_ZIUA FILMULUI MUT_
Doua capodopere ale istoriei filmului german cu muzica live

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Duminica, 29.11.2009
Casa Tranzit (str. Baritiu 16)

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Centrul Cultural German organizeaza pentru a treia oara in data de
29.11.2009 un eveniment cu filme mute acompaniate cu muzica live.
In cadrul evenimentului din acest an proiectam doua dintre cele mai
interesante creatii ale istoriei filmice germane din anul 1927: Berlin,
simfonia metropolei si Metropolis.

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Din punct de vedere muzical filmele vor fi acompaniate de Dj si sound artists. Prin folosirea live a unor sample-uri, mix-uri, synthesizere si drumcomputer, aceste capodopere ale istoriei filmului german isi gasesc locul in estetica secolului 21.

In ziua filmului mut se prezintă:

ora 17.00:
BERLIN, SIMFONIA METROPOLEI (D 1927)
Muzica live: MASTINO SURFERS [Serban Ursachi & Cristian Rusu]

Filmul documentar experimental descrie o zi din metropola Berlin din
anii 1920 asemenea unui organism viu. Trezirea lenta a diminetii, ritmul
zilei si linistea de seara, se imbina asemenea unei simfonii vizuale.
Mastino Surfers este un proiect experimental deschis, care exploreaza
sunetul fara a-si fixa limite de niciun tip. Acompanierea muzicala
creata in special pentru acest film combina sunete electronice si sunete
obtinute cu ajutorul unor pseudo-instrumente acustice.

ora 19.00:
METROPOLIS (D 1927)
Muzica live: ANTONIO BRAS

Aceasta opera legendara a istoriei filmului va fi prezentata in data de
29 noiembrie 2009 pentru prima data la Cluj. Metropolis, un film
futurist, care face parte din 2001 din patrimoniul UNESCO, prezinta un
oras din viitor, a carei tematica se invarte in jurul puterii, seducerii
si impacarii. Acompanierea muzicala va fi asigurata de Antonio Bras, un
sound-artist, care combina in realizarea sa sonora inovativa diferite
tehnici muzicale (Sampler, Mixes, Synthesizer, CD-uri, Drumcomputer).
Vezi: www.metropolis-live.de/trailer

Intrarea la amandoua filme este libera.
Mai multe detalii gasiti in documentele atasate.

Kuala namu Tak Boleh Ditunda Lagi

Medan (KABAR Medan)

Wakil rakyat di DPRD Sumatera Utara tidak menginginkan pemerintah terus menunda penyelesaian pembangunan bandara baru di kawasan Kuala Namu. Mereka mendesak agar sarana ini benar-benar sudah bisa beroperasi pada 2011.

”Kami tidak mau lagi ada penundaan untuk ketiga kalinya. Kali ini Bandara Kuala Namu harus siap dan beroperasi pada 2011,” tutur anggota Komisi D DPRD Sumut Fadly Nurzal kepada Kabar Medan.

Dia mengatakan, sarana baru pengganti Bandara Polonia Medan itu semula direncanakan sudah beroperasi akhir tahun ini.Kemudian,muncul penundaan penyelesaian pembangunan menjadi 2010.

Terakhir sambungnya ,rencana itu ditunda lagi menjadi 2011. Persoalan lain, pembangunan bandara itu juga terancam terhenti. Soalnya,Departemen Keuangan (Depkeu) enggan mengeluarkan anggaran tambahan yang jumlahnya hampir Rp4 triliun.Anggaran pembangunan yang semula hanya sekitar Rp2,7 triliun membengkak menjadi lebih Rp6 triliun.

“pemerintah pusat benarbenar berkomitmen menyelesaikan pembangunan bandara baru tersebut,” harapnya.

Sudah seharusnya terangnya Pemprovsu bersama pihak terkait, termasuk DPRD Sumut, juga harus bisa meyakinkan pemerintah pusat demi terwujudnya bandara baru tersebut. Pemerintah pusat melalui Satker Bandara Kuala Namu sudah memastikan bandara itu baru bisa selesai pada 2011.

”Jangan lagi ada kesan kita diberi janji ketika kita ribut,begitu sudah tenang janji dilupakan.Sementara itu,persoalan penerbangan kita sudah cukup rumit, bahkan sudah memakan korban jiwa yang tidak sedikit,yang sebagian di antaranya putra-putra terbaik Sumut,” paparnya.

Fadly menambahkan, dari segi kapasitas dan fasilitas,Bandara Polonia memang sudah tidak layak lagi menyandang predikat bandara internasional. Sebab, jumlah penumpang terus meningkat.

“Belum lagi menyangkut lokasi Polonia yang persis di tengah kota,” pungkasnya.

Dewan Kecam Pernyataan Rektor USU Tidak Terima Jalur PMP

Medan (KABAR Medan)

Terkait ultimatum yang dikeluarkan oleh rektor USU yang isinya tidak menerima lulusan SMA sederajat melalui jalur PMP (Pemandu Minat dan Prestasi) hanya karena pemeriksaan soal ujian penerimaan Calon Pegawai Negeri Sipil (CPNS) gagal dipercayakan kepada USU, Kalangan Dewan Perwailan Rakyat Daerah (DPRD) Medan kecam kebijakan manajemen Universitas Sumatera Utara (USU) yang mengultimatum tidak akan menerima lulusan SMA sederajat melalui jalur (Pemandu Minat dan Prestasi (PMP) tahun ajaran 2010 dari 26 kab/kota hanya karena tidak kerjasama soal pemeriksaan ujian Calon Pegawai Negeri Sipil (CPNS).

“Kita sangat menyayangkan pernyataan Rektor USU Chairuddin P Lubis menyebut tidak menerima murid berprestasi di Sumut lewat jalur PMP hanya karena USU tidak dipercaya memeriksa hasil ujian CPNS. Ini kita tidak setuju, masyarakat yang tidak tahu menahu jadi kecewa” tegas Ketua Komisi B DPRD Medan Irwanto Tampubolon kepada Kabar Medan menanggapi kebijakan USU yang dinilai tidak ada relevansinya.

Dikatakan, tentang dimana soal ujian CPNS diperiksa itu mutlak kebijakan pemerintah dan bukan wewenang masyarakat. “Lantas kenapa masyaraka jadi korban. Murid berprestasi kok dihukum,” papar Irwanto.
Politisi PPRN ini meyakinkan, masyarakat setuju hasil ujian yang murni dan tidak mempersoalkan dimana diperiksa.

“Dalam hal ini kita minta USU jangan ‘menghukum’ murid berprestasi di Sumut,” jelas Irwanto.
Ditambahkan, USU tidak bisa membeda-bedakan karena semua berhak mendapat pendidikan yang layak.

“Apapun alasannya USU tak bisa membuat kebijakan tersebut” kata Irwanto.

Sama halnya dengan anggota komisi B Bahrumsyah dan Roma Simaremare, kedua politisi PAN dan PDIP ini
mengecam kebijakan Rektor USU Chairuddin Lubis yang dinilai emosional.

“Soal ketidakpercayaan pemeritah terhadap USU memeriksa soal ujian CPNS tidak ada korelasinya dengan pembatasan penerimaan calon mahasiswa lewat jalur PMP,” ujar Bahrumsyah.

Dijelaskan Bahrumsyah, jangan karena Pemko tidak mempercayaai USU lantas masyarakat jadi korban. “Kebijakan USU ini kita tidak sepakat. Kita minta jalur PMP tetap diberlakukan seperti tahun tahun sebelumnya, ” ujarnya.

Sedangkan Roma Simaremare mendesak agar pihak USU membatalkan kebijakannya tersebut. Tindakan tersebut dinilai mematikan dunia pendidikan di Sumut. “Jangan USU membuat kebijakan yang menyakiti masyarakat. Apalagi masalah pendidikan menyangkut masa depan,” papar Roma.

Japanese animation is looked upon as one of Japans key exports, at least in regards to popular western culture. “The Americanization of anime and manga is simply part of a much more expansive process of negotiation, that of the creation of a global popular culture” (Cinema Anime-Brown: Page 44). The ability to actively participate and engage with anime is a lot easier than it was some years ago, simply due to the internet and fandom in general. McDonald even goes so far as to say, “Anime is the most influential aspect of Japanese cinema (In terms of an international audience)” (Reading a Japanese Film: McDonald: Page 13). This could be due to the fact that the “Painstakingly evocative naturalistic settings with the free play of fantasy made possible with anime” (Reading a Japanese Film: McDonald: Page 179) explicitly allow them to do things that live action cinema simply does not have the capacity to.

I intend to display evidence and note key themes in which Japanese animation exemplifies, in regards to:

-Cyborgs and dehumanisation

-Technology

by looking at visual styles, narrative structure, and implied meanings, in specific relevance to Science Fiction.

