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EDITION No. 27

Edition No. 13 of the college newspaper parentheses, with the direction of Luis Alfonso Mena S., students edited Emphasis on Social Communication Journalism Santiago de Cali University, USC, began circulating on Friday November 12, 2010, with complete information on the problems facing USC, in addition to stories, opinion and excellent artwork. In this edition of Journalism FREE! reproduce several articles published in parentheses, and provides a graphic report of the production process of this alternative and independent.

CONTENTS

1. Analysis. Santiago problems

At USC, crisis of representation

- By Luis Alfonso Mena Sepúlveda

2 .- Analysis. What's in Cali?

Effective action USC collective

- By Ildebrando Arévalo Osorio

3. Editorial. Parentheses published his edition No. 13

The importance of independent journalism

- The Bracket Writing

4. News. The production process Bracket

This makes an alternative newspaper

- The Editorial of Journalism Free!

5. Paper. Forum at the Universidad del Valle

journalists, the media and the Colombian conflict

- By Luis Alfonso Mena Sepúlveda

6. Analysis. Pre-republican constitutionalism

Other aspects of the Bicentennial

- By Alberto Ramos Garbiras

7. Analysis. Poor pay ravages of development

Ferocity of capitalism, stronger than avalanches

- By Carlos Alfonso Victoria

8. Free column. The sanction against Piedad Córdoba

Colombia, a country of hypocrites

By Luis Alfonso Mena Cárdenas

9. Opinion. The armed conflict in Colombia

More investment for war, except in the social

- By Luis Carlos Lozano Ospitia

Thursday, 25 November: Deciphering presentation tracks.
Venue: Wood Hall Cultural Center of Cali (Carrera 5 No. 6-05).
Organizers: Feriva SA
Time: 7:00 pm
Free.

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1. Analysis. The problems of Santiago de Cali

At USC, crisis of representation

The co-government, won by students, teachers and university workers in arduous days of fighting in decades, a formula should not be pointless or a demagogic slogan: must be a permanent recognition of democracy within the institution. And this is what today is failing.

By Luis Alfonso Mena S. (*)

What evidenced by recent protests staged by students and faculty at the Universidad Santiago de Cali, USC is the crisis of the existing system of representation in the institution, whose highest expression is the Superior Council.

This has always featured an exclusive body, which few other than directors have access and whose decisions, according to those familiar with his work widely, and are predetermined by other bodies with well-defined interests.

Thus, the level of discussion and controversy that should characterize a popularly elected body, such as it is disregarded, and the opposition is crushed, it is known the hegemony of a single force in the Council to drink the vast majority of the representatives of the different stakeholders.

Paradoxically, for example, that an organization with such a high number of members (130 for a population not exceeding 15,000 students and teachers) do not have the mechanisms to facilitate access for students, teachers and workers in their deliberations.

However, to draw a contrast, the Senate (composed of fewer members, 102, though representative of nothing more and nothing less than 44 million people) allows the presence of any citizen in their debates.

But the access of voters is just one of the problems of this body of "co-government." The most serious, in our view, is the failure of one of its key roles: the control of the Administration of the University, which must be expressed in the broad discussion of its proposals, not decisions designed in advance.

interior view of the unanimity, the members of the Supreme Council must allow for the voices from the outside of the claims made and raise ideas about the evils that affect the University, not dismiss them a priori.

The agency lost its essence, be a space for discussion of the problems of alma mater, so students and teachers are forced to resort to other ways to be heard and felt.

Protests los mítines, los pronunciamientos públicos, las asambleas son escenarios legítimos (y, además, constitucionales) para decir lo que no se quiere escuchar en el Consejo Superior y en otros organismos de puertas cerradas.

Los estudiantes urgen que sean atendidos reclamos legítimos en materia de costos de matrículas, de parqueaderos y de canchas deportivas, lo mismo que sobre calidad académica y mecanismos verdaderamente democráticos de representación.

Los docentes, por su parte, reclaman, entre otros ítems, que se solucione de una vez por todas la falta de servicio médico, que no se presta por parte de la mayoría de las EPS porque, aunque la Universidad descuenta muy puntualmente every allowance for the value the contributions of teachers, payments are made.

And also ask to open opportunities for participation beyond the circles of faculties and departments.

