Viviendo el eneagrama: integrando la sabiduría de la vida (Spanish Edition)

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  1. Categoría: Fuerza
  2. El canal de Replicación en YouTube
  3. Alemany Carlos - 14 Aprendizajes Vitales - Free Download PDF

Deleuze op. Debo recordar que el principio de mi tesis es, ante todo, integrador. La igura 10 en su parte inferior es un buen ejemplo de lo comentado. La segunda idea es que existen narraciones cuyo esqueleto aquello que articula y justiica el relato se basa en el deseo de un personaje. De ello se derivan otras dos ideas de gran fuerza. No hay necesidad de comulgar con los principios de Brecht al cien por cien ni de pretender aplicarlos a rajatabla al mundo del audiovisual para valorar que sus ideas tienen concomitancias con el discurso que estoy elaborando. Aceptar el planteamiento que propongo a partir de Brecht supone abrazar la com- plejidad y rendirse a unas nuevas leyes constructivas.

Cowgill, autora de Secrets of Screen- play Structure. Si la cito en este momento es porque Cowgill viene avalada por J. Cowgill y Linda Aronson. Still, a core must be created to take the place of the main plot and to bring the mini-plots into a overall realtionship. Dramatic narratives, by contrast, focus on evolving networks of human relations.

The epistemic narrative, driven by the desire to know. Me remito a las citadas obras de Altman como un simple ejemplo, aunque suiciente. This new arregment of events makes the telling of the story more surprising, compelling and unpredicta- ble than if it was told in a straight, linear fashion.

Whether they focus on exposing a character Citizen Kane, The Conformist, Annie Hall or an event Ras- homon, Reservoir Dogs , their approaches can be radica- lly different. Just as with ensemble ilms, there are no set rules for constructing a nonlinear plot. Audiences still undestand by making cause-effect connections between the scenes in order to assign meaning.

Information must be conveyed in a clear and inteligible manner, which means that each beat or segment of information must realte to what comes before and what follows , even as the scene trans- cends a chronologivcla order of time. Dramtic unity in great nonlineal ilms is achieved by the inter- section of two key ingredients: 1 a controlling theme or idea; 2 a framing action. Danneberg, aunque su estudio se centre en la literatura y no el audiovisual.

Divergence, conversely, concerns the bifurcation or bran- ching of narrative paths and thereby creates an open pattern of diversiication and multiplicity. Coincidence in narrative iction is a plot pattern with fundamentally convergent tendencies because it creates relationships that interlink characters across the space and time of the narrative world. Diver- gence, in the general form of the open ending i. It is a moralistic form of storytelling with the basic pre- mise that good motives triumph, that the world is understan- dable, consistent, manageable, and responsive to goodness and truth.

As a result, external events are rarely arbitrary; instead, they are earned. The following examples are not meant to indicate preexisting categories or a deinitive list, but rather to demonstrate some of the options open to the scriptwriter. The problem is how then to represent a world whose organization seems elusive at best.

One way to do this is by making structure obvious. In practice, most alternative screenplays use both tendencies. Pasemos al segundo concepto presentado en este libro. Also important in the evolution of the non-linear ilm is the work of Jean-Luc Godard. Since , Godard has been using familiar genres—the gangster ilm, the war ilm, the melodrama, the musical—as his narrative base.

Categoría: Fuerza

The open-ended quality of these ilms moves us away from their characters toward the voice of their writers. Grifith es otro asunto. The same can be said for cause and effect. There is a randomness to the experience of the non-linear ilm. As a result, there is no dramatic arc. In its stead, we have a series of scenes or situations that are explored. The organization of those scenes will not necessarily be progressively linked. Consequently, our involvement will come from character rather than from plot, from the intensity of the individual scene rather than from the organization of progressive scenes.

This puts much more emphasis on exploration than on exposition, on feeling and mood rather than on external events. In contrast, ensemble and non-linear models always struggle with pace, connection, meaning and closure. This ilm is chronological, has a long central development section and involves only one protagonist and one point of view.

It covers a brief time span, gets off to a very quick start and always builds directly and suspensefully to a inal climax. In this case you need one of the parallel narra- tive forms. They solve these problems by creating pace and connec- tion artiicially, through splitting up, rearran- ging and sometimes multiplying or truncating three-act stories. This gives them the powerful ope- ning, rising suspense, climax and closure the strong be- ginning, suspenseful middle and gripping end that they would otherwise lack.

