Image and Sound Museum / Para

1483 63 Porsche replica Final.mov

HAMILTON DE HOLANDA - SOM DA IMAGEM / SOUND OF THE IMAGE - Ep. 2 - NYC

SOM DA IMAGEM é o registro de um dia comum na vida do premiado bandolinista HAMILTON DE HOLANDA. Hamilton acredita que a criação é uma fotografia do momento presente. A idéia é apostar no cotidiano e na simplicidade de fazer as coisas com o que se tem. Para cada episódio, uma nova música é composta. SOM DA IMAGEM é mais uma inquietude criativa dele e de seu parceiro Marcos Portinari que aqui cuida das imagens onde alguns são filmados com o celular e outros não. Alguns vêm de uma melodia já existentes e outros não. A idéia é ser o mais espontâneo possível. A lembrança que a vida segue e somos sortudos por nos incluir nessa apreciação. Apertem o cinto e venham viajar conosco.

SOUND OF THE IMAGE is a recording of an ordinary day of the Brazilian award-winning 10 strings mandolin player HAMILTON DE HOLANDA. HAMILTON believes that the creation is a photograph of the present moment. Each episode a new song is composed. SOUND OF IMAGE is one more creative idea from him and his partner Marcos Portinari who here takes care of the images where some are filmed with the cell phone and others not. The idea is to be as spontaneous as possible. Some come from an existing melody and some do not. The idea is to be as spontaneous as possible. The remembrance that life goes on and we are lucky to be include in this appreciation. Fasten your seat belt and lets go.

Belen, New Mexico USA - Virtual Railfan LIVE

This is a live stream of Belen, New Mexico, USA, for people who enjoy watching trains.

Actual start date: 8/31/18

You are welcome to join our family friendly chat, but keep in mind that there’s a community with rules already established. Please check them out below.

Like the view? This 360-degree camera is located at the historic Harvey House Museum:

Camera is hosted by the Harvey House Museum and the City of Belen:

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ABOUT THIS FEED:

The historic Harvey House Museum is the former Belen Harvey House of the Atchison, Topeka & Santa Fe Railway (AT&SF), predecessor of today's BNSF Railway.

You're looking at BNSF's Belen Yard, part of their Southern Transcon, the former Santa Fe mainline between Chicago and Los Angeles, and this is where the El Paso Sub from the east becomes the Clovis Sub to the west.

From this camera you'll see mainline freight headed in both directions, as well as the yard switcher.

In regards to the pushers (distributed power units, or DPU's) on westbounds, they are not fueled directly at the fuel pads, rather a fuel truck is driven back to the middle or (more commonly) the end of the train where the DPU's are located.

Actual track orientation here is north (west)-south (east). You'll also see carmen (inspecting trains) going back and forth on ATV's.

There is no Amtrak service here; their Southwest Chief bypasses Belen to the north as it heads to/from Albuquerque.

Even though there is an ATCS layout file available, there is no server coverage, so no data for the layout. No radio streams available.

There’s no schedule for freight trains, but some of our more knowledgeable members will provide real-time information when it’s available. Please refrain from asking.

ABOUT VIRTUAL RAILFAN:
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브라질 아마존

환영
웅장한 열대 우림, 남쪽의 남미, 적도 근처 벨렘의 도시에서 북대서양에서 222km는 파라, 브라질 않습니다.
에밀리오 Goeldi 박물관에서 바이오 파크
중간 규모의 도시에 둘러싸인 도시 지역 안전 도심에서 Localidado,이 식물 공원은 가장 많이 방문한 브라질의 하나입니다.

Flying Down To Rio (1932)

No sound - see note.



Titles read: Starting NEXT WEEK The Pathe Pictorial the world's oldest Magazine film, will show the first of a unique series of films - 'FLYING DOWN TO RIO'.



The full and exclusive story of a trip in the giant Zeppelin, from Friedrichshafen to far-off Rio De Janeiro.



L/Ss and M/Ss of large Zeppelin airship. L/Ss of passengers boarding the ship. M/S of man carrying tripod waving as he walks up steps. L/Ss of airship in flight. Aerial shots of large liner in the sea below. M/Ss of interior of airship including captain (?) and other crewmen. Don't miss the unique picture of a real liner of the skies - starting next week.



