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Christo and Jeanne-Claude. The Floating Piers, Art Edition No. 41–60 (Collage)
Christo and Jeanne-Claude. The Floating Piers, Art Edition No. 41–60 (Collage) - image 1
Christo and Jeanne-Claude. The Floating Piers, Art Edition No. 41–60 (Collage) - image 10
Making the Floating Piers
Christo's personal project book with collage The Floating Piers (Project for Lake Iseo, Italy) San Paolo
Multilingual Edition:
English, Italian
Download images (7)
In a nutshell In a nutshell
Limited Art Edition of Christo's personal, signed project book of The Floating Piers with collage multiple The Floating Piers (Project for Lake Iseo, Italy) San Paolo, 2017, an outstanding example of Christo's much coveted collage oeuvre. Framed in plexiglas, this evocation of the project's island centerpiece combines a photograph by Wolfgang Volz, silkscreen with relief varnish, fabric, masking tape, and cardstock featuring cartographic elements. Signed and numbered in pencil by the artist.
Limited Art Edition of 20 copies (No. 41–60), with signed collage multiple The Floating Piers (Project for Lake Iseo, Italy) San Paolo, 2017.
This artwork comes with the limited-edition project book about The Floating Piers, signed by the artist and Wolfgang Volz.
Limited Art Edition of 20 copies (No. 41–60), each numbered and signed by Christo, coming with signed collage multiple The Floating Piers (Project for Lake Iseo, Italy) San Paolo, 2017, 55.9 x 35.5 cm (22 x 14 in.).
From June 18 to July 3, 2016, 100 kilometers east of Milan and 200 kilometers west of Venice, The Floating Piers by Christo and Jeanne-Claude allowed 1.2 million people to walk on water. The project, comprising 100,000 square meters of shimmering saffron fabric above a modular floating dock system of 220,000 high-density polyethylene cubes created a three-kilometer walkway across the surface of Lake Iseo, connecting the mainland to the islands of Monte Isola and San Paolo.
"It is all about walking," said Christo of the project. "Including the stretches on the land, you have to walk five kilometers to appreciate the project, the constantly changing views, the lake, the mountains, the other visitors. All these things together are the final artwork." The experience was as tactile as it was visual, a multisensory wonder of undulating fabric, shimmering yellow, and ever-shifting light upon the water.
In this personal project book, signed and designed by Christo himself, the artist presents this extraordinary environmental work from start to finish. On 846 pages, he reveals the couple's earliest concept of a floating surface on water back in 1970 through renewed interest in the project, research into possible locations, technical developments, material production, and the final 16-day experience with enraptured visitors from around the world.
This limited Art Edition combines the project book with a 24 x 24 cm swatch of the project's original dahlia yellow fabric as well as the signed collage multiple The Floating Piers (Project for Lake Iseo, Italy) San Paolo, an oustanding example of Christo's much coveted collage oeuvre. The rich mix media evocation of the Lago d'Iseo project showcases the central island of San Paolo and includes a photograph by Wolfgang Volz, silkscreen with relief varnish, fabric, masking tape, and cardstock featuring cartographic elements. Christo created only 75 copies of this artwork, 20 of which accompany this TASCHEN production.
Christo and Jeanne-Claude began their collaboration in 1961, and have lived in New York City since 1964. Jeanne-Claude died in 2009. Their large-scale projects include Wrapped Coast, Australia, 1968–69; Valley Curtain, Rifle, Colorado, 1970–72; Running Fence, Sonoma and Marin Counties, California, 1972–76; Surrounded Islands, Biscayne Bay, Florida, 1980–83; The Pont Neuf Wrapped, Paris, 1975–85; The Umbrellas, Japan–USA, 1984–91; Wrapped Reichstag, Berlin, 1971–95; Wrapped Trees, Riehen, Switzerland, 1997–98; The Gates, Central Park, New York City, 1979–2005; and The Floating Piers, Lake Iseo, Italy, 2014–16.
Wolfgang Volz has worked with Christo and Jeanne-Claude as the exclusive photographer of their works since 1971. He was also project director (with Roland Specker) for Wrapped Reichstag and (with Josy Kraft) for Wrapped Trees, and was in charge of The Wall – 13,000 Oil Barrels, Gasometer Oberhausen, Germany, 1998-99 and Big Air Package, Gasometer Oberhausen, Germany, 2010-13. His close collaboration has resulted in many books and more than 300 exhibitions in museums and galleries around the world.
Christo and Jeanne-Claude, Wolfgang Volz
Collage, framed in plexiglas, 22 x 14 in., accompanied by hardcover volume in slipcase, 11.4 x 10.6 in., with piece of original project fabric, 846 pages
Multilingual Edition: English, Italian
Other editions Other editions
Christo and Jeanne-Claude. The Floating Piers
Christo and Jeanne-Claude. Floating Piers, Art Edition No. 1–20 (Wrapped Book)
Christo and Jeanne-Claude. The Floating Piers, Art Edition No. 61–160 (Lithograph)
"Art that lets you walk on water."
Cologne Welcomes Christo
The artist signs copies of his Floating Piers at TASCHEN's new Cologne store
Christo presents his Floating Piers
Benedikt and Marlene Taschen welcome Christo in Basel
Christo and Jeanne-Claude, Art Edition B, No. 7–10...
Christo and Jeanne-Claude. Wrapped Reichstag, Berl...
Christo and Jeanne-Claude. The Gates
Christo and Jeanne-Claude. Wrapped Trees. Basel 19...
Christo and Jeanne-Claude. Updated Edition
Christo and Jeanne-Claude. Poster Set
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El cine experimental es un arte visual que amplía y desplaza los límites del lenguaje audiovisual y del cine narrativo convencional que tradicionalmente se habían estructurado alrededor de un relato argumental respetando el armazón del guion y que utiliza nuevos recursos para expresar y hacer sentir emociones, experiencias, sentimientos y concepciones del mundo al espectador. En muchas obras de cine experimental, por lo tanto, aquello narrativo cede ante los experimentos de tipo formal, siendo frecuente el uso de efectos plásticos o rítmicos ligados al tratamiento de la imagen y el sonido. Por consiguiente, se trata de un método de producción cinematográfico que modifica rigurosamente las convenciones fílmicas y explora alternativas para las formas de trabajo tradicionales. Muchas películas experimentales, especialmente las primerizas, se relacionan con artes de otras disciplinas como la pintura, la danza, la literatura y la poesía, y surgen de la investigación y del desarrollo de nuevos recursos técnicos.

El cine experimental es un arte al margen de la industria y del sistema comercial y, por lo tanto, no acostumbra a estar relacionado con grandes empresas ni se dirige a un público amplio, sino específico y minoritario, y que comparte el interés por productos que se podrían calificar —sin intención peyorativa— como marginales, o también llamados "de culto". De hecho, aunque algunas películas experimentales se hayan distribuido a través de canales convencionales o incluso se hayan realizado en estudios comerciales, la gran mayoría se han producido con presupuestos muy bajos con un equipo mínimo o con una sola persona y se han autofinanciado o se les ha apoyado mediante pequeñas subvenciones.

El objetivo de la realización de filmes experimentales es generalmente representar la visión personal de un artista o promover el interés para las nuevas tecnologías, en vez de entretener o generar ingresos, como es el caso de las películas comerciales.

Una difícil clasificación
Como ocurre en cualquier disciplina, la definición de cine experimental puede estar sujeta a discusión. De hecho, numerosos términos han servido para designar todo o parte del cine experimental (también llamado cine puro, cine absoluto, cine de arte, cine underground, etc) a lo largo del tiempo. Se podría decir que una película es experimental si ha sido concebida fuera de la gran industria del cine o bien si se trata de un filme donde "las preocupaciones formales aparecen en un primer plano",  dejando al margen las preocupaciones industriales, económicas, comerciales, literarias, teatrales, narrativas, etc. El cine experimental, además, se distingue por ir a contracorriente de las normas cinematográficas habituales, sobre todo en materia de duración, ya que engloba películas de una duración entre 25 horas (Four Stars, de Andy Warhol ) y 1/24 de segundo de narración (Empire, del mismo Warhol, una película de ocho horas constituida a partir de bobinas pegadas que encuadran un plan fijo, el Empire State Building). Según estas primeras distinciones, pues, se puede afirmar que el cine experimental está lejos de poseer una clasificación unánime.