By using parallel narrative techniques we can create screenplays that would never work in three-act structu- re, even screenplays like 21 Grams and The Hours that work excellently without what we would call a proper middle, using stories with second acts so trunca- ted they scarcely exist. Creo que con lo expuesto hasta este momento el lector puede hacerse una idea suiciente del planteamiento propuesto por Aronson. Un ejemplo evidente es el que ofrece sobre Memento o Pulp Fiction. Dicho de otro modo: la estructura del ilm queda evidenciada por el recorrido li- neal que el espectador experimenta de una estructura no necesariamente lineal.

Veamos esta idea expuesta con mayor detalle en el siguiente caso. La primera, ya mencionada de pasada, es Me and you and Memento and Fargo de J. Por eso Como apunta Murphy, a menudo ni ellos mismos se entienden y pone como ejemplo a Eddy, el protagonista de Stranger Than Paradise. Todo ello nos remite a lo dicho al hablar de Kishotenketsu argumento sin conlicto. De nuevo, nadie parte de cero. It is based in part on the fact that, in the early days of cinema, technical matters forced screenwriters to divide their stories into sequences, each the length of a reel about ten minutes. The sequence approach mimics that early style.

The story is broken up into eight minute sequences. Como J. Por ejemplo, Paz Alicia Garciadiego, guionista habitual y esposa del director Arturo Ripstein, hace algo similar. El tratamiento dialogado, por lo tanto, es consecuencia de los ensayos, y no a la inversa. En este punto no pretendo haber aportado algo nuevo. De momen- to preiero imaginarlo como piezas independientes que pueden constituir una red. Part of the pleasure for the viewer of Slacker involves trying to anticipate how a particular scene might evolve or how the various scenes eventually might connect.

Rossellini, Ozu o Cassavetes son algunos de los directores imprescindibles en este estudio. Se impone desde el contexto o desde la personalidad de un autor o de varios , o a partir del encuentro entre ambos. Algo parecido es lo que ocurre en Citizen Kane una vez empieza la ronda de entrevistas del periodista al que le han asignado el caso. Quiero citar algunas frases que Vanoye aporta en el apartado de Preparaciones Hay buen y mal cine de Hollywood, igual que hay buen y mal cine mutante.

El fragmento eliminado corresponde a un ejemplo que ilustra lo dicho. Conjunto de factores o circunstancias que afectan a alguien o algo en un determinado momento. No digo que no puedan aparecer, simplemente que resulta menos relevante. Aunque no es un autor demasiado citado, en George Varotsis publica su Screenplay and Narrative Theory. The screenplectics Model of Complex Narrative Systems Y, sin embargo El autor de origen griego dice Esto es algo que evidentemente no comparto.

The irst is objects — the parts, elements, or variables within the system. These may be physical or abstract or both, depending on the nature of the system. Second, a system consists of attribu- tes — the qualities or properties of the system and its objects. Third, a system has internal relationships among its ob- jects.

Fourth, systems exist in an environment. Veamos algunas deiniciones. Por una parte se aprecia el valor la necesidad de la existencia de una estructura. Todos estos conceptos forman parte de los llamados mecanismos, como pueden serlo aquellos que provocan suspense o sorpresa Estas resonancias no son argumentales, sino emocionales. La elipsis es sin duda una igura apasionante. Examinemos ahora el suspense.

En el segundo caso, le hemos ofrecido quince minutos de suspense. The narrator can easily preserve the order of succession. Moreover, any such difference can affect my interpretation o and response to a given narra- tive; after all, it may help highlight certain events as opposed to others; it may underline certain themes; it may help create suspense what happened irst is revealed only at the very end ; and, in general, it may be more or less aesthetically pleasing and engage my emotions more or less powerfully. Rossellini a menudo rechaza la segunda.

Since simple rules produce complex behavior in hard-to-predict ways, the macroscopic behavior of such systems is sometimes called emergent. Here is an alternative deinition of a complex system: a system that exhibits nontrivial emergent and self-organizing behaviors. The central question of the sciences of complexity is how this emergent self-organized behavior comes about. Lacan, guionista Quiero regresar a otro tema que ya he expuesto: el de los personajes. The plotting of both author and characters is meant to exercise control: for the author, control over the reader, who must undergo a certain experience; for the characters, control over other characters and over the randomness of life.

But sometimes the goals of the author are at odds with the goals of characters. The author needs to make the characters take particular ac- tions to produce a certain effect on the reader, such as in- tense suspense, curiosity, or emotional involvement; but acting toward this situation deies narrative logic, because is not in the best interest of the characters, or not in line with their personality. En cualquier caso, este camino nos aleja en exceso del plan de la obra, por lo simplemente me li- mito a apuntarlo.