The co-government, won by students, teachers and university workers in arduous days of fighting in decades, a formula should not be pointless or a demagogic slogan: You must be a permanent recognition of democracy within the institution. And this is what today is failing.

(*) Professor of the School of Communication at the USC, director of Journalism Free! and college newspaper Parentheses.
Photo by James Arias Nieva

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2 .- Analysis. What's in Cali?

Effective action
collective USC

An increasing number of students and teachers work together with one mind in Open Assembly. This is the best way to counter the ineffectiveness of the current High Council. The students and faculty understand that the only thing that saves the USC is the urgent democratization.

By Ildebrando Arévalo Osorio. (*)

Important events of November 3, initiated by students of the Faculty of Law in response to threats by a local radio station of President of the Supreme Council, Javier Barreto fulminant expel participants of the protest last week, had effects very positive to awaken the tradition of participatory democracy and collective action of the estates Santiago.

Rumors of a disproportionate rise in enrollment were the glue of different problems, that the passage of the Assembly were emerging and identifying student disaffection among students from different faculties. For example, medical students reported the overcrowded classes and practice with patients, eight of them are harassing a patient by the poor planning of the activity, obtaining educational results regrettable, the Advertising complained that the software programs they use are outdated with respect to which Advertising companies use in their everyday life, the design software program is underutilized high resolution by a teacher working Excel, Word and Power Point; the engineering that do not have enough seats, who arrives late must go to other classrooms to look , etc.

Assembly biestamentaria became, for the teachers also participated. Teachers accused the administration to withhold money from health, pension and protection risks they and their families are expelled from health systems, research products are not published for lack of funds for books and magazines, their trade associations are also victims of arbitrary detention of their contributions.

analyzing the causes of the crisis came two explanations. One of them, from the students and teachers: the perverse model with which it degenerated democracy Santiago and created a High Council, CS, with over 130 members, consisting of a silent majority that only becomes talkative to give the roller up the votes for the administration and to mute with "sufficient material" discussions that really affect the general interest of the estates and the tiny minority Santiago deliberative. The perversity of the model metastasizes to the patronage that inflated the payroll to ensure the influence of the Administration by appointing friends and organized circus, as ah doc holidays for students, when their active sectors manifest, although there is financial crisis.

The other argued by the President of the CS and the Head of Human Resources: the large budget deficit is the fault of the "1,400" teachers and the collective agreement on how resources are redistributed in salaries and bonuses ; ie those who actually generate wealth in classes, fieldwork, laboratories, in the writing of research products and obtaining records of quality of academic programs are those that break the university.

After more than a year of managing the current Board, with a rhetoric that increasingly deviates more the words of things, from the dark night of the excesses of management sees a glimmer of hope. An increasing number of students and teachers work together with one purpose in Open Assembly. This is the best way to counter the ineffectiveness of the current High Council. The students and teachers understand the only thing that saves the USC is the urgent democratization.

(*) Professor, Member of Supreme Council of the USC.

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ABC CULTURE - "THERE IS A RISE IN GENERATION OF FIGURATIVE PAINTING"

Arrebola Simon exposes "The room of wonders" in the gallery Isabel Ignacio

Simon Arrebola to their creations Isabel Ignacio. Spinola Jesus
Stock

"The fourth of Wonders" is the title which Blust Simon presents his latest creations in the gallery painting Isabel Ignacio.

Remembering those rooms where they collected objects Renaissance men strangers or nature, Blust (Torredelcampo. Jaén. 1979), filled with his pictures of many objects and symbols, "Julio Cortazar said that the world did not exist, but had to be invented. And that's the reason for me to see the painting, which is to cover the dream that we have in everyday life. "

studied at Bellas Artes in Seville where he says there is' very environment for kids "and said that his painting is influenced by Bosch. "I identifies more with the Surrealist movement, although I very hip Guillermo Pérez Villalta has a very architectural world where imaginary places. " A Blust has an interest in his paintings almost be a stage, even based on reality.

She says she is lucky because it is within a school, "which is yet to define, but now there Andalusian painting my boom generation of figurative painting."

