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STARITE GHOST HUNTER! 1 RID THE HOUSE OF THE GHOSTS WHO HAUNT IT! FIRST, GIVE MAXWELL SOMETHING TO HELP HIM SEE THE SUPERNATURAL! HINT1 RID THE HOUSE OF THE GHOSTS WHO HAUNT IT! FIRST, GIVE MAXWELL SOMETHING TO HELP HIM SEE THE SUPERNATURAL! HINT2 GIVE MAXWELL SOMETHING WITH PSYCHIC ABILITIES. HINT3 GIVE MAXWELL A FORTUNE TELLER. クリア可能な言葉：FORTUNE TELLER、PSYCHIC 2 GIVE ME THREE THINGS TO PLAY WITH AND I WILL LEAVE THIS HOUSE. HINT1 GIVE ME THREE THINGS TO PLAY WITH AND I WILL LEAVE THIS HOUSE. HINT2 GIVE ME THINGS THAT A LITTLE GIRL WOULD PLAY WITH. HINT3 GIVE ME A DOLL, A TEDDY BEAR AND A PUPPET. クリア可能な言葉：BALL、DOLL、PUPPET、SENSOR、TEDDY BEAR 3 I CANNOT LEAVE THIS HOUSE UNTIL I GET THE WEDDING I LONGED FOR IN LIFE. GIVE ME THREE THINGS TO SET ME FREE. HINT1 I CANNOT LEAVE THIS HOUSE UNTIL I GET THE WEDDING I LONGED FOR IN LIFE. GIVE ME THREE THINGS TO SET ME FREE. HINT2 I'M MISSING MY RING AND A WEDDING PARTY. HINT3 GIGIVE ME A BOUQUET, A GROOM AND A WEDDING CAKE. クリア可能な言葉：BOUQUET、FATHER、GROOM、RING、WEDDING CAKE 4 I HAVE BEEN TRAPPED HERE FOR A LONG TIME. GIVE ME THREE RELICS OF THE HOLY CHURCH AND I CAN LEAVE THIS PLACE. HINT1 I HAVE BEEN TRAPPED HERE FOR A LONG TIME. GIVE ME THREE RELICS OF THE HOLY CHURCH AND I CAN LEAVE THIS PLACE. HINT2 ANYTHING FOUND IN A CHURCH WILL DO. HINT3 GIVE ME HOLY WATER, A CROSS AND A NUN. クリア可能な言葉：HOLY GRAIL、HOLY WATER、CROSS、NUN 5 I HAVE BEEN IN THIS HOUSE THE LONGEST OF ALL. GIVE ME THREE THINGS I WANTED IN LIFE SO I CAN FINALLY LEAVE. HINT1 I HAVE BEEN IN THIS HOUSE THE LONGEST OF ALL. GIVE ME THREE THINGS I WANTED IN LIFE SO I CAN FINALLY LEAVE. HINT2 GIVE ME A WEAPON, PROTECTION AND A REASON TO FIGHT. HINT3 GIVE ME A SWORD, A DRAGON AND A PRINCESS. クリア可能な言葉：DRAGON、KING、PRINCESS、SHIELD、SWORD SHARDS BURIED ALIVE! GRAVEDIGGER THIS COFFIN BRINGS THINGS TO LIFE! |クリア可能な言葉|VAMPIRE|、ZOMBI COME PLAY WITH US! MIX、MOX WE WOULD LOVE SOMETHING TO PLAY WITH! クリア可能な言葉 GAME BUMP IN THE NIGHT! CRATE MAKE THE ATTIC A BIT MORE SPOOKY! クリア可能な言葉 GHOST、ZOMBI THIS HOUSE IS CLEAN! PRIEST DELIVER ME FROM EVIL! クリア可能な言葉 CROSS LET'S DO THE MASH! BLACK PIANO LET'S HAVE A PARTY! クリア可能な言葉 MUSICAL ピアノを鳴らすだけでもクリア可能 ARACHNOPHOBIA! BLACK WIDOW I WANT TO BE MORE FRIGHTENING! クリア可能な言葉 MAXWELL'S EVIL TWIN! DIRTY MIRROR CAN YOU SEE YOU REFLECTION? クリア可能な言葉 BRUSH(CLEAN)、MOP REANIMATOR! GARGOYLE REANIMATE ME! クリア可能な言葉 ALIVE、LIVING SECRET PASSAGE! GOOD-SIZED RUSTY SUIT OF ARMOR WHAT'S THAT BEHIND ME? クリア可能な言葉 KNIGHT、PORTABLE HORROR IN THE BASEMENT! SHAMBLER THE FLAME KEEPS ME TRAPPED DOWN HERE! クリア可能な言葉 RAIN
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昨日 - 今日 - アムネスティ・インターナショナルによる GAZA Report Fuelling conflict Foreign arms supplies to Israel/Gaza -index 紛争を焚きつける：イスラエルとガザへの外国による武器供給 ソース Amnesty International AI Index MDE 15/012/200923 February 2009 http //www.amnesty.or.jp/uploads/mydownloads/Fuellingconflict-ForeignarmssuppliestoIsrael-Gaza.pdf (preface) Contents Introduction Misuse of conventional arms by Israeli forces イスラエル軍による通常兵器の濫用...3Air delivered munitions 空中発射弾薬 Anti-Tank Mines 対戦車地雷 Artillery and Mortars 大砲と迫撃砲 White Phosphorus 白リン弾 Illuminating artillery shells 照明用砲弾 Flechettes フレシェット弾 Tank Ammunition 戦車用弾薬 Missiles from UAVs – or “drones”, helicopters and aircraft 無人機すなわち「ブーンブン(drone)」からのミサイル、そしてヘリコプターと飛行機 Cube-shaped shrapnel サイコロ榴散弾 Dense Inert Metal Explosives (DIME) 高密度不活性金属爆薬 Unlawful use of indiscriminate rockets by Hamas and other Palestinian armed groups ハマスや他のパレスチナ人武装グループによる無差別ロケットの不正使用...16 Arms supplies to Israel イスラエルへの兵器供給（未作成）...18Actual Export of US and EU conventional military equipment to Israel for the period 2004 to 2007 イスラエルに対するUSおよびEUによる2004～2007の通常兵器の輸出実績 Major commercial suppliers of infantry weapons, munitions and armoured vehicles, and aircraft to Israel イスラエルに対する歩兵兵器、弾薬、装甲車両、飛行機の主な供給者 A note on UN Comtrade data 国連商品貿易データベースの記録 Aircraft and Helicopters 飛行機とヘリコプター Tanks and other armoured fighting vehicles 戦車と他の装甲戦闘車両 ammunition 弾薬Rockets and Missiles ロケットとミサイル Bombs 爆弾 Artillery shells including white phosphorus shells 白リン弾を含む砲弾 Small Arms and Light Weapons 小火器と軽兵器 Electronic Equipment 電子装置 Components 複合装置 Special Fuels 特別燃料 Current US arms ships 現在の米国の武器貿易 Arms supplies