Como plantea Maria E. At the heart of this ontolog y lies the distinction between internal and external properties of characters. I have argued that characters are something over and above stories and works, such that one and the same cha- racter may occur in distinct works and distinct stories This raises questions of character identity across works and stories. But our tolerance toward extraordinary coincidence has grown lower through the ages, as the demand for realism has grown higher.

E , p. Her journey starts by questioning authority then gaining the courage to stand up for herself and inally embodying the wi- llingness to go it alone and face her own symbolic death. In order to account for character identity across distinct stories, I have introduced the concepts of maximal and sub-maximal characters. The proposed solution for the problem of character identity across distinct stories is thus as follows: A maximal character of a story s1 cannot be identical to a maximal character of a distinct story s2.

Yet, a sub-maximal character of s1 may be identical to a sub-maximal character of s2. En este punto en concreto estoy pensando en sus ensayos sobre personalidad y paranoia. He rejects the femeni- ne journey of inner exploration, faces death and either endures the transformation towards being reborn and is victorious, or he rebels against inner growth and inds failure. In victory his journey ends questioning authority and his role in society and by inding his authentic self.

Tobias como en J. Alonso De los Santos podemos encontrar relexiones similares sobre el asunto. El mismo George Lucas se convierte en caso ejemplar: resulta imposible detectar el genio de American Grafiti en la saga espacial. Con el apunte del inal del individualismo ante el auge de la sociedad global, parece que la muerte del estado y del individuo van la mano surgen otras narrativas que proponen la comunidad como nuevo protagonista.

Con dos personajes las relaciones que pueden construir entre ambos son cierta- mente limitadas Games are simpler and there is one major switch, i. Y el Otro. Y ya puestos, sobre el je y el moi. Como hemos visto, las relaciones entre personajes pueden llegar a ser algo suma- mente complejo, y sobre todo algo vivo, en movimiento y cambio continuo. A su pregunta Are the characters rather isolated, grouped, all connected?

Constituting a well deined corpus, the eleven Shakespearean tragedies can easily be compared: We propose here a network visualization in which each character is repre- sented by a node connected with the characters that appear in the same scenes. The result speaks for itself: the longest tragedy Hamlet is not the most structurally complex and is less dense than King Lear, Titus Andronicus or Othello. Some plays reveal clearly the groups that shape the drama: Montague and Capulets in Romeo and Juliet, Trojans and Greeks in Troilus and Cressida, the triumvirs parties and Eg yptians in Antony and Cleopatra, the Volscians and the Romans in Coriolanus or the conspirators in Julius Caesar.

Es uno de los temas que dejo anotados y espero ampliar en estudios posterio- res. Sin embargo, y tal como se puede ver en la primera parte, dedicada a las narrativas transmedia, el que en un relato aparece como personaje secundario puede, en otro, resultar ser el protagonista No es casual aquellos que han dado voz a este dis- curso provengan de las ilas del transmedia.

And in our deep-seated expectation that a hero will rise to save us, we give our own power away. In a world where we all need to roll up our sleeves and get to work on huge challenges ranging from runaway climate change to poverty and inequality, the paradigm of the hero-savior, endlessly repeated throughout the media, actually disempowers us. In their journeys, they move beyond their own individual experiences to a cohesive collective that is both the sum of all individuals and also a new entity entirely.

They move between physical interactions in real space to online di- gital interactions in cyberspace. Our journeys into outer space, technological advancement, mobile and urban lives, and the Internet have all created the circumstances for the rise of the Collective Journey. This was the irst time we saw our planet from an outside pers- pective and in its entirety. It gave us our entry point to start considering the idea of a planetary society. No other an- cient mythology could have given us this glimpse into who we are as a whole.

La autora propone como un ejemplo del nuevo modelo Burning Man, el festival contracultural que se organiza anualmente en el desierto de Black Rock, en el estado de Nevada EE. Michael Straczynski y las hermanas Wachowski crearon para Netlix. We are not suggesting that a new narrative model is emerging that is only about sweetness, unity, and light.

The old model is driven on conlict. The old model is weighted on masculine impulse. The narrative has been linear. A singular villain is favored over systemic change. A good versus evil binary. The feminine is temptress, innocent, or goddess. Not conducive to communications technolog y. Narrative built on knowledge scarcity. Mentors are rareied elders. Celebration of heroic power and glory. The hero loses. The community loses. De nuevo apelo a la idea de que existe una gran diversidad de estructuras y formas narrativas.

