#informe

[viejospellejos]

Ni Balón de Oro, ni informe PISA ni leches, este es el ránking más importante del año:

[carabanchelnet]

📌La vecindad de la UVA de Hortaleza sale a limpiar el barrio ante el abandono del Ayuntamiento de Madrid 📌FACUA Madrid exige al Ayuntamiento de la capital que remunicipalice la gestión de los centros deportivos 📌Miguel Ángel Rodríguez: el hombre de Aznar y Ayuso que pasará a la historia por sus amenazas a periodistas 📌El horror de las residencias de Madrid 📌… Y MÁS …. https://carabanchel.net

[lisa-palacios-3004]

Tema 8 - Informe: Sarduy

Imagen recuperada de: Fernández, Tomás y Tamaro, Elena. «Biografia de Severo Sarduy». En Biografías y Vidas. La enciclopedia biográfica en línea [Internet]. Barcelona, España, 2004. Disponible en https://www.biografiasyvidas.com/biografia/s/sarduy.htm

Severo Sarduy, destacado escritor, poeta y crítico del arte procedente de Cuba, ofrece su perspectiva sobre la arquitectura barroca en su ensayo "La Cosmología Barroca: Kepler".

Imagen recuperada de: Biblioteca de Google Drive de Historia de la Arquitectura II

Sarduy profundiza en la intrincada interacción entre la estética barroca y el simbolismo cósmico. Las principales ideas o temas que Sarduy destaca en el texto son las siguientes:

1. La influencia de Kepler

Johannes Kepler, Episode #7 of the course “Unknown Scientists Who Changed The World”. Imagen recuperada de: enlace

Al vincular la estética barroca con temas cósmicos, Sarduy se inspira en Johannes Kepler, el renombrado astrónomo. El innovador trabajo de Kepler sobre el movimiento planetario y la armonía celestial resuena con las formas en espiral y los ritmos dinámicos de la arquitectura barroca. Kepler descubre el movimiento heliocéntrico de los planetas, lo que provoca un cambio de paradigma no sólo en la ciencia, sino en la manera de percibir la existencia humana en general en el siglo XVII, siglo de crisis existenciales y cambios de perspectivas.

La arquitectura barroca, de acuerdo a Sarduy, utiliza estos mismos modelos y figuras de elipses para todo tipo de edificaciones; se trata de una elasticidad del círculo, una "dilatación longitudinal". Ya la estricta perfección y orden del Renacimiento no se toman al pie de la letra. Las concepciones de la cosmología antigua y los órdenes clásicos empiezan a desdoblarse en la arquitectura, llevando a -en palabras de Sarduy- una "dialéctica formal", un diálogo dinámico entre las formas y las posibilidades que existen en ellas.

Extraído de página 185 del libro Ensayos generales sobre el Barroco. 1987

Se pasa de una estricta e inamovible perfección renacentista del círculo a una dinámica y cambiante "imperfección" del elipse, cambiando los puntos focales y la manera de percibir y experimentar el arte y la arquitectura.

Sarduy celebra la visión de Kepler como un puente entre lo terrenal y lo cósmico, reforzando la simbiosis entre arte y ciencia.

Plan of the Late Baroque Basilica of the Fourteen Holy Helpers by Balthasar Neumann, constructed between 1743 and 1772. The altar is in an oval in the center. Reecuperado de: enlace

2. El Barroco como espejo cósmico

Sarduy sostiene que la arquitectura barroca sirve como reflejo del propio cosmos. Las fachadas ornamentadas, los detalles intrincados y las formas dinámicas que se encuentran en las estructuras barrocas reflejan la complejidad y la grandeza del reino celestial. Así como los cielos están repletos de cuerpos celestes, los edificios barrocos rebosan de plasticidad, geometría compleja y transgresión de los órdenes clásicos, creando una sensación de abundancia y exuberancia cósmica.

Palacio de San Telmo in Seville by Leonardo de Figueroa (1682–1754). Recuperado de: enlace

Royal Palace of Amsterdam by Jacob van Campen (1665). Recuperado de: enlace

Baldaquin by Bernini in the Basilica of Saint Peter, Rome (1623–34). Recuperado de: enlace

3. La tensión dinámica entre orden y caos

La arquitectura barroca encarna una tensión entre el orden y el caos, entre la realidad y el engaño, entre lo preciso y lo ambiguo, entre la complejidad y la practicidad para resolverla. Sarduy ve esta tensión como un microcosmos de la lucha cósmica entre las leyes cósmicas y la entropía. La elaborada ornamentación estructural (columnas retorcidas, escaleras de caracol, e ilusiones ópticas) simboliza la danza perpetua entre fuerzas cósmicas. Los arquitectos barrocos buscaron armonizar estos elementos opuestos, creando un delicado equilibrio que resuena con el equilibrio cósmico.