Origen, historia y principales representantes
Dos sucesos prepararon la Europa de los años veinte para la aparición del cine experimental. En primer lugar, el cine se desarrolló plenamente como medio y empezó a decrecer la popularidad del entretenimiento masivo. En segundo lugar, surgieron los movimientos de vanguardia en las artes visuales gracias a la asistencia de autores pictóricos de las corrientes dadaístas y surrealistas de la época en el cine, que más tarde contribuirían en la producción fílmica con sus cortometrajes igualmente dadaístas y surrealistas. Esta contribución fue posible gracias a autores como Hans Richter, Jean Cocteau, Marcel Duchamp, Germaine Dulac y Viking Eggeling, por ejemplo.

La historia del cine experimental comienza, pues, con el precine y evoluciona hasta la actualidad, constituyendo así una época entera de producción cinematográfica. Esta metodología, sin embargo, estuvo, desde la aparición del cine comercial e industrial hacia los años 30, ausente de las historias oficiales de la producción cinematográfica, y no fue hasta 1930, cuando se publicó por primera vez la revista Experimental Cinema, que el término de cine experimental apareció directamente, sin ningún espacio entre las dos palabras. Paradójicamente, con la llegada del digital en los años 2000, este formato salió de la sombra gracias, sobre todo, a las nuevas tecnologías de visualización y de realización en directo que permitían una colaboración extensa con otras disciplinas como la música y la danza. Hoy en día, una influencia surgida de esta metodología se encuentra en el arte contemporáneo en formato de instalación de vídeo o de película o de inversión directa en las salas de proyección.

Con muy pocas excepciones, entre ellas Curtis Harrington, los artistas involucrados en estos primeros movimientos experimentales permanecieron fuera de la industria comercial principal del cine y del entretenimiento. Algunos se convirtieron en profesores para compartir y dar a conocer los nuevos estudios fílmicos y, a partir de 1966, muchos se pasaron al campo universitario para impartir docencia en universidades prestigiosas como las de Nueva York, el Instituto de las Artes de California, Massachusetts College of Art en Massachusetts o la Universidad de Colorado en Boulder.

Como máximos representantes del cine experimental conviene destacar las producciones de Dudley Murphy y Man Ray, que crearon, entre otras, la película Ballet Mécanique (1924), descrita como dadaísta, cubista o futurista; las producciones de Duchamp, que filmó la película abstracta Anémic Cinéma (1926); las producciones de Alberto Cavalcanti, que dirigió Rien que las hiedras (1926); las producciones de Walter Ruttmann, director de Berlín, sinfonía de una gran ciudad (1927); y las producciones de Dziga Vertov, que filmó El hombre de la cámara (1929). Sin embargo, se considera que la película experimental más importante a nivel mundial es Un perro andaluz (1929), de Luis Buñuel y Salvador Dalí.

Exhibición y distribución
A partir de 1946, Frank Stauffacher dirigió el programa Art in Cinema para dar a conocer películas experimentales y de vanguardia en el Museo de Arte Moderno de San Francisco.

Desde 1949 hasta 1975, el Festival Internacional del Cine Experimental de Knokke-le-Zoute, situado en Bélgica, se convirtió en el festival de cine experimental más importante del mundo e hizo posible, entre otras cosas, el descubrimiento de las vanguardias americanas en 1958 gracias a las películas de Brakhage y de muchos otros cineastas europeos y americanos.

Desde 1947 hasta 1963, el Cine 16 con sede en Nueva York funcionó como principal expositor y distribuidor de películas experimentales en Estados Unidos. Bajo el liderazgo de Amos Vogel y Marcia Vogel, Cine 16 prosperó como una sociedad sin ánimo de lucro comprometida con la exhibición de películas documentales, de vanguardia, científicas, educativas y de representación para un público cada vez mayor.

En 1962, Jonas Mekas y otros veinte cineastas fundaron The Film-Makers 'Cooperative en Nueva York, y pronto se formaron cooperativas de artistas similares en otros lugares: Canyon Cine en San Francisco, London Film-Makers' Co- op en Londres y el Canadian Filmmakers Distribution Center en Canadá. Siguiendo el modelo de Cine 16, las películas experimentales se exponían principalmente fuera de las salas comerciales, en pequeñas sociedades de cine o microcine, museos, galerías de arte, archivos o festivales de cine.

Principales manifestaciones
El cine experimental se desarrolló en un contexto de movimientos contrarios a la cultura de diversa tipología:

 Estéticos: las vanguardias artísticas de principios del .
 Políticos: cine de agitación de 1968, el cine de propaganda.
 Filosóficos-teóricos: el estructuralismo, el cine feminista y el cine homosexual.
 Culturales: el underground y los movimientos de la contracultura.

 El cine corporal comprendería todas las tendencias de los años setenta, como el cine del yo, los diarios filmados, los filmes militantes, el cine underground, el cine de la materialidad y todos aquellos que reivindican una experiencia fílmica personal.
 El cine estructural comprendería las grandes vanguardias de los años veinte, el llamado cine estructural de los sesenta y otras aproximaciones seriadas o minimalistas, el letrismo, el cine conceptual, el cine que interroga el mismo cine y todas aquellas metodologías que reivindican el filme de las formas .

De todos modos, es obvio que existen numerosos cineastas que desarrollan diferentes aproximaciones de las mencionadas previamente dentro de un mismo filme o de una obra a otra.

Características
El cine experimental engloba un abanico de estilos de producción cinematográfica bastante diferentes, y a menudo opuestos, a las prácticas del cine comercial y documental convencional. Aunque el concepto cubre una amplia gama de prácticas, una película experimental se caracteriza a menudo por la ausencia de narrativa lineal, por el uso de diversas técnicas abstractas (desenfocar o pintar películas, editar rápidamente, etc.), por el uso no diegético del sonido e, incluso, por la ausencia de banda sonora. El objetivo es a menudo situar el espectador en una relación más activa y más reflexiva con la película.

Durante la década de 1960, y hasta cierto punto, muchas películas experimentales adoptaron una postura de oposición hacia la cultura dominante. Por este motivo, la mayoría de estas películas se financiaron con presupuestos muy bajos, se autofinanciaron o se financiaron mediante pequeñas subvenciones, con un equipo mínimo o con un equipo de una sola persona, el cineasta. Muchas de las características más típicas del cine experimental, como los enfoques no narrativos, impresionistas o poéticos de la construcción de la película, definen lo que generalmente se entiende como tal.

La totalidad de las características de este género, sin embargo, son difíciles de concretar. José Antonio González, autor mexicano, se atreve a definir el término de cine experimental como "[...] un lenguaje cinematográfico propio, que desarrolla un arte inseparable del propio medio de expresión. Se organiza de acuerdo con una lógica que le es propia, la narración compleja, fragmentaria, deconstruida o inexistente. La concepción del filme aparece a lo largo de la experimentación y reflexión, por otro lado, rodaje y creación del guion son paralelos, proceso que se completan para muchos luego de la experiencia del espectador. Es ante todo personal: el realizador no solo integra todas las líneas creativas del filme sino que muchas veces las efectúa él mismo (cámara, sonido, edición, etc.)".

Así pues, y de manera general, se puede afirmar que el cine experimental se caracteriza por:

 Ofrecer un contenido narrativo que suele ser insignificante, ya que la mayoría del valor del filme proviene de ideas vinculadas a los sueños o a los pensamientos que se convierten en el único tema de toda la película. De todas formas, sin embargo, hay filmes que presentan muchas temáticas sin relación aparente entre ellas.
 No disponer de continuidad secuencial, ya que esta metodología crea una unión entre planos y aporta un significado nuevo a estos.
 Ampliar las dimensiones de la estructura narrativa conocida hasta aquel momento, es decir, evitar regirse a las normas habituales en cuanto a estructura y sintaxis visual.
 Contraponerse al cine comercial de narrativa ortodoxa dirigida al gran público.
 Querer dar visibilidad a las convenciones sociales y cinematográficas cambiando sus propias normas y modelos, por ejemplo, suprimiéndolas, añadiéndolas, invirtiéndolas o reordenándolas.
 Trabajar con material ajeno al propio para revalorizar y contextualizar materiales cinematográficos desconocidos, proceso llamado found footage.
 Utilizar el material cinematográfico para mostrar situaciones internas.
 Incorporar el público como elemento indispensable para el desarrollo del filme que, por lo tanto, se convierte en parte de la experiencia fílmica.
 Estar delimitado por los parámetros tecnológicos, que en caso favorable permiten el uso de soportes audiovisuales digitales novedosos.
 Explorar las características audiovisuales del filme, que combina sonido e imágenes en movimiento con criterios y conocimientos de la cultura artística en general y que incluye otras artes como la poesía, la música, la danza o el teatro para dar una visión o una opinión propia del mundo.
 Crear una obra que necesita de la crítica activa de los espectadores para su lectura.
 No limitarse al campo técnico de la película sino tratar, de igual manera, los aspectos ideológicos y las diversas maneras de percepción del filme.

