Tamazepam How Long Does It Take

Item no 1 - Stunts from the center of the over

I

Downtown, the needle of the compass, is a scacchiera in centro, su un tavolino, schiacciato tra la pancia di un barbuto ubriaco e il mento di un ragliante avversario. I tocchetti verticali di legno a differenti colori alternati - come nel piano pure s'alternano - hanno mosse obbligate, con regole. Si può andare in avanti e indietro, a volte in diagonale a volte no, altre indietro non si può tornare, e soprattutto si mangia, mentre si beve, e si uccide. Hanno mosse obbligate i pedoni, fatte guardando la scacchiera, regole del pavimento, fanno passi seguendo le forme del suolo, proprio come certi giochi mentali fatti al mattino, di mattone in mattone, sul marciapiede. Regole del pedone legnoso i quadri, regole del pedone umano le strisce, i segnali, le scritte.

Misurando step with the culture from one neighborhood to another the rules of the road they decide where and how your foot rests.

II

Almost like do not move from room to penetrate to the core, to enjoy the sense of this city.

And never thought it would see "the rest" those who were not motivated by the vital reasons: spaces, employment, poverty.

III

The son can also try to clear voice, shouting his name from the balcony.

And you can stay in the square white and slow to think about things slow and white and to speak in a broken voice and intrusive.

Or the sheriff in broad daylight.

IV

Humanity clotted seeking order.

shelters were erected in classes.

And as the center of civilization melts and drips into the margin, becoming thin, meeting the bestiality of natural things, and with these funds.

V

A spot that expands and sterilizes the soil teeming with life, buried under the chemistry and the right, under a new order. A substitution, the old dynamics redone, old habits change of name, to feed always the same demands of life that drag from the beginning.

VI

Yet you can not go as you want, but dug in the streets between the houses.

Yet one can not sink into the walls, past the houses, when you want to cross.

Whenever a choice is made choices between things, you already think. A choice made between the choices of others who frequently move among the choices. Here

moves up in the solid form of reason and the possibility of this bounded.

VII

Le case, i pensieri solidi urbani, i ragionamenti irrigiditi verso il cielo che in città ha le stesse forme delle strade.

Le case che pensavo solo irremovibili, che pensavo messe solo a guardia delle strade. E invece l'ho visto portarla tutta sul carrello del supermercato, un altro trascinarla su un minuscolo carretto di legno a due rotelle.

E poi tutti i luoghi tralasciati.

Non sempre so a quale dove gli altri affidano la stanchezza, cos'è a custode del loro riposo, dov'è il rifugio della loro intimità riscaldata dagli amici o dai cari, o in che luogo concepiscono i loro figli.

VIII

The parallel, that is where everything else is from the urban lives his life. The places where the gestures made in the city have a real consideration, as a consequence, an end and bring it to fruition.

places where the hand moves, mouth chewing, which covers the foot, they find a significant effect, a mirror.

The places where we gather complete, where everything that is not elected to participate in rallies, leaving the impression that when civilization has passed.

sewers, landfills, cemeteries, beyond a civilized society.

Photo: Roberto Cosenza, PRGC , 2007

How Many Calories In Stirfy

Editorial No 1 - The space of human

Stress and well-being are among the words at the center of attention in recent times. Increasingly, recent studies, the most diverse team, go to identify the environment as the principle of many phenomena. The "movements" of the person, his psychic events, physical, his or her health disorders are increasingly traced back to space as a cause: the "wise men" speak of the mysterious lowering of immune defenses, neurosis, weaknesses, but also regeneration phenomena due, apparently, environment in which we are immersed. But it is not difficult to imagine: without the space there would be no events, there would be no physical conditions that contribute to whatever happens and this important environment is the fact that the man seems to be a highly sensitive receptor: stores, reworks, reacts, not least unconsciously. The space in direct contact with the individual, ultimately, seems to be the place where everything has a beginning, the primordial impulse of any event that becomes human reaction accordingly.

