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art is only for those who see

                                     
   
CASA | school | Icebergs | amazonia | prophecy | terra mae | lisboa/montreal | ocean
   
                                     
   
 
the earth belongs to all and not to the few who control the world economy,
 
   
 

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UNDERWATER ALIEN BASE OFF PORTUGAL'S COAST? A Portuguese ufologist has raised speculations about a mysterious underwater structure on the Atlantic Ocean floor about 50 kilometers (30 miles) west of Lisboa, the capital of Portugal. According to Gregorio Sao Xavier, "Portugal's famous ufologist, Jose Garrido, said spy satellites have found anomalous 'geologic faults' on the sea floor just off shore from Oeiras," a suburb of Lisboa. "Oeiras is the place where NATO has the RHQ SOUTHLANT (Regional Headquarters, Allied Forces South Atlantic-- J.T.), a major subordinate command under the Supreme Allied Commander (SACLANT) in Norfolk, Virginia," Gregorio reported, "The importance of this NATO base (since 1982, the head base of IBERLAND or regional defense--G.S.X.) was displayed in the coordination of operations involving 30,000 (NATO) troops from May to May 15, 2000. The startling importance of this base for Portugal is public knowledge, even if it is low profile in the media." "In March 2003, the eve of the war in Iraq, Portugal supported President (George W.) Bush in order to keep" away "Spanish proposals to relocate the base to Spain," he added. "As the story goes, the astronauts aboard the International Space Station (ISS) had noticed a large abnormal geological formation just off the Portuguese coast near Lisboa. Then the imaging satellites scanned the area several more times to get more detailed images. What was found was a huge and apparently artificial depression on the ocean's bottom and near natural geologic faults. The form of the depression resembles a definite triangle with just over a 1,000-square-kilometer area. The contour of the image is very similar to a B-2 Stealth bomber." According to Gregorio, "this formation is geologically recent, not matching the glacial profiles" of western Europe during the Pleistocene Period "when the ocean receded and therefore excludes the possibility of human construction. Besides being too big to be an artifact of human technology at the time." (That is, the end of the Pleistocene Period around 10,000 B.C.--J.T.) The undersea depression has generated a keen debate in ufological circles in Portugal. (Email Report) (Editor's Comment: There's a possibility that this undersea formation was constructed before the end of the Pleistocene ice ages, at a time when that stretch of ocean floor was dry land. It then would have been flooded by the Atlantic as seas rose worldwide during the meltdown of the Pleistocene glaciers. Alien base or heretofore unknown civilization? You decide.)....http://ufoinfo.com/roundup/v09/rnd0939.shtml

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"Eu não tenho vistas largas / Nem grande sabedoria, /Mas dão-me as horas amargas / Lições de filosofia."/ (António Aleixo)......................... ................Ana Maria Henriques da Silva ................Carrière..................... Détentrice d'une maîtrise en Éducation de l'Université de Montréal et d'un baccalauréat en Beaux-Arts de l'Université Concordia de Montréal, Ana Maria Silva a obtenu différentes bourses dont une en 1984-1986 de la Fondation Gulbenkien de Lisbonne au Portugal où elle est née. Elle y a aussi fait des études en beaux-arts, sans oublier l'École de Théâtre et Cinéma où elle a étudié la scénographie. Elle a été enseignante en arts plastiques dans plusieurs écoles du Portugal pendant une douzaine d'années. À Porto, elle a donné des ateliers d'art pour INATEL, un organisme culturel offrant des activités à temps partiel pour jeunes, travailleurs et personnes retraitées. Membre de la Société Nationale des Beaux-Arts de Lisbonne, elle a participé à une exposition collective au Centre National de la Culture de Lisbonne et dans les salles d'exposition de plusieurs municipalités du Portugal. Bien que découverte en Europe, Ana a grandi à Montréal où elle vit et travaille depuis son retour en 1997. Elle poursuit ses recherches artistiques personnelles....................Démarche artistique.............................. La peinture, la sculpture, l'installation, la photographie sont autant de moyens d'expression qu'emploie l'artiste pour développer un discours, souvent ironique, sur l'homme, l'art, l'écologie, la vie. Sa peinture figurative s'apparente souvent à des sculptures. Ses derniers 'Icebergs' en sont un exemple et peuvent être intégrés dans des installations. On sent dans son travail un intérêt pour les questions sociales, pour une humanité en péril et une invocation du spirituel. La mer, l'océan et l'eau sont toujours présents dans ses oeuvres mais son art n'est pas un produit décoratif. Membre du mouvement 'Green Peace', Ana essaie de passer un message pour la protection de la planète. Sa démarche cherche à provoquer un examen de conscience sans entrer dans une expression déprimante et sans espoir. L'ambiguité des espaces et des messages joue un rôle aussi important que le temps indéfini. Sa démarche porte sur notre genèse, le commencement, les symboles mythologiques qui se fondent dans l'océan, dans ses rêves, dans son subconscient où l'artiste habite. When i'm painting or doing art i think of NOAM CHOMSKY's message "There are some basic crises that are imminent and serious and they have to be dealt with. Two of the major ones are nuclear war and environmental catastrophe."