Medios estéticos y de producción

Medios estéticos

 Ensanchamiento de las normas restrictivas y arbitrarias del cine comercial (género, duración, soporte, etc). Cada filme experimental se organiza de acuerdo con una lógica que le es propia.
 Narración compleja, fragmentaria, deconstruida o inexistente.
 Concepción del filme que aflora a lo largo de la película: experimentación y reflexión, rodaje y escritura van juntos.

Medios de producción

 Filme como elemento personal: el cineasta no sólo integra todas las líneas creativas de la película, sino que muchas veces las hace él mismo (tomas de cámara o de sonido, edición, desarrollo, etc). Este es un cine para los cineastas en oposición al cine de autor o de realizador.
 Autoproducción y presupuesto mínimo.
 Distribución y difusión a través de vías paralelas o cooperativas.

El cine llamado de autor o de arte y ensayo toma distancia respecto a los criterios normativos del cine tradicional, pero se inscribe en un sistema de producción y distribución comercial, y para ello le resulta tremendamente difícil alejarse de las normas.

Público
Es indispensable el papel del público en el cine experimental, ya que, de alguna manera, esta metodología experimenta con él. De hecho, Andre Parente afirma, en referencia a los elementos del cine experimental, que "[...] el cine [experimental] hace converger tres dimensiones diferentes: la arquitectura de la sala, heredera del teatro a la italiana [pone énfasis en el espacio, que acaba de dar forma al filme, e incluye, además el espacio físico, el público y su atención y reacción y todo lo que pueda suceder en aquella sala y que pueda intervenir, de algún modo, en la proyección]; la tecnología de captación/producción, un patrón diseñado a finales del ; y la forma narrativa ".

Es conveniente destacar la necesidad de producir un tipo de cine que busca en el lenguaje y en la narrativa aquello intelectual, social y sentimental que hace participar el público. Este es el objetivo del cine experimental, que a partir de la experiencia logra conectar un conjunto de espectadores activos con las ideas y las perspectivas de un mundo que necesita reflexiones y críticas profundas.

Países precursores

Francia

La aparición del cine experimental en Francia se vincula con la financiación y la distribución de películas narrativas desvinculadas de la escuela vanguardista a los cineclubs por parte de numerosos cineastas de la época. Entre estos eruditos destacaron las figuras de Abel Gance, de Jean Epstein y de Marcel El Herbier, que realizaron filmes combinando la experimentación narrativa, la edición rítmica, la subjetividad de los personajes y el trabajo de cámara.

Se puede afirmar esquemáticamente que las cuatro cooperativas surgidas en los años 70 y 80 vinculadas al cine experimental francés se pueden diferenciar de acuerdo con estas cuatro tendencias:

 Le Collectif Jeune Cinéma (1971), que emplea el nombre de cinéma différent y se aproxima más al cine corporal desde un enfoque tal vez literario.
 La Paris Film Coop (1974), que se aproxima más al cine estructural y post-estructural y al cine científico o de animación.
 Lightcone (1982), la cooperativa cinematográfica más importante de la Europa de la época que disponía de muchos artistas que trabajaban con found footage .
 Federación de cooperativas y grupos de distribución franceses.

España
Durante los años setenta, el empresario navarro Juan Huarte Beaumont, mecenas de Jorge Oteiza, Eduardo Chillida y Antonio López, fundó la productora X Fims para promocionar el cine experimental en España. Gracias a este hecho, José Antonio Sistiaga consiguió realizar su primera película abstracta pintada a mano sobre celuloide y titulada Ere Erer baleibu icik Subus aruaren. Del mismo modo, otro pintor, Rafael Ruiz Balerdi, filmó uno de los cortometrajes experimentales más célebres del cine español: Homenaje a Tarzán. Otro artista a destacar fue Gonzalo López-Gallego, productor de un cine experimental que nació de la obsesión por el uso de un lenguaje inusual. Sin embargo, este director español no concibió una película sin hilo conductor, aunque esta fuese abstracta, minimalista e irreal. De la misma manera, un gran número de otros productores, aparte de los mencionados, como José Luis García, Luis Eduardo Aute, Jordi Grau, Claudio Guerín y Gabriel Blanco, trabajaron y dieron sus primeros pasos en el cine experimental gracias a la productora de Huarte, la cual fue homenajeada en 2006 en el Festival Punto de Vista. También hay que destacar de la época de los 60 hasta finales del  los siguientes artistas: Néstor Basterretxea, Fernando Larruquert, Ton Sirera, Iván Zulueta, Frederic Amat, Antonio Maenza, Ángel García del Val, Pedro Almodóvar (rodando en Super-8), Ricardo Bofill, Javier Aguirre, Joan Brossa, Jaume Xifra, Luis Rivera, Ramón de Vargas, Oriol Durán, Ramón Masats, Llorenç Soler, Antoni Padros, José Ángel Rebolledo, Carles Barba, Jacinto Esteva, Joaquim Jordà, Julia Juániz (película pintada a mano), Carlos Durán, Ricardo Muñoz Suay, José María Nunes, Carles Santos, Marcel Pey, Manuel Huerga, Eugeni Bonet, Eugenia Balcells, Juan Bufill, Adolfo Arrieta y Benet Rosell. En tiempos más recientes, y ya en el , destacan autores como Carlos Serrano Azcona con películas como Banderas Falsas, Joaquín Lledó, David Varela, Virginia García del Pino, María Cañas, Enrique Piñuel, Víctor Iriarte, Ion de Sosa, Luis López Carrasco, Antoni Pinent, José Ramón da Cruz, Chus Domínguez, el poeta gallego Francisco Brives con largometrajes como Nunc et in hora (sin diálogos), Drako, Narciso Violado y Gonzalo López-Gallego, y los cortometrajistas César Velasco Broca y Laida Lertxundi.

En un apartado ajeno conviene destacar la figura de Luis Buñuel, un director de cine español que nació en 1900 y que, posteriormente, se trasladó en México, donde realizó la mayoría de sus obras. Es considerado uno de los directores más importantes y originales de la historia del séptimo arte, que en 1929, junto a Salvador Dalí, realizó el filme pionero del cine experimental a nivel mundial: Un perro andaluz. Otras obras a destacar de este artista son las siguientes:

 La edad de oro (1930)
 Los olvidados (1950)
 Tristana (1970)
 El fantasma de la libertad (1974)
 Este oscuro objeto del deseo (1977)

A nivel geográfico, las ciudades de Barcelona (con autores como Pere Portbella, José María Nunes y Carlos Atanes), Gijón, Madrid y la comunidad autónoma de Galicia fueron los principales focos activos del cine experimental español. De todos modos, en todo el territorio, y a lo largo de los años, se ha defendido la inexistencia de un epicentro específico de desarrollo de esta metodología.

Como puntos de difusión importante de este cine de vanguardia y experimental destacan en Madrid el festival de La Semana de Cine Experimental de Madrid, El Festival Internacional IVAHM, El Museo Centro de Artes de Vanguardia La Neomudéjar, el CIDV (Centro de Documentación e Investigación del Videoarte, y que tienen como objetivo el fomento de la investigación cinematográfica), la Cineteca de Matadero y plataformas digitales como PLAT, en Barcelona la sala Xcéntric (CCCB) y el festival L'Alternativa, en Pamplona el Festival Punto de Vista, en La Coruña el Centro Galego de Artes da Imaxe (CGAI) y en Asturias el Festival Óptica.

