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Es posible considerar lo repensado en forma diferente, desde una cuarta dimensión

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OBJETIVIDADinformar a un grupo general un asunto particular 

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Nicho Promo Teletrabajo nuevas formas de concebir los espacios en los que se visualiza lo minorista, aunque esta referencia no queda significativa ante una buena imagen corporativa produccionada en las relaciones públicas dentro de entramado cultural del emprendimiento

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Lo simbolico del significado "colectividad"

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Lo simbolico del significado "colectividad"

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El condicionado cultural comprendiendo algunas realidades antepasadas olvidadas por superficies de superficialidad,sabotaje del expresionismo de lo que en algun momento pude conocer y que hoy si se despliega en toda su existencialidad, no son solo imagenes ni iconos escondidos que no encuentran significado, por que sus situaciones  que convergen a un fenomeno de espacio incomprendido hoy mas que nunca vislumbran su creacion en interacciones conceptuales trayectorias prospectivas propias de relatorias relacionales en red de significaciones de diversidad de items aprovisionados y visionarios en la tematica se contiene al suceso en una sesion del sujeto.

Hasta una nueva experiencia digital

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Para la temporalidad la no proximidad continuidad espacial la física de la corporalidad no materializada en la presencia lo extemporaneo desde el tiempo realizado

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POLL: What should the theme of the Senior Prom be?

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This year’s Senior Ball is coming up in December and the senior class is encouraging all seniors to pick the party theme.

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Typificar Encriptación de contenidos en varios formatos media

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Typificar Encriptación de contenidos en varios formatos media

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Códificar las intensiones del usuario en iconos que encierran un ámbito de trabajo, familia, hábitos, estimulos, pasatiempos, deportes, expresando las condiciones en rutas de sensibilización en el laser.
En un type se registran golpes de próximidad se plasman en escritura conscientizar sobre el hombre sus herramientas -antropología-como en la criptografía se deja el gran inició de la intencionalidad digital,

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El historial como registro en perfiles Identificados: MODERNIDAD

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El historial como registro en perfiles Identificados: MODERNIDAD

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Memorizar no es una actividad intelectual es recordarse en el otro sujeción de imagenes y lugares. en él sentido global; tiene mucho sentido......Ok

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See all the wonderful things MAYERLLY RODRÍGUEZ FALLA has made

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Alienación cosificar los instantes hacer en el entorno de ficción una experiencia del cociente intercultural

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Configurar el juego del conocimiento La ciencia de aprender el juego.

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Una excelente visualización del Ciberespacio Compañera Yaneth

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Estandar

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Lúdica

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El contenido al escribir los elementos propios de lo que no esta escrito privilegiar los iconos con expresión de las emociones haciendo énfasis de lo riguroso de lo social culturalmente aprendido.

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Nicho Promo Teletrabajo nuevas formas de concebir los espacios en los que se visualiza lo minorista, aunque esta referencia no queda significativa ante una buena imagen corporativa produccionada en las relaciones públicas dentro de entramado cultural del emprendimiento

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Lo que nos transmite una imagen cultural de lo animado que se asocia con personas o situaciones particulares inmersas en la sociedad.

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Lider interactivo en portal digital innovación Transforma el aprendizaje en colectivos temáticos.

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20 Ways New York is Totally Kicking Your 🤬

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20 Ways New York is Totally Kicking Your 🤬

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Buzzfeed, 2013

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This post has not been vetted or endorsed by BuzzFeed's editorial staff. BuzzFeed Community is a place where anyone can create a post or quiz. Try making your own!

It was always your dream city until the reality of life here hit you like a two-ton taxi at 75mph.

When you first moved to NYC, you thought you knew what you were getting yourself into.

But then the city started kicking your ass.

20. You have 5 MetroCards and none of them have enough fare.

19. Speaking of money, all of your friends have more of it than you do.

17. You never have an umbrella

But despite the routine ass-kickings New York gives you, you feel pretty attached to this crazy place

Yep, New York has everything. Including you. So go wrap yourself in its smelly brick embrace.

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20 Ways New York Is Totally Kicking Your Ass

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This post has not been vetted or endorsed by BuzzFeed's editorial staff. BuzzFeed Community is a place where anyone can create a post or quiz. Try making your own! It was always your dream city until the reality of life here hit you like a two-ton taxi at 75mph.

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Why Running the Boston Marathon Wasn't What I was Expecting

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Why Running the Boston Marathon Wasn't What I was Expecting

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Bustle, 2014

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I visited the finish line of the 118th Boston Marathon a little less than 24 hours before I would cross it as a runner. Walking down Boylston Street, I felt like I had been there a thousand times before. Yes, I had seen the infamous street many times on TV, but it was also familiar to me because it was as recognizable as any street in America.

Chain restaurants commingled with sporting goods stores, where runners in bright colored jackets were alternatively carbo-loading and drooling over Adidas products. Athletes from all over the world held up their bibs as friends and family snapped photos in front of the blue and yellow scaffolding at the finish line. Police and National Guard officers quietly wove through the crowd. The atmosphere was dignified, Olympic.

I hadn't come to Boston for any reason other than the fact that I had qualified and wanted to compete. I was wary of being a tourist in someone else's grief. I was wary of the hashtag #BostonStrong. When I saw vendors in the train station selling T-shirts with the slogan, I felt my unease was justified.

