24 de Abril de 2014

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by Yuka Obayashi / via Japan Times / April 20, 2014 / The manager of the Fukushima No. 1 nuclear power plant admits to embarrassment that repeated efforts have failed to bring under control the problem of radioactive water, eight months after Prime Minister Shinzo Abe told the world the matter had been resolved.
Tokyo Electric Power Co., the plant’s operator, has been fighting a daily battle against contaminated water since Fukushima was wrecked by the March 2011 earthquake and tsunami.
Abe’s government pledged half a billion dollars last year to tackle the issue, but progress has been limited.
“It’s embarrassing to admit, but there are certain parts of the site where we don’t have full control,” Akira Ono (pictured) told reporters touring the plant last week.
He was referring to the latest blunder at the plant: channeling contaminated water into the wrong building.
Ono also acknowledged that many difficulties may have been rooted in Tepco’s focus on speed since the 2011 disaster.
“It may sound odd, but this is the bill we have to pay for what we have done in the past three years,” he said.
“But we were pressed to build tanks in a rush and may have not paid enough attention to quality. We need to improve quality from here.”
 http://fukushimaupdate.com/fukushima-no-1-boss-admits-water-woes-out-of-control/

13 de Abril de 2014

Spanish timbrado canary bird from Greece

Spanish timbrado canary bird from Greece

Spanish timbrado canary bird from Portugal

Spanish timbrado canary bird from Greece

Waterslager Competition 2012 BG

Malinois Waterslager canary bird

Pão do Salgueiro - Viola Beiroa -Violinhas Beiroas







Do Azeite Viola Beiroa nasceram as Violinhas de Azeite, uns biscoitos com azeite de excelência em formato de violinhas beiroas, orgulhosamente produzidos pela Padaria do Salgueiro, que acedeu ao desafio da Guida Marques.



12 de Abril de 2014

el arte de vivir el flamenco de Curro de Utrera



Es un cantaor muy completo en todo lo que interpreta.  Era aun un chiquillo cuando lo contrató Marchena. Poco después grabó sus primeros discos, y desde entonces hasta no hace mucho ha desarrollado una gran actividad artística por todo el mundo, codeándose con las primeras figuras. Curro de Utrera cantaor de mucho poderío y solera, Siempre me acordare,
cuando aquella noche actuaba en el pueblo de Parla (Madrid) donde yo vivía y  me establecí, con mucha admiración yo me acerque a él, solo para decirle que era el más grande, de todos aquellos que representa este arte, por su buena sabiduría de saber trasmitir toda la grandeza de la profesión del cante, respondiéndome con muchas gracias. Curro de Utrera actuado muchas veces en Marruecos cuando todavía era protectorado Español. En el circo Price de Madrid actuó siempre con grandes compañías y muy buenos elencos de grandes artista de su época gloriosa. Quiero recordarlo en un Cante por FANDANGOS  acompañado por el Niño Ricardo.

José António Carlos de Seixas

Filho de Francisco Vaz e de Marcelina Nunes, Carlos Seixas estudou com o pai e cedo o substituiu como organista da Sé de Coimbra, cargo de grande responsabilidade que exerceu durante dois anos. Aos 16 anos partiu para Lisboa, altura em que a corte portuguesa era das mais dispendiosas da Europa. Foi muito solicitado como professor de música de famílias nobres da corte, nomeado organista da Sé Patriarcal e da Capela Real (sendo o Mestre desta Domenico Scarlatti estabeleceram certamente colaborações proveitosas). Carlos Seixas gozava da fama de ser músico e professor excelente. Na capital impôs-se como organista, cravista e compositor. Com o seu trabalho sustentou a mulher, que desposara aos 28 anos, e os cinco filhos, dois filhos e três filhas, e adquiriu algumas casas nas vizinhanças da Sé. 