Cyborgs and dehumanisation

When cyborgs are presented in anime, they are often constructed as physically perfect, albeit mentally flawed. In Ghost in the Shell (Oshii, 1995) – “Yet, Kusanagi is presented with a ‘perfect body…she tells us she feels fear, probing into her very being as an individual” (Liquid Metal- Yuen-Pages 107-108). This infers that while she may be aesthetically pleasing to look at, she has mixed feelings with her own existence, as she has doubts over if she is even real anymore, distraught over simply being a ‘Ghost’. This is paralleled in Anno’s psychological sci-fi masterpiece Neon Genesis Evangelion (Anno, 1995) in which “The characters are not containers or vessels of emotion, but apparitions of emotional complexity” (100 Anime- Brophy-Page 162).

One of the key things we can gather from this is that the mentioned anime titles depend heavily on the narrative presupposing the rapid dehumanisation of the characters. Cavallaro confirms this by saying that, concerning Ghost in the Shell: “It mediates the quintessentially unstable nature of human subjectivity” (The cinema of Mamoru Oshii-Cavallero-Page 167). This works as a parallel with many of the philosophical overtones in Ghost, as Kusanagi does not really ‘Exist’ anymore as a human, but as a Ghost; only existing as a mental, and therefore, relatively subjective notion.

Technology

As is usual with the majority of science fiction, a futuristic setting is often commonplace. Be it the re-imagining of Metropolis (Tezuka, 2001), with its take on a future where a machine will become God over the oppressed masses, and the bleak undertones of a morally corrupt hierarchy, or the ultra stylistic, dizzying futuristic dystopia of Ghost in the Shell. Despite the fact that Oshii “Looked for actual spots in Hong Kong to transform into mise-en-scene for Ghost…” (Liquid Metal-Yuen-Page 98), the majority of sci-fi anime is set in a dystopian future, where either technology has taken over, or has evolved to the point of surpassing that of human nature. It could be argued that this is Japan asserting its creative independence after the horrific bombings of Hiroshima and Nagasaki in 1945, and this is their interpretations of what a future following this could play out like. This theme is apparent in Neon Genesis and Akira, in which the threat of apocalypse and the world after the apocalypse are depicted respectively. Napier defines it as “A world where traditional society seems increasingly absent or meaningless”. (From Akira to Howl’s moving castle-Napier-Page 255)

However, not all sci-fi anime carries this notion of a ‘Dystopia created through technology’. Napier states that “Ghost in the Shell is one of the least technophobic…it raises the possibility of technology’s possible potential” (From Akira to Howl’s moving castle-Napier-Page 105). This can be clarified as Oshii himself states, “Humans need to change along with the development of technology. However, they should not fear the change or evolution, but accept and live with it” (www.midnighteye.com :22nd Oct 09). This raises the issues of Japanese animation as an evolving medium, which is in parallel with real life society, as we both learn to adapt and embrace the technological changes that happen.

Visually aesthetic styles

As is the custom with anime, the visuals are often very striking. Whether it’s the spectacular and inspired art style in Ghost, with its “Indigo blue hue that covers both the cityscape and the flesh tones of humans and cyborgs alike indicate the decaying futuristic quality of life and morality” (http://fiaf.chadwyck.com: 23rd Oct 09) or Akiras post futuristic biker gangs with striking oranges, vibrant yellows and all in all eye catching style, anime is definitely the only current film medium that succeeds so well in portraying a future in which a haunting irony of self human deprecation looks so appealing.

Conclusion

In closing, anime seems to fill a very important role in Japanese media in relation to an international audience. The overarching themes of futurism are as true now as they were in “The 80’s, which brought a new dystopic future vision to the world” (Japanese Cinema: Texts and contexts- Philips/Stringer-Page 308). The notions of a future in which humanity has come to terms with technology and live with it are still a very fine line. “Technology portrayed as immortal, as a necessary evil” (www.generation5.org: 26th Oct 09) or the idea of “A narrative representing the break-up of the nation, thereby moving towards an idea of a “globalized system” (www.scope.nottingham.ac.uk: 24th Oct 09) are both alternate viewpoints regarding narrative form in the futuristic sci-fi anime.

While these interpretations may or not be indicative of a future to one day befall us, there is no argument that the sheer thrill of an impending dystopian future is one that fans the world over are coming to terms with as a very conceptualised, enjoyable form of entertainment.

Bibliography
Websites:

1)http://www.japan-zone.com/index.shtml

2)http://midnighteye.com/reviews/innocence.shtml

3)http://midnighteye.com/interviews/mamoru_oshii.shtml

4)http://fiaf.chadwyck.com/fulltext/indexFullText.do?id=004/0367098&area=ind ex&resultNum=2&queryId=../session/1256665328_3360&QueryIndex=quick&activeMul tiResults=index&jid=006/0000280

5)http://www.generation5.org/content/2004/anime-robotics.asp

6)http://www.scope.nottingham.ac.uk/bookreview.php?id=139&issue=5

7)http://www.animenewsnetwork.com/review/stray-dog-of-anime

Films:

1) Akira-1988-Ôtomo

2) Ghost in the Shell- 1995- Oshii

3) Neon Genesis Evangelion-1995-Anno

4) Metropolis-2001-Tezuka

Books:

1) The Cinema of Mamoru Oshii-Dani Cavallaro-McFarland and company publishers-2006

2)100 Anime-BFI Screen guides-Philip Brophy-British Film Institute-2005

3) Cinema Anime-Steven Brown-Palgrave/MacMillan-2006

4) Liquid Metal-The Science Fiction Reader-Various-Wallflower Press-2004

5) Reading A Japanese film-Keiko I. McDonald-University of Hawaii press- 2006

6) Anime: From Akira to Howl’s Moving Castle- Susan Napier- Palgrave/MacMillan-2005

venerdì 4 dicembre 2009

L’Associazione EFFETTO CINEMA in collaborazione con il Comune di Umbertide annuncia in data venerdì 4 dicembre l’apertura del nuovo cinema comunale METROPOLIS. La sala sorgerà presso i locali della FA.MO in Piazza Carlo Marx (ex Chiesa di Cristo Risorto) e consta di 99 posti a sedere e dispositivi di proiezione audio/video di ultima generazione, capaci di garantire una fruizione confortevole e al passo con i tempi. La sala sarà aperta sei giorni alla settimana, garantendo una programmazione regolare di film di qualità. L’Associazione EFFETTO CINEMA intende riportare presso il pubblico umbertidese il gusto per il grande cinema e l’interesse verso gli aspetti peculiari di questo mondo, mantenendo sempre aperto un canale di comunicazione con la cittadinanza e offrendo eventi e incontri con i protagonisti e i nuovi volti che agitano il mondo della settima arte. La programmazione comincerà in data 4 dicembre con la proiezione del nuovo film di Michael Mann ‘Nemico pubblico’ con Johnny Depp, per poi proseguire in data 7 dicembre con il nuovo lungometraggio della Pixar ‘Up’, che ha già riscontrato un notevole successo di pubblico e critica in tutto il mondo. L’inaugurazione della sala è fissata per le ore 17 e sarà occasione per un primo incontro con il pubblico al quale faranno da contorno una serie d’iniziative speciali legate al mondo del cinema, tra cui la proiezione del documentario ‘Umbertidesi al cinema’ realizzato dall’Associazione Effetto Cinema e l’esposizione della mitica Delorean, la macchina del tempo vista nella trilogia di ‘Ritorno al futuro’. La programmazione partirà la sera stessa a partire dalle 21, ora in cui si avrà il primo spettacolo ufficiale

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scrivi a redazione@goodmorningumbria.it

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Centro Storico di Perugia  p. Italia tel. 075 5720841

larosetta@perugiaonline.com

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di Lorena Tega

PROSSIMA APERTURA Via Vittorio Veneto – Gualdo Tadino

tel. 075 9140664

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di Maurizio Giorgelli

via Bonazzi 8 Perugia tel. 075 5729084

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Is “Writer’s Block” a terrifying moment, or a hateful disease that doesn’t discriminate between new and seasoned writers?

Whatever it is, when it happens, the best thing to do is to figure how to overcome it, quickly. When I am writing about a subject often it helps to put myself in the subject’s environment; hence, go where your book takes you; often, this helps to stimulate fresh ideas and coax creativity. If you can’t get to your story’s setting in real life, Second Life® is great for “armchair travel,” and works well for fast inspiration. Below are a list of sims that may help “break the block.”

Sci-fi /Fantasy Writers

“Club E-co’s Air Lounge;” built by the extraordinary artist, Patch Tibaud, has a futuristic feel and seems like it could be straight out of the 1920’s silent film “Metropolis.”

