Free e-book on mobile learning - looks useful!

<div dir="ltr" style="text-align: left;" trbidi="on">This free e-book on Mobile Learning, written by Jackie Gerstein (@jackiegerstein, <a href="https://usergeneratededucation.wordpress.com/">https://usergeneratededucation.wordpress.com/</a>), was brought to my attention by a post on the Free Technology for Teachers blog. It could be a great read for South African teachers where students frequently have cell phones that could be tapped into because other technology resources are non-existent. Take a read to see if it could benefit you. You’ll find eighty pages of useful information. You can also download your own copy of this free book by clicking <a href="http://issuu.com/jackiegerstein/docs/mobile_learning#download">here</a>:<br /><br /><div><object classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" id="afcc4b4a-b091-ab12-6aa0-744b81171ce1" style="height: 298px; width: 420px;"><param name="movie" value="http://static.issuu.com/webembed/viewers/style1/v2/IssuuReader.swf?mode=mini&backgroundColor=%23222222&documentId=120103211401-d30cc084464340aca29a91cd0037b216" /><param name="allowfullscreen" value="true"/><param name="menu" value="false"/><param name="wmode" value="transparent"/><embed src="http://static.issuu.com/webembed/viewers/style1/v2/IssuuReader.swf" type="application/x-shockwave-flash" allowfullscreen="true" menu="false" wmode="transparent" style="width:420px;height:298px" flashvars="mode=mini&backgroundColor=%23222222&documentId=120103211401-d30cc084464340aca29a91cd0037b216" /></object><br /><div style="text-align: left; width: 420px;"><a href="http://issuu.com/jackiegerstein/docs/mobile_learning?mode=window&backgroundColor=%23222222" target="_blank">Open publication</a> - Free <a href="http://issuu.com/" target="_blank">publishing</a> - <a href="http://issuu.com/search?q=engagement" target="_blank">More engagement</a></div></div><br /></div>

e-books Web tools Free e-book on mobile learning - looks useful!

This free e-book on Mobile Learning, written by Jackie Gerstein (@jackiegerstein, https://usergeneratededucation.wordpress.com/ ), was broug...

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Executive Director - Wilton Library

<strong>Executive Director</strong> - <span style="color: #48286d;"><strong>Wilton (CT) Library</strong></span>. Wilton Library - the Center for Discovery in the Heart of the Community - seeks an Executive Director to help continue and enhance the Library’s successful role as the creative, cultural, and intellectual destination of the community. The <a href="http://www.wiltonlibrary.org/" target="_blank">Wilton Library</a>, a non-profit Association Library located in the center of the town of Wilton, CT, serves a community of 18,200 residents. The Library circulated 365,123 items in FY2011 and is ranked #4 among comparably sized towns in <em>Connecticut Magazine</em>. In addition to providing traditional library services, the Wilton Library successfully transitioned to its mission of providing the Wilton community with outstanding adult and children’s programming, vital teen services, and public fine arts and performing arts spaces. The Library collaborates with local government and businesses and has become the “go to” place for local history knowledge, meeting room spaces and digital connections (as seen during the recent significant power outages in Fall 2011). Consisting of a single facility (50,384 sq. ft. building with a new addition completed in 2006), the Library is poised to move forward building on its successes. The new Executive Director will work with a committed staff (31 FTEs), an energetic core of volunteers, an established donor group, a dedicated community and a $3.3 million budget to deliver quality services. The challenge for the next Executive Director will be to move forward on the Library's new strategic plan (currently under development) leveraging strong community relationships and partnerships while developing alternate funding streams to continue the outstanding levels of service and programs. <a href="http://www.wiltonct.org/" target="_blank">Wilton</a> is nestled in the Norwalk River Valley in western Connecticut. Wilton is 55 miles from midtown Manhattan and is within easy driving distance from Westchester County, New York. The Town is accessible from routes 7, 33, 106, and 107. Wilton is only one hour from Grand Central Station on the New Haven Line Danbury branch of <a href="http://www.mta.nyc.ny.us/mnr/" target="_blank">Metro-North Railroad</a>, which runs daily commuter service. Additional information on the Library, Wilton, and the surrounding area can be found at <a href="http://www.gossagesager.com/Wiltonlinks.htm" target="_blank">Wilton Links</a>. Responsibilities. The Executive Director reports to a 24-member Library Board of Trustees and works with the Board, staff, and major stakeholders to establish the strategic vision for the Library aligning the Library’s mission, goals and objectives with the community’s needs and priorities. The Executive Director’s primary responsibilities are to maintain an outstanding library that anticipates and fulfills the needs of its community utilizing all resources available. The Executive Director is responsible for every phase of library operations including programs, collections and services, personnel, technology, public relations and outreach, marketing, buildings, grounds, equipment, budget, donor relations, and fundraising. For the detailed job description, see <a href="http://www.gossagesager.com/Wiltondirector.pdf" target="_blank">Executive Director</a>. <img alt="PDF icon" src="http://www.ctlibrarians.org/associations/10663/files/pdf.jpg" /> Qualifications. A master’s degree in library science from an ALA accredited program and a minimum of five years of progressively responsible experience in library administration and staff supervision, including supervision of a major public library department or as a director or assistant director of a public library. A combination of education and experience that demonstrates the ability to successfully meet the requirements of the position may be considered. Essential attributes and skills include: vision, creativity, energy and enthusiasm; superior written and oral communications skills; demonstrated success in effectively promoting library services to the community; political acumen; collaborative and consensus-building skills; experience in recruiting, mentoring, evaluating and retaining an excellent staff; and a thorough knowledge of current trends and “best practices” for library service. Proven success working effectively with a policy-making board is desirable. Compensation. A starting salary range of $110,000-125,000 (with final placement dependent upon experience and qualifications) with an attractive benefits package. For further information, contact Bradbury Associates/Gossage Sager Associates via email or call 816-531-2468. Apply via email with a meaningful cover letter and your resume as Word or pdf attachments to <a href="mailto:DanBradbury@gossagesager.com">DanBradbury@gossagesager.com</a> or <a href="mailto:JobethBradbury@gossagesager.com">JobethBradbury@gossagesager.com</a>. The position closes <span style="color: red;">February 26, 2012</span>.

Executive Director - Wilton Library

Executive Director - Wilton (CT) Library . Wilton Library - the Center for Discovery in the Heart of the Community - seeks an Executive D...

