nu am mai trecut demult pe aici. varii motive. am fost plecata in strainezia + viata mea mea a luat noi intorsaturi. dar vreau sa vb acum despre 3 evenimente culturale la care am participat recent si care m-au umplut de bucurie, idei, sentimente frumoase.

1. miercurea de film de la ICR de sapt trecuta unde am vizionat alaturi de vreo 200 de oameni (se statea pe jos efectiv) 3 scurt metraje interesante: Bricostory, Joi si celebrul Megatron. erau multe cunostinte pe acolo, multi actori & oameni de film. m-a enervat moderatoare (ruxandra) a pus intrebari f pe langa si nu a reusit sa creeze un dialog cu regizorii. cel mai mult mi-a placut Joi un film care prezinta cu multa cruzime banalitatea care ne inghite vietile zi de zi. cu cea mai tare si mai autentica  scena de sex de 2 min pe care am vazut-o pana acum. si cu multa tristete si lehamite. megatron nu m-a dezamagit, si-a meritat premiul, avea ceva din Mungiu (candoarea) si mai ales m-a facut sa ma gandesc la Lampa cu caciula. discutiile nu au fost lungi dar s-au spus niste lucruri f interesante.

2. lunea asta 29 sept am fost la Clubul Dramaturgilor la Uniunea scriitorilor prezidat de Mircea Ghitulescu. a fost initial lansarea cartii acestuia - Istoria literaturii romane Dramaturgia - o caramida cu un aspect f placut ce trateaza tot ce a miscat si inca misca in dramaturgia noastra. mi-au placut f mult vorbitorii (Garbea si dl Mihalache) si m-am bucurat ca este inclus acolo si octavian :) . apoi a avut loc (ca de obicei) o lectura realizata de un regizor cu actori profesionisti de 2 piese scurte (un fel de scurt metraje in teatru ca sa zic asa) scrise de flavius tamasel - un clujean cumsecade, tanar si deloc debutant ( a mai publicat cateva piese). olga delia mateescu m-a dat pe spate cu interpretarea ei formidabila. (desi nu facusera decat o repetitie). piesele s-au numit Fisura si Decoratia. prima a fost ff savuroasa (la ambele am ras pe rupte), a doua avea mize mari si a cam trenat. finalurile usor naive, dar replicile scrise excelent. un dramaturg ce trebuie retinut.

* m-au enervat insa piscotarii. nu prin simpla lor prezenta (ca vin ca sa bea si sa manance e un un lucru stiut) ci prin faptul ca mai si comenteaza pe deasupra pe sub mustati. ii critica pe toti cei prezenti. cum naiba au tupeul asta, frate? ei nu sunt in stare sa lege 2 vorbe coerente dar ii injura pe toti din sala. mi-au facut greata (mai ales ca desea ei sunt ff nespalati). cred ca de-aia nu prea vin tineri la intalnirile astea literare - de scarba astora.

3. in seara asta am fost la lectura +dezbaterea pornind de la cartea Svetlanei Carstean la Institutul Francez . sala a fost arhiplina ceea ce m-a bucurat. lumea venise pt cartarescu (se zice) dar eu cred ca pt insolita aparitie in sine a celor ce urmau sa vb. nu asa mi-o imaginam pe svetlana. am citit cateceva din ea inainte si nu asa mi-o imahinam. mi s-a parut ca e fff feminina. cu adevarat frumoasa, atragatoare, genul care iti intra direct in creier. f puternica, precum in versurile ei. mi-a placut ca avea un inel imens pe deget care contrasta cu vocea ei  inceata. avea pe deget o floare de menghina. mi-a placut de asemenea ca atmosfera a fost mult mai relaxata decat la lansarile de la uniune de exemplu (desi - stupoare- aceleasi fetze livide de piscotari erau si aici). s-a inceput cu lectura celor 2 - svetlana si fanny chartres (pe care mi-am imaginat-o ca o papusa vorbitoare, f sensibila si atenta la fiecare cuvant rostit). lectura a fost lunga ( aproape o ora) dar cred ca acesta a fost un element important. am putut fiecare sa ne facem o imagine mult mai porfunda asupra versurilor. si cadrul a fost intim si potrivit: intuneric in sala si doar ele doua erau luminate de 2 lampioane cu lumina moale. versurile m-au innebunit. mi-au placut mult. dupa asta a inceput o semi debandada in care invitatii au vb alandala si s-au referit mai putin la tema propriu zisa - feminitate si totalitarism. s-a vb mult de carte ceea ce a fost f bine insa. mi-a placut si CTP-ul f mult. cu figura aia prelunga de criminal in serie a spus niste lucruri f sensibile, profunde, la obiect dar si pline de nuante. am retinut ideea lui:  e vocea unei fetite ce se inchide in copilarie de teama de a deveni adult si a intra intr-o carcera neinduratoare. multa lume buna a fost prezenta. m-a bucurat revederea lui alex matei si a lui ernu. si a simonei popescu despre care nu stiam ca nu poarta bijuterii decat in forma de caluti de mare pe care ii primeste cadou de la prieteni.

