Asesino Serial de Buenos Aires

Jubilación: derecho condicionado. La situación en Europa

Claudio Goldini — Wed, 10 Mar 2010 20:56:26 GMT

España: A partir de 2013 se pretende retrasar la edad jubilatoria de 65 a 67 años en forma progresiva. Además, buscan ampliar el período de la vida laboral con el que se calcula la pensión, que actualmente es de 15 años, lo que supone un recorte encubierto de haberes. Por cada año que se retrase la edad jubilatoria se reduciría el gasto en pensiones en un punto del PBI. En el país ibérico la tasa de desempleo entre los jóvenes es del 40 por ciento, problema que se exacerbará de concretarse el cambio en la edad mínima de retiro.

Alemania: En 2007 se aprobó una ley para la extender la edad para retirarse de 65 a 67. Comenzará a aplicarse en 2012, a razón de un mes por año. A partir de 2023, el aumento anual será de dos meses. Hay planes de incentivo para adoptar el plan de pensiones privado y a partir de 2011 el aumento de las jubilaciones se reducirá a la mitad.

Francia: En 2008 se aprobó el aumento en la cantidad de años necesarios de aporte para poder jubilarse, que llegará a 41 años en 2012. También se baraja la opción de incrementar la edad mínima de jubilación, actualmente de 60 años. En 2009, el déficit del sistema previsional francés llegó a 7700 millones de euros.

Gran Bretaña: La edad para jubilarse es de 65 años para los hombres y 60 para las mujeres, que pasarán a 65 años en el curso de 10 años desde 2010. Para ambos géneros pasará a 68 años entre 2024 y 2046. Un estudio calculó que la extensión de 1,5 año en la edad mínima para jubilarse permitiría al Estado recaudar 17 mil millones de euros anuales adicionales.

Italia: El gobierno italiano dispuso un sistema de vinculación entre la edad mínima para el retiro y la esperanza de vida, que entrará en vigencia a partir de 2015. En la actualidad la edad es de 59 años y en 2013 será de 61.

Grecia: El gobierno anunció que elevará hasta los 65 años la edad de jubilación de ambos géneros como medida para “atajar la crisis y el grave déficit público”. Es parte de un paquete de medidas de ajuste fiscal regresivo.

Holanda: El gobierno anunció su intención de aumentar la edad de jubilación de 65 a 66 años de aquí a 2020.

Dinamarca: La edad de jubilación es de 65 años y está subiendo progresivamente hasta los 67 desde julio de 2007

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Socialized medicine saved me

Claudio Goldini — Wed, 10 Mar 2010 14:08:59 GMT

Socialized Medicine Saved Me : Information Clearing House - ICH

Socialized Medicine Saved Me

When Pulitzer Prize winner Geraldine Brooks was diagnosed with cancer overseas, she didn’t hightail it back home, to “the best health care in the world”—she stayed in Australia, home to a humane, rational system.

By Geraldine Brooks

March 08, 2010 "The Daily Beast" -- In 2004, I’d just finished a novel and by way of celebration had taken my family for an extended visit to Australia, where I was born and raised.

I didn’t expect that trip to save my life. But I’m convinced it did, because of Australia’s “socialized” medicine.

I retreat to my garret when I write a novel, especially toward the end. I stop going anyplace, wear sweat pants all day, neglect personal grooming. Back in the Sydney neighborhood where I’d lived for many years, I was re-entering the civilized world, and was on the way to a salon for an overdue haircut when I passed the BreastScreen van, parked in the main street.

This mobile service offers free mammograms, no appointment necessary. It wasn’t until I saw that van that I realized a mammogram was one of the things I’d forgotten to do. I was a year overdue, according to the guidelines for women my age, so I stepped into the van, got squished and zapped by a pleasantly efficient technician, who told me a radiologists’ report would be mailed out in a week or so.

Two weeks later, I was in a Sydney hospital, discussing treatment options for my invasive stage II cancer. According to testimony by Senator John Barrasso (R-WY) at last Thursday’s health-care summit, I should have been heading for the airport at that point. Like his unnamed Canadian state premier with the heart condition, I should have been hightailing it to the U.S., to avail myself of “the best health care in the world.”

No thanks, Senator. I elected to stay in Australia. We had ample U.S. insurance; cost wasn’t an issue. I simply wanted to remain in a humane, rational system where doctors treat a person as a patient, not a potential plaintiff, and where the procedures ordered for me were the ones shown by hard science to produce the best outcome for the most people.

Australia adopted universal health care in 1984. Since then, life expectancy for women has increased to 83.5 years from 78.7 (for males to 79.1 from 72.6), while spending on health care has risen less than 1 percent, to 4.4 percent of government outlays (in 2008-09). The scheme is funded by a levy of 1.5 percent on taxable income, and all political parties, even the most conservative, support it.

Costs are controlled by excellent preventive care (example: had I still lived in Australia, a card telling me I was due for a mammogram would have been mailed to me when I turned 50: “Happy Birthday—go get zapped”), hard-nosed bargaining between the Australian government and Big Pharma (the same drugs are much cheaper there than here), and a commonsense legal system that discourages frivolous malpractice suits (the loser generally has to pay the other side’s court costs).