Argentina

Claudio Caldini
Nació en Buenos Aires en 1952 y aprendió los principios de la óptica y la mecánica fotográfica y cinematográfica desde pequeño. Se dedicó a experimentar con la música y la danza y, posteriormente, con el cine. Durante la década de los 90 fue declarado precursor del cine experimental y referente argentino en el mismo ámbito. Durante todos sus años de producción elaboró numerosas piezas artísticas, entre las que destacan las siguientes: Lux Taal (cortometraje de 2009), S/T (cortometraje de 2007), A través de las ruinas (1982), Vadi-Samvadi ( cortometraje de 1981), Cuarteto (cortometraje de 1978), Baltasar (cortometraje de 1975), Ventana (cortometraje de 1975) y Film-Gaudí (cortometraje de 1975).

Caldini decía: "[...] el cine experimental siempre presenta a su propia materia y no trata de seguir una línea narrativa. No hay mimesis, no hay diégesis, no hay nada de todo aquello propio de la teoría cinematográfica. [...]. El cine experimental para mantenerse vivo tiene que [...] estar rompiendo continuamente, pero ya casi no quedan núcleos por romper". Como ejemplifica este fragmento, su metodología muestra una clara dirección de ruptura con la narrativa tradicional propia de las novelas, los relatos de acciones o de las representaciones teatrales, ya que no es posible determinar una lógica definida de análisis de sus filmes debido a que estos se encuentran más allá de la experiencia cotidiana del individuo humano y experimentan, por ejemplo, un juego temporal que se mueve más rápidamente que la velocidad exigida por la cámara. Este hecho obliga al espectador a realizar un visionado más atento que le permita eliminar sus propios límites constructivos como espectador pasivo y fragmentar el muro de prejuicios con los que se ha educado en visualizar un número reiterado de películas y, por el contrario, mostrarse dispuesto a disfrutar del filme teniendo conocimiento de que su narración está sujeta a otro tipo de análisis conceptual con la presencia de imágenes fragmentadas, descontextualizadas y sobrepuestas que, sin embargo, continúan estando pegadas a la idea inicial de proyecto de película.

Por ejemplo, Caldini, en su cortometraje Lux Taal, se refiere a un concepto que desde el título lleva a analizar la combinación Lux Taal como una palabra combinada, un conjunto que admite ser definido como un tránsito o un posible camino y que adquiere el significado verbal de dos culturas. En griego Lux se refiere a una fuente iluminada y Taal en sánscrito se refiere a los intervalos temporales. Este tránsito es otra clave de la película, los disparos de luces son alternativos, marcan un ritmo. Las formas se componen desde lo oscuro hacia la luz. O de la luz a lo oscuro, tal vez como el recorrido que la luz hace en la rotación de un planeta. El ojo va incorporando estos destellos producidos sobre la oscuridad, componiendo formas vividas. Una vez montadas estas imágenes  dentro de aquello secuencial en la proyección, no hay forma de decir si el tiempo es crono o lógico, ya que provoca sensaciones en donde una cierta musicalidad de imágenes son contenidas. Según la concepción védica del tiempo, se dice que este tiene forma de espiral, y si se obserba el proceder de la maquinaria con la que Caldini reproduce esta realidad, el dibujo o mándala que traza su película, entrando y saliendo por diferentes proyectores, hace pensar en la posibilidad de que esto fuera así. Para Caldini esto es lo experimental en el cine: trasmitir una idea, un concepto desde la forma de componer las imágenes hasta la forma en la que el espectador las aborda.

Narcisa Hirsch
Otra exponente de esta corriente fue Narcisa Hirsch, que dedicó su vida al cine experimental. Nacida en Berlín en 1928, esta artista surgida de la pintura y convertida luego en pionera del cine experimental argentino, expandió su actividad audiovisual durante las décadas de los 60 y 70 en forma de instalaciones, objetos, performances, grafitis e intervenciones urbanas. Sin embargo, sus inicios como directora fueron parte de un movimiento más amplio de artistas que se acercaron al cine desde diferentes disciplinas artísticas, como fue el caso de Marie Louise Alemann, de Juan José Mugni, de Juan Villola y de Horacio Vallereggio.

Hirsch definía el cine experimental como "[...] un lenguaje distinto y por eso tienen que tener paciencia. La mayoría del material de las películas era de "super 8". En los 70 fuimos un grupo de cine experimental, muy artesanal. Trabajaba cada uno en lo suyo pero proyectábamos juntos en algún sótano, y finalmente gracias a Maria Louise Alemann en el Instituto Goethe, que ahora está haciendo las recopilaciones de las películas dentro de un marco más teórico. No hay que entender nada, hay que dejarse fluir con las imágenes y con el sonido y ya está. Si eso es afín a ustedes bien, si no bueno, es como la música. En cuanto al "mito de Narciso" [refiriéndose a su última película El mito de Narciso], es una estrategia que adopté, capitalicé mi nombre que siempre ha sido una especie de flagelo y entonces hice algo sobre mí misma, negando el mito original que dice que narciso se vio en el estanque y se enamoró de sí mismo. Yo digo que no se enamoró de sí mismo, sino que se miró en el estanque para conocerse a él mismo, y al acercarse demasiado a las aguas se cayó y se ahogó, porque ese conocimiento no se puede tener y eso es lo que trato de decir en la película".

Durante todos sus años de producción elaboró numerosas piezas artísticas, entre las que destacan las siguientes: El mito de Narciso (60') (2011), Celebración (cortometraje de 2007), El erotismo del tiempo (cortometraje de 2006), El mito de Narciso (20') (cortometraje de 2005), Aleph (cortometraje de 2005), Ama-zona (cortometraje de 2001), Home coming (cortometraje de 2001), Rumi (cortometraje de 1999), A Dios (cortometraje de 1989), Ana, ¿dónde estás? (1985), Para Virginia (cortometraje de 1984), Orelie Antoine, rey de la Patagonia (cortometraje de 1983), Come out (cortometraje de 1974), Pink Freud (cortometraje de 1972), Descendencia (cortometraje de 1971), Canciones napolitanas (cortometraje de 1971), Patagonia (16') (cortometraje de 1970), Patagonia (10') (cortometraje de 1970), Retrato de una artista como ser humano (cortometraje de 1969), Marabunta (cortometraje de 1967) y Manzanas (cortometraje de 1966).

Alemania

Walter Ruttmann
Nació en 1887 y se convirtió en uno de los pioneros alemanes del cine experimental y de gran influencia para los trabajos posteriores en este campo. Arquitecto y pintor, su carrera cinematográfica se inició a principios de los años 20 y fue un prominente exponente de la música y el avant-garde. Ruttmann enriqueció el lenguaje del cine como medio expresivo utilizando nuevas técnicas que más tarde se convertirían en una gran influencia para cineastas posteriores. Algunas obras a destacar de este artista son las siguientes:

 Opus I (1921)
 Opus II (1923)
 Berlín, sinfonía de una gran ciudad (1927)
 In der Nacht (1931)
 Acero (1933)

Hans Richter
Nació en Berlín en 1888 y su introducción en el arte moderno fue a través de su contacto con el cubismo en 1914, que lo inició en el desarrollo posterior del movimiento dadá alemán. Sus primeros trabajos abstractos en películas los realizó durante 1917. Su obra más destacada fue Rhythmus 21 (1921). Otras obras a mencionar de este artista son las siguientes:

 Rhythmus 23 (1923)
 Filmstudie (1926)
 Ghosts Before Breakfast (Vormittagsspuk) (1927)
 Race Symphony (1928)

Unión soviética
Los cineastas soviéticos también encontraron una contrapartida de la pintura y la fotografía modernista en sus teorías del montaje. Las películas de Dziga Vértov, Sergei Eisenstein, Lev Kuleshov, Alexander Dovzhenko y Vsévolod Pudovkin fueron fundamentales para proporcionar un modelo alternativo al que ofrecía el Hollywood clásico. Aunque no eran películas experimentales por sí mismas, contribuyeron al lenguaje cinematográfico de las vanguardias de la época.

Influencia posterior en los principales medios comerciales
Aunque un número relativamente reducido de profesionales, académicos y eruditos conoce la película experimental, esta ha influido y sigue influyendo enormemente en la cinematografía, en los efectos visuales y en la edición. Además, el género del vídeo musical se puede ver como una comercialización de muchas técnicas del cine experimental. El diseño de títulos y la publicidad televisiva también han sido influenciados por este mismo cine experimental.

Véase también
 Cine abstracto
 Cine arte

Referencias

 André Parente, "A forma Cinema: Variaçoes e Rupturas"; Río de Janeiro, 2009: 23.
 José Antonio González, La historia del cine experimental. Tesis profesional; México, 2005.