Las narrativas audiovisuales entendidas como sistemas u organismos vivos pro- ducen interacciones constantes entre sus partes. Nunca partimos de cero. Recordemos todo lo expuesto sobre la literatura del siglo XX y su intento de alcanzar las fron- teras del medio, de romper con la linealidad de la escritura. De nuevo nos enfrenta- mos a un canon estandarizado que bebe del sistema industrial de Hollywood. Ferguson a partir de The Searchers De un total aproximado de Recuperemos la igura 38 sobre las tragedias de Shakespeare.

Es lo que Duncan J. Watts denomina key players al hablar de clustering Nadie vive encerrado en una burbuja, tampoco las historias que nos contamos Y en ese caso No me importa tanto que sea el director, el guionista o el productor el que se encargue de mantener esa coherencia como de que alguien se ocupe de ella.

Estoy hablando de roles, no de indivi- duos. Therefore, there can be puposes within purposes. Los melodramas de Vincente Minelli son un buen ejemplo de ello Eso que ha recibido tantos nombres, todos tan comprensibles como incompletos. Debe haber una zona de sombra. Por supuesto, lo que digo resulta un tanto exagerado. Dice Douglas R. En cada momento utilizamos las herramientas que tenemos a mano para adecuar el discurso a los tiempos que vivimos.

September 8, On the one hand, they are familiar with objective entities outside them, such as trees, rocks an rivers. On the other hand, they are aware of subjective experiences within them, such as fear, joy and desire. Sapiens, in contrast, live in triple-layered reality. In addition to trees, rivers, fears and desires, the Sapiens world also contains stories about money, gods, nations and corpo- rations. As history unfolded, the impact of gods, nations and corporations grew at the expense of rivers, fears and desires.

There are still many rivers in the world, and people are still motivated by their fears and wishes, but Jesus Christ, the French Republic and Apple Inc. Since new twenty-irst century technologies are likely to make such ictions only more potent, un- derstanding our future requires understanding how stories about Christ, France and Apple have gained so much power.

Humans think they make history, but history actually revolves around the web of stories. The basic abilities of individual humans have not changed much since the Stone Age. But the web of stories has grown from strength to strength, thereby pushing history from the Stone Age to the Silicon Age. No obstante, resulta per- fectamente vigente como forma narrativa Es por ese motivo que no las identiico como cronotopos, aunque son conceptos muy cercanos.

Espero haberlo dado. New Line Productions, Inc. Good- mark Productions Inc. Warner Bros. Paramount Pictures, Patron Inc. Alfred J. Bandai Visual Company, Shouchiku Co. Night Life Inc. Proyecto multimedia on-line. Apple Inc, Digital Distibution, Zentropa Entertainments, Isabella Films B. Arkadin Film. Lionsgate Television, Wei- ner Bros. Ashton Productions, Inc. Editorial La Llave D. Editorial Castalia, S.

Editorial UOC, Editorial Gredos, S. Crows Nest, Australia. Los argumentos universales en el cine. Editorial Anagrama, S. Taurus Ediciones, S. Beyond Plot. Minneapolis, USA.

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Gra- ywolf Press. London, UK. Laertes S. The Psycholog y of Human Relationships. New York, USA. Groove Press, Inc. Why We Tell Stories. Continuum Books. University of California Press. RBA, Coleccionables, S. Evolution, Cognition, and iction. Ediciones Internacionales Universitarias, Los enigmas del caos y el orden. Salvat Editories, S. Design and Intention in Narrative. Cam- bridge, Massachusetts, USA.

Harvard University Press, Cambridge, London, UK. Chichester, UK. BlackWell Publisihing Ltd. Editorial Fundamentos. Alianza Editorial, S. Estructuras formales literarias. Anthropos Editorial, Hampshire, UK. Plamgrave McMillan, Alianza Edi- torial, S. London, U. Faber and Faber Ltd. Leicester, UK. Galley Press, an imprint of W. Smith Limited. Berlin Germany. Master the Ultimate form of Inluence.

Lulu Press, En Obras completas I. RBA, Coleccio- nables, S. Lone Eagle, an imprint of Watson-Guptill Publications. Oxford, UK. Elsevier Inc, Lincoln, USA. University of Nebraska Press. Associa- tion for Computing Machinery, February, Blan- querna Tecnologia i Serveis, S. Hacia una sociedad de la web. Editorial Gedisa, Estudios sobre cine 2. Cuentos completos, 1. BN Publishing, Editorial Lumen S. Orlando, USA. Alianza Editorial S. Literary Classics of the United States, Inc. Ediciones Folio, S.

