خرید هاست خرید شارژ ایرانسل خرید vpn دانلود فیلم آپلود عکس وی پی ان

Ocupacion Poetica

If you walk these days by Legazpi, near the old slaughterhouse, with an electronic device such smartphone, and connects to the Internet, you can hear and “see” poes ed, music and dramatic reading. While Spain fears away rescued, Arganzuela is already “intervened poetically” for a steadicam stabilizer cultural project launched Intermediae , the most avant-garde of Matadero Madrid. The thing works like this: the intervention Occupation Poetics allows geotag contained in a given space. If the visitor has a mobile device can access the internet, and found there and play audiopoemas, which previously have left others waiting to be discovered by people in streets, parks, squares, schools, businesses and public and private spaces of the Arganzuela area. To access the contents need to download a free video camera dolly tracks application, Layar in www.layar.com . The initiative is Juan Carlos Ibáñez Angulo , self-described as “cultural agitator” and is coordinated by the writer Carlos Contreras Elvira . It has already been conducted in more than 2,000 cases in 21 countries around the world. And now comes to Madrid. Augmented reality allows geotag contained in a coordinates determined. Accessing the Internet via mobile devices such as smartphones , you can find and play these files, provided you are within your range. Occupation poetry makes readers active track slider visitors to sites operated poetically. This first space noninvasive intervention unites literary, music and dramatic reading, and extends to different parts of the district Arganzuela. Streets, parks and squares, the environment Madrid Matadero Madrid and Rio, every school district Arganzuela, businesses, public and private spaces. Promoting the idea of anti-guide, will discover a series of audio-poems, in an attempt to deliver to neighbors and passersby a new way to see this portion of the city. Layar is hand held camera stabilizer an application developed with free software and licensed Copyleft And you can contribute content Intermediae invites poets, musicians, educators and anyone interested to submit proposals to continue this poetic occupation of Legazpi and other neighborhoods in the city. The “authority” in this country, making a planned use of the media, trying to hide the true heart of the social movement that has been generated over this year. We are fighting for the recovery of our public space, and education, is the first target. Imposed on us in the speech that we must not undermine the peace, against the development and balance of chile. But life is worth asking because we want to see quiet ridge. The same peace that require us to have written a history of plunder and betrayal . Do not let us put aside the memory, because glide gear memory is all that really belong to us. In response to this peace that we offer at gunpoint, the quote to meet on Tuesday July 26 at the corner on February 12, on this side of the barricade, next to the seizure of Gimpert building, now a space released for everyone to make a poetic occupation / chaconne of this building.

No Comments

Sorry, the comment form is closed at this time.

Matadero Madrid

Matadero Madrid, the project promoted by the City Council of Madrid’s Department of the Arts is managed by the Directorate General for Cultural Projects track slider through Matadero Madrid’s coordination team in cooperation with other private and public organizations. The name is taken from the space; Matadero Madrid is based in an old slaughterhouse in Madrid’s Arganzuela district. It has been converted into an arts center and is an active, ever-changing space at the service of the creative processes, participatory artistic training and discourse between the video camera dolly tracks arts. Its purpose is to further consideration on the contemporary sociocultural environment and support processes to create the culture of today and tomorrow. It is a unique laboratory for experimentation and furthering new cross-disciplinary glide gear formulae. The namesake and the home of the Matadero Madrid was built on the 21st of June 1911. The construction of the slaughterhouse or the “matadero” in Spanish and livestock market, marked one of the most singular industrial hand held camera stabilizer establishments in 20th century Madrileño architecture. The structure was designed around a complex of pavilions typified by functionality, constructive sensibility, and simplicity of concept. It however, also features a certain historic element, certain Neo-Mudéjar characteristics, such as tiles with abstract designs. Until 1996, the complex was used as a slaughterhouse. The Madrid City Council decide to convert the steadicam stabilizer space into what it is today at the turn of the new century. In accord with its experimental purpose, the renovation work has been established through a newly added, adaptable, and reversible architecture that employs industrial materials that blends easily with the site’s character. In doing so, Matadero itself has become a chance to experiment with the city of Madrid’s changing architecture. Matadero Madrid has accepted the task of integrating restoration work with cultural activity and public access in a pledge to getting the public involved in its development. This commitment has been kept up and extended, while always holding fast to the main lines of the project, including artistic production and experimentation, dissemination and exhibition, and training and research. Matadero Madrid embarks on this work with the highest respect for the inherited industrial legacy and with its attention focused on the surrounding neighborhoods and the city of Madrid without losing sight of the international scene. The incentive of contemporary artistic creation is an essential part of Matadero Madrid’s mission, and this continuously comes with a multi-disciplinary, hybridized, and revolutionary perspective which leaves room for all modes of artistic expression: the visual arts, reading and literature, the performing arts, film, music, design, architecture, urban planning, and landscaping. From this perspective, the participation of the city’s main agents and institutions that work in diverse fields of cultural creation has been, and goes on to be, fundamental. This commitment has helped us to produce a model of institutional, public, and private cooperation that makes possible society’s involvement in the project and assures the project’s plurality, autonomy, and feasibility.