Before continuing this article, I find it necessary to tell that I am what I am, because I have been fortunate enough to have certain devoted teachers. One of the most respected and adored faculty of my institute once exclaimed, “Teachers here get full pension before retirement and half pension after”. What is more shocking is the fact that teachers sometimes resort to extremely unethical and wrong means to try and coerce students into doing deeds favourable for them.
I would not be talking about all these issues if they do not directly affect the students. The negative influences of teachers who are more interested in the politics of power than in shaping up a student’s career, go a long way.
I just want you to look at it from another angle – the dearth of teachers in our country.
We have an extremely fast growing population… a 100 kids are born in India every minute.
Although it can be a very harsh take on the teachers, such an evaluation scheme will ensure that the penetration of corruption and money-mindedness in the education system wil be regulated.
Sin abandonar la criptografia, algo tan esoterico como el Teorema de Fermat (que afirma, a grosso modo, que el teorema de Pitagoras no funciona para potencias superiores a 2), condujo al desarrollo de las curvas elipticas (una idea lleva a otras ideas),y estas ultimas son las que ahora usamos en criptografia (de la idea al mercado).
Pero hay algunas ideas que vienen de ideas que todavia no han pasado al mercado, ni sabemos como podrian trasladarse. Las ideas van y vienen, de las matematicas a otras ciencias, de otras ciencias a las matematicas, y de repente algunas pasan al mercado.
Manuel de Leon (CSIC, Real Academia de Ciencias) es Director del Instituto de Ciencias Matematicas (ICMAT) y Miembro del Comite Ejecutivo de IMU.
Si te gusto esta entrada animate a escribir un comentario o suscribirte al feed y obtener los articulos futuros en tu lector de feeds. Hay dos tipos de profesionales: el primero representado por el 99,99% solo son capaces de imitar, copiar, modificar y pensar sobre sistemas ya existentes, sin aportar ninguna innovacion. El segundo tipo el 0,01%,somos capaces de crear nuevos sistemas y aplicaciones que aportan innovacion, diferenciacion, nuevas ideas disruptivas. Slideshare uses cookies to improve functionality and performance, and to provide you with relevant advertising. LOS DESAFIOS DE LA EDUCACION BASICA EN EL SIGLO XXIJUAN CARLOS TEDESCO )*REVISTA IBEROAMERICANA DE EDUCACION. INDISCUTIBLEMENTE, ELDOCENTE LEJANO, OGRO YTEMIDO POR SU ACTITUD YTRATO (EL HERR DOCTOR) YA PERTENECE ALPERIODO JURASICO DE LA EDUCACION.. PARADOJA ULTIMAS DECADAS, SE HA GENERALIZADOLA DEMOCRACIA POLITICA, LA AMPLIACIONDE LOS AMBITOS DE PARTICIPACIONCIUDADANA Y LA SUPERACION DE LASBARRERAS TRADICIONALES PARA ELACCESO A LA INFORMACION.INCREMENTADO SIGNIFICATIVAMENTE,DISTANCIAS SOCIALES Y SURGEN FORMASDE SEGMENTACION SOCIAL MAS RIGIDASQUE LAS EXISTENTES EN EL CAPITALISMOINDUSTRIAL.
LOS PAISES DE AMERICA LATINA, DONDE MIENTRAS EN 1970 LA BRECHA ENTRE EL 1% MAS POBRE Y EL 1% MAS RICO DE LA POBLACION ERA DE 363 VECES,EN 1995 HABIA AUMENTADO A 417 VECES. LA APARICION DE LAS NUEVAS TECNOLOGIASPRODUJO UN FENOMENO COMPARABLE ALQUE PRODUJO LA INVENCION DE LAIMPRENTA. INTERNET EN AMERICA DEL NORTE, DONDE VIVE MENOS DEL 5% DE LOS HABITANTES DEL PLANETA, RESIDE MAS DEL 50% DE LOS USUARIOS DE INTERNET. COLOMBIA AUN NO SE HA UNIVERSALIZADO LAESCOLARIDAD PRIMARIA, EN LOSPAISES DESARROLLADOS YA HANUNIVERSALIZADO LA ENSENANZA SECUNDARIA Y TIENEN MAS DEL 60% DE LOS JOVENES EN LA EDUCACION SUPERIOR. LINEAS DE TRABAJO PEDAGOGICO 1.? APERTURA DE LA ESCUELA A LAS DEMANDAS SOCIALES NO SIGNIFICA REPRODUCIR DENTRO DE ELLA LAS EXPERIENCIAS QUE YA EXISTEN FUERA, NI TAMPOCO ACOMODARSE A LAS TENDENCIAS DOMINANTES EN LAS PRACTICAS SOCIALES. LA EDUCACION YA NO PODRA ESTAR DIRIGIDA A LA TRANSMISION DE CONOCIMIENTOS Y DE INFORMACIONES, SINO ADESARROLLAR LA CAPACIDAD DEPRODUCIRLOS Y DE UTILIZARLOS.