Plot Ediciones. Revised Edition. Editorial Deba- te, S. An Exposition of Dramatic Composition and Art. Chicago, USA. La literatura en segundo grado. Altea, Taurus, Alfaguara, S. Victor Gollancz Ltd. Harper Collins Publishers. Toronto, Canada. University of Toronto Press, Collected Works of Northrop Frye, v. Conversaciones, entrevistas, pre- sentaciones y otros fragmentos. Prodimag, S. A Personal View of Hollywood and Screenwriting. New york, USA. Warner Books, Inc.

Videojocs, textualitat i narrativa interactiva. Vic, Biblioteca de la Universitat de Vic, Shangri-La Ediciones, Focal Press, an imprint of Elsevier. Vintage Digital Septem- ber 8, Kindle version. Bantam Books, a division of Random House, Inc. Tusquets Editores, S. Berkeley, USA. University of California Press, Bos- ton, USA. Beacon Press, Explory Parcitipatory Culture. New York University Press, Editorial Seix Barral, S. Los Angeles, USA. Rea- lly Great Books, Studies in the Theory of Fiction with a New Epi- logue. Oxford University Press, , , RBA Coleccionables, S.

University of Chicago Press, , Cambridge, USA. Perseus Book Group, El caos como generador del orden. A Survival Guide for Online Filmmakers. Brussels, Belgium. Not So Crazy! Productions, Editorial Ana- grama, S. Editorial Bruguera, S. An Introduction to the Craft of the Director.

Faber ad Faber, Ltd. Notes and Essays. Edasha, La imagen en la era digital. Cambridge, UK. Cam- birdge Universitiy, Press, , Conversaciones con guionistas de la edad de oro. Plot Ediciones, S. Interviews with Screenwriters of the s and s. Universitiy of California Press, An Inventory of Effects. Penguin Books, Ltd. Substance, Structure, Style, and the Principles of Screenwriting.

Harper-Collins Publishers, Inc. A Primer. Chelsea Green Publishing Company, The University of Chicago Press, Inc. Del imperialismo cultural a las leyes del marketing. A Guided Tour. Oxford, USA. Oxford Uni- versity Press, Inc. Boston, USA. Harvard Business School Press, , Salvat Editores, S. MIT Press, , Continuum International Publishing Group, El futuro de la narrativa en el ciberespacio.

Editorial La Llave, Redmond, USA. Tempus Books of Microsoft Press, , Sausalito, USA. Mindful Press, , Introduction: Theories and Criticism. New- castle upon Tyne, UK. Cambridge Scholars Publishing, Penguin Books Ltd. Introductory Course with Exemplifying Ta- bles. La Liebre de Marzo, S. Santiago, Chile. Cuatro vientos Editorial.

Franklin, USA. James Knapp Reeve, , Lincoln, Ne- braska, USA. University of Nebraska Press, , The Form and Functioning of Narrative. Berlin, Germany. Mouton Publishers. Janua Linguarum. Paris, France. KG, Columbia University Press, University of Chicago Press, British Film Institute, Ediciones Urano, S. Lisboa, Portugal. BeActive Books, Baltimore, USA. The Johns Hopkins University Press, Editorial Ariel, S. Editoral Ayuso, Alianza Editoral, S. A Book of Lenses. Burlington, USA.

Elsevier Inc. Cincinnati, USA. Da Capo Press, Inc. Holt Pa- perbacks, Ediciones Rialp S. Vol 1. Studio City, USA. Michael Wyse Productions, Espasa Calpe, S. Tilburg, Netherland. Nexus Instituut, Relections on the Cinema by Andrey Tarkovsky. Faber and Faber, Inc. Las nuevas revoluciones de las multitu- des conectadas. Los libros de la Catarata, Ediciones Internacionales Universitarias. Editorial Brugue- ra, S. Edi- torial Gedisa, S. Abada Editores, S. The screenplectics Model of Complex Na- rrative Systems.

Edinburgh, UK. Edinburgh University Press Ltd, Ediciones Robin- book, The Science of a Connected Age. Jefferson, USA. MacFarlan, University of Califor- nia Press, Gedisa editorial, Ensayos sobre cine moderno y ciberespacio. Random House Mondadori, S. Varios dispositivos Nintendo. Dir: David Cage. Nintendo EAD, Nintendo, Heavy Rain. PlayStation 3. Quantic Dream, Sony Computer Entertainment, Toru Iwatani.