Some doctors choose to go all in with the system, accepting the government’s idea of a fair fee, which is then paid directly out of state coffers. Others choose to set their own higher fees and attract patients who are willing to pay the difference after the Medicare reimbursement. While every legal resident of Australia is covered by Medicare, many Australians also choose to buy reasonably priced private insurance to cover such gaps, avoid waits for elective surgery, and pay for private hospital care. Since we had our U.S. insurance, I chose to “go private” for my treatment, but I soon learned it didn’t mean much. I could have paid nothing and still chosen to see the same excellent oncologist in the public system. As a private patient I got to see him in a room with nicer chairs, and I had a better view from the chemo suite. My U.S. insurer, the now notorious Anthem, also got billed a fraction of the costs it would have had to cover for the same services in the U.S. (My oncologist, who at that time chaired the international association for his specialty, charged the U.S. equivalent of $120 for an unhurried exam and consultation.)

But here’s how sick the U.S. insurance system is: The fact that they were getting an unbelievable deal on my Australian care didn’t stop Anthem’s gatekeepers routinely declining to pay every single bill. While I concentrated on getting through treatment, I would hear my husband, on the phone at odd hours because of the time difference, arguing for the reimbursements due to us. After resubmissions and appeals, they all eventually got paid, some with interest, because of the unjustified delays. But the stress is something to which no family in a medical crisis should ever be subjected.

Once, when my Aussie mother visited me in the U.S., she developed bronchitis. Even though the diagnosis was plain, the doctor felt obliged to send her for a costly x-ray. We had to waste half a day in waiting rooms, while my mother kvetched, loudly and mortifyingly, that “this would never happen in Australia.” When she saw the price for her antibiotics, she almost fainted. “I’m keeping this,” she said, pocketing the receipt. “It’ll give them a laugh, back in Sydney.” “Well, Mum,” I said, suddenly feeling defensively American, “someone has to pay for it, even in Australia.”

“Of course,” she replied calmly. “In Australia, we all pay for it. And those who’ve got more, pay more.”

Now there’s an idea. Can somebody please cc the Republicans?

Geraldine Brooks is an author and former foreign correspondent for the Wall Street Journal, where she covered the Mideast, Africa and the Balkans. Her recent novels include the bestseller, People of the Book, and March, which won the 2006 Pulitzer Prize for Fiction. Her non fiction works include Nine Parts of Desire:the Hidden World of Islamic Women.

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Centre Pompidou: Tribute to Lucien Freud

Claudio Goldini — Wed, 10 Mar 2010 13:57:58 GMT

Artdaily.org - The First Art Newspaper on the Net

A Visitor walks near paintings by Lucian Freud in a gallery room at the Centre Pompidou Contemporary Art Museum in Paris March 9, 2010. The paintings, (from L-R), "Standing by the Rags, 1988-1989", Benefits Supervisor Sleeping, 1995", and "Naked Man, Back View, 1991-1992" are part of an exhibition open to the public from March 10 to July 19. REUTERS/Gonzalo Fuentes.

PARIS.- The Centre Pompidou is to pay tribute to Lucian Freud, one of the greatest of contemporary painters. Now 88 years old, he is one of the world’s most important living artists. He has not shown in France since the Centre’s last major retrospective of his work nearly a quarter of a century ago, in 1987, though his fame has since then only grown and his place in the history of art become ever more assured.

The exhibition will present an outstanding selection of Freud’s work, consisting of some fifty large-format paintings, mostly from private collections, together with a number of prints and drawings, as well as photographs of the artist’s London studio.

The exhibition is organised around the theme of the studio, this enclosed space so essential to Freud’s paintings and to his practice as a painter. Occupying more than 900 square metres, it will bring together most of the painter’s Large Interiors, his variations on the Old Masters, his self-portraits, and more recent very large portraits of Leigh Bowery and Big Sue.

The distinctiveness of Lucian Freud’s work resides to a great extent in his minute, almost obsessional treatment of the portraits and nudes, based on an absolute commitment to the craft of painting: “I want paint to work as flesh.” The model is observed within the enclosed world of the studio – the painter’s laboratory. Freud paints only what takes its place in this space, setting his models within a precise scenography that draws on the furniture and other studio furnishings, which become recurrent and recognizable elements of his compositions: the pot plant, the sagging sofa, the old armchair, the iron bedstead, the hand-basin and the paint-spattered walls.

The few landscapes – London houses and factories, back yards, empty plots, gardens, rubbish tips – are viewed from above, generally painted from the studio windows or the door. Nature in Freud is an urban nature, meagre and cramped.

The addresses of his successive studios feature may feature in the titles (W11, W9…), offering a rough chronology, from the first thirty years in Paddington, to the loft in Holland Park and then the house in Notting Hill. The theme of the studio itself offers a metaphor for painting in the close, closed encounter between painter and model (from Rembrandt to Courbet and Picasso to Freud himself), the space of the painting (the representation of the real, the process of creation) and the figure of the artist (in the self-portraits and the re-readings of the masters).

The exhibition is organised in four sections:

1. Interior/Exterior
The exhibition opens in this first room with an extraordinarily impressive group of studio interiors and urban landscapes. Among the latter, Wasteground with Houses, Paddington, 1970-1972 and Factory in North London, 1972, show the obverse of the London streetscape, with its worn, undecorated facades. The studio, shown with its furniture, its pot plants, the surfaces of walls and floor, serves as a framework for an intense confrontation with the model. The power of Freud’s painting derives from this closely monitored tension between distance and intimacy.

