#luisa meta

[feels-of-a-fangirl]

so I finally watched Encanto. cue Madrigal feels bc what am I, if not on brand.

also please note, I’m a white, Slavic girl living in Central Europe so I probably didn’t get a lot of the Latinx subtext in the movie.

man, first of all, all of the Bruno feels.

Bruno must have had it so hard all his life. the only man in the family, he must have felt the pressure of supporting everyone. and the triplets presumably received their gifts at the same time and it must’ve been scary for each of them in different ways. Pepa obviously, because how do you ask a five-year-old to control their moods because a tantrum can cause a hurricane? Julieta is a different case because cooking is not an obvious gift, so maybe for a while she thought that her siblings got gifts but she didn’t?

and Bruno got future vision. at age 5. it must have been terrifying. no wonder he’s one bundle of anxiety.

I was wondering why Pepa and Julieta were rather late mothers, but now that I think of it, they must have been scared that their kids would get gifts as well. and these gifts would be just as scary.

Dolores and Isabela are both 21 which means Pepa and Julieta were both 29 when they had them. and man, while Isabella’s gift is innocent enough, Dolores’s is also kinda terrifying because imagine hearing all sorts of stuff at age 5. no wonder Julieta had her second child two years later (Luisa is 19) but Pepa waited 6 years (Camilo is 15) and then another 10 (Antonio is 5).

because Camilo’s gift is also kinda scary. Julieta’s daughters got off easy. Pepa’s children? not so much.

and then Mirabel got no gift at all. and she saw it as a bad thing, as did Alma, but you can’t tell me the triplets weren’t secretly a little grateful. Pepa and Bruno at least.

Antonio’s gift is scary too, when you think about it. I bet he is gonna convince everyone to become vegan, isn’t he?

but back to Bruno.

Alma’s trauma response was the expectation of perfection from her family. but man, what expectations she must have had from Bruno, who could never replace her Pedro but who must have felt like he should. like he should be the man of the family. on top of his scary visions. I kinda think his invention of Hernando and Jorge was a little bit trying to find a version of himself that was good enough for everyone when he felt he wasn’t.

think about how everyone thinks Bruno was mischievous, when in reality he was a nervous goofball.

his disappearance… one doesn’t make such a decision hastily. I can’t imagine him hiding in the walls on a whim. I can see him finding the hidden room and hiding out there as a child… and then, after Mirabel doesn’t get a gift and he has his last vision, he goes to his safe place and just… never leaves. the family has another Madrigal man with a gift in Camilo.

for some reason I don’t think Bruno got along well with either of his sisters’ husbands. Felix and Agustin are clearly in love with their wives and happy to take on a more supportive role in the family whereas Bruno probably think he ought to be the patriarch… when he’s anything but. he must’ve felt lonely.

[cannibalthoughts]

⭐️ please talk to me about either your Augistin or your Luisa and their relationship with Bruno 🐀💚

Hello, Anon :D I’m going with Luisa & Bruno, who I am. Extremely Normal About. This... got a bit long XD

Okay technically I don't think Bruno and Luisa actually interact in canon BUT they're super close trust me trust me

Starting with how I characterize Luisa, because there’s some extrapolation going on here:

I think the big conflict of Luisa's character (in tandem with straight up overwork) is that she wants to be tender and vulnerable, but feels that being so would make her a burden. Other people have problems? That's part of life. They can ask for help, she'll fix it. But if she asks for help herself, it means she's a failure. It’s right there in the opening lines of Surface Pressure: she has no room for fear, vulnerability, or weakness/inability to do everything.

Also in Surface Pressure, between the Titanic and the line of doors, Luisa fixes Mirabel's glasses. It's a small gesture, but I think it says a lot about who she is. This isn't something that is any easier for her to do than it is for Mirabel. Mirabel’s perfectly capable. Luisa doesn't need to do anything. And in the action of the song, there is a lot going on that only Luisa can handle, but she still pauses for a moment for this.

In part, it could read that she fixes every problem she encounters, no matter how small, but that doesn't really cover the nuances going on. It's a very gentle gesture, even parental, and coming from a person who doesn't wear glasses herself. I think this is habit from when Mirabel was very young—young enough that she was too uncoordinated to fix her glasses without smudging them—which Luisa has kept up all these years later. Which also means that Luisa started doing this when she was young herself. That's not something she was likely ever asked or expected to do, she just did/does it because she loves her sister, who will never fully outgrow Luisa's memory of her. That's the way she loves.

(Keep that last bit in mind, I swear this post is about Bruno & Luisa)

Between this and she tells Mirabel that she (over)heard the adults talking about Bruno having a vision about the magic before he left, Luisa seems to pay attention to the people around her. In that conversation, she also doesn't speak badly of Bruno. The vision was terrible, his room is dangerous, but nothing about Bruno himself. And she knows nothing about his vision, so if she thinks it's terrible, that's a value judgment she heard from one of the adults. Considering what Alma says right before the collapse, I suspect Luisa heard someone (probably Alma) telling the other adults that, whatever Bruno saw, he abandoned them and left them to deal with it, without so much as a warning. “Bruno doesn’t care about this family.”