ACOMPANANTE COGNITIVO PERMITE APRECIAR LOS CAMBIOS EN ELPAPEL DEL MAESTRO O DEL PROFESOR COMO MODELO.LA MODELIZACION DEL DOCENTE CONSISTEEN PONER DE MANIFIESTO LA FORMA EN QUEUN EXPERTO DESARROLLA SU ACTIVIDAD, DEMANERA TAL QUE LOS ALUMNOS PUEDANOBSERVAR Y CONSTRUIR UN MODELOCONCEPTUAL DE LOS PROCESOSNECESARIOS PARA CUMPLIR CON UNADETERMINADA TAREA. RECONOCIENDO LA IMPORTANCIA DEL CONTEXTO SOCIOECONOMICO Y LAS INSTITUCIONALES, ADQUIERE MAYOR RELEVANCIA LA HIPOTESIS SEGUN LA CUAL PARA QUE LAS REFORMAS«LLEGUEN AL AULA» Y SE MODIFIQUEN LAS RELACIONES Y LOS RESULTADOS DE APRENDIZAJE, LA CLAVE ES EL MAESTRO, SUS METODOS, SUS ACTITUDES Y SUS REPRESENTACIONES. NEW YORK, October 31, 2011—The exhibition Diego Rivera: Murals for The Museum of Modern Art reunites, for the first time in 80 years, five “portable murals,” freestanding frescoes with bold images addressing the Mexican Revolution and Depression-era New York that Rivera created at the Museum for his 1931–32 MoMA retrospective.
Comprising five of the eight murals that were shown in the 1931-32 exhibition, they are drawn from public and private collections in the United States and Mexico, including MoMA’s own collection.
By 1931 Rivera was the most visible figure in Mexican muralism, a large-scale public-art initiative that emerged in the 1920s in the wake of the Mexican Revolution. After the exhibition’s opening, Rivera added three more murals, each depicting labor and construction in Depression-era New York. The five murals from the 1931 retrospective that are on view in Diego Rivera: Murals for The Museum of Modern Art are Agrarian Leader Zapata (1931), Indian Warrior (1931), The Uprising (1931), Frozen Assets (1931–32), and Electric Power (1931–32). THE PORTABLE MURALS The portable mural Agrarian Leader Zapata depicts Emiliano Zapata, a champion of agrarian reform and a key protagonist in the Mexican Revolution, leading a band of peasant rebels armed with provisional weapons, including farming tools. Of all the panels Rivera made for MoMA, Indian Warrior reaches back farthest into Mexican history, to the Spanish Conquest of the early 16th century. In The Uprising, a woman in modern dress with a baby at her hip and a man dressed like an urban worker fend off an attack by a uniformed soldier.
Situated below a view of New York City’s jagged skyline, a steel-and-cement power plant interior dominates Electric Power. In Frozen Assets, the most ambitious and controversial of Rivera’s New York–themed panels, the artist coupled his appreciation for the city’s distinctive vertical architecture with a critique of its economic inequities. Additional works related to the 1931 commission are also on view, including The Rivals (1931), a large-scale painting that depicts a fiesta in Tehuantepec, an area in the south of Mexico that Rivera first visited in 1922. Also on view is Market Scene, which depicts an Indian woman and child offering a tribute of fruit and fish to a Spanish conqueror.