2. Reflections
The force and complexity of Freud’s self-portraits spring from this same tension between interiority and representation, between reflective self-communion and ironic distancing. A regular exercise, his self-portraiture offers variations on the mirror image and the frontal head-and-shoulders portrait, while more oblique, passing glimpses of the artist are afforded by the reflections incidentally captured in the corner of other compositions. Directness itself becomes oblique in more parodical representations of the painter naked but for his boots with palette and brush in hand, or as the old master pursued by an amorous, unclothed model… Freud says, “to portray yourself, you have to try and paint as if you were someone else. In the self-portrait, ‘likeness’ is something different. I have to paint what I feel, without falling into expressionism.”

3. Re-readings
A rebelliously conservative student, his instincts opposed to contemporary trends, Freud had long grounded his painting in an arduous wrestling with the object, in the intense observation of a familiar model – a friend or relative – within the privacy and isolation of the studio. It was in the 1980s that he came to both subsume and transcend the autobiographical aspect of his work in large-scale compositions that equally attended to the constitutive historicity of painting.

In this section, the works exhibited – drawings, prints and paintings – all offer re readings of works by other painters: Cézanne’s L’Après-midi à Naples, a study of a tree-trunk by Constable, a Picasso drawing, Chardin’s La Maîtresse d’école. From loose copies to the radical reinterpretation of Constable’s Elm as a “girl standing,” taking in deliberately clumsy studio-bound re-stagings on the way, these variations serve as the vehicle of a subtle reflection on painting today, as art, and as history or tradition.

4. As Flesh
Following in the line of the Large Interiors and the paintings “after the masters,” Freud’s work since the 1990s includes a number of very ambitious, powerful yet enigmatic paintings of key models, among them drag performer Divine and the performance artist Leigh Bowery and his friend the benefits supervisor “Big Sue.” These might be said to be Lucian Freud’s own “history painting.”

The exhibition closes with screenings of two films: Tim Meara’s Small Gestures in Bare Rooms (2010, 10', colour, 16mm), a slow and silent exploration of the Holland Park studio, and a five-minute film of the artist in his studio by Freud’s assistant David Dawson. The last room has a group of still photographs of Freud in his studio, also by Dawson.

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UdK Award for Interdisciplinary Art and Science

Claudio Goldini — Wed, 10 Mar 2010 13:51:16 GMT

UdK Award for Interdisziplinary Art and Science

UdK Award for Interdisziplinary Art and Science

A NEW AWARD FROM THE UDK BERLIN !
UdK Award for Interdisziplinary Art and Science

Berlin University of the Arts (UdK)
The UdK Berlin is one of the biggest, most traditional institutions of advanced artistic education in the world. It has the right to award doctorates and post-doctoral lecturing qualifications and offers more than 40 study courses covering the full spectrum of the arts and related academic fields. With its Colleges of Fine Art, Design, Music and Performing Arts and the Central Institute of Continuing Education it is one of the few centres of advanced art education in Germany with university status.

The Competition
Art and science are moving towards one another, discovering common issues and working methods. The creative, imaginative processes in the arts and sciences are similar, whereas the concrete realisation of their results tends to differ. Repeatedly, this difference is the source of productive tension and areas of friction. In all disciplines of the arts and sciences, further developments over recent decades have been characterised by mutual influences and efforts at differentiation. Today, traditional dividing lines between the spheres can no longer be maintained; they are being newly defined and presented in their permeability.
This competition aims to give the impetus and opportunity to artists (fine art, media, architecture, design, music, theatre, visual communication etc.) and scientists to work between the priorities of the arts or between the arts and science.

Participants

Individuals and groups are eligible to participate. Full-time employees of the UdK Berlin, as well as students of the UdK Berlin and other colleges/universities are excluded are excluded.

Entry Deadline

The deadline for entries is 31st May 2010. The registration form including detailed information can be requested from the address below and is also available as a download.

Prize

The prize will be awarded on a biennial basis and is endowed with 7,500 Euros.

Jury

The jury under the chairmanship of the President of the UdK Berlin consists of the Chair of the Commission for Artistic and Scientific Projects at the UdK Berlin, the Director of the Postgraduate School of the UdK Berlin and four additional jurors who do not belong to the UdK Berlin in any way and have shown outstanding achievements in their own professional fields.

Contact partner

Universität der Künste Berlin
Communications and Marketing
Inge Scheffler / Joachim Schwalbe
Postfach 120544
D-10595 Berlin

Fax: +49 (0) 30 3185 2821
E-mail: udk-preis@udk-berlin.de

Download

* Announcement 2010 (PDF: 96K

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Rusia: Hasta el 30% de los estudiantes de algunas universidades consumen narcóticos

Claudio Goldini — Wed, 10 Mar 2010 13:21:46 GMT

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El porcentaje de estudiantes de universidades prestigiosas rusas que consumen drogas asciende a un 30% del total, advirtió el responsable en materia de drogadicción del Ministerio de Sanidad y Desarrollo Social ruso, Yevgueni Briun.

"En algunas universidades, sobre todo de renombre, los consumidores de drogas representan hasta un 30% y a menudo son expulsados, puesto que un drogadicto no puede trabajar ni estudiar", señaló Briun.

Resaltó que la drogadicción afecta principalmente a los jóvenes. A día de hoy, en Rusia hay más de 500.000 consumidores de narcóticos registrados oficialmente.

Según el experto, uno de cada diez adolescentes rusos de entre 14 y 15 años ya ha probado la droga. Entre los universitarios, esta cifra aumenta hasta un 15% y en algunos centros de estudios alcanza incluso el 30%.