Cataloguer's note: This is only a preview of item 'Flying Down to Rio' which is in Canister no PSP 762 and on Pathe Master Tape *PM1600*. No Soundtrack for this item.
FILM ID:1600.05

A VIDEO FROM BRITISH PATHÉ. EXPLORE OUR ONLINE CHANNEL, BRITISH PATHÉ TV. IT'S FULL OF GREAT DOCUMENTARIES, FASCINATING INTERVIEWS, AND CLASSIC MOVIES.

FOR LICENSING ENQUIRIES VISIT

British Pathé also represents the Reuters historical collection, which includes more than 136,000 items from the news agencies Gaumont Graphic (1910-1932), Empire News Bulletin (1926-1930), British Paramount (1931-1957), and Gaumont British (1934-1959), as well as Visnews content from 1957 to the end of 1984. All footage can be viewed on the British Pathé website.

Somewhere - Alexanderplatz (the ehxibition)2

Pinhole video-intalation.
DIRCEUMAUÉS is a photographer whose oeuvre constitutes a far-reaching investigation into the photographic process and the techniques and equipment involved. His works, therefore, are always in-depth examinations of the photographic mechanism as such, and this study presents him with his own opportunity to define a cameras functional categories. The current omnipresence of digitally generated images is an occasion for Dirceu Maués to reflect on more original forms of photography in his works. Deliberately setting them apart from the predominantly functional parameters to be found in todays modern cameras, he constructs his own cameras using the simplest of means. Over the course of time, in this way the so-called pinhole technique based on the principle of the camera obscura has developed into his main means of aesthetic expression. Even in the Renaissance, the camera obscura based on a principle already familiar to Aristotle was sometimes equipped with light-enhancing lenses. These cameras were literally black boxes or also (walk-in) chambers with a small opening through which the light from outside could penetrate so that an external scene, albeit standing on its head, was projected onto the inner wall opposite the opening. Apinhole or hole camera does not use a lens, but is based on precisely this optical effect. The image is fixed by attaching film material or photo paper to the inner projection surface. Dirceu Maués uses his pinhole-cameras to recreate a hand-crafted means of image production dating from an era long before that of analogue photography, transferring this method to a present day which has long since arrived at the technical perfection of digital photography or artificial image generation. In this way he brings the intuitive, human factor back to the fore. Maués developed the installation S o m e w h e re Alexanderplatz during his stay in Berlin; it consists of six projected video loops showing photos of the well-known Berlin square from different vantage points. In preparation for these shots, Maués used matchboxes to painstakingly construct 120 small pinhole cameras by hand, and then attached photo paper to the inside. Assisted by the Berlin artists collective P i s o, Maués subsequently recorded photo sequences of the square from various vantage points as well as the dominant sounds in the area. Afterwards he scanned again by hand the 120 negative rolls that had been produced and assembled the photographs on them into a film animation: the result was a 360° panorama of the square, characterised by the marks of chance and his own work by hand with its minor errors and faults. In this way the artist consciously grasps as he had already done in his project Ver-o-Peso pelo furo da agulha realised with a pinhole camera in 2004 the opportunity to breathe new life into scenarios and cityscapes which are otherwise reproduced to excess, as pure stereotypes, in the form of tourist photos or postcard motifs. Maués sees his overall artistic practice as a multilayered experiment operating in the border areas between photography, cinema and video and thus comparing and contrasting the extended time of the pinhole camera with the absolute moment of film. (D. Maués) DIRCEUMAUÉS was born in Belém (Brazil) in 1968; he lives and works in Brasilia. He began taking photographs as early as 1990 and realised his first individual exhibition Estações do Olhar in the Galeria Theodoro Braga in Belém in 1994. Dirceu Maués currently holds a fellowship from the Itáu Cultural Institute, São Paulo and is a guest at Künstlerhaus Bethanien for one year in the context of our International Studio Programme. The press office of Künstlerhaus Bethanien is always happy to provide further information and illustrative material on request.