Enlaces externos
 Experimental Cinema - Web sobre cine experimental
 Problemas del cine experimental
 Homenaje a la productora de cine experimental X Films en el Festival Punto de Vista
 Cine Experimental, Mediateca Media Art Space
 Confusion Cercles: The cinema of visual artists, Mediateca Media Art Space
  Características, recursos formales, cineastas del cine experimental.
 Directorio en línea para creadores de cine experimental
  Blog sobre cine experimental.
 Muestra itinerante de cine Playtime
 Los artistas, detrás de la cámara, pintando imágenes en movimiento

redpajama_set_name: RedPajamaWikipedia


The focal point of every dining room must be the dining table. Without their presence, the dining room is essentially just a game - believe musical chairs: a bunch of chairs in a circle, with nothing in the middle. If that was your case, then quick! Pick up a chair or when you are left to eat while rating. Starting to see why dining information make such an impact in our daily lives? Let's face it, without them we didn't be able to have a nice family dish, or entertain guests in a house party. Luckily, eating tables are available at just about any pieces of furniture store or online pieces of furniture retailer. They also come in a range of finishes, materials and features; therefore the amount of options available to you is limitless. Yet , with this many options, choosing which table to acquire can get confusing. So here is a small list of things to covers when shopping for a dining table. Truth be told, furniture manufacturers actually provide different types of dining tables. But how does one differ from one other when they all seem to be pretty much the same; four legs holding up a flat table top. Thank goodness, there are ways to differentiate one type of table to the next. First, the Accent Table. These are regular dining tables, however extremely ornately designed to provide a sense of classic romance. What kind you might imagine inside the castles or mansions of your treasured storybook.
Neillemons - Small space dining rooms better homes and gardens. Turn a small dining room into a focal point of your house with these tips and tricks our small dining room ideas will make your space look larger, help the flow of traffic, and increase storage in a small footprint. Small dining rooms that save up on space decoist. Small dining rooms and areas are inherently a lot more difficult to design than compact bedrooms and tiny living spaces we often complain about the lack of available space in our own homes to find an excuse for pretty much every design conundrum. 5 modern dining room decorating ideas for small space. We like our dining rooms the way we like our food simple, fuss free, sleek and easy on the eye while modern is oft accused wrongly so of being cold and harsh, it's our go to for dining rooms. 25 luxury small dining room ideas decor or design. Multi purpose furniture is a very practical solution for any small room, specially for small dining rooms you can find a multi or dual purpose furniture that will save a huge space and expand the small dining room size. Dining room sets for small spaces ebay. Find great deals on ebay for dining room sets for small spaces shop with confidence. 7 round dining room tables perfect for small spaces. Anthropologie annaway dining table this large bistro table is perfect for your small dining room the extra surface space makes it suitable to seat four comfortably. Small dining room ideas decorating small spaces house. Whether you have an open plan kitchen with a small adjoining dining area or a tiny dedicated room we've got ideas for furniture, wallpaper and paint colours to make the most of your dining space. Best 25 small dining rooms ideas on pinterest dining. Find and save ideas about small dining rooms on pinterest see more ideas about dining table small space, small dining tables and small table ideas. Living & dining room tips for small spaces youtube. The expandables' mia parres explains how you can use natural light and the right furniture from leon's to make the most out of your living and dining spaces. Small dining room sets sears. Small dining room sets allow you to enjoy lovely sit down meals in more compact spaces perfect for enhancing the decor in a small house or apartment, these stylish sets feature a sturdy table with matching chairs to help you make the most of your meals and get togethers decorate your new furniture with your favorite.


text:
FCC wants faster Internet for government buildings
Broadband plan also addresses costs of upgrades
By William Jackson
Since this story appeared, the FCC has released the broadband strategy it is presenting to Congress.
The Federal Communications Commission will deliver a broadband strategy to Congress on Tuesday that identifies high-speed Internet access as the "great challenge of the early 21st century" and calls on government to reform policies and laws to encourage expansion and improvement of the commercial broadband infrastructure.
The plan calls for government buildings, hospitals, schools and other "anchor institutions" to have access speeds of at least 1 gigabit/sec by 2020. Overall, the plan would increase Internet speeds to 25 times the current average, according to the New York Times.
Despite the rapid growth of the Internet and of broadband access in this country over the last decade — from about 8 million people with access in their homes in 2000 to nearly 200 million in 2009 — the United Sates still lags much of the developed world in adoption and cannot take full advantage of innovations such as electronic health information, remote learning and electronic delivery of government services, according to the plan. Many people who have access to broadband have not subscribed.
"Policymakers, including the FCC, have a broad set of tools to protect and encourage competition in the markets that make up the broadband ecosystem," the commission said in a summary of the plan released Monday. The plan includes recommendations for the executive branch and Congress as well as the FCC.
If adopted, most, if not all, of the plan's recommendations could be paid for by anticipated proceeds of future wireless spectrum auctions, the plan states.
Universal broadband Internet access has been designated as a driver for the nation's economic recovery, and Congress in the Reinvestment and Recovery Act last year mandated that the FCC develop a national plan for ensuring access to broadband capability for all Americans, providing a detailed strategy for ensuring the affordability and adoption of broadband access and maximizing its utilization. FCC issued a notice of inquiry in April 2009 seeking input on the development of the plan, which originally was due in February. Chairman Julius Genachowski last month requested a one-month extension.
The plan, entitled "Connecting America: The National Broadband Plan," will be in perpetual beta form. "Like the Internet itself, the plan will always be changing," the summary states.
The plan identifies gaps in the availability and adoption of high-speed networking. Nearly 100 million households currently are not using broadband and 14 million Americans can't get broadband if they want it. Use and availability of broadband is more restricted for some populations than others. Only 42 percent of people with disabilities use broadband at home and as few as 5 percent of people living on Indian tribal lands have access.
The plan sets out a series of goals and recommendations for the next decade. It identifies four ways in which government can influence what the FCC calls the "broadband ecosystem," which includes networks, devices, content and applications:
Design policies to ensure robust competition and spur commercial innovation and investment.
Ensure efficient allocation and management of those assets controlled by federal, state and local government, such as radio spectrum and rights of way, to encourage network upgrades and competition.
Reform current universal service mechanisms to support broadband deployment in high-cost areas and ensure affordability.
Reform laws, policies, standards and incentives to maximize benefits in public education, health care and government services and operations.
The plan says that a shortage of radio spectrum is one of the challenges to increased innovation in wireless and mobile Internet access. "Currently, the FCC has only 50 megahertz in inventory, just a fraction of the amount that will be necessary to match growing demand," the summary states. It recommends that an additional 500 MHz be made available within 10 years, 300 MHz of it available in the next five years.
The plan calls for shifting $15.5 billion over the next 10 years from the existing Universal Service Fund to a new Connect America Fund to ensure affordable connections with actual download speeds of at least 4 megabits/sec. Another $4.6 billion per year of legacy Universal Service Fund costs aimed primarily at voice services also would be moved over time to the new fund. The majority of the recommendations do not require new funding, and revenue from auctioning an additional 500 MHz of public spectrum could make the overall plan revenue neutral, if not positive, the summary states.
The plan also sets out long-term national goals to serve as a compass over the next decade:
Provide affordable access for at least 100 million homes to actual download speeds of at least 100 megabits/sec and actual upload speeds of at least 50 megabits/sec, with universal access to robust broadband.
Lead in mobile innovation with the world's fastest wireless networks.
Establish a nationwide wireless broadband public safety network.
Provide the ability to track and manage real-time energy consumption online.
William Jackson is a Maryland-based freelance writer.
Tue, Mar 16, 2010 WO
I had a real struggle just to get 10Mb/s service (scrapping the T1) a couple years ago to serve 112 gov employees. As well as having few (2) vendors to deal with, it was pushing what people wanted to budget too. A Gb/s! Ha, unlikely.
Tue, Mar 16, 2010 Jack B. Day Pittsburgh 15235
While reading your article I noticed that you stated, "ensure affordable connections with actual download speeds of at least 4 megabits/sec". My thoughts/experience is that this is not nearly enough through-put to accomplish the smallest of task, related to internet enabled applications or general file downloads. Is this a misprint? Than on page 3 you state the goal is 100 megabits/sec this sounds more realistic
The article states, "Despite the rapid growth of the Internet and of broadband access in this country over the last decade — from about 8 million households in 2000 to nearly 200 million in 2009" ... Internet access has increase to 200 million households in the US? According to the CIA Fact Book, there are approximately 223 Million Internet users in the US. According to the US Census there are only 114 Million households. It is simply amazing how there are 200 million of those 114 Million household that are connected to the Internet. So ... maybe someone got these numbers wrong?