El máximo responsable de Rusia en la materia informó que en un futuro se realizarán pruebas obligatorias para detectar drogadictos entre los jóvenes, que afectarán entre el 20 y 25% de los estudiantes y que el propio experto calificó de "muy necesarias".

9 de marzo del 2010

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Brothel, painting by Goldini, collection Museo Municipal de Bellas Artes, Moreno, Buenos Aires

Claudio Goldini — Sun, 07 Mar 2010 19:42:00 GMT

Claudio Goldini, "Burdel", acrilyc on canvas, 120 x 80 cm, 1985
Collection Museo Municipal de Bellas Artes "Manuel Belgrano" ,
Moreno, Buenos Aires

View 1st Floor, Museo Municipal de Bellas Artes "Manuel Belgrano" ,
Moreno, Buenos Aires

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Burdel pintura de Goldini, colección Museo Municipal de Bellas Artes, Moreno, Buenos Aires

Claudio Goldini — Sun, 07 Mar 2010 19:15:00 GMT

Claudio Goldini, "Burdel", acrilyc on canvas, 120 x 80 cm, 1985
Colección Museo Municipal de Bellas Artes "Manuel Belgrano" ,
Moreno, Buenos Aires

Vista de la Planta Superior del Museo Municipal de Bellas Artes "Manuel Belgrano" ,
Moreno, Buenos Aires

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International Women's Day, Goldini invited to an exhibition homage at Museo Municipal de Bellas Artes, Moreno

Claudio Goldini — Sun, 07 Mar 2010 18:14:00 GMT

International Women's Day
Exhibition Homage
Museo Municipal de Bellas Artes "Manuel Belgrano", Moreno, Buenos Aires
Opening March 6, 20 h
March 6 - April 4
M-S 9 a 18 h
Dr. Vera 247/49 Moreno, Buenos Aires, Argentina
phone 0237 4622114

Opening

Claudio Goldini, "Uteri Gravidi", acrylic on canvas, 70 x 80 cm, 2000

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Día Internacional de La Mujer, Goldini invitado a la muestra en el Museo Municipal de Bellas Artes de Moreno

Claudio Goldini — Sun, 07 Mar 2010 17:17:00 GMT

Día Internacional de la Mujer
Muestra Homenaje
Museo Municipal de Bellas Artes "Manuel Belgrano", Moreno, Buenos Aires
Desde el 6 de marzo hasta el 4 de Abril
Todos los días de 9 a 18 horas
Dr. Vera 247/49 Moreno, Buenos Aires, Argentina
tel. 0237 4622114

Inauguración

Claudio Goldini, "Uteri Gravidi", acrílico sobre tela, 70 x 80 cm, 2000

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Movement by Goldini, from the drawing on the stone to the stamp printing

Claudio Goldini — Sun, 07 Mar 2010 14:02:00 GMT

Claudio Goldini, "Movement", drawing on stone, lithographic pencil, 50 x 40cm, 2010. N 1, Feb 18, 2010

Claudio Goldini, "Movement", drawing on stone, lithographic pencil, 50 x 40cm, 2010. N 2, Feb 18, 2010

Claudio Goldini, "Movement", drawing on stone, lithographic pencil, 50 x 40cm, 50 x 40cm, 2010.N 3, Feb 18, 2010,

Claudio Goldini, "Movement", drawing on stone, lithographic pencil, corrections with lithographic ink, 50 x 40cm, 2010. N 5, Feb 18, 2010

Claudio Goldini, "Movement", drawing on stone, lithographic pencil, corrections with lithographic ink, detail, 50 x 40cm, 2010, Feb 18, 2010

             Claudio Goldini, "Movement", drawing on stone, lithographic pencil, corrections with lithographic ink, detail,50 x 40cm, 2010,
             Feb 18, 2010

Claudio Goldini, "Movement", drawing on stone, lithographic pencil, 50 x 40cm, end of corrections, ready to print,
March 4, 2010

Claudio Goldini, "Movement", drawing on stone, lithographic pencil, 50 x 40cm, staining with lithographic ink, March 4, 2010

Claudio Goldini, "Movement", drawing on stone, lithographic pencil, 50 x 40cm, staining with lithographic ink, March 4, 2010

Claudio Goldini, "Movement", drawing on stone, lithographic pencil, 50 x 40cm, staining with lithographic ink, March 4, 2010

Claudio Goldini, "Movement", lithographic pencil, 50 x 40cm, withdrawing the stamp from the stone, March 4, 2010

Claudio Goldini, "Movement", lithographic pencil, 50 x 40cm, withdrawing the stamp from the stone, March 4, 2010

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Marcha, litografía de Goldini, estados hasta la impresión

Claudio Goldini — Sat, 06 Mar 2010 21:17:00 GMT

Avance del dibujo en piedra litográfica hasta la impresión, de "Marcha" de Goldini, febrero de 2010

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico, 50 x 40cm, 2010, nro1.

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico, 50 x 40cm, 2010, nro2.

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico, 50 x 40cm, 2010, nro3.

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico retoque con tinta litográfica, 50 x 40cm, 2010, nro5..