1National Library Of Brazil Video

Amazing National Library Of Brazil

A GUIDED TOUR WITH JORGE BODANZKY

Museum of image and sound, MIS, São Paulo Brasil
IN THE MIDDLE OF THE RIVER AMONG THE TREES - JORGE BODANZKY'S AMAZON
Curated by Thyago Nogheira and André Sturm

Jorge Bodanzky
An exponent of Brazilian cinema, Jorge Bodanzky got close to the Amazon for the first time in 1968. He was working as photo-reporter for Realidademagazine, a monthly publication launched two years previously, gathering journalism experts around bold stories, even for today's standards. His article about fake money circulating through the Belém-Brasilia highway was never published but the journey yielded beautiful images and sketches for a film. Thus was born Iracema, uma transa amazônica [Iracema, an Amazonian affair, 1974], his most well-known feature and a declaration of sorts of the principles that Bodanzky would develop from then on. Navigating with originality between documentary and fiction, and having both professional actors and ordinary people in the cast, the filmmaker follows the daily life of a truck driver and a prostitute while at the same time presenting fierce criticism to the development moden conducted in the country.
Throughout the next forty years, Bodanzky pointed his cameras to the Amazon countless times, shaping a production body fueled
by human drama, interest in economic and social conflicts, a formal simplicity that brings viewers close to the object of focus, and unique talent to extract from the everyday microcos profound political reflections.
The exhibition No Meio do Rio, entre as árvores gathers many moments of Bodanzky's photographic and cinematographic production developed around the Amazon, from the late 1960s to this day. Armed with his adventurous spirit and a camera that narrates and discovers at the same time, Bodanzky introduces us to delirious characters such as Senator Evandro Carreira in O terceiro milênio [The third millennium]; to enlightened mind such as anthropologist Claude Lévi-Strauss in A propósito de Tristes Trópicos [Regarding Sad Tropics]; to pharaonic and controversial projects such as that of Jari River; and even to Native peoples on their very first contact, like those who thre arrows at the airplane on a rare Super-8, or to the anonymous curious faces he portrayed along the way. Seeing as a set, those feature and middle-length filmes, videos, Super-8 movies, and photographs compose a multifaceted prism reflecting the charms and conflicts in that area of the country-conflicts that, for the most part, sadly, are still current.

Jorge Bodanzky (1942) was born in São Paulo. In his youth, he attended an introduction-to-the-documentary course at Teatro de Arena, taught by teachers such as Paulo Emilio Salles Gomes, Jean-Claude Bernardet, Maurice Capovilla, and Roberto Santos. During that course he watched Aruanda (1960), a film by Linduarte Noronha, from Paraiba State, which he considers the ground zero of my decision to make movies. He moved to Brasilia in 1963 and enrolled in Architecture School at the Brasilia University. That is where he started to work with photograpy, encouraged by porfessors Amelia Toledo and Athos Bulcão. With photographer Luis Humberto, he put together the university's first photoghaphy lab but had to leave Brasilia in 1965 due to the military coup. Back to São Paulo, he worked for Manchete magazine and Jornal da Tarde daily before he left the country to study cinema at the Ulm School of Design, Germany, under director Alexander Kluge. He came back to Brazil in 1967 to do the cinematography for The Prophet of Hunger, a movie by Maurice Capovilla. In the following years, he worked as a photographer for Iris and Realidade magazines, as a camera operator for foreign TV channels and in movies by Carlos Reichenbach, José Agripino de Paula, Antunes Filho, João Batista Ribeiro and Hector Babenco. In 1968, he exhibited photographs at Astreia gallery alongside Fernando Lemos, George Torok, and José Xavier, and traveled to the Amazon for the first time. He debuted as a filmmaker in 1974, with Iracema, uma transa amazônica [Iracema, an Amazonian affair]. The feature's international repercussion, banned in Brazil until 1980, would make the scales lean towards a filmmaking career. He taught light and camera at the School of Communications and Arts at the University of São Paulo (USP), at the University of Campinas (UNICAMP), and at the Armando Alvares Penteado Foundation in São Paulo, in the 1970s., when he adopted Super-8. Bodanzky also directed Caminhos de Valderez[Valderez's paths, 1974], Gitirana (1975), Os Mucker (1979) Pandemonium (2010), and No meio do rio, entre as árvores [In the middle of the river, among the trees, 2010], among other titles. Currently, he is working on a documentary series about the Transamazônica Higway. His photographs and Super-8 films are part of the Instituto Moreira Salles collection.

