti, who is apparently "a thing devoid of personality," in fact gives a strong figure at this time to RAI, which is unfortunately a number of revivals, memory, memory.

It's no programmatic idea.
No. Berlusconi began to experiment: network managers, so managers an editorial line, but marketing people, who could meet the target audience. This model has also moved into the RAI. Let me give you a very significant example. Inside the RAI is becoming more and more the idea of \u200b\u200bentrusting the networks of journalists, which is makes no sense: the journalist does not know the schedule, the journalist has a different type of training. Yet we think of Del Noce, Mazza, Ruffini, Di Bella. The two main networks RAI 1 and RAI-3 - are directed now at least fifteen years by journalists. Before the cursus to become director of network was different.

Switch to TV Talk. She has a young editorial staff are all university, right? What do you see these kids, born with a television, for example with respect to the teachers in this program? Note the difference in the interpretation of things?
Oh yes, because the whole story of which I spoke before, kids today do not know. I was born a couch potato as a child, RAI but couch potato, while the boys are grown in Mediaset. But there is another problem. Today we are worshiping, in terms of inflows, the Faculty of Communication Sciences, which are the real boom of the last fifteen years. We are turning out, and the same goes for those studying journalism, tons of graduates who do not know how to use.

you think television is still a revolutionary means, it still has the ability to change things when he was born? Or it is always less than the Internet, for example.
I have the impression that it is intended to tarnish a bit '. What strikes me is that you are claiming a modello di rito televisivo che non ha più al centro l'appuntamento televisivo. Tutto si può seguire in differita sul sito RAI, al di là del giorno di messa in onda. E questo rivoluzionerà i palinsesti. Secondo me l’impero della tv generalista finirà fra una decina d’anni, forse meno. La pubblicità andrà da altre parti, come già sta succedendo: sta scendendo vistosamente dai giornali, poi scenderà dalla televisione generalista, e quest’ultima si ridurrà di peso ed entrerà in un mezzo come internet, spezzettata e sparsa. Però c'è ancora una cosa da risolvere: il modello di business. Finora dentro la tv generalista era chiaro come si poteva sviluppare il rapporto fra advertising and fees, as you could fall in costs. With the Internet model is still immature. Everybody is running to the pay-TV, have realized that the real business to work on, now that the advertisement is in crisis is a product tailored to the viewer who is willing to pay. It will become increasingly so.
How will the television of the future?
How will frankly do not know. I see that the future is a mess, especially if you do not solve business models, that is the true profitability and work. For now all we see is produced by a previous business model-or advertising-fee. There is still based products generally, though perhaps they are watched on YouTube and not only through the canonical broadcast. We see a family doctor, Checco Zalone, Susan Boyle, those pieces of general television are still paid by an old business model. But if this fails? Someone has to pay the Zalone , someone has to pay the cameraman, the scene, the theater. Same thing is going to happen with the music: who pays them drive in the end? We download all for free - great - but in the end, when you have to pull out those thousands of euro to go to the recording studio, who hunt them this money?

The idea that we must pay for these things today is almost an insult, but it can not last forever, because otherwise the players will end. The musician has to eat. This is about understanding who invent new models. So it will be a new world, we see that the world will be.


Giuseppe Argentieri and Judith Grechi

Moutn And Blad Free Seriel Number Online

Diary of mobilization - the manifestation of the December 22

From the direct testimony of the protagonists, the news hour by hour the students' demonstrations against the Ddl Gelmini.
Diary of the day of 22.12.2010.

-Today we vote in the Senate Reform Gelmini.

-H 9.30 before the appointment of Milan with a garrison, to gather strength and organize. There are many television stations interested in the story but almost all are invited to leave.

-H 10.30 you get into the State, room 211, for a brief meeting and to organize the ideas in the day. Despite the cold and rain, the amount of participants to be good, about 300 heads, more academic than usual, the beginning is encouraging. Too bad that perhaps lacks a little 'quality, as opposed to quantity.

-Proposals for the morning:

1. Set off by taking the road to Sempione.

2. Block 94 and the bypass line, after which you reach via Padua to express solidarity with immigrants and the whole suburbs in crisis.