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico retoque con tinta litográfica, detalle, 50 x 40cm, 2010

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico retoque con tinta litográfica, detalle, 50 x 40cm, 2010

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico, 50 x 40cm, corrección final, lista para impresión,
4 Marzo, 2010

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico,50 x 40cm, impresión, piedra sobre la
prensa, entintado con rodillo, 4 Marzo, 2010

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico,50 x 40cm, impresión, piedra sobre la
prensa, entintado con rodillo, 4 Marzo, 2010

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico,50 x 40cm, impresión, piedra sobre la
prensa, entintado con rodillo, 4 Marzo, 2010

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico,50 x 40cm, impresión, retirando la hoja,
4 Marzo, 2010

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico,50 x 40cm, impresión, retirando la hoja,
4 Marzo, 2010

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Lo que piensa el diputado Rossi de la oposición

Claudio Goldini — Sat, 06 Mar 2010 00:40:33 GMT

Página/12 :: El país :: “Es la peor oposición que ha existido”

–¿Qué piensa de la intención de los bloques opositores de coparticipar la totalidad del impuesto al cheque?

–La decisión de modificar la coparticipación del impuesto al cheque los pone en un nivel de irresponsabilidad institucional enorme. Le dicen al Gobierno: “No te vamos a aprobar un DNU para usar las reservas para pagar la deuda. Pagala con recursos corrientes. Ahora, de los recursos corrientes te saco 15 mil millones de pesos con la modificación de la coparticipación del impuesto al cheque”. Los 25 mil millones que están en el Presupuesto son necesidad de financiamiento. O sea, que al Estado nacional, en una sola decisión, en un solo día, la oposición le crea un déficit de 40 mil millones de pesos. Esto es lo que busca la oposición. Quieren un escenario de ajuste. Ya eran el partido del default, porque está (Adolfo) Rodríguez Saá, son el partido de la deuda, porque están legisladores como (Carlos) Menem y otros que fueron los protagonistas de la Alianza, en cuyo gobierno se generó más deuda en la Argentina. Son el partido del ajuste.

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Adicción a Internet y el DSM5

Claudio Goldini — Sun, 28 Feb 2010 16:36:58 GMT

Recientemente la Asociación Americana de Psiquiatría adelanto la ùltima versiòn del DSM (siglas en inglés del Diagnostic and Statistical Manual of Mental Disorders): el DSM5
Esta enciclopedia ("que decide lo que es normal y lo que no lo es"), según la define el diario The New York Times) incluye en total alrededor de 300 diagnósticos diferentes, lo que no supone un aumento realmente significativo con respecto a la cuarta edición (DSM IV - 1994)
En esta edicion que cambia los nùmeros romanos de su tìtulo por los aràbigos, era ansiosamente esperada por la comunidad científica. La nueva clasificación se someterá a un debate público a partir del próximo 20 de abril¹ , tendrá que ser reevaluada y estudiada por los especialistas a lo largo de los próximos dos años, no sera oficializada hasta mayo del año 2013.
Sin embargo, los primeros datos que se han conocido ya están dando que hablar. Para algunos, el DSM-5 simplifica algunos trastornos mentales, agrupándolos en categorías más amplias y claras. Para los más críticos, por el contrario, medicaliza algunas conductas que no tienen por qué representar un trastorno mental necesariamente. A juicio de Jerome Wakefield, profesor de Psiquiatría en la Universidad de Nueva York, EEUU, por ejemplo, algunos de los trastornos que recoge el manual suponen una forma de estigma" y pueden llevar a muchas personas a tomar medicación innecesariamente"².
Del intento de incorporar a esta version la Adicción a Internet se puede ver un adelanto en el Editorial: Issues for DSM-V: Internet Addiction, por el Dr. Jerald J. Block³, quen lo caracteriza como un desorden compulsivo-impulsivo que involucra la utilización de la computadora online y offline y consiste de al menos 3 subtipos: juego excesivo, preocupaciones sexuales e emails o mensajes. Las variantes comparten:
1. El uso excesivo asociado frecuentemente a la pérdida del sentido del tiempo y el descuido de las actividades cotidianas.
2. Retracción, incluyendo sentimientos de rabia, tensión o depresión cuando la computadora o internert son inaccesibles.
3. La tolerancia, que incluye la necesidad de un mejor equipo de computación, mas software, o más horas de uso.
4. Repercusiones negativas, riñas, mentiras, logros personales pobres, aislamiento social y fatiga.
Señala el Dr. Block que algunos de las más interesantes investigaciones fueron publicadas en Corea del Sur. Luego de una serie de 10 muertes por paro cardíaco en locutorios de internet y asesinatos relacionados con juegos Corea del Sur considera la adicción a internet como un serio problema de la Salud Pública. El gobierno estima que alrededor de 200.000 niños, el 2.1% entre las edades de 6 a 19 años están afectados y requieren tratamiento. De estos el 80% podrían necesitar medicación psicotrópica y tal vez entre el 20 y el 24% hospitalización. Dado que los estudiantes secundarios permanecen en promedio 23 horas por semana jugando por internet se considera que otros 1.2 millones se encuentran en riesgo de adicción y deberían ser aconsejados. Los profesionales están preocupados también por el abandono de los estudios o el trabajo para pasar el tiempo con las computadoras.
En China el problema es similar, se considera que el 13.7% de los adolescentes que usan Internet, unos 10 millones, reúnen los criterios de adicción. Leyes actuales restringen jugar por internet màs de 3 horas diarias.
Estados Unidos de Norteamérica carece de datos fiables porque el acceso a los juegos y programas de sexo se realiza en los hogares, los mismos no trascienden por vergüenza, negación o minimización. Los adictos a internet se presentan en ese país con efectos comórbidos, es decir, que salvo que los profesionales indaguen en estos pacientes sobre el uso de internet, los casos no son detectados. En Asia, en cambio, los terapistas son entrenados para hacerlo.
El tema es adicionalmente complicado por la comorbilidad. Alrededor del 86% de los casos considerados adictivos presentan algún diagnóstico presente en el DSM IV. En un estudio los adictos presentaban un promedio de 1.5 de otros diagnósticos.
El Dr. Block concluye que desafortunadamente la adicción a Internet es resistente al tratamiento, causa riesgos significativos y elevada tasa de recaídas.
A pesar de estar abierta a la discusión pública la inclusión de este diagnóstico en el DSM 5, se considera poco probable su aprobación.
¹ Madrid, 10.02.2010, Diario El Mundo España
² http://www.dsm5.org/
³ Am J Psychiatry 165:306-307, March 2008

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Say ‘No!’ to Corporate Control of Agriculture and Food!