But she doesn't say any of that to Mirabel. And it would be relevant to whatever’s wrong with the magic. Given that Luisa is telling Mirabel to investigate Bruno’s tower, it’s not a matter of protecting Mirabel from dangerous information. I think Luisa just doesn’t believe it. Which, if my inferences about what she overheard are correct, that means Luisa believes in Bruno’s love for the family more than she believes Abuela, even after Bruno’s been gone for ten years. That trust doesn’t come from nothing.

(I don't necessarily keep that detail true in my fics, e.g. in Atlts Alma didn't tell anybody that she asked Bruno for a vision, so no one else knew. Unless Luisa actually overheard Alma talking to Pedro, but was avoiding sharing that bit of gossip, which is in line with her character. Fic-canon or not, it is always part of how I characterize Luisa, though.)

So, what we have (by my consideration, at least) a solid canon basis for:

Luisa puts on a tough facade, but wants to be vulnerable

Luisa shows her love through gentle gestures

Luisa doesn’t completely stop thinking of her loved ones as the way they used to be

Luisa is observant

Luisa believes that Bruno loves/loved the family

Enter Bruno.

Pre-walls, I like the idea that he was close with all the kids. (Nothing Jared Bush says on Twitter can stop me.) The Madrigals are a busy family, and Bruno wasn’t. I imagine that he wasn’t fielding a lot of vision requests those last few years, or going out for... anything else, if he could help it, given the combination of his poor reputation and his anxiety. And the more he withdrew socially, I think, the more the other adults would encourage him spending time with the kids. He was essentially a stay at home parent.

After the walls? Bruno’s a gentle, goofy guy. And my Bruno, at least, doesn’t stand in the present so much as straddle the past and the future. I think in the movie, when he looks at Mirabel, he sees both who she is now and remembers the little kid she once was. (Pretending to be Hernando and Jorge did work to distract her from the reality of his situation, but also made it worse. I think it would have worked better on Antonio, but Bruno wasn’t quite calibrated to interacting with a teen.) We don’t see him really interact with the other kids he knew before, but I imagine it would be the same for them.

So, the specific Luisa & Bruno dynamic that I write:

Luisa is tender but feels like she can’t let herself be because she needs to be strong and invulnerable for the family. But the facade doesn’t work on Bruno, because he looks at her and thinks “that’s my sweet Luisita” and is just as goofy and sweet to her as he’s always been. Even six foot something and jacked, she will never fully outgrow Bruno’s memory of her.

(Remember I said to keep that bit in mind? It’s one aspect in which Bruno and Luisa love in the same way.)

They also both absolutely won’t stand up for themselves, but I think they’ll throw down for their loved ones, hence my Luisa throwing Ricardo Espitia in the river that one time. They’re good for each other.

[jenniferstolzer]

Good point, @studiomkm I've thought a great deal about how Luisa's power works. Mostly to figure how she's built up that gunshow. Read a very long essay below

Gravity manipulation would be a very effective explanation for it, but one thing that's pretty clear is whether it's her having super strength, or objects she lifts losing the weight they do have, she has to have the ability to turn it on and off at will, otherwise jogging with weights in the morning would be pointless.

Assuming she's just "super strong" all the time, the only way to build any muscle would be if she had a limit of what she could do. Maybe lifting boulders is too much? No, she's done that. Maybe houses? She's done that too. Maybe a mountain? Perhaps if she could get under one she could try but we do know that she's rerouted a river... by digging I'd guess? So asking her to literally reshape the landscape isn't outside her field of influence. At the same time, she can pick up an espresso cup with two fingers so gingerly and lift and move her family members without crushing them, so she has incredible control over the spectrum. This gives me four theories.

1, Luisa is constantly resistance training.

On the list of many, many fanfics, I will never write, I had an idea about her the day/week/whatever after her gift ceremony in which she now has to re-learn fine motor skills. She'll pick up a plate or a cup with what she previously intuited as an appropriate amount of strength and accidentally sent it sailing into the sky. She'd break things, crush things, hurt herself, probably hurt other people. If the strength is ALWAYS in her, then it's not just always in her arms, its in her legs as well. She would put herself into walls, bounce herself off the ceiling. There would be SO MUCH adjustment and relearning required for this poor little five year-old. So what's the solution to that? She's constantly working NOT to over-strength her surroundings. The muscle is built up through constantly tensing and controlling her own movements.

Unfortunately this theory returns to the weights while she works out question... because she wouldn't need to hold them while she ran... the act of running and moving her arms alone would be enough of a workout just b/c every movement she makes is a workout. Those are some big weights in her hands, but not like Kitchen Table big. Or six donkeys big. If the danger was not putting those dumbbells through the wall while she ran the workout is probably more in grip strength than arm strength.

2, Second theory... Luisa, like Isabela and her cousins, can turn her powers on and off at will.