-H 11:10 we leave the state heading towards Corso di Porta Romana through the cobblestone alley that alongside the church of San Nazaro Maggiore, and it is here that face the first jitters of the riot that club the head of the procession and then get back to university hastily and a little 'clumsy in line with other compartments of the police. 12:00

-H are in Via Francesco Sforza, and after several blocks due to the fact more rapid than to us, we decide to divert the path to political science. Despite the importance of the day, the tension does not seem to feel much.

-H 12.30 overcome to achieve Political Science via Padova.

-H 12.40 Piazza Tricolore e il relativo incrocio vengono bloccati.

-H 14.00 dopo aver ricevuto il sostegno e l’incoraggiamento a proseguire dagli immigrati di via Padova torniamo in Statale per raggiungere un corteo dei medi.

-H 16.30 raggiunti i medi in Statale e pranzato, la gente che ci ha seguito fino a questo momento decide che è evidentemente meglio tornarsene a casa, anche se il voto avverrà solo fra un’ora.

Nonostante l’aggiunta dei medi ai nostri numeri siamo pochi.

Usciti dal retro della Statale e giunti in via Francesco Sforza siamo così pochi che la celere riesce a circondarci nella via: la cosa è sconvolgente. Sembra manchi poco allo confrontation.

manage to negotiate an escape that allows us to take refuge in universities. Inside you try to figure out what to do, the rant is more about a clash with the swift that awaits us if we would go out outside. Violence seems to be at the gates, but many lack the determination, the minds are not ready to accept it and realize it. We decide to hole up in the university, more like rats and as a university library in revolt, and break into the Rectory. 17:00

-H staff of the Rector, including the Rector slopes, the barrier will shelter, and after trying quite a stretch to the gates of bankruptcy Digos enters, silent as snakes crawl out from under the stairs and we swoop down from behind. If you notice that time flies dispersing. The most unfortunate

prolong their dying day fleeing for various corridors and stairs to reach the same number of main courtyard.

We few, we the Digos equal to or worse than us in number.

There we go, another day, another battle has been lost.

-Back in our home we hear the news: the reform is passed.

Despite protests across Italy and showed no consent of the people towards the processes involved, the government has declined over the heads of its citizens the specific intention of privatizing the universities, disregarding contrary to popular opinion.

If that's not enough just to replace him determined to fight and we're really on a ship destined to sink. I guess David

Dmv Driver's License Renewal Where Columbus Ohio

Auguste Rodin exhibition in November 2010 Editorial

120 works to discover the great French artist

The town of Legnano, in the setting of the Palazzo Leone da Perego, hosting the largest retrospective ever made Italy the great French artist, who lived in the second half of the 800. The exhibition Rodin. The origins of genius, in the course until March 20, will trace the career of painter and sculptor through a series Fine (120 drawings, sculptures and paintings unpublished) that tell the production of Auguste Rodin in the art world from the beginning, until you reach the maximum expression of his stylistic development, embodied by the famous Gates of Hell.
out the transition from Rodin still bound to an expression bourgeois art, the metamorphosis in the artist "modern" that combines a monumental trial, a journey through painting and sculpture.

The show opens up with the early works, dating back to 1854, when the artist was a student of the "Little School" where he acquired a solid formazi one technique based on the design and decorative arts. In addition to portraits of family and friends, even traditional taste, stand out in bronze and marble busts of the man from a broken nose, considered by Rodin himself his first real sculpture. It continues with a series of paintings and granted for the first time to Italy from the Musée Rodin in Paris. The interlude devoted to the study of landscape painting in Belgium has a tradition of masters such as Corot and Courbet and is fundamental to the studies on light and space artist, subsequently used in the sculpture.
If in the course of her career Rodin sought the favor of critics and art circles in France, has not waived its right to formulate its own language, in the balance balance between classic and modern monuments, which will make its often hostile to the world of academia where he aspired to join. The innovative elements that characterize the most mature work of Rodin, however, are the elements that fascinate the viewer today.