“Ciudad de Mexico” (opening soon) also, built by Patch, has the exciting flavor of “Blade Runner.”

“Templum Ex Obscurum” by elusive builder, Baron Grayson. Crashing waves and dark mountains; I refer to this sim as: Tim Burton’s Maui.

“Milk Wood,” (Harriet’s haven) where Fairy greetings and rolling hills will magically transform your spirit—“A Midsummer Night’s Dream.”

Specific Location

“Paris Eiffel Sim” is Paris in the 1900’s (evidenced by the lack of stalls selling postcards and overpriced candy.) Good to visit if you are doing a period piece.

 “Mao,” the perfect sim if your story incorporates “The Great Wall of China.”

“Manhattan Island,” a safe way to explore a dangerous scene; remember, you cannot finish your book if you are dead.

…and this is just weird. If you do visit “Manhattan Island” make sure you wander into the warehouse to see Robot Aliens removing Phillip Linden from the “Noob-a-tron 4000″ and placing him in a box.

Hope these very detailed and interactive sim’s help with your writing endeavors. If you have any suggestions on how to handle “Writers Block,” I would love to hear it!

-Jaen Wirefly

Vintage Sale!! 25% Off All Clothing & 15% Off All Shoes!!

We’ve got a sale for all you shoppers out during Thanksgiving Weekend and Black Friday, the biggest shopping day of the year. We hope you come check out our shop. Again, we have an amazing selection of vintage clothes and rows and rows of beautiful shoes & boots. Hope to see you there! Have fun shopping this weekend and Happy Thanksgiving from Metropolis.

In urma cu cateva saptamani Apropro.RO prezenta in premiera piesa “Metropolis” semnata de Fratziman. Acum a venit vremea sa descarci melodia la tine in calculator.

Mai jos ai piesa “Metropolis” la download.

Download: Fratziman feat. Maurosol – Metropolis | #2

* piesa este oferita la download cu acordul artistului.

Pengusaha harus pekerjakan penyandang cacat

Medan (KABAR Medan)

Pengusaha yang tidak mempekerjakan penyandang cacat dapat dikenai sanksi pidana kurungan setinggi-tingginya enam bulan atau pidana denda setinggi-tingginya Rp 200 juta. Hal itu tertuang dalam Peraturan Pemerintah (PP) No.43 Tahun 1998 tentang Upaya Peningkatan Kesejahteraan Sosial Penyandang Cacat sebagai implementasi dari Undang-Undang (UU) No.4 Tahun 1997 tentang Penyandang Cacat.

Demikian Gubsu H Syamsul Arifin SE dalam sambutan tertulis disampaikan Kepala Bidang Pemberdayaan Rehabilitasi Sosial Dinas Kesejahteraan dan Sosial Provsu M R Haykal SH SSos MSi ketika membuka Rapat Kerja Daerah (Rakerda) I Himpunan Wanita Penyandang Cacat Indonesia (HWPCI) Sumut didukung Badan Kerjasama Organisasi Wanita (BKOW) Sumut di Wisma PHI Jalan Gatot Subroto Medan, Selasa (24/11).

Rakerda I HWPCI yang diikuti DPC Kota Medan, Binjai, Langkat, Deli Serdang dan Kabupaten Serdang Bedagai itu dihadiri unsur pengurus BKOW Sumut diantaranya Kemalawati AE SH mewakili Ketua Umum BKOW Ny Zakaria Siregar, Ketua Bidang Kesra Ny Iskandar Hasibuan dan Sekretaris Umum Hj Risnawati Siregar. Pengurus BKOW Sumut sekaligus menyerahkan bantuan berupa alat bantu kepada penyandang cacat.

Menurut Gubsu, dalam PP No.43 Tahun 1998 tersebut ditegaskan bahwa perusahaan negara dan swasta wajib memberikan kesempatan yang sama kepada tenaga kerja penyandang cacat yang memenuhi persyaratan jabatan dan kualifikasi pekerjaan dengan perbandingan dari 100 orang pekerja untuk 1 orang penyandang cacat.

Meski sudah ada sanksi, lanjut Gubsu, namun kenyataannya rata-rata perusahaan yang beroperasi di Sumut belum melaksanakan pemberian kesempatan kerja bagi penyandang cacat tersebut, dan sanksi yang ada juga belum sepenuhnya dilaksanakan. Karena itu, Gubsu berharap, adanya kepedulian sesama untuk saling membantu dalam upaya mewujudkan visi misi Sumut.

Kelainan fisik dan mental, kata Gubsu, bukan merupakan halangan bagi penyandang cacat untuk memperoleh hak dan peluang untuk hidup sejajar, karena mereka juga memiliki potensi yang dapat dikembangkan. Bahkan dengan tegas UU No.4 Tahun 1997 tentang Penyandang Cacat mengamanatkan adanya kesamaan kesempatan dalam segala aspek kehidupan seperti aksebilitas pendidikan dan pekerjaan.

Potensi Besar

Ketua Umum BKOW Sumut Ny Zakaria Siregar diwakili Kemalawati AE SH dalam sambutannya mengatakan, organisasi yang bergabung dalam wadah BKOW termasuk HWPCI merupakan potensi besar untuk lebih berperan memberikan kontribusi membantu pemerintah meningkatkan pemberdayaan perempuan dalam turut serta berkontribusi membangun bangsa.

“Kami sangat bangga, meski dalam kekurangsempurnaan, HWPCI melalui visi misinya tidak mau kalah dengan organisasi lain yang mempunyai tekad untuk menghapus diskriminasi dan mengangkat harkat serta martabat kaum perempuan khususnya wanita penyandang cacat. Kami juga salut karena HWPCI selalu aktif mengikuti kegiatan yang diselenggarakan BKOW Sumut,” ujar Kemalawati.

BKOW Sumut, lanjutnya, akan terus mendukung program kerja HWPCI melalui sinergi organisasi wanita untuk bersama-sama bergandengan tangan menciptakan kondisi perempuan yang berkesetaraan dan berkeadilan gender di semua sektor kehidupan. Karena dengan semangat persatuan dan kesatuan serta kebersamaan merupakan kunci kekuatan yang besar dalam mengatasi segala tantangan.

Hal senada juga dikemukakan Ketua Bidang Kesra BKOW Sumut Ny Iskandar Hasibuan di sela-sela acara.. Menurutnya, program Kesra BKOW Sumut secara baku telah menggariskan pentingnya perhatian terhadap masalah kesejahteraan rakyat. Tidak hanya terkait masalah bencana alam, agama, mental dan kerohanian, tapi juga perhatian terhadap para penyandang cacat dan anak-anak terlantar.

Sementara Ketua Daerah HWPCI Sumut Dra Jenni Heryani menyampaikan terimakasih dan atensi yang tinggi atas dukungan berbagai pihak terutama Gubsu, Dinas Kesos Provsu, DPRD Sumut dan BKOW Sumut, sehingga Rakerda I HWPCI dapat terselenggara dengan baik.

Rakerda yang berlangsung satu hari itu juga diisi capasity building tentang kepribadian oleh BKOW Sumut disampaikan Dra Ade Rahmawati Siregar MPsi. Juga pemaparan terkait tatanan manajemen organisasi perempuan disampaikan Anggota DPRD Sumut Drs H Ahmad Hosen Hutagalung. (MO)

Penataan Reklame Sama Seperti PK5 “Semraut”

Medan (KABAR Medan)

Maraknya plang-plan reklame yang tata letaknya tidak berarturan ini artinya, plang reklame sama dengan Pedagang Kaki Lima (PK5). Sebab kehadirannya sudah sangat meresahkan pengguna jalan.

“Plang reklame sam dengan PKL, karena letaknya sembraut dan tidak bisa di tertibkan,” terang anggota Komisi D DPRD Medan Godfried Effendi Lubis pada Kabar Medan siang tadi

Lebih lanjut dia mengataka, ibaratnya pedagang, melihat kondisi plang-plang reklame menyalah di Kota Medan sama dengan PK5. Karena, keberadaan plang reklame menyalah sifatnya sudah sangat meresahkan para pemakai jalan terutama yang berdiri di atas trotoar- trotoar,

“kesembrautan plang-plang reklame ini di karenakan tidak adanya penataan dan pengawasan dari Dinas Pertamanan. Kondisi ini juga perkuat tidak adanya kesadaran dari pihak pengusaha advertising yang sesukanya meletakan plang-plang reklamenya tanpa memandang estetika kota,” ungkapnya.