Before I knew it, it was 6:30 am on Marathon Monday, and I was sitting on a bus next to a mother of four from Utah who runs a 3:08 marathon. We talked about what it was like to qualify for Boston the first time. She had told no one but her husband.

Since I started training, I've learned that marathoners are stone-hearted loners until race day. No matter the preparation, a marathon is an extreme event that leaves too much up to chance. A marathon leaves plenty of room for heartbreak and a fatalist attitude, but it also inspires camaraderie.

That's why I think of course this goodness while looking at a now-famous picture from the 2014 Boston Marathon of three runners carrying a fallen runner to the finish. It's reminiscent of its mirror image: the picture from 2013 of three strangers helping a fourth. I look at the older version and think: of course this vulnerability. A full range of emotions is to be expected at any marathon, but this is the Boston Marathon. This is a race that brings runners to their knees year after year.

This is the Boston Marathon, one year later.

Through Hopkinton, Ashland, Framingham, Natick, Wellesley, Newton, and Brookline, it was hard to constantly think about the bigger picture, about the space of a year, about four families that lost their loved ones, about the hundreds of others now living with permanent injuries. It was hard to think about anything but getting through the race.

I hadn't come to Boston for any reason other than the fact that I had qualified and wanted to compete. I was wary of being a tourist in someone else's grief. I was wary of the hashtag #BostonStrong. When I saw vendors in the train station selling T-shirts with the slogan, I felt my unease was justified. At the same time, I knew that Boston had summoned these slogans in part so that people like me could have the race they'd always planned to run.

My race didn't go as planned. I made a rookie mistake and started out too fast. Though I had picked a goal time, there came a moment when I knew I wasn't going to clear it. In the first seventeen miles, focused on pushing forward, I passed many tiny hands outstretched with orange slices, cold rags, Twizzlers, and high-fives. Around mile eighteen, there was nothing I wanted more than to high-five a child. As my legs started to give way and slow down, I took the opportunity every chance I could.

Others around me struggled, especially from Heartbreak Hill to the finish, but the usual throwing of elbows and angry "watch out" grumbles that are a constant in road races were absent here. I knew that everyone in my wave was a competitor at heart, and that some part of each of us cared deeply about a finish time. But nobody was going to let that supersede the gratitude we all felt to be running that day.

The crowds connecting the dots of every mile cemented my conviction: I would lose time before I lost perspective. I smiled as beer-drinking grandmas, drunk college kids, and married couples yelled my name. I never doubted I would finish, and I never took that for granted. Soon, it was a quick right onto Hereford, a quick left onto Boylston, a faint roar from the crowd, the silent scream of exhausted limbs, and a line in the road.

Several times throughout the race, I asked myself a question tinged with mortality: Am I here? If the answer was no, if I was zoning out and thinking about faraway things, I widened my eyes and looked ahead and told myself: I am here.

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Running The Boston Marathon Wasn't What I Expected

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I visited the finish line of the 118th Boston Marathon a little less than 24 hours before I would cross it as a runner. Walking down Boylston Street, I felt like I had been there a thousand times before. Yes, I had seen the infamous street many...

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Why the Term 'Binge-Watching' Needs to Be Retired

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Why the Term 'Binge-Watching' Needs to Be Retired

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Bustle, 2014

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When that crazy thing happened in the first episode of House of Cards, you could almost hear the audible gasp echo across America. You could almost see red Netflix screens automatically loading the next episode, without a pause. By the end of Presidents' Day weekend - when Netflix released its entire second season of House of Cards - most fans had watched all 13 episodes of the Kevin Spacey-led series. And, by St. Patrick's Day, most people had stopped talking about the show. But the end of House of Cards did not mean the end of "binge-watching." No, thanks to the future releases of Game of Thrones, Mad Men, and Orange is The New Black (Obama is already binge-watching the George R. R. Martin adaptation), the phrase that has crept into our vernacular will continue to have astounding staying power, for better or for worse.

I say for worse.

Because labeling the practice of eagerly consuming your favorite TV series in one sitting "binge-watching" makes light of the very serious condition from which the term is derived. Take this photo of January Jones as Betty Francis (formerly Draper), posted to the official Mad Men Facebook page:

An interesting advertising attempt, but an undeniably touchy one, especially if you've been following the show. After all, one of Mad Men's recent storylines centered on Betty's fluctuating weight following her divorce from Don Draper. In Season 5, we saw how emotional instability and boredom led her into the fridge late at night, to her children's unfinished portions, and to the couch, where she sat, depressed and eating. In other words, Betty had a binge-eating disorder.

Though Betty has since shed the pounds, our association with her as a binge-eater remains, which is why the image is provocative. It is also upsetting - no one on the creative end of TV production had made the connection between disordered eating and television watching so apparent before. And though it's easy to speculate over the physiological effects of indulging in mass quantities of episodes at a time, there is no evidence that one's physical health suffers from "binge-watching." The same, unfortunately, can't be said for eating disorders.