While Rivera was in New York in 1931, he began discussions for a commission at Rockefeller Center. Posizionare il cursore sulle immagini per leggere le didascalie; cliccare sulle immagini per ingrandirle. The exhibition is made possible in part by BBVA Bancomer, with major support provided by the National Council for Culture and the Arts (CONACULTA). The Museum acknowledges generous funding from David Rockefeller, Sue and Edgar Wachenheim III, and The Mexican Friends of Rivera: Dr.
Additional support is provided by the Consulate General of Mexico in New York and by the Mexican Cultural Institute of New York. Support for the publication is provided by The International Council of The Museum of Modern Art.


Artist Yevgeniy Fiks leads a performative tour of the exhibition Diego Rivera: Murals for The Museum of Modern Art, in which he discusses works on view in the context of the artist’s leftist politics. This three-part lectures series will address the culture and politics of early-20th-century Mexico, look at the influence of the Mexican Revolution and of Leon Trotsky on Rivera and his politics, and examine the controversial mural Rivera was commissioned to create for Rockefeller Center and the mural’s eventual removal from the building.
Friday, March 30, 2012, 3:00 pm, The Institute of Fine Arts, New York University, 1 East 78th Street, New York, NY At a symposium presented by New York University and The Museum of Modern Art, art historians Mary Coffey, Renato Gonzalez Mello, Maria Gough, Alexander Nemerov, and Anna Indych-Lopez will examine international debates about the role of public art in the 1920s and 1930s. AUDIO GUIDE: The accompanying audio guide features extensive commentary by Curator Leah Dickerman and Conservator Anny Aviram. Support for the publication is provided by The International Council of The Museum of Modern Art and by The Museum of Modern Art’s Research and Scholarly Publications endowment established through the generosity of The Andrew W.
The exhibition is accompanied by a website that enables visitors to explore the eight portable murals made by Rivera, including detailed annotations on the works.
But when it invades educational institutions, what it leaves is such a filthy sludge that it sucks in one victim after another and it leaves the entire organisation in shambles. To some people you feel like giving respect, some others command respect, some you hold in awe but there are really a few who make you feel incomplete if you don’t respect and you choose to hold them in awe and reverence.
It ranges from relatively trivial deeds like asking students to run errands for them, buy breakfast for the morning, get quotations for lab instruments and many more – to more serious issues like forcing students to do projects under them which would eventually help the lecturers get their own degrees. Not only students suffer this plight but also the junior teachers who are newly recruited. With politics on one side and corruption on the other, students are sandwiched in between, and remain as dumb coins on a carom board.
They must grade themselves by the number of students who come back 1, 2, 5 or 10 years after graduation and say, “Thank you”. Talking in circles does not change the fact that the american economy example was in no way a direct or indirect analogy for the failures of our teaching system.
Now that means you need at least one new, good, non-corrupt, friendly teacher born every minute.
La descomposicion de un numero en factores primos es la base de la criptografia de clave publica conocida como RSA (por sus inventores, Rivest, Shamir y Adleman), y la idea detras es el llamado pequeno teorema de Fermat. Es importante no olvidar este hecho, y no separar ciencias entre si y estas de las tecnologias; los caminos entre todas ellas son a veces largos, otras hay atajos insopechados. TODO LO QUE NO CIRCULE PORLOS CIRCUITOS CREADOS POR ESTASTECNOLOGIAS TENDRA UNA EXISTENCIAPRECARIA, COMO LA TUVIERON TODAS LASINFORMACIONES Y SABERES QUE NO FUERONINCORPORADOS AL LIBRO O AL DOCUMENTOESCRITO A PARTIR DE LA EXPANSION DE LAIMPRENTA.
A DIFERENCIA , EN ASIAMERIDIONAL DONDE HABITA MAS DEL 20% DE LA HUMANIDAD, SOLO SE ENCUENTRA EL 1% DE LOS USUARIOS. RAZON POR LA CUAL EL OBJETIVO DE VIVIR JUNTOS CONSTITUYE UN OBJETIVO DE APRENDIZAJE Y DE POLITICA EDUCATIVA. APRENDER A APRENDERLA FUNCION DE LA EDUCACION DEL FUTURO.? LA SIGNIFICATIVA VELOCIDAD QUE HA ADQUIRIDO LA PRODUCCION DE CONOCIMIENTOS Y LA POSIBILIDAD DE ACCEDER A UN ENORME VOLUMEN DE INFORMACION IMPORTANCIA CRECIENTE.