Pembangunan Gedung DPRD Sumut Tanpa IMB
DPRD Medan Minta Pembangunan Dihentikan

Medan (KABAR Medan)

Terkait pembangunan gedung DPRD Sumut yang belum mengantongi izin mendirikan bangunan (IMB), DPRD Medan meminta pembangunan gedung tersebut untuk sementara dihentikan hingga memiliki izin mendirikan bangunan. Pembangunan gedung DPRD Sumut yang menghabiskan anggara sebesar Rp171 milyar tersebut, kini tengah dalam pekerjaan. Kali ini DPRD Medan dengan tegas meminta agar kontraktor pemenang tender untuk patuhi Perda No 9 tahun 2003 tentang Izin Mendirikan Bangunan.

“ Kita minta pemborong untuk taat pada Perda dan mengurus izin sebelum bangunan ditindak lanjuti. Jika tidak, maka dewan akan mengeluarkan rekomendasi untuk stop pembangunan gedung tersebut, ‘’ tandas Ketua Komisi D DPRD Medan Ir Ahmad Parlindungan, didampingi sekretaris komisi Ahmad Arief , pada Kabar Medan siang ini

Dikatakan, adalah pertaruhan besar bagi wibawa Gubsu dan DPRD Sumut yang tidak menyarankan dan peduli terhadap kondisi pembangunan gedung dewan yang baru. Oleh karenanya, seharusnya kita bisa memberikan contoh kepada masyarakat, semua taat dan patuh kepada peraturan. Oleh karena, DPRD Medan yang jelas dekat berdampingan dengan pembangunan tersebut, sangatlah punya tanggungjawab moral terhadap kondisi sekitar. Karenaya, disarankan agar pihak pengembang tetap mematuhi Perda. Kemudian suara kebisingan juga bisa diminalisir suara kebisingan tersebut yang bisa menggangu tugas dewan, pungkasnya.

Seperti diketahui, Dinas Tata Ruang dan Tata Bangunan [TRTB] untuk segera menghentikan pembangunan gedung baru DPRD Sumut yang kini sedang dalam pengerjaan. “Tidak boleh lagi ada toleransi karena pembangunan itu tidak memiliki izin mendirikan bangunan,” kata Ahmad Arief menimpali.

Sementara itu, Kasubdis Penindakan TRTB Thamrin menegaskan, sejauh ini pihak pelaksana pembangunan tidak menghiraukan surat IMB yang dilayangkan pihaknya. “ Surat sudah kita berikan untuk disikapi dan ditindaklanjuti. Jika tidak ada respon, maka TRTB akan mengambil langkah selanjutnya,” ujar Thamrin.

Sebelumnya, Sekretariat DPRD Sumut Drs H Ridwan Bustan, MM kepada wartawan, mengatakan, pembangunan gedung dewan ini sudah tidak bermasalah lagi, dan ditargetkan selesai pada akhir 2010. Gedung yang berornamen modern yang menggambarkan seluruh etnis di Sumut ini dilengkapi dengan 120 ruang kerja, klinik, lift, kantin, parkir bawah tanah (basement) yang memiliki system pengamanan yang canggih.

Proyek pembangunan rumah rakyat yang dikerjakan oleh kontraktor nasional PT Jaya Konstruksi ini memiliki konstruksi modern dengan tahan gempa dan bangunannya berlantai empat dengan fondasi kedalamannya mencapai 25 meter.

“Menurut Kontraktor PT Jaya Konstruksi, dari seluruh gedung DPRD yang ada di Indonesia , gedung DPRD Sumut ini nantinya yang termegah. Walaupun Gedung DPRD Riau Kepulauan membangun gedung perkantorannya senilai Rp1,7 triliun, tapi gedung dewannya tidak kalah megahnya dengan gedung DPRD Sumut,” ujar Ridwan.

Ditambahkannya, gedung ini nantinya memiliki ruang paripurna yang bisa menampung 1.500 orang, selain memiliki dua aula utama juga dilengkapi dengan ruang rapat komisi dan fraksi dan setiap anggota dewan memiliki 1 ruangan kerja masing-masing dan dipersiapkan bisa dimanfaatkan selama 3 generasi (75 tahun).

Most of my analysis of the real-estate market in Vancouver is premised on the assumption that the real-estate market is headed down, and steeply so. But what happens if it doesn’t? Ironically, that might actually be the worst outcome of all for the average Vancouverite. As it stands, Vancouver is dangerously close to becoming a pleasuredome, a city in which real people – those without inheritances, trust funds, or lottery winnings – can’t afford to live. Instead, they huddle increasingly at the periphery, forced to the margins by an unrealistic and unrealizable cost of living. It reminds me of Fritz Lang’s 1927 film Metropolis, a groundbreaking silent film that portrayed a futuristic urban dystopia in which an elite caste played in the gardens above ground while the workers toiled below to make their leisure possible. While the film was a metaphor for the tension between workers and owners in Weimar Germany, it is a remarkably good fit for what Vancouver is in danger of becoming.

It’s no secret that Vancouver is the most expensive city in all of Canada in which to live. What’s less widely known is the fact that incomes in Vancouver don’t come anywhere close to supporting the high cost of housing. According to a 2008 RBC report, it would take 75 per cent of Metro Vancouver’s median income of $60,000 to afford an average two-storey home, which carried a price tag of $619,892. In downtown Vancouver, the epicentre of real-estate unrealism, the skew between incomes and housing costs is even greater. The gulf between the haves and the have-nots, when it comes to owning real-estate, has never been bigger in Vancouver, or more dangerous for those brave – or stupid – enough to try to make the leap between the two categories.

It would be one thing – a bad thing, but a manageable one – if this were contained to the downtown peninsula. Instead, though, that virus is spreading to what were once the more modest areas of the city, places where people were once able to own their own homes without the help of wealthy parents or a willingness to sign on for a lifetime of debt. Take this recent story about a house on East 24th Avenue near Main Street that sold for $284,000 over asking, for a whopping total of $1.13 million. The sale wasn’t a case of temporary insanity, either, as a house at Main and East 20th Avenue sold just days earlier for $1.38 million, a whopping $320,000 over the listing price. Re/Max realtor Darryl Sverjen spun the sale as proof that the neighbourhood was the new hot spot, noting that “this is an area with awesome amenities. Once you live in the area, you don’t leave.”

But beneath the noxious fumes of Sverjen’s spin lie some uncomfortable realities. Yes, Main and East 25th Avenue is a hipster’s paradise, with plenty of great bars, interesting restaurants, and clothing boutiques. But if homes are selling at over a million dollars, those hipsters are supposed to have long since moved on to their next neighbourhood, and their bars are supposed to have been transformed into family-friendly brunch spots, doggie daycares, and Starbucks outlets. Similarly, there shouldn’t be an empty lot at the nieghbourhood’s busiest corner, and the local library shouldn’t have the ambiance of a run-down men’s shelter. Main and East 25th Avenue is a lot of things, but a place suitable for million dollar homes isn’t one of them.

As if to underscore the perverse nature of the relationship between what people earn in Vancouver and what they pay for their homes, the city of Vancouver recently explored the possibility of permitting lane way housing as a way of creating more affordable housing. “It is creating affordability,” city councillor Raymond Louie argued in a 2008 phone interview, saying that increasing the supply of rental housing will soften demand and potentially lower rents. “It is our preference that those who are working in the city and helping to build the city are able to remain in the city.” Yes, that’s right; it has become acceptable to think, and to argue, that the only way people working in Vancouver can afford to live here is by allowing the creation of upscale shantytowns in the city’ s alleys.

When families can’t afford to live in the city in which they work, something dangerous is afoot. Yes, rising real-estate prices might make some middle class families wealthy, but for every one that parlays that new found equity in their house into a vacation property in Mexico there are ten who are priced out of the market, the neighbourhood, and the city. While the Bob Rennies of the world might argue otherwise, all the foreign investment, international visitors, and immigrant buyers in the world won’t make up for the loss of a healthy middle class. It’s the middle class that makes neighbourhoods work. With the way things are going, they won’t be around for much longer, and the dark vision that Fritz Lang articulated in Metropolis will be one step closer to being realized.

Caros leitores, acabo de voltar de um teatro que foi uma adaptação desse conto. Posso dizer, com certeza, que esse teatro mudou minha vida. Como não posso disponibilizar a peça pra vocês, fiquem com esse conto e, logo abaixo, com o vídeo da interpretação de Maria Luísa Medonça, para o canal Cultura. Espero que lhes seja útil tanto como foi para mim.

O Homem da Cabeça de Papelão
João do Rio

No País que chamavam de Sol, apesar de chover, às vezes, semanas inteiras, vivia um homem de nome Antenor. Não era príncipe. Nem deputado. Nem rico. Nem jornalista. Absolutamente sem importância social.