Retable in the Sagrario Chapel of Segovia Cathedral (1686) by Jose Benito de Churriguera, the earliest architect of the Churrigueresque style. Recuperado de: enlace

Interior of the Church of St. Peter and St. Paul in Vilnius, designed by Jan Zaor, Giambattista Frediani and completed in 1701. Recuperado de: enlace

4. La teatralidad del espacio

Para Sarduy, la arquitectura barroca es inherentemente teatral. El juego de luces y sombras, el uso dramático de la perspectiva y la ilusión de movimiento dentro de estructuras estáticas evocan una sensación de actuación. Justo cuando los actores suben al escenario, los edificios barrocos invitan a los espectadores a participar en un drama cósmico. El escenario arquitectónico se convierte en un lienzo para narrativas celestiales, donde los mortales interactúan con fuerzas y conceptos que les trascienden.

Hall of Mirrors in the Palace of Versailles by Jules Hardouin-Mansart (begun 1678–1686). Recuperado de: enlace

Library of the Clementinum, the Jesuit university in Prague (1722). Recuperado de: enlace

5. La búsqueda de la trascendencia

Los arquitectos barrocos buscaban la trascendencia: elevar los espacios terrenales hacia lo divino. Sarduy ve esta aspiración como un reflejo del deseo de la humanidad de conectarse con el cosmos, de la inmortalidad, de lo que está más allá de nuestra existencia limitada y efímera. Las elevadas cúpulas, los intrincados frescos y los motivos celestiales evocan una sensación de ascenso, invitando a los espectadores a trascender la existencia mundana. La arquitectura barroca se convierte en un conducto para la comunión espiritual, uniendo lo terrenal y lo celestial.

Interior view of dome of the Church of the Gesù by Giacomo Barozzi da Vignola, and Giacomo della Porta. Recuperado de: enlace

Oriental Orthodox Church. Smol'nyy Cathedral in St. Petersburg, Russia. Recuperado de: enlace

Asamkirche interior. Recuperado de: enlace

A modo de conclusión personal, puedo decir que este ensayo de Sarduy sobre la arquitectura barroca y su relación con los descubrimientos de Kepler me ayuda a comprender de mejor manera el desarrollo del barroco y cómo se diferenció considerablemente de lo que se venía proyectando durante el Renacimiento y el Manierismo.

Como todo movimiento histórico, el Barroco se produjo en un contexto muy específico donde los nuevos descubrimientos tambaleaban las concepciones que tenían, tal como lo fue el descubrimiento del movimiento heliocéntrico de los planetas.

Los arquitectos y artistas barrocos adaptaron este nuevo entendimiento a sus oficios, abrazando la crisis que trae el cambio, creando cosas nuevas sin olvidar lo que les precedía (los elementos y conceptos clásicos, el orden y la simetría). En la arquitectura barroca, se busca que todos los elementos se vuelvan piezas que contruyan una experiencia, donde la edificación no sólo se recorre, sino que se viviera.

[laura-borja]

Farinelli, il castrato (1994)

Informe

  De inicio a fin, esta película nos muestra una escenificación de la nueva vida en el Barroco, donde el drama, el teatro, la extravagancia, lo inusual y la tragedia… nos hace compañía a lo largo del filme, a medida que el señor Carlos Broschi o Farinelli, vive su vida.

  La escenografía nos muestra una visión particular y realista del Barroco, nos mete de lleno en ese ambiente y nos da un vistazo de las muestras artísticas de la época, especialmente de la música a través del teatro y la ópera, ayudándonos a entender, un poco más, la importancia o el peso que representaba el arte en aquel entonces.

  Sinceramente, debe haber sido sublime y un privilegio, tener la oportunidad de presenciar y disfrutar de la interpretación dramática y musical del mismo Farinelli. Su canto, y la escenificación de este, en conjunto con la orquesta, logran una experiencia teatral completa. Tiene el sello del Barroco por todos lados.

  Es interesante ver los distintos espacios ambientados: como sucede al principio del filme, donde vemos la plaza como un espacio de entretenimiento para el disfrute del público, similar a un escenario al aire libre. Como un símbolo para representar el poder civil.  Así mismo, los espacios verdes también están presentes. Aunque solo aparecen como vistazos de los jardines que componen el complejo del Palacio Real de Felipe V.