I'd take less of an issue with the term if "binge-watch" weren't so ubiquitous. It's caught on so much in the last year, most major mainstream outlets have published trend-watching essays on binge-watching, with some embracing the practice and others questioning it. The Atlantic, for one, recently defined "binge-watch" as follows:

binge-watch: (v) to watch at least four episodes of a television program, typically a drama, in one sitting (bathroom breaks and quick kitchen snack runs excepted) through an on-demand service or DVDs, often at the expense of other perceived responsibilities in a way that can cause guilt.

The definition is basic enough, but simply the fact that The Atlantic is defining it at all points to the cultural momentum of "binge-watch." The New York Times took on the term in a predictably fussy Grey Lady kind of way, with humorist Joyce Wadler struggling to transpose the cult of watching sprees into something the middle-aged can understand:

It's the party you were invited to but were too lazy to leave the neighborhood to go to, and later you learn Bruce Springsteen attended because the host coached his child's soccer team. It's the ability to pick up on something you were too lame to notice the first time around.

Soccer and Bruce Springsteen aside, Wadler does pick up on the element of peer pressure in binge-watching. We binge to feel included, not just in the shows, but in the practice of binging. The phrase is so omnipresent that "binge-watch, v." almost edged out "selfie, n." for 2013 Oxford Dictionaries word of the year.

I understand the desire to grab hold of this zeitgeist-y practice and assign it meaning. But maybe we ought to think about the language behind "binge-watching" itself, and its potential to do harm to our collective self-esteem. Certainly, "binge-watching" as a practice is not nearly as physically dangerous as binge-eating or binge-drinking, but could the term itself harm our mental well-being?

In an article published in August of last year, entitled " Why Everything You Know About Binge-Watching is Wrong," Variety suggested there are nuances in the kind of viewing that falls under the blanket of "binge." The article uses words like "splurge," "gorge," and "marathon" to differentiate the shades of overconsumption. None quite fit. "Marathon" swings too much in the opposite direction of "binge." Though TV-watching is not a disease, it's not an accomplishment either. "Splurge" sounds like a yoga mom eating a gourmet cupcake. "Binge" is so catchy because it touches a particular nerve, but perhaps the best descriptor for the way we watch TV now ought to be something more mundane, more neutral, more forgiving, and less tied up in gut-wrenching guilt.

If we establish that "binge-watching" is not harmful in itself, we may begin to see the way we have let the term seep into our vocabulary without thinking critically about its background, tone, and connotations. If it sounds like hermeneutics, that's because it is. As conversations around the way we watch TV become more frequent, the language we choose to use is essential to understanding how we see ourselves. If I weren't constantly reading about binge-watching or hearing about it among friends and strangers on public transportation, it would never occur to me to make excuses for watching House of Cards or feel shame about catching up on True Detective. I would not feel compelled to describe an activity I enjoy using language steeped in self-loathing.

If we continue to view ourselves in this way, we may not be able to ever build healthy TV-watching habits. We are just beginning to unlock the potential of the Golden Age of Television, and as the quality of television continues to increase, spending hours watching will be no different from spending hours on the couch reading a book - which is, by my account, a leisurely, indulgent, sedentary activity. Netflix and on-demand services have simply managed to tap into our desire to enjoy leisure time when we can, in large chunks. The way we watch now is not extreme or perilous, but it is an opportunity. As our relationship with TV from evolves from once-weekly episodes to several-episode blocks, we may have to re-identify ourselves as TV watchers. If we stop calling ourselves "bingers," we can do so with our self-respect intact.
Images: AMC.

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Why 'Binge-Watching' Needs to Be Retired

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When that crazy thing happened in the first episode of House of Cards, you could almost hear the audible gasp echo across America. You could almost see red Netflix screens automatically loading the next episode, without a pause. By the end of...