Its not the amount of muscle movement she uses to lift a church or a bridge, its the amount of magic she uses to give her physical human muscles the power to go beyond human limit. I like this theory b/c it gives her a reason to bulk up. The stronger her muscles are, the more her magic can use them like a strength multiplier. "I'll double my strength to lift this" moves a lot more weight when using no magic means you are a 19 yr old who can lift 400lbs vs a five year old that can lift 30lbs. Being able to turn it off and on with an internal dimmer switch also means that she doesn't have to relearn how not to snap her own bones as she moves, because she isn't applying magic when she walks up the stairs or jumps. She CAN if she wants to. She could rocket propel herself to Mars if she wanted to, but she has to do it on purpose not on accident. This also builds in a physical limit for her too, b/c she is using her own muscles to lift and move things she's just multiplying their capability. If the palette of bricks she wants to lift weighs 500lbs, and she has the ability to double her strength with magic, then her physical body has to lift 250lbs. I think she's capable of a lot more (a greater multiplier, more physical base score) but this example shows you what I'm getting at. Being able to apply magic in variable amounts for variable tasks also means that those 100lb hand weights can weigh all 100 of those lbs if she wants them to.

Counterpoint to this one... being able to turn it on and off is not a universal experience for all the Madrigals. It seems like Dolores is stuck with her super hearing all the time, and Pepa fights constantly against the influence her gift has on the world. It doesn't mean she's not working with a dimmer switch, just that it's not a given. The Madrigals have varying "omnipresence" of powers. Dolores is always listening, but Julieta's only kicks in when she cooks. (Although I'd argue that Dolores DOES have control over her hearing otherwise "hearing this chorus a mile away" would imply sensitivity that speaking to her directly would rupture her eardrums. My theory is that she's always putting some super hearing on b/c she's nosy, but this isn't an essay about Dolores's powers.)

3, Third theory. Gravity touch manipulation.

If Luisa's body is unremarkable other than what she's built it into, then the magic is being cast on the objects she's interacting with and affecting THEM not her. This would answer the question about putting Luisa-shaped-holes in big heavy things because by touching the bridge or the kitchen table, she's essentially removing the pressure she's putting on them. It would also explain why every donkey in the encanto doesn't have organ damage at this point. I have a couple counterpoints about this.

Firstly, the stuff she picks up and moves behave half the time like they're weightless (Bridge) and half the time like they're not (living things covered in hair or fabric.) When Luisa hugs Mirabel, Mirabel's skirt and hair aren't suddenly caught in a wind-tunnel b/c they've lost their previous grip on gravity. Conversely the kitchen table didn't snap in half under its own weight so take that, me.

Secondly, if its touch-based, does that mean that just the item that she's touching loses gravity? The palette under the bricks is weightless but the bricks still have all their weight and she has built her muscles to pick up that extra bit. So lifting Mirabel is essentially just lifting Mirabel because only her clothes have lost their gravity. The church has lost its gravity but she's currently lifting all the pews. This hits a pretty obvious wall very quickly. What happens when she throws something? Does gravity reassert itself the minute things leave her fingers? Is momentum carried over through the transition? I didn't take physics but I did play Portal so I'm aware how that would work.

Thirdly, the hand-weights again. If they are one piece, then touching them removes their gravity and using them to bulk up with is performative at best. If she's just anti-gravitied the handles and the weights clipped to the ends are still the weight they are, but it puts some really narrow boundaries on what she can actually do. She picks up that piano by the sides, removes the gravity of the wooden box and the mechanical parts inside fall out the bottom.

4, And Theory Four... the bullshit theory.

The hand-weights are "visual shorthand kids movie" rules. It's the one we can default to nearly every time a question like this comes up. Luisa's strong, she is introduced with big weights in her hands so we get a quick visual reference before we find out how strong she REALLY is. What more reason do we need? Then how does she get the bulk then you ask? Bullshit Theory again. She's strong so she has muscles, that's what strong people look like, it's what she looks like. My exception to this was just how hard the crew fought to let her be muscular while the oversight committee was arguing the very logical counterpoint that if she was super strong, she would never actually strain her own muscles, so she'd be a thin waif whose probably even SPINDLIER than her sisters because she's not faced a physical challenge in fourteen years.

So what is my actual theory about Luisa's powers? In universe? A combination of all of these. She's stronger than a normal person through magic, but can use more magic to make herself MORE stronger. She has a certain influence over the objects she lifts out of the sheer action of her lifting them, but it's will based and intentional and she'd have broken that bridge if she was careless. Maybe when she was little she accidentally shattered a drinking glass or two against the ceiling, but that was because she was five and didn't realize she's used too much magic instead of just a little magic. The hand-weights are very large, she is using a little magic on them b/c she's always a little magic, but she's not asserting extra magic on them so she can still bulk up. Magic requires willpower and precise physical control, so she can get exhausted both mentally and physically when she overworks herself. Also it's a lot of visual shorthand for storytelling reasons. Bullshit Theory at its finest.

My only problem with how they portray Luisa's powers in Encanto is that they forget that the objects she lifts have their own weight independent of her lifting them.

That pot should have snapped that tabletop clean off.

