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  2 Hits av.av4.xyz  
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The one, a single-storey construction on the south-western side, provides warehouse space, while the main double-storey edifice, facing south-east, is the office block. These two buildings clearly differ in size, a distinction that is reinforced by the use of colours and materials. The warehouse has dark cladding, while the main volume is bright and shiny, with large glazed walls running along the façades and sizeable sections of light-coloured, polished metal panels that frame the elevations horizontally, almost embracing them with clear figurative overtones.
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L'architettura definisce due grandi volumi che si uniscono nella nuova sede, il corpo ad un piano destinato a magazzino e deposito, sul lato sud-ovest del complesso, e la parte principale, a due piani ed orientata a sud-est, in cui si assommano le funzioni amministrative e direzionali. Non solo le dimensioni provvedono a differenziare i due corpi contigui: l'uno, il deposito, si presenta con rivestimento a coloritura scura, mentre il volume principale si mostra con brillantezza e luminosità, nel dispiego delle grandi vetrate che corrono lungo i prospetti e nello sviluppo di ampie porzioni di facciata in lastre metalliche chiare e rilucenti, che incorniciano i prospetti in senso orizzontale, con una dinamica avvolgente e di forte connotazione anche di tipo figurativo.
  www.toscanaovunquebella.it  
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" There is no answer. The two rode side by side, the thinner one just ahead, the fatter one a little behind. On the right of the road they were walking on stood a dark wall carved out of the thick dense rock by the quarry workers’ picks.
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E’ un modo diverso di arrivare a Fiesole – diceva, ansimando un po’ per via della ripida salita – , me l’hanno consigliato: la si scopre piano piano e infine, con il fiato grosso, la si raggiunge”. Non ci fu risposta. I due procedevano affiancati, un po’ più avanti quello magro, appena un po’ dietro quello più grosso. Sulla destra della stradina che stavano percorrendo si stagliava una scura parete di roccia scolpita fitta fitta dai picconi dei cavatori: smorzava la luce del sole e ne rimandava il calore. Dall’altra parte, un basso muretto scalcinato rivestito qua e là dalle piante dei capperi lasciava intravedere, tra i fitti rami verdi e profumati delle acacie, una vista sconfinata su Firenze e, in lontananza, le colline. Ora la strada faceva una leggera curva sulla sinistra, piegava appena e poi, sulla destra, subito ripartiva: la bianca parete di una grande villa rimandava una luce accecante mentre, dall’altra parte, la roccia, ora umida in qualche punto e ricoperta dai lunghi filamenti delle edere, dava un po’ di refrigerio ai due viaggiatori.
  edmundalleyn.com  
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Our films must make people laugh, cry, fall in love and learn something. About one in twenty films does that to us. When filmmakers take us into a new universe. When they tell us stories we never thought existed. When they take us through hell and back. When they walk rainbows with us. When we learn something about our complex world. When we follow the hero, or the heroine of a film through their story hoping, smiling, and staying curious. When all those emotions convey a statement, a political one, a human one, the filmmakers’ very own one. When there is honesty and fantasy in the images. And when, after an hour or two, the story culminates and we come back to reality, and find a world that will never look the same again. That is when we fall for a film. That is why we fell for La Paloma.
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Nuestras películas tienen que conseguir que la gente se ría, llore y se enamore y, además, deben transmitir alguna enseñanza. Quizás sólo una de cada veinte películas que nos muestran lo consigue. Cuando los cineastas nos muestran un mundo nuevo, cuando nos cuentan nuevas historias, cuando aprendemos algo sobre nuestro complejo mundo, cuando seguimos la historia de nuestro héroe o nuestra heroína y compartimos su angustia y les seguimos con una sonrisa y con curiosidad, cuando la historia llega a su culminación y nosotros después de una hora o dos emergemos a la realidad y constatamos que nuestra mirada sobre el mundo ha cambiado, entonces nos gusta una película. Por eso nos alegramos de "La Paloma".
  online-ofb.de  
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, a single collage (any one, a priori) is hung up vertically but connected to the others with an aluminium foil string. ‘Make everything by hand, enlarge nothing, reduce nothing. Connect all the elements, leave nothing on its own, leave nothing to one side, no hierarchy,’1 such is the creed espoused by the artist, motivated by political awareness and a critical stance towards the contemporary world, and whose avowed aim is to bring the viewer to ‘link up with the world’.
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, un collage unique (n’importe lequel, a priori) est accroché verticalement, mais relié aux autres par un cordon de papier d’aluminium. «Fabriquer tout à la main, ne rien agrandir, ne rien réduire. Connecter tous les éléments, ne rien isoler, ne rien laisser de côté. Pas de hiérarchie»1, tel est le credo revendiqué par l’artiste, mû par une conscience politique et une position critique vis-à-vis du monde contemporain, et dont le but avoué est d’amener le spectateur à se «relier au monde».
  www.chrc-ccdp.ca  
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Unfortunately for Tawney Meiorin, a similar story wasn't fictional. She was hired as a forest firefighter by the Province of British Columbia. She did her work well until three years later when the province adopted a new series of fitness tests for forest firefighters. She passed three of the tests but failed the fourth one, a 2.5 kilometre run designed to test her aerobic fitness. Since her aerobic fitness fell below the minimum standard, Tawney Meiorin was fired. Tawney felt the test discriminated against women. How? Women have a lower aerobic capacity than most men and cannot increase their capacity - even with ample training - enough to meet the standard.
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Malheureusement pour Tawney Meiorin, une histoire semblable lui est arrivée. Elle est embauchée comme pompière forestière par le gouvernement de la Colombie-Britannique. Elle fait bien son travail, mais elle perd son poste trois ans plus tard à la suite de l'adoption, par la province, d'une nouvelle série de tests de condition physique pour les pompiers forestiers. Après avoir réussi aux trois premiers tests, elle échoue au quatrième, une course de 2,5 kilomètres destinée à évaluer sa capacité aérobique. Comme elle n'atteint pas la norme minimale, c'est la fin de son emploi. Tawney estime que le test est discriminatoire pour les femmes. Pourquoi? Les femmes ont une capacité aérobique inférieure à celle de la plupart des hommes et ne peuvent pas augmenter suffisamment - même par un entraînement intensif - pour atteindre la norme établie.
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