to Hamas and other Palestinian armed groups ハマスや他のパレスチナ武装グループへの供給（未作成）...33The table below estimates the Hamas rocket arsenal [52] ハマスのロケット貯蔵の推計 Recommendations 勧告...35 Appendix One Proposed US Foreign Military Sales notified to Congress 2005-2008 [54] 付録１：議会通知済み「米国海外軍需品販売請求」...37 Appendix Two US Foreign Military Sales Fuel Contracts for Israeli government 2002-2008 [55] 付録２：イスラエル政府に対する「米国海外軍需品販売の石油契約」..42 (preface) Both Israel and Hamas used weapons supplied from abroad to carry out attacks on civilians. This briefing contains fresh evidence on the munitions used during the three-week conflict in Gaza and southern Israel and includes information on the supplies of arms to all parties to the conflict. It explains why Amnesty International is calling for a cessation of arms supplies to the parties to the conflict and calling on the United Nations to impose a comprehensive arms embargo. イスラエルとハマスの両方が民間人に対する攻撃を行うために海外から供給された兵器を使用しました。 この要約は、ガザと南イスラエルでの3週間の闘争の間に使用された弾薬についての新しい証拠を内容とし、全ての紛争当事者への兵器供給に関する情報を含んでいます。 それは、アムネスティ・インタナショナルが、なぜ紛争当事者への兵器供給の停止を求めているか、また、なぜ国連で包括的な武器輸出禁止を課すことを求めているか、を説明するでしょう。 Introductionから読む アムネスティ・インターナショナルによる GAZA Report
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Hum vs Orc 概要 序盤はOrcのハラスが有効に機能するため押され気味になりやすい。 Humは偵察などを駆使して可能な限り安全にLvとTirを上げ Tir2ユニットが揃い始める時間帯からが勝負になる。 最序盤は大物Creepが出来るチャンスであるため積極的に行う 目安としてはSH出るまでにAM Lv3.かなり有利展開 基本戦術 Tir2 2Arcane OrcにはSlowが効果的なためSorcを出していく。 その後はTRにつなぐ Expo T3 air TR以外で勝てません宣言 TRの目安として7分半くらいに敵陣着がいいかな 到着時はCaster無しでも良いのかも.1stはPriestをお勧め ピッコロ+HexでAMが少しだけ死ににくくなる 1stAMの場合はアイテムショップを早めに作ったほうが良いのかもしれない。 序盤～中盤のラッシュを以下に凌ぐかが肝 相手のオーダーはほぼRaiderとLinkerの構成だと決めうちしても良いのかもしれない。 建物は封鎖しないとほぼ確実にWorkerを攻撃される。 罠Microできると良いが難しい。できなければ確実に封鎖する。 Raiderの網が出てくる段階で短期行動は死ねる 基本T2戦. Mk1st+expoするならT3Gry ディスペルが少なそうならT3 ポリモもあり。 Linker濁はGry急ぐのがベターかと ①ArchMage+MKのキャスター編成 序盤がきついがキャスターそろえば何とか 負けとは？Orcの勝ちとは 早期ラッシュを仕掛けられる- ユニットコントロール? ②MK+即expo 2ndが固まればGryからいける 負けとは? 2ndが立たない.ユニットを揃えられてしまう。 EI 初期偵察確認 点 ①Hero ②初期オーダー Shop,Barraks,WarMillの有無. 可能ならば即Harras型かCreep型かチェック(すぐこっちに来るか) BMの場合、Harrasに来るタイミングををチェックできると良い 即Harras型の場合、回復アイテムをチェック。 無しのBMはHPが減ったらとりあえず引いてくれるので脅威が和らぐ →低Lvでこの強さなんでお手軽に強いと思う。操作もHero狙いでいいし 逆にAMをしっかり操作することが必要. EIの場合はMK固定にしてしまってもいいか. 逆にバラックよりアイテムショップ優先するオーダーが対処に困る 特にAM狙いされると非常にきつい この場合は多少無理してでも傭兵前言ったほうがよい気がする。 ProではTire2即TRが非常に多いし、非常に有効な模様。これも練習せねば ＢＭノーグラントには見つけた時点でTRにいくことにする. 失敗するとワイバーン超うざい 封鎖Tips BM以外は封鎖しないほうが良い気がする。 FSのワイバーンはどうしても数がそろってしまうので中に入れないと辛い 初期foot1を偵察に送ってHero確認後に判断するのが良いのかも 相手Hero-Order BladeMaster クリティカルとWWにより回復手段がない序盤には脅威 追いかけっこの展開になる場合はBootsを早めに購入することで若干楽になる。 WWされ、さらにBootの有無が同じ条件の場合はWW有利. BM自体の耐久力はそれほど強くないがSHのHealWaveやSpritLinkなどそれを補う仕組みがあるため しっかり操作するBMは非常に倒しにくい. Dust必須 AM vs BMの場合は容易にLv3にすることができず逆にバローハラスの動きを 行うほうが結果として効果がある場合が多々ある。 MK vs BM の場合はOrc側もうかつに攻めることができないため5分もしくはHumの若干有利な展開になる しかしLv1のStormBoltの威力は低くそのままではBMをKillするまでには至らない。 FarSheer ガンハラス- WRのパターンが多い expoしないでDHRまつのも手だなぁ OrcHeroのスキルがハラス性能に特化している. 一般的にはRaider + SpiritWalker の構成がメジャーかつ使いやすいため多い。
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ORIGAMI ORIGAMI アーティスト Little Glee Monster 発売日 2024年8月7日 レーベル SMR CDデイリー最高順位 1位(2024年8月7日) 週間最高順位 1位(2024年8月13日) 月間最高順位 5位(2024年8月) 初動総合売上 19196 累計総合売上 24311 週間1位 収録内容 曲名 タイアップ 視聴 1 ORIGAMI 天穂のサクナヒメ ED 2 DIVA 3 Fragile CD/総合ランキング 週 月日 CDシングル 総合シングル 順位 週/月間枚数 累計枚数 順位 週/月間枚数 累計枚数 1 8/13 1 14021 14021 1 19196 19196 2 8/20 1 4599 18620 10 4782 23978 3 8/27 181 18801 240 24218 4 9/3 93 18894 93 24311 2024年8月 1 18894 18894 5 24311 24311 関連CD UP TO ME!
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CHALLENGES IN DEVELOPING Ａ MANAGEMENT APPROACH TO INDUSTRIAL HERITAGE SITES 2011.2 M. Peason Unity of time, and the temptation to try to recapture the ‘Meiji moment . Unlike some other heritage places. the value of industrial sites may not be based on their representing any one point of time. Many industrial sites reflect the evolution of industrial processes and operations over ａ period of time, with changes and alterations adding new components, or taking away old components. Taking an industrial site back to one earlier point in time is generally not the objective of its conservation, and as the Nizhny Tagil Charter for the Industrial Heritage (ＴＩＣＣＩＨ 2003) says, reconstruction or returning toａ previous known state should