Diego Rivera: Murals for The Museum of Modern Art is organized by Leah Dickerman, Curator, Department of Painting and Sculpture, The Museum of Modern Art.
The exhibition also includes materials related to Rivera’s infamous Rockefeller Center mural, a project he began to discuss while in residence at the Museum.
But his murals—by definition fixed on a single site—were impossible to transport for exhibition.
The city’s advanced industrialization provided Rivera with exciting modern subjects for his murals, while its economic inequities offered ample opportunity to scrutinize class and power in the United States. Two of the three remaining murals—Liberation of the Peon (1931) and Pneumatic Drilling (1931–32)—are represented in the exhibition through full-scale working drawings. With the bridle of a white horse in his hand, Zapata stands triumphantly beside the dead body of a hacienda owner. An Aztec warrior wearing a jaguar costume stabs an armored conquistador in the throat with a stone knife. Behind them, a riotous crowd clashes with more soldiers, who force demonstrators to the ground.
While there were no major hydroelectric plants in sight of the city when Rivera made the work, the technology was a major topic in the United States; the Federal Power Act was revised in 1930, and construction began on the Hoover Dam in 1931. The panel’s upper portion features a dramatic sequence of recognizable skyscrapers, most of which had been completed within a few years of Rivera’s arrival in the city.
In the drawing for Liberation of the Peon, Rivera developed a harrowing narrative of corporal punishment.
Abby Aldrich Rockefeller, one of the founders of MoMA and an important collector of Rivera’s work, commissioned this canvas as part of a significant purchase of paintings and sketches that helped defray the cost of the artist’s trip to New York for his exhibition at MoMA.
Materials related to the commission are on view, including preparatory drawings for the Rockefeller mural, Man at the Crossroads, and photographs of the mural in progress, among other materials. Abraham Franklin and Gina Diez Barroso de Franklin, Roberto and Aimee Servitje, Yvonne Dadoo de Lewis and Martin Lewis, Marie Therese Hermand de Arango, Juan Beckmann Vidal and Doris Legorreta de Beckmann, Timothy Heyman and Malu Montes de Oca de Heyman, and Enrique Norten.
It has a variety of faces like embezzlement and misappropriation of funds, contracts given to friends and relatives, personal expenses charged to university accounts, hidden records, destruction of records and a number of activities that you wouldn’t normally associate with universities. But, let us set aside all the imperfections, that are by and large associated with the student community, for now. They are forced to take sides, and remain a virtual servant to some dominating senior members among the faculty. Students pay fees for dedicated teaching, high academic standards, good industry exposure and decent infrastructure. Given two words, anybody can find a seemingly semantically correct link which has absolutely no relation whatsoever to the issue at hand.
Bonus and allowance over the basic pay must be fixed only on the basis of their contribution to the college for that year. De una idea matematica hemos pasado directamente a un producto tecnologico: un algoritmo criptografico que se usa tanto para cifrar mensajes como para firmar digitalmente, y que mueve mucho dinero.
Por ejemplo, sabemos que hay infinitos numeros primos (lo demostro Euclides de manera muy sencilla), pero no como estan distribuidos.
The murals, which are up to six feet by eight feet in size and weigh as much as 1,000 pounds, are made of frescoed plaster, concrete, and steel. To solve this problem, the Museum brought Rivera to New York six weeks before the show opened and provided him with a makeshift studio in an empty gallery in the Museum’s original building. The exhibition also features archival materials, including designs and photographs drawn from MoMA’s archives, related to the commission and production of the works.


Though Zapata was often vilified in contemporary press as a treacherous bandit, Rivera immortalized him as a hero and glorified the victory of the Revolution in an image of violent but just vengeance. The details of Aztec culture in the image reflect Rivera’s extensive study of pre-Columbian art, of which he was an avid collector. In the early 1930s, an era of widespread labor unrest, images of the violent repression of strikes would have resonated with both U.S.
Rivera peeled back his plant’s facade to bring the workers—deep in the inner workings of its machinery—into the space of the viewer, exposing the human labor that powers the modern city.