dar cel mai mult m-a impresionat in seara asta poemul svetlanei cu mainile pe care si le intitula Beatrice si Alice. exact asa mi-am intitulat eu cele mai misto papusi pe care le aveam in copilarie - 2 blonde pe care le consideram mai mult decat perfecte. am discutat cu ea la sfarsit despre asta si ne-am amuzat- ar trebui psihanalizate numele astea 2 si incidenta lor perversa pe piata numelor din copilaria romaneasca..

Reputatii scriitori ai "Rupt in fund prin Europa" si "Un cadavru umplut cu ziare" ii dau credinta celebrului autor al clasicei "Onanisti din toate blogurile, masturbati-va" ca si Caracalul poate ajunge pe harta marii culturi.

Concluzia este la persoana a 2-a, deci exclude persoana 1 a CTP-ului, pentru ca aceasta se extrage dintr-o alta categorie de iuda. Mai ieftina. Proletar vestit, isi tradeaza adevarata vesta de la socru cu costumul de patron ganditor. Jurnalist cruciat pentru adevar, carmeste rapid crucisatorul deontologiei spre profitul din alianta cu barjele guvernamentale.

Deci, jurnalistul de succes este intruchipat de o tanti cititoare cu dictie mecanica, privire sticloasa si geaca imprumutata de la tata-socru, care stie sa cante la chitara si sa apara cu freza ingrijita la radio.

Daca s-a luat de patronul Vantu, atunci clar ca "dai in mine, dai in fabrici si uzine". Dar, pana la urma, cine este dom'le presa asta si ce vrea dansa?

In buna traditie cetepista, orice critica sau desconsiderare a unui ziarist este tradusa ca atac asupra Presei. Este considerata blasfemie, pentru ca Jurnalistul este extensia pamanteana a unei forme abstracte si incarcate de valente sfinte intru apararea libertatii, denumita Presa. Dupa care urmeaza reactii isterice de babe jignite in sfanta credinta pentru ca preacucernicul lor parinte a fost facut spagar si curvar.

Cine este Presa? O breasla de slujbasi cu pix care poarta vorbele unora spre intelesul altora. Si ca orice slujbas, jurnalistul are salar si program de lucru. Salariul si-l incaseaza daca indeplineste normele cerute de angajator. Scopul prezentei sale in uzina "Cotidianul", "Gandul" sau "Adevarul" nu este impartasirea luminii divine, ci un fluturas la sfarsit de luna cu cat mai multe zerouri. Pentru care trebuie sa respecte cat mai fidel fisa postului. Nu-i nimic condamnabil, este firesc si omenesc, este specific clasei muncitoare.

Presa este o afacere, nu o institutie sacrosancta care asigura muritorilor libertatea. Iar patronii de presa au interese inspre profit si se manifesta ca atare. Iar daca deranjeaza alte interese de profit, care-i legatura cu sfintele moaste?

Derutat si deprimat de realitate, inginerul Popescu gandeste ca prin SF isi atinge pacea sufleteasca.

Barbatia acestui haiduc modern al filosofiei , idol al bagabontilor care-si cauta limba in urechile damelor si o gasesc intre cracii acestora ( pe net sa-i vada lumea  ce dezinhibati sunt ) se arata inca o data in plangerea catre CNA. Intelectul l-a demonstrat cand i-a raspuns insultator cetepeului care, de fapt, il apara in stilu-i bolovanos dar sincer . CTP ii raspunde vadit amuzat de aberatiile copilului cu papion.