No que diz respeito à composição, Carlos Seixas foi um dos maiores compositores portugueses para a música de tecla. Fez escola em Portugal criando um estilo seu (apesar da influência italiana e francesa que se constatam em algumas das suas obras) que foi imitado durante algum tempo após a sua morte.
No século XVIII era exigido aos compositores que a sua música fosse fiel aos pensamentos e ideais estéticos do meio. A composição era, de certa forma, limitada a um rol de características previamente definidas, facto que devemos levar em conta quando analisamos a obra dos compositores.
A obra de Seixas é, em grande parte, resultado dos ambientes em que compôs. Como organista da Capela da Sé Patriarcal tinha a possibilidade de tocar, antes e depois da missa, um trecho a solo que poderia ser uma tocata ou uma sonata (ritual comum em todas as catedrais de prática Católica). Para este efeito, havia uma preferência pelas peças de carácter vistoso e brilhante. Noutras partes da cerimónia, o organista podia ainda tocar em alturas que admitissem um solo instrumental. Desta forma, os compositores aproveitavam para dar a conhecer as suas composições ou improvisações. 
Por certo que as sonatas de Seixas foram tocadas na Igreja, pelo menos as de carácter religioso. Carlos Seixas acompanhava ao cravo os saraus de música nos paços reais ou no solar de algumas casas nobres. Nestes eventos tinha também a oportunidade de tocar como solista, aproveitando, provavelmente, para tocar as suas sonatas compostas com o objetivo de ser reconhecido como concertista e compositor.
Para além da Capela Real e da Corte, apenas se dedicava ao ensino de música. Esta faceta obrigava-o a ter material didático diversificado, variando de aluno para aluno, consoante o grau e as capacidades de cada um, dos cravos ou clavicórdios que possuíam. Apesar de fortemente sujeita a um vasto rol de condicionantes, a obra de Seixas não deixa de parte a qualidade e a originalidade do seu estilo pessoal.
Nunca se deixou levar pelos estilos importados em Portugal, nem deixou que a sua obra se confundisse com a dos seus contemporâneos estrangeiros. A presença do temperamento lusitano é uma constante das suas composições.