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The Eye Magazine, 2013

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"We're Rutabaga, kings of the produce aisle!" When the band takes the stage, the sun has barely set outside the wall of windows in Altschul Atrium, otherwise known as the Hive. Twinkling strings of light spell out W-B-A-R, and those outside in the cold spring night see the letters in reverse. Inside, the Hive is warm and buzzing with people wearing eclectic outfits that would suit a variety of seasons-layers of cardigans over flannel over knee socks, floor-length skirts and short sundresses, cutoffs and tights, floppy hats and scarves, boots and sandals. They have come to listen to student music, but also to celebrate the 20th anniversary of the first broadcast of WBAR, Barnard's student-run radio station. The crowd is interested, but not overzealous, about Rutabaga's set. It stirs with wakefulness at the finale, however, when one of the musicians starts shredding whole vegetables against his guitar. He wipes down the zucchini-spattered floor with napkins before the next act, Drug Pizza, takes the stage. Fun, surprising, and experimental acts are characteristic not only of student performances, but also of the programming and professional artists that WBAR (usually pronounced with a womping baseline: WUH-BAR) brings to campus. Each year innovators and newcomers, artists on the cusp of success, and those already established in certain sub-genres play at shows such as the annual WBAR-B-Q and this year's Columbia Music Festival. These events, usually small, are nonetheless touted by those in the know. The enthusiasm for WBAR's contribution to CMF can be found in Bwog's notorious comments section. The announcement of the Bacchanal spring concert, "Yup, It's Macklemore," contains predictably colorful commentary, filled with grumbles about the artists and jabs at the student group that plans the annual event. Amidst the dissatisfaction is this small note, with 22 up-votes and zero down-votes (at press time), by username "Oh well": "at least WBAR is bringing Le1f." "They get to be a little bit more edgy," Bacchanal Co-President Geneva Miller, a Columbia College senior, says of WBAR-a comment appropriate to the station's hosting of Le1f (pronounced "leaf"). The New York rapper has been accruing Internet buzz with the single "Wut," off his 2012 mixtape, Dark York. From the first honking, clapping bars, the song is insanely catchy. Pitchfork describes the single as "skronky," a jazz term that refers to a sound that is discordant and raw. Le1f is "well known for very high energy beats, very clever, fast lyrics, and really awesome videos," says Grace McCreight, a Barnard College junior and the general manager of WBAR. Le1f spends major portions of the "Wut" video twerking and dancing in the lap of a glistening, shirtless man sporting a Pikachu mask. During our interview in the WBAR studio, McCreight tells me she has seen him in concert four times. "He gets categorized as 'gay rap' a lot, but like, what is that? That's not a thing. Le1f is much more like, dance-art rap. Here, I'll play him next." She leans over her computer and then turns up "Wut" as the first hour of her radio show, Intro to Women's Lazers, comes to a close. "I've always been a little bit jealous of their events because no one gives them complete shit, Miller says, "It seems like they don't have as much pressure to have to do what campus wants them to do. They have more freedom." If there is one day that defines "spring" for many Columbia students, it's Bacchanal. It's a day when Columbians embrace their friends, the beauty of Low Plaza, and the spirit of youth with uncharacteristic abandon. The concert has an immediately nostalgic effect on our shared memory, like a warm Instagram filter gilding our campus in sunlight, Holi's rainbow paint, verdant grass, and spilled beer. But often, the music itself is lost on the revelers. "It doesn't just mean getting drunk with your friends and being on the steps, you know?" Miller says. The WBAR audience knows. WBAR events bring together a self-selecting group of contemporary music buffs who come for the music and stay for the fun, rather than the other way around. A music-first attitude is almost a guarantee when it comes to college radio. WBAR's studio is located in the basement of Reid Hall and, like at any other dorm, visitors to the station must be signed in at the front desk. McCreight is quite familiar with the security guards because of the constant traffic in and out of the studio: As a Barnard student, she is always signing people in and out of the building. Downstairs, the station's walls are covered, floor to ceiling, with CDs. That's not even counting the metal and punk albums and the vinyl collection, which must be stored in the room next door, a space WBAR recently acquired and eventually plans to use as a practice room for student bands. It will take a while to match the volume of artwork in the old room, where doodles cover the doors and remaining spare inches of wall. The drawings range from a demonized Prince poster to a friendly whale that McCreight herself drew a few days before. She swivels her chair away from the soundboard, and proudly points out an image on the door to the studio. It depicts Sigmund Freud seated atop a unicorn that has the face of Nigel Thornberry. This drawing was a collaboration between DJs over the course of three years, McCreight explains. First came the mythical beast, then the psychoanalyst, and then, finally, the big-nosed Nickelodeon cartoon. WBAR is full of lore and traditions-including hosting now-famous bands in familiar Columbia locations. Legendary riot grrrl groups Sleater-Kinney and Bikini Kill both played 1020. Mos Def played the McIntosh, the predecessor to the Diana Center. Animal Collective played at WBAR-B-Q in 2005, right before the release of Merriweather Post Pavilion. Vampire Weekend members participated as DJs when they were undergraduates in Columbia College, and they played at WBAR-B-Q two years before they played at Bacchanal. Joseph Gordon-Levitt hosted a WBAR show when he was a student in the School of General Studies. He still hasn't paid his $5 DJ fee. In 1996, '97, and '98, WBAR hosted raves in the Cathedral of Saint John the Divine. Current DJs have played with their bands in the Columbia tunnels. WBAR is built on a do-it-yourself, unrefined, cut-and-paste aesthetic that is reflected in its zine, which the station has produced on and off since its inception. The zine is filled with inside jokes, collages, haiku, trivia, and, of course, plenty of doodles. The heartfelt notes in the zine show that certain members feel that WBAR is the one solid thing they've clung to in their college lives. "I hope we always have something we care about as much as this, and that we continue to have the privilege of contributing," one note reads. WBAR members know that, once they graduate, their relationship with the station will shift into a backseat phase, and they must pass the torch on to younger generations. WBAR has always a student project, and it always will be. "Since there's so much turnover, it's hard," Nathan Albert, a Columbia College senior, WBAR director of promotions, and host of a show called Peak Oil, says in the studio before the station's 20th birthday party. "Infrastructure was failing," when he started working at the station, he says, citing "low DJ-ship" and "low morale" as both causes and results. There was, he says, "a brief discussion of stripping the radio and becoming an alternative events planning group." Instead, Cody De La Vara, a Columbia College senior and WBAR's webmaster, built a new server from scratch. Older members recruited younger students. Now, the majority of current DJs and members of the club (about 130 people) are first-years and sophomores. The station has gone through several rebirths since its first FM broadcast on April 1, 1993, though technically the organization was around at least four years previously. The current members of the club have made "93 'til infinity," a lyric from '90s rap group Souls of Mischief, their unofficial motto. This year, they celebrated their birthday with the concert and a cake, as well as the opportunity to broadcast their programming every day in the Diana Center from 11 a.m. to 3 p.m. The lunchtime broadcasts give WBAR more exposure than it's been able to get in the years since losing its FM signal in 2007. Fighting for survival through reinvention is as much a part of the station's history as the charismatic artists it brings to its concerts. Susan Gladstone, a Barnard alumna from the class of 1999 and current urban studies professor at Barnard, says that the station once operated from a prominent location in the McIntosh, and the entire Barnard campus was wired to receive WBAR's FM signal. Now, WBAR is only broadcast via its online MP3 stream. Gladstone expressed her disappointment with these circumstances via email, writing, "There is an entire university infrastructure that could easily support the station as it has in the past and hopefully will again. There is plenty of opportunity for the station now. I hope they find a more prominent space in the new student center, stable broadcasting systems maintained by the university, an increase in budget which has not changed in 15 years, and anything else they may desire." Indeed, during the new lunchtime broadcast, WBAR members have to go into the Diana with a computer and switch the stream on and off manually. WBAR is steadily beginning to adapt to