Sao Paulo (Brésil) : Itinéraire de visite touristique par vue aérienne de la ville en 3D

aircitytour.com, l'itinéraire de vos visites touristiques et culturelles en vidéo en 3D (visite virtuelle). D'autres visites sont disponibles sur aircitytour.com

Visite virtuelle de la ville de Sao Paulo (Brésil), par vue aérienne en 3D, à partir du logiciel Google Earth.

Détail de la visite par lieux :
- Citibank Hall
- Parc zoologique de São Paulo
- Jardin botanique de São Paulo
- Pont Octávio Frias de Oliveira
- Vila Olímpia
- São Paulo Aquarium
- Parque da Independência
- Parc d'Ibirapuera
- Musée d'art moderne de São Paulo
- Musée Afro Brasil
- Monument aux Drapeaux
- Casa das Rosas
- Parc Trianon
- Musée de l'image et du son de São Paulo
- KidZania São Paulo
- Tomie Ohtake Institute
- Beco do Batman
- Avenue Paulista
- Musée d'art de São Paulo
- The Football Museum
- Parque da Água Branca
- Mémorial de l'Amérique latine
- Central Zone of São Paulo
- Cathédrale métropolitaine de São Paulo
- Solar da Marquesa de Santos
- Pátio do Colégio
- Centro Cultural Banco do Brasil
- Abbaye Saint-Benoît de São Paulo
- Altino Arantes
- Prédio Martinelli
- Vale do Anhangabaú
- Theatro Municipal
- Galeria do Rock
- Pivo Art and Research
- Edifício Itália
- Praça da República
- Catavento Museum
- Municipal Market of São Paulo
- Gare de la Luz & Musée de la langue portugaise
- Pinacothèque de l'État de São Paulo
- Parc de la Luz
- São Paulo Museum of Sacred Art
- Memorial of the Immigrant
- Parque Ecológico do Tietê
- Villa-Lobos State Park

gangnam style 강남스타일 acordes style - teatro oficina uzyna uzona (official video)

teatroficina.com.br

Gangnam Style made by Teat(r)o Oficina Uzyna Uzona.

First Scene: Ai Wei Wei made his Gangnam Style -- Caonima Style, censored and removed from the internet by Chinese authorities.

Second Scene: Anish Kapoor made a Gangnam Style film -- Gangnam Style for freedom, with figures from across the arts, media and human rights, in support of Ai Weiwei and ask artists, writers, actors, musicians, museums, galleries, orchestras, choirs and dance companies to create their own short Gangnam Style film.

Third Scene: Teat(r)o Oficina Uzyna Uzona, nowadays acting a Bertolt Brecht play, made a Gangnam Style film to show the co's machinery of desire (the more than 70 artists and collaborators wich work in the eldest brazilian theatre company) and expose contemporary brazilian human rights issues, like the massacre of Guarani Kaiowá indians; the war between police and drug dealers wich killed more people in São Paulo in october/november than in Palestine; or the slums burning in criminal fires.
In the video we expose these issues hashtags for the information be found on the internet.

gangnam style 강남스타일 acordes style -- teat(r)o oficina uzyna uzona
director and screenplayer -- camila mota
co-director, cinematographer -- acauã sol
editor -- ivan vinagre
assistant director -- nash laila
sound engineer -- leandro costa
lighting -- daniel camilo, renato banti, victor fonseca
music -- mashup by gustavo lp (psy + gui calzavara)
graphyc designer -- mariano mattos martins
produced by associação teatro oficina uzyna uzona & universidade antropófaga

uzyna uzona's machinery of desire -- chorus of dancers actuators
adriano salhab
ailson martins
alessandro leivas
amanda mirage
andré gomes
anna guilhermina
beto mettig
bia magalhães
biagio pecorelli
bruno nogueira
camila mota
carila matzenbacher
carina iglesias
carolina castanho
carolina henriques
cida melo
cristiano sidoti
daniel camilo
danielle rosa
elisete jeremias
elke maravilha
fabio brito
fábio stasiak
felipe botelho
francisco feitosa
glauber amaral
gui calzavara
gustavo lemos
hector othon
leandro costa
letícia coura
lis
liz reis
luiza lemmertz
marcelo drummond
mariano mattos martins
marília gallmeister
maurilio domiciano
mayara dellacarmo
montorfano
nash laila
nina
otto barros
pedro gongom
rafaela wrigg
remi chatain
renato banti
ricardo costa
roderick himeros
renato rosati
sônia ushiyama souto
tiago ramos
tommy pietra
tony reis
victor fonseca
wilson feitosa
zé celso