4 de Abril de 2014

Travis Pratt

Jesus Garcia - Tenor

Marcus Coates

The art of Marcus Coates allows us to imagine life from an inhuman perspective. He is often his own laboratory rat, using his body to test the boundaries between man and animal. Yet the lot of such unfortunate rodents is certainly not the best analogy as Coates' endeavours are not scientific projects - though they may use science - but are artistic enterprises. His works have no specific theory to prove or disprove, and most importantly are concerned with exploring what humans can learn from animals as much as the other way around. Venturing into the moor or heath, estuary or woodland - or domestic human habitats as we shall see - the artist's videos and photographs tackle the vicissitudes of consciousness and philosophical formulations of ‘the wild' with the stout boots of conviction.
Philosophers Gilles Deleuze and Félix Guattari's notion of ‘becoming-animal' is a means of escape, a way of unthinking identity and subjectivity where the human and the animal enter into a functional alliance.
The reality of becoming lies not in the transformation of fixed points but in an alliance itself. How better to understand the perspective of a small mammal of the family Mustelidae found throughout the northern temperate, subarctic and arctic regions than to walk a mile in its boots? Accordingly in the video Stoat, Mustela erminea (1999) we see the artist in peculiar home made stoat stilts stumbling and bungling in his attempt to walk, approximating the gait of the weasley animal. Coates act is absurd though earnest in its self-mocking hazard at leaving the confines of human locomotion. By operating from an inhuman point of view, Coates does not assume a fixed and unchanging role.
There is no reason why Coates's filmed performances cannot be read as an addendum to both this renegade anti-metaphysical streak in continental thought and a tradition of absurdist British TV comedy sketch shows such as The Goodies (1970-82). It is the presence of apparently cohabiting opposites in Coates's practice - the philosophical and the ludicrous, slowness and speed, the real and the mystical, and not least the animal and the human - which give it its sense and nonsensical energy.
Coates knows just as well as Deleuze and Guattari - or a Red Deer stag - that ‘it is actually through voice and through sound and through a style that one becomes an animal' (1). In his video Indigenous British Mammals (2000), for example, a repertoire of guttural groaning, bellowing, snorting and choking vocalisations are heard apparently emitting from a patch of moss in a rolling landscape. Deleuze and Guattari characterise this state almost too perfectly:
"The animal does not speak ‘like' a man but pulls from the language tonalities lacking signification; the words themselves are not ‘like' the animals but in their own way climb about, bark and roam around, being properly linguistic ... in short, an asignifying intensive utilization of language ... a circuit of states that forms a mutual becoming, in the heart of a necessarily multiple or collective assemblage (2)."
Coates' work studiously avoids metaphorical allusions by focussing instead on behaviour, most conspicuously its explorations of birdsong. The birds that become persons - are impersonated - throughout Coates' work, from the pottering Coot, to the nevertheless formidable Short-eared Owl, seem in any case far too phlegmatic to be symbolic champions. Of course the subject of Coates' 1998 self portrait photograph Red Fox, Vulpes vulpes, in which the artist appears in the distance on all fours in a red boiler suit, is more used to being ascribed human values. The wily and cunning fox is a staple of anthropomorphic children's literature, for example, from the tales of Thornton Burgess to Roald Dahl's Fantastic Mr. Fox (1970). Yet Coates's image escapes this reading of nature by referring to a genre of photography, and a peculiarly British brew of tabloid sensationalism and folklore, concerning cryptic animals. The grainy, blurred photograph of an indistinct shape is the prototypical evidence of everything from the Loch Ness monster to the so-called Beast of Bodmin.
In the series of works in which the artist makes a transition into shaman, Coates' ‘becoming' skills are applied towards a specific social purpose, testing the power of animal becoming and the role of the artist within the public arena. Coates modifies this ancient tradition of communication with animal spirits into an artistic and functional consultancy tool.
"All over the world learning the language of animals, especially of birds, is equivalent to knowing the secrets of nature and hence to being able to prophesy. Learning their language, imitating their voice, is equivalent to ability to communicate with the beyond and the heavens (3)."
We could contrast Coates' approach with the work of Joseph Beuys, a somewhat unavoidable figure in this context, particularly given the artists recent works exploring the role of the shaman. Throughout his practice Beuys cultivated a shaman-like persona through works such as Coyote, I Like America and America Likes Me (1974).

For this action, Beuys spent the duration of the exhibition caged in a gallery in New York with a coyote, that was made to function as a mystical conduit in a ritual of realignment and reconciliation with native Americans. In works such as Journey to the Lower World (2005) and Radio Shaman (2006) Coates takes on the job of talking to animal spirits on behalf of the residents of a Liverpool tower block with contrastingly modest expectations and a knowingly dubious quasi-Yakut ritual. The appearance authenticity is replaced with bathos and domestic modification

The stipulated sweeping of the ritual area is done with a vacuum cleaner, the shamanic drum takes the form of a stereo with a ‘plastic shaman' CD, and car keys stand in for bells. What Coates' performance lacks in seriously earnest self-indulgence it makes up for in charm and disarming humour. 
Both Beuys' and Coates' acts of native-peoples cultural appropriation might be somewhat ethically problematic - yet, the latter seems to say, let's at least not pretend to be going about it in the ‘right' way.
Coates' knowing fakery taps into the desire to be seduced by the essential strangeness of the non-human, and, however irrational, to entertain the possibility of the unknown. In the video Finfolk (2003) he acts out this abandonment of apparently ‘common sense' viewpoints with a hearty dose of slapstick. Merging himself with the liberally imagined faculties of a finman or a selkie - the shapeshifting amphibious seal-human creatures of Orkney Islands' legends - the artist emerges from a stormy sea and blunders around on a jetty in his ‘selkie skin' track suit. Walking and occasionally dancing in the gale, this creature's incoherent ramblings create a kind of fusion between foul-mouthed Scandinavian drunk-speak and saline linguistics, before it spots an approaching family and descends into the sea once more.
Herman Melville's Moby-Dick (1851), the celebrated story of one Captain Ahab's obsession with a huge white whale, seems pertinent here. 

