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17 Mar 14:15

The Church says that the Earth is flat, but I know that it is round

by but does it float
Photography by Erin O'Keefe Title: Unattributed Atley
19 Nov 13:47

Ole Ukena, “Cher/Chair/Share” (2011).

19 Nov 13:47

Red Velvet Cake (mais uma versão)Não sei explicar de onde vem a...

by ojosdecanela










Red Velvet Cake (mais uma versão)

Não sei explicar de onde vem a minha admiração pelos bolos red velvet, se é do interior vermelho, se é do contraste vermelho com branco. Mas há algo que me faz um pouco de confusão, é ser um bolo vermelho que não sabe a nenhum fruto vermelho (por exemplo). Para combater essa lacuna no meu cérebro, acrescentei um pouco de groselha. Ah! Muito melhor! Agora já consigo processar esta receita com mais serenidade :) 

5 ovos
1 chávena de açúcar
1/2 chávena de óleo
1/2 chávena de água fria
1 chávena de farinha
1/2 colher de chá de fermento
2 colheres de sopa de corante vermelho
1 colher de sopa de chocolate em pó
2 colheres de sopa de groselha

Ligue o forno a 180ºC. Comece por separar as gemas das claras.
Às gemas junte o açúcar e bata até triplicar de tamanho. 
Depois disso, junte o óleo a água fria, o corante, o chocolate, a groselha e continue a bater até incorporar.
Junte o fermento à farinha e junte ao preparado anterior, envolva até toda a farinha ficar absorvida.
Bata as claras em castelo e envolva cuidadosamente na massa, até incorporar.
Coloque a massa numa forma redonda previamente untada com manteiga e polvilhada com farinha. Leve ao forno 30 a 40min ou faça o teste do palito até ele sair limpo.
Retire do forno e deixe o bolo arrefecer completamente antes de desenformar.
Assim que estiver frio, corte com a ajuda de um nivelador de bolos em duas partes.

recheio
500g de mascarpone
2 colheres de sobremesa de extrato de baunilha

Envolva o mascarpone e a baunilha até ficar com a consistência desejada para barrar os bolos.
Pode usar usar um saco pasteleiro para espalhar o recheio mais uniformemente.
Leve o bolo uns minutos ao frigorifico e polvilhe com açúcar em pó antes de servir (opcional).

(Confesso que fiz a massa e deixei-a repousar uns minutos antes de a meter no forno, porque tinha o forno ocupado com outra coisa. Tentem não fazer a mesma asneira que eu… :/ )

Be Nice*

// Foodstyling and Photography: Rosa Cardoso //

30 Jul 13:21

Salário Mínimo na Europa

by Rafaela Simões
Joanamppestana

Estamos claramente no país errado

Saiba qual é o salário mínimo oferecido em todos os países europeus. Descubra se vale a pena emigrar para aquele país que tanto queria conhecer. Aceda à lista de salários!

Hoje em dia vale a pena emigrar para trabalhar noutro país pois, além do ordenado ser maior que em Portugal – na maior parte dos países europeus, existem mais ofertas de emprego e em alguns casos as condições laborais são melhores. Por essa razão, decidimos criar este artigo onde é possível comparar o salário mínimo em todos os países europeus, para que no fim você possa decidir para que país deve emigrar. Antes de escolher um país e emigrar, é importante que também tenha em mente que o custo de vida poderá ser superior, sem falar que ao trabalhar no estrangeiro você terá custos como o transporte, alimentação e alojamento. Continue lendo para aceder à lista do salário mínimo na Europa.

Ordenado Mínimo pago na Europa

Ordenado Mínimo pago na Europa

Lista de Salário Mínimo na Europa

O salário é um factor decisivo no momento de escolher um emprego ou país, por essa razão nesta lista pode encontrar quais são os melhores e os piores países para trabalhar na Europa. Aproveite e decida para que país emigrar:

  • Bélgica – 1501,82€
  • Bulgária – 158,50€
  • Croácia – 374,31€
  • Eslováquia – 337,70€
  • Eslovénia – 783,66€
  • Espanha – 752,85€
  • Estónia – 320€
  • França – 1430,22€
  • Grécia – 683,76€
  • Hungria – 340,55€
  • Irlanda – 1461,85€
  • Letónia – 287,07€
  • Lituânia – 289,62€
  • Luxemburgo – 1874,19€
  • Malta – 697,42€
  • Países Baixos – 1469,40€
  • Polónia – 376,58€
  • Portugal – 565,83€
  • Reino Unido – 1224,65€
  • República Checa – 312,01€
  • Roménia – 157,26€
  • Turquia – 428,57€

É possível aceder à lista e comparar a evolução do salário mínimo dos vários países europeus entre 1999 e o ano atual através da página de dados Salário mínimo na Europa fornecido pelo Google.