Teat(r)o Oficina Uzyna Uzona.
Created in 1958, the company is led up to date by one of its founders, actor and director José Celso Martinez Corrêa. More recent productions of Teatro Oficina include the 27-hour-long Os Sertões based on the foundational novel by Euclides da Cunha as well as The Robbers by Friedrich Schiller, Plato's The Banquet and The Bacchae by Euripides, amongst others.

Universidade Antropófaga.
Anthropofagic University
The Universidade Antropófaga works to train Brazilian and world artists that are political citizens of the current reality. Its theoretical and practical foundations are the anthropophagic philosophy of Oswald de Andrade. The university values: (1) the technized barbarian, (2) the primitive nativism, (3) the millionaire contribution of all mistakes, (4) the neologisms, (5) the struggle against speculation, (6) languages without archaisms and pomposity, (7) the poetry of exportation, (8) the learned and re-invented act of pure devouring.
Even before the establishment of its headquarters, the university was structured around central departments (cells), such as:
• the expressivity cell (theater, performance, dance, and music);
• the visual arts cell (concrete learning of sound, light and image management);
• the props and scenario cell (scenario, architecture, clothes design and management, manufacture of props);
• the directing cell;
• the production cell;
• the communication cell.
All derpatments (cells) stress the practical and theoretical sides of their pertaining subjects. Students train in all cells.

acordes
das badener lehrstuck vom einverständnis
written by bertolt brecht & josé celso martinez corrêa
shows until 12.23.12
fri . sex 9:30 pm
sat . sáb 9:00 pm
sun . dom 8:00 pm

teat(r)o Oficina
rua jaceguay, 520, bixiga, são paulo, sp brazyl
+55 11 3106 2818 | +55 11 31065300


watch teat(r)o oficina's acordes live on

First Indian circumnavigation - Video Learning - WizScience.com

The first circumnavigation by an Indian crew was undertaken in 1985-1987 by the Indian Army Corps of Engineers on yacht Trishna, a 1970-vintage Swan 37 sloop.

Trishna was given the singular honour thereafter of being transported to New Delhi and displayed on a tableau during the Republic Day Parade, 1987.







On 28 September 1985 Trishna set sail from the Naval Sailing Club jetty at Colaba, Mumbai with General Arun Shridhar Vaidya, then-Chief of the Army Staff accompanied by Lt. Gen. P.R. Puri, Engineer-in-Chief flagging off the First Indian Expedition Around the World.

The team consisted of ten members, with six on the boat at any one time, of which four were permanent crew:

The sailing expedition commenced from Bombay, India on 28 Sept 1985. Right from the time Trishna left harbour, she ran into the low pressure weather system of the receding monsoons which accompanied her till her first port of call at Male and thereafter to Mauritius on 25 October 1985. The boat was hit by severe storms on several occasions which damaged the VHF and HF radio aerials and electrical systems on board. The crew resorted to makeshift repairs at sea to restore communication and navigation systems
After a brief halt, the boat set sail from Port Louis, Mauritius on 30 October 1985. The sail to Saint Helena, South Atlantic Ocean around the Cape of Good Hope was rough and the longest non-stop leg of the trip, taking 33 days. Trishna on one occasion was swamped by a rouge wave and lost most of her life saving equipment in the incident. The radio set was damaged and the antenna on the masthead broke. Communication with Mumbai and other ports was cut off. The sail across the South Atlantic Ocean was peaceful and Trishna reached St Helena on 2 December 1985.