Since the end of Fine Arts was clear that he wanted to devote only to paint, "the market needs people who is not afraid to invest in paintings, because at first, but will be a little expensive, then is by giving you things. It's something always transmitting. "

No panic at the blank canvas, 'I have it all very calculated. I need it, almost to the millimeter, sketchbooks and I know what I want to tell, "so it almost never rejects a picture. These performances dream of pink is inspired by literature, art and film, "life itself, where it is always something," says the artist.

MARTA CARRASCO, ABC CULTURE, 27/11/1910

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THE FOURTH OF WONDERS

The Landscape of Knowledge.
The time chasing the man who tried to grab by the hair to the Occasion

Oil on canvas

73 x 100 cm

Scenario Memorial

Oil on canvas

130 x 162 cm

The coral of the decapitated Medusa

Oil on board

70 x 70 cm

Planetarium PLC



Oil on canvas 97 x 130 cm

masked Metamorphosis

scrim
Oil on board 60 x 81cm

The drawing lesson

Oil on canvas

60 x 81 cm

Greenhouse mystic.

Oil on canvas.

73 x 100 cm

Pride Oil on board

38 x 46 cm

Ira



Oil on board 38 x 46 cm

Pereza

Oil on canvas

50 x 50 cm

Lust
Oil on board


27 x 41 cm

Gula

Oil

on canvas 50 x 50 cm

Envy



Oil on board 43 x 31 cm

Greed
Oil on board


30 x 60 cm

Expulsion from Paradise
Oil on board


41 x 27 cm

Zoohíbrido

Oil on board

100 x 100 cm

Projection submerged



Oil on board 40 x 40 cm

Carpentry


Oil on board 40 x 40
cm

Salto

Graphite on paper

20 x 29 cm

whale puppet moved by puppeteers

Graphite on paper

23 x 31 cm

Male projector

Graphite on paper

20 x 29 cm

Cetacean-island

Graphite on paper

20 x 29 cm


Childhood games

Graphite on paper

20 x 29 cm

Conversation reversed

Graphite on paper

20 x 29 cm


and Charon Calvary



Graphite on paper 20 x 29 cm

Baptism

Graphite on paper

20 x 29 cm

Centaur

Graphite on paper

20 x 29 cm


manufacture Orion

Graphite on paper

18 x 32 cm


Chimera

Graphite on paper

21 x 23 cm

PERSONAL SPACE MYTHS

One thing they knew, they learned to master and highlighted the surreal was a dominant myth is likely to be affected by all possible variants, in the same way that any position we take is aware that exchange in the fantasies of the unconscious. The same applies to the cultivation of painting by artist Simon Arrebola he undoubtedly seems to stem from an intimate reflection exercise, self-respect with the world, the product of an effort to understand, but also, where appropriate, through art, to invent. Now focused on the stelae and the creative potential contained in the myths, a recurring and as old as humanity itself.

In an earlier stage in bleak scenarios abounded Simon and biographical themes of tight young painter, then focusing on complex scenes that told stories and quests. Acts at the crossroads between past, present and future, captured with a large capacity and intention visual narrative. In fact we do not know our own lives and we learn it, perhaps this is necessary to look towards her, the same painting, as is necessary literature, which involves interpreting the behavior and view both the world and ourselves, hence the interest also of the possibility of confabulation that contain structures with polyhedral myths and protein world metamorphosis and conversions. Surely nothing necessarily a literal and explicit world, far beyond their representation.

More than pictures of Simon works are performances, where intentions are configured, and confirmed paradoxes, with the development of imagination and creative energy figure in the formal analysis. Geometry As in other wizards of figurative painting today, it is crucial, in his works is evident or underlying compositions and shapes. Order and virtuality are two of the keys that make it modern, with values \u200b\u200bthat do not disdain the classic, but on the contrary, is adopted as a modern trait beyond natural targets. A code, the language of classical references, in which the artist handles well and feels comfortable while he is used to configure inventions and characters. In this sense, Simon seems to position itself as heir formal volunteer rescue that which marked the period Retour à l'ordre and put the excesses of the regime early twentieth century avant-garde. While enrolled, as a painter, the heritage of Neoplatonic painters, idealistic, and beyond that: alchemy, being aware of the temptations stylists and geeks will not fall, which likely they are some aesthetic productions subcultures related to RPGs. Especially those related to any series derived from Hesiod, Lovecraft or Tolkien. But, and it definitely saves, Simon also believes in the possibilities of high art as an eternal source of fantasies, and that knowledge of great art is the reference point and the link from which the artist can find the possibility to exercise quasi-divine role, which, no doubt, so that may sound politically incorrect today, but that after all, one way or another, turns out to be home and part of the whole process straightforward, creating sincere, not cynical and full.