[weirdo-from-bonesborough]

Batfam X Encanto AU, with powers decided by their ages (it kinda got away from me at the end)

As the baby of the family, Damian gets Antonio’s animal speaking powers and absolutely is living his best life

Skipping Duke since he has his own powers already, we have Tim as Mirabel and Steph as Camilo. As tempting as it would be to switch them, I think there’s great angst potential in Steph never being sure if Bruce actually values her or just finds her powers useful.

Also angst in Tim being the only one without powers having to work to prove himself and Bruce being terrified as Jason has Luisa’s strength and was still struck down.

Outside of that Jason’s power doesn’t change that much, neither does Dick with Isabela’s powers, just now uses vines to swing around. Cass is a bit weird because she’d have Delores’ power, so now you have a girl who hears everything but can’t understand it. I mean it’d be helpful in the field, but I imagine it would get overstimulating quickly, especially trying to focus on one conversation while she’s just starting to learn English.

Finally we have Alfred, Barbara, and Bruce. I picked a random triplet for each since they’re the oldest, so Alfred gets magic healing cooking, obvs, Babs gets Bruno’s powers to match her Oracle branding (we’re not gonna talk about how this affects the killing joke or how Bruno made prophecies for others but never for himself ok?), and Bruce gets Pepa’s powers.

I mean like in a meta way Gotham was literally made to reflect Bruce's mental state, but what if that was true in universe? What if it's rained everyday since that night in the alley? What if you're trying to fix a city and you can't even fix your own brain? What if you're just making it worse? Worse weather, worse conditions, worse things you're willing to do to get out.

What if you're Batman, with an unreadable face, yet your emotion can be read on a thermometer?

What if you can't feel it in the Watchtower, but the weather warms up when you tell that old Bat a joke? What if the skies clear up when he knows you're flying to him?

What if you're Dick Grayson who can make the sunshine with your smiles? What if you're used to getting rained on when you try to talk?

What if you're Jason Todd, and the rainbow you once made only come out in the reflection on the hailstones he drops every time they mention your name? What if you once wanted nothing but thunder clouds, but now you want lightening to strike at everything but you?

What if you're Tim Drake, holding back a hurricane? Stephanie, reasoning with fog? Alfred, who's given up trying to change him, just grateful when it drizzles instead of snows?

What if you've mastered control as best you could and it's still not enough? What if you're trying to be some sunny playboy when all you want is to be a kid again? Could you keep it from pouring down on everything you love? Could you stop your rain from eroding everyone down?

[atarahderek]

For both Inktober and for the Encanto OC appreciation event hosted by @encanto-extended-edition. I'm late, I know. For the "extra bits" portion, I'm shifting focus from Séamus to another OC.

Name: Princess Dawn Glow Species: Draft mule Color: Flaxen chestnut Owner: Luisa Madrigal

Luisa is one of the tallest and heaviest people in the Encanto, thanks to a combination of her magical gift and a lifetime of bodybuilding. Thus the only horses she can really ride are draft horses. She received a draft mule as a gift a few years ago and has dedicated a good portion of her free time to taking care of her. Princess Dawn Glow is absolutely pampered. Luisa does use her for drawing carts or wagons every now and then, but she mostly uses her for leisurely rides, even if they're rare. Despite having very little free time, Luisa still dedicates several chunks of her day to caring for her mule. Dawn serves as an excuse for Luisa to take some time each day to decompress. She knows how much pressure Luisa is under and will intentionally draw out her evening routine for Luisa's benefit. She's happy to listen as Luisa vents to her about the day. And while Dawn can have some good conversations with Antonio, she rarely needs him to communicate with Luisa. The two have an understanding that doesn't require words.

Dawn doesn't have anything against Séamus as a person, but she does not like him in his wolf form. No matter how much Antonio tries to convince her Séamus is perfectly safe and friendly, Dawn can't help but feel nervous around him. The wolfhounds are pushing it. But the bush dogs can hang out with her as long as they behave themselves. She also straight up hates Parce, as do the donkeys. Antonio has to keep Parce away from them.

On a meta level, Princess Dawn Glow is named after Twilight Sparkle. But if Luisa had known about MLP in the 50s, she absolutely would've intentionally named her mule after Twilight. Who knows, maybe Bruno will stumble across the Spanish dub of the show on Future+ and introduce Luisa to it.

The outfit depicted here comes straight out of the concept art for Luisa. I thought it would make an excellent riding outfit.

[werothegreat]

New cards!

First up, a couple vanillas. Nice to finally see Von Drake, even though he will never see play. Luisa might see play, she has very good stats, though she is uninkable.

Then we have a new board wipe for Steel. I think it will probably see play solely because it's inkable, but I don't think in 4 copies. Steel intrinsically has a lot of anti-evasive tech already anyway. But I can see running, say, 3 copies of Grab Your Sword and two of this.

Now this is insane. Emerald/Steel is already at the top of the meta right now, and this is just going to make it even better. This one card also singlehandedly bumps the new wounded/heal Amber/Ruby deck out of the meta entirely. Also just straight up broken in a multiplayer game. He has better stats than Mickey BLT and you'll usually be playing him for half the price.