The boat reached Ascension Island on 15 December 1985. Staying ashore or mooring on the island was not permitted there and Trishna had to tie up alongside the oil tanker Maersk Ascension which is permanently anchored off the island
The sail thereafter till the Caribbean Sea was largely calm. The winds remained predominantly South-Easterly. The first port of call on the continent of South America was at the coastal town of Natal. The crew celebrated the New Year of 1986 there with their Brazilian Navy hosts. From there, the boat sailed along the coast and then up the Para River to the port of Belem. Trishna had to sail upstream on this tributary of the Amazon River for 70 nautical miles against strong currents.



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Background Music:
The Place Inside by Silent Partner (royalty-free) from YouTube Audio Library.


This video uses material/images from which is released under Creative Commons Attribution-Share-Alike License 3.0 . This video is licensed under Creative Commons Attribution-Share-Alike License 3.0 . To reuse/adapt the content in your own work, you must comply with the license terms.

CONHEÇA O MAIOR MUSEU A CÉU ABERTO DO BRASIL - PARQUE HISTÓRICO DE CARAMBEÍ

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E-mail to jimmypalhano@hotmail.com

????【REVOADA DE NATAL】???? MANAUS → SANTARÉM → BELÉM | ???? VATSIM | ZIBO B738

Ajude a Connect VA a crescer cada vez mais:

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Muito Obrigado a todos os Instrutores Connect que a todo o tempo ajudam a manter nossa simulação o mais realista, também gostaria de homenagiar nosso Diretor Geral Bruno Veiga, que apesar de sua agenda corrida sempre atende minhas ligações e reuniões de ultima hora!

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TRENCH DARK RIDE - TRINCHEIRA - ESPECTÁCULO TEMÁTICO

TRINCHEIRA - ESPECTÁCULO TEMÁTICO
TRENCH - DARK RIDE
AUTHOR OF THE IDEA - PRODUCTION - ART DIRECTION - COSTUME AND SET DESIGN - MODEL MAKING
Jorge Gameiro
Tel. 00 351 91 9209086 - 00 351 91 5446081
Portfolio
You Tube
Linkedin
Google+
Images
Blog
REEL 1-
2-
gameiroanimatronics@gmail.com
jorgegameiro.com

LIFE IN THE TRENCHES
An experience that brings history to life

Entering this thematic Dark Ride, you come face to face with Portuguese soldiers, heroically taking part in the First World War. In this environment you can appreciate the conditions in which these soldiers spent long periods of time, as though between life and death.
This isn't so much a documentary exhibition as an experience, unique in Portugal; including realistic simulation of the muddy interior of the trenches below ground level, exterior views of the desolation of no man's land, exchanges of fire, explosions and burning debris. The sound, light and special effects are those more often experienced on the cinema screen than within a three dimensional space.
Eighteen figures, presented in a series of scenes, provide a detailed portrait of how life carried on in the trenches: how these soldiers slept, ate, treated wounds, met hygiene needs and even took part in very limited leisure activities. The experience follows the soldiers out of the trenches, into an attack on the enemy and at last to the Armistice at the end of the War.
All these figures, their uniforms, accessories and arms have been subject to rigorous investigation. The environments and special effects are as authentic as it is possible to reproduce with the public's safety taken into consideration.
The sequencing of scenes; including the use of light, sound and special effects, is controlled by computer programmes of the same standard as those used in the world's best thematic museums. Given the seriousness of the subject, attention to detail is given the highest priority.
The result is the kind of realism that enables you to look into the eyes of the soldiers, trying to imagine how they suffer, dream, survive or die in the Trenches.

AUTOR DA IDEIA - DIRECTOR DE ARTE - PRODUÇÃO - CENOGRAFIA E DIRECÇÃO TOTAL DO PROJECTO.

Jorge Gameiro
Tel. 00 351 91 9209086 - 00 351 91 5446081
Portfolio
You Tube
Linkedin
Google+
Images
Blog
REEL 1-
2-
gameiroanimatronics@gmail.com
jorgegameiro.com

A TRINCHEIRA
Uma espectacular viagem no Tempo
Frente a frente com os com os heroicos soldados portugueses que participaram na Primeira Guerra Mundial, aqui se retrata de forma realista, a vida nas Trincheiras, onde os soldados passavam longos períodos de tempo, apenas a um passo entre a vida e a morte.