be considered an exceptional intervention . Trying to either reconstruct ａ site as it is thought to have been in the Meiji, or removing later components of ａ place, is not supported by international guidelines. The Ｖｅｎｉｃｅ Ｃｈａｒtｅｒ (Article 11) says ‘The valid contributions of all periods to the building of ａ monument [ or site ] must be respected, since unity of style is not the aim of ａ restoration. When ａ building [or site] includes the superimposed work of different periods, the revealing of the underlying state can only be justified in exceptional circumstances and when what is removed is of little interest and the material brought to light is of great historical, archaeological or aesthetic values, and its state of preservation good enough to justify the action. Evaluation of the importance of the elements involved and the decision as to what may be destroyed cannot rest solely on the individual in charge of the work. An example in the Japanese nomination Mitsubishi Shipyards at Nagasaki, where the nominated componente are part of an evolved operating shipyard. The dry dock, pattern shop (ｎｏｗ the Museum) and the crane have al undergone modification over more than ａ hundred year period to enable them to fulfil their industrial and company purposes. Trying to revert to ａ Meiji era form would be ahistorical, would be conjectural to some degree, and would confuse the heritage values of the place. Reconstructing ruins Ruins and incomplete structures can tell their own history. In industrial sites the reconstruction of incomplete remains very often involves conjecture about what the original site was really like, and the Venice Charter (Article 9) says very clearly that restoration must stop at the point where conjecture begins, and in this case moreover any extra work which is indispensible must be distinct from the architectural composition and must bear ａ contemporary stamp. The interpretation of what constitutes the appropriate ‘contemporary stamp is controversial, but the main thrust of the charter is clear － don t reconstruct on the basis of ｃｏnjecture. The Nizhhny Tagil Charter for the Industrial Heritage says 5.VII. Reconstruction, or returning to ａ previous known state, should be considered an exceptional intervention and one which is only appropriate if it benefits the integrity of the whole site, or in the case of the destruction of ａ ｍajor site by violence. Vｅｎｉｃｅ Ｃｈａｒtｅｒ (Article 15) says that in the case of excavated ruins ; ‘Ruins must be maintained and measures necessary for the pennanent conservation and protection of architectural features and of objects discovered must be taken. ．．． All reconstruction would should however be ruled out ａ priori. Only anastylosis, the re-erection of complete collapsed elements, is allowed, and even this has become controversial since the Venice Charter was written. An example in the Japanese nomination would be the reverberatory furnace at Shuseikan at Kagoshima. Only the foundations survive, and to attempt to reconstruct the furnace would be based very largely on ｃｏnjecture, would probably destroy or bury the original fabric of the historical era, and would distort the heritage values of the place. Aesthetic preservation vs industrial character and authentic setting Industrial sites are seldom beautiful. Some are imposing because of their scale or the sculptural nature of their elements, but they are very seldom built for aesthetic effect. Therefore aesthetic judgements should not guide their conservation. Industrial sites however often have ａ character within their setting that reflects their industrial origins. This can include operational or abandoned equipment, rail lines, ash, coal or waste emplacements, and often ａ rather barren landscape. This setting is often not aesthetically pleasing, but it can be ａ powerful tool in understanding the industrial site, and often deserves to be conserved. It is very often not appropriate to try to beautify industrial sites, and the replacement of traditional settings with manicured parklands and urban recreational landscapes is very seldom appropriate, and detracts frｏｍ theappreciation of the heritage significance of the industrial site. The Venice Charter (Article 7, in another context) states that Ａ monument is inseparable from the history to which it bears witness and from the setting in which it occurs. And (Article 6), states in part that ｀．．．