[powerpolyculeshowdown]

Canon Polycule Showdown

(vote for your favorite! check the description if you don't know them)

[ID: 1. Art of Kieran, Cristina and Mark from The Dark Artifices. 2. A picture of Sofiane, Victor and Luisa from Mortel /end ID]

Meet the contestants!

Kieran/Cristina/Mark

Status: Canon

Description: Starts off with Cristina falling for Mark while he's already dating Kieran, turning into a love triangle. Kieran and Mark fell in love while part of the Wild Hunt but eventually broke it off when Kieran accidentally betrayed Mark. Cristina becomes friends with Kieran, and the two of them fall in love, soon all three of them get together in a polyamorous relationship. Kieran became king and couldn’t have any mortal consorts while living in Faerie so they’re bending the rules and live together in a little cottage that is neither on mortal nor fey land. 

Sofiane/Victor/Luisa (Mortel)

Status: Implied

Description: Luisa and Victor are in a canon relationship, Sofiane is very very cool with being their third wheel. They are shown being incredibly intimate and tender with each other throughout the series, especially by the end. In a meta context, Sofiane's relationship with another character ends as he gets closer to Luisa and Victor. 

[aparticularbandit]

Yo, potential new bestie, and welcome!

I call myself Bandit, I'm 30+, and I write! A LOT.

My askbox is currently OPEN! Send in questions, comments, concerns, and prompts! My prompts tag is here, so feel free to send one in!

More information (fic masterlist, fandoms) below the cut!

I'm so glad you're here, and I hope you stay a while!

Of Note: I frequently post about things I'm writing as I'm writing or editing them, so if you want to read my stuff with no spoilers whatsoever, then block the tags bandit writes fic and bandit brainstorms - between the two of those, you should avoid all those posts. Hopefully. >.>;;;;

ALSO credit for my banner pic goes to @princescar and credit for my pfp goes to @carbonatedjem!

General Links:

Tumblr Fic Masterlist

AO3

Note for Minors

What I Write:

Found Family

Angst (so much angst)

Redemption Arcs

Soulmate Timer AUs

Crossovers

Second Person (not x Reader)

Time Shenanigans

Meta (both narrative device and analysis)

Multiple Interpretations of the Same Character

What I DON'T Write:

Smut

Graphic Sexual Content

Fandoms:

Danganronpa Characters: Junko Enoshima, Ryoko Otonashi, Mikan Tsumiki, Kyoko Kirigiri, Tsumugi Shirogane, Monaca Towa Ships: Enogiri (Junko/Kyoko), Junkan (Junko/Mikan), Matsushima (Ryoko/Yasuke), Junmugi (Junko/Tsumugi), Kiridare (Kyoko/Yui) Open to writing more, am still playing around with these.

MCU Characters: Agatha Harkness, Wanda Maximoff, Ancient One, Viv Vision, America Chavez Ships: Harximoff (Agatha/Wanda), Agathian (Agatha/Ancient One)

Hahnverse: Characters: Claire Debella, Eve Fletcher Ships: Agave (Agatha/Eve), Valentines (Claire/Eve)

Jane the Virgin: Characters: Rose Solano, Luisa Alver Ships: Roisa (Rose/Luisa)

AND MORE (Check the Masterlist or AO3 because I've dabbled in...a lot.)

[schoje]