É um espectáculo temático único em Portugal, utilizando cenários reais e figuras híper realistas, onde se simulam com grande realismo não só os interiores da trincheira, mas também um verdadeiro cenário de guerra, na chamada terra de ninguém, que inclui rebentamentos de bombas, incêndios, explosões, tiros das várias armas utilizadas, recorrendo a vários equipamentos de efeitos especiais de luz e som, habitualmente utilizados no cinema.

As figuras retratam com rigor a vida quotidiana dos soldados no interior de uma trincheira, como dormiam, como se alimentavam, como eram tratados os feridos, como tratavam da sua higiene, os poucos momentos de descanso e lazer, até á simulação de um verdadeiro cenário de guerra, na terra de ninguém,..Finalmente uma cena onde é retratado o final da Guerra (Armistício)Figurinos (fardamentos, acessórios, armamento, adereços e cenários), resultado de uma rigorosa investigação.

Partilhe o dia a dia destes valorosos soldados e tente imaginar o que eles sofreram, viram, sonharam e como sobreviviam ou morriam nas Trincheiras.

The Biggest Scam In The History Of Mankind - Hidden Secrets of Money Ep 4

Bonus Presentation here: Who owns the Federal Reserve? How does the Federal Reserve work? You are about to learn one of the biggest secrets in the history of the world... it's a secret that has huge effects for everyone who lives on this planet. Most people can feel deep down that something isn't quite right with the world economy, but few know what it is.
Gone are the days where a family can survive on just one paycheck... every day it seems that things are more and more out of control, yet only one in a million understand why. You are about to discover the system that is ultimately responsible for most of the inequality in our world today.
The powers that be DO NOT want you to know about this, as this system is what has kept them at the top of the financial food-chain for the last 100 years.
Learning this will change your life, because it will change the choices that you make. If enough people learn it, it will change the world... because it will change the system .

For this is the biggest Hidden Secret Of Money.

Never in human history have so many been plundered by so few, and it's all accomplished through this... The Biggest Scam In The History Of Mankind.

===========================

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Meet the 2019 Loeb Fellows: Washington Fajardo

As president of the Rio World Heritage Institute and the Mayor’s Special Advisor for Urban Issues from 2009 to 2016, Washington Fajardo created policies and finance solutions to preserve heritage, regenerate buildings and places, and improve public services in Rio de Janeiro. His innovative initiatives revived cultural heritage in the city’s waterfront renewal and supported private owners to rehabilitate historic buildings.

Now, as he pursues architectural design and planning activities in his studio DEBR, he is developing a new “urban agency,” a mix of “do-tank” and investigation and problem solving lab at the intersection of academia, city government, and community. Fajardo created the Carioca Design Center and the African Heritage Historical and Archaeological Trail. He has won awards for Ver-O-Peso urban renewal in Belém in the Amazon Region, Pavuna Carioca Arena, and the New Imperator, an old movie theater converted to a multipurpose cultural center. His weekly column about urban issues appears in O Globo newspaper.

RC Beyblade Burst Evolution GENESIS VALTRYEK & DRAIN FAFNIR Unboxing & Review!

Hasbro released these awesome new Bluetooth wireless RC remote control Beys and frankly, we're really impressed! We love our traditional Beys, but seeing products like these Digital Control Kits every once in a while is really refreshing.

Like the previous light-up/RC Beys that have been released in the past, the Performance Tips on these models are much bigger and jam packed with electronics. In older generations of Beyblade, their remote controlled versions came with a separate controller, but now you can just use the official Beyblade Burst app! Simply scan the code on the back of the Energy Layer on your RC Bey and it'll unlock in your game. After that, go for some EPIC battles while controlling your Bey, giving it commands to boost its speed, reverse its spin or perform a crazy avatar attack.

We might just have to battle these RC Beys against some of our originals, what do you guys think? What are you thoughts on these RC Beys?
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Masterclass com Lelé - Arq.Futuro SP 2011

JOÃO FILGUEIRAS LIMA (LELÉ)
É um arquiteto carioca conhecido especialmente pelo conjunto de projetos que desenvolveu junto à rede Sarah de hospitais. Colaborou com Oscar Niemeyer no projeto e construção de Brasília.

