Toastmaster 1195 Recipe Book

Salami of the Pope, or english or turkish, or chocolate, o. .. anything you like!

Ingredients for 6 persons:

butter 125 gr
biscuits or breadsticks
200 gr icing sugar 120g
cocoa 50 g
aromatic liquor (rum, etc) 1.6 dl
1 egg

Let the butter soften at room temperature into pieces.
Crumble the biscuits by putting them in a cloth and beating them with a meat pounder.
Work the butter in a bowl until a soft cream, then stir the icing sugar and cocoa powder and then sieved to teaspoons rum.
Beat the egg with a whisk until frothy and add to the mixture gently, then add the crushed biscuits.
On a sheet of baking paper have the dough and give it the shape of a cylinder, then wrap it up like candy.
roll it in aluminum foil and place in refrigerator at least 2 hours before serving in slices.

How To Congratulate Someone Oh Having A Baby

ART IN TRANSIT. Urban landscape and contemporary art and marketing

Art in Transit . urban landscapes and contemporary art
the project created and curated by myself and Joseph Basilicata Biscay to 1799, financed by the Basilicata Region, is the very last stages. Scheduled
lasted until September to November, making the city of Potenza protagonist of an intense artistic and cultural experience: the culture and contemporary art have come into close relationship with the people, architecture and urban landscape. We can say, despite the great effort, pleased with the achievements and awards. The large participation in the initiatives, the assessments and eco national press and media emphasize success. I think it's possible to take stock and draw some considerations. The extensive and detailed project has used the participation of artists national, international and Lucan, as well as eminent personalities from the worlds of art, culture and society that have ensured the highest level.
I think the strength of the project has been the basic approach and consistency of content that have traced a shape so unique and original. The subjects were placed on complexity of the contemporary city and its existential dimension. It was given a vision of culture and art but not abstract or ephemeral contact with the immediacy the life of the city, a "transit" for excellence, combining reflection with practice.

The project divided into six sections, gave birth to a vibrant exchange of views and proposals of artistic culture. I want briefly retraces the route to indicate the large number of initiatives and individuals involved, the organizational complexity and recall the good things and significant to so many people participated.
Section Arts in Transit, edited by Incontri Internazionali d'Arte Rome, has made four site-specific works of art with the participation of artists such as Daniel Buren , Studio Azzurro, White and Michele Iodice Valente, four interventions devoted to some symbolic places of the city: the bridge Musmeci, inspired Daniel Buren, while the steps of the People was the seat of interactive installation by Studio Azzurro, which recalled an old tradition of fireworks at power, Fano, and the couple of artists White Valente has revived, with a net light - nervous, the old and abandoned building of the former provincial library, and Michele Iodice scored with a perfect labyrinth park Pawell Baden.
Section Learning cities, has sought, with workshops and seminars, which are the search for new interpretative criteria of the contemporary city. With the architect Franco Pure 20 young people, including architects and engineers have implemented some design ideas for the redevelopment of a disused part of the old industrial area of \u200b\u200bPotenza, ex cipzoo to think of it as a city of art and culture. The
Topotek1 known group of architecture in Berlin with leaders Martin Rein Cano, led the workshop with 20 young creatives entitled "Landscapes for a temporary new look of the city, on the most pressing issues and current architecture and art, the possibility of upgrading the public spaces. The workshop concluded with the installation the "Train botanical, made up a train of FAL (Railways Appulo Lucane). A true hanging garden mobile, traveling between the power stations, has made unprecedented see visions, real and imaginary.
Meeting and discussion with the great figures of contemporary culture on issues concerning the city and art have been at the center of the section Narratives urban with seminars and meetings with Massimo Cacciari, Mario Perniola Marc Augé.
The eye and the gaze, and the section Steps edited by Dario Pinton. a course - training course for "translators" cultural art which was attended by 15 people interested in contemporary art forms of communication. With the section
Dance and urban landscape, architecture and some unusual places in the city were the protagonists of the aerial dance of Retouremont , the palaces of Piazza Mario Pagano, theater and dance Osmosis , the filing of ferrioviario FAL.
Section Warning care city was given to groups, young and creative artists of Basilicata. There was the workshop organized and curated by Journeys Sound - Art Factory Basilicata Potenza_SoundScapeS which sought to test the relationship between the city of Potenza and the universe of sound. At the workshop co Stefano Zorzanello and Albert Mayr , Musicians and composers of the top experts in the field, and was attended by about 20 young people interested in the world of sound. Were carried out a laboratory that has built a sound map of the city, installations, sound walks, meetings, events, exhibitions, concerts, among the guests Murcof , one of the musicians more interested users of the electronic music scene in the world. With
Pubblicinvasioni by Amnesiac Art, has made the laboratory edited by Marcello Maloberti , which involved about 15 young artists on the art of Basilicata invasive, has played in the competition "Pubblicinvasioni" that has turned parts City Power in an open-air museum and the invading advertising posters.
not without interest to the photo exhibition Salvatore Laurenzano entitled "Branching", which evokes presence - absence in the city (the nature and trees) exhibited in the way of the escalators in via Armellini. Much more has been done. And 'being published the catalog published by Electa. For information and gallery will go to the site http://www.arteintransito.it/
Remarkable! you might exclaim. Quite a few 'work. In addition to the overall success - the audience of experts and does not seem to like it very much - what is particularly excited about the continued presence of many young people (in hundreds) who have attended the workshops, workshops and activities that surrounded him to continue in the future. What I liked in general is the originality and quality of interventions and activities, but mostly he took the basic idea: not just a summer program, as often happens, but the development of a theme, a trip to 'internal problems of the contemporary city through various forms of art and thought. So a general consistency between form (design) and content (activity), which has made significant, meaningful and shared what has been achieved. That is no small thing in these times. It was produced so much material that does not is absolutely wasted because useful for the city and our region of Potenza, Basilicata.
The idea of \u200b\u200bart in transit is strong and courageous idea, the hope is that we be given the opportunity to continue in the future given the success in terms of audience and critics and received national and international media coverage. The danger is, as often happens, that small corporate self-interest will ultimately prevail.