  Por otro lado, el haber nacido en la época barroca, dónde la música tomó auge después del nacimiento de la ópera como espectáculo, este señor prácticamente vivió de gira en gira compartiendo su voz y arte con el mundo. Gracias a la delicadeza de su voz por ser castrato, estuvo vinculado por muchísimos años en el entrenamiento de la realeza española.

  El registro vocal de Farinelli es de otro mundo, es impresionante su capacidad para conmover al público. Canta con tanto sentimiento, que pareciera sacudir hasta lo más profundo del alma.  Aquí encaja la frase en donde dice que: "La mejor música, debe ser capaz de tocar el corazón"  y al final, eso es el arte, aquel fenómeno capaz de despertar algún tipo de emoción. Sabiendo esto, vemos que el Barroco sigue un esquema similar, porque nos hace sentir algo, nos mantiene eufóricos y expectantes, en donde los espacios se conciben para ser disfrutados.

  Lo mismo sucede cuando dice: "Necesito una música capaz de despertar ese fragmento del infinito que duerme en el fondo”  esto es fácilmente comparable con la nueva tendencia del Barroco, que se caracteriza por la emocionalidad, la espectacularidad y la escenografía. Esa nueva intención teatral que busca representar el artista en sus obras. Que, incluso, se ve envuelta en la propia arquitectura.

  Las plazas, los teatros, las escaleras, los salones de la corte y las habitaciones de los palacios, que van apareciendo en el transcurso del filme, todos estos, son espacios que contribuyen a darnos una idea más clara, de la vida que era llevada en aquel entonces.

El Palacio Real de la Granja de San Ildefonso

[sunbentshadows]

Hey all, you know how internet searches suck now? When the results are awful, full-of-AI, death-of-the-internet levels of bad?

Start appending date constraints to your searches - "before:2023".

My results have gone from 90% AI bullshit to ~60% usable - which frankly at this point is a huge improvement.

[somesecretpie]

Greetings bugs and worms!

This comic is a little different than what I usually do but I worked real hard on it—Maybe I'll make more infographic stuff in the future this ended up being fun. Hope you learned something new :)

If you are still curious and want to learn more about OCD, you can visit the International OCD Foundation's website. I also recommend this amazing TED ED video "Starving The Monster", which was my first introduction to the disorder and this video by John Green about his own experience with OCD.

The IOCDF's website can also help you find support groups, therapy, and has lots of online guides and resources as well if you or a loved one is struggling with the disorder. It is very comprehensive!

Reblog to teach your followers about OCD

(But also not reblogging doesn't make you evil, silly goose)

[riacte]

not romantic not platonic but a secret third thing [what would happen between earth and the moon if the earth stopped spinning as illustrated by xkcd randall munroe]

[literallyaflame]

how do conservatives think talking to children works? if a four year old came up to me and said “i’m a cat!!” i would say “really? what makes you a cat?” and they’d say some shit like “i have claws >:)” and i’d be like “oh wow, you do have claws. but wait, i thought cats had pointed ears!” and they’d say “they DO!!!” and then i’d pull up a picture of an elf and ask “is THIS a cat?” and they’d yell “NOOOOOOOOOOOOOOOOOOOO”

u wouldn’t say “fucking hell, Emily, get it together. this is the real world”

[captainsaltypear]

IS ANYONE ELSE GONNA TALK ABOUT THIS OR

[lemonmatronics]

Be furious.

Be absolutely enraged.

Images put together by wearthepeace on Instagram, found them here

[throesofincreasingwonder]

"A story doesn't need a theme in order to be good" I'm only saying this once but a theme isn't some secret coded message an author weaves into a piece so that your English teacher can talk about Death or Family. A theme is a summary of an idea in the work. If the story is "Susan went grocery shopping and saw a weird bird" then it might have themes like 'birds don't belong in grocery stores' or 'nature is interesting and worth paying attention to' or 'small things can be worth hearing about.' Those could be the themes of the work. It doesn't matter if the author intended them or not, because reading is collaborative and the text gets its meaning from the reader (this is what "death of the author" means).

Every work has themes in it, and not just the ones your teachers made you read in high school. Stories that are bad or clearly not intended to have deep messages still have themes. It is inherent in being a story. All stories have themes, even if those themes are shallow, because stories are sentences connected together for the purpose of expressing ideas, and ideas are all that themes are.

[moonlayl]

From the court today. Israel IS committing a genocide.