Just as Ahab's becoming-whale occurs as he begins to think as if he were the whale, entering into an animal relationship with the animal, Coates ceases to become himself and enters into a comedic process of composition with the seal-ness of the selkie. He assumes he is a seal and as such is impersonating a human. Instead of a classical humanistic search for sense, or what is somehow hidden, these slippery marine creatures offer up the pursuit of the incomprehensible and of inhuman perceptions. 

The bathos of Finfolk's perfectly lame rendition of a mythical beast reveals not a grand symbolism of life or rebirth, but presents itself as a modest proposal to transform oneself by perceiving difference through particular properties, the thick rubber hide wet suit for instance, and most obviously through voice and sound.
Metamorphosis through voice and sound is a state that Coates has long been exploring through his series of works that exploit the possibility for compressing and expanding time with video. Coates's interest in this technique reaches its apogee with the multiscreen video and sound work Dawn Chorus (2005-7)

The artist worked alongside wildlife sound recordist Geoff Sample to make a series of, simultaneous recordings within a woodland in Northumberland. 

Working early in the morning in the spring - the most active time for avian songsters - the songs translate into fourteen screens, as each species of the chorus is given over to an accelerated human interpreter. Men and women in apparently sedate everyday settings suddenly sing like birds - it seems for a few seconds that there is a Swallow in a car park, a Wren in an office, a Pheasant in a sitting room, or a Blackbird in a shed, for example. Each participant, filmed in their own houses or going about there daily lives, sat with an earpiece that played a tape of each bird's song or call that had been slowed down many times, to which they mimicked. The resultant video footage was then in turn speeded up by the same number of times, returning the bird mimicry into its ‘real' register and each participant into a twitching and alert avian apparition.

Birds often sing to mark territory (and Deleuze and Guattari make much use of this concept of the ritournelle or refrain) and so do humans. In a number of works the animal is a collection of possibilities, functions or actions: for communication, for movement. 

The birds are not asked to ‘mean' anything. Local Birds (2001), A Guide to the British Non Passerines (2002) are both precursors to Dawn Chorus. In A Guide ... we see the artist undergoing an accelerated process as he sits and renders all 86 species of commonly occurring British non-perching birds, announcing each in turn in deadpan fieldguide systematic order before lurching into speeded-up sections of squawks and cries. In Coates' Out of Season (2000) we note the lone male Chelsea football supporter chanting his repetitive songs, threatening curses and bragging in an idyllic woodland brimming with summer birdsong.
The incongruity is superficial, his territorial behaviour is akin to the functionality of the male bird's song, their tuneful calls disguising a declaration of their species, virility and territorial claim. The ethological loop has come full circle. Art, as Deleuze and Guattari claim, is not a question of imitation, but of becoming:

more : http://www.picture-this.org.uk/library/essays1/2007/marcus-coates-and-other-animals

Boris Veprintsev ‘Oiseaux des Plaines Russes -Birds of the Russian Plain

https://continuo.wordpress.com/2010/11/15/boris-veprintsev-oiseaux-des-plaines-russes-birds-of-the-russian-plain/

A cryogenics and nerve cells specialist, Russian biophysicist Boris Nikolayevich Veprintsev (1928-1990) started recording Soviet birds on homemade equipment in 1957 while studying at Moscow University, undertaking annual birding expeditions throughout the country, a habit he kept almost until his death.
Veprintsev collected thousand recordings documenting the Soviet avifauna as well as mammals, fishes, amphibians and insects of the East European Plain region, including rare and now extinct species. His first LP, Morning in the Forest, was published in 1960, with the approval of Khrushchev himself, though Veprintsev’s family had been harassed by the Soviet regime, and Boris’ father sent to the gulag in the 1940s. Veprintsev subsequently published as many as 28 LPs (according to this source), amounting to over 500 bird voices
He founded the Soviet Archive of Wildlife Sounds of the USSR Academy of Sciences in 1973, located in Puschino-on-Oka, 120 km south of Moscow, where Veprintsev worked as head of the Academy’s Laboratory of Biophysics of nerve cells from 1966.