For many of us the space has become essential precondition of any action. So, let's look for the ritual place can accommodate our actions, to celebrate our events, the place to be able to develop our goal: to think, study, relax, run, talk, drink and so on. At other times, this search was remote in time and then there are places ESTABLISHED: waiting rooms, factories and offices, railway stations. Places that we take for granted, places that are offered as standard to set some specific events, places that other people care for us. The spaces are divided into genres, categories, as well as our actions. Everything has its place: it would not like to talk about Qohelet, but there is a place to be born and a place to die (perhaps a department), a place to work and a place to rest, un posto per leggere e un posto per raccontare, o uno stesso posto per partire e per arrivare, un luogo dove stanno le cose vive e un luogo dove restano le cose morte eccetera.

Il luogo dove la nostra civiltà per gran parte si raggruppa sappiamo essere la città, con un serie di altri luoghi intermedi sicuramente marginali rispetto a questa, ma non meno importanti, come le vie di comunicazione o di commercio. Questo è uno scenario che in ogni parte del mondo ha richiesto tempo per formarsi. Sicuramente il divenire protagonista della città segna il principio dell'epoca moderna, assieme ad altre invenzioni che sono la pura conseguenza della convivenza di una moltitudine, come la stampa: esigenze di massa.

Ma come è could this happen? Not wanting to talk about history we can only imagine the process will certainly mental human beings, just like other forms of life, roamed the natural scenery found themselves living. Nature provides weather and weather provide shelter, these most probably be naked - they say - certainly bare of a dwelling, must have occupied the "cracks" of the earth and nature that gave them protection. Then the imitation can have space? Sure, just being able to find a container that encloses it. In the next step becomes a simple air area, which includes the oppression of the space by physical boundaries. Such as walls. A process almost certainly imitative - already in the idea - of nature. It is therefore natural to imagine the city as opposed to nature, or indeed civilization as opposed to nature: a report of the competition, antagonism. However, two places that are not always clearly separated, in many parts of the globe come together. Each of these has its own composition, logic, balance, dynamic pyramid - the hierarchy of life. Then we could still imagine the man as a son who seeks his own way outside of their family. This is the logic that we can imagine with the material available so far, the material that makes us think of the city as much from nature, where everything is different: we are led think for example that in nature a seed fallen to the ground can sprout in the city are not, nature is the fruit trees in the city is the fruit sellers, but it all ends here? The contrast is so clear? It is the only possible realities? On architecture has shown that the scenario may be different and that the two worlds come together only "inevitably" but they can be designed in a poetic and fruitful coexistence, see Emilio Ambasz.

As to space, matter, it is impossible to complete a speech on his logic, especially in relationship to time and then with his historicizing: space is made of matter and we do not know it at all its subcomponents, many of us imagine that there are entities in the air that we see, we have no knowledge of the dimensions of space as a universe in which we find ourselves well. The only way to be more confident in speaking is to speak of the places linked to our lives: places like experience.

Photo: Sara Buselli, Architecture, 2008

Nine Snooker Balls Problem

surfant EXHIBITION 25 September to 25 November 2009

On September 25, 2009 at the opening of collective art galleries in Turin associated with TAG, Art Galleries of AV Artevision Foundation will inaugurate the exhibition "surfant.

The exhibition is the result of the union of purpose, the Foundation and Art Gallery Artevision Lorenzo Alessandri, celebrate artistic excellence in one of Piedmont, as the group surfant, and to communicate the value to the general public Italian.