F. Scaringi (aka Ulrich)

Can You Wash Pocketed Duffle Bags

the private cinema and history, the last part


I'm back.
This is the third and final part of the long post on the questionnaire that the Institute Parri and Home Movies are sent to a group of historians to argue about movies and family history.

Question
Often there is the propensity to use the film as a family
document which confirms already established historiographical argument.
We believe that this can be a serious limitation. You can contact these sources
asking new questions, criticize, and thinking of more uses
? It would be very exciting to compare the data and information collected through
from different sources.
Eg. it seems interesting to analyze and evaluate representations of families of spheres of political, cultural and social backgrounds to highlight the similarities and differences in lifestyles. Or use the film and photographs as documents that have the most often inadvertently recorded glimpses of urban space and landscape, and how they perceive their surroundings and lepersone you move. In this regard, it is useful to stress the effectiveness of a film to document these issues than other types of sources.
Answer
The application refers to a more general problem of the use of visual sources in history even though - according to my point of view - more for the telling of the story that the research itself. And, from this point of view, it is desirable use of visual sources not only as a mere instrument of representation of events, but also as the subject of new questions.
family films are no exception. They are often used (for example in documentaries of the cycle we are history) as a lightening of the narrative, or as visual support in the narratives that involve the family. But their use may highlight new angles of the subjects already known, and a particularly effective: think for example the films of Péter Forgács.
It is thus clear that, like any source of history, the ability of film to tell us something new family depends on the historian has to ask him leading questions. I agree with the examples made in the application, but other questions may be thought to be the films of family and imagined other processes shows that the family film so effective: for example, home movies of the sixties could easily be used to show the different "speed" of the "economic miracle" in Italy.
I think very exciting research hypothesis might arise from the comparison between the performance (eg through the media of a certain age) el'autorappresentazione of an Italian family in this case the film could be (probably together with photography and private documents) a privileged source, capable of showing the gap, the distance, but also the gradual rapprochement between the two types of representation.