O País do Sol, como em geral todos os países lendários, era o mais comum, o menos surpreendente em idéias e práticas. Os habitantes afluíam todos para a capital, composta de praças, ruas, jardins e avenidas, e tomavam todos os lugares e todas as possibilidades da vida dos que, por desventura, eram da capital. De modo que estes eram mendigos e parasitas, únicos meios de vida sem concorrência, isso mesmo com muitas restrições quanto ao parasitismo. Os prédios da capital, no centro elevavam aos ares alguns andares e a fortuna dos proprietários, nos subúrbios não passavam de um andar sem que por isso não enriquecessem os proprietários também. Havia milhares de automóveis à disparada pelas artérias matando gente para matar o tempo, cabarets fatigados, jornais, tramways, partidos nacionalistas, ausência de conservadores, a Bolsa, o Governo, a Moda, e um aborrecimento integral. Enfim tudo quanto a cidade de fantasia pode almejar para ser igual a uma grande cidade com pretensões da América. E o povo que a habitava julgava-se, além de inteligente, possuidor de imenso bom senso. Bom senso! Se não fosse a capital do País do Sol, a cidade seria a capital do Bom Senso!

Precisamente por isso, Antenor, apesar de não ter importância alguma, era exceção mal vista. Esse rapaz, filho de boa família (tão boa que até tinha sentimentos), agira sempre em desacordo com a norma dos seus concidadãos.

Desde menino, a sua respeitável progenitora descobriu-lhe um defeito horrível: Antenor só dizia a verdade. Não a sua verdade, a verdade útil, mas a verdade verdadeira. Alarmada, a digna senhora pensou em tomar providências. Foi-lhe impossível. Antenor era diverso no modo de comer, na maneira de vestir, no jeito de andar, na expressão com que se dirigia aos outros. Enquanto usara calções, os amigos da família consideravam-no um enfant terrible, porque no País do Sol todos falavam francês com convicção, mesmo falando mal. Rapaz, entretanto, Antenor tornou-se alarmante. Entre outras coisas, Antenor pensava livremente por conta própria. Assim, a família via chegar Antenor como a própria revolução; os mestres indignavam-se porque ele aprendia ao contrario do que ensinavam; os amigos odiavam-no; os transeuntes, vendo-o passar, sorriam.

Uma só coisa descobriu a mãe de Antenor para não ser forçada a mandá-lo embora: Antenor nada do que fazia, fazia por mal. Ao contrário. Era escandalosamente, incompreensivelmente bom. Aliás, só para ela, para os olhos maternos. Porque quando Antenor resolveu arranjar trabalho para os mendigos e corria à bengala os parasitas na rua, ficou provado que Antenor era apenas doido furioso. Não só para as vítimas da sua bondade como para a esclarecida inteligência dos delegados de polícia a quem teve de explicar a sua caridade.

Com o fim de convencer Antenor de que devia seguir os tramitas legais de um jovem solar, isto é: ser bacharel e depois empregado público nacionalista, deixando à atividade da canalha estrangeira o resto, os interesses congregados da família em nome dos princípios organizaram vários meetings como aqueles que se fazem na inexistente democracia americana para provar que a chave abre portas e a faca serve para cortar o que é nosso para nós e o que é dos outros também para nós. Antenor, diante da evidência, negou-se.

— Ouça! bradava o tio. Bacharel é o princípio de tudo. Não estude. Pouco importa! Mas seja bacharel! Bacharel você tem tudo nas mãos. Ao lado de um político-chefe, sabendo lisonjear, é a ascensão: deputado, ministro.

— Mas não quero ser nada disso.

— Então quer ser vagabundo?

— Quero trabalhar.

— Vem dar na mesma coisa. Vagabundo é um sujeito a quem faltam três coisas: dinheiro, prestígio e posição. Desde que você não as tem, mesmo trabalhando — é vagabundo.

— Eu não acho.

— É pior. É um tipo sem bom senso. É bolchevique. Depois, trabalhar para os outros é uma ilusão. Você está inteiramente doido.

Antenor foi trabalhar, entretanto. E teve uma grande dificuldade para trabalhar. Pode-se dizer que a originalidade da sua vida era trabalhar para trabalhar. Acedendo ao pedido da respeitável senhora que era mãe de Antenor, Antenor passeou a sua má cabeça por várias casas de comércio, várias empresas industriais. Ao cabo de um ano, dois meses, estava na rua. Por que mandavam embora Antenor? Ele não tinha exigências, era honesto como a água, trabalhador, sincero, verdadeiro, cheio de idéias. Até alegre — qualidade raríssima no país onde o sol, a cerveja e a inveja faziam batalhões de biliosos tristes. Mas companheiros e patrões prevenidos, se a princípio declinavam hostilidades, dentro em pouco não o aturavam. Quando um companheiro não atura o outro, intriga-o. Quando um patrão não atura o empregado, despede-o. É a norma do País do Sol. Com Antenor depois de despedido, companheiros e patrões ainda por cima tomavam-lhe birra. Por que? É tão difícil saber a verdadeira razão por que um homem não suporta outro homem!

Um dos seus ex-companheiros explicou certa vez:

— É doido. Tem a mania de fazer mais que os outros. Estraga a norma do serviço e acaba não sendo tolerado. Mau companheiro. E depois com ares…

O patrão do último estabelecimento de que saíra o rapaz respondeu à mãe de Antenor:

— A perigosa mania de seu filho é por em prática idéias que julga próprias.

— Prejudicou-lhe, Sr. Praxedes?

Não. Mas podia prejudicar. Sempre altera o bom senso. Depois, mesmo que seu filho fosse águia, quem manda na minha casa sou eu.

No País do Sol o comércio é uma maçonaria. Antenor, com fama de perigoso, insuportável, desobediente, não pôde em breve obter emprego algum. Os patrões que mais tinham lucrado com as suas idéias eram os que mais falavam. Os companheiros que mais o haviam aproveitado tinham-lhe raiva. E se Antenor sentia a triste experiência do erro econômico no trabalho sem a norma, a praxe, no convívio social compreendia o desastre da verdade. Não o toleravam. Era-lhe impossível ter amigos, por muito tempo, porque esses só o eram enquanto não o tinham explorado.

Antenor ria. Antenor tinha saúde. Todas aquelas desditas eram para ele brincadeira. Estava convencido de estar com a razão, de vencer. Mas, a razão sua, sem interesse chocava-se à razão dos outros ou com interesses ou presa à sugestão dos alheios. Ele via os erros, as hipocrisias, as vaidades, e dizia o que via. Ele ia fazer o bem, mas mostrava o que ia fazer. Como tolerar tal miserável? Antenor tentou tudo, juvenilmente, na cidade. A digníssima sua progenitora desculpava-o ainda.

— É doido, mas bom.

Os parentes, porém, não o cumprimentavam mais. Antenor exercera o comércio, a indústria, o professorado, o proletariado. Ensinara geografia num colégio, de onde foi expulso pelo diretor; estivera numa fábrica de tecidos, forçado a retirar-se pelos operários e pelos patrões; oscilara entre revisor de jornal e condutor de bonde. Em todas as profissões vira os círculos estreitos das classes, a defesa hostil dos outros homens, o ódio com que o repeliam, porque ele pensava, sentia, dizia outra coisa diversa.

— Mas, Deus, eu sou honesto, bom, inteligente, incapaz de fazer mal…

— É da tua má cabeça, meu filho.

— Qual?

— A tua cabeça não regula.

— Quem sabe?

Antenor começava a pensar na sua má cabeça, quando o seu coração apaixonou-se. Era uma rapariga chamada Maria Antônia, filha da nova lavadeira de sua mãe. Antenor achava perfeitamente justo casar com a Maria Antônia. Todos viram nisso mais uma prova do desarranjo cerebral de Antenor. Apenas, com pasmo geral, a resposta de Maria Antônia foi condicional.

— Só caso se o senhor tomar juízo.

— Mas que chama você juízo?

— Ser como os mais.

— Então você gosta de mim?

— E por isso é que só caso depois.

Como tomar juízo? Como regular a cabeça? O amor leva aos maiores desatinos. Antenor pensava em arranjar a má cabeça, estava convencido.

Nessas disposições, Antenor caminhava por uma rua no centro da cidade, quando os seus olhos descobriram a tabuleta de uma “relojoaria e outros maquinismos delicados de precisão”. Achou graça e entrou. Um cavalheiro grave veio servi-lo.

— Traz algum relógio?

— Trago a minha cabeça.

— Ah! Desarranjada?

— Dizem-no, pelo menos.

— Em todo o caso, há tempo?

— Desde que nasci.

— Talvez imprevisão na montagem das peças. Não lhe posso dizer nada sem observação de trinta dias e a desmontagem geral. As cabeças como os relógios para regular bem…

Antenor atalhou:

— E o senhor fica com a minha cabeça?