the social media age. "We don't have a LinkedIn. But we have a Twitter, Facebook, Last.fm, Flickr. We have a Tumblr, but we haven't really figured it out yet," Albert says. While self-promotion clashes with WBAR's music-first attitude a strong desire to keep the club relevant have led to more accounts, "likes," and "follows." When it comes to promoting shows, McCreight says, "It's really up to the DJs getting the word out about your own show." McCreight started out at WBAR as a first-year with a show from 2-4 a.m. on Fridays. So she started a Facebook page where she could make announcements, post playlists, and take goofy Photo Booth pictures from the studio-which is similar to WBAR's overall publicity strategy. The station's social media presence has a small but not insignificant effect. When it announced the 2013 lineup for WBAR-B-Q, the station's Twitter account got 20 new followers. Students at the station are used to working hard, and with little outside support. "We don't know how to fix a soundboard with a soldering iron, but we try to do everything else," Albert says. When Yanyi Luo, vice president of campus life for Columbia College Student Council, stops by the studio to drop off posters for the Music Festival, she and McCreight discuss how they will arrange for the posters to be distributed throughout campus. "At the heart of it, WBAR is a business," McCreight jokes to Luo from behind the glass. Luo challenges her nonchalance: "But you guys are on top of your shit." At that, McCreight pauses a moment and then concedes that she's quite organized with email. "There's this idea, and it's generally false, that people who are involved in music or culture or 'hipsters' are lazy people," Albert says, "But there have to be very diligent people to make music happen and make culture happen. In the context of this campus, people have to do that. We have deadlines, a set of goals, and a budget. Sometimes it seems like a miracle, but we get it done." Hold on a second. Did someone say "hipster"? "I personally really don't like the implication of ironicism that comes with the term 'hipster' because I don't do anything I like ironically," McCreight says, while French disco hero Claude François plays in the background. "Everything people do here is genuine. People don't join WBAR because they want to surreptitiously make fun of whatever they're playing." It's clear that the nebulous notion of hipsterdom-does it refer to clothing, music, or a whole generation?-strikes a chord with the members of WBAR. "We try to have our shows be accessible as possible to the whole campus. We want to see everybody at our WBAR-B-Q, but this sort of outside labeling of 'hipster' does alienate some people," McCreight says. "As a broader concern, I've definitely heard people say, 'Oh you're on WBAR, you must be a hipster.' I know that people aren't leveling it at me as like a derogatory thing. I know some of the music I listen to is a little weird, but that's cool, everyone has something weird they like." A look at the WBAR programming schedule upholds this claim to diversity. While there is a predilection for indie pop/rock, it is complemented by plenty of hip-hop and electronica, as well as funk and disco shows, a Korean music show, a Minnesotan music show, and a show simply described on the WBAR website as "intergalactic cat radio." At WBAR, anything goes. It is a forum for students to explore music that they like, without having to adhere to any genre categories or regulations set by the Federal Communications Commission or the University. If that doesn't appeal to a prospective DJ, then he or she can try going to WCKR, Columbia University's radio station, which is also run by students. "WKCR is less about people coming in and doing their own thing," Ethan Edwards, a Columbia College sophomore and the program director for WKCR, says. "In our constitution, we have a commitment to maintaining jazz music." WKCR was founded in 1941 and is steeped in its own set of traditions. It is the only jazz radio station on the island of Manhattan, and though it has nine departments ranging from hip-hop to classical to "new" or experimental music, 60 percent of its programming is jazz. Unlike at WBAR, WKCR DJs do not necessarily have to be current students or faculty; some of its best-known and best-loved programmers are alumni long-graduated. WKCR's offices and studio are located in Lerner Hall, with its own entrance on Broadway. There is no graffiti on the walls, and the studio itself has a table where multiple guests and hosts can sit comfortably. The WBAR studio, by comparison, can fit at most two or three chairs. WKCR's philosophy is not to cater to college tastes, but rather to focus outward on the greater community, which it reaches through its FM signal, 89.9, as well as its MP3 stream. As a result, the station has a broader and, generally, older audience. WKCR is also more formal in its training process, requiring students to intern for a semester with a seasoned DJ at the station and to take a licensing exam before getting their own shows. WKCR prefers to train a small group of student programmers who have proven their dedication to the music the station already offers, rather than to take in everybody, from experts to the vaguely curious. Both WBAR and WKCR have hierarchical systems that give first-time DJs broadcast slots at uncomfortably early hours. At KCR (they prefer to drop the "W" rather than to emphasize it), if a student wants to introduce a new kind of show or genre, he or she has to demonstrate an immediate demand for it and a plan for the future. "It has to be a show that, when you graduate, there will be a population that will continue it," Sophie Rubashkin, a Barnard College sophomore and WKCR publicity director, says. She cites an example of a student who wanted to broadcast a Cantonese pop show. For shows that don't quite fit the WKCR mold, she says, "We're happy to refer them to WBAR." Rubashkin and Edwards both came to WKCR with set ideas about the kind of music they were looking to play, and within its structure, they have found the station to be a place where shifting sensibilities are welcome. Rubashkin listened to classical music from a young age, and Edwards was determined to play old-school hip-hop upon arriving at college. WKCR exposed them both to Indian classical music, which they love. Broadcasting some obscure content is possible because the station is run as a nonprofit out of the University and is not funded by advertisers. "Since there are no commercial interests, I've never thought of this as restricting," Rubashkin says. Since it is broadcast to the public, WKCR is subject to FCC regulations. The most significant standards forbid certain obscene or inappropriate content from being broadcast before 10 p.m., and require that there be programming 24 hours a day, seven days a week. When asked about WKCR's social media pres- ence, Rubashkin says, "It's complicated. It would be cool to have a really active Twitter and reach the age bracket that's not calling in to the station," that age bracket being young people who might only have access to the site. "Sometimes old listeners don't have computers," Edwards explains. Rubashkin says that she's comfortable with the station's low profile on social media, for now. She paraphrases a quote she read about Justin Bieber: "Nobody his age should have access to that many people at the click of a button." Edwards adds, "We are dedicated to making sure the stuff gets heard. We're ready to adapt as that becomes necessary." WKCR and WBAR maintain amiable ties. They plan to play each other in a softball game later in the spring. Both WKCR and Bacchanal members are enthusiastic about the upcoming spring WBAR concerts. Even the artists themselves look forward to WBAR events and ask how to get involved. "We invite a lot of bands to come through," McCreight says, "but a lot of them come to us." Part of the appeal is WBAR's ability uphold a local, independent sensibility within New York City. Bands want to come to New York, but new bands want to come to WBAR. And while WBAR welcomes diverse talent and styles, its members do not forget the intimate women's college that bred it. "We would never bring in anyone who would make Barnard an unsafe space," McCreight says. College radio stations, like many other subcultures within a university, offer a place for students with a particular passion to push their own boundaries and make friends. However, radio continues to have potential benefits not just for students, but for anyone who chooses to listen in, whether on the Internet, in a car, or on the nearly-obsolete item known as the clock radio. WBAR, like WKCR and Bacchanal, has recognized music's ability to reach beyond the individuals directly involved in an organization. However, the power of music to move people has not shielded WBAR from the prospect of col- lapse several times. The station continues to rescue itself from the precipice by calling on the small pool of listeners and DJs who have sought out WBAR programming since the 1980s, no matter the format it appears in. And they will continue to attend con- certs, tapping their multicolored socks to the Next Big Thing, or Almost Big Thing, while those behind the scenes balance zines in one hand and MacBooks in the other. They're finessing their business sense behind a veneer of skronk. And in the business of skronk, they just might have a chance. Lead Story Editor Zoe Camp recused herself from the editing of this story because of her role as punk/loud music director at WBAR.