Question
The film is a private individual look to the world, generally
the eye of one person, spontaneous, free from constraints and controls
direct, unlike the official film, such as current events.
You can certainly say that the family movie is not subject to a body
censorship. If anything, the complaints relate to the individual sphere, the taboos
dell'autorappresentazione, mentality and personality of those films. For these reasons, the
amateur cinema could prove, beyond a supposed
authenticity, an important type of source, in some cases to document public events from a new point of view (unofficial) and in general to determine the perception that individuals or small groups of people whether in relation to historical context. One can conceive a story as dell'autorappresentazione sum of many different subjectivity, in this case a thousand eyes on the world, from which to draw reflections on reference models, recurring items and specificity?

Answer As I said in my previous answer I believe that self-representation is one of the strengths of family films. However I would not be so sure that the representation of self that shines through the film the family is always "spontaneous" and "free from constraints." Indeed, it probably "revealed" some "constraints", or at least some conditions.
There are two elements that I think should always be kept in mind:
1) the eye of a camera (and more generally any lens) produces two often reflected in who is taken: the immobility, the "pose" , or the wildness, the attempt to stir the rice, "show off". Of course, the two reactions relate to the individual psychological sphere, but I believe we can reasonably assume that there is also a social conditioning and "technology" (eg, Family films shot in Abruzzo in the late forties and fifties, who often gets framed is "posing" as in front of a photographer, and this type of reaction is particularly common in the poorest social classes, which are less comfortable with the technology of recovery). Still remained the question of the influence "technology", as images of the most educated cineamatori is "spontaneous" and what is instead the result of an attempt - more or less consciously - to mimic a "style" of recovery?
2) the cameraman tries to represent the world according to their point of view, pouring in shot - so more or less consciously - all its baggage of social conditioning, or, said another way, their "worldview". Thus, for example, the films of the family of a farmer in a small town in the province of Teramo - Mr. Renzi - dwell on the beauty of nature and the pleasures of country life: in his shots - accompanied by a narrative voice - the country life resembles a small Arcadia, despite the images portray a reality far removed from what is told. In those movies there is much interesting for the historian, from my point of view: the material conditions of life, of course, the gap between what is shown and the way it is said, but also the fact that the comment was not written by Mr. Renzi, but the priest of the small country (the Arcadian tone of the commentary is obviously the work of the parish - as evidenced by the choice of terms - but it is shared by at least cineamatore, although when it stops being written texts continue to follow the same narrative style).
Question
Keep everything? Selection criteria for an archive.
there is already the risk of a glut of audiovisual material for historical research
. The film joins a private to a wide range of sources. He added that the assets
of family films and immense, even if
hidden, inaccessible and for the total loss, if you do not
involved with archiving. However, the Archive of Home Movies and the network of archives that preserve
format movies are reduced in the face of limits
space and resources. In those circumstances, especially in perspective, it all but impossible to collect
will need to select the material.
with the knowledge that a selection can be made only with valid criteria
today, with the limitations that result from the tendency of the National Film
Family is priority funds filmic older, collecting
without discrimination all the material before 1950, and setting limits for
material post 1950, with the strategy to raise substantial funds filmic
that can, for example to document the evolution and changes in a family
or more unrelated families in over the years and decades.
What can be the role of the historian to determine the choices of
storage?
Answer
The issue of selection criteria for an archive of family films is extremely complex and can hardly be exhausted in a response. In principle, I think I already said that historians and archivists should work closely together to be able to better define not only the general criteria for acquisition of materials in an archive, but also the techniques of cataloging.
But more than answers, in this case I have questions about the selection criteria set out in the brief questionnaire.
The first question concerns the date discriminating: why the 1950? It seems to me that this would risk losing all of the assets relating to the release of amateur cameras in a relatively massive, and therefore to draw on eyes and imagined in the popular media and the petty bourgeoisie that was previously difficult to access cameras, etc. . as a matter of cost. It is also clear that stopping to 1950 does not allow to draw on family memories the economic boom, a period of particularly intense transformation of Italy: the contribution of the family film for those years would be particularly interesting, since it would - in my view - to look into the transformation of the country in the making, comparing the new costumes , the different habits and different mentality to be defined by the persistence of an Italy more traditional.
The second question concerns the organization of the collection: I understand that preference to substantial funds that allow a family to follow the events in a period of time as long as possible. I understand those who preside over this choice, but I wonder what can not be interesting but also those groups of films less consistent, both from the standpoint of the producer in terms of time.
It seems to me that the focus of the household may be a poor choice from the standpoint of historical research. I try to explain with an example. We take a "common place" of the film family, marriage: what's more interesting watching all the marriages of a family over a period of time, or watch and compare the long period of time the marriages of many families of different geographical and socio-economic conditions different? In the first case we would know much about that particular family in the second, Instead, we would have a "split" of how the marriage had been living in different social strata and in different geographical areas.
I therefore believe that the breadth of the collection is to be preferred as much as possible, of course subject to limits imposed by resources.