Wherever the traditional setting exists, it must be kept. This is echoed in the Nizhny Tagil Oharter ( 2 III ) These values are intrinsic to the site itself, its fabric, components, machinery and setting, in the industrial landscape, in written documentation, and also in the intangible records of industry contained in human memories and customs. This concept is also echoed in the Joint ICOMOS-TICCIH Principles for the conservation of industrial heritage, sites, structures, areas and landscapes, draft of 8 October 2010, article 2. Industrial sites are also often dirty buildings. and in some cases the accumulation of smoke and oil stains, abrasion marks and grime, tell as much about the industrial process as does the machinery itself. Cleaning up industrial buildings anｄ machinery should be considered a very significant decision. and one not taken lightly, as irreplaceable evidence of the past might be lost. Public safety might be ａ consideration in some rare cases, but there are many ways to make ａ site safe and avoid public contact with oil and grime without having to remove it all together. An example in the Japanese nomination would be the Manda Pit of the Miike mines at Omuta. The mine headframe, winder building, fan house and other support buildings survive in an industrial setting that makes sense of the buildings and the spaces between them. To some extent the industrial landscape allows the experience of the workers at the site to be understood. To remove the railway remains. mining equipment, and bare open spaces., and introduce instead ａ modem municipal park landscape, would destroy the industrial context of the place, and reduce the buildings to being just exhibits in ａ sterile modem garden. Levels of intervention The commonly adopted principle for conservation work is to do as much as is necessary to conserve the place, but as little as is possible. The Ｖｅｎｉｃｅ Ｃｈａｒtｅｒ indicates intervention must stop at the point where conjecture begins. The Nizhny Tagil Charter (4 Ⅲ) indicates yhat The most important sites should be fully protected and no interventions allowed that compromise their historical integrity or the authenticity of their fabric. Sympathetic adaptation and re-use may be an appropriate and ａ cost-effective way of ensuring the survival of industrial buildings, and should be encouraged by appropriate legal controls, technical advice, tax incentives and grants. A key aim of the conservation of industrial sites is to retain as much of the evidence of the use of the place at the place. The Ｎｉｚｈｎｙ Ｔaｇｉｌ Ｃｈａｒtｅｒ (5.Ⅰ) indicates that Conservation of the industrial heritage depends on preserving functional integrity, and interventions to an industrial site should therefore aim to maintain this as far as possible. The value and authenticity of an industrial site may be greatly reduced if machinery or components are removed, or if subsidiary elements which foｒｍ part of ａ whole site are destroyed. This also means that components of industrial places should not be moved to other places, as museum items or exhibits, or destroyed to ‘clean up ａ site. The Nizhnｙ Tagil Charter (5.Ⅲ) Preservation in situ should always be given priority consideration. Dismantling and relocating a building or structure are only acceptable when the destruction of the site is required by overwhelming economic or social needs. The Ｊｏｉｎt ＩＣＯＭＯＳ-ＴＩＣＣＩ！Ｉ Ｐｒｉｎｃｉｐｌｅｓ ｆｏｒ tｈｅ ｃｏｎｓｅｒｖａtｉｏｎ ｏｆ ｉｎｄｕｓtｒial ｈｅｒitａｇｅ, ｓitｅｓ，ｓtｒｕｃtｕｒｅｓ，ａｒｅａｓ ａｎｄ ｌａｎｄｓｃａｐｅｓ also states (9) Protection measures should apply to buildings and their contents since completeness or functional integrity is especially important to the significance of industrial heritage structures and sites. Their heritage value may be greatly jeopardized or reduced if machinery or other significant components are removed, or if subsidiary elements which form part of ａ whole site are destroyed. An example in the Japanese nomination would be the Customs House at Miike Port. Much of the original fabric of the customs house survives intact, and other parts