Namco, Namco Midway, Sims, The. Ordenador: Microsoft Windows. Will Wright. Maxis, Electronic Arts EA , Street Fighter. Versiones posteriores para varios. Dir: Takashi Nishiyama y Hiroshi Matsumoto. Capcom, Capcom, Alexey Pazhitnov. Tomb Raider. Lara Croft: Tomb Raider. Sega Saturn. Versiones posteriores para va- rios. Creador: Toby Gard.

Eidos Interactive, —, Square Enix, — Enciclopedia of Semiotics, Oxford University Press. The Atlantic Magazine. Why Transmedia is Catching On. Why Transme- dia is Catching On. Tesis doctoral. An Essay in Method. En No Film School. En LunchoverIP. Moving characters from books to ilms to video games can make them stronger and more compelling. The oicial weblog of Henry Jenkins. En Confessions of an Aca-Fan. Zemos Observatorio nacional de las telecomunica- ciones y la SI. It left everybody awestruck. And the number of Native people coming together, nothing like this has been seen since the 19th century.

You made a series of mirrored shields that you distributed to people on the front lines. How did that come about? I was inspired by these activists in the Ukraine. These women — old women and children — and they came out and carried mirrors from their bathrooms and into the street to show these riot policemen what they looked like. From the photos I saw, it seemed profoundly effective. I wanted to bring that same level of recognition to the front lines there.

But Standing Rock is in the middle of nowhere. So what we needed was a mirrored shield. So I came up with a simple, easy and cheap design to make these mirrored shields using vinyl and Masonite — materials you can find in any hardware store. From one sheet of Masonite, you could make six shields. I started making them after that Sunday that they were hitting people with hoses. I personally made close to of them. But then another group out of Minneapolis made I have no idea how many are in circulation.

But I keep seeing them here and there. Being an artist, it is a way to weaponize privilege. If I am not for you, then who am I for? Artists, we live on the periphery. But we are the mirrors. We are the reflective points that break through a barrier. That is the power of art. Y de haber empezado con tres personas hoy son cerca de personas que trabajan de tiempo completo en el grupo. By: Themindcircle Via Themindcircle. Murmuration is the intricate choreography of a large starling flock when they are swooping along the sky. It is a wonderful phenomenon and looks like an undulating cloud that shifts directions suddenly as it moves in the sky.

As it is relatively warmer in Netherlands during winters, the starlings decided to stick to the same country last year instead of migrating to the countries in the South. You can view the full movie in his website. You can look at the shortened version of this phenomenal effect and the sound of the birds will really soothe your senses. Photo Credit: Pinterest. Photo: Inge Johnsson. Photo: Alexey Trofimov.

Photo: Simon J. Photo: Martin Bailey. Photo: Emmanuel Coupe Kalomiris. Photo: Process Sensors. Photo: Brian Peterson. Photo: Sean Bagshaw. Photo: Vusal Alekberov. Photo: Iurie Belegurschi. Photo: sometimesinteresting. Photo: thesuiteworld. The hard choices — what we most fear doing, asking, saying — are very often exactly what we need to do.

How can we overcome self-paralysis and take action? If you have ever wanted to look at a map of Europe and see all of its rivers and streams outlined, well now you can. An Australian Ph. Bishop-Taylor was able to do this using open source geographic informational software called QGIS to research the 1. The result is a map of European with various blue colors and lines to dictate the different waterways.

By: A Blade of Grass Via vimeo. Para alcanzar estas metas, todo el mundo tiene que hacer su parte: los gobiernos, el sector privado, la sociedad civil y personas como usted. Objetivo Lograr que las ciudades y los asentamientos humanos sean inclusivos, seguros, resilientes y sostenibles. Las emisiones de gases de efecto invernadero causadas por las actividades humanas hacen que esta amenaza aumente. Las emisiones en un punto del planeta afectan a otros lugares lejanos. La paleta de colores es unificadora, entrelaza las ilustraciones de principio a fin. Predominan los verdes y azulados, tostados, ocres naranjas y siempre con brochazos blancos de luz.

La naturaleza es una constante en su obra. Estas trabajan en conjunto para ofrecer al mercado un volumen de productos alimentarios que responde a la demanda. Las aguas jabonosas son las que vienen del lavabo, fregadero, regadera, lavadora y lavadero. Las aguas jabonosas se pueden tratar utilizando un biofiltro. El funcionamiento del biofiltro-jardinera es muy sencillo. Tienes que conectar todas tus salidas de aguas jabonosas hacia las jardineras a utilizar. Aunque, de cualquier forma, es recomendable tratar de utilizar poco cloro y detergentes biodegradables en la limpieza de casa.