Birdscapes: Birds in our Imagination and Experience

https://continuo.wordpress.com/2010/11/19/jeremy-mynott-birdscapes-book-review/

29 de Março de 2014

Verde Gaio



Verde-gaio é uma das mais típicas danças populares do Ribatejo e Estremadura; embora seja mais popular no norte do que no sul de Portugal, é na região entre os rios Lis e Sado que, segundo Tomaz Ribas, o bailam melhor e mais a primor. Em geral o verde-gaio é acompanhado com harmónica ou realejo.

http://pt.wikipedia.org/wiki/Gaio-comum

Rancho Folclórico Tricanas de Coimbra

El arte de vivir el Flamenco de Juana la del Pipa



Juana la del Pipa

Receita de Empada de Perdiz

Receita de Empada de Perdiz

Ingredientes :
1 receita de massa folhada
 2 perdizes estufadas
1 cálice de vinho do Porto (pequeno)
80 grs. de presunto
3 gemas de ovos
molho das perdizes q.b.
Modo de Preparação :
Amanha-se as perdizes e pica-se a carne das perdizes e o presunto, juntam-se-lhes as gemas, o vinho do Porto e um pouco de molho das perdizes, para o recheio não ficar seco.Estende-se 2/3 da massa sobre o fino, e corta-se às rodelas.
Forram-se umas formas de queques com as rodelas de massa e coloca-se em cada uma delas uma colher de chá, bem cheia, de recheio.Estende-se a restante massa com 1/2 cm. de espessura e, nela, cortam-se as tampas das empadas, conforme a dimensão das formas.Colocam-se as tampas sobre o recheio e pintam-se com gema de ovo.Coloca-se uma roseta de massa no centro de cada tampa e levam-se as empadas ao forno, para cozerem e alourarem cerca de 25 minutos, devendo o forno estar quente.dica:pode usar massa folhada congelada.

Perdiz estufada com cogumelos

Ingredientes:
4 Perdizes de caça
200g de toucinho gordo
4 bagas de zimbro
1 vagem de alecrim
1 e 1/2 folha de louro
2cebolas médias
500g de batatinha nova
150g de echalottes
100g de bacon
100g de cantarelos frescos
50g de trompetes da morte frescos
¼ de cenoura
½ rama de alho francês parte verde
1 cabeça de alho
Qb de pimenta preta
Qb de sal
Qb de azeite
Qb de salva
Qb de salsa
Qb de tomilho
Qb de vinho branco
Qb de vinho tinto
Preparação:
Estufar a perdiz:
No dia anterior começar por depenar as perdizes, limpando-as também por dentro e evitar de danificar a pele. Depois de secas, marinar com sal grosso e pimenta.
No dia seguinte, fazer uma pasta triturando o toucinho e de seguida juntar salva, salsa, 1dente de alho picados e pimenta preta. Rechear a perdiz entre a pele e a carne e no interior com o preparado anterior.
Depois disto, corar a perdiz num tacho em azeite, retirar assim que estivar dourada e puxar 1 cebola e meia e 3 dentes de alho picados. Juntar o alecrim, tomilho, louro e o zimbro. Quando a cebola estiver dourada refrescar com 1dl de vinho ( metade de vinho branco e a outra metade com vinho tinto) deixar reduzir, colocar as perdizes e um pouco de água. Tapar e deixar estufar lentamente até estar tenra.
Para o molho:
Desossar as perdizes e torrar as carcaças no forno. Começar a puxar a meia cebola, a rama de alho francês, a cenoura e 3 dentes alho em azeite até ficar escuro. Juntar as carcaças torradas, os sucos do estufado e cobrir com água. Deixar ferver lentamente até reduzir a ¾ do caldo, desligar e fazer infusão com 5 folhas de salva. Passar por passador de rede.
Guisado de batatinhas e cogumelos:
Puxar o bacon aos cubos em azeite, quando estiver a ficar dourado adicionar as echalotas e 1 dente de alho bem picados, juntar tomilho e meia folha de louro e deixar dourar juntar as batatinhas descascadas envolver e refrescar com um pouco de vinho branco. Reduzir e acrescentar caldo de galinha até meio das batatas. Temperar com um pouco de sal e pimenta preta e 5 minutos antes das batatas estarem cozidas juntar os cogumelos e retificar de sabor.
Lembrem-se que para obterem o melhor sabor basta escolher bem os ingredientes como é o caso das ervas serem bastante frescas e a perdiz se for de caça fará toda a diferença.
Para acompanhar um belo e elegante vinho branco velho ou um vinho verde tinto.