have been simply moved to new locations within the building. This building could be conserved without requiring its demolition and reconstruction, and in the process most of its original fabric could be retained to tell an authentic story of its history and use. Only as much intervention should take place as is required to ensure the stability or the structure, and its ability to withstand its new use. Continued industrial use Some sites with industrial heritage significance are still in industrial use. The Ｖｅｎｉｃｅ Ｃｈａｒtｅｒ (Article 5) states that The conservation of monuments is always facilitated by making use of them for some socially useful purpose. The Niｚｈｎｙ Ｔａｇｉｌ Ｃｈａｒｔｅｒ (4 Ⅱ) indicates that Programmes for the conservation of the industrial heritage should be integrated them for some socially useful purpose. And 5. Ⅴ states Continuing to adapt and use industrial buildings avoids wasting energy and contributes to sustainable development. Industrial heritage can have an important role in the economic regeneration of decayed or declining areas. The continuity that re-use implies may provide psychological stability for communities facing the sudden end a long-standing sources of employment. The Ｊｏｉｎt ＩＣＯＭＯＳ-ＴＩＣＣＩＨ Ｐｒｉｎｃｉｐｌｅｓ ｆｏｒ tｈｅ ｃｏｎｓｅｒｖａtｉｏｎ of ｉｎｄｕｓtｒｉａｌ ｈｅｒitａｇｅ, sites, structures, areas and landscapes also states ( 8 ) In the case of active industrial structures or sites of heritage significance, it must be recognized that their continued use and function might carry some of their heritage significance and provide adequate conditions for their physical and economic sustainability as a living production or extraction facilities. Their specific technical characteristics and features need to be respected while implementing contemporary regulations such as building codes, environmental requirements or risk reduction strategies to address hazards of natural or human origin. Ａｎｄ (10) Appropriate original or alternative and adaptive use is the most frequent way and often the most sustainable way of ensuring the conservation of industrial heritage sites or structures. ．．．Building codes, risk mitigation requirements, environmental or industrial regulations, and other standards should be implemented in an adapted way to take heritage dimensions into account when they are enforced through physical interventions. An example from the Japanese nomination would be at Yawata Steelworks. The continued use of the repair workshop for industrial uses that do not endanger its historic fabric would maintain the historically traditional use of the building. Similarly, the continued use of the pumping station at Onga River is ａ much more appropriate continuing use than converting the place to ａ new use. In both cases the traditional use has precedence over tourist-oriented uses―World Heritage listing is first and foremost about conserving WH values, not providing tourist attractions. Proper documentation and discussion of conservation proposals Current international best practice suggests that proposals for the conservation of places of heritage significance should be based on the inputs of relevant expert advice, and should be documented and widely discussed before action is taken. The Nizhny Tagil Charter (3 Ⅷ） indicates that The value of significant sites should be defined and guidelinesfor future interventions established. Any legal, administrative and financial measures that are necessary to maintain their value should be put in place. Proper documentation and discussion reduces the chance of poor decision making, and ａ documented conservation plan should provide clear evidence of what exists at ａ place before works start. what evidence is used to establish the heritage values of the place, and what the proposed works are to conserve those values. The conservation plan also shows future managers what has been done to ａ place and why. The World Heritage Operational Guidelines require adequate documentation of conservation proposals and actions. Heritage decisions based on un-documented verbal conversations is not ａ supportable basis for conservation planning.
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・ANALOG [WORKS] 2015 UpRight EP/DJ TASAKA