AS

Shot Put Training For 13 Year Olds

private cinema and history, the second part

Yes, it's true. It's been a bit 'of time from the first post in the series. I'll try to be faster with the next. For now, I wonder with Troisi

And now we resume from where we had stopped.

Question 3
There seems to be a tendency of contemporary historians
to consider the document for audiovisual content (image) rather than the form in which it was
product. In the case of film amateur film are used almost exclusively
video copies and almost never in the original copy only.
seems to lack a specific expertise in analyzing the source
in its intrinsic character, not directly related to the content, but the
support (the film). Elements that characterize and give a specific form
to document and describe it as such, and that in principle
should be included in the rating. Often in reference to
private cinema, there is, for example. the confusion between 8mm and Super8,
two media that belong to a periodization only partly overlapping, but especially
assume that a technique, practice, social use of amateur cinema
different.
necessary or desirable at least one training
historical analysis of audiovisual documents, in particular the audiovisual heritage
private? It might be useful rivspecifico a seminar to train new professionals?

Answer
Who uses this type of source should be aware of the differences between the various camera formats, the different social customs that have been made of the tools of recovery and so on. Moreover, any historical source must be studied and used in relation to his time, otherwise you may run into anachronisms interpretation. However, there is a risk
contrary, one of a kind of fetishism of the source that may restrict the possibilities analytical and interpretive.
There is also a fundamental difference between the case study as a source of family films and their use as a means of narration: and if the former elements of exegesis of the source are central in the second I think they might be considered of secondary importance, although - of course - can not be ignored. When you decide to use a group of family films as a means of storytelling, he inevitably handling (editing, adding music, etc..) de facto change in the meaning and the original destination: the problem in this case it is to respect the content of the material used and not its form.
Regarding the issue of training of the historical use of audiovisual materials, do not doubt that anyone who tries to use these analytical tools to form that will allow him to use that specific source. This does not preclude moments of confrontation with diverse skills are always welcome.
As for the training of new professionals, I wonder what could be more than anything else.

Question 4
The family movie and a document produced in a well defined.
Similar to written sources such as diaries, belongs to the private sphere, even if
is in a different form at the semantic and syntactic. These visual records of experience
(person / times / rituals / places), to investigate and compare with other documents
for a historical reconstruction of
family and his environment ("image only if it can not recognize and
true or false ", L. Wittgenstein).
How important are the visual memories
individual for the reconstruction of the history of a large group as a social class? In what field of study
especially family films can be useful? History and Social: family, the mentality, rituals, consumption, customs, landscape ...

Answer
The use of family film as a tool for reconstructing the history of the families is only the first and most immediate uses to which they can do for the purpose of historical research.
I think that they can be useful in a broad sense, for a history of society as a whole: they are definitely for the analysis of certain processes or events in the long run, such as, for example, emigration. In regard to the reference video Viewpoints on, on this very subject.
But it is only one of the examples.
All topics that are listed in the application may be I think, profitably through the extensive family film, too - I repeat - outside the narrow confines family. This is particularly true for highly cohesive groups: I happened to be working with such materials shot from the '50s and '70s in a small mountain village, very isolated. Through these materials emerge, rather than the history of the family of the operator in the strict sense of the country as a whole, taken almost as if the village community was an extended family: The objective of the camera only stops on the doorstep of the houses, right next to the meeting between private and public spheres.
Regarding the question of the social classes, I am convinced that the use of family film could tell us a lot, provided you have enough materials.
Perhaps the only area on which the film can tell us a little family history is the political: although adjacent to the fields of study such as political anthropology, may benefit from a similar source. For example, if there were pictures of parades or political demonstrations (and something there), I am convinced that they could tell us a lot about not only their organization but on the symbolic elements of the choreography and so on.

This time we stop here, see you soon
AS