Claudio Goldini — Wed, 24 Feb 2010 22:36:48 GMT

Say ‘No!’ to Corporate Control of Agriculture and Food!

Monday, 22 February 2010 17:34
La Via Campesina Call to Action
17 April 2010 - Join the International Day of Peasant Struggle

To commemorate the International Day of Peasant Struggle on April 17th 2010, the international peasant movement La Via Campesina calls upon member organisations, allies and supporters to unite against transnational corporations (TNCs), which seek complete control over food and agriculture systems around the world.

On April 17th 1996, nineteen landless Brazilian peasants who were defending their right to produce food by demanding access to land were massacred by the military police. Since the massacre at El Dorado dos Carajás, every year on this date actions are organised around the world by farmers’ organisations, communities, student groups, non-governmental organizations and activists, in order to demand food sovereignty and peasants’ rights to produce food.

Read more en La Via Campesina

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La Via Campesina, Corporate, Control, Agriculture, Food, Medicine, Society, peasants, El Dorado, Carajás

Internet Addiction: A Mental Illness?

Claudio Goldini — Wed, 24 Feb 2010 21:57:38 GMT

Know It All - Culture - Internet Addiction: A Mental Illness?

The tech world may not be paying much attention to the upcoming revision of the American Psychiatric Association's Diagnostic and Statistical Manual of Mental Disorders, but maybe it should be.

Due out in 2013, DSM-5 (in other words, it's the fifth edition) is intended to refine the medical diagnoses of mental illness in its various forms in the hope of leading to more sensible insurance guidelines and more effective treatments.

What should make this noteworthy to anyone who develops, manages, purchases, thinks about, uses or otherwise depends on information technology on a regular basis is this: It appears that "Internet addiction" will probably not make the cut for this version. Whether this comes as good news or bad news, depending on your particular situation, is immaterial. What's fascinating is that the APA is accepting online comments on all of the proposed changes to DSM-5, meaning that questions about Internet addiction will be debated and considered.
Read the complete article by Tony Kontzer o know it All

Society, Medicine, Internet Addiction, mental illnes, Tony Kontzer, DSM-5, American Psychiatric Association

Society, Medicine, Internet Addiction, Mental illnes, Tony Kontzer, DSM-5, American Psychiatric Association

Libro de Historietas que presenta a Superman vendido en un millón de dólares

Claudio Goldini — Tue, 23 Feb 2010 17:04:57 GMT

Artdaily.org - The Art Newspaper Primero en la Red

La cubierta de junio de 1938 "Action Comics", que presenta a Superman

NUEVA YORK, NY (AP) .-El primer ejemplar que presenta a Superman se vendió el lunes en 1 millón de dólares, rompiendo el anterior record de precio para una revista de historietas.

Una edición de 1938 de Action Comics N º 1, considerado el Santo Grial de los comics, fue vendida por un vendedor privado a un comprador privado, ninguno de los cuales dieron a conocer su nombre. El ejemplar muestra en la portada a un Superman característico levantando un automóvil y su precio de 10 centavos de dólar.

La operación fue realizada por el sitio de subastas ComicConnect.com. y Metropolis Collectibles.

Stephen Fischler copropietario de ComicConnect dijo que el vendedor era una "persona conocida" en Nueva York con una colección de pedigree y que el comprador era un cliente conocido que anteriormente compró un Action Comics N º 1 de menor grado.

"Es considerado por la mayoría de las personas como el libro más importante", dijo John Dolmayan, un entusiasta de libros de historietas más conocido como el baterista de System of a Down.
Dolmayan, que posee Torpedo Comics, el año pasado pagó 317.000 dólares por una ejemplar de Action Comics N º 1 para un cliente. Otros se han vendido en más de 400.000 dólares, dijo, pero esta copia alcanzado un precio mucho más alto porque está en mejores condiciones. Está calificado un "8,0 grados," o "muy bien".

"El hecho de que este libro está completo y sin restaurar y tiene un 8,0 de grado, que es como una especie de diamante o una piedra preciosa. Es muy raro", dijo.

Se cree que solo quedan unos 100 ejemplares de Action Comics N º 1 y sólo unos pocos han sido clasificados. Es más raro ver ejemplares puestos a la venta.