18 Jul 14:43

cavaco silva a olhar pra postas de pescada



cavaco silva a olhar pra postas de pescada

18 Jul 13:16

cavaco silva a olhar pra triagem das postas de pescada



cavaco silva a olhar pra triagem das postas de pescada

17 Jul 15:45

No. n….no.

Courtney shared this story from Jamie McKelvie:
Corgi!













No. n….no.

15 Jul 11:49

To release the truth within us, to hold back the night, to transcend death, to charm motorways, to ingratiate ourselves with birds, to enlist the confidences of madmen

by but does it float
Drawings by James Corner from “Taking Measures Across The American Landscape” Title: J.G. Ballard Via ‏@MrPrudence Folkert
10 Jul 15:49

[Eloquence] consists, then, in a correspondence which we seek to establish between the head and the heart

by but does it float
Paintings by Pierre Schwerzmann Title: Blaise Pascal Atley
12 Jun 10:57

PUNKTO #3 Launch Poster, 2013 by Joana Pestana from Portugal



PUNKTO #3 Launch Poster, 2013 by Joana Pestana from Portugal

24 May 21:05

folha

by noreply@blogger.com (Sérgio Gomes)
Peter Marlow, The Conservative Prime Minister Margaret Thatcher, 1981
© Peter Marlow/Magnum Photos

Uma folha de contacto (ou o berçário de imagens à porfia a ver quem chora mais alto).
24 May 16:29

Lonneke Van Der Palen

by Jeff

photographer Lonneke Van Der Palen
Love how photographer Lonneke Van Der Palen recreates cliché travel photos in her studio.

View the whole post: Lonneke Van Der Palen over on BOOOOOOOM!.

15 May 13:02

Alices Abenteuer im Wunderland, 2012 by Holger Huber from...

15 May 12:53

Chateau Despair by Lisa Barnard

by admin


Lisa Barnard, from the book Chateau Despair, 2013

Lisa Barnard’s new photobook Chateau Despair was born out of a commissioned photo-project in which she documented the abandoned Conservative Central Office at 32 Smith Square – HQ for the Tories from 1958 to 2004. The majority of images in the book are interior photographs of a building that has lost its place in the world. Scratched walls, empty hallways, missing appliances – these are the signifiers of architectural decline. The overall impression of malaise is underscored by the colour blue, the official colour of the Conservative Party. The images are purposefully ‘cold’: both in terms of colour symbolism and in terms of Barnard’s dispassionate photographic methodology.


Lisa Barnard, from the book Chateau Despair, 2013

Barnard makes some surprising discoveries in the abandoned building: a forgotten pair of shoes, a tear in the shape of a laughing mouth cut into a studio backdrop, or, what appears to be, a bright red rocket leaning against the wall. These photographs, subtly humorous yet still matter-of-fact depictions of an interior space, are strongly reminiscent of the work by the Canadian photographer Lynne Cohen. Despite the lack of people in these images, the presence of man is emphasized by these quirky interventions.


Lynne Cohen, Untitled (Astroturf), 2005

Looming over this body of work are a number of scanned images depicting the former Conservative Prime Minister Margaret Thatcher. Her status as political and ideological icon in the UK is emphasized by including several seemingly identical images of her. Although in each image she is shown with the same bright red lipstick, the same immaculate hair, and the same confident smile into the camera, each image differs slightly from the others, as well as to the extent it has physically deteriorated. Watermarks and dirt are creeping up on them, while a fingerprint gives an indication on the actual size of the original photograph. The decline of the building is thus mirrored by the imperfections represented in the damaged portrait of Thatcher.


Lisa Barnard, from the book Chateau Despair, 2013

Inasmuch as the photobook documents the remains of a once-thriving party headquarters, the project also alludes to Thatcher’s immense impact on political, economic and social issues in the UK. Her knowing smile not only affects our reading of the interior photographs of Chateau Despair, it equally affects our understanding of current debates such as those on housing, social security, immigration, foreign relations or economic policies. Her presence is akin to that of a phantom. This is particularly the case with regard to the current Conservative-led coalition government that consistently tries to locate its own position in relation to the Thatcher years.