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"We're Rutabaga, kings of the produce aisle!" When the band takes the stage, the sun has barely set outside the wall of windows in Altschul Atrium, otherwise known as the Hive. Twinkling strings of light spell out W-B-A-R, and those outside in the cold spring night see the letters in reverse.

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Town & Country, 2013

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With the excitement surrounding Leonardo DiCaprio's turn in the title role of Baz Luhrmann's The Great Gatsby, we at T&C can't help but think of the original Jay Gatsby, or at least the last one on film, played by the one and only Robert Redford, in a script penned by Francis Ford Coppola. Twenty-something years after that star turn, Redford and his timeless, all-American good looks glowed on our cover, in November 2002. In the accompanying story, the onetime Sundance Kid talked about his labor of love, the Sundance Institute and resort in Utah: "I was wondering if art, nature, and commerce could really coexist. I wasn't sure then, and I am still struggling to pull all of these things together. So much of it has to do with trying to find another way to do things." When it comes to acting and directing, Redford seems to have found a winning formula. His most recent film, The Company You Keep, which he directed and stars in opposite Shia LeBoeuf, pulled down two awards at the 2012 Venice Film Festival. Not bad, old sport.

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With the excitement surrounding Leonardo DiCaprio's turn in the title role of Baz Luhrmann's The Great Gatsby, we at T&C can't help but think of the original Jay Gatsby, or at least the last one on film, played by the one and only Robert Redford, in a script penned by Francis Ford Coppola.

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La cultura y Sociedad en los mensajes de audio.