Incrementar o currículo escolar com aulas diferentes e melhorar as dependências de algumas escolas estão entre as metas dos 16 vereadores mirins eleitos da Rede Municipal de Ensino de Balneário Camboriú. A eleição para a 16ª Legislatura do Programa Vereador Mirim da Câmara de Balneário Camboriú ocorreu dia 11, em urnas eletrônicas, onde 75 alunos, do 7º e 8º ano do Ensino Fundamental, concorreram as 19 vagas existentes. O mandato dos eleitos será durante todo o ano de 2022. A eleição, que teve direito a um período de campanha dentro das escolas, ocorreu nas 17 escolas públicas e privadas participantes, e os novos vereadores mirins assumem os mandatos em fevereiro de 2022. Como apenas 17 escolas participaram, havia duas vaga remanescentes. Para elas foram feitos sorteios e as escolas vencedoras foram os Centros Educacionais Municipais Vereador Santa e Presidente Médici. Por isso essas escolas tiveram dois vereadores mirins eleitos. Os vereadores mirins representam toda a comunidade escolar, e eles têm consciência dessa responsabilidade. O vereador mirim eleito, Augusto Davi Barros Ávila, do 8º ano do CEM Presidente Médici, tem em mente um projeto para tornar mais fácil e acessível transportes para que as escolas possam ter mais momentos de lazer e culturais. “Quero tornar mais fácil o acesso das escolas aos transportes, de modo que os alunos possam visitar pontos turísticos e culturais da cidade, além dos ginásios de esporte e teatro”, diz Augusto Ávila. Com ideias inovadoras, a vereadora mirim eleita, Abiah Nelissa Vasconselo Schneider, do 8º ano do CEM Ariribá, quer trazer cursos de libras para o currículo escolar de BC; além de outros cursos rápidos, como culinária e defesa pessoal, “que enriquece o dia a dia dos alunos”, pontua ela. Já a vereadora mirim, Nicolly Kristini Souza de Lucena, 8º ano do CEM Ivo Silveira, quer melhorias nos laboratórios e biblioteca da Escola, além de introduzir, na prática escolar, mais aulas ao ar livre. Vereadores mirins eleitos CAICAyrton Senna da Silva Yasmin Yulla – 177 votos CEM Alfredo Domingos da Silva Gabrieli Vitória Cunha Pereira – 74 votos CEM Ariribá Abiah Nelissa Vasconselo Schneider – 166 votos CEM Dona Lili Arthur Bacca Barbosa – 84 votos CEM Giovania de Almeida Pedro Henrique Torquato Correia – 38 votos CEM Governador Ivo Silveira Nicolly Kristini Souza de Lucena – 148 votos CEM Jardim Iate Clube Gabriel dos Santos – 128 votos CEM Nova Esperança Daniela Luciano – 144 votos CEM Presidente Médici Arthur Luan Couto – 109 votos Augusto Davi Barros Ávila – 164 votos CEM Professor Antônio Lúcio Cauã Vitor Caseiro – 221 votos CEM Professor Armando Cesar Ghislandi Micael Matheus de Oliveira – 80 votos Pedro Henrique Vilhalva Casse – 181 votos CEM Taquaras Mariana da Conceição – 21 votos CEM Tomaz Francisco Garcia Nataly Caroline de Oliveira Costa – 71 votos CEM Vereador Santa Jamile Martine dos Santos – 336 votos Colégio Áster Luiza Balbinot – 92 votos Colégio Margirus Maria Luisa Hilpert – 31 votos Liceu Catarinense Greice Pereira Nicolow – 23 votos _________________________ Secretaria da Educação (47) 3363-7144 Diretoria de Comunicação Jornalista: Alexandra Gonzalez Santos Fotos: Márcio Gonçalves (47) 3267-7022 www.bc.sc.gov.br             www.instagram.com/prefeituradebc              FOTOS Fonte: Prefeitura de Balneário Camboriú

[edwin--artifex]

Nell’ambito del progetto Tramando, con il quale la Pinacoteca nazionale di Bologna, il Museo Morandi e il MAMbo - Museo d’Arte Moderna di Bologna del Settore Musei Civici Bologna rendono omaggio a Francesco Arcangeli (Bologna, 1915 - 1974) nel cinquantesimo anniversario della morte, le tre sedi museali presentano un progetto espositivo condiviso che, declinato in tre itinerari, propone una lettura di parte del loro patrimonio attraverso le parole del grande storico e critico d’arte.

Si tratta di un viaggio nelle tre collezioni che interessa opere e artisti amati e studiati dal critico e che riflette la sua idea di continuità tra l’arte del passato e quella del presente. Ad accompagnare i visitatori saranno speciali didascalie con brani tratti da suoi testi accostati alle opere selezionate.

Il termine Tramando, che dà il nome all’intero progetto e alla mostra diffusa fra i tre musei, è una parola chiave della visione critica di Arcangeli. Tramando è per lui un filo nascosto di pensiero, di una inconscia affinità di visione del mondo, che lega artisti diversi nel tempo e nello spazio e permette di ritrovare denominatori comuni. È la tradizione nella quale si è nati e si cammina e che lasceremo alle generazioni che seguiranno.

Questo è il filo conduttore dei tre itinerari nelle sedi museali bolognesi con le quali Arcangeli ebbe modo di lavorare. Egli fu infatti al fianco di Cesare Gnudi e Andrea Emiliani negli anni della loro direzione della Pinacoteca e fu direttore della Galleria Comunale d’Arte Moderna - oggi MAMbo - Museo d’Arte Moderna di Bologna - dal 1958 al 1968.

Al MAMbo e al Museo Morandi: TRAMANDO Francesco Arcangeli tra la Pinacoteca nazionale e la Galleria d’Arte Moderna di Bologna

a cura di Lorenza Selleri e Uliana Zanetti

Al Museo Morandi sei dipinti e quattordici acqueforti della collezione sono accompagnati da commenti e interpretazioni tratti dalla monografia dedicata all’artista bolognese, Giorgio Morandi (1964), e dal testo Natura ed espressione nell’arte bolognese-emiliana (1970). La selezione dei testi intende avvicinare il pubblico all’altissima qualità letteraria della prosa di Francesco Arcangeli, magistrale interprete dell’opera morandiana.

All’interno delle collezioni del MAMbo, invece, i visitatori potranno leggere, accanto a tre opere, scelte tra le tante acquisite da Francesco Arcangeli per la Galleria Comunale d’Arte Moderna di Bologna negli anni della sua direzione, alcuni suoi brani tratti da presentazioni e saggi.