Natural como respirar o como tomar agua. El dinero y el valor monetario de las cosas nos parecen evidentes. Sin embargo, hay otras formas de valuar los objetos. Esta propuesta ataca los problemas desde un lugar un poco distinto. Imagen de portada: Achievement. Some people tryna look fly, some people tryna get high Some people losing their mind, some people tryna get by And when you look in my eyes, you see the sign of the times We all looking for the same thing. Would it mean that the world was saved? And no guns are being drawn today? What if everybody had a job?

And nobody had to break a law? People used to feel safer when they would hear a siren Like help is on its way but now they only think of violence Another youth in the streets and police is in a conflict And now they hear the guns click, yo Ebola crisis and ISIS is taking heads off A drone is bombing a village and now the kids all Signing up to be soldiers, but they all willing now To do the killing now, now are you willing now?

If you look at your life right now, what is the reason you are not as successful, happy, or healthy as you could be at this point in your life? Apart from many excuses, there is probably just one simple reason: Lack of self-discipline. If you think about it, what does it really take for you to be successful in all areas of your life?

Everybody knows what it takes to get in shape, but how many people are? Success in life comes from the actions you take on a consistent basis; and only self-discipline allows you to do that. No matter what your goals are in life, there is one great law that you need to obey in order to be successful: No one else is going to climb the ladder of success for you. No one else is responsible for your health, wealth, happiness, or success. You choose the job you work in, the person you live with, and how much you exercise every day. Only you can choose how you spend your time, and the decisions you make on a consistent basis will make or break your life.

If you want a better life, you need to make better decisions. Only you can change your life by changing the choices you make. According to motivational speaker Brian Tracy, the biggest enemy to success is the path of least resistance. If you choose what is fun and easy over what is necessary, you will never reach the levels of success and happiness you are capable of achieving in your life. If success was easy, everybody would be successful. But because success in any area of your life requires hard work and sacrifices, most people will never reach their full potential. Whenever you decide not to what you should be doing, you not only waste your opportunity to grow as a person, but you also lose confidence in yourself.

You start to see yourself as lazy and unsuccessful, and that self-image will become a successful prophecy. To achieve any goal you have, there are only three things you need: A clear vision for what it is you want, a plan to get there, and massive action consistently repeated over time! While the first two parts are the easy parts of the equation, most people struggle with the last part: Hard work. Doing this is probably the surest way to succeed in life. What actions are you taking to make your goals reality?


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How many books are you reading to grow as a person, and how many new things are you learning? Which people are you associating with? Are you putting in the effort necessary to achieve your goals today? People oftentimes think that their lives will suddenly change through some magical event in the future, but that is not the case. If you are not happy with your current circumstances, are you taking actions to change them?

If not, you are just daydreaming. Excellence then, is not an act, but a habit. A great way to actively create your future is to ask yourself: If I already achieved my goals, how would I act on a daily basis? What books would I read, how often would I work out, and how would I spend my time at the office?

Once you answer these questions, you know what to do. Act as if you were already successful. In life, nothing worth having comes easy. You have to make sacrifices in the form of time, effort, pain, and hard work if you want to succeed. There will be many setbacks, and any time you get close to finally succeeding, there will be some more adversity testing how bad you really want it.

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Only after passing one more test, and then another, will you be able to succeed. The great tragedy of life is that most people give up right before achieving success. They already made it to the five yard line, and all they need is one final push to make the touchdown and bring home the sweet victory. But right before they do that, there is one final obstacle standing in their way — one last failure that they need to overcome. Way too many people give up right then and there, without realizing how close they are. If you just take one thing from this post, let is be this: Whenever you encounter failure and adversity, keep going!

If it was easy, anybody could do it. The only way to grow as a person is by facing the biggest challenges in life and enduring long enough to succeed. To maximize your self-discipline every day, it is necessary that you keep the bigger picture in mind. Only by remembering why you do what you do will you take the necessary actions and follow through even if it gets hard.

You have specific goals that you want to achieve that make all the effort worth it. If you know what you want to do, and you have enough reasons to do it, you will do whatever it takes. The problem is, we tend to get so caught up in working and achieving our goals that we forget why we started in the first place. We forget why we do what we do and instead get overwhelmed by a seemingly endless to-do list.