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■News for the ‘1. Cultura é poder’ Category ■Origens e dimensões da palavra Cultura Raymond Williams, autor de Palavras-chave (2007), considera a palavra culture como uma das duas ou três mais complicadas da língua inglesa, devido ao seu complexo percurso etimológico. Em sua acepção mais longínqua, a matriz latina colere trazia o significado de cultivar, habitar, proteger e honrar com veneração. Desse radical, podemos reconhecer pelo menos dois desdobramentos colonus, que traz a idéia de habitação e cultus, que nos remete a “cultivo ou cuidado”, bem como seus significados medievais subsidiários “honra, adoração”, já “convergidos pela radicalização do temor divino e da moral na sociedade – personificação do Senhor no feudo”. Mas também couture, no francês antigo, por exemplo, associados à “lavoura, cuidado com o crescimento natural”. Dos séculos XVI ao XVII, segundo Williams, o termo passou a significar, por analogia, o cuidado com o desenvolvimento humano e o cultivo das mentes, deixando de se tratar apenas da terra e dos animais. Desde já destacando uma distinção arbitrária entre os que têm cultura dos que não têm, o termo assume o caráter de civilidade. Com a expansão da Europa e seu conseqüente processo de dominação política e econômica, o poder de distinção entre o culto e o não-culto foi de grande valia para implementar e manter o colonialismo. A partir dos séculos XVIII e XIX, o conceito passa a ser utilizado para designar o próprio estágio civilizatório da humanidade. Johann Gottfried von Herder escreveu Sobre a filosofia da história para a educação da humanidade (1784-91) “Nada é mais indeterminado que essa palavra e nada mais enganoso que sua aplicação a todas as nações e a todos os períodos”. Argumentava que era necessário grifar culturas, no plural, pois elas são específicas e variáveis em diferentes nações e períodos, tanto quanto em relação a grupo sociais e econômicos dentro de uma nação. Para Williams, podemos reconhecer três categorias amplas e ativas de uso do termo o processo de desenvolvimento intelectual, espiritual e estético; a referência a um povo, um período, um grupo ou da humanidade em geral; as obras e as práticas da atividade intelectual, particularmente a artística, sendo este último o seu sentido mais difundido “cultura é música, literatura, pintura, escultura, teatro e cinema”. Já o pensador Edgar Morin atribui três dimensões interdependentes à palavra cultura a antropológica, ou “tudo aquilo que é construído socialmente e que os indivíduos aprendem”; a social e histórica, que pode ser entendida como o “conjunto de hábitos, costumes, crenças, idéias, valores, mitos que se perpetuam de geração em geração” e a relacionada às humanidades, que “abrange as artes, as letras e a filosofia”. Para Terry Eagleton, no indispensável A idéia de cultura (2002), as palavras civilização e cultura continuam até hoje a intercambiar-se em seu uso e significado, sobretudo por antropólogos “cultura é agora também quase o oposto de civilidade”. Eagleton (2002) considera curioso que o termo hoje se aplique mais à compreensão de formas de vida “selvagens” do que para civilizados. “Mas se ‘cultura’ pode descrever uma ordem social ‘primitiva’, também pode fornecer a alguém um modo de idealizar a sua própria. Tanto para definir algo de domínio próprio de um indivíduo (o conhecimento adquirido) quanto para o exercício de poder em relação a grupos sociais distintos (o culto e o não culto, o civilizado e o não civilizado), o termo é utilizado até hoje como definidor de um campo simbólico determinado, quase sempre para distinguir ou identificar. Ações e políticas culturais, constituídas nos campos público e privado, exercem, inevitavelmente, esse domínio. Como provedor de acesso a conteúdos, processos e dinâmicas, aguça o espírito crítico e permite a apropriação, o empoderamento e o protagonismo do cidadão. Por outro lado, a cultura adquire, cada vez mais, sua corporificação como ente econômico e instrumento de lazer e entretenimento. Manuseadas por sociedades contaminadas por um modo de pensar linear e cartesiano, condicionadas a analisar todos os fenômenos por uma correlação de causa-efeito, deixa de ser essa matéria que