“L’attività d’acquisto e d’accrescimento del patrimonio artistico, e la conseguente possibilità del pubblico di fruire di documenti diretti (i più numerosi e ad un tempo selezionati che sia possibile) dell’arte moderna e contemporanea, resta, secondo me, lo scopo precipuo del mio lavoro di storico e critico dell’arte chiamato a dirigere la Galleria d’Arte Moderna della mia città. - scrive Francesco Arcangeli nella presentazione del catalogo sulla mostra Nuove acquisizioni alla Galleria d’Arte Moderna, allestita presso il Museo Civico di Bologna dal 2 al 15 marzo 1963. - […] È possibile, insomma, ridare equilibrata consistenza a una tradizione complessa, a un raggio di vita artistica già più che secolare? […]. Inoltre, la meta non è univoca. Ne esiste una locale; una di significato nazionale; una, se possibile, di allargamento al campo internazionale. Ove si tenga presente che la Galleria del Comune è l’unica in Bologna addetta all’arte moderna e contemporanea, penso che nessuna di queste mete sia da trascurare. […] Bologna deve anche affacciarsi ad una cognizione diretta dei valori internazionali. Anche opere straniere, dunque, anzitutto a disposizione di tutti coloro pei quali - studenti, impiegati, professionisti e lavoratori d’ogni specie e condizione - non sia, tuttora, facile il viaggio”.

In Pinacoteca: TRAMANDO Natura ed espressione nelle opere della Pinacoteca nazionale di Bologna

a cura di Maria Luisa Pacelli con la collaborazione di Grazia Agostini

Le parole di Francesco Arcangeli che i visitatori troveranno lungo il percorso sono tratte dal catalogo della mostra Natura ed espressione nell’arte bolognese-emiliana che ebbe luogo presso l’Archiginnasio nell’autunno del 1970.

In questa mostra, che riassumeva gli studi e le ricerche di una vita, Arcangeli delinea un’interpretazione dell’arte emiliana e bolognese, divenuta da allora in poi imprescindibile, che ne privilegia la componente più espressiva e popolare, fondata su una remota radice contadina in un totale “rapporto, altrettanto remoto e irriflesso, col mondo della natura”.

Ampliando l’interpretazione di Roberto Longhi, Arcangeli fa emergere prepotentemente questo aspetto in contrasto con quello colto e legato alla tradizione classica, già ampiamente studiato, e rende protagonista l’arte di un territorio, di una “provincia” come la chiama, fino ad allora trascurato dalla critica.

La connessione fondamentale tra arte e natura segna, per Arcangeli, il percorso di artisti, da Wiligelmo a Giorgio Morandi, passando per Vitale da Bologna, Amico Aspertini, Ludovico Carracci e Giuseppe Maria Crespi, nati negli stessi luoghi ma in tempi diversi, che manifestano “constanti” stilistiche e incarnano il carattere essenziale di una terra in cui Arcangeli si riconosce e che rappresenta la sua stessa comunità. Il percorso attraverso le diciassette opere selezionate fluisce come una linea ininterrotta, che attraversa il tempo e congiunge passato e presente, senza distinzioni di periodi artistici o di epoche, ma i cui passaggi sono scanditi da quel riemergere di un filo nascosto di pensiero, di una inconscia affinità di visione del mondo, quella “tradizione inconsapevole di costume e di vita”, che Arcangeli chiama ‘tramando’.

Il lungo racconto si dipana per otto secoli, attraverso artisti che, sempre in “rivolta” contro le sovrastrutture intellettuali o accademiche del loro tempo, “attingono la loro forza da una radice più largamente umana, rispetto alla cultura che li circonda… rifiutando spontaneamente le certezze di qualsiasi tipo, per aderire alla passione dell’uomo e delle cose, al mutare del tempo e delle stagioni, al nostro vivere ‘qui ed ora’”.

Tutti i percorsi saranno visitabili dal 24 maggio 2024 fino al 6 gennaio 2025.

Il progetto Tramando fa parte di Bologna Estate 2024, il cartellone di attività promosso e coordinato dal Comune e dalla Città metropolitana di Bologna – Territorio Turistico Bologna-Modena.

AUDIOGUIDE IN LINGUA ITALIANO ED INGLESE REGISTRATE @ STUDIOCOLOSSEO X AUDIOCULTURA

"Tramando. Nature and Expression in the paintings of Pinacoteca Nazionale di Bologna."

