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Corporate Summit 2010

For the very first edition of Psychoeconomy is offered to conduct a meeting for discussion concerning the international monetary crisis and the existing systems of monetary trade in between artists operating within the area of the economy through tactical use of media control methods snoring mouthpiece business or irony. Banks, technology companies, and even micro nations, are types of corporations (a few fictional and some are not), produced by invited artists. The primary goal of this meeting will be to produce a document as a declaration on the state present crisis, including the position prior to her, take these “corporations” with a number of option actions recommended and decided by their associates. This statement, together with the proposals of each “corporation” will probably be put snore eliminator together into a book. Taking advantage from the particularities of space for reflection and diffusion made by the field of art, the meeting will try to state projects of the engaging artists: Gustavo Romano Fran Ilich, Georg and Daniel Garcia Andujar Zoche. A challenge to the democratic as well as egalitarian promises of the technologies along with a review of the want for manage that hide behind their apparent transparency. PSYCHOECONOMY! is a project directed by Gustavo Romano. It´s first edition is going to take place at Matadero Madrid on the event of Madrid Abierto. It’s a creative system for discussion and research that suggests an alternative method to international problems. Each problem includes a meeting of artists, a public event along with a publication. Within the first edition happened on “Corporate Summit 2010″, a summit created for dealing with the international monetary crisis and also the snore eliminator mouthpiece prevailing currency exchange systems. This met four artists (directors of their very own fake corporations) and had written the “Madrid Declaration”, offered at a public occasion at Matadero Madrid. While today’s world has many international issues to resolve, it still doesn’t possess a viable method of Global Governance. Fixing these global issues only using the tools of national and then corporate governance is an extremely challenging task, because the experience of extremely numerous international summits shows. For international governance to become effective below the present plutocratic nation-state international economy, it should not be subordinate to any particular interest. Global governance therefore has to include all spheres of global policy creating, such as world trade, world currency and banking institutions, global environmental as well as social standards, international justice and global security. If more radical changes are regarded as to be essential, then we must dare to be much less conventional, take risks, do the impossible and strange: dare to daydream, ask questions anti-snoring mandibular advancement device like a kids does: possess a various optic, a new aesthetic. The absence of a method of international governance has led to economies that are mostly driven by global players (effective nation states, multinational corporations). Therefore, these establishments have created unsustainable techniques and brought on grave instability each on the planet as a entire and inside their own communities.

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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.