Perdizes Estufadas à Moda do Algarve

Ingredientes:

2 perdizes gordas
pimenta
sal
1 copo grande de vinho branco
1 folha de louro
1 ramo de salsa
125 g de toucinho
2 cenouras
2 cebolas
 
 
Preparação:
 
Limpe as perdizes, lave e enxugue.
Tempere com pimenta , sal,  vinho branco, louro e salsa.
Deixe repousar durante 3 horas (de preferência num recipiente que faça vácuo).
Corte o toucinho em pedaços pequenos e leve ao lume numa caçarola. Derreta bem e junte as perdizes. Frite-as em lume médio até alourarem por igual.
Junte as cenouras cortadas em palitos grossos, as cebolas descascadas e cortadas em quartos e o colorau.
Refogue um pouco e, gradualmente, adicione o vinho da marinada e pequenas porções de caldo de galinha.
Cozinhe até as aves estarem macias e o molho bem apurado.
Acompanhe com batatas fritas ou se preferir uma opção mais saudável pode acompanhar com cogumelos e legumes salteados.

PERDIZES ESTUFADAS COM VINHO DO PORTO

INGREDIENTES 2 perdizes Sal e pimenta q. b.
1 colher (sopa) de banha
1 cenoura ralada
1 cebola
1 colher (chá) de tomilho
1,5 dl de vinho do Porto
1 raminho de hortelã
1 raminho de salsa

Preparação
Limpe as perdizes e tempere-as com sal e pimenta, esfregando-as bem por dentro e por fora.
Leve ao lume a banha e, quando quente, aloure nela as perdizes, mas com cuidado.
Escorra depois as perdizes e coloque-as num tacho, juntando-lhes as cenoura ralada e a cebola picada miudinha, o tomilho, o vinho do Porto e os raminhos de hortelã e de salsa.
Tape o tacho e leve ao lume moderado, virando as perdizes, de vez em quando, e, se necessário, acrescentando um pouco de água ao molho, deixe apurar.
Sirva as perdizes com o molho em volta e, como acompanhamento, couves-de-bruxelas e maçarocas de milho cozidas e rodelas de laranja.

Reportage Concours Canari Malinois Organisé Par A.M.C.O

OPORTO - PORTO

http://www.portoturismo.pt/Visitar/Paginas/Descobrir/Descobrir.aspx?AreaType=1&Area=-2&Title=Circuito%20Turistico

KPM Philharmonic Orchestra





George Frideric Handel

Canari timbrado espagnol

Spanish timbrado canary bird

164º Aniversário Banda Municipal do Funchal

https://www.youtube.com/watch?v=4W_eIPAjkFg
 30 de Março pelas 10:00h
A Banda Municipal do Funchal realiza concerto dos seus 164º Aniversário a 30 de Março pelas 10:00h, com o seguinte programa:

MARCHA DO 164º ANIVERSÁRIO – Aquilino D. Silva
IRELAND: OF LEGEND & LORE – Robert W. Smith
THE MAELSTROM – Robert W. Smith
LA VEU DE LA TROMPETA – Ferrer Ferran
Solo Trompete: João Arlindo Figueira Faria

OBLIVION – Astor Piazzolla, Arr; M. Mangani
Solo Oboé: Sofia Dias

ARABIAN DANCES – Briam Balmages
GIBRALTAR – Richard Waterer
ANITSCKA – Johan Nijs
HINO DA BANDA MUNICIPAL DO FUNCHAL

Viola da terra

Grupo Coral As Cantadeiras de Alma Alentejano

Jacob do Bandolim