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Bernard Herrmann - Composer Of Haunting Music and Treacherous Dreams

<div style="font-family: Verdana,sans-serif;"><i>by guest contributor Whistlingypsy </i></div><br /><div style="font-family: Verdana,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOzF0A5oQmKbye4S5l40RMzi1S22tRf1tKR3yQT52Z3GC3cYEUP853Rq1rdK8G3xerqvqv_NWIKqarXh9DhWrgjyBeOspMPJ0Aq8LZX-JHp3tPM5Ntvj66wSFa-Mck6sTkKueGRM5MhtA/s1600/1aABernardHerrmann1.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5692811207392367874" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOzF0A5oQmKbye4S5l40RMzi1S22tRf1tKR3yQT52Z3GC3cYEUP853Rq1rdK8G3xerqvqv_NWIKqarXh9DhWrgjyBeOspMPJ0Aq8LZX-JHp3tPM5Ntvj66wSFa-Mck6sTkKueGRM5MhtA/s320/1aABernardHerrmann1.jpg" style="cursor: hand; cursor: pointer; float: left; height: 320px; margin: 0 12px 12px 0; width: 309px;" /></a><br /><i>Just as my fingers on these keys</i></div><div style="font-family: Verdana,sans-serif;"><i>Make music, so the self-same sounds</i></div><div style="font-family: Verdana,sans-serif;"><i>On my spirit make a music, too.</i></div><div style="text-align: right;">~ <span style="font-family: Verdana,sans-serif;">excerpt from </span><i style="font-family: Verdana,sans-serif;">Peter Quince at the Clavier</i><span style="font-family: Verdana,sans-serif;"> by Wallace Stevens</span></div><div style="font-family: Verdana,sans-serif;"><br /></div><div style="font-family: Verdana,sans-serif;"><i>"I don’t think Mozart’s going to help at all."</i></div><div style="font-family: Verdana,sans-serif;"></div><div style="font-family: Verdana,sans-serif; text-align: right;">~ Midge in <i>Vertigo</i></div><div style="font-family: Verdana,sans-serif;"><br /></div><div style="font-family: Verdana,sans-serif;">British composer Ralph Vaughn Williams, who greatly influenced young Bernard Herrmann and for whom he had a great admiration, took the subject of film score composition seriously and in encouraging his contemporaries to do the same said, “I believe that the film contains potentialities for the combination of all the arts such as Wagner never dreamed of, and I would therefore urge those distinguished musicians who have entered the world of the cinema to realize their responsibility in helping to take the film out of the realm of hack work and make it a subject of a real composer.” Music constitutes an essential part of the film experience, yet we often fail to acknowledge its importance to the way we perceive film. This is not to say that music is comprehensible only to those who have formal training; to the contrary the ability to appreciate music is a capacity we all share. The often overlooked genius of composing for film in general, and of Bernard Herrmann specifically, is an ability to work within the parameters of music theory while exploiting the viewer's instinctive knowledge of musical conventions, creating a lush musical landscape perfectly suited to the emotional content of the image captured on film.</div><div style="font-family: Verdana,sans-serif;"><br /><a name="more"></a></div><div style="font-family: Verdana,sans-serif;">Composer and conductor Bernard Herrmann was born on June 29, 1911 at New York City’s Lying In Hospital, the eldest of three children born to Abraham and Ida Herrmann. Benny, as he was known to his family, suffered a major health crisis at an early age in the form of St. Vitus’s Dance, which he barely survived. He spent much of his time as a boy and a young man reading biographies of artists and composers, learning musical works through his father’s collection of 78rpm recordings <img alt="" border="0" height="320" id="BLOGGER_PHOTO_ID_5692811316891839074" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUE6eqeSxpgDsBTEF1yAjFU36TuyqAOhiRy2vGILKV9T8JsBZwGsHVfLKFxSuPG-y_Oxgrf-KmgEzapDH9fxkWGoamGitHo2kQDmsioITBVQ0X8wu02CseB3poB38gmusuDx7kElumNPA/s320/1aABernardHerrmann2.jpg" style="float: right; height: 200px; margin: 0pt 0pt 12px 12px; width: 152px;" width="243" />and attending live performances of the New York Philharmonic at Carnegie Hall. His literary discoveries through the New York Public Library included the <i>Treatise on Orchestration</i> by Hector Beriloz (he was familiar with the composer’s <span style="font-style: italic;">Symphonie Fantastique</span> and later claimed the book convinced him to become a composer). Herrmann wrote many small-scale works as a teenager, most of which remain unpublished. He studied music at the Juilliard Graduate School, and at the age of twenty he formed the New Chamber Orchestra of New York.<br /><br />He joined the Columbia Broadcasting System in 1934 where David Ross, CBS’s top announcer, asked Herrmann to compose music for his poetry reading series. Herrmann’s setting for <span style="font-style: italic;">La B</span><span style="font-style: italic;">elle Dame Sans Merci</span><span style="font-style: italic; font-weight: bold;"> </span>(a favorite poem at the time) so impressed CBS executives that he was given a job conducting and six years later became Chief Conductor of the CBS Symphony Orchestra. Through his many and diverse projects for CBS, in 1938 Herrmann was selected composer-conductor for <i>The Mercury Theatre on the Air</i>, which brought him to the attention of Orson Welles. The young director left no room for negotiation in his meetings with RKO executives concerning his choice to score his film, and he insisted Herrmann should receive a competitive salary despite his inexperience, “If he’s good enough to do my score, he’s good enough to get the best price.”<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK1FRrJz3Ksir3QtIA2enzRqsqbptADjyDaA0Q30b9ysUftxO5IEw4z0QtNW5qD1_1DI6ntxGYSWBDtUtNpOGSAxu_oLT-3gmkRr1uQ4YWHhm-39U4NFfmp6k7ESmdoIMBGVFpOv4imyM/s1600/Welles+and+Herrmann+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK1FRrJz3Ksir3QtIA2enzRqsqbptADjyDaA0Q30b9ysUftxO5IEw4z0QtNW5qD1_1DI6ntxGYSWBDtUtNpOGSAxu_oLT-3gmkRr1uQ4YWHhm-39U4NFfmp6k7ESmdoIMBGVFpOv4imyM/s320/Welles+and+Herrmann+2.jpg" width="276" /></a></div>Herrmann was no snob about cinema, he was familiar not only with American films and composers but also with their European counterparts, but he was well aware of the obstacles in composing for film. A film composer often completed scores in as little as two or three weeks, rarely had time to do his own orchestration, and once the music was written and conducted had little to say about the sound levels or dynamics of the score in the finished film. Herrmann was confident, however, that working with Welles would be different and it was with no small excitement that he announced his leave of absence to go to Hollywood. His career as a composer for film was demanding and rewarding, in addition to his outstanding scores for <i>Citizen Kane</i> (1941) and <i>The Magnificent Ambersons </i>(1942), he earned his reputation for glorious music on films such as <i>Jane Eyre</i> (1943), <i>Hangover Square</i> (1945) and <i>The Ghost and Mrs. Muir</i> (1947), all of which were about to bring him to the attention of another Hollywood genius, Alfred Hitchcock.<br /><br />The sometimes variable nature of film composition often left the composer without work and Herrmann wrote the score, the first of two "television operas," for a 1954 television adaption of Dickens's classic holiday story. His original compositions for television also included <i>The Twilight Zone</i><span style="font-weight: bold;"> </span>from 1959 through 1964, for which he composed the original theme as well as scores for seven episodes (at least three of which were included as part of the Syfy Channel's New Year's Day marathon). His work for <i>The Alfred Hitchcock Hour</i> from 1963 through 1965 included original compositions for seventeen episodes.