— Se a deixar.

— Pois aqui a tem. Conserte-a. O diabo é que eu não posso andar sem cabeça…

— Claro. Mas, enquanto a arranjo, empresto-lhe uma de papelão.

— Regula?

— É de papelão! explicou o honesto negociante. Antenor recebeu o número de sua cabeça, enfiou a de papelão, e saiu para a rua.

Dois meses depois, Antenor tinha uma porção de amigos, jogava o pôquer com o Ministro da Agricultura, ganhava uma pequena fortuna vendendo feijão bichado para os exércitos aliados. A respeitável mãe de Antenor via-o mentir, fazer mal, trapacear e ostentar tudo o que não era. Os parentes, porém, estimavam-no, e os companheiros tinham garbo em recordar o tempo em que Antenor era maluco.

Antenor não pensava. Antenor agia como os outros. Queria ganhar. Explorava, adulava, falsificava. Maria Antônia tremia de contentamento vendo Antenor com juízo. Mas Antenor, logicamente, desprezou-a propondo um concubinato que o não desmoralizasse a ele. Outras Marias ricas, de posição, eram de opinião da primeira Maria. Ele só tinha de escolher. No centro operário a sua fama crescia, querido dos patrões burgueses e dos operários irmãos dos spartakistas da Alemanha. Foi eleito deputado por todos e, especialmente, pelo presidente da República — a quem atacou logo, pois para a futura eleição o presidente seria outro. A sua ascensão só podia ser comparada à dos balões. Antenor esquecia o passado, amava a sua terra. Era o modelo da felicidade. Regulava admiravelmente.

Passaram-se assim anos. Todos os chefes políticos do País do Sol estavam na dificuldade de concordar no nome do novo senador, que fosse o expoente da norma, do bom senso. O nome de Antenor era cotado. Então Antenor passeava de automóvel pelas ruas centrais, para tomar pulso à opinião, quando os seus olhos deram na tabuleta do relojoeiro e lhe veio à memória.

— Bolas! E eu que esqueci! A minha cabeça está ali há tempo… Que acharia o relojoeiro? É capaz de tê-la vendido para o interior. Não posso ficar toda vida com uma cabeça de papelão!

Saltou. Entrou na casa do negociante. Era o mesmo que o servira.

— Há tempos deixei aqui uma cabeça.

— Não precisa dizer mais. Espero-o ansioso e admirado da sua ausência, desde que ia desmontar a sua cabeça.

— Ah! fez Antenor.

— Tem-se dado bem com a de papelão? — Assim…

— As cabeças de papelão não são más de todo. Fabricações por séries. Vendem-se muito.

— Mas a minha cabeça?

— Vou buscá-la.

Foi ao interior e trouxe um embrulho com respeitoso cuidado.

— Consertou-a?

— Não.

— Então, desarranjo grande?

O homem recuou.

— Senhor, na minha longa vida profissional jamais encontrei um aparelho igual, como perfeição, como acabamento, como precisão. Nenhuma cabeça regulará no mundo melhor do que a sua. É a placa sensível do tempo, das idéias, é o equilíbrio de todas as vibrações. O senhor não tem uma cabeça qualquer. Tem uma cabeça de exposição, uma cabeça de gênio, hors-concours.

Antenor ia entregar a cabeça de papelão. Mas conteve-se.

— Faça o obséquio de embrulhá-la.

— Não a coloca?

— Não.

— V.EX. faz bem. Quem possui uma cabeça assim não a usa todos os dias. Fatalmente dá na vista.

Mas Antenor era prudente, respeitador da harmonia social.

— Diga-me cá. Mesmo parada em casa, sem corda, numa redoma, talvez prejudique.

— Qual! V.EX. terá a primeira cabeça.

Antenor ficou seco.

— Pode ser que V., profissionalmente, tenha razão. Mas, para mim, a verdade é a dos outros, que sempre a julgaram desarranjada e não regulando bem. Cabeças e relógios querem-se conforme o clima e a moral de cada terra. Fique V. com ela. Eu continuo com a de papelão.

E, em vez de viver no País do Sol um rapaz chamado Antenor, que não conseguia ser nada tendo a cabeça mais admirável — um dos elementos mais ilustres do País do Sol foi Antenor, que conseguiu tudo com uma cabeça de papelão.

Créditos : http://www.almacarioca.net/o-homem-da-cabeca-de-papelao-joao-do-rio/

Para quem curte o universo dos super heróis e gosta bastante da dinâmica de  Mafia Wars (Zynga), a ponto de não enjoar, o social game Champions Online Facebook (LOLapps) pode ser uma boa opção!

Assim como Gotham City está para o Batman e Metrópolis para o Super Homem, Millennium City (antiga Detroit) está para você! O cenário planejado para o seu super herói acabar com o crime, é uma das cidades mais avançadas em tecnologia e fora reconstruída após a  Batalha de Detroit, comandada pelo Dr. Destroyer.

Os combates do game acontecem nas áreas de missões e batalhas e o jogador pode adquirir super poderes e bases secretas bem como ter favores concedidos pelo o herói chamado de Psionic, uma espécie de padrinho, e ao invés de uma gangue, o jogador monta um super time!

Lançado em novembro,  Champions Online Facebook é uma parceria da LOLapps com a Atarti’s Cryptic Studios que disponibilizou o título para PC, em setembro.

Fonte: www.lolapps.com/
Imagem: apps.facebook.com/championsonline/

Musda Golkar, Syamsul Arifin Calon Tunggal

Medan (KABAR Medan)

Pelaksanaan Musyawarah Daerah (Musda) Golkar ke VIII dihadiri Fungsionaris Dewan Pimpinan Pusat Partai Golangan Karya (Golkar) terlihat Aburizal Bakri, Akbar Tanjung Mahadi Sinambela dan dihadiri seluruh kader Golkar Kabupaten/Kota se Sumatera Utara.

Pada saat Musda digelar yang dihadiri 28 Kabupaten/Kota Partai Golkar sepakat mencalonkan Syamsul Arifin sebagai calon tunggal memimpin Partai Golkar periode 2009-2015. Hal ini dikatakan Sukron Tanjung Panitia Pelaksanaan Musda VIII kepada Online Madani. Senin (23/11) di Hotel Polonia Medan.

Ditambahkannya, mengenai calon tunggal juga pernah dilakukan pada saat pencalonan Ali Umri sebagai Ketua Umum Partai Golkar Sumatera Utara. “jadi tidak heran pada periode ini juga terjadi hal yang sama”katanya

Semoga dengan terpilihnya Syamsul Arifin sebagai Ketua Umum Partai Golkar Sumatera Utara dapat memberikan perkembangan yang lebih baik lagi.ungkapnya

A cidade do Rock Indie Brasil é Goiânia e não é de hoje… do fim dos anos 80 em diante apareceu no mapa e não saiu de cena. Esse ano a coisa promete será uma FESTA maluca e roqueira … confiram as dicas… e não se esqueçam que o calor é animal nessa ROCK CITY.

Esta edição do Goiânia NOISE será espalhada pela cidade com shows em 8 lugares diferentes e conta ainda com uma mostra de cinema e uma exposição de artes, além de palestras e debates.

Os shows ocorrerão em 8 locais diferentes, da seguinte forma:

Quarta-feira, 25/11:
Teatro Madre Esperança Garrido, 20h: Hermeto Pascoal e Grupo (SP)
Fiction Club, 22h: Vamoz (PE) / The Soundscapes (SP/USA) / Motherfish (GO)
Capim Pub, 19h: Os Cabeloduro (DF)/ HC 137 (GO) / Leptospirose (SP)/ Ressonância Mórfica (GO) / Señores (GO)

Quinta-feira, 26/11:

Goiânia Ouro, 20h – Siba (PE) + Roberto Corrêa (DF) / Cega Machado (GO)
Bolshoi Pub, 22h – Ricardo Koctus (MG) / Detetives (SP) / Johnny Suxxx and Fucking Boys (GO)
Metrópolis, 22h – The Name (SP)/ Sapatos Bicolores (DF) / Bang Bang Babies (GO)

Sexta-feira, 27/11:
Centro Cultural Martim Cererê, 18h :

Supersuckers (USA) / Móveis Coloniais de Acaju (DF) + Bocato (SP) / MQN (GO) + Walverdes (RS)
Devotos (PE) / Guiso (Chile) / Vivendo do Ócio (BA) / Punch (GO) / Milocovik (SP) / Volver (PE) / Rinoceronte (RS)
O Melda (MG) / Sattva (GO) / Hellbenders (GO)

Sábado, 28/11:
Centro Cultural Martim Cererê, 18h :