Povestea Marin Preda undeva cum , in obsedantul deceniu 5 al secolului trecut, un mare scriitor roman ceruse un kilogram de carne pe zi ca sa scrie. Azi intelectualul scrie pentru un post  o limuzina cu sofer, un salariu bun si posibilitatea de a fura in liniste din banul public.

- Si cu onoarea mea nereperată cum ramăne, dom' judecator?

- Las' ca ti-o repereaza dom' Zeus ...

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Circulaire du 20 juin 2008 relative aux élections des représentants du personnel aux commissions administratives paritaires, comités techniques paritaires et comités d'hygiène et de sécurité des collectivités territoriales et de leurs établissements publics

lire

texte officiel

http://www.gandul.info/puterea-gandului/scandalul-boului-bej.html?4237;2911875

M-a enervat d-l Ciutacu deoarece a sters postarile mele documentate si la obiect si in care nu-l injuram de pe blogul lui. Ei bine, articolul lui CTP de azi m-a facut sa nu mai intru vreodata pe acel blog.

texte officiel

Seemed like a simple enough challenge at the time, but what I soon discovered was that it was anything but.

It wasn't as though the process was any more difficult than it was back in the "days of film." At the agency, we had art directors who were mocking up layouts on boards that were turned over to me for recreation in QuarkXPress. After working with the art directors and others within the agency to make final tweaks to the ads, I then had to provide them with the assurance that what I was creating digitally would reproduce in the manner they expected.

The only real difference in the workflow of "those good old days" and today is that we are no longer shipping film -- and that is a great thing.

However, even though a lot of the processes were the same, accountability for the success or failure of the final print result was shifting. While in the days of film, it may have been the primary responsibility of the prepress supplier or printer to make sure the final results were accurate and optimal, in the days of digital file exchange, it's a whole new ballgame. And anyone who wants to be able to hit the home run out of the park has to realize that it's no longer only prepress and print suppliers who have to accept accountability. These days, more than ever, the print buyer and digital file creator assume just as much responsibility as their manufacturing partners.

It's one of the reasons why I got out of the ad production game and decided to create a software tool that would alleviate some of the headaches of digital file workflows and make it increasingly easier for print buyers and production professionals to ensure that the files leaving their shops were in tact, had integrity and would produce in the manner that was expected of them. And with the help of my partner, Ron Crandall, Markzware was born and we became widely known in the print industry as the "preflight" company.

Preflight and postflight: Defining the terms
The term "preflight" has been adopted by the graphic arts community as the blanket or umbrella term that refers to file checking at any stage of the workflow. While we know that it's essential to verify file integrity at several points in the process (creative, production, prepress), it would better suit us to distinguish these quality control checkpoints with terminology that , in fact, reflects when and why the file is being checked.

At Markzware, we've always considered the term "preflight" to be specific to the creative process, when digital files are in their native application form. "Postflight," however, is a subset of preflighting that refers specifically to file verification that occurs, for example, after the prepress file (usually a PDF) has been created and is used to drive prepress processes, such as digital contract proofing, platesetting or digital printing. Distinguishing between preflight and postflight ensures that print buyers and their manufacturing parters are clear about when in the workflow quality control should take place.

Markzware, for example offers several tools including our flagship FlightCheck application, that will both preflight native application files and postflight PDF files.

Why do we need to verify digital files at more than one point n the workflow? Some may argue this is a redundancy that digital production and CTP was supposed to alleviate. Similarly, many print buyers and production professionals say, "Why do I need to preflight? I just send my digital files over to the printer. They're going to check them there anyway."

Point noted, but we mustn't minimize the impact to deadlines and the bottom line if a printer receives a problematic file. consider this analogy: When traveling by plane, particularly these days, each passenger expects to wait in long queues at the single security checkpoint that stands between the terminal and the gate. If there were several smaller checkpoints along the path to boarding the plane, long lines could be minimized or eliminated.

While no two digital workflows are alike, there are some commonalities, and to illustrate my point, let's take a look at a typical print buyer/printer relationship.

At the customer's site, you may have an art director who is pulling elements from a variety of sources (images, logos, copy, etc.) and compiling them into a QuarkXPress or InDesign document. Once the creative forces and others have approved the final page, that native application file is then destined for the printer (presumably, not hopefully, along with a digital proof that represents that file).