</div><div style="font-family: Verdana,sans-serif;"><br /></div><div style="font-family: Verdana,sans-serif; text-align: center;"><object height="359" width="485"><param name="movie" value="https://www.youtube.com/v/H6W_MSxnPAw?version=3&hl=en_US&rel=0"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="https://www.youtube.com/v/H6W_MSxnPAw?version=3&hl=en_US&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="359" width="485"></embed></object></div><div style="font-family: Verdana,sans-serif; text-align: center;"><span style="font-size: x-small;">Bernard Herrmann's "Concerto Macabre," <i>Hangover Square</i></span></div><div style="font-family: Verdana,sans-serif;"><br />Much has been written regarding the turbulent end to the collaboration between Bernard Herrmann and Alfred Hitchcock, both from the composer’s and the director’s perspective. Herrmann and Hitchcock were, for most of their eleven years of collaboration, friends as well as associates and Steven C. Smith, author of <u>A Heart At Fire’s Center</u>, observes, “The rapport between the two was strong from the start.” The Hitchcocks often played host to the Herrmanns; Benny and Lucy were invited to spend the weekend at Hitchcock’s secluded Bel Air home, where days were spent in leisurely conversation and evenings spent enjoying Alma’s superb cooking.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiHR5I1R3U9pf-KFcUE8CswIgi4S9qfkvljaXvo2gqRx4OReNcZ5I3o3fFp1TohTW2ENDYZ9D0Rla-JuYbbt7tHReDkSb3xASAmHbhyZft_Ihnr_9ThkPXn8how6kCmi_vRsJTYWJswck/s1600/hitchcock+and+herrmann+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiHR5I1R3U9pf-KFcUE8CswIgi4S9qfkvljaXvo2gqRx4OReNcZ5I3o3fFp1TohTW2ENDYZ9D0Rla-JuYbbt7tHReDkSb3xASAmHbhyZft_Ihnr_9ThkPXn8how6kCmi_vRsJTYWJswck/s320/hitchcock+and+herrmann+2.jpg" width="234" /></a></div>Jack Sullivan, author of <u>Hitchcock’s Music</u>, suggests the director’s relationships with his composers were often passionate, and as often troubled, in part because the director was "intoxicated by and knowledgeable about music.” Hitchcock's music and sound notes for <i>Vertigo</i> were more specific than on past projects, but what finally emerged as Herrmann’s film score is very different from what Hitchcock had planned. The film’s original title, <span style="font-style: italic;">From Among The Dead</span>, was a reference to the French novel on which the story is based, and Herrmann’s composition was to be supplemented by passages from a lost score that had haunted the director for decades.<br /><br />Hitchcock had seen <span style="font-style: italic;">Mary Rose</span>, a dramatic tale of lost love regained written by J. M. Barrie, during the play’s London run in 1920 and became enthralled by the music of Norman O'Neill.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGO28CkdNePKhUtOI7YTTv0KY1qsCRoqqGkml6ocOHQ59SQanPQDF-2es2Yfio9KW82Am6nkw8s3j5hjEj6Cr7qzj9U53QOSlec40v8G25MnVg12LUDA3NUd0mN89thuqo0pkk3tZ5J6c/s1600/herrmann+conducts+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGO28CkdNePKhUtOI7YTTv0KY1qsCRoqqGkml6ocOHQ59SQanPQDF-2es2Yfio9KW82Am6nkw8s3j5hjEj6Cr7qzj9U53QOSlec40v8G25MnVg12LUDA3NUd0mN89thuqo0pkk3tZ5J6c/s320/herrmann+conducts+2.jpg" width="320" /></a></div><i>The Musical Times and Singing Class Circular,</i><span style="font-style: italic; font-weight: bold;"> </span>Volume 62 dated March 1, 1921, described the composer and his work for <i>Mary Rose</i> as follows: “A dreamer of dreams and a mystic, Norman O’Neill has the power of expressing in his music the ethereal world in which he dwells. His flights of fancy, intangible though they are, touch a responsive chord in the hearts of the imaginative. . . .The ‘Mary Rose’ call continued to haunt the ear with gentle insistence long after it had reached echo-land.” Hitchcock was especially struck by 'the Call' connected with the heroine's disappearance, he later remembered the sensation as "celestial voices, like Debussy's <i>Sirenes nocturne</i>." Hitchcock twice failed to uncover the music, which he had also intended to use as part of the <i>Rebecca</i> film score, and as usual he deferred to Herrmann with memos and notes reflecting his confidence in the composer, "Mr. Herrmann may have something to say here" and "All of this will naturally depend upon what music Mr. Herrmann puts over this sequence."</div><div style="font-family: Verdana,sans-serif;"><br /></div><div face="Verdana,sans-serif" style="text-align: center;"><object height="359" width="485"><param name="movie" value="https://www.youtube.com/v/E5Y7mbfS5r8?version=3&hl=en_US&rel=0"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="https://www.youtube.com/v/E5Y7mbfS5r8?version=3&hl=en_US&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="359" width="485"></embed></object></div><div face="Verdana,sans-serif" style="text-align: center;"><span style="font-family: Verdana,sans-serif; font-size: x-small;">Esa-Pekka Salonen and the Los Angeles Philharmonic, Debussy's "Sirenes nocturne"</span></div><div style="font-family: Verdana,sans-serif;"><br />If there is truth in the notion that music is the language of the inexpressible; Bernard Herrmann’s film score for <i>Vertigo</i> has given a voice to an ordinary man who finds himself in extraordinary circumstances. Herrmann’s main title sequence intentionally avoids an identifiable melody, exploits unpredictable rhythmic changes and flirts with tonal ambiguity. Kathryn Kalinak, author of <u>Settling The Score</u> observed, "The combination of violins and tubas played in alternately ascending and descending arpeggiated chords (played in succession rather than simultaneously)" and moving in contrary motion creates an asymmetry (if you will) of sound keeping the viewer continually off guard musically. Herrmann's main title music is heard first, but the musical effect in combination with Saul Bass's visual imagery in the opening credits reinforces the feeling of vertigo. The visual acts as counterpoint to the music; the spiraling images create a visual vortex in the same manner the music creates a spatial vortex and the viewer enters the world of the film suspended between two possibilities. Film criticism often invites the amateur “to see into” the life of a film, which results in as many interpretations of dramatic themes and visual cues as there are viewers. Film music makes a distinction between the life experienced by the characters and the life viewed by the audience.<br /><br /><div class="separator" style="clear: both; text-align: center;"><span id="goog_150159566"></span><span id="goog_150159567"></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgffgMiJHmdpQq54wolT32s51Bn9jSEmVfZO_yWlGXRk0-fiktrDIPjOah_lXEu7CeZLPIrT7TdVAIyT8lGpftU3U1tjdlPabNCb5H1sWunRbuqI0o1VkLyks0RVq4oswX4ATZfQaWEshA/s1600/Stewart+hangs+b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgffgMiJHmdpQq54wolT32s51Bn9jSEmVfZO_yWlGXRk0-fiktrDIPjOah_lXEu7CeZLPIrT7TdVAIyT8lGpftU3U1tjdlPabNCb5H1sWunRbuqI0o1VkLyks0RVq4oswX4ATZfQaWEshA/s1600/Stewart+hangs+b.