Dirty Projectors (USA) / Black Drawing Chalks (GO) + Chuck Hipolitho (SP) / Mama Rosin (Suíça)
Porcas Borboletas (MG) + Paulo Patife (SP) / Los Lotus (ARG) / Mugo (GO) / The Backbiters (GO)
As Mercenárias (SP) / Mechanics + Grupo EmpreZa (GO) / Confronto (RJ) / GrimSkunk (Canadá)
Cassim & Barbária (SC) / Mini Box Lunar (AP) / Evening (GO)

Domingo, 29/11:
Centro Cultural Martim Cererê, 18h :

Diego de Moraes e o Sindicato (GO) + Astronauta Pingüim (RS) / Violins (GO) / Domá da Conceição (GO) / Barfly (GO)
Naquele Tempo (GO) / Torre de Jamel (GO) / Terrorista da Palavra (GO) / Umbando (GO) / Grace Carvalho (GO)
20h30 – Gloom (GO) / Cine Capri (GO) / Hot and Hard Co. (GO)

Centro Comunitário Goiânia Viva, 18h :

Face a Face (GO) / Ivo Mamona (GO) / Soldados Suburbanos (GO) / Reverso da Moeda (GO) / Linha Dura (MT)
U Plano (GO) / Eko (GO)

INGRESSOS

Fiction Club, Capim Pub, Bolshoi Pub e Metropolis: R$ 10,00 (meia-entrada) até o dia 20/11

Martim Cererê (sexta e sábado): R$ 20,00 (meia-entrada) até o dia 20/11

Centro Comunitário do Goiânia Viva: R$ 5,00

Martim Cererê (domingo): Grátis!!!

Teatro Madre Esperança Garrido e Goiânia Ouro: Grártis!! Mas é preciso retirar os ingressos 2 horas antes dos shows! Um par por pessoa, ok??

posted/written by caroline picard

Woody Allen Woody Allen Woody Allen

An older gentleman, he came upon a fallen Redwood, collapsed and soundless in the yellow grass. The sun was hot, it stole the sound and smell from the air, except sometimes the man heard a buzzing fly land and when it landed everything was more silent than it had been before. The man studied the log, imagined its figure wearing away with rot, woodmites and termites and peculiar worms, until it wore down into dust—the shit of insects—and fed the dull earth.

Instead, the man took a cast of the tree:

He hired a team of employees and together they gathered around its stupendous girth. They raised the dead log on pedestals—sweating, the whine of the chainsaw—cutting the trunk into eight three foot cross-sections. They took elaborate photographs of each of the tree’s parts. Like a murder scene, quadrants of the surrounding area were taped off. Surrounding tree trunks bore neon pink symbols of work on their bases. Everything was documented.  Everyone wore rubber gloves.

They took a cast of its massive breadth, width, length in sections:

sealing the tree in soap, they poured wax around its parts just before nightfall and in the night the wax hardened and in the morning they cut the wax off in clean, re-sealable pieces. They sent those pieces to Japan in a very cool box.

What came back:

The tree—a new one, it resembled the original—came back without the wax, for the wax had been burned to make the new tree. The tree came in parts, the same eight three-foot cross-sections. Its parts made of wood, not Redwood but Hinoki. Its surface had been carved in a myriad of patterns, different borring strokes; the surface of the replica was carved to look like the surface of the old. This new wood blonder and clean looking, though with the self-same hollowed core of its dead predecessor.

There was a note attached to the mid-section.

Someone was asked to translate:

Once put together, this tree will last 400 years, before hitting a crisis of 100 years, during which it will crack. Thereafter it will last another 400 years before it begins to decompose.

*

Manhattan, New York, 2009: Mr. Allen finds himself sat in the corner window of a high-rise apartment—his own, (he can tell by the family photographs, framed and standing on the bookshelves, and the side table too).  He recognizes the pattern on the carpet; it looks to be Persian, red and black interlaced geometries. He remembers the smell of the place—the smell is both familiar and difficult to perceive; it must be a smell belonging to him.

Soon-yi sounds to be making coffee in the adjacent kitchen and he can hear the clattering of domestic objects as she opens and closes kitchen drawers, cabinets, the dish washer; he can hear utensils bump up against interior wooden walls. Mr. Allen conjures a flash of light pouncing on the landscape of things, sprung suddenly from the dark. He wonders if objects possess a sense of being.

It is as if I am in a dream, he thinks assuming a moment of adolescent existentialism. My actions are not entirely my own but I am more or less comfortable. He looks at his hands clasped in his lap and feels, for a moment, the texture of the corduroy underneath. Past his hands, legs, he looks at his feet in brown, waspy loafers. He isn’t wearing socks. For a moment he imagines his actors feel this way in a set and, going against better judgment, makes the disquieting attempt to peer over the bounds of his imagined consciousness—

into the dark, a mottled grey behind his eyes, either the color of his brain or simply the color of what he’ll never know—

His eyes glassy, he looks at you without seeing. “Talk to me, shout at me, so that I’ll wake up and know that I’m here with you and that certain things really are just dreams.” He is merely talking to himself, a recitation.

Truth be told, he cannot remember living in any other place. At the same time he does not remember how he came to be here.

He lifts a hand to feel his upper lip, relieved to find the moustache still in place.

*

The first opera singer ever recorded had past her prime when she was recorded. By then an old woman in her career, her voice wove through the aria like burning paper. Upon listening to the record, people of then recalled how remarkable she’d been before, as a young woman. “The best,” they told their children, smitten by nostalgia.

Children, when grown, repeated the rumor to respective children. And everyone, ever since, has believed the first opera singer recorded to be the best singer there ever was, for their memories make her so and there is no evidence to the contrary.

*

The young people aren’t any good in his movies. Terrible actors. They don’t understand. They try too much to be like him; they aren’t like him enough. They don’t listen to his direction. They impersonate rather than become. Scarlet Johansson. Jason Briggs. Christina Ricci.

Mr. Allen crosses one leg over the other, relishing contempt. Doughy and plump and taut. Ripe. Budding.

The aroma of coffee wafts into the living room.

*

The dream is one of paradise. In the dream men and women live forever, a glistening surface projected by the whirring of gears and oil and machinations run by invisible, grease-stained hands. The dream is one of desire.

*

Mr. Allen has a hand on his temple. His eyes are closed and therefore he does not see the grey day so much as he feels it. Or, discovers the feeling of it. He can picture it in his mind. The leaves are turning in the park below, across the street; he does not see these either. He knows only they are there. For a moment he imagines that the changing leaves are expressed in the sound of loose interior cutlery. He thinks of the sun as something that pounces.

And then he concentrates:

Music comes from a computer on the desk in the opposite corner of the room. It sounds like it comes from a phonograph. Concentrating on static, the overarching fuzz and pop, as bad as any radio station, he imagines the music to be broadcast from the past.

Mr. Allen presses his fingers into his eyes, pinching the lids together almost, feeling a dull pressure in the back of his head. In the darkness behind his eyes; trying desperately to imagine what she might have sounded like—this siren—when she was young. Feeling through the static, for the traces of her youth. Straining back into the past, her voice the bridge.

In a record, he believes, there is the promise of eternity.

*

Someone said LA was like a Dream Factory. He said working in the Dream Factory was pretty tiring; he was pretty tired of making dreams. He complained about the silt he was always breathing—dream silt. He hoped one day to unionize the workers.

*

In a club in Brooklyn with Soon-yi: Mr. Allen has come to the conclusion that Soon-yi’s friends, boys mostly, hide their sexuality from him. He is conscious of the shadows in the basement barroom—no windows, barely any light. Drums clatter and dash and bang as Mr. Allen is jostled occasionally by flanking, shiny strangers.

“One time in Romania I went to a bar we drank in bars that used to be dungeons they used to torture people in those bars. No I’m serious you could still see the burn marks on the sides of the brick where they used to keep lit torches while they tortured people.” Soon-yi can’t hear him and she smiles in a dreamy way watching the young boys on stage, watching the people at the club, hiding her mouth behind her hand; hiding her mouth from her friends across the room. Mr. Allen feels the shadows like a blanket. “I’ve been feeling so odd lately. I can’t explain. I don’t feel myself,” he says. “I must be getting sick. You can have my whole fortune.” Stuttering. “Did you hear? They finally arrested Polanski.” But Soon-yi does not hear because she’s dancing also, jostling up and down against the others in the room and Mr. Allen feels like an old man wearing socks.

It occurs to him that he will die childless, save for those things that he made in discrete instances; things starring himself in scenes he could control.

*

When Charles Darwin’s turtle, Harriet, died in 2006, they discovered her organs had not aged at all. It was believed that, barring disease or accident, turtles could live forever for evidence of time was not apparent on any of her interior organs.