At the printer, the file is then manipulated -- and sometimes altered n any number of ways. The printer may apply things like trapping, make textual changes to the document on the customer's behalf or RIP the file to a PF or whatever type of file format they need to drive their own proofing and platesetting processes.

If that original native application file the print buyer sent to the printer is flawless -- if all the elements are in lace, fonts are embedded, graphics are all CMYK and resolution is high -- this workflow should be relatively seamless, and the file will move through each of the stages without setbacks.

That's the ideal. Now, let's look at the real world. In the past few years, printers have noted that their customers are certainly becoming more adept at preparing digital files, but still some report that more than 80percent of the digital files (including both native application and PDF files) they receive from customers are flawed in some way. IF you think about it, that's an extraordinary percentage of bad files being passed around - poorly prepared files that cost the print buyers both time and money to remedy.

While PDF has been lauded as the print industry savior, remember this: If flaws are resident are in the native application, they will remain in the pF, as well. Simply taking your native application to a PDF does not ensure that these problems will be remedied.

So, yes, most printers will happily accept your digital files -- good, bad or otherwise -- and they'll happily run it through preflight, make fixes and changes, convert it, postflight the new file and send it on its merry way to the platesetter or digital press. But, remember, there's a cost for this. Not only are you paying the printer to find and fix these errors, there is the potential cost of missed press schedules and distribution deadlines. It's really a no brainer: Send your printer a bad file, and accept the costs and risks of doing so.

Quality control mustn't be a print buyer's afterthought. Preflight and postflight technologies are readily available, inexpensive to buy and easy to apply to the creative and in-house production workflow. Why take the risk?

Seemed like a simple enough challenge at the time, but what I soon discovered was that it was anything but.

It wasn't as though the process was any more difficult than it was back in the "days of film." At the agency, we had art directors who were mocking up layouts on boards that were turned over to me for recreation in QuarkXPress. After working with the art directors and others within the agency to make final tweaks to the ads, I then had to provide them with the assurance that what I was creating digitally would reproduce in the manner they expected.

The only real difference in the workflow of "those good old days" and today is that we are no longer shipping film -- and that is a great thing.

However, even though a lot of the processes were the same, accountability for the success or failure of the final print result was shifting. While in the days of film, it may have been the primary responsibility of the prepress supplier or printer to make sure the final results were accurate and optimal, in the days of digital file exchange, it's a whole new ballgame. And anyone who wants to be able to hit the home run out of the park has to realize that it's no longer only prepress and print suppliers who have to accept accountability. These days, more than ever, the print buyer and digital file creator assume just as much responsibility as their manufacturing partners.

It's one of the reasons why I got out of the ad production game and decided to create a software tool that would alleviate some of the headaches of digital file workflows and make it increasingly easier for print buyers and production professionals to ensure that the files leaving their shops were in tact, had integrity and would produce in the manner that was expected of them. And with the help of my partner, Ron Crandall, Markzware was born and we became widely known in the print industry as the "preflight" company.

Preflight and postflight: Defining the terms
The term "preflight" has been adopted by the graphic arts community as the blanket or umbrella term that refers to file checking at any stage of the workflow. While we know that it's essential to verify file integrity at several points in the process (creative, production, prepress), it would better suit us to distinguish these quality control checkpoints with terminology that , in fact, reflects when and why the file is being checked.

At Markzware, we've always considered the term "preflight" to be specific to the creative process, when digital files are in their native application form. "Postflight," however, is a subset of preflighting that refers specifically to file verification that occurs, for example, after the prepress file (usually a PDF) has been created and is used to drive prepress processes, such as digital contract proofing, platesetting or digital printing. Distinguishing between preflight and postflight ensures that print buyers and their manufacturing parters are clear about when in the workflow quality control should take place.

Markzware, for example offers several tools including our flagship FlightCheck application, that will both preflight native application files and postflight PDF files.

Why do we need to verify digital files at more than one point n the workflow? Some may argue this is a redundancy that digital production and CTP was supposed to alleviate. Similarly, many print buyers and production professionals say, "Why do I need to preflight? I just send my digital files over to the printer. They're going to check them there anyway."