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><br />The classical film score can often combine <span style="font-style: italic;">nondiegetic</span> music, music heard by the audience but not experienced by the characters, and <span style="font-style: italic;">diegetic</span> music, music heard as part of the world in which the characters move and live. The two instances in which diegetic or “live” music occur in <i>Vertigo</i> are scenes of emotional significance for Midge and Scottie. The first occurs after a bit of magical thinking on the part of Hitchcock, when Scottie is inexplicably delivered from hanging precariously between life and death. The scene opens on a cozy domestic setting, the man and woman could be husband and wife, could be brother and sister. We learn about both through their comfortable exchanges and through the use of music. John-O, as she calls him, and Midge share a past but appear uncomfortable in their present relationship. Her choice of music, an <span style="font-style: italic;">Overture by </span><span style="font-style: italic;">J. C. Bach</span>, and her taste in contemporary furniture slyly hint that she is comfortable making brief visits to the past while living very much in the present. He is uncomfortable sitting in her Eames style chair and tells her the music is the cause of his vertigo (all important cues in the events that will soon engulf Scottie). The second, and perhaps more significant, occurs in the use of <i><span style="font-style: italic;">Mozart’s 34th Symphony</span> </i>as “a rope from heaven” to draw Scottie from his abyss of acute melancholia with guilt complex.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcKULmIfmVoPicvrIXw_WcbMqmiYxCFSYEE1Gt42zSWDtYbu-TGnQdAyWrciWknlv3yMMUOW4QfDzNAj_tNq-w1dnzLUQYdbTVbRdbfr9uAUJlMj9v1rjDiMDx-NA2gUPall7xmilkhYE/s1600/midge+and+scottie.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcKULmIfmVoPicvrIXw_WcbMqmiYxCFSYEE1Gt42zSWDtYbu-TGnQdAyWrciWknlv3yMMUOW4QfDzNAj_tNq-w1dnzLUQYdbTVbRdbfr9uAUJlMj9v1rjDiMDx-NA2gUPall7xmilkhYE/s400/midge+and+scottie.jpg" width="400" /></a></div>Musical therapy was first used after World War I in an attempt to reach veterans suffering from profound mental trauma, and Scottie's musical therapist has told Midge that Mozart is the boy for him (Author and physician Oliver Sacks relates in <span style="font-style: italic;">Musicophilia: Tales of Music and the Brain</span> not only is music haunting, irresistible and unforgettable, but "music occupies more areas of our brain than language does and humans are essentially a musical species"). Scottie responds to Midge, following her with his eyes and turning his head in her direction, but we can't help but agree with Midge that Mozart isn't going to help at all.<br /><br />James Stewart’s Scottie is half enthralled to possibility, but remains half captive to reality. A man no longer content with his passivity in the face of life’s acting on him; he is trapped in a sort of tenacious, immaterial fantasy rendering him incapable of action. In his ability to capture the ineffable quality of this character’s waking nightmare, Herrmann essentially created a film score that can be heard on two levels simultaneously. His use of leitmotifs reminiscent of both Wagner’s <span style="font-style: italic;">Tristan and Isolde</span> and Berlioz’s<span style="font-style: italic; font-weight: bold;"> </span><span style="font-style: italic;">Symphonie Fantastique</span>, share thematic similarities but are by no means derivative. Herrmann is here demonstrating his comprehension that some members of his audience will recognize the reference to these musical passages, while all will understand the emotional content of his music (an equivalent can be found in the screenwriter who includes lines of poetry by John Keats which reference the Romantic era against which the film is set. Those familiar with Keats’s life will understand the specific reference; those unfamiliar with Keats’s life will hear the beauty of the poet’s words).<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWqLDczLa6WhX3ggvxkXTVyD3HQz6L4lhEX3TAn32awLWaRWOZ8UTD7i4naxhr85CAc8FaUsSXMuRr2cAE8EaXGe3gB2ptjqgpjEjUiAfnLUxqrUK_ixIbTHdZ8zqonPsfg_OhHvDbT5s/s1600/scottie+and+madeleine.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWqLDczLa6WhX3ggvxkXTVyD3HQz6L4lhEX3TAn32awLWaRWOZ8UTD7i4naxhr85CAc8FaUsSXMuRr2cAE8EaXGe3gB2ptjqgpjEjUiAfnLUxqrUK_ixIbTHdZ8zqonPsfg_OhHvDbT5s/s400/scottie+and+madeleine.jpg" width="400" /></a></div>Bernard Herrmann has been called "Hitchcock's Maestro," and while he might have been uniquely suited to capture the spirit of the dark and troubling tales the director brought to the screen, his work before the famed collaboration would establish his reputation. His affinity for the Romantic era, equally the composers as the poets, his "pastoral poetic gloom" and artful mourning of that which is irrevocably lost can all be heard in the hauntingly similar <span style="font-style: italic;">Portrait of Jennie</span> (1948) for which he composed the theme song but was not credited. An observation regarding <i>Vertigo</i> highlights the intrinsic nature of Herrmann's score in the film's storytelling: close your eyes and listen to any passage and be immediately transported to locations and scenes in the film. The true power of Herrmann's score is in the music's ability to be heard independently from Hitchcock's images (the dream fades, the music lingers). Esa-Pekka Salonen, conductor of the Los Angeles Philharmonic Orchestra, recognized the art of Bernard Herrmann's film music, performing and recording many of Herrmann's compositions. <span style="font-style: italic;">Scene D’Amour</span> is the moving heart of a poignant film portrayal of a man suspended between action and despair, death and life, love and obsession, themes worthy of any Romantic era composer.<br /><br /><i>In spite of myself, the insidious mastery of song</i><br /><i> Betrays me back, till the heart of me weeps to belong</i><span style="font-style: italic;">.</span><br /><div style="text-align: right;"><span style="font-style: italic;"> </span>~ excerpt from <i>Piano</i> by D. H. Lawrence.</div><span style="font-style: italic; font-weight: bold;"><br /></span></div><div style="font-family: Verdana,sans-serif; text-align: center;"><object height="359" width="485"><param name="movie" value="https://www.youtube.com/v/_naJH44Lk3I?version=3&hl=en_US&rel=0"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="https://www.youtube.com/v/_naJH44Lk3I?version=3&hl=en_US&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="359" width="485"></embed></object></div><div style="text-align: center;"><span style="font-family: Verdana,sans-serif; font-size: x-small;">Esa-Pekka Salonen and the Los Angeles Philharmonic, "Scene D'Amour" from <i>Vertigo</i></span></div><div style="font-family: Verdana,sans-serif; text-align: center;"><br />~</div><div style="font-family: Verdana,sans-serif;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9vyqpnmvdPbpAmXB30r_oEdlFzZy-ouKK40C0laQ3fzQhg_Hw4nqLCkk-3zos_Lx6iCUb2XcABgSGtForp04NuaUbp78yuhNoYpAtzOiRp9h_Y_SyY1-jd4sCOcFkEIfLRu5h1HSkop4/s1600/Whistlingypsy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9vyqpnmvdPbpAmXB30r_oEdlFzZy-ouKK40C0laQ3fzQhg_Hw4nqLCkk-3zos_Lx6iCUb2XcABgSGtForp04NuaUbp78yuhNoYpAtzOiRp9h_Y_SyY1-jd4sCOcFkEIfLRu5h1HSkop4/s200/Whistlingypsy.jpg" width="147" /></a></div><div style="font-family: Verdana,sans-serif;"><br /><i><b>Whistlingypsy</b>/aka/Karin of </i><a href="http://distant-voicesandflickering-shadows.blogspot.com/" style="color: #990000;">Distant Voices and Flickering Shadows</a><i> is a technical writer working on a contract/freelance basis who lives in the beautiful Hill Country of Texas. She was inspired by The Lady Eve (the blogger not the movie) to begin a blog and share her fascination for Jazz Age music and Silent Era films. She considers herself an enthusiastic amateur with an interest in films, music and writing.</i><i><br /></i></div>