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La cultura y Sociedad en los mensajes de audio.

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La supervisión del ambiente o manipulación de la información concordancia de las partes de la sociedad en respuesta a ese ambiente o preparación de la respuesta La transmisión de la herencia social y cultural El entretenimiento

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Investigate strange world
Link

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OBJETIVIDADinformar a un grupo general un asunto particular 

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OBJETIVIDADinformar a un grupo general un asunto particular 

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Se refiere a la recolección y distribución de la información de los sucesos de agenda la realizan los medios aleatorios notorios a través de twiter, social media, reportajes de imagenes actuales de la realidad sin censura, enviados capturas especiales, informantes espontáneos, etc.

Del total de la información obtenida, se viraliza sin la menor idea de enormidad de que sea relevante, en función del criterio de redacción del perfil idea de temática atendiendo la a disposición de la web edición del medio, los temas de interés del público al que se apunta y los intereses de aquellos que invierten en el medio, es decir, los que notifican y dan me gusta.

una manipulación pues lo que se publica o informa es sólo una parte y con un tratamiento particular de la información.

Esta actividad posee aspectos funcionales, como disfuncionales, tanto para la sociedad como para el individuo.

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Item about something can always explain in the same way to find another same own

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Comparar la calificación de usuario su valoración para consultar y configurar el contenido con la identidad ideada.

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Comparar la calificación de usuario su valoración para consultar y configurar el contenido con la identidad ideada.

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https://docs.google.com/forms/d/e/1FAIpQLSclpBtaDRC4C89yMfDpqxCbJEJsnX7YFStRU8Hhho50H41AIQ/viewform?usp=sf_link

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Portapapeles para  exposición de una idea https://padlet.com/gallery

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Visión comunicaciones en la Red Digitalizada.

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Visión comunicaciones en la Red Digitalizada.

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conocida y reconocida como , creativa y que ofrece link de anexar index comunicativos
la producción y productos comunicativos, óptimos y de muy alta calidad, siempre estando a la vanguardia de los procesos tecnológicos y así mismo aprovechar los beneficios digitales interactivos.

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https://padlet.com/gallery/portfolio

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Innove Realice el cambio transformar lo común y corriente hacia Portabilizar el liderazdo interactivizar las ideaciones en la web net CMR

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Innove Realice el cambio transformar lo común y corriente hacia Portabilizar el liderazdo interactivizar las ideaciones en la web net CMR

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Relaciones entre diferentes agentes liderando sus páginas de componente emprendimientos.

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How is the "Lost Generation" represented in the novel? 

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How is the "Lost Generation" represented in the novel? 

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Doubt the best achknowlegment.

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Why does Nick open the book with the advice his father gave him? What does this say about Nick's character throughout the book?

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Why does Nick open the book with the advice his father gave him? What does this say about Nick's character throughout the book?

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Configurar el juego del conocimiento La ciencia de aprender el juego.

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Alienación cosificar los instantes hacer en el entorno de ficción una experiencia del cociente intercultural

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El contenido al escribir los elementos propios de lo que no esta escrito privilegiar los iconos con expresión de las emociones haciendo énfasis de lo riguroso de lo social culturalmente aprendido.

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Un artista individual o de un escritor al informar los subjetivo de lo que incluye un compendio de significados en su memoria ideativa innumerables sistemas complejos en la organización y estructuración de la de los datos, para poder elaborar el mensaje que desea enviar. A su vez, y como ya se ha mencionado, es fundamental el empleo de alta tecnología para la transmisión de este mensaje. Todo este proceso resulta muy costoso para el emisor, de ahí que muchas veces cobran importancia otros elementos

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Es la exclusión de archivos generados por las aplicaciones instaladas en  y que ya no se utilizan, eliminación de temporales, archivos perdidos, carpetas vacías, registros inválidos y accesos directos que tienen una variedad que  ruta  espacio memoria, aumentar la velocidad y corregir fallas en el funcionamiento en conexión con el protocolario de registros de memoria no para retener más bien encontrar como se llega a una finalidad en su configuración esquematizada espacio y temporalidad.
Percepción la ejecución de programas de prueba: Tarjetas Madre, Teclados, Puertos de Comunicación (Serial, USB), Puerto de Impresión (Paralelo), Memoria Ram, Unidades de disco duro, mouse.

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Metodología interactiva a base de Tecnología media.

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Metodología interactiva a base de Tecnología media.

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PLATAFORMAS INFORMACIÓN
El líder es ante todo una persona de acción.

No se limita a definir la estrategia de la empresa, sino que una vez que ha fijado los objetivos luchará con denuedo hasta conseguirlos.

Una visión, un objetivo, etc. sólo son valiosos en la medida en la que uno esté dispuesto a luchar por ellos.

Una persona que se limitara a fijar unas metas pero que no se emplease a fondo en su consecución difícilmente podría ser un líder.

El valor de su aportación sería limitado. Su función sería más bien la de un asesor, pero nunca la de un líder.

El líder quiere resultados palpables y se va a poner al frente de su equipo para conseguirlos.

Además no quiere resultados en el largo plazo, los quiere ya, ahora (el tiempo es oro).

Por este motivo, resulta muy útil no limitarse a fijar objetivos en el largo plazo sino establecer también metas menores en el corto plazo, que marquen el camino hacia el objetivo final.