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Movement, steps on drawing on lithographic stone by Goldini

Claudio Goldini — Tue, 23 Feb 2010 14:11:00 GMT

Steps of drawing on lithographic stone of "Movement" by Goldini, feb, 2010

Claudio Goldini, "Movement", drawing on lithographic stone, 50 x 40cm, 2010, 1

Claudio Goldini, "Movement", drawing on lithographic stone, 50 x 40cm, 2010, 2

Claudio Goldini, "Movement", drawing on lithographic stone, 50 x 40cm, 2010, 3

Claudio Goldini, "Movement", drawing on lithographic stone, 50 x 40cm, 2010, 4

Claudio Goldini, "Movement", drawing on lithographic stone, 50 x 40cm, 2010, detail

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All the women of Superman's love life

Claudio Goldini — Tue, 23 Feb 2010 10:50:58 GMT

IDENTITY CRISIS: The Many Faces of the Man of Steel - Culture

Super-sexy

The Man of Steel's Magneticism

Superman's sex appeal is a integral component of his superheroity. The article Go West, Superman, describes Superman's power and ability as a stereotypical appeal to young boys and men. However, for a superhero to appeal to girls he must have superior sex qualities. The writers, Seigel and Shuster, imprint basic morals in America's youth's collective memory. To capture the attention of both male and female they must create a father figure/male sex object.
Superfans
Seigel and Shuster must create a man for girls and boys alike.

He is the archtypal aloof, yet sexy and chivalrous man. Joanna Connors, in her article, "Female Meets Supermale" (See Works Cited List), refutes this superiority and portrays Superman more as a typical male, describing the Fortress of Solitude as a sort of haven for male autonomy, a den where men retreat to watch football. She certainly has support for her thesis. He is quite literally impenetrable. He can not even receive a vaccination for needles can not break his skin. He has a protective covering, literally and figuratively in his pseudonym, Clark Kent. She further writes that he has an incapabililty to divulge emotions to his girlfriends, closing off his feelings like a typical male.

However, Connors thesis of Banalman can only possibly stand in reference to Clark Kent. Superman is in fact the furthest thing from ordinary. He is perfect, an Apollo figure of heroirity. His physique is modelled after Douglas Fairbanks, Jr. and Clark Kent's name is derived from Clark Gable and Kent Taylor, (see Mirrored Image, all men whom were greatly admired in the thirties (for more on Superman's identity see Superman at the Star). These male movie stars are not simply actors, but the sex objects of the 1930s (for more on 1930s film see Breadlines to Choruslines).

Not So Sexy
Ray Middleton, the first man to act as Superman in 1939's Superman Day.
His body is superior to all other men in the comic strips, especially in contrast to his major enemies, like Bizarro, the grotesque imitation of Superman. He is tan, fit, and strong. In fact, he is the strongest man on Earth, faster than a speeding bullet, more powerful than a locomotive, and able to leap tall buildings. He flies through the sky rescuing damsels in distress. Seigel and Shuster have recreated the modern-day knight in shining armor. However, the muscle-bound Superman of the imagination is not quite realized in Ray Middleton's figure when he dresses as Superman in the 1939 Superman Day. The photo on the right really deflates our tall, darl, and handsome superhero.

Superman's love life extends far further than Lois Lane, the Superman-starved journalist. Superman's Oedipal complex comes into play when, like his mother Lara, all his lovers' names are initialled L.L.. For example, there is Lyla Lerrol, Superman's "Kryptonian Romance" and perhaps the most erotic of his romances.
Kryptonian Love
Lyla Lerrol

They have a special connection because on Krypton Superman is not "super" but a regular man. Finally he finds someone who can love him for who he really is, not for his superpowers.

Kryptonian Kisses
There is also Lana Lang who is one of few who suspect that Superman and Clark Kent have the same personality. She is a childhood friend from Smallville. Already it is clear that the L.L. trend is neither bound to Earth or Krypton. Lois Lane is Clark Kent's co-journalist at The Daily Planet, and strangely enough, her sisters name is Lucy Lane. Lucy is Jimmy Olsen's girlfriend and although Jimmy proposes, she refuses his offer. Her reason is that she must wait until Lois is married before she can. Of course, since Lois' heart is set on Superman it is unlikely that she will be married soon. This conundrum ensures Lucy's virginity, a necessary characteristic of a superhero, and retains Lucy's initials. Linda Lee is the name of Supergirl's secret identity; Supergirl being Superman's cousin. Then there is Lori Lemaris, the mermaid of Atlantis who meets Clark Kent and who, with her telepathy, discovers the hidden identity. Lori and Superman can never have a relationship because Lori feels that a relationship between a mermaid and a superman can never work out. She eventually marries Merboy.
Merlove
Lori Lemaris

Lyrica Lloyd is the movie actress who Superman falls in love with and decides to marry, thus revealing his identity. Naturally, fulfilling the plot of supreme unfulfillment, Lyrica dies of a severe illness. Luma Lynai is the prospective wife of Superman, but of course, Earth's rays are deadly to her and she can not survive on Superman's planet. The only woman whose name does not initial L.L. is Sally Sellwin, but she does have two sets of two "L"s within her name. The interesting twist on this pattern is that Lex Luther is Superman's most vicious enemy and his name is also initialled L.L. It draws the comparision that woman are an enemy to our altruistic Superhero. Perhaps this is the final indication that requited Love would be the death of Superman. For more see The L.L. Legend.
Lois & Clark
Lois, caught in the middle of a love triangle.

Many have speculated that this inability of Superman to consummate any of his passions is a way of maintaining the virginity of our national superhero. This "last unicorn" type theory insists that the Love Triangle between Clark Kent and Lois Lane and Superman is another way of using unrequited love to saving the virginity of the characters. Somehow allowing any of them to consummate a relationship would sully their idealogies. Moreover, America's obsessive myth of virginity, as in the case of Henry Nash Smith's Virgin Land, often stands stronger than history.
A much anticipated kiss
Lois finally gets what she wants?
So while realistically Lois and Superman's relationship would probably not stay in the courting stage of their relationship for 50 years, in this myth it must. Joanna Connors supports this by noting that whenever Lois gets close to peeking inside Superman's Fortress, total chaos erupts. It is interesting, too, that Lois is the pursuer and Superman is the pursued in a society in which opposite gender roles are the norm.