A Month of Vertigo Alfred Hitchcock Barbara Bel Geddes Bernard Herrmann James Stewart Kim Novak Vertigo Whistlingypsy (author) Bernard Herrmann - Composer Of Haunting Music and Treacherous Dreams

by guest contributor Whistlingypsy Just as my fingers on these keys Make music, so the self-same sounds On my spirit make a music, too. ~ ex...

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Los economistas lamentan el Periodismo

<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcJjd7BE1O4dMc8K6L-C0jHVuM7SbvSmUDC9RhP34rHddv1LhNhUwd7ffsDOF-1U7XXvZN4MzYcFfTJKsgBcA1XKrVCqG6IUnttMlYY1cljCTn_LD6RlD_m2hARMbJl5oVneO9f_JZIaY/s1600/EconomistOrPropagandist.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcJjd7BE1O4dMc8K6L-C0jHVuM7SbvSmUDC9RhP34rHddv1LhNhUwd7ffsDOF-1U7XXvZN4MzYcFfTJKsgBcA1XKrVCqG6IUnttMlYY1cljCTn_LD6RlD_m2hARMbJl5oVneO9f_JZIaY/s400/EconomistOrPropagandist.jpg" width="400" /></a></div><br /><b>Spanish Version of original article posted on 28 Dec 2011</b><br /><br /><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: 14pt; line-height: 115%;">EL CASTIGO A ARGENTINA</span></b><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: 11pt; line-height: 115%;"> </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">Leyendo  "The Economist"  se debe creer que sus artículos son de alta calidad y objetividad. Desafortunadamente este no es el caso cuando se trata de temas relacionados con la Argentina. Durante años, "The Economist" ha hecho un hábito de llevar a cabo "ataques a la Argentina". Cada artículo sobre la Argentina es negativo, carece de objetividad y distorsiona los hechos.<br /><br /></span></div><div class="MsoNormal"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">Mirando más de cerca a la verdadera agenda  de "The Economist", se hace evidente que sigue una causa política, influenciado y dirigido por poderosas entidades políticas que están descontentos con la política argentina y el éxito económico posterior desafiando las doctrinas económicas internacionales. Esto claramente molesta a las cupulas poderosas, ya que pone en peligro sus agendas geopolíticas y económicas de la región.</span></div><div class="MsoNormal"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"><br />Debido a su estancamiento de la economía del Reino Unido está desesperado por aventurarse en "nuevos territorios", por lo que la disputa en  curso con Argentina, tema : Malvinas (Falkland) y las posibilidades de las grandes petroleras y los hallazgos de gas alrededor de las islas en disputa, así como tener un pie en la puerta a la Antártida, una vez que las exploraciones de los recursos naturales está a punto de comenzar. Así, la causa se hace evidente por qué los medios de comunicación corporativos, como la cobertura de "The Economist" manipulan opiniones y rechazan noticias imparciales.</span></div><div class="MsoNormal"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"><br />"The Economist" es la voz de influyentes entidades Anglo American, por lo que sus artículos se centran en temas de libre mercado y el único negocio en el contexto más amplio de las potencias occidentales militar y económica. La necesidad de control del Estado en todos los asuntos, y la regulación especial, es un fundamento de cualquier comentario Economist. Esto se debe a ciertos poderosos eco - entidades políticas desean el crecimiento de los Estados-nación y la democracia reglamentarias a fin de sentar las bases para alcanzar hasta una solución eco-política de control.</span></div><div class="MsoNormal"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"><br />El artículo más reciente de “The Economist” referido a la Argentina es un ejemplo perfecto de la predisposición de la revista   cuando se trata de temas relacionados con Argentina. (Observaciones sobre el artículo se han escrito en azul debajo de cada párrafo.)</span></div><div class="MsoNormal"><div class="separator" style="clear: both; text-align: center;"></div><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">El 17 de diciembre de 2011 la revista The Economist escribió:<br /> </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: large;"><b><span lang="ES" style="font-family: "Times New Roman","serif";">El presidente de Argentina<br />Cristina se prepara para desafiar la gravedad</span></b></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"><br />El presidente comienza su segundo mandato frente a una desaceleración de la economía. Ella va a cumplir con una mezcla de retórica, control y austeridad</span></div><div class="MsoNormal" style="color: blue;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: blue;"><span class="hps" style="font-size: large;"><span lang="ES" style="font-family: "Times New Roman","serif";">El título</span></span><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"> <span class="hps">en sí mismo</span> <span class="hps">es la hipocresía</span> <span class="hps">en su mejor momento</span>. <span class="hps">¿Cómo puede el</span> <span class="hps">economista</span> <span class="hps">saber cómo  el Gobierno</span> <span class="hps">argentino</span> actuará <span class="hps">frente a</span> <span class="hps">la desaceleración</span> <span class="hps">económica</span> <span class="hps">alegada</span>?</span></div><div class="MsoNormal"><span style="font-size: large;"><br /></span></div><div class="MsoNormal"><span class="hps" style="font-size: large;"><span lang="ES" style="font-family: "Times New Roman","serif";">Debe su</span></span><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"> <span class="hps">aplastante victoria</span> <span class="hps">en las elecciones presidenciales</span> <span class="hps">en octubre a</span> <span class="hps">un crecimiento vigoroso</span> <span class="hps">de la economía y</span> <span class="hps">la simpatía del público</span> <span class="hps">por la muerte</span> <span class="hps">repentina</span> <span class="hps">el año pasado</span> <span class="hps">de</span> <span class="hps">su esposo y antecesor</span>, <span class="hps">Néstor</span> <span class="hps">Kirchner</span>.</span></div><div class="MsoNormal" style="color: blue; line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">Alegando que el presidente debe su victoria a la simpatía del público por la muerte de su marido muestra cómo el artículo carece de objetividad y deliberadamente intenta manipular opiniones. ¿Podría ser que la abrumadora victoria fue porque el gobierno inició un programa de asistencia social que beneficiaron a la clase de trabajadores pobres en todo el país? Naturalmente, tales hechos no son dignos de mención para el economista, porque altera su eco - doctrina geopolítica!</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span class="hps" style="font-size: large;"><span lang="ES" style="font-family: "Times New Roman","serif";">Cristina</span></span><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"> <span class="hps">Fernández</span> <span class="hps">inauguró su</span> <span class="hps">segundo mandato como presidente</span> <span class="hps">el 10 de diciembre</span> <span class="hps">aún</span> <span class="hps">vestido de negro y</span> <span class="hps">glorificando</span> <span class="hps">el nombre de</span> <span class="hps">su marido</span> <span class="hps">casi como</span> <span class="hps">una deidad</span>.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: blue; line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">Para una revista de noticias de renombre, como The Economist dice ser, centrarse en qué y por qué el presidente está usando luto parece patético y muestra sólo la forma en que la revista es prejuiciosa. El periodismo profesional y objetivo no tiene que centrarse en banalidades, aunque la revista no sea partidaria del gobierno o del país.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span class="hps" style="font-size: large;"><span lang="ES" style="font-family: "Times New Roman","serif";">Su mensaje fue</span></span><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"> <span class="hps">triunfalista</span>. <span class="hps">Contrastando</span> <span class="hps">Argentina</span> <span class="hps">con Europa y</span> <span class="hps">los Estados Unidos</span>, ella <span class="hps">cacareó</span>: <span class="hps">"</span>Ellos gobiernan <span class="hps">con</span> <span class="hps">los objetivos de crecimiento</span> <span class="hps">para el sector financiero</span>...<span class="hps"> y nosotros</span> <span class="hps">gobernamos con</span> <span class="hps">los objetivos de crecimiento</span> <span class="hps">para el trabajo y</span> <span class="hps">el empleo".</span></span></div><div class="MsoNormal" style="color: blue; line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: blue; line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">Tiene que ser un trago amargo para la élite poderosa finaciera Anglo Americana, de lo contrario el economista faltaría el respeto con una terminología como "cacareó". Esto demuestra que el periodismo objetivo no es un bastión de la revista! Es evidente que los objetivos de crecimiento para el trabajo y el empleo no están en el interés de los medios de comunicación social de la que el economista, obviamente, es parte!