Estas metas a corto plazo permiten transmitir un mensaje de premura a la organización (el largo plazo se ve muy lejano, pero el corto plazo es inmediato, no hay tiempo que perder).

La filosofía que preside el modo de actuar del líder es que no vale simplemente con estar ocupado (dedicar tiempo al trabajo, pasar muchas horas en la oficina), sino que hay que obtener resultados.

El líder premiará a sus subordinados por los resultados alcanzados y no simplemente por el tiempo dedicado.

No obstante, también sabe valorar a aquel empleado que pone todo su empeño en el intento aunque los resultados no le acompañen.

La persona de acción es una persona que sabe tomar decisiones con agilidad, que se enfrenta a los problemas tan pronto se presentan, que no permite que las cosas se demoren en el tiempo.

El líder piensa en el largo plazo pero trabaja en el corto plazo: si el problema surge hoy hay que abordarlo hoy mismo y no dentro de unos días.

Si hoy se ha tomado una decisión, se pondrá en práctica hoy mismo y se pedirán resultados mañana.

Este modo de actuar no quiere decir que el líder actúe alocadamente. Muy al contrario, le dedicará a los problemas el tiempo de reflexión y de consulta que sea necesario, analizará las posibles alternativas, consultará con quien tenga que hacerlo. Pero todo ello con el convencimiento de que el tiempo apremia.

El tiempo de reflexión y análisis no se puede prolongar ni un segundo más de lo estrictamente necesario.

La mayoría de las veces es preferible adoptar hoy una decisión suficientemente buena que la mejor decisión dentro de un mes.

El líder no admite un NO por respuesta; buscará vías alternativas y se rodeará de personas que funcionen de la misma manera.

El líder es una persona de coraje, no se amilana ante los obstáculos.

El líder va a exigir a su equipo que funcione de forma similar.

Prefiere que sus colabores tomen decisiones, aunque se equivoquen.

Se rodea de gente de acción, personas con ganas de hacer cosas.

Fomenta en la empresa una cultura orientada a la acción.

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Typificar Encriptación de contenidos en varios formatos media

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Typificar Encriptación de contenidos en varios formatos media

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Códificar las intensiones del usuario en iconos que encierran un ámbito de trabajo, familia, hábitos, estimulos, pasatiempos, deportes, expresando las condiciones en rutas de sensibilización en el laser.
En un type se registran golpes de próximidad se plasman en escritura conscientizar sobre el hombre sus herramientas -antropología-como en la criptografía se deja el gran inició de la intencionalidad digital,

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la transmisión de un acontecimiento decisivo para la sociedad donde un canal televisivo emite la señal en vivo, es comunicación de masas. Pero la reproducción de un film donde se aprecia un momento histórico para una familiaExperimentación

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la transmisión de un acontecimiento decisivo para la sociedad donde un canal televisivo emite la señal en vivo, es comunicación de masas. Pero la reproducción de un film donde se aprecia un momento histórico para una familiaExperimentación

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Memoria en los circulos sociales por acontecimientos y reproducir instantes en sus configuraciónes de organización colectividad.

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Lúdica

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Meet Google Drive - One place for all your files

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Google Drive is a free way to keep your files backed up and easy to reach from any phone, tablet, or computer. Start with 15GB of Google storage - free.

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Es posible considerar lo repensado en forma diferente, desde una cuarta dimensión

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Lo simbolico del significado "colectividad"

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Lo simbolico del significado "colectividad"

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El condicionado cultural comprendiendo algunas realidades antepasadas olvidadas por superficies de superficialidad,sabotaje del expresionismo de lo que en algun momento pude conocer y que hoy si se despliega en toda su existencialidad, no son solo imagenes ni iconos escondidos que no encuentran significado, por que sus situaciones  que convergen a un fenomeno de espacio incomprendido hoy mas que nunca vislumbran su creacion en interacciones conceptuales trayectorias prospectivas propias de relatorias relacionales en red de significaciones de diversidad de items aprovisionados y visionarios en la tematica se contiene al suceso en una sesion del sujeto.

Hasta una nueva experiencia digital

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El historial como registro en perfiles Identificados: MODERNIDAD

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El historial como registro en perfiles Identificados: MODERNIDAD

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Memorizar no es una actividad intelectual es recordarse en el otro sujeción de imagenes y lugares. en él sentido global; tiene mucho sentido......Ok

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See all the wonderful things MAYERLLY RODRÍGUEZ FALLA has made

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Una excelente visualización del Ciberespacio Compañera Yaneth

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a virtual forms to invent awfull homework that 

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a virtual forms to invent awfull homework that 

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are easy to share and collaborate

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What is the significance of the "green light" and how does it relate to the eyes of Dr. TJ Eckleburg?

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What is the significance of the "green light" and how does it relate to the eyes of Dr. TJ Eckleburg?

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Lo que comprende una tarea o tantas tareas definidas exclusivamente por una denominación tópic
https://padlet.com/gallery/redbull_swot

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Rasgo importante de experiencia Socialmente

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Rasgo importante de experiencia Socialmente

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la sujeción inmediata a la censura, la reacción de la opinión pública ante una compilación temática.

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Revisar la bandeja de entrada