In Hollywood there is a single mother selling serums of Harriet’s DNA on e-bay. It was manufactured abroad. Black market. It has not been tested. Some of her clients: Ashley Olson, Elizabeth Taylor, Heath Ledger, Michael Jackson etc.

*

The next band comes on stage, just after Mr. Allen looks at his watch, notes the time and wonders what time he might be able to go home—

Soon-yi talks to some of her male friends at the bar.

Mr. Allen looks around at everyone in the room and shakes his head. He looks again on stage.

The keyboardist looks exactly like him. Only younger. And shorter. Should the keyboardist step off the stage, he might stand a head shorter than Mr. Allen. Everything else about the fellow is spot on. He hears Soon-yi giggling across the room. He imagines her covering her mouth.

“I have a proposition for you,” Mr. Allen says after the show. There are candles on the bar and they cast an irregular but welcome light. “I would like to hire you. Assume my life.” They sit at the bar. His doppelganger drinks a whisky Mr. Allen has bought. “I’ll pay you very well.” Mr. Allen’s hands dance around for emphasis. He finds himself regularly touching the young man, occasionally going so far as to pinch the fellow’s shoulders now and again, testing the fellow’s firmness. The sensation is exhilarating. Mr. Allen wonders, abstractly, if he was himself the same density once.

“Why should I do that?” the young man asks. He looks amused. He wears a plaid cowboy shirt with opalescent, buttons—snaps. Tight black jeans on and converse. Sideburns and Buddy Holly glasses. He smokes. His hands are smaller than Mr. Allen’s.

“Only, you’d have to cut down your sideburns.” Mr. Allen says, worried suddenly, brow knit. He studies the youth, looking for other discrepancies. “And maybe get just a slightly different haircut. I understand the times are different, but at least for the transition period, you’ll need to adopt a little more of my style.” With a sudden clarity of thought, Mr. Allen smiles, relived. “Oh! I know. You’ll have to go away for a while. I’ll send out a press release. I’ll say I’m going abroad. You go abroad too. We can meet in another part of the world, somewhere where no one will know who we are. Then I can teach you how to be me. Then you can come back to America. It’s very simple, really. We could even make movies abroad. When you, ‘I’” he smiles and winks, “come back, no one will ever know the difference.” The young man shakes his head. He seems not to understand. “This has to be good.” Mr. Allen continues. “I’ll pay you an exorbitant amount of money—where do you work? Retail?”

“Record store.”

“Right. Good. Well. You’re rich. Did you think it would be this easy?”

*

In the end:

After the first recording of the opera singer, but before the death of Harriet, an anthropologist and a sociologist made a movie with a cameraman and they traipsed around Paris and Saint-Tropez playing tag with a camera. The interviewee became the interviewer, each time asking, “Are you happy?”

No one was famous.

PGMDA: Biaya Oprasional Bukan Alasan Kenaikan Tarif PDAM Tirtanadi

Medan (KABAR Medan)

Terkait rencana Pempropsu (Pemerintah Propinsi Sumatera Utara) memberlakukan kenaikan tarif PDAM Tirtanadi sebesar 35 persen dari tarif dasar, terus menuai kontrofersi dan penolakan dari kalangan tokoh masyarakat Kota Medan, salah satunya dari PGMDA.

“Kenaikan tarif air PDAM mungkin saja dapat diterima masyarakat, tetapi tidak lebih dari 12 %, dan Kenaikan itu pun harus seiring dengan terjadinya perubahan peningkatan layanan oleh PDAM dan itu harus bisa dijamin secara konkrit dan bertanggungjawab oleh PDAM,” ungkap ketua PGMDA (Perhimpunan Guru Madrasah Diniah Awaliah) Syahril Aidi Sag, kepada wartawan (23/11).

Menurut Syahril, sudah tidak zamannya lagi pemerintah melakukan kenaikan tarif hanya dengan alasan biaya oprasional. Minimnya pelayanan yang diberikan PDAM terhadap pelanggannya seperti putusnya aliran air bersih kerumah konsumen, kecilnya debit air, dan tidak jarang terjadi air yg tidak berkualitas yaitu keruh seperti susu dan lain-lain membuat PDAM seharusnya melakukan efaluasi terlebih dahulu sebelum memberlakukan kenaikan tarif dasar air bersih.

Selain itu sebelum melakukan kenaikan tarif, efaluasi yang harus dilakukan PDAM Tirtanadi ialah, petugas pencatat meteran air sebagai perusahaan mitra rekanan tiranadi harus benar-benar dikontrol agar bertanggung jawab dengan tugasnya, karena tidak jarang terjadi pencatatan meteran penggunaan air konsumen hanya dengan ditaksir-taksir saja sehingga kalau di cek jumlah pemakaian air pada kwitansi pembayaran dengan meteran air sering tidak valid atau sinkron dengan penggunaan konsumen.

Selain itu, pemerintah yang dalam hal ini Pempropsu juga harus melihat dan meneliti terjadinya KKN antar konsumen liar dengan petugas PDAM sehingga pemakaia air konsumen liar tersebut tidak sesuai dengan ketentuan yang sebenarnya yang mengakibatkan kerugian negara dari berbagai asfek termasuk rencana kenaikan tarif ini, sebab pemakaian air konsumen liar akibat KKN petugas dengan pelanggan sehinga dibebankan kepada konsumen resmi dengan modus operasional dikatakan membengkak.

Pengguna atau konsumen semi lair seperti perusahaan kolam renang dan sejenisnya juga diduga salah satu akibat yang mebuat kerugian negara karena adanya pemakain debit air dengan jumlah cukup banyak akan tetapi pembayarannya hanya mungkin separu harga karena pipa sambungan air menuju kolam dibuat dengan cara yang curang atau tidak masuk dalam catatan meter air, dan kemungkinan itu terjadi sangat kecil tidak diketahui petugas lapangan PDAM

“seiring kenaikan tarif dimaksud, PDAM Tirtanadi memberikan reward atau penghargaan atau hadiah kepada masyarakat atau siapa saja yg menemukan terjadinya penggunaan air yg tidak sesuai dengan aturan atau prosedur yg ada, penipuan, KKN antar petugas dan konsumen lair,” Sarannya.

Untuk itu, agar secara berkelanjutan tidak terjadi kenaikan tarif yang hanya dengan alasan tiap tahun terjadi keniakan tarif air dengan modus begini dan begono. “Mudah-mudahan cara ini efektif dan akan mengurangi dan bahkan menghilangkan terjadinya hal-hal yang tidak diinginkan agar tidak senantiasa terjadi kenaikan tarif” pungkasnya.

Nomor Ujian tak Kunjung Tiba,

Medan (KABAR Medan)

Animo masyarakat mengikuti ujian CPNS cukup besar untuk tahun ini. Sejak dibuka pendaftaran, ribuan warga melayangkan lamaran melalui kantor pos.

Seperti halnya Ani seorang warga pelamar CPNS Pemprovsu yang sudah mengirim berkas lamarannya melalui Kantor Pos, tapi sayangnya hingga kini dirinya belum mendapat surat balasan berupa nomor ujian.

“Lamaran saya kirim sejak 5 November lalu, tapi sampai sekarang belum ada jawaban atau nomor ujian. Sementara adik saya yang juga mengirim lamaran sudah dikirimi nomor sejak pekan lalu,” ujar warga Jalan Aksara ini ketika ditemui dikediamannnya, Minggu (22/11) di Medan.

Tidak dikirimnya nomor ujian jelas membuatnya kecewa. Karena keinginan menjadi Pegawai Negeri Sipil (PNS) sangat diharapkan, mengingat selama ini ia hanya karyawan swasta di sebuah perusahaan. “Kalau PNS sudah tentu terjamin, untuk hidup hingga pensiun, kalau pegawai swasta kita harus kerja keras dulu tapi belum tentu untuk hari tua nantinya,” ujar ibu tiga anak ini.

Hal senada juga dikatakan Anuar, warga Jalan Prof HM Yamin SH. Harapannya sama dengan Ani, menjadi PNS sudah menjadi harapan keluarganya. Karena sebagai anak laki satu-satunya dari dau saudara perempuan, dirinya harus bisa mengantikan ayahnya yang sudah wafat.

“Sejak ayah tidak ada, saya menjadi tulang punggung keluarga. Maka, sehari-hari saya bekerja sebagai sales sejak lulus dari penguruan tinggi,” katanya. Tapi sayangnya, ia tidak mendapat nomor ujian, padahal ia melamar D-III Ilmu Perpustakaan dan Informasi.

“Mungkin karena umur saya sudah 35 tahun, jadi pihak panitia tidak memberi nomor ujian. Padahal saya sudah menunggu-nunggu sejak dua pekan lalu,” katanya.