</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">Esas palabras pueden volver a perseguirla.La Sra. Fernández está comenzando su segundo mandato en circunstancias muy diferentes de la parte primera, allá en 2007. El crecimiento frenético de la Argentina se construyó sobre una moneda débil (un legado del default y la devaluación en 2002), la demanda mundial en auge por sus productos agrícolas, el fuerte crecimiento en el vecino Brasil, y un enorme aumento del gasto público. Los vientos de cola han desaparecido, o corren el riesgo de hacerlo. Los precios mundiales de los productos ya no están en aumento. La economía de Brasil se ha estancado. Después de años de alta inflación en el país el peso ya no es débil, y los subsidios extravagantes significa que hay pocas posibilidades o ninguna de estímulo fiscal.</span></div><div class="MsoNormal" style="color: blue; line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: blue; line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">Hace unos 4 años el economista también predijo que el gobierno se enfrentaba a dificultades debido a la disminución de la demanda de productos agrícolas. El documento también critica al gobierno por no reducir los subsidios, ahora que el gobierno implementó recortes de subsidios, el economista ha iniciado una encuesta en línea, el cuestionamiento del gobierno argentino, y la aplicación de los recortes de subsidios, por considerar que no se apliquen adecuadamente !!!!! No hace falta decir que The Economist publicó un artículo sobre la causa de los sujetos, antes de la encuesta! Periodismo manipulador diría!</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">El gobierno sigue negando que la inflación sea un problema. Durante años jugueteó los números: oficialmente, la inflación está por debajo del 10%, pero economistas independientes lo puso más cerca de un 25%, a pesar de que muchos de las tarifas de energía y de transporte público han sido congeladas. Sra. Fernández admitió que Argentina tiene un "problema de competitividad". Pero la solución del gobierno parece ser una retirada hacia el mercantilismo, sobrio con toques de realismo.</span></div><div class="MsoNormal" style="color: blue; line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: blue; line-height: normal; margin-bottom: 0in;"><span class="hps" style="font-size: large;"><span lang="ES" style="font-family: "Times New Roman","serif";">El tema de</span></span><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"> <span class="hps">la inflación</span> <span class="hps">de</span> <span class="hps">Argentina</span> <span class="hps">es sin duda</span> <span class="hps">un tema que</span> <span class="hps">debe abordarse</span>, pero “The Economist”  <span class="hps">se olvida de mirar</span> <span class="hps">en su</span> <span class="hps">propia</span> <span class="hps">puertas</span>, donde la inflación se cita como  <span class="hps">en el 5,4%</span>, <span class="hps">según la Oficina</span> <span class="hps">Nacional</span> <span class="hps">de</span> <span class="hps">Estadísticas</span> <span class="hps">!!!!,</span> <span class="hps">por lo</span> <span class="hps">probablemente</span> <span class="hps">hay que añadir</span> <span class="hps">un  pequeño %</span> <span class="hps">a la cifra</span> <span class="hps">así</span>. <span class="hps">actual de la deuda</span> <span class="hps">pública</span> actual de <span class="hps">Argentina</span> <span class="hps">como porcentaje del PIB</span> <span class="hps">es igual a</span> <span class="hps">41,53</span>% en comparación con <span class="hps">la del Reino Unido</span> <span class="hps">de</span> <span class="hps">83,70</span>%. <span class="hps">La deuda externa</span> <span class="hps">como porcentaje del PIB</span>: <span class="hps">ARG</span> <span class="hps">36.75</span>% frente a <span class="hps">la del Reino Unido</span> <span class="hps">de</span> <span class="hps">472,92</span>%. <span class="hps">Fuente:</span> <span class="hps">(</span>http://www.usdebtclock.org/world-debt-clock.html <span class="hps">#)</span><br /><span class="hps">Este año, la</span> <span class="hps">carga de la deuda</span> <span class="hps">UKs</span> <span class="hps">crecerá</span> <span class="hps">por</span> <span class="hps">£ 167 900 000 000</span>.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span class="hps" style="font-size: large;"><span lang="ES" style="font-family: "Times New Roman","serif";">En</span></span><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"> <span class="hps">noviembre, funcionarios</span> <span class="hps">anunciaron</span> <span class="hps">tímidos pasos</span> <span class="hps">para reducir los subsidios</span> <span class="hps">que</span> <span class="hps">ascienden</span> <span class="hps">al 4,2%</span> <span class="hps">del PIB.</span> <span class="hps">Algunas grandes empresas</span>, junto con <span class="hps">los hogares más ricos</span>, <span class="hps">tienen que pagar ahora</span> <span class="hps">más cerca del</span> <span class="hps">verdadero costo</span> <span class="hps">de la energía</span>.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: blue; line-height: normal; margin-bottom: 0in;"><span class="hps" style="font-size: large;"><span lang="ES" style="font-family: "Times New Roman","serif";">Suposición anterior</span></span><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"> <span class="hps">no</span> <span class="hps">refleja con claridad</span> <span class="hps">toda la verdad</span>. <span class="hps">Bajo y Medio</span> <span class="hps">hogares de clase</span> <span class="hps">no</span> <span class="hps">se ven afectados por</span> <span class="hps">los recortes de subsidios</span>. <span class="hps">Las pequeñas empresas</span> <span class="hps">vieron</span> <span class="hps">un aumento mínimo en</span> <span class="hps">sus cuentas de electricidad</span>, <span class="hps">no</span> <span class="hps">afecta</span> <span class="hps">su presupuesto</span>.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">Aún así, para equilibrar sus cuentas, el gobierno tendrá que recurrir a los mercados de dinero durante el año 2012, cree que Miguel Kiguel de Econviews, una empresa de consultoría. Una señal de que está preparando el camino es el nombramiento de Fernández de Hernán Lorenzino, que es respetado en los mercados financieros, como el Ministro de economía, estos pasos se han visto ensombrecidos por un endurecimiento de los controles para frenar la fuga de capitales. En octubre, el gobierno ordenó a las empresas mineras y de energía repatriar todos sus dólares de exportación y a los ciudadanos justificar la compra de cada moneda extranjera. Los inspectores fiscales fueron puestos en las oficinas de cambio de divisas.<br />Guillermo Moreno, el secretario de matones para el comercio interno, que ha perseguido a los economistas independientes de sus estimaciones de inflación, se ha puesto en carga total del comercio exterior también. Algunos importadores ya han sido obligados a convertirse en exportadores y si quieren hacerse con dólares.</span></div><div class="MsoNormal" style="color: blue; line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: blue; line-height: normal; margin-bottom: 0in;"><span class="hps" style="font-size: large;"><span lang="ES" style="font-family: "Times New Roman","serif";">El tema de la</span></span><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"> <span class="hps">fuga de capitales</span> <span class="hps">no es un fenómeno</span> <span class="hps">argentino</span> <span class="hps">entero,</span> <span class="hps">y ocurre en</span> <span class="hps">muchas partes del</span> <span class="hps">mundo, como</span> <span class="hps">es el proteccionismo</span>. <span class="hps">Periodismo objetivo</span> <span class="hps">sería</span> <span class="hps">tratar de utilizar</span> <span class="hps">expresiones</span> <span class="hps">neutrales</span> <span class="hps">y no de "</span>matones", <span class="hps">al comentar</span> <span class="hps">en una</span> <span class="hps">figura pública</span>, <span class="hps">no importa cuánto</span> <span class="hps">uno</span> <span class="hps">está en desacuerdo con</span> <span class="hps">las obras de la</span> <span class="hps">persona</span>.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span class="hps" style="font-size: large;"><span lang="ES" style="font-family: "Times New Roman","serif";">El menor crecimiento</span></span><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"> <span class="hps">probablemente</span> <span class="hps">se puede vender a</span> <span class="hps">los argentinos</span>, siempre que <span class="hps">otros países están haciendo</span> <span class="hps">peor.</span> <span class="hps">La oposición</span> <span class="hps">es débil</span>, dividido o <span class="hps">cooptados.</span> <span class="hps">Sin embargo,</span> <span class="hps">la austeridad,</span> <span class="hps">si llega,</span> <span class="hps">será necesario</span> que <span class="hps">la Sra.</span> <span class="hps">Fernández</span> <span class="hps"> ajuste</span> <span class="hps">sus</span> <span class="hps">alianzas políticas</span>. <span class="hps">Los sindicatos</span> <span class="hps">han</span> <span class="hps">advertido</span> <span class="hps">que las demandas de</span> <span class="hps">aumentos salariales</span> <span class="hps">grandes</span> <span class="hps">serán recibidos por</span> <span class="hps">los bordillos</span> <span class="hps">en el</span> <span class="hps">derecho de huelga.