Although lustful romances have certainly been proven audience-engaging, there is something that keeps that drawing of Lois and Clark from ever being realized. Superman's actual job description is not journalist, but savior of the world. His job is the most demanding in the world; he's always on call. His first love must always be the planet Earth. Lois will never get her Superman nor will she find out the secret identity of Clark Kent.

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All the women of Superman's Love Life.

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US super rich get five times more income than in 1995

Claudio Goldini — Mon, 22 Feb 2010 11:45:40 GMT

US super-rich get five times more income than in 1995 : Information Clearing House - ICH

US super-rich get five times more income than in 1995
By Andre Damon
20 February 2010

The incomes of the very rich in the US grew phenomenally between 1992 and 2007, while their tax rates plummeted, according to recently uncovered IRS statistics.

The figures were published on the IRS web site in December of 2009, but received little notice because they were not announced. The report only became widely known when Tax Analysts, a news outlet for tax information, discovered the document and wrote about it on its web site, tax.com, on Thursday.

The report shows that the average income for the top-earning 400 families, denominated in 1990 dollars, grew from $17 million to $87 million, representing a five-fold increase in real terms. During this time, the percentage of the total national income that went to the top 400 families tripled, from .52 percent in 1992 to 1.59 in 2007.

The data shows that these families saw their incomes increase by 31 percent between 2006 and 2007 alone, while the average income of each family reached $345 million.

The amount of money earned by the group more than doubled from 2001, when its members earned on average $131.1 million. In 1993, the top 400 tax return filings amounted on average to $46 million. This means that there was an eight-fold nominal increase in the average earnings for this group between 1993 and 2007.

Meanwhile, the effective tax rate on this group—the amount actually paid in taxes—fell to 16.6 percent, the lowest figure on IRS records dating to 1992.

Congressional Democrats have sought to place blame for falling taxes on the wealthy solely on the Bush administration’s tax cuts. But the IRS figures show that the effective tax rate on the top 400 income earners actually fell faster under the last part of the Clinton administration than at any later time.

The effective tax rate hit a high point of nearly 29 percent in 1995. By the end of the Clinton administration, the rate had fallen to 22 percent. The trend continued under Bush, with the effective tax rate falling another 6 percentage points between 2001 and 2007.

The Bush administration lowered the capital gains tax by 5 percentage points, to 15 percent, in 2003. But Bush’s policies were only a continuation of laws passed under the Clinton administration, when the capital gains tax was lowered from 28 percent to 20 percent for the top income brackets.

The top income earners received a total income of $138 billion in 2007. This figure is larger than the yearly output of most of the world’s countries, and is nearly as large as the GDP of Chile. Out of this amount, the group paid only $23 billion in taxes.

If the top 400 earners had been taxed in 2007 at the 1995 rate, they would have paid an additional $18.4 billion in taxes, enough to cover the entire 2010 budget shortfall of the state of California.

About three quarters of income for earners in this tax bracket came from capital gains, which were taxed at 15 percent, as opposed to income, which is taxed at a rate of 35 percent for the top bracket.

The top 400 families actually paid lower taxes compared to other high-income earners. In 2005, the Congressional Budget Office found that the top 1 percent as a whole paid a tax rate of 19.7 percent.

The median 20 percent of income earners paid a tax rate of 12.5 percent, including Social Security payments, which are negligible for the very rich.

The IRS report on the top 400 families was first regularly published by the Clinton administration, but the Bush administration shut down its release, according to the tax.com article by Cay Johnston, a tax law professor at Syracuse University. The Obama administration resumed publication of the figures, with the 2006 figures published about a year ago.

Johnston also noted, “At least three hedge fund managers made $3 billion in 2007.” He added, “Only 33 of the top 400 paid an effective tax rate of 30 percent to 35 percent, which is the maximum federal tax rate.”

The data further substantiates the highly publicized conclusions of economists Thomas Piketty and Emmanuel Saez, who found that two thirds of income increases between 2002 and 2007 went to the wealthiest 1 percent of society and that income for the top 1 percent grew 10 times faster than that of the bottom 90 percent. Piketty and Saez found that the top 1 percent of earners got a higher share of income in 2007 than at any time since 1928.

The latest figures come amid constant calls by the White House and Congress to cut social programs in order to balance the budget. The federal government, we are told, has been bankrupted by the “profligacy” of social programs and the proportion of social resources allocated to the general population.

But the latest figures show that the opposite is true. It is the rich who have bankrupted the state, with the full assistance of the two big-business parties.

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Marcha, dibujo en piedra de Goldini

Claudio Goldini — Sun, 21 Feb 2010 20:40:00 GMT

Avance del dibujo en piedra litográfica de "Marcha" de Goldini, febrero de 2010

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico, 50 x 40cm, 2010, nro1.

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico, 50 x 40cm, 2010, nro2.

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico, 50 x 40cm, 2010, nro3.

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico retoque con tinta litográfica, 50 x 40cm, 2010, nro5..

Claudio Goldini, "Marcha", dibujo en piedra con lápiz litográfico retoque con tinta litográfica, detalle, 50 x 40cm, 2010

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