The exhibition of sculptures such as The Age of Bronze and St. John the Baptist, a change of course compared to previous work, full of great evocative power together with the lesson of classical teachers (first of all Michelangelo), all seem to herald 'central work in the experience of Rodin: The Gates of Hell. His talent was finally recognized by the most influential leaders the art world, so much so that the state commission in the door to the Rodin Museum of Decorative Arts in Paris. The port becomes a hotbed of experimentation for the artist, which is measured by the strength of the work of Michelangelo, which is located in the contrasts of light and shadow and the powerful structure of the bodies.
is where the viewer finds himself to marvel at his studies of Dante's characters, the protagonists of the door. Kiss opens the series, followed by a plaster version of almost two meters of the Thinker (identified by critics as a sort of reference to Rodin himself) and, finally, the look can only be catalyzed by the imposing bronze version of The three shadows, synthesis of all his research formalistic.

arrive in front of a rundown of the major works of Rodin is undoubtedly an experience of great impact, opportunity, then, for those who know and appreciate the talent of the artist in Paris, but also for those who approach is the first time.

Valentina Taglieri

On display until March 20
Palazzo Leone da Perego
via Gilardelli, 10 - Legnano (Mi)
Tel: 0331 471 335
sale@legnano.org

Codice Attivazione Bluephoneelite2

Each act of violence towards a player in politics, the statue against Berlusconi al fanta-attentato a Belpietro, tornano in auge le condanne ai “seminatori d’odio”. Chi attacca con troppa veemenza un rivale politico sarebbe responsabile del comportamento di un qualsiasi squilibrato che, guidato dalla mano invisibile dell’odio ideologico, scagli statuette o proiettili inceppati verso il nemico di turno.
La pretestuosità dell’argomento è ben evidente anche alle anime belle che si abbeverano alla “stampa dell’amore”. Siamo però sicuri che l’odio sia un sentimento così illegittimo? In nome di che principio non sarebbe possibile, nell’intimo della propria casa, odiare un’altra persona? Esiste forse un obbligo al “volersi bene”, al di fuori delle aule del catechismo? L’odio in sé è perfettamente legittimo, a patto chiaramente che non si traduca in azioni concrete. Il codice infatti proibisce la pratica violenta o l’istigazione, ma fortunatamente non si occupa di stati dell’anima.
E chi non odia nessuno? Fa benissimo, se trova preferibile un’etica personale che suggerisce ecumenicamente di amare il proprio nemico. Ma attenzione, non confondiamo un personale convincimento con la normatività della legge, che non distingue tra giusto e sbagliato ma solo tra legale e illegale. Il rischio è quello di ritrovarsi in uno stato etico simile a certe società anglosassoni, dove i politici si dimettono per aver tradito la moglie. Stiamo attenti a non replace an already weak ethics of the offense, such an anachronistic ethic of sin.

Filippo Bernasconi

Genital Herpes Look-alikes

Three books for 2011 and the city lights

Cesare Segre, Ten tests fantasy, Einaudi, 2010
"It's up to you to choose between these fragments of history with no connection, and a story (let's say legend) that its logic and its beauty. "The literary work is this: a choice. You choose to approach a text, or a series of acts in a certain way, and let them into the public domain: this body is not always enriched by new works, or even variations of the same fable, or narrative core. And this at the bottom il lavoro che si propone Segre, dopo una vita dedicata alla filologia e alla critica letteraria: mettere in parole quel procedimento di ri-uso fino ad ora solo analizzato, cimentarsi nel campo della narrazione rimanendo legato ai testi oggetto dei suoi studi. Ecco allora una diversa e sorprendente versione della storia di Rolando, qui cavaliere violento e gradasso, o la risposta di Charles Bovary allo scrittore che lo ha reso simbolo dell’inettitudine dello sciocco medico di campagna, o ancora le confessioni degli stratagemmi messi in atto da Isotta per celare al marito Marco la sua relazione con un Tristano imprudente e beffardo.

Forse l’aspetto più interessante di queste prove, non poi così fantasiose in verità, è quello metaliterary: the reuse of texts is not as simple as we believe, and even with the advent of printing we are accustomed to consider the work completed a fact since there are so many versions passed by word of mouth through the various minstrels, singers, court poets, in fact, the text is versatile and in constant metamorphosis and regeneration: become a paradigm, the possibility of reading and rewriting are always open. We think the story of Roland-Orlando, so often interpreted in antiquity, from the origins to the great oral epics of Boiardo and Ariosto.

