Memo: Campaña #45-7TR5.-Borrador de flyer para campaña "Combo SOHO Empresarial"

Las Empresas más exitosas (y rentables..!!!) del país ya están aprovechando la red Internet en su día a día de trabajo. Unaseles !!!!        Sr Empresario, desde cualquier parte del mundo y desde su computadora, o PDA, conectadas a Internet; usted podrá: Visualizar su empresa por Internet,utilizando cámaras inteligentes. Controlar remotamente, en línea, las computadoras asignadas a logística y operación de su empresa. Comunicarse con telefonía VoIP por Internet, gratis con su empresa ó a bajísimo costo con cualquier telefono o celular del mundo;las 24 horas del día. Déjese ayudar por profesionales, escríbanos a info@depapaya.com contactenos !!!! COPYRIGHT © 2007 DePapaya.com www.depapaya.com Prohibida su reproducción total o parcial, así como su traducción a cualquier idioma sin autorización escrita de su titular. Reproduction in whole or in part, or translation without written permission is prohibited. All rights reserved.

Archivo gráfico de DePapaya.com. Octubre 31, 2007.

Fotos de la fiesta de Halloween, en DePapaya.com, el pasado miércoles:                     Saludos, Vicente A.

Doris Salcedo en el Tate Museum.

09/10/2007 Doris Salcedo: A glimpse into the abyss The latest installation in Tate Modern's Turbine Hall is a fissure zigzagging down the entire length of the concrete floor. It's a cracking idea, says Richard Dorment 'Shibboleth' comes from the Bible, where it refers to a word that only those of your own tribe could pronounce – proof that you belong Over the years, we've seen some electrifying works of art in the Unilever series of commissions for Tate Modern's Turbine Hall, but none has been stranger or more profound than the work that was unveiled yesterday, Colombian artist Doris Salcedo's Shibboleth. "Unveiled" is not quite the right word, because Shibboleth isn't a thing but a non-thing – a fissure that starts as a hairline crack at the top of the ramp near the west entrance of the hall and zigzags 167 metres down to the far end, gradually widening and deepening as it runs, creating smaller and more superficial cracks along the way. It is as though the foundations of the whole building have been shaken by an earthquake, so that by implication the vast space we are standing in is fundamentally unsafe. When you peer down to look deep into the void, you see that the sides of the interior are covered with wire mesh of the kind that is used to seal off borders and control crowds. Visually, Salcedo uses negative space to undermine, and so make us aware of, the scale and monumentality of the former power station. Look down from the mezzanine level to the floor of the Turbine Hall, and it is easy to imagine that you are looking at a landscape – perhaps a view of a great river snaking its way to the sea. Metaphorically, the meaning of the piece is surprisingly specific. Salcedo has said that the crack and the wire mesh refer to the evil of racism, the divide between the black and white halves of humanity that, in time, only gets deeper and wider and will, at the end, bring the whole building down. The word shibboleth comes from the Bible, where it refers to a word that only those of your own tribe could pronounce – proof that you belong. A shibboleth is a test of authenticity, a means to separate friend from foe. Now I know what you are going to ask. Did the artist really take a jackhammer to the concrete floor of the Turbine Hall? Or are we looking at a sculpture, something she made and installed in Tate Modern like any other work of art shown there? Salcedo adamantly refuses to reveal the answer, and I know why. With part of your mind, you completely accept the reality of the cracked floor, but, with the other, rational part, you wonder whether what your eyes see can possibly be true. The effect is disconcerting because you find yourself trapped between knowing and not knowing. After I left the hall, Shibboleth rattled around in my head all day, and it haunts me still. When I ask myself why, I realise it is because it looks like a wound, a gash that can't heal. It offers no hope, leaving you feeling as empty as the abyss it opens up beneath your feet. 'Shibboleth' is at Tate Modern, London SE1 (020 7887 8888), until April 6 Abrir artículo en el Browser. © Copyright of Telegraph Media Group Limited 2007. Terms & Conditions of reading. Commercial information. Privacy and Cookie Policy.

Cuando seremos los humanos más animales ?

Le photographe était certain de voir la fin de ses chiens huskies, lorsqu'un ours polaire est apparu de l'horizon bleuté:     Curieusement c'était un ours bien nourri...           L'ours polaire y est retourné tous les soirs pendant une semaine pour jouer avec les chiens... Merci bien, Ana Cristina García A !! Pour voir les photos augmentées cliquez ici.