The easiest way to counter this problem is by rewriting your goals every day and imagining the future as you want it. Every morning after waking up, write down the most important goals you have for your life. This will not only immediately get you motivated and excited, but also crystal clear on what you need to do to succeed. To make sure that you stay strong in the face of adversity, make sure to resolve in advance how you will respond once it occurs.

You need to have a plan for what to do when all hell breaks loose, or else it is too easy to just give up. When writing your goals, commit to making them come true, no matter how hard it may be.

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Determine how you will respond to failures and setbacks so you can bounce back stronger and better than ever before. If you make this commitment and never break it, you will succeed at anything you set your mind to. Maybe not immediately, but definitely. If you could know the truth about the threat of climate change — would you want to know? Before the Flood , presented by National Geographic, features Leonardo DiCaprio on a journey as a United Nations Messenger of Peace, traveling to five continents and the Arctic to witness climate change firsthand.

He goes on expeditions with scientists uncovering the reality of climate change and meets with political leaders fighting against inaction. He also discovers a calculated disinformation campaign orchestrated by powerful special interests working to confuse the public about the urgency of the growing climate crisis. With unprecedented access to thought leaders around the world, DiCaprio searches for hope in a rising tide of catastrophic news. Beyond the steps we can take as individuals, the film urges viewers to push their elected officials in supporting the use of alternative energy sources such as solar and wind power.

The film is edited by Geoffrey Richman A. The Director of Photography is Antonio Rossi. Learn how you can offset your own carbon emissions by going to CarboTax. By: Discovery Communications Inc. Via YouTube May 17, Running time: Sale el programa de anoche para los que no alcanzaron o quieren repetir alguno de los segmentos. Los meseros regresaban a la cocina con estos llenos. La comida se separa por platillos. Dependiendo de su estado, se decide si es para consumo humano o para consumo animal. Los platos que hayan quedado intactos o en buen estado, funcionan para que las personas puedan consumirlos posteriormente.


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  6. Este formato se completa con la ayuda del chef o cocinero encargado del evento. En realidad toda la comida sirve, pero no necesariamente para lo mismo. Nosotros cuidamos que la comida que se rescate para el consumo humano mantenga la dignidad de quienes van a comerla.

    Imagen de portada: YouTube. Imagen de portada: 4 Vientos. Imagen de portada: Lost in Translation, Mubi. Washington, D. A federal judge ruled that the federal permits authorizing the pipeline to cross the Missouri River just upstream of the Standing Rock reservation, which were hastily issued by the Trump administration just days after the inauguration, violated the law in certain critical respects. We applaud the courts for protecting our laws and regulations from undue political influence and will ask the Court to shut down pipeline operations immediately. The Tribe is represented by the nonprofit environmental law firm Earthjustice, which filed a lawsuit challenging the U.

    Army Corps of Engineers for issuing a permit for the pipeline construction in violation of several environmental laws. The Court ruled against the Tribe on several other issues, finding that the reversal allowing the pipeline complied with the law in some respects. The pipeline would carry up to , barrels a day of crude oil from the Bakken oil fields in North Dakota to Illinois where it links with another pipeline that will transport the oil to terminals and refineries along the Gulf of Mexico.

    This family is an inspiration for people who would love to be a homesteader with limited resources! La fiesta nos remite a la vida y a la fecundidad, a la abundancia, a la tierra. A los dioses. Rugido alzado en armas. Son diez legajos, siete de ellos de cuadernillos cosidos y encuadernados con cuero, y otros tres legajos solamente cosidos, sin su tapa de cuero.

    In the seven-minute video after the jump, QuantumShift. The extra carbon in the soil also increases food nutrients, which could greatly reduce health care costs. Dig a little deeper after the jump. The land-based carbon cycle works as plants take CO2 out of the atmosphere and convert it to organic material by photosynthesis. Plowing churns up this organic matter and introduces oxygen which expedites its decay. That is, the exposed carbon recombines with oxygen and is released into the atmosphere as CO2, a principle greenhouse gas. The organic farming practice of no-till greatly reduces this large-scale break-up of soil by cutting small slits that are just large enough to accommodate the planting of seeds, thereby conserving the amount of carbon stored in the earth.

    The video also points out that less tillage also decreases C02 emissions from farm machinery since the equipment makes fewer runs over the field. Also, the benefits of no-till sequestration are tripled when combined with the planting of winter cover crops which are used in organic farming to maintain a healthy soil. Much of the data in the video is based on a year comparative study conducted by the Rodale Institute in Pennsylvannia which also dispels the myth that chemical fertilizers are needed to provide better yields.