</span> <span class="hps">Sra.</span> <span class="hps">Fernández</span> <span class="hps">recordó a</span> <span class="hps">las empresas privadas</span> <span class="hps">que</span> <span class="hps">han hecho muy bien</span> <span class="hps">en los últimos años</span>, <span class="hps">y</span> <span class="hps">les advirtió de no</span> <span class="hps">"escupir</span> <span class="hps">al cielo</span>". <span class="hps">Habiendo recuperado</span> <span class="hps">la mayoría parlamentaria</span> <span class="hps">en las elecciones</span>, <span class="hps">el gobierno está</span> <span class="hps">empujando a través de</span> <span class="hps">una medida</span> <span class="hps">para regular el</span> <span class="hps">papel de periódico,</span> <span class="hps">que despierta</span> <span class="hps">temores</span> <span class="hps">en los periódicos que</span> <span class="hps">han sido críticos</span> <span class="hps">de los Kirchner.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: blue; line-height: normal; margin-bottom: 0in;"><span class="hps" style="font-size: large;"><span lang="ES" style="font-family: "Times New Roman","serif";">The Economist</span></span><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">, al parecer, <span class="hps">es también el</span> <span class="hps">portavoz de</span> <span class="hps">la oposición</span> <span class="hps">política argentina</span>, así como <span class="hps">algunos medios de comunicación</span>, ya que <span class="hps">arremete en</span> <span class="hps">todas las direcciones posibles</span>. <span class="hps">Si el artículo</span> <span class="hps">se hubiera escrito</span> <span class="hps">de una manera</span> <span class="hps">imparcial y objetiva</span>, el periodista <span class="hps">tendría</span> <span class="hps">el informe de la</span> <span class="hps">verdadera razón detrás de</span> <span class="hps">las medidas</span> <span class="hps">reglamentarias relativas a</span> <span class="hps">proyecto de ley</span> <span class="hps">de medios.</span> <span class="hps">Se</span> <span class="hps">deja de mencionar que</span> <span class="hps">el Grupo Clarín</span>, junto <span class="hps">con La Nación</span>, <span class="hps">celebran una</span> <span class="hps">gran mayoría</span> <span class="hps">sobre</span> <span class="hps">"</span>Papel Prensa". <span class="hps">Además, el</span> <span class="hps">"</span>Grupo <span class="hps">Clarín</span>" <span class="hps">es dueño de una</span> <span class="hps">TV</span> <span class="hps">de gran alcance</span> <span class="hps">y el imperio</span> <span class="hps">de Internet, que</span> <span class="hps">da</span> <span class="hps">al grupo un</span> <span class="hps">cuasi</span> <span class="hps">monopolio de los medios</span> <span class="hps">en el país.</span></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">En 2008, cuando la producción de Argentina se redujo brevemente, el gobierno equilibro sus libros por la nacionalización de las pensiones privadas. ¿Qué podría tomar? Los objetivos potenciales son ni tan fácil ni tan rico. El riesgo ahora es que la inflación y un aumento de déficit en cuenta corriente disparará una carrera para comprar dólares y una espiral de devaluación y que los precios suban como en la década de 1970 y 80. El gobierno de Fernández  tendrá la esperanza de que sus controles puede evitar que fuera, al menos hasta que nuevos descubrimientos de petróleo de esquisto y de gas pueden ser desarrollados. Pero de una manera u otra, las cosas probablemente se pondrán más ásperos en la Argentina.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="color: blue; line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">Conclusión:</span><br /><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"><br />En pocas palabras se podría llamar la visión de “The Economist”  desesperada "proyeccionismo" e ilusiones (malo). Demanda de materias primas agrícolas, muy probablemente será algo menor que en el pasado reciente, pero de nuevo hay que tener en cuenta que el mundo necesita ser alimentado, por lo tanto la necesidad de los productos agrícolas no cesará, con lo que Argentina, cuenta con un activo valioso para el suministro mundial de alimentos y esto es exactamente por qué el economista y político mundial eco-entidades de poder están dispuestos a representar a la Argentina como una muestra de malas medidas económicas, en la Argentina ha desafiado el sistema monetario internacional y aún así le sucedió en "eco-económico" prevalecer en medio de la actual eco - turbulencias financieras, por lo tanto los medios corporativos como The Economist no perderá la oportunidad de retratar a la Argentina en forma negativa. En su último párrafo, el economista reveló su verdadera causa, es decir, lo que he afirmado muchas veces, los intereses del Reino Unido en los recursos naturales Conos Sur!<br />Argentina, la tierra de los productos básicos agrícolas, grandes extensiones de tierras fértiles, recursos de agua dulce (el producto del futuro) y el aceite y los resultados posibles de gas en el sur son el motivo por el Reino Unido y otras entidades (FMI, Banco Mundial, etc ) están desesperados por ganar influencia política ecológica en la región con el fin de imponer a Argentina sus doctrinas políticas ecológicas y, posteriormente, obtener de los países los recursos naturales.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">Aquí hay algunos comentarios de lectores sobre el artículo anterior:</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;"><br />Si es que hay elementos de este artículo que apuntan a legitimar macroeconómica Argentina se refiere a las caras, vale la pena mirar hacia atrás en la cobertura de la revista The Economist en los últimos 8 años. Esta publicación ha preanunciado el fin del mundo en el país más o menos desde 2004. ¿Por qué? El país no sigue las recetas de austeridad y la financiarización de que The Economist ha estado recomendando desde hace años, cuyos resultados están a la vista en Europa y los EE.UU. de hoy. Francamente, toda la visión del mundo de esta revista ha sido tan profundamente desacreditado que me sorprende que nadie se lo toma en serio, particularmente aquellos con inversiones globales.<br />De acuerdo, las personas que pagan por esta revista no parecen ser demasiado inteligentes. La base de clientes objetivo de los economistas son aspirantes IQ100 +.<br />Si equiparamos el crecimiento total de la Argentina en los últimos 8 años frente al crecimiento esperado economista, entonces esta revista debe responder por una diferencia de 70%.<br /><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">La gente de The Economist, si te equivocas una vez que está bien,<br />dos veces ... tal vez,<br />tres veces .. espera un minuto<br />4 veces .. tal vez debería revisar su metodología<br />5 veces ... que nos mienten y lo saben<br />6 veces ... usted sabe que está mintiendo y lo hace porque tiene una agenda<br />7 veces ... que tienen una agenda y que se les paga para hacer mentir a pesar de todo la vergüenza.<br />8 veces ... todo lo anterior además de que no tienen un gran respeto por sus lectores.<br /><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">The Economist no tiene una explicación para el éxito de la Argentina, por lo que The Economist niega el éxito argentino.<br /><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">Tal vez las personas que trabajan para esta revista deben ver cosas como esta<br />http://www.usdebtclock.org/world-debt-clock.html #<br /><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">O mejor aún, ver la siguiente: http://www.debtbombshell.com/<br /><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span lang="ES" style="font-family: "Times New Roman","serif"; font-size: large;">Lo que usted dice es absolutamente cierto. Sin embargo, las empresas, personas y países no dejan de pagar la deuda como un capricho. o como política. Es el resultado de intentar todo lo posible para evitarlo hasta que no haya otra salida. Otro método de control por omisión o por defecto es devaluar la moneda de su país en una escala masiva, como lo hizo el Reino Unido a finales de 1950 y principios de 1940 cuando Argentina debía por lo menos $ 2 mil millones de USD. Por supuesto que no lo hizo para ajustar un “tornillo de Argentina", pero el hecho es que debe haber intentado todo lo posible para evitar la quiebra, y por desgracia en el mundo de la economía, son pocos los países que han evitado la cesación de pagos o quiebra, pero en un costo tan grande que puede haber sido más barato que hacerlo - como American Airlines la semana pasada. La economía del Reino Unido está vivo sólo de nombre, debido a la industria bancaria que atrae a los depositantes de todo el mundo. Casi todos venden bien allí se hace en China, y su déficit por cuenta corriente está cubierto sólo por el endeudamiento masivo, que un día tienen que ser reembolsados. Es sólo cuestión de tiempo antes de que el Reino Unido y los EE.UU. tendrán que admitir que con el desempleo masivo, la industria disminuyó, y los beneficios de no productivos comercio especulativo no será suficiente para sostener sus economías en el largo plazo. Doy el Reino Unido 5 años como máximo antes de la próxima crisis los golpea como el actual en los EE.UU..</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div class="MsoNormal"><br /></div>