For some formal language codes in force even in the modern figuration of the last decades of the last century, also we can trace in many current artists, to give a paradigmatic example of the emergence of a certain formalism pre-eminently modern and reductive, remember that the same David Hockney Bradford left his home for California: one data point that makes a take-off stage of the Young Contemporaries of the sixties, which still leaves one in which the influence of American abstract painters to return permanently to the human figure. A fact which undoubtedly refers and reconciles two traditions: the academic naturalism and the new modern tradition, built on issues and arguments immediate family, inconsequential, sexual, beautiful and always biographical. Thus emerged naturally as the first and only argument in contemporary figuration of great influence in the later painting. This will be a decisive factor in shaping a plastic type of representation that cultivates Simon Blust as a painter.

But life as a literary argument always has traces: lines and lines of action: schemes to be able to choose, select effectively. Jung noted that all of us to suppress the unconscious meets and casts a shadow over the world. However if we are trapped in our universe we see as the literal reality is continually remitologizada, a fact that has shown in his magnificent essay on Patrick Harpur daemonic nature.

On the other hand, is more revealing than most biographies of artists, especially visuals, a fairly common: the initial affinity of these into a kind of imaginative painting, a painting of content more or less sublime, fantastic and suggestive content as a starting point in which we can ultimately learn. Germ actually are moments in confirming certain attraction to artificial capacity, by setting imaginative worlds undoubtedly fascinating and uncertain, but true in its own initial magnetism, free of prejudice. This is one of the moments of discovery and, in fact, a first time foray into the creative possibilities of painting: the ability to create possible worlds themselves, where the world is projected staff. No other thing is the art at the source on each artist and painter.

In the case of Simon the starting point is organized, according to his own words, from a concern, desire, the need to convey. For this part of magnetized to shapes, objects or symbols. It is in any case, voluntary complicity with an audience as possible, from the very origin of the genesis of the table in turn may be motivated by a discovery, an experience or revelation, as parts of some emotion or memory drawn personal memory, nature, film, television, etc. as part of the huge multiform natural history cabinet or chamber of the wonder of the world.

But the space of imagination is logically intertwined with the sediments of memory, in a psychic space to be explored, knowledge of the possible languages \u200b\u200band possess unique mechanisms that provide the creative process. Simon can add and add, subtract, and deconstruct, design, absent and present figures do, invent architecture, scenery, monuments, interiors and exteriors, nature and artifice. Fables and described. As in the works of his admired Hieronymus Bosch, are all actions that are paralleled with the metaphoric processes of the old alchemy otherwise so attached to the processes of the psyche. Precisely the same space: the creative mind, theatrical, you have to turn to the outside, and revealing in many of the proposals that offers Simon, emanating both the Apollonian and the monstrous, hybrid or paradoxical This uncomfortable and unpleasant, the serious and the frivolous, amoral and virtuous, the fine and the grotesque, dark and light. Dualities are nothing, in short, the multifaceted world of fantasy and protein, discovered with surprise and confirmed the stories of the myths. So each of them we can glimpse a part of its structure and open or explicit content, much essential and metaphorical language of art.

In summary, Simon's art is not blind, but for people who have a cultured background and kept secretly in the space of Psyche, the wife of Eros, the god of love. A universal subsidiaries which must be cultivated and extended. His painting is neither physical nor chemical and alchemical metaphor but as noted, but in its resolution inventive, is clear and modern, clearly set, explained also by conscientious drawings in each of its processes. His art does not translate, he invented. In that and in their proposed program in its very articulation, Simon outperforms any illustrator capable, by its very claim to transcendence and its ascendancy in the artistic lineage, which in his case back beyond their predilection for European Quattrocento art. With the pretense of being a great little theater in the world, Simon's art is self-referential: an art that speaks of art. All this through liturgy and rituals irrational actions inserted into civilized scenery, cutting medical or Hollywood.

Juan Fernández Lacomba

September 2010