The Pinacoteca Nazionale di Bologna, the Museo d'Arte Moderna di Bologna, (the MAMbo) and the Museo Morandi pay tribute to Francesco Arcangeli, a seminal figure in 20th-century art history and criticism, on the occasion of the 50th anniversary of his death. Francesco Arcangeli worked with Cesare Gnudi and Andrea Emiliani during the years when they were in charge at the Pinacoteca, and he was the director of the Galleria Comunale d’Arte Moderna – now the MAMbo – from 1958 to 1968. The exhibitions presented in all three museums reflect his idea of continuity between the art of the past and that of the present, and specially selected works are accompanied by excerpts from his writings. The words of Francesco Arcangeli that visitors will find along the itinerary here are taken from the catalogue of the exhibition “Nature and Expression in Bolognese-Emilian Art”, which was held at the Archiginnasio in the autumn of 1970. In this exhibition, which brought together and summarised the studies and research of a lifetime, Arcangeli outlined an interpretation of Emilian and Bolognese art which has since become indispensable. It favoured the more expressive and popular component in the works, based on ancient peasant roots in an all-encompassing “relationship, both remote and unconditioned, with the world of nature”. Expanding on Roberto Longhi’s interpretation, Arcangeli clearly drew out this aspect in contrast to the cultivated one associated with the classic tradition, which had already been extensively studied, and made the hitherto-neglected art of a territory, of a “province” as he called it, the protagonist. According to Arcangeli the crucial connection between art and nature distinguished the development of artists – from Wiligelmo to Morandi – who had been born in the same places but in different ages. They showed stylistic “constants” and embodied the essential character of a land with which Arcangeli identified and which represented his own community. The path runs in an unbroken line, crossing time and connecting past and present, without distinctions of artistic periods or eras. But its passages are marked by the re-emergence of a hidden thread of thought, of an unconscious affinity in world-view, of an “unconscious tradition of customs and life” that Arcangeli called the ‘tramando’.

The long story unfolds over eight centuries, featuring artists who, ever in “revolt” against the intellectual or academic superstructures of their time, “drew their strength from roots that were more broadly human than the culture that surrounded them… spontaneously rejecting certainties of any kind, in order to espouse the passion for human beings and things, passing time and the changing seasons, the ‘here and now’ of life”. Archangeli’s exhibition began with the reliefs of Modena Cathedral (evoked with photographic reproductions) sculpted in the early 12th century by Wiligelmo. Far removed from any mystical construction, in his work the human body is represented as, and felt to be, a pure physical entity. After Wiligelmo the show then moved on to the 14th century and Vitale da Bologna’s ‘slices of life’, his sudden and violent representations in a space that overflows the boundaries of the painting, in contrast to the measured compositions of Tuscan painting. Arcangeli detected an equally expressive power in Jacopino di Francesco and Andrea de’ Bartoli, while, for the period straddling the 15th and 16th centuries, he chose Amico Aspertini, whose bizarre imagination subverted the Renaissance canons of harmony and balance epitomised by his contemporary Francesco Francia. In the first half of the 17th century, it was Ludovico Carracci who expressed the most vivid feeling of popular religious devotion, depicting sacred events in an intimate, everyday space. Ludovico was followed by the spontaneous paintings of Giuseppe Maria Crespi, whose scenes of everyday life appear to follow the heart, rather than the mind, to the point of seeming ‘proto-Romantic’. Rounding off the exhibition was Giorgio Morandi who, with his rare landscapes and still lifes, painted or engraved, for Arcangeli, represented the end of this journey of an art deeply connected to life. Nature and Expression was a particularly significant exhibition for the history of the Pinacoteca because it explored Emilian and Bolognese art from a new perspective. Thanks to the continuous exchanges between Arcangeli and the then Superintendent Cesare Gnudi, this helped to define the project for the radical redevelopment and redesign of the museum, the cornerstones of which are still in place today.

Wiligelmo, Adamo ed Eva, Duomo di Modena

Vitale da Bologna, Saint George killing the Dragon

Vitale da Bologna, Quattro Storie di Sant'antonio Abate, (1340-1345 circa)

Pseudo Jacopino, Polittico della Dormitio Virginis 1330-1335

Amico Aspertini, Pala del tirocinio 1504-1505

Ludovico Carracci, Annunciazione 1584

Ludovico Carracci, Conversione di San Paolo

Giorgio Morandi, Natura morta (1931)

[acapulcopress]

“¡No se meta con Ecuador y atienda la violencia en México!” | Viuda de Villavicencio a AMLO

BOGOTÁ * Abril 5, 2024. ) Apro Verónica Sarauz, la viuda del asesinado candidato presidencial ecuatoriano Fernando Villavicencio, afirma que el mandatario mexicano, Andrés Manuel López Obrador, quien sugirió que ese magnicidio determinó el resultado de los comicios presidenciales de 2023 en el país sudamericano, debe abstenerse de intervenir en asuntos internos de otras naciones y dedicarse a enfrentar los “gravísimos problemas de violencia política” que tiene México. En entrevista con Proceso, Sarauz señala que, con ese tipo de declaraciones, que están “llenas de falsedades”, López Obrador viola la Constitución mexicana, que contiene el principio de la no intervención en la política de otros países, e “incurre en un discurso de doble estándar, pues quiere dar lecciones morales (a otras naciones) mientras México está desbordado por la violencia criminal”. El presidente mexicano, señala la viuda de Villavicencio, es quien saludó a la mamá de Joaquín “El Chapo” Guzmán (Consuelo Loera, en marzo de 2020) y quien desarrolla una estrategia de seguridad e “abrazos, no balazos”, que ha permitido “el fortalecimiento de los cárteles mexicanos que controlan a las bandas ecuatorianas que han sumido a mi país en una ola de violencia nunca vista”. El gobierno, afirma, “está para combatir a los cárteles, no para hacerse de la vista gorda”.

Sarauz dice que tiene un mensaje para López Obrador: “No se meta con Ecuador y atienda la violencia en México”, donