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The hate in me seminasti

seminasti The hate in me, opens today and is paying off.

bitterness I feel new, a subtle hint persistent

black as tar. It is on the eyelids, is growing.

only now I see what I saw before: you have opened more eyes.

Step by step and I feel the time lost m'appesantisco

burden on the lungs. As I did suffer, today your

Smile is the color of iron - but they are no longer a magnet.

iron are more ready to cut.

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The Venice lagoon is the largest example of a coastal lagoon in the High Tues Adriatic, with a length of about 50 km and a width between 10 and 11 km of the basin shape is reminiscent of clove orange up with the convexity facing northwest.

The lagoon is between the mouths of historical Piave and Adige in the north-east to south-west, more precisely between the current mouth of the Sile and the Brenta-Bacchiglione.

Its surface is about 549 km (or about 50 000 hectares), 67 percent of which consists of lakes, 25 percent to 8 percent salt marshes and islands. The 15 per cent of the total is curbed by fishing ponds, around 24, with a total area of \u200b\u200b9 km. The depth of the ponds varies from a few centimeters inside the marshes a few tens of meters at the ports and shipping channels.

The breadth of the entire drainage basin, as stressed by the administrative boundaries of two provinces, that of Padua and Venice, is of 1840 sq. km. Thirteen municipalities whose territories are partially included in or form part of the lagoon of the gutter: Chioggia, Cavan, Cona, Codevigo, Corezzola, Mira, Campagna Lupia, Quarto d'Altino, Musile di Piave, Eraclea, Jesolo, Cavallino-Treporti, Venice. The water hydraulic

agricultural hinterland is extended to 202 000 hectares and draining into the lagoon through twenty points of entry of fresh water.

recovery of dynamic balance between the various activities on site and the lagoon's ecosystem requires a legislative project aimed to reaffirm regional biodiversity and environmental protection, recovering the symbiosis human activity, and to promote environmental education and scientific research, cultural and economic development of the local resident populations.

lagoon environments are constantly changing areas should be monitored constantly to prevent decay and collapse of the ecosystem. The variability of environmental parameters is a crucial aspect of ecology and the lagoon is higher the stronger are the characteristics of the lagoon site.

The salinity of the sea change from the more inland areas that at the inlets, becoming more or less depending on the seawater evaporation phenomena prevail or providing fresh water.

This environmental variability is, however, follow a regular distribution of the basis of which overlap models more complex such as embroidery to the plot and the Horde. The backbone of the lagoon environment is basically the result of sea rhythmically penetrating into a basin wide and shallow.

The replacement of water has profound biological implications as it allows oxygenation, transport of nutrients and waste products, as well as the size of the lower forms of living beings - such as plankton - the different areas of the lagoon and between these and the sea. For each tidal cycle the higher areas remain submerged for less than the slums.

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Venice and a "unique case" - worldwide - of coastal tidal wetlands (lagoon) and Artificial intensely populated in boundaries, to the point that, technically, in Strictly speaking, it is no longer a true "lagoon", but a lagoon "crystallized" (Brambati, 1995) or consolidated or stopped in such form as the Venetian, with its sensible "global governance" of all natural and cultural factors throughout the centuries has given the market away from voluntarily and consciously to the natural dynamics that characterize these structures "mobile" alluvionli between low plains and sea, that have a very short duration from geological point of view (on the order of a few thousand years).
perfectly aware of this dynamic endemic, the Venetian Republic - for political reasons of physical construction and protection of the "Supreme Good" (the lagoon area) (Bevilacqua, 1995) and survival and military defense of the state - has defined and consolidated boundaries of the Laguna (fringed, marked by monumental 100 stones) with a system of dikes, both to the mainland, and towards the sea (Murazzi).
These levees that surround and protect the settlements that form the island city-city of Venice, are permeable, however - in a controlled way - to the waters from the mainland for run-off (Sile and Brenta the most important) and water from the sea (through the three inlets ") for the cyclical pattern of the tides.
The overall result of this wonderful process, briefly mentioned, is the area most extraordinary in the world, the result of keen intelligence, preservation of natural dynamics and control and management of cultural dynamics, explanation of a legendary ability to balance, wisdom and a sense of "beauty" that no accident has created a legacy of absolute value, a 'work of art "that the World is appreciated.
Accordingly, the assets represented by the Venice Lagoon is involved both in the natural profile, which from a cultural standpoint, both of extraordinary importance. In terms of natural

The Venice lagoon is the largest example of a coastal lagoon in the Upper Adriatic Sea, with a length of about 50 km and a width between 10 and 11 km of the form basin is reminiscent of clove orange up with the convexity facing northwest.
The lagoon is between the mouths of historical Piave and Adige in the north-east to south-west, more precisely between the current mouth of the Sile and the Brenta-Bacchiglione.
Its surface is about 549 km (or about 50 000 hectares), 67 percent of which consists of lakes, 25 percent from salt marshes and 8 percent from the islands. The 15 per cent of the total is curbed by fishing ponds, around 24, with a total area of \u200b\u200b9 km. The depth of the ponds varies from a few centimeters inside the marshes a few tens of meters at the ports and shipping channels.
The amplitude of the entire drainage basin, as stressed by the administrative boundaries of two provinces, that of Padua and Venice, is of 1840 sq. km. Thirteen municipalities whose territories are included in part of the lagoon or form part of the gutter: Chioggia, Cavan, Cona, Codevigo, Corezzola, Mira, Campagna Lupia, Quarto d'Altino, Musile di Piave, Eraclea, Jesolo, Horse-Treporti, Venice. The water hydraulic
agricultural hinterland is extended to 202 000 hectares and draining into the lagoon through twenty points of entry of fresh water.
recovery of dynamic balance between the various activities on site and the lagoon's ecosystem requires a legislative project aimed to reaffirm regional biodiversity and environmental protection, recovering the symbiosis human activity, and to promote environmental education and research scientific, cultural and economic development of the local resident populations.
lagoon environments are constantly changing areas should be monitored constantly to prevent decay and collapse of the ecosystem. The variability of environmental parameters is a crucial aspect of ecology and the lagoon is higher the stronger are the characteristics of the lagoon site.
The salinity of the sea change from the more inland areas that at the inlets, becoming more or less depending on the seawater evaporation phenomena prevail or providing fresh water.
This environmental variability is, however, follow a regular distribution of the basis of which overlap more complex patterns such as embroidery to the plot and the Horde. The backbone of the lagoon environment is basically the result of the sea rhythmically penetrating into a large, shallow basin.
The replacement of the water has profound implications in biological as it allows oxygenation, transport of nutrients and waste products, and the form of lower dimension of living beings - such as plankton - the different areas of the lagoon and between them and the sea. For each tidal cycle the higher areas remain submerged for less than the slums. From the cultural point of view

The management of its balance with the age-old culture and human activity and the study and interpretation of how to design and management of land-water ratio in each island, between the island and island and throughout the whole lagoon and lagoon pool, activities and land use, agriculture, fisheries, industry, etc., facilities and infrastructure, settlements and the design of a sustainable tourism consistent and therefore, so are the central reference for the establishment of the Eco Venice lagoon.
In the Venice Lagoon and in the territories of the eaves, the result of a characteristic and dynamic culture of balance, "the eco-museum will encourage, through careful and flexible interpretation of the specific production traits, and environmental settlements, the right balance of different components, in an area that complements the high value nature with human values, historical and artistic even unique and unrepeatable.
As you know also the problem of excessive tourist use depends Venice Marciano one-way flows on the system and the old town. The eco-museum, on the contrary, should support and manage the relocation and redistribution of the flow, with the objective of structuring a sustainable and responsible tourism.
The eco-museum of the Venetian lagoon must be articulated in a comprehensive system of ground stations and routes, which have as a flying museum, from which the different routes towards the lagoon.
ecomuseum users will be tourists and residents who want to understand and experience the lagoon in a new and direct. The museum of the lagoon will provide the public with non-professionals, particularly young people, opportunities to meet with science and technology applied to lagoon through an approach that emphasizes the appropriation of the scientific method, encourages social participation choices of civilization, implying - as always - the massive introduction of technology, promote the multidisciplinary nature of disciplines and introduces the social dimension as a cross collection.
The eco-museum of the lagoon will encourage interactivity by exposure to experiences rather than inert objects, the evocation of emotions, as well as knowledge, the developmental dimension of scientific and technological knowledge and their local contextualisation, both historical and social emphasis on collaboration among visitors to the realization and development of the experiences presented.
The ability to virtually walk the area and enhance our knowledge of practicability allows a more conscious and responsible, careful to balance environmental and cultural.
The extraordinary thing about Venice and its lagoon due to the wisdom of an ancient intelligent and unified government, which - over the centuries, in a relentless dialectic between research, science and politics - has created, built, maintained and protected space, and lagoon urban society and economy that it has expressed, is graphically summarized in the following passage, which is transcribed: "The city's wealth was based on rapid movement of money, and institutions public favored this movement by introducing the goods into the securities of minors (safeguards and skills), private property and personnel tended constantly to make way for a managed property in common, and similarly the merchant alternative investments in a number of associates and raise the capital by several parts, and so the houses of Crete as the ships were operated by partecipes, by Carat, or the galleys of all trips, which were ad unum denarium, and the company was dissolved at the end of the journey, so that each resumed its shares and received at the end what he deserved. You will not find many similar examples of solidarity between European nobles in the Middle Ages, and I wonder whether we should seek permanent and relentless in the fight against water on the ground that led him to develop a company by the common interests so active, durable, and equipped with special facilities, created by the factions were founded to exploit the lagoons with large collective work of reclamation. The idea would be explored "(Jean-Claude Hocquet, Money, ships and merchants in Venice from 1200 to 1600, the Greyhound Editrice, Rome 1999, p. 329)
This evidences a deep and passionate student of Venice, which has distilled from his studies as an acute structural interpretation of the "case" Venice and the "principles" that took place - such as the institutional system which will actually govern the economy, society and territory, the common forms of management of private property, the forms of solidarity to deal with the precarious environmental, economic and political movement and utilization of assets at all levels, the ability to draw strength tempered by the difficulties in "continuous and relentless struggle against the 'water' (fresh and salt) made to the invention and construction of soil and the City - Finally, to underscore the strategic importance of providing the Venice Lagoon of an instrument, such as the Eco-museum, able to reconnect with its tradition more genuine and to address the recognition and appreciation of the ways of being in the lagoon and its territory, understood in the broadest sense (nature, culture, history, development).

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Node, which I linked

[For any sort of clarification on the draft general reference to the primitive outline of the scheme as I wrote more than three months ago and his most recent and complete presentation. As
repeated, are about to read a trace theory, no claim to completeness. If find it too complex, skip.]

On the one hand, the distinction of the person authoring the club, to establish and capture a lone voice, independent of any outside influence. On the other dialogue with tradition, each time historically determined, acting on the work already completed in the individual artist, as long as his voice is not annihilated. These are the first two figures that we have identified the rational analysis of the artistic process.

However, at least for the analysis of causation of the art, it lacks a crucial step *.

[* The artistic process can be divided into two distinct phases, which are intertwined and mutually reinforcing: the causation of art - that is the cause of the birth of the artist and his work - and the purpose of art, but better not to anticipate anything, not mixed up the idea. ]

The artist can not remain isolated in itself. Like every human being from birth and live with others in a social network that you can not help but escape, as it can be narrow and paralyzing *.

[* There is therefore a biological reason for the social life of human beings, explained by evolutionary biology and anthropology; reason so strong in us it can not be reflected in the faculty of Art - the most distinctly human of all our faculties - that pushes the individual to (re) ask the club of his works.]

We have already said, with an obscure formula guilty , that "no isolated genius." This is true not only in composition, or, so to speak, theme - art (as art is renewed from its ashes, and is nurtured with his own life) but also and more simply at the social level.

In other words, the artist to be recognized as such needs to draw closer to the society from which at first it was posted. The I remains tied, so to speak, to its environment of origin, with whom he can never do without dialogue, perhaps in an unconscious way.

node that encompasses the artist and society is a node that constitutes the very concept of "art" *.

[* The artistic process, which arises from the individual, it would become sterile if unaware of another dialogue, the one with the company, which redefines the relationship of unity with other, the artist can try to reintegrate or refuse to do so: in any case its dialogue with the other choices.]

It makes so manifest another curious property of the artistic phenomenon, its not really be caused by a single artist authoring, but rather a "supra-party " formed by the individual (the motor), by viewers or users of the work (the recipients) and the time period employed in the recognition of art *.

[* What at first glance it seems an oddity, not really a formula that is dictated by common sense and everyday experience. We have so far spoken of " artistic phenomenon" precisely because, like all phenomena, it is temporary and requires an agent and an object. The artistic experience is not immortal, or eternal: depends on the viewer's enjoyment. Without it, the art does not exist. The artistic phenomenon may last less than two months, or even in the case of modern installation, only a few minutes. The variable "time" greatly influences the whole process, but it is not necessary that the two moments of creation and reception are contemporaries.]

Art is two-faced : born of pure individuality while at the same time depends a community. The dialogue with civil society can be accomplished in the art of it.

To understand the importance of a return to former club, or that group of people who are willing to talk with the artist's work, just think what would happen if the individual does not propose its work in the community.

The problem of the division between art and non-art, then, would not arise either, because there would be nothing to analyze: the work, outside of the public, does not exist. Are there any materials, works of art potential, but the quality would remain latent and unknown art alive.

Only when the public spoke on the work to life, triggering the process of recognition that the updates, one can speak of a conclusion of the artistic process.

Dall ' I posted in search of biographical individuality as well as social, you move to a I dialoguing with the Customs, in conflictual relationship with the past, and finally, the 'I tied will be forced to recognize the impossibility a final separation from the Other, as is the whole supra-authoring - Receiver to establish the work of art in progress.

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The Dialogue was the era of Customs, or the ego dialoguing

[For any sort of clarification on the draft general reference to the primitive outline of the scheme as I wrote more than three months ago and his most recent and complete presentation. As repeated, are about to read a trace theory, no claim to completeness. If you find it too complex, skip.]

We analyzed the process by which the subject is separated momentarily from his former club for the creation (which is perhaps the first real artistic creation of the single ) of an individual voice, or how, through that stage that we called the principle of distinction, the subject is separated from its collective ego to found a biographical necessary - but insufficient - the creative phase *.

[* From now on, when you used the term company, will be broadly construed, not as individuals outside of universality of the subject as authoring or just "human society enlarged, but rather as Gemeinde as small communities of origin, linked to individual and unique biography of every individual, if you prefer, and if it was not terribly inflated, you could use the term and call Social JA Barnes network, or a determined by such social network and other reports.]

The Ego, now detached and fully formed in itself, is indeed able to speak with a voice of its own, but is not yet ready to return to society of origin, nor ripe for the creation of an artwork.

is then (re) establish a link with another company, the past and never passed the Customs *.

[* Imagine the Tradition, not as a library overflowing with books, yellowed, or as a dusty tunnel. Rather strive towards a more abstract view, although at first sight, forced, a bit 'like the atom, surrounded by an electron cloud - as it remains impossible to decide the position and the electron at a given moment - we have a individual and a "cloud traditions" could not be analyzed once and for all. The principle of Heisenberg remains valid even in non-scientific.]

Before any dialogue, is of paramount importance for the individual to seek comfort and play in a community other than the physical one (which has separated himself freely, and which still is not possible to return) and escape from complete isolation in itself (a threat to its existence ) is the metaphysical or spiritual community of Tradition where the subject is the first refuge *.

[* Of course, one can not speak of a unique tradition, the same in every time and everywhere, but a specific tradition, tied, a bit 'like the old club, the times and places, as well as to individual taste authoring. For example, the medieval tradition, in terms of authors and works (but not subjects) differs greatly from the eighteenth century, as is the tradition of Dante, differs from that of Cecco Angiolieri .]

Consulting tradition was born the first of the dialogues that led to the creation of art. Tradition becomes, at the same time and according to the different natures of the individual, field clash of culture and collection of artistic themes *.

[* This is made possible by the fact that the artistic themes are essentially permanent . The 'artistic' - using a neologism that encompasses all aspects of human emotions, from the sensitive to the aesthetic one - is probably still the oldest and deepest parts of the human brain, that is, those parts of the brain used to control of emotions and emotional memory. It is possible that many of these materials have remained unchanged since the beginning of human cultural history, as it were the same human emotions. This is evidenced by the fact that, since its first steps and in cultures very different and far apart, the art of human faces themes - death, love, god, suffering, beauty etc. - And stories that have many traits in common.]

Dialogue with Tradition, with its authors and the topics permanent offers the raw material on which the individual can begin to work, first driven by other voices in the interpretation of the world, then trying to interpret their world through their eyes and trying to refashion it according to his voice.

In other words, it's when the person authoring, through his work, unable to talk Tradition of himself and of his time, that can be said without fear of being wrong in front of a work of art.

is the ego that becomes dialoguing, penetrates the Tradition and is expressed in it - in this consists the necessary maturation of the artist, before returning to former club *.

[* How often do we hear today that a dialogue with a work of Tradition x y, and as easy to set combinations of personality with the personality of this story. You the filter of the past to assign a height.]

But to talk about the tradition with his own voice - or, even better, let us talk about the tradition - you can not be crushed.

The specific weight of historical works and authors may be impressive, and there is a chance that even the thought of a clash or a dialogue with tradition, muting the person authoring.

The individual may feel pain in front of his stature to the giants of the past (the famous the words of Bernard of Chartres the way) and the fear of a losing battle, the ridicule of his contemporaries or frustration at the height of unattainable ancestors, may cancel the creative force and force her to ' aphasia .

The danger is really to end up crushed by the weight of tradition. This requires knowledge about time, or even better, a 'traditional epoché .

To be able to create your own, or so the dialogue with the orchestra of Tradition will be resolved positively in the "victory" of the single item, the individual puts in brackets at the moment the past and decides to give prominence to his voice - or to forget a moment those who preceded him, leaving about and create your own *. I

[* There are writers obsessed with tradition, to the point that, often, for them it is no longer even to create new works, but to overcome the ancestors, or simply to criticize and refute as to reduce their size.]

To summarize, then, once you enter into dialogue with tradition, it comes to using their strengths to create a proactive conflict, which is to learn to dialogue with the past without falling nell'afasia.

If the Dialogue with Tradition manages to be channeled in the right way, staying in balance without the voice of the individual vanishes in it that it does not end up being completely forgotten , you have the birth of an artistic creation and theoretically mature favored from an earlier artistic periods and enriched by a considerable specific weight given to her by the tradition itself.

Through this dialogue, the work of art as a mature and acquired a portion of the total weight of historical tradition, which makes it grow and progress.

From this result two consequences that we are particularly concerned.

The first, rather obvious, is that it is isolated no genius. Do not exist and never existed authors are able to ignore the tradition and create something completely new in any field of art, now or ever.

The art is necessarily based on various dialogues, of which one is the one with the Tradition. Outside of it there is no art or artistic creation, the most provocative or aesthetics, but there remains some doubt over the last two *.

[* In science, there is evidence (see T. Kuhn, The Structure of Scientific Revolutions and IB Cohen , The revolution in science ) discovered that the so-called revolutionary, not born isolated from the genius of a single scientist in his laboratory closed, but result from the study of previous work and dialogue with contemporary assumptions about attempts failed and ongoing .]

The second, derives from the discourse on the permanence of themes, is a proposal that concerns the ' final abandonment of any kind of c lassification works of art. While the themes of art remain the same, through centuries of history without change of any sort - the art is not cumulative, for short - then it is equally true that governing classification of genres and styles.

makes no sense to classify or label (except perhaps for convenience and academic education, but even here, as above, there remains some doubt) in order to classify what is necessary to distinguish differences in categorical essential differences in art simply does not exist *.

[* There are different forms, it is true, and these forms are legally registered and approved, but you can not talk about different issues because the issues have remained unchanged over the past few millennia of human history, and you can not create a special category for such a long period. There are stories and different subjects, one might say, but on the other hand these are not due to a current or a genre. They are simply individual irreducibly tied to a single subject only and authoring, too specific to fit in categorical cobwebs. But of this later.]

started a dialogue with tradition, a process that will never cease for the entire life of the artist (you can now dare to call it that) and that will filter, so say, his own voice, it is now set up another, no less important and no less necessary than the first, the last phase of causation Art: Dialogue with the club, or dialogue with the Other.

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Venice, whose illustrious history has figured ne'principali its glories in these papers, appear here, personified by the imposing marble ¬ guilty sitting on rock, alluding to the eternity of its name, blanket bog, and the head of the city's crown of his former Doges. Holds with de ¬ strategic scepter, his left hand, the volume of his wise laws, which, in times gone, they were looking for foreigners to rule them. It is closed by the volume of am ¬ que in which was marked by the finger of God, his fall, but when tunque closed, the Serbian view of the wisdom which explained the world. Age of darkness and ignorance. She is not here as a servant before a superb queen, but as the queen fell into the hands of others by decree of Heaven, claiming sacred dignity with his misfortune, which is certainly not glo ¬ ria descend from the throne. And his dignity coming from its sacred character; compared, from the Great Pontiff S. Gregory, the Church of God, saying he's Venice: Habet singularem quandarn cohaerentiam to Rornanarn et Apostolicam Sanctam Ecclesiam. And this right: For if the ship of Peter Nauta Catholic Church, Marco is a disciple of Pie ¬ against and interpreter, and can identify itself, as to tell Pier Brissiense: Unus et idem spiritus fitit in Petro, Mark et ejus discipulo. ¬ The symbol of the Evangelist and then devoted patron of Venice, ch 'is the lion, sits to the left of her, looking at her, almost in the act of a spe ¬ comfort rare in heaven, from which she repeated more life and health. To the right of the venerable matron is the view of the wide open channel of S. Marco, from which the aims Sorgon factories that jeweled and that miracle of architecture, the Palazzo Ducale, envy of the stranger. Left calls for the Arsenal, conspicuous monument of glorious memories, and which brought forth hundreds and hundreds of fleet to subdue the enemies of Christ and there ¬ neto name. - The statement of nurses when laying motionless r boulder ser ¬ ve to the throne in Venice, his shield is the titled track, where it appears the arms of the kingdoms and provinces, on which day. and his noble scepter. It is lined base, this side of warlike weapons, and signs of civil honors, and therefore sacred furnishings and distinctive prelate, and this pertains to all disciplines and kind to the industrial arts and sciences, in which all faculty Venice was the mother. . It's because I meant to reference each of which have arms in ¬ tered in the large coat of arms of Venice, here we send them descrizione.Il the heraldic shield and great party into three sections, or lines, and divide it into as many transverse lines face, in such a way as to form sixteen points, or members, with six children and crowned shields arranged two by two along the lines notati.Il first shield in the center, or dominant everything is golden, and that is the sovereign Republic, occupied by the Lion of S. Marco, surmounted by a horn ducale.Il second shield on the right side of the face, top, is the realm of Morea. - Surmounted by a golden crown, bears a cross on a blue background while d 'oro, and is the current taken by the new king of GNO ¬ Grecia.II third failure to shield the upper side, belongs to the kingdom of Cyprus. It is he topped and quartered. The first point bears a silver cross of power, of gold, accompanied by four other similar crosses, while gold, for Jerusalem in the second point, wrapped silver and blue, with eight pieces of a loaded Ruby lion armed and crowned with gold for Cyprus in the third paragraph, gold vermeil with a lion, for the kingdom of Ar menia ¬: in the fourth, silver with a red lion, the house of '¬ Gnani Lusi, which he held until its extinction, the scepter. The fourth crowned shield below, on the right side of the face, it is the kingdom of Candia. - It is bright red, with a Minotaur armed with golden purple, his head blue, loaded in a 'black eagle, flying, pecking, and armed with gold, which holds in its claws a thunderbolt while gold; ¬ lusivo that to the labyrinth of Crete, and that Jupiter was born there, according to the fourth miti.Il even crowned shield, below the left side, and on the kingdom of Dalmatia and Albania. - Quadripartite has, in the first paragraph, or a member of vermilion, three lions' heads on, in gold for Dalmatia: the second checkered of sixteen points of silver and vermilion; for Croatia: the third of gold, with three rows of blacks horse for Rascia: the fourth, while gold, with a lion Ruby language and armed azure, for Albania. The fifth shield to the bottom of the face, surrounded by crown marquis, divided the kingdom, or of the marquis' Istria. - It's blue with a goat through the golden, topped with purple and limbs, an ancient sign of that province, as shown by several nummi.Li sixteen points or members then, the great shield are willing co ¬ me way.The first is body blue with the golden eagle, crowned, mem ¬ Brat caught with red, for the homeland del Friuli, which shield, and only if mo ¬ Stras by itself, is surmounted by a cap lined with skins Mellino ¬ er with a layer of skin that fashioned in the form ducale.II second silver with a red cross, is of Padua, he taught in that city, then plug in which s. Prosdocimo, her bishop, the light went Vangelo.Il third, silver, vermilion with a cross, accompanied by two stars in the head, the color itself is the weapon Trevigi.Il quarter, azure, with the Gold Cross set aside by two dragons, but not gold, divided Belluno.Il fifth, the right side, in blue with gold cross, is the sixth sign of Verona.Il, silver, with a lion azure, State and armed with vermilion, Brescia.Il to seventh, in blue with the silver cross for Vicenza.L 'eighth with vermilion, with a crenellated tower of silver, ¬ tion overcomes two torrioncini bent, also silver, with loopholes and glazed door in black, Feltre.II for ninth at the right hand, bipartite in the face, gold and vermilion to Bergamo. The tenth is divided, in the face, silver and crimson, for Crema.L 'eleventh, blue, with the ship Argonanti of gold for the Isle of Corfù.Il twelfth, blue, with a flower of white hyacinth, or 'ar ¬ people, the island of Zante.Il thirteenth, right, in blue, with green tip, ¬ tion from a tower surmounting a silver graduated, which tower above three small roc that ¬ battlements, of which the central than others, all born mad ¬, distinct black, for the city of Adria.Il fourteenth green, with a castle with two small towers of gold, surmounted by the lion of St. Mark, while gold, all separate or am ¬ Maton black, for the fifteenth Polèsine.Il, silver, with the crimson cross of St. George, the island of Cefalonia.Il sixteenth, and last, green, silver with a horse animal hair and nail black, and Ossero Cres.

Courtesy of: Gigio Zanon - http://www.venetonostro.it/

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SGARBI: NO TO SUBLAGUNARE! The killers of the lagoon

Sgarbi against all: "The sublagunare? Project indecent "
" I will take the minister Bondi a dossier on many new projects that disrupt this city and I'm really ugly. " Vittorio Sgarbi promises battle. Although, he says, his appointment by the superintendent has not yet been ratified by the Court of Auditors. "All right - he says - Court of Auditors? Do not even know what"
Alberto Vitucci

The sublagunare? "I do not know the details but I think a project indecent. The hall of residence in San Job? Horrible. In this city there are too many bad projects. We must do something. " Vittorio Sgarbi breaks the Ca 'd'Oro mezzogiorno.Deve shortly after inaugurating the new section of the museum devoted to sketches and models of Brustolon Andrea, born in Belluno, one of the greatest sculptors and wood carvers of the Venetian baroque. The occasion is decided by the pre-emption in the purchase of the Veneto region superintendent Anna Maria Spiazzi a 'modelletto "the big wooden paddle kept in the church of San Pietro in Belluno. Sixty million euro to get a work already in the auction. Settled in Venice to Belluno state museums because there are none. 'E' an exceptional work, "Sgarbi said," one of the masterpieces of Brustolon that has long operated in Venice. " The idea now is to bring the Ca 'd'Oro also sketches the four hours at the Academy (and first in Ca' Rezzonico) including a carved head of rare beauty. "Because the Ca 'd'Oro? because the site is suitable, there are already collections of objects rather than large paintings. " In shirt and the escort of Finznza, Sgarbi does not give the usual show. "But where are the journalists? The cameras, the photographers? Damage to all that space junk as new buildings of St. Job, and these little works of art. "Then she goes back on" bad projects that are invading the city. " It announces battle. "I will bring to the Minister Bondi a dossier on many new projects that disrupt this city and I'm really bad." So sublagunare, futuristic train link under water that are driving companies and part of policy. Tunnel under water and above all concrete platforms and stations in front of the skyline of New profoundly. A socio-economic balance upset by an infrastructure suited to the metropolis rather than the city of water. Two years ago Sgarbi had also fired at zero against the Calatrava bridge. Not bad, but put in the wrong place because "from Piazzale Roma you no longer see the Grand Canal and the dome of San Simeon." Then it was the turn of the new piers Actv of gardens and the Lido, too large and inappropriate measures of the city. Finally, the new building in St. Job of Ca 'Foscari "Horrible." A supervisor outside the box, that promotion battle. Although, he says, his appointment is not yet been ratified by the Court of Auditors. "All right. Court of Auditors? I do not know what it is, "smiles Sgarbi. After the holidays, he promises, will give battle.

(New - August 5, 2010)

Pokemon Soul Silver Desmume Patch

The principle of distinction, which I seconded the

" I'd like to write in honor of Man,

but I wish that men do not touch what I write ."

J. Keats

[For any sort of clarification on the draft general reference to primitive sketch of the scheme as I wrote more than five months ago and his most recent and complete presentation .

As repeated, are about to read a trace theory, no claim to completeness. If you find it too complex, skip.]

rational analysis of the creative process plays a major role more or less gradual the gap between the individual and authoring the society in which he lives.

The negative connotation of the term "distinction" must be kept almost entirely in our survey, the phenomenon of separation is often experienced in more traumatic by the subject, which, while freely choosing to separate themselves from society, it is somehow forced to inner necessity *.

[* Formulation paradoxical only in appearance as well as our actions are not directly reducible to the body, we can not be considered outside of it. In this case, individual choice is and will remain free, despite results from a need - perhaps - organic.]

They can not come to mind initiation rites that come with the same human civilization: to be accepted as a member of a company (or, more simply, a group that identifies itself as such) the individual was isolated and left alone to face the test described *.

[* cf. Levi-Strauss, and Propp ]

The analogy, which at first may seem confusing, but we need to understand a fundamental difference.

In contrast to the initiation rite, established by the community and explicitly supported by the individual in order to be accepted and find a place within their own autonomous society of origin (that is, to integrate, to become one with the group and avoid loneliness), in the case of the artistic process, the end is the opposite.

is the individual who chooses freely to break away from former club to find its own subjective dimension. Expulsion is the precondition for the creation (or, more often, for restoration) of their own identity, which was in danger of being lost *.

[* Exemplifying: the poet does not write to be accepted by society. Its not an effort at rapprochement (see the quotation initial Keats and the examples are too numerous to be collected here), on the contrary, he writes to make a difference and attack the company, seeking a separate item.]

The emphasis must be placed on freedom inherent in this process. We're not talking about medieval cloisters or forced confinement, or the process is consumed in mountain hermitages or in the middle of a desert hermits. No, the removal from society is certainly figuratively, metaphorically ("I'm not like them ).

A suffocating socialization does not grant the individual the opportunity to cultivate, or if you prefer to create an fulfilling its social dimension and recognized. In addition to 'I
Social , man feels the need for a Individual I .

The crisis follows from the lack of a place in society, and rejection of it, may result in aversion and detachment of the individual, who chose to isolate themselves and reject their own time and space *.

[* The feeling of repulsion that arises from the refusal of their community (the more painful because it is always the "mother community", so to speak) explains many otherwise obscure and bizarre phenomena, such as the incredible amount of work satirical and controversies that fill our libraries. Difficult to find a volume that has at least a direct and explicit polemical goal or, more simply, not showing open hostility towards someone.]

could formulate a philosophical level, that the principle the distinction, necessary starting point for artistic, is the creation individual ego as well as the social self . The medium is the isolation of the individual figured by this company.

This departure, this discrimination or voluntary, is of paramount importance for the development of its own independent voice, necessary because of the narrative voice.

Artistic creation is based on a ongoing dialogue between the individual and society authoring in which he lives, because, in the absence of one or the other, there would be a work of art. The one (the artwork) is based on the other (companies) in a constant relationship of love and hate relationship so as to become inseparable itself condicio ontological art in itself.

[* What's more, the refusal by the company in some cases may even amplify the "creative power" - or artistic enthusiasm - of the subject.]

In turn, the dialogue implies the existence of two items. The principle of discrimination by ensuring the creation of a single voice and personnel necessary to artistic creation.

As Heraclitus guessed by now remote in time and confused, "the conflict ( Πόλεμος ) is the father of all things and all the king " father, because you have no life without conflict, one follows the other (I exist and occupy space, this space is necessarily removed to another area, is based on altering the identity), the king, because every human effort is directed from it (Every one of our most insignificant action is already perceived as confrontational, since it is based on choice - in other words: ultimatum ).

also and above all artistic creation - as the daughter of life - can not do without the conflict, and is based on it. We could call the principle of distinction, "the beginning of the conflict," if only it sounded terribly reactionary and decadent.

This also explains why the dimension of artistic creation can only be individual: it is the individual who chooses freely self-discrimination is the individual who must seek their own autonomy of expression, it is the individual that establishes the relationship of dialogue with society is the individual who raises his own biography in the raw material for creativity.

The last point in particular deserves further brief explanation.

If there is no doubt that no work of art can transcend individuality of the artist (we said that is a cause for the Arts Individual I), then it is equally true that biography is a privileged and powerful key to the work itself.

It is clear that the work is not the man: and child support would be incorrect. There is and there will always be a residue of the artist's personality that is masked by the words, colors, notes.

However, we are fully convinced that we can not forget, as the contrary would Cross, the existence of a real live person behind the work that we are, for example, reading.

values \u200b\u200bsuch as consistency , social engagement, the uncompromising defense of its principles, would be denied if we believed that the biography is totally different than the work *.

[* No, at this point can not be really compromise: the biography is an essential component to fully understand the motivations, choices, those stories that an author decides to treat, and you can not do without it in the study who has the claim to be philological. ]

But do not misunderstand the importance of the individual and his biography with a kind of praise individualism. Individualism follows the superfluity of the social dimension, as was already mentioned, it is necessary for dialogue, "I-Other."

The central figure of the Dialogue, after that of the conflict, the better we will analyze in the next intervention, when the dismissal of the individual you will study as part of the dialogic tradition itself, filtering the report, "I-Other."