in 2010 will be the anniversary of 10 years after the death of two of the leaders of this movement, Lorenzo Alessandri, Mario Molina and this exhibition is intended to be, among other things, a moment of celebration.
The exhibition aims to document an important aspect of modern art, also notable for the breadth and for the participation of artists and for originality of themes, and is also an historical reflection on the cultural path of a city-faceted and eclectic such as Turin, open to multiple experiences.
In the 60s it developed the artistic movement in Turin "surfant" (in principle stands for Surrealism and FANTASY and as a result of the Subconscious Royal fantastic art), which involves artists like Habakkuk, Camerini, Lorenzo Alessandri, Colombotto Red Macciotta, Molinari and Ponte Corvo and thinkers such as Marianini, Ambesi and Kolosimo. The birth of the magazine of the same name to the group allowed the publication of the writings and, most importantly, the graphic works of the artists involved. In this period also organizes exhibitions of artists of the group in Europe and the United States as evidence of a greater openness to the experience surreal and fantastic European artists with Dutch, French and Eastern Europe. In the statement

"surfant", held at the facilities AV Art Galleries Via Santa Giulia 14 in Turin, will present works of great value Lorenzo Alessandri, Mario Molinari, Colombotto Red, Habakkuk, Lamberto Camerini, Giovanni and Raffaele Macciotta Pontecorvo.
In detail:
12 works by Lorenzo Alessandri
5 works of Habakkuk
5 tapestries Colombotto Red
8 works by Lamberto Camerini
5 sculptures of Mario Molinari
2 works of John Macciotta
two works by Raphael Pontecorvo

Large Alvin And The Chipmunks Plush Ebay

Allow at sea

Many debates and appeals have defended the importance and the role of blogs in democracy. The importance of the blog is real, everyone should be free to say it to circulate ideas. Anyone using a blog can be found to truly participate in the contemporary forms of democracy. But the number of existing blogs is creating an overlapping effect of the information. A transposition

mirror the shape of the word real to the virtual in terms of numbers these invokes the effect of crowd chatter. Of course you can still navigate. What I listed is not able to undermine the fundamental role of blogs in a democracy, which could be (and perhaps is already happening) revolutionary prorpio mean in political terms. If in fact a major contribution to the French Revolution arrived Leaflets and often spontaneous as "L'ami du peuple" by Marat, a contribution today can change from one means even more accessible as the blog. Print during the French Revolution was one thing for a few as you can imagine, but today it is still difficult. In light of these aspects, the democratic value of the blog can be measured in purely economic terms. If in fact the freedom in capitalist society is measured by a money freedom = 1, in the sense of accessibility to resources and services (eg education or health, but this also applies to ideas, I repeat: who can afford to do a newspaper?), the blog with the cost distorts these rules (and this is a threat to the power). Among
dead zones, abandoned spaces, views date, the network is overcrowded. What is the point to start a blog? Need to write, but also serves to what I just described. What leads a person to open a blog? Surely the desire to mostrasi, the dream of being followed and therefore to be considered valuable, and the need to participate, but also set goals and informative debate.
For the second time I try to open a personal space.
From about 22:00 last night I sat at the computer, I got up to go to bed around 24.00, after searching in vain for a title for my blog. I had some idea, I put a few words in sequence, and of course included in Google to verify the originality I have seen that almost all sequences of words have been used. Out of a hundred (I think) included in the search, three if I'm wrong are never used. The sequences of course I will keep secret, know how precious and rare, until they be consumed in the sieges of those who surf the web and filled with words. However, what I found funny and I can tell, it's like in this game of research, I deliberately sbizarrito finding really hard to displace the virtual world: sequences as "mechanical fog", "fish fog", "apple jumping" lead a dignified existence on its website.
All day today I kept thinking. I just wanted to create a collection of writings that their inspiration from deriving a world where most of the time step. There are other things that are called "urban anthology," those who have used this sequence will forgive them if I had the same idea. Maybe the web is also used to discover that men move in a compound of choices, or Duen people may think the same thing in two distant parts of the world. Maybe. It 's definitely so for another space, blog, opened by an Argentinean woman named Silvana, always called "urban anthology" ( link). Returning to
sense today, returning from work in reviewing the usual train is Florence - Porta al Prato Seraglio, I discussed with my friend painter Ilaria Buselli sull'effettivo senso di un blog. L'unica conclusione ragionevole è che "è come pisciare nel mare".

Foto: Sara Buselli, Cry , 2008