text:
Flying Home Watch Online Free
Colin, an ambitious young American businessman, has a deal with a potential client, a rich Arab sheikh who is a passionate pigeon fancier. The sheikh has tried several times to buy a champion pigeon, but the owner continues to stubbornly refuse his offer. In an attempt to gain the trust of the Sheikh, Colin offers him a deal: if he manages to convince the owner to sell the champion pigeon, the sheikh will agree to do business with Colin's company. But when Colin meets Jos, the grumpy owner of the pigeon, and Isabella, his granddaughter, he realizes that this mission will not be as easy as he had hoped.
Director: Dominique Deruddere
Actors: Ali Suliman, Anthony Stewart Head, Charlotte De Bruyne, Jamie Dornan, Jan Decleir, Josse De Pauw, Viviane de Muynck
Los Angeles, 1949. Ruthless, Brooklyn-born mob king Mickey Cohen runs the show in this town, reaping the ill-gotten gains from the drugs, the guns, the prostitutes and — if he…
When two married business executives having an affair are blackmailed by a violent criminal, they are forced to turn the tables on him to save their families.
A helicopter pilot and an environmental scientist lead a exodus of survivors in a search for a safe haven after a catastrophic tectonic event causes the crust of the earth…
A skilled young hockey prospect hoping to attract the attention of professional scouts is pressured to show that he can fight if challenged during his stay in a Canadian minor…
Genre: Drama, Romance, Sport
Violinist Sydney Wells was accidentally blinded by her sister Helen when she was five years old. She submits to a cornea transplantation, and while recovering from the operation, she realizes…
Eight years after the disappearance of Cassandra, some disturbing incidents seem to indicate that she's still alive. Police, parents and Cassandra herself, will try to unravel the mystery of her…
With his 20th reunion looming, Dan can't shake his high school insecurities. In a misguided mission to prove he's changed, Dan rekindles a friendship with the popular guy from his…
In 1825, Claire, a 21-year-old Irish convict, chases a British soldier through the rugged Tasmanian wilderness, bent on revenge for a terrible act of violence he committed against her family….
Will Plunkett and Captain James Macleane, two men from different ends of the social spectrum in 18th-century England, enter a gentlemen's agreement: They decide to rid the aristocrats of their…
Genre: Action, Adventure, Comedy, Crime, Drama
After being threatened during a confession, a good-natured priest must battle the dark forces closing in around him.
Watch Flying Home Online Free
Trailer: Flying Home


Sudbury (MA), Lincoln (MA), Weston (MA), Waltham (MA), Wellesley (MA) .
Postal Code(s) associated with Wayland, MA: 01778 .
The above search is a free service maintained by DoReMiWORLD.com for the benefit of private music teachers, as well as music students and their parents. Our goal is to help you locate a private music instructor, for example, a private piano teacher, a private violin teacher, a private voice coach, an online music teacher or another music education specialist who may offer private music lessons or online lessons to music students in Wayland Massachusetts.
Private music instruction is considered to be the best way to learn to play a musical instrument. Use this directory to find a private music teacher offering music lessons in your local area (Wayland MA) or online lessons around the world. At the moment, our directory is limited to the United States, Canada, United Kingdom, Australia, United States, and New Zealand. This music teachers directory classifies private music instructors by instrument, such as private piano teachers (for private piano lessons), private voice teachers (for private voice lessons), private violin teachers (for private violin lessons), etc. Please use the above search function to find a private music teacher near you.
We welcome the following types of instructors in our Wayland Massachusetts directory: Percussion Educators, Electric Guitar Instructors, Classical Guitar Tutors, Double Bass Professionals, Keyboard Teachers, French Horn Coaches, Recorder Coaches, Trombone Educators, Mandolin Instructors, Piano Tutors, Bass Guitar Instructors, Harp Instructors, Violin Educators, Bagpipes Professionals, Ukulele Professionals, Saxophone Instructors, Electric Bass Professionals, Harpsichord Professionals, Dulcimer Teachers, Bassoon Instructors, Drums Professionals, Voice Coaches, Oboe Educators, Acoustic Guitar Instructors, Tuba Tutors, Organ Teachers, Accordion Educators, Clarinet Tutors, Cello Educators, Trumpet Teachers, Lute Tutors, Flute Coaches, Banjo Teachers, Piccolo Teachers, English Horn Educators, Viola Tutors, Viola Da Gamba Coaches, Brass Coaches, Bass Coaches, Woodwinds Teachers .


Ely Victoria is a friendly badminton club open to all abilities and ages from improvers to experts. With around 45 members the club demonstrates a good balance of competitive sport based in a very sociable environment.
Although based in Ely (Cambridgeshire) the club has a very large catchment area. We attract many players from the neighbouring villages (Littleport, Witchford and Soham etc) and some travel over 60 miles to attend our club nights.
Tuesdays 8pm to 10pm+ at Ely Paradise Sports Centre.
Generally the games consist of mixed and level doubles but singles can be arranged later in the night.
Feather shuttles are used for club games and matches and we make full use of all 4 courts over the duration of the night.
Visitors are always welcome, just turn up with your racket on any Tuesday night (as long as there isn't a club tournament being played).
As a visitor you are able to attend up to 3 times before having to make the decision about full term membership.
Home matches are usually played on a Thursday & Saturday evenings.
I want to thank for all the members of this club for great spending time and all activities!


text:
Sarina Russo
Hall of Fame Alumni
Sarina Russo Group - Founder and Managing Director
Sarina Russo, Founder and Managing Director of Sarina Russo Group, employs over 1100 staff across 7 companies – Sarina Russo Schools | Australia, Sarina Russo Job Access (Australia), Sarina Russo Job Access (Great Britain), Russo Higher Education (trading as James Cook University Brisbane); Russo Recruitment, Sarina Russo Apprenticeship Services, and VOICE (Vocational, Occupational, Industrial, Clinical and Educational).
Sarina opened 'The Office' Business Academy (now Sarina Russo Schools | Australia) in 1979 with $2,600, nine students and two part-time staff.
Sarina Russo is an international businesswoman with a philanthropic edge, starred in both the Australian Dragons' Den series and Dragons' Den Around the World. Sarina is a member of the Clinton Global Initiative. Sarina is a member of the Women's Leadership Board and the World Presidents Organisation.
Sarina is also the co-author of herbook Meet Me at the Top and host her own motivational television show 'How to Get that Job'.
Member of Clinton Global Initiative since 2008
Member of the Women's Leadership Board of the John F. Kennedy School of Government (Harvard Business School) since 2003
Former member of Board of Directors, Challenger Financial Services (2006 – 2008)
A member of the Leading Women Entrepreneurs World Advisory Board since 2006
A graduate of the Harvard Business School (USA) Owner/President Management Program Youngest and first female member of the Queensland Chapter of the International Young Presidents' Organisation (YPO) and now a member of the World Presidents' Organisation (WPO)
Member of the Queensland Premier's Advisory Board since 2000
Member of the Queensland Education and Training Export Board since 2002, Chairman and Trustee of the Jupiter's Casino Community Benefit Fund since 1995
Member of the Council for Multicultural Australia Board (2005 – 2006)
Member of the Queensland Tourism Board (2002 – 2009), Member of the Lord Mayor's Community Trust Board since 1995
Member of the Australiana Fund, Appointed Honorary Ambassador for the City of Brisbane by the then Lord Mayor Jim Soorley in 1996
Awarded the Multicultural Achievers Award by Queensland Government by Queensland Premier Peter Beattie in 2006
Recipient of the Centenary Medal for distinguished service to education in 2001
Elected by the people of Queensland as one of the Australian Republican Movement delegates to the Australian Constitution Convention in Canberra in 1998.
Accept accountability and responsibility for your life.
Work hard on yourself and your job – believe in yourself with passion.
Visualise yourself reaching a goal so clearly that you can taste your success.
Persist. Never give up.
Hall of Fame News
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Suzi Dafnis
1st March, 2016
We've all heard the phrase "Beauty is in the eye of the beholder" – it's an idea that has been widely accepted for centuries, since it first appeared in Greek culture, around the 3rd Century BC. We "get" that... read more
2016 Businesswomen's Hall of Fame inductees announced
In the lead up to International Women's Day on 8 March, HerBusiness, formerly known as the Australian Businesswomen's Network, has announced the 2016 inductees to the Businesswomen's Hall of Fame. "The Hall of Fame was established in 1998 to... read more
5 Ways to "Run Your Own Race"
Fashion designer Leona Edmiston is a household name these days. She's achieved incredible success over the past 30 years, dressing the rich and famous like Elle Macpherson, Britney Spears, Paula Abdul and Susan Sarandon, to name a few. Widely... read more