significa e transforma as relações, para ser mera atividade econômica, estratégica por sua grande capacidade de gerar recursos, postos de trabalho e economia de escala, por meio de exploração de propriedade intelectual. Uma fórmula que exige difusão em massa para ser economicamente eficaz. E conteúdos de fácil assimilação, para ampliar sua capacidade de inserção mercadológica. Essa fórmula geralmente exclui diálogos mais profundos e complexos, desconectando-se de suas raízes culturais e das dinâmicas locais. Com formatos cada vez mais repetitivos e pasteurizados, são mais afeitas a uma cultura homogênea, linear, uníssona, voltada ao consumo. A falta de dispositivos claros e efetivos para lidar com esse campo simbólico é uma das mais graves doenças das sociedades contemporâneas. ■News for the ‘2. O poder da sociedade’ Category ■Sincretismos Mesmo após o fim da escravidão e o Estado laico-republicano, o negro vivia – e vive de certa forma até hoje – sob a condição tácita de comungar do credo católico. E aprendeu, assim como todo brasileiro mestiço, a acender uma vela para o santo e outra para o orixá. Ou ainda, no sincretismo mais clássico, a acender uma única vela para um santo-orixá, com características próprias de duas matrizes, com lógicas e dinâmicas completamente diversas, quando não antagônicas entre si. Essa capacidade própria do brasileiro, mas também presente em outras sociedades, é um poderoso antídoto contra os efeitos malignos da globalização. A capacidade de absorção e re-processamento de práticas, modos e crenças permite, por um lado, o esvaziamento das barreiras internas contra o avanço da camaleônica cultura do consumo, e, de outro, a possibilidade de avanço e diálogo com as outras formas de interação, convivência e expressão presentes na arena global. O que pode significar a abertura de mercados para as indústrias culturais brasileiras. Celebrar o sincretismo e a mestiçagem como um traço inerente e potencializador da cultura brasileira é questão de preservação e promoção da memória e das tradições. Um exemplo recente disso é o movimento Mangue-beat em Pernambuco. Ferozmente combatido pelos defensores da cultura tradicional e do maracatu, pois buscava elementos de raiz para dialogar com o pop e com a indústria cultural, o movimento só fez valorizar as tradições e as comunidades que praticam o maracatu rural, colocando, por exemplo, a cidade de Nazaré da Mata (PE) no mapa da música contemporânea universal. Tropicália, bossa-nova e muitos outros movimentos culturais brasileiros nascidos na indústria do entretenimento, partem desse jeito brasileiro de ativar e dialogar com o outro, a partir da valorização do seu próprio referencial simbólico. Mas como permitir o desenvolvimento artístico e o acesso a esses mercados a uma camada da população distante do Estado e dos meios de comunicação? ■Do-in antropológico Reconhecer e valorizar as diversas formas de manifestação cultural do Brasil. Essa é a função da proposta apresentada por Gilberto Gil em seu discurso de posse, em 2003, como titular da pasta da Cultura. Por analogia à tradição milenar chinesa, que reconhece e massageia pontos energéticos em benefício do bem estar do corpo e da mente, o ministro cunhou uma tradução que representa a complexidade da função política da cultura. Fortemente inspirado nas proposições de Marilena Chauí e nos recém-publicados documentos da UNESCO, sobretudo sobre diversidade cultural e patrimônio imaterial, o do-in antropológico consiste em universalizar os serviços culturais, com a presença de centros culturais, bibliotecas e telecentros em todo o país, a começar pelas regiões mais pobres e distantes; valorizar e dar autonomia para as diversas formas de manifestação cultural existentes no país, não somente as institucionalizadas e consagradas pela elite e a indústria cultural; buscar novas possibilidades de interlocução e diálogo com outras instâncias da sociedade, por meio de inserção econômica e desenvolvimento local. O do-in antropológico prepara ambientes favoráveis à interação de agentes culturais; o fomento à pesquisa e aos processos criativos; a atuação e a viabilização das expressões culturais, sua difusão, acesso, participação e articulação entre todas as esferas