Daniel and Geo Fuchs, from the series STASI – Secret Rooms, 2004

In spite of the re-emergence of Conservatism in the UK, the photographs strongly allude to the collapse of an ideological and political framework. The abandoned rooms at 32 Smith Square perhaps evoke comparisons with representations of other fallen regimes such as Daniel and Geo Fuchs’ photographic series on STASI buildings in the former GDR. To the back of the book is a collection of fifteen scanned images of objects Barnard has found in the building. Chateau Despair fulfills the archaeological function of archiving a vision from the past.

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13 May 14:09

Anthropocene

by admin

Please ‘like’ my article Dreamscapes: The Fantastical Photographs of Lieko Shiga published on TIME Magazine’s LightBox Blog.


David Thomas Smith, Three Gorges Dam, Sandouping, Yiling, People’s Republic of China, 2010-2011

David Thomas Smith’s photographic series ‘Anthropocene’ was recently exhibited at The Copper House Gallery in Dublin. The photographs are digitally assembled from a large number of Google Earth images which depict some of the world’s most recognizable manmade structures and urban landscapes. The satellite images are then both vertically and horizontally mirrored to create a visually striking tapestry effect. The similarity to a tapestry is reinforced by the large scale of the work and also by the inherent ‘flatness’ of satellite images of the Earth.


David Thomas Smith, Three Mile Island Generation Station, Middletown, Pennsylvania, United States of America, 2010-2011


David Thomas Smith, Beijing International Airport, Beijing, People’s Republic of China, 2009-10

Crucially, each location alludes to specific environmental concerns: ‘Three Mile Island’ relates to the threat of a nuclear meltdown, ‘Beijing’ perhaps points to a rise in pollution while the opulence of ‘Las Vegas’ questions our relationship with consumption. Other images equally refer to social problems specific to a place: the urban displacement caused by the Three Gorges Dam or the exploitation of cheap labour in Dubai. These references are produced not necessarily by the image as such, but by an understanding of the place that these images represent.


David Thomas Smith, Las Vegas, Nevada, United States of America, 2009-10


David Thomas Smith, Burj Dubai, Dubai, United Arab Emirates, 2009-10

The title of the project ‘Anthropocene’ is a geological term that describes how human activities have had a significant impact on the Earth’s ecosystems. The images similarly allude to the ecological and social impact of vast manmade structures. As a whole, the project questions man’s ability to create a better and more sustainable world at the cost of dwindling natural resources. Andreas Gursky – in his photograph ‘Beelitz’, 2007 for instance – might be exploring a similar agenda in his vast photographic depictions of landscapes affected by consumption and excess.


Andreas Gurksy, Beelitz, 2007

Inasmuch as the project relates to ecological and social tensions that rise in parallel to globalization, the mirroring of satellite images also relates to ideological, political and economic power. In the first instance, the project alludes to the power of representation. Satellite imaging and mapping is dominated by Google. To a large extent, our understanding of how the world looks may not be controlled by Google, but it is certainly dominated by the ever-growing economic might by the corporation.
In the second instance, the symmetrical structure of the images divided into quarters also relates to ideological power.


An overhead view as guest arrive at Margaret Thatcher’s funeral, St. Paul’s Cathedral, 2013

Governments and religious institutions have historically tapped into the persuasive powers of symmetry in their architecture. Churches are usually divided into four distinct parts, while dominant symmetrical structures are used to reinforce the ideological authority of the state. An overhead view of Margaret Thatcher’s funeral at St. Paul’s Cathedral recently published in the Guardian vividly illustrates the coming together of visual symmetry and aesthetics, on one hand, with political and religious structures, on the other hand.


David Thomas Smith, Las Norias de Daza, Almeria, Spain, 2009-10

This reading of Smith’s work is promoted through images that are neither didactic nor patronizing. The work could be enjoyed for purely aesthetic purposes. Yet it could also be seen to relate to some of he most pressing ecological and social issues of our time. III Originally published on photomonitor.co.uk

Please ‘like’ my article Dreamscapes: The Fantastical Photographs of Lieko Shiga published on TIME Magazine’s LightBox Blog.