Among events only possible as the last night of Pavese, or different representations of characters ormai divenuti quasi di carne e sangue nell’ immaginario collettivo, o improbabili interviste con Giulio Cesare che confronta i meccanismi di potere dei suoi tempi con quelli di oggi, l’autore a volte si lascia prendere dal tono erudito dello studioso, eccedendo forse in nozioni e dettagli un po’ scolastici, ma si risolleva con l’ironia della voce fuori campo o del punto di vista.

L’intervista immaginaria a Marie le Jars de Gournay, figlia adottiva di Montaigne, è una sorta di mise en abyme: come l’autore ha inserito del suo in storie da lui amate, così la donna è sospetta di aver variato gli Essais del padre nel curarne l’edizione. Quasi che, quando si ama troppo un testo, non si possa help but change it to read it ever again.

Cesare Segre, Ten tests fantasy, Einaudi 2010, p. 104, € 12.00.

Irene Nava

Pino Cacucci, However, no remorse, Feltrinelli A bullet hole at the left lung, his face is completely swollen. Bonnot has small shoulders, and looking at the photograph of his corpse, shirtless, lying on a wooden table, almost looks like a boy. The day of his death there was a whole army. Units of the gendarmerie, police, firefighters, citizens armatisi voluntarily for the occasion, curious, local and national reporters. There was even a camera, in its infancy in the world of crime. The day of his death, Jules Bonnot was the most famous man in France. An anarchist, a murderess, a criminal, one of those who were betrayed by history, and who sought all his life his own revenge. With

However, no remorse, Pino Cacucci tells the story of Bonnot, how, by the son of a poor worker lost his mother at the beginning of the twentieth century has become, in turn, worker, then a soldier, father and betrayed lover, a criminal, a skilled mechanic, driver of Sir Arthur Conan Doyle, a new lover, and finally head of the notorious Bonnot Gang, the first car use in armed robberies. What we do know Cacucci is the other side of the Belle Epoque, one made of misery, violence and oppression. It's the story with the tiny, one of the losers who try to hide and forget in a hurry. Behind the displays of modernism and luxurious lounges and upper-class aristocrats and the courts of Europe, lie the violence and corruption of the state, the squalor of the suburbs, the lack of freedoms now more than obvious. Some reflection of the landscape painted by Cacucci comes but to this day: the work that kills, repression in the streets, personal freedoms in crisis, the failure of institutions to turn the look in the direction of progress. And the distance between our time and that of the story is even more subtle, almost disappears due to visceral narrative of the author. The smells and sounds are made palpable, the vividness of the representation is full. The reader follows from the thoughts and the feelings of the protagonists, is a participant. But when he wants to influence behavior, the characters get out of hand and they make their way. However, no remorse is a story, there are many little stories that you would like to change, but have been cruelly written and filed from time. Fellini said that Cacucci "is a craftsman, a builder of plots, atmosphere and characters. " This book is an excellent example.

Pino Cacucci, However, no remorse, Feltrinelli, Milano 2001 (first edition: Longanesi, Milan 1994), p. 308, € 8, 50.

Judith Grechi

Carlo D'Amicis, The Perfect Beat, Minimum Fax, 2010

protagonist of this novel is the Spina family.

's father, Philip, simple and honest man, an elementary school teacher, said the television, this new invention, and sensed right away that will bring the people most complete ignorance.

son, Canio, the exact opposite Strong voter Italy, whose sole purpose is to please everyone, renamed in honor of Silvio Silvio II who loves so much, rebels against the ideology of the father to escape to Milan, making advertising salesman, and even counselor by Berlusconi.

Through this generational conflict is revealed the tragedy of the Italian revolution which, after having hidden for years behind middle-class respectability, went to the apotheosis of superficiality.

D'Amicis complaint as a people that is identified in the superficial and artificial world of show business, driven by advertising, and the perfect stop talking about this, our country, and the decline that has earned it.

Carlo D'Amicis, The Perfect Beat , Minimum Fax, 2010, p.363, € 15.00.

Francesca Di Vaio