Point noted, but we mustn't minimize the impact to deadlines and the bottom line if a printer receives a problematic file. consider this analogy: When traveling by plane, particularly these days, each passenger expects to wait in long queues at the single security checkpoint that stands between the terminal and the gate. If there were several smaller checkpoints along the path to boarding the plane, long lines could be minimized or eliminated.

While no two digital workflows are alike, there are some commonalities, and to illustrate my point, let's take a look at a typical print buyer/printer relationship.

At the customer's site, you may have an art director who is pulling elements from a variety of sources (images, logos, copy, etc.) and compiling them into a QuarkXPress or InDesign document. Once the creative forces and others have approved the final page, that native application file is then destined for the printer (presumably, not hopefully, along with a digital proof that represents that file).

At the printer, the file is then manipulated -- and sometimes altered n any number of ways. The printer may apply things like trapping, make textual changes to the document on the customer's behalf or RIP the file to a PF or whatever type of file format they need to drive their own proofing and platesetting processes.

If that original native application file the print buyer sent to the printer is flawless -- if all the elements are in lace, fonts are embedded, graphics are all CMYK and resolution is high -- this workflow should be relatively seamless, and the file will move through each of the stages without setbacks.

That's the ideal. Now, let's look at the real world. In the past few years, printers have noted that their customers are certainly becoming more adept at preparing digital files, but still some report that more than 80percent of the digital files (including both native application and PDF files) they receive from customers are flawed in some way. IF you think about it, that's an extraordinary percentage of bad files being passed around - poorly prepared files that cost the print buyers both time and money to remedy.

While PDF has been lauded as the print industry savior, remember this: If flaws are resident are in the native application, they will remain in the pF, as well. Simply taking your native application to a PDF does not ensure that these problems will be remedied.

So, yes, most printers will happily accept your digital files -- good, bad or otherwise -- and they'll happily run it through preflight, make fixes and changes, convert it, postflight the new file and send it on its merry way to the platesetter or digital press. But, remember, there's a cost for this. Not only are you paying the printer to find and fix these errors, there is the potential cost of missed press schedules and distribution deadlines. It's really a no brainer: Send your printer a bad file, and accept the costs and risks of doing so.

Quality control mustn't be a print buyer's afterthought. Preflight and postflight technologies are readily available, inexpensive to buy and easy to apply to the creative and in-house production workflow. Why take the risk?

I would have suggested an awesome name like "Muck," but it's already taken.

I just found out about the CTP last week, when I accepted their/our friend request. I had to, seeing as how I'm apparently in the group. I left myself a comment, and later got the full story from co-founder (and Sweet Action Radio host) Nick... in a nutshell, CTP seems to encompass whatever random oddmusic made between our respective broadcasts, as well as some 4-track noodling going on in some Carbondale basement.

Did I mention we have a video?

Tom made this one during the ill-fated broadcast of March 8, 2008. I was supposed to have a live guest, but he didn't arrive, so I was stuck with a studio full of ears on a gradient from fan to foe. Getting folks to come see a live set at 4 AM is no easy feat-- and it really hurts the future chances of being able to do so when the musician in question fails to show up!

Naturally, I was pissed. Partly, I was upset because I had no control over the situation, and partly because I was letting so many listeners down. I decided to channel my feelings into something a bit more constructive than pacing, and whipped out a rather bold sound mix using whatever I had, and whatever sounded right at the time.

Tom, a local treasure for his ceaseless work documenting musicians and artists on video, had been well-prepared to do the same for our AWOL musician. In the end, he captured the vast majority of the morning on video... at the time, I couldn't imagine anything worthwhile coming out of these hours of footage, but I was mistaken. Enjoy this-- and be sure to leave Tom a comment, too!

ESTE ES ELIAS GRIJALVA, UN INMORAL DIRIGENTE SINDICAL.
SU TRABAJO: "DEFENDER AL GOBIERNO ALANISTA"... esas son sus propias palabras...VEA LOS VIDEOS.