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Many artists like me are people who for "professional reasons reject a scheduling mentality and are therefore marginalized. "Those who do so consciously and deliberately are labeled bohemians artists or hippies. Others who just cannot adjust to regular work hours are often considered unemployable and end up living on the streets. But in the same way that the hippy or street person's rejection of scheduling seems strange to us, our own acceptance of strictly scheduled time would be considered very strange in many other cultures. We label these other cultures primitive --primarily because of their more relaxed or less linear relationship to time and their lesser use of technology (which are, of course, inter-related, as technological development enforces a certain kind of temporal regularity upon a society)... Speed in every kind of activity has become of primary importance. Faster workers get more bonuses; faster runners win more prizes; faster students get more attention; faster construction companies earn more contracts.... Our internalization of the rapid pace within each system that surrounds us, accompanied by rapid cultural change has also affected the way we raise our children. Not only are children embarking upon experiences in which their parents cannot be of assistance (from new math to Mead's more general idea of a prefigurative culture), they are being pushed into learning at a faster and faster pace.[41] From school curriculum (learning math, computer literacy, and sex education at a younger age) to "adult" recreational activities (sex, drugs) the modern child is growing up at an accelerated rate... Anyone who has argued with children about going to bed, stopping play, or getting ready to leave knows that we are not born with a sense of time and scheduling. In fact, a major impetus for public education first came from the desire of industry to condition future workers to heed to schedules (see section on Education & Business ). But this may be changing in the modern hi-tech age. It would be fruitful to study how children's perceptions of time may be altered by the regularity of television programs, the race against time of video games, and pacing of educational software. Even if children are not directly effected by the technology (though I am sure they must be), they undoubtedly are indirectly effected by the that scheduling and high-paced lives their parents are likely to lead... Postman notes that the standards of what childhood and the process of growing up should be like are really a social product and do change over time. Postman also cites the strong influence of technological change on this "disappearance of childhood."...According to Fromm, this is one of the two most important (and most horrific) guiding principles of modern technological society. "Once the principle is accepted that something ought to be done because it is technically possible to do it, all other values are dethroned, and technological development becomes the foundation of ethics." (Fromm, Erich, The Revolution of Hope: Toward a humanized technology, New York: Bantam, 1968, page 34) See also the discussion of Ellul's "automism of technical choice" in my section on Progress ../taken from "Elements of Modern Consciousness by Howard Besser My Curriculum EXPERIENCE: * as researcher and Guide for the Centre International dArt Contemporain in Montreal during the Montreal International Arts Biennal of - 1998 * Participation in Various Art collective and solo exhibitions in Portugal and Montreal * Many years teaching experience in public schools in Portugal * saturday morning art workshops for children and teens in Concordia University in Montreal as part of training for Major in Art Education * art teacher for "Politecnique of Beja " for art instructors in Portugal * Participation in conferences on education in Portugal -MEMBERSHIPS * member with status as a professional artist recognized by the professional artists associations of Canada RAAV and SODART as well as * the Society of the Fine Arts in Lisbon and was * awarded study grant from Gulbenkian Foundation in Lisbon         EDUCATION: * Masters in Education,(M.Ed.), November 1987/89, Université de Montreal, courses taken included: Expression dramatique, media workshops, * BFA graduate from Concordia University of Montreal * 15 annual courses in cenography, stage design & costume design etc. taken at the "Theater and Cinema School of the Conservatory of Lisbon" -1984/86 * 21 annual courses in the Fine Arts School of Lisbon-1975-86 *
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Teacher certification -" En vertu du présent permis délivré par le ministre de l'Education. l'enseignement peut etre dispensé a l'éducation préscolaire a l'enseignement primaire et a la formation général de l'enseignement secondaire et doit etre donné en anglais , valide pour 5 ans fait a Quebec le 28 Octobre 1999 - Permis denseigner No.PP10789904-