This is a disambiguation page. A number of articles are associated with the title Faramir (disambiguation).
Faramir, the second son of King Ondoher of Gondor.
Faramir, the son of Denethor II and brother of Boromir.
Faramir Took I, the son of Peregrin Took.


text:
How to define orbital angular momentum in other than three dimensions?
In classical mechanics with 3 space dimensions the orbital angular momentum is defined as
$$\mathbf{L} = \mathbf{r} \times \mathbf{p}.$$
In relativistic mechanics we have the 4-vectors $x^{\mu}$ and $p^{\mu}$, but the cross product in only defined for 3 dimensions. So how to define orbital angular momentum e.g. in special relativity in terms of 4-vectors? Or more generally in $d$ dimensions?
angular-momentum vectors spacetime-dimensions
asmaierasmaier
$\begingroup$ en.wikipedia.org/wiki/… $\endgroup$ – genneth May 14 '11 at 22:18
$\begingroup$ In classical relativistic field theory, there is an object called the Pauli-Lubanski vector which reduces to ordinary 3-dimensional angular momentum in the rest frame of the system (Google for this term unfortunately doesn't seem to find any elementary web page). There is also a generalized angular momentum tensor (of 3rd rank), which is constructed using the symmetric energy momentum tensor (which is of 2nd rank). Manifest Lorentz invariance is possible. $\endgroup$ – Peter Morgan May 14 '11 at 22:42
$\begingroup$ very interesting: Relativistic Angular Momentum by Nick Menicucci, 2001 "Its relation to its 3-vector .. resulting consequence of uniform motion of the centroid. .. the most striking being the inability to compress a system of particles to infinitesimal size, requiring new thoughts on just what "a point-particle with spin" really is. The spin vector and Pauli-Lubanski vector were discussed, The Thomas precession was explained and calculated, and two "paradoxes" involving torque and angular momentum were explored" $\endgroup$ – Helder Velez May 16 '11 at 10:45
$\begingroup$ @genneth I found the Wikipedia explanation "Angular momentum is the 2-form Noether charge associated with rotational invariance" not very helpful. So I added to the Wikipedia article the definition of the angular momentum as antisymmetric tensor of second order as explained by Lubos. $\endgroup$ – asmaier May 16 '11 at 20:56
$\begingroup$ good stuff. Lubos' answer is indeed right on the mark. $\endgroup$ – genneth May 17 '11 at 10:34
Dear asmaier, you shouldn't view $\vec L = \vec x \times \vec p$ as a primary "definition" of the quantity but rather as a nontrivial result of a calculation.
The angular momentum is defined as the quantity that is conserved because of the rotational symmetry - and this definition is completely general, whether the physical laws are quantum, relativistic, both, or nothing, and whether or not they're mechanics or field theory.
To derive a conserved charge, one may follow the Noether's procedure that holds for any pairs of a symmetry and a conservation law:
http://en.wikipedia.org/wiki/Noether_charge
In particular, the angular momentum has no problem to be evaluated in relativity - when the background is rotationally symmetric. The fact that you write $\vec L$ as a vector is just a bookkeeping device to remember the three components. More naturally, even outside relativity, you should imagine $$ L_{ij} = x_i p_j - x_j p_i $$ i.e. $L_{ij}$ is an antisymmetric tensor with two indices. Such a tensor, or 2-form, may be mapped to a 3-vector via $L_{ij} = \epsilon_{ijk} L_k$ but it doesn't have to be. And in relativity, it shouldn't. So in relativity, one may derive the angular momentum $L_{\mu\nu}$ which contains the 3 usual components $yz,zx,xy$ (known as $x,y,z$ components of $\vec L$) as well as 3 extra components $tx,ty,tz$ associated with the Lorentz boosts that know something about the conservation of the velocity of the center-of-mass.
Incidentally, the general $x\times p$ Ansatz doesn't get any additional "gamma" or other corrections at high velocities. It's because you may imagine that it's the generator of rotations, and rotations are translations (generated by $\vec p$) that linearly depend on the position $x$. So the formula remains essentially unchanged. In typical curved backgrounds which still preserve the angular momentum, the other non-spatial components of the relativistic angular momentum tensor are usually not preserved because the background can't be Lorentz-boost-symmetric at the same moment.
Luboš MotlLuboš Motl
$\begingroup$ This answer actually clears up a different question of mine +1 $\endgroup$ – yayu May 15 '11 at 5:55
$\begingroup$ Also, all asymptotically flat spacetimes preserve a TOTAL angular momentum $L_{I}=\oint d^{2}x K_{ab}r^{a}e^{b}_{I}$, where $e^{b}_{I}$ is the dyad of the surface at infinity, and $K_{ab}$ is the extrinsic curvature of the 3-surface in the 4-spacetime, and the integral is over the intersection of the 3+1 slice and conformal spacelike infinity. There just wont' be any general, coordinate-invariant local angular momentum current in these spacetimes. $\endgroup$ – Jerry Schirmer May 15 '11 at 18:50
$\begingroup$ An old page but .. Looking at $L_{ij} = x_i p_j - x_j p_i$ I notice that $x$ and $p$ are dual entities for which one would expect a contraction like in $P=F\cdot v$ ($F=\dot{p}$, $v=\dot{x}$) and not an exterior product like here? E.g. $v_i F_j - v_j F_i$ doesn't mean anything does it? $\endgroup$ – Gerard Sep 11 '17 at 10:53
$\begingroup$ Any two 3-vectors have some cross product. What's your problem with it? The inner product of x,p may also mean something - it's a generation of dilations - but the generators of rotations is the cross product. The cross product of the force and velocity could also have some importance in physics - at any rate, you can surely calculate it or define it, can't you? Why do you think or in what sense a well-defined cross product of two vectors "doesn't mean anything"? $\endgroup$ – Luboš Motl Sep 11 '17 at 16:23
Not the answer you're looking for? Browse other questions tagged angular-momentum vectors spacetime-dimensions or ask your own question.
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text:
Unité Citoyenne (en espagnol : Unidad Ciudadana) est une coalition électorale péroniste formée pour les élections législatives d'Argentine de 2017. Elle est inscrite dans les provinces de Buenos Aires, Catamarca, Chaco, Córdoba, Misiones, Neuquén, Entre Ríos et la capitale fédérale Buenos Aires. Les députés nationaux élus sous l'étiquette Unité Citoyenne intègrent le groupe parlementaire du Front de tous.

Histoire
Peu de temps après avoir terminé son second mandat de Présidente de la Nation, Cristina Fernández de Kirchner forme une très grande coalition qui donne comme priorité l'unité des opposants aux politiques de Mauricio Macri.

La coalition se préoccupe du comportement de divers parlementaires qui votent favorablement aux projets de Macri. Cela va en partie créer des malentendus avec des factions du  Parti Justicialiste. La coalition garantit que, une fois choisis, les représentants ne voteront aucun projet de loi incompatible avec le programme de l'Unité Citoyenne. Selon les mots l'ancienne Présidente, l'alliance est créée afin d'«unir les citoyens pour poser une limite au gouvernement du président Mauricio Macri et éviter qu'il élimine les droits sociaux acquis».

L'alliance est officiellement lancée le  après un grand rassemblement à Sarandí, municipalité du Grand Buenos Aires.

Listes

Province de Buenos Aires

Le , l'ancienne Présidente Cristina Fernández de Kirchner confirme sa candidature en tant que sénatrice nationale accompagnée de Jorge Taiana sur la liste d'Unité Citoyenne.

Ville de Buenos Aires
Le , l'"Unité Porteña" est créée en participant à Unité Citoyenne.