O Arq.Futuro traz ao país grandes nomes do cenário arquitetônico mundial para compartilhar suas experiências e opiniões e analisar os papéis da arquitetura contemporânea, em suas abordagens artística, social e ambiental.
Os critérios estéticos que movem cada arquiteto, a educação dos cidadãos sobre o assunto e as soluções urbanísticas para as cidades de hoje são alguns dos temas que são debatidos nos encontros.
Todo o conteúdo gerado será registrado e disponibilizado posteriormente em diversos formatos, que incluem a publicação de um livro digital e material audiovisual com imagens e vídeos exclusivos.

See HIM, Oba Enitan Ogunwusi with rare gemstones, 401 Divinities and Ife arts in Lagos

In the western understanding of the term, Yoruba, it is not just a word that describes an ethnic group in Western Nigeria or Africa alone but a race that is spread across other countries of the world. Due to Atlantic Slave Trade, Yorubas have been found in communities in Cuba, Puerto Rico, Dominican Republic, Venezuela, Jamaica, Brazil, Trinidad and Tobago, Saint Lucia and Grenada.
To restore and promote Yoruba civilisation worldwide, The House of Oduduwa led by His Imperial Majesty Oba Adeyeye Enitan Ogunwusi, the Ooni of Ife has partnered with the governments of Brazil, Cuba and over 20 other countries to start Oduduwa Mobile Museum. The project, loaded with a lot of economic, political and socio-cultural benefits will draw attention to the rich Oduduwa culture and stimulate global conversations.
The project was unveiled September 7 at the Brazilian Embassy in Lagos. Scheduled to last 60 days, the project parade about 1000 African cultural materials as they are moved from place to place. In a statement issued by the House of Oduduwa, the unveiling ceremony will be followed by a four-day exhibition of antiquities, art recreations of divinities and treasures of ancestors of the Oduduwa people.
“The cultural items for the exhibition recall the earliest and superb civilization of the Oduduwa people spread across the world and the place of pre-eminence of the Oduduwa people in the history of mankind. The cultural items combine to reinforce the belief that indeed humanity originated from Ile-Ife, the acclaimed origin of the Oduduwa people located in South Western part of Nigeria,’’ it stated.
Oduduwa Mobile Museum is aimed at attracting and coordinating various interests and groups across the globe for sustainable global peace and development. The museum will function as a hub of diverse African cultural productions and knowledge-retrieval, knowledge-renewal and knowledge-production centre for ancient African material and intellectual cultures. The museum is committed to reconstructing the image of the black man who is arguably the oldest specie of humanity.
Being a first of its kind in Nigeria, the museum is designed to reinforce the historic ties of Brazil with Africa as recognized by UNESCO; valorize the memory and the cultural diversity of Africa. The museum will celebrate persons of Oduduwa ancestry who have performed great feats. This unveiling ceremony coincides with Brazil’s 197th Independence Anniversary. Brazil is the only country in the world with over 80million Oduduwa descendants as part of her population. Brazil has adopted Yoruba as its official language.
“It is therefore appropriate that the museum project has been designed to have Ile-Ife and Brazil as its split base. It cannot be any other time other than now or the world to hear from and through Ile-Ife, where it all started, the narrative of a continuum of the past, the present, and the future,’’ House of Oduduwa stated.

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Portugal with Rich Earl | Rick Steves Travel Talks

In this travel talk, Rick Steves' Europe travel expert Rich Earl describes Portugal's top stops — from lively Lisbon to second city Porto, from college town Coimbra to rustic Évora, and from the vineyards of the Douro Valley to the beaches of the Algarve — and explains practical travel skills for visiting Portugal, including advice on eating, sleeping, getting around, and more.

Planning a trip to Portugal? You’ll find lots of free travel information at

Recorded on March 17, 2018 • Rick Steves' Europe Travel Center

Written and Presented by Rich Earl
Produced by Cameron Hewitt
Filmed and Edited by Zen Wolfang
Photography by Dominic Arizona Bonuccelli, Rich Earl, Rick Steves, and others
Graphics by Heather Locke and Rhonda Pelikan

© 2018 Rick Steves' Europe, Inc.
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