Los economistas lamentan el Periodismo

Spanish Version of original article posted on 28 Dec 2011 EL CASTIGO A ARGENTINA   Leyendo  "The Economist"  se debe creer que sus...

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Take a look at the Edublogs Awards winners 2011

<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on">I always look forward in anticipation to the Edublogs Awards every year to see their choice of best blogs, wikis, podcasts, webinar series, social networks, Web tools, individual tweeters  and group twitter hashtags. Initially potential winners from the categories are nominated, and then everyone votes. This is a big affair!<br /><br />Took a look at the winners from around the world.  It is a great way of keeping in touch with what is happening on the social networking scene.   (By the way, with reference to blogs, for your blog to be nominated for the Edublogs Awards it can be part of any platform and not necessarily an Edublogs' blog).<br /><br />I am embedding the winners document below so that you can see the categories, but please visit the actual Google Doc mentioned under <b>a)</b>, or visit the Edublogs Awards site mentioned under<b> b)</b> so that you can actually visit the various links. They are fantastic!<br /><br /><embed allowfullscreen="true" allowscriptaccess="always" height="400" src="http://www.box.com/embed/b0dtf82gkabxof2.swf" type="application/x-shockwave-flash" width="466" wmode="opaque"></embed><br /><br /><span style="font-family: 'Helvetica Neue',Arial,Helvetica,sans-serif; font-size: large;"><b>a) Their embedded Google Doc:</b></span><br /><br /><a href="https://docs.google.com/spreadsheet/pub?hl=en_US&hl=en_US&key=0AlhMhHCqHvgvdERrVTVpZ1NhNmF2b2xvUm1UTFM1Z2c&single=true&gid=0&output=html">https://docs.google.com/spreadsheet/pub?hl=en_US&hl=en_US&key=0AlhMhHCqHvgvdERrVTVpZ1NhNmF2b2xvUm1UTFM1Z2c&single=true&gid=0&output=html</a><br /><br /><span style="font-family: 'Helvetica Neue',Arial,Helvetica,sans-serif; font-size: large;"><b>b) Their Edublogs Award website:</b></span><br /><br /><a href="http://edublogawards.com/">http://edublogawards.com/</a> </div><br /></div>

Blogging Competitions Take a look at the Edublogs Awards winners 2011

I always look forward in anticipation to the Edublogs Awards every year to see their choice of best blogs, wikis, podcasts, webinar series, ...

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Wedding Update

First off, let me just say how <b>awesome </b>you all are who commented <a href="http://the-big-weight.blogspot.com/2012/01/needing-advice.html">yesterday</a>.  When I finally read all of the posts, I cried.  The main reason why I cried is because you helped validate my sanity.  I know that Joel often thinks I'm nuts because I cannot come to terms with living here.  Sometimes I think he must be right!<br /><br />He's said it before: "It's just a land mass Hilary, what difference does it make where you live".  But Joel has never lived anywhere else, and I've lived a lot of places.  It's hard living somewhere that you hate.   I'm lucky enough that despite how he feels, he's willing to put his wants aside to make me feel better, even if that does mean sticking it out another year and a half. <br /><br />After I wrote yesterday's post, I decided to email my landlord to find out our options.  You might wonder why I didn't just do this in the first place before worrying about all that I wrote yesterday.  The thing is, I hate to inconvenience other people on my behalf.  I figured that by asking her to accommodate our needs (meaning extend our lease just 6 months, instead of the traditional year...long enough to get us through the wedding), she would most likely say no.  I mean, she lives in Puerto Rico, and I'm sure she'd rather have someone committed to living another year over just 6 months.  I couldn't blame her at all for this.<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKGXmvWhegAYYTcLld4YSpnvttBziUrVDL4adRSaDkkIBIuRJ3ajX1pajzPw9YVuZYsdbXNysOZLbrilTkhj7VHyPaFZHwagzvEg9P75YwcGAr0IdbZbFvHGO-VUcB8tkiDdTEWVwaP6c/s1600/charles+cat+loaf.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKGXmvWhegAYYTcLld4YSpnvttBziUrVDL4adRSaDkkIBIuRJ3ajX1pajzPw9YVuZYsdbXNysOZLbrilTkhj7VHyPaFZHwagzvEg9P75YwcGAr0IdbZbFvHGO-VUcB8tkiDdTEWVwaP6c/s400/charles+cat+loaf.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Side note: I'm long winded. I'm sorry. I know it's annoying.</i></td></tr></tbody></table>Our landlord responded with a really nice email basically stating that she would be more than happy to work with us on the lease... and would basically do the 6 month extension with no problem. HUGE weight lifted off of my shoulders!!  Would I love to move in June? Yes.  BUT, I am more than willing to stick it out through October to have the wedding I want, and still leave here in less than a year.  I am absolutely <i>giddy</i> with excitement knowing that this will hopefully be my last year living here!  <br /><div style="text-align: left;"><br />Your advice is/was much appreciated!</div>

Miscellaneous wedding Wedding Update

First off, let me just say how awesome you all are who commented yesterday .  When I finally read all of the posts, I cried.  The main reaso...

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