In front of them are cranes and the steel frames of buildings in progress—emblems of New York’s construction boom. It features a laborer, beaten and left to die, cut down from a post by sympathetic revolutionary soldiers, who tend to his broken body. His experimentation may have been prompted by his upcoming retrospective at MoMA, which was then in the early planning stages.
Rivera began work on the mural in March 1933, but by mid-May he had been discharged from the project and his fresco covered with a tarp, concealed until it was chipped from the wall the following year.
Leah Dickerman (Curator, Department of Painting and Sculpture, The Museum of Modern Art), and Edward J. Anna Indych-Lopez, a specialist in Mexican modernism, offers in-depth analysis of each of the eight fresco panels. The preparation a staff puts in, before coming to a class, reflects in the way they teach. If an institute cannot provide these, then why make false promises and try to attract budding intellectuals holding high expectations ? Faculty under-performing consistently must be subjected to strict action as in the case with private firms. However, it also backs up a far more controversial study conducted by San Francisco public health officials, which claims that all people diagnosed with the virus should start antiviral treatment as fast as possible, mostly due to the advantages of taking on the virus in its early stages.
Working around the clock with three assistants, Rivera produced five “portable murals,” large blocks of frescoed plaster, concrete, and steel that feature bold images commemorating Mexican history.
In addition to Agrarian Leader Zapata, a large-scale cartoon study of the work along with an X-ray of the mural are on view. Simultaneously, the work demonstrates the artist’s intimate knowledge of European artistic tradition—the conquistador’s sharply foreshortened body and carefully modeled armor recall works by Renaissance masters, which Rivera studied firsthand on an extended trip to Italy in 1920. In the middle section, a steel-and-glass shed serves as a shelter for rows of sleeping men, evoking the dispossessed labor that made such growth possible.
In the drawing for Pneumatic Drilling, two figures use a pneumatic drill and jackhammer to bore into Manhattan’s granite foundation. The artist’s innovative response—a freestanding fresco panel—allowed for both exhibition and sale of his mural work.
The most frequently cited reason for the sudden dismissal of the artist is Rivera’s inclusion of a portrait of Vladimir Lenin—a detail that provoked inflammatory headlines. Sullivan (Helen Gould Sheppard Professor of the History of Art, Institute of Fine Arts, New York University), will moderate. Conservators Anny Aviram and Cynthia Albertson examine Rivera’s working process, materials, and technical innovations.
A dia de hoy no solo no sabemos si la conjetura es cierta o no, ni siquiera que reportaria una cosa u otra.
Four of these five panels featured images borrowed, with some adaptations, from the mural cycles in Mexico that had established Rivera’s reputation. The latter reveals the internal skeleton of one of Rivera’s portable murals for the first time. The red banners and clenched fist that rise above the crowd offered internationally comprehensible signs of workers’ resistance. Below, a bank’s waiting room accommodates a guard, a clerk, and a trio of figures eager to inspect their mounting assets in the vault beyond.
Rivera later identified this scene as depicting preparations for the construction of Rockefeller Center, at the time the largest building project ever funded wholly by private capital. Also included is a selected chronology of the artist’s life and work, focusing on the events that led to his New York show.
But looking at the path the education system is taking, I don’t find any light at the end of the tunnel.
Grant Colfax, director of HIV prevention at San Francisco’s Public Health Departmentsaid.
At MoMA these images formed a new cycle: a series of historical snapshots of Mexican power relationships. Rivera’s jarring vision of the city struck a chord in 1932, at the nadir of the Great Depression. Because the surface of a fresco panel dries quickly, Rivera used full-scale cartoons like these to develop his compositions before applying pigment to the wet plaster.
Together these elements provide a compelling perspective on the intersection of art making and radical politics in the 1930s. Together they present the nation in a continual state of revolution—from the Spanish Conquest in the 16th century to labor unrest in the decade in which they were made. But it is necessary to realize one’s incompetencies, and also act upon those realizations.
The first of these panels to be made, Agrarian Leader Zapata, later joined MoMA’s collection, and is now a familiar icon on the Museum’s walls. They refuse to realize students should be taught not to cut flowers, but to grow their own plants. Michael Saag, former chairman of the HIV Medicine Association and director of AIDS research at the University of Alabama-Birmingham. After all, giving an expensive treatment to anyone who wants it and needs it is never easy, and it’s always cheaper to give the treatment later.



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