Programme
En même temps que le lancement d'Unité Citoyenne, les principaux axes de la campagne électorale ont été résumés en quinze points. Cela commence par « Macri est arrivé au pouvoir grâce à une escroquerie électorale » puis les éléments suivants sont énoncés :

Toutefois, Unité Citoyenne a pour objectif déclaré d'éviter les confrontations entre les forces communes d'opposition aux politiques de Mauricio Macri et de garantir que les représentants élus par Unité Citoyenne ne soutiennent pas la politique de la majorité sans accord préalable de la coalition.

Articles connexes
 Élections législatives argentines de 2017
 Péronisme
 Kirchnerisme

Références

Liens externes

 Plataforma electoral de Unidad Ciudadana

Kirchnérisme
Politique en Argentine


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Crypto Legends
Banking and payments: the fixers building bridges from Web 1 to Web 2 to Web 3
August 31, 2022 Adam Bialy
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As we have gone through every iteration of the internet (Web 1, Web 2, Web 3), there have always been bridges. Without these bridges, built by "fixers," there is no mass adoption. And Web 3 is no different; we need "fixers." We need Web2.5 (more on this later).
Over a 4 part article series, we will explore:
- Banking and payments: the fixers building bridges from Web 1 to Web 2 to Web 3
- Why crypto platforms need Web 2.5 infrastructure to build a trusted bridge to banks
- Why banks don't trust the current bridge to crypto and how Web 2.5 can fix this
- Why investors betting big on Web 2.5 bridges is critical
Our story starts on 6 August 1991 when the first webpage was launched and everything changed. As the World Wide Web turns 31, we track how far banking and payments have come since the dial-up days of Web 1. We consider what it means to be more connected and social in today's Web 2. And look to the possible decentralized futures of Web 3.
Web 1 – The birth of online banking and payments
Before the internet, it seemed that the way banks did business had barely changed in years, centuries even. The same few firms dominated. New entrants were modest, partly because banking was surrounded by a moat.
Regulation, complex legacy infrastructure and many technological interdependencies made it hard to innovate in isolation. The large overheads of running a physical branch network made it hard to cut costs quickly. And training hundreds of customer-facing staff made it hard to roll out new products quickly.
No wonder that innovation was incremental and that products and services were similar to each other and to what they had always been. Paul Volcker, former chair of the US Federal Reserve, was only half-joking when he said in 2009 that the ATM had been the only useful innovation in banking in the last 20 years.
source: https://thefinanser.com/2016/11/retail-bank-customers-really-want
When Web 1 emerged in the 1990s, it consisted of static, read-only web pages and basic e-commerce. Bank websites were rudimentary, often just there to display brochures. E-commerce websites were not much better, with catalogs of goods and clunky or offline payment experiences.
Web 1 fixer – The digital wallet goes mainstream
There was general skepticism about the value of online banking and payments among banks and customers. It cost too much, was difficult, not safe and there was no real need. Then came the fixer.
source: https://www.finextra.com/blogposting/22726/why-do-you-need-a-digital-wallet
"Paper money is an ancient technology. You can run out of it. It wears out. It can get lost or stolen. In the twenty-first century, people need a form of money that's more convenient and secure, something that can be accessed from anywhere with an internet connection."
With these words, Peter Thiel launched PayPal, the online payment system that changed the way the world does business. Four years later in 2002, eBay bought PayPal for $1.5 billion. Today it's worth around $115 billion.
The digital wallet went mainstream. And Thiel's words inspired new thinking about the digital economy during the first-generation web of the late 1990s – and beyond.
Web 2 – The rise of frictionless and embedded payments
From the mid-2000s, banking and payments moved from purely physical transactions in bank branches and shops to e-commerce and mobile commerce. More recently, the Covid-19 pandemic dramatically accelerated existing trends, boosting the shift from 'bricks to clicks' by around five years.
Initially, some banks and firms saw digital as a new way to automate old processes to cut costs. Or as a new channel through which to distribute old products. They took the legacy world and tried to make it better with technology.
Meanwhile, others were re-thinking how to do banking and payments in a digital and increasingly mobile world. This included simplified sign-up, better credit scoring, instant loans, real-time cross-border payments almost for free, and digitalized micro-services.
Frictionless payments went mainstream and Uber became the poster child of the invisible payment experience. At the end of a ride, the passenger just got out of the cab. That's it. Payment happened in the background and the passenger's last memory was the ease and convenience of taking an Uber.
To build these embedded experiences and digital-first financial products, providers needed better access to technology capabilities and platforms. This in turn made it more economical for them to offer easy, lower-cost products and services, improving access to financial services, particularly for the un- or under-banked.
Web 2 fixers – As-a-service components and collaboration
Rather than a specific product, the fixers to Web 2 were advances in back-end technology and partnerships . This was the era of the API economy; faster broadband, the proliferation of smartphones, better 4G and 5G coverage and cloud. This enabled the fixers, infrastructure players, the 'plumbers', to improve the connectivity, speed and reach of the internet.
Yet the ability of financial services firms to take advantage of technological change depended on starting points as much as strategies. It was easier to create everything from scratch rather than to take an existing business model and make it work in a new world.
Fintech start-ups often began with blank slates. They built Lego-like solutions using various off-the-shelf and as-a-service components, which dramatically reduced the cost, complexity and time to market. Fintechs also started to use real-time data, different data points and initiatives like Open Banking to unlock financial services access to wider demographics. Fintech exploded!
Yet, while banks had disadvantages relative to start-ups, they also had advantages. Being regulated was a huge compliance overhead but generated customer confidence and market credibility. A long history brought with it legacy systems, but also strenghtened trusted brands and provided historic data at scale and a deep understanding of the risks involved.
Consequently, rather than competition, banks and fintechs tried collaboration and co-opetition. The win-win achieved through engaging in a mutually beneficial way defines the general relationship between banks, fintechs and crypto-friendly banks and crypto platforms today.
Web 3 – Decentralization for a more democratized, resilient and inclusive internet
Web 3 is emerging as a reaction to Web 2 with its large-scale search, shopping and entertainment platforms. Web 2 owned and operated by private companies, with business models centered on tracking and monetizing user data in exchange for providing seemingly 'free' services.
Web 3 promises a better, more decentralized internet with countless interoperable platforms. A group of technologies, including digital assets, decentralized finance (DeFi), blockchains, tokens riding on those blockchains, and decentralized autonomous organizations (DAOs), will enable new forms of collaboration.
Web 3 will include more people, for example, those Web 2 left behind because they didn't have bank accounts or lived in countries deemed 'high risk' by traditional financial services. Paradoxically, and not many people see this yet, but Web 3 will renew trust in institutions, improve governance, auditability and participation. It will enable people to take control of their digital lives through new ways of generating and retaining value.
However, until crypto becomes a legal tender, not just a speculative asset, individuals will still need to cross the bridge from fiat into the crypto economy. Crypto is often touted as the Wild West, where KYC and AML are foreign concepts. This has changed somewhat recently with the more mature crypto platforms attempting self-regulation and with upcoming regulation like MICA bringing some much-needed clarity to the space.
source: https://www.acxiom.com/blog/internet-nobody-knows-youre-dog-still-true-today/
Web 3 fixer – Web 2.5, a trusted bridge to the future
At the end of 2021, 300 million people had a crypto token. That's still only 4% of the world's population, so there's huge opportunity for growth. However, Web 3 needs fiat and traditional fiat players like banks to become mainstream. Fiat is, and is going to remain for years, the entry point to crypto as well as the exit point from crypto. Yet banks and crypto platforms don't always speak the same language.
source: https://gnomestew.com/an-elementary-alternative-to-combat-fire-water/
Fiat Republic lives at the intersection of banking and crypto. We exist to fix the broken link between these two financial powerhouses and help Web 3 go mainstream by fostering mutual trust and transparency, through a common language of compliance.
Web 2.5 is designed to bring down borders that isolate the ecosystems. Too many crypto platforms are currently stuck at the border of Web 2, often marginalized by the banks, due to a lack of information, transparency and data. This, in turn, leads to banks not trusting crypto platforms (more on this in our 3rd article).
Think of Web 2.5 as the compliant connective tissue between crypto platforms and banks, facilitating trusted money flows and seamlessly bridging the Web 2 and Web 3 worlds to drive mass adoption of Web 3.
Stay tuned, as next week we explore why crypto platforms need Web 2.5 infrastructure to build a trusted bridge to banks…
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