da sociedade. Esse conjunto de fatores busca gerar um círculo virtuoso que garanta o denvolvimento e a participação de toda a população nessa dinâmica. Para realizar essas ações, o ministro modificou a estrutura do seu cabedal administrativo, criando secretarias para desenvolver políticas, programas e articulação, além de valorizar o patrimônio, o audiovisual e a diversidade. O programa Cultura Viva, desenvolvido nesse contexto, visa formar uma rede nacional dessas iniciativas, e é, sem dúvida, a sua melhor tradução programática, embora também esteja presente em editais e prêmios de valorização de mestres de cultura popular e de manifestações culturais de pouca projeção na cultura institucionalizada. Como responsabilidade de cada cidadão em relação à cultura, o do-in antropológico pode ir muito além. A localização desses pontos de convergência, miscigenação e transmutação de realidades é fruto não somente da presença do Estado. Deve ser um desafio compartilhado por toda a sociedade em preservar e promover a Diversidade Cultural. ■Diversidade Cultural A recém-promulgada Convenção sobre a proteção e a promoção da diversidade das expressões culturais no âmbito da UNESCO é a consolidação de uma luta histórica contra a homogeneização cultural promovida por um oligopólio formado por estúdios de Hollywood e seus grupos empresariais, que reúnem conglomerados de mídia e fabricantes de equipamentos eletrônicos. Financiados por outros cartéis, como a indústria financeira, tabagista e alcooleira, essa cultura de consumo favorece setores, sobretudo o mercado do luxo e da celebridade. Encampado por organizações socioculturais, produtores independentes organizados em coalizões e redes por todo mundo, o movimento encontrou abrigo em países como a França, Canadá, Suécia e Brasil, que sentem os efeitos do estrangulamento cada vez mais visível de suas culturas locais, com o domínio dos meios de comunicação e difusão cultural nas mãos desses conglomerados multinacionais. A Convenção consolida outras pautas urgentes das sociedades contemporâneas, como a cultura de paz e o respeito das diferenças culturais, a sobrevivência das culturas autóctones, suas formas de vida, fazeres, economias e línguas, em oposição a um projeto global único, que pretende incluir todos os habitantes economicamente ativos do planeta, com metas de crescimento cada vez mais elevadas. Nesse cenário, torna-se urgente a composição de um cenário positivo e fértil para tratar do assunto, como uma das grandes pautas sociais do novo milênio, oferecendo subsídios concretos para apropriação de um glossário fundamental para a construção e consolidação de democracias multiculturais. Seu valor simbólico no âmbito da UNESCO pode ser medido pela votação para a promulgação da Convenção, em 2005. Com 151 votos a favor e apenas 2 contra (Estados Unidos e Israel), associou-se de maneira definitiva como peça de resistência ao imperialismo norte-americano e sua irresponsabilidade bélica e midiática. O documento passou a ser utilizado pelos diversos organismos e segmentos em busca de maior equidade nas trocas internacionais, assim como nos países-membros, que ratificaram a Convenção em sua legislação interna. O Brasil o fez em dezembro de 2006. Isso significa um compromisso do país com o estabelecimento de políticas concretas de preservação e promoção da diversidade. Traduzido para as políticas internas pelo então Ministro da Cultura, Gilberto Gil, como do-in antropológico, essas políticas visavam massagear as dinâmicas culturais já existentes por todos os pontos de ressonância do país. Para efetivar uma plataforma pública, abrangente e democrática, é preciso praticar o do-in antropológico, auto- massageando o corpo cultural, celebrar a diversidade, promover o sincretismo, estimular a auto-representação, valorizar as identidades, participar da Cidadania Cultural e garantir os direitos culturais a todos os cidadãos. Não podemos, no entanto, enxergar como uma receita fechada, mas considerá-la uma sistematização prática de elementos emergentes da nossa realidade cultural. Como um plano propositivo para visualizarmos novos efeitos de mundo, baseados em resultados consistentes e processos enriquecedores para a sociedade brasileira. ■