La paralización convocada por la Confederación General de Trabajadores del Perú (CGTP) recibiría el financiamiento del exterior, afirmó el secretario general de la Confederación de Trabajadores del Perú (CTP), Elías Grijalva.
“Prueba de ello es que su secretario general, Mario Huamán, forma parte de la directiva del Congreso Boliviariano de los Pueblos – Capítulo Perú, auspiciado por un gobierno extranjero. Y eso es una injerencia inaceptable en nuestro país”, afirmó.
Sostuvo que esa financiación es evidente porque Huamán, principal impulsor del anunciado paro del 9 de julio, viaja constantemente a Caracas, donde sostiene reuniones con instituciones vinculadas al Poder Ejecutivo de Venezuela.
Incluso mostró el récord migratorio del presidente de la CGTP, que registra diversos viajes a la nación venezolana desde el año 2005 a la fecha.
“Además, en el reciente encuentro de gremios laborales en la ciudad de Ginebra, los representantes de la Confederación de Trabajadores de Venezuela nos informaron que Huamán forma parte del llamado proyecto bolivariano”, refirió.
Por ello, el dirigente de la CTP manifestó que ese tipo de conexiones de tipo político invalida cualquier reclamo de carácter laboral o sectorial que impulse esa centra sindical.
Del mismo modo, indicó que la paralización de la CGTP responde a intereses políticos porque son respaldados por agrupaciones como el Partido Comunista, el Partido Socialista y el partido Patria Roja.
Ante ello, Grijalva anunció que los afiliados a la CTP se reunirán mañana lunes para definir la fecha de una movilización de respaldo a la democracia, a la institucionalidad, la vigencia del estado de derecho, y el desarrollo económico.
“Pero no se trata de una contramarcha a la CGTP. Es una movilización pacífica de respaldo a la democracia y de ninguna manera lo haremos el mismo día que ellos anuncian su paro. Así demostramos nuestra vocación democrática y pacífica”, acotó.

Fuente: Peru.com
30 de junio del 2008

Este es ELIAS GRIJALVA atacando a la embajada del Gobierno venezolano en Lima. En su discurso hace un llamado a la "INSURECCIÓN" al PUEBLO LLANERO... ¿QUIÉN LO MONITOREA?...LA RESPUESTA "BROTA POR SI SOLA".

El secretario de la CTP, Elías Grijalva afirmó  que el dirigente de la CGTP, Mario Huamán demostrará una vocación violentista y falta de voluntad de diálogo si falta al encuentro propiciado por la Presidencia del Consejo de Ministros (PCM) para solucionar los problemas laborales del país, afirmó, secretario general de la Confederación de Trabajadores del Perú (CTP).
“A lo largo de estos días, la CGTP ha demostrado poca voluntad de diálogo. Mario Huamán está más interesado en promover su paro nacional que en establecer diálogo con el Gobierno. Si falta mañana a la cita con la PCM, sólo demostrará su vocación violentista”, dijo.
El representante sindical sostuvo que el titular de la PCM, Jorge del Castillo, siempre se encuentra dispuesto al diálogo, y como prueba de ello, mencionó que la citación fue hecha a todas las centrales sindicales del país para abordar temas laborales.
Sin embargo, lamentó que la CGTP ponga una serie de obstáculos y pretextos para no acudir a la cita de mañana y demuestra su reticencia a establecer mecanismos de diálogo.
“Los gremios sindicales defendemos el derecho de los trabajadores y para ello buscamos soluciones viables. Al parecer la CGTP no comparte esa vocación porque primero dijo que no la invitaron, pero ya tuvieron la invitación, y ahora dicen que quieren reunirse con el Presidente Alan García. Eso ya es un capricho”, comentó.
Grijalva también consideró que Mario Huamán tiene mayor interés político en promover un paro nacional el próximo 9 de julio porque la medida de fuerza cuenta con el respaldo de grupos políticos que carecen de convocatoria popular.
En todo caso, mencionó que las centrales sindicales tienen mayor interés en solucionar los problemas laborales, y mencionó entre ellas a la CTP, la Central Autónoma de Trabajadores del Perú, la Confederación Nacional Sindical, y la Central Única de Trabajadores.
Además, anunció que el lunes 30 definirán la fecha de una marcha de respaldo a la democracia y la gobernabilidad, frente a actos de protesta que pretende impulsar Mario Huamán utilizando a la CGTP.

Fuente: La República
26 de junio del 2008

Mie personal îmi plac enorm cei doi. Fiecare în parte nu mă dă pe spate decisiv. Dar împreună, apostolatul proletar al lui CTP şi patricianismul exersat al lui Hurezeanu mi se par a deveni o combinaţie excelentă.

Via Monitoring Media.