[shopcat]

the baby has one parent's little face marking thing and the other's coat because they're a little horse family the world is a beautiful place

[inkskinned]

because sometimes there are invisible tests and invisible rules and you're just supposed to ... know the rule. someone you thought of as a friend asks you for book recommendations, so you give her a list of like 30 books, each with a brief blurb and why you like it. later, you find out she screenshotted the list and send it out to a group chat with the note: what an absolute freak can you believe this. you saw the responses: emojis where people are rolling over laughing. too much and obsessive and actually kind of creepy in the comments. you thought you'd been doing the right thing. she'd asked, right? an invisible rule: this is what happens when you get too excited.

you aren't supposed to laugh at your own jokes, so you don't, but then you're too serious. you're not supposed to be too loud, but then people say you're too quiet. you aren't supposed to get passionate about things, but then you're shy, boring. you aren't supposed to talk too much, but then people are mad when you're not good at replying.

you fold yourself into a prettier paper crane. since you never know what is "selfish" and what is "charity," you give yourself over, fully. you'd rather be empty and over-generous - you'd rather eat your own boundaries than have even one person believe that you're mean. since you don't know what the thing is that will make them hate you, you simply scrub yourself clean of any form of roughness. if you are perfect and smiling and funny, they can love you. if you are always there for them and never admit what's happening and never mention your past and never make them uncomfortable - you can make up for it. you can earn it.

don't fuck up. they're all testing you, always. they're tolerating you. whatever secret club happened, over a summer somewhere - during some activity you didn't get to attend - everyone else just... figured it out. like they got some kind of award or examination that allowed them to know how-to-be-normal. how to fit. and for the rest of your life, you've been playing catch-up. you've been trying to prove that - haha! you get it! that the joke they're telling, the people they are, the manual they got- yeah, you've totally read it.

if you can just divide yourself in two - the lovable one, and the one that is you - you can do this. you can walk the line. they can laugh and accept you. if you are always-balanced, never burdensome, a delight to have in class, champagne and glittering and never gawky or florescent or god-forbid cringe: you can get away with it.

you stare at your therapist, whom you can make jokes with, and who laughs at your jokes, because you are so fucking good at people-pleasing. you smile at her, and she asks you how you're doing, and you automatically say i'm good, thanks, how are you? while the answer swims somewhere in your little lizard brain:

how long have you been doing this now? mastering the art of your body and mind like you're piloting a puppet. has it worked? what do you mean that all you feel is... just exhausted. pick yourself up, the tightrope has no net. after all, you're cheating, somehow, but nobody seems to know you actually flunked the test. it's working!

aren't you happy yet?

[wearenotjustnumbers2]

These two kids are Hamza (the oldest) and Qusai (the youngest).

Their mother shares this video and bids them goodbye. They were both killed by Israeli bombardment 5 days ago. She says:

[Two days before Hamza and Qusai were killed, hamza asked me: "mom, when we die, where will I go?" And I told him: "you will be a bird in heaven, my love." He said: "and Qusai?" "Just like you inshallah."

And indeed, two days later, he left and took his brother with him. It's like he was preparing me for saying goodbye to both of them. Heaven is more beautiful than any place on this Earth, habibi. We will meet and be reunited one day, me, your dad and you two].

Our kids don't deserve to die already thinking about what will happen to them, they don't deserve to die already terrified, anticipating their death because the world failed them and decided their lives mean nothing. We are not numbers. Remember their names and their stories.

[viro-lil-goat]

I really hope this reaches more people, I'm only reposting this information from Instagram, the least that I can do. (Update: I changed their upbringing as it appears to have been listed wrong) Wiki page

When I just saw this information I couldn't stop crying thinking about it, and now my heart aches. They were the same age as me, I know for a fact like any other teen they dreamt of their future, who they would want to become, what to achieve, create, wondering if they meet those in the future they can call friends, wondeting if it'll get better when they grow up, maybe wished to leave that terrible place or maybe wanted to stay. How could anyone let this happen, why were they discharged from hospital so easily? And the school, we all know why. I hate to think about how, even with all the progress made, these things still happen.

"murdered schoolgirl Brianna Ghey on February 16, 2023. Candlelit vigils are being held across the UK this week for Brianna Ghey, 16, who was stabbed at Linear Park in Culcheth, Cheshire last Saturday. Brianna was a transgender girl and police are now investigating her killing as a hate crime. A boy and girl, both 15, have been charged with her murder"

An article that explains trans hate crime murders as on 2023

I hate everyone who have ever committed such vile hate crimes, I wish them in prison and hell. But i would never go down to their level. But I also blame the government, the school, and even those bigoted online accounts that teach their followers hate. In this case LibsOfTikTok, who targeted the teacher of this school, who supports lgbtq+, so they had to leave their position. It must have been the push for this to happen. I think their tiktok account has been thankfully deleten. But i have no idea about Twitter or any other. Please check and mass report them if it still exists. (Link to Instagram reel that this information is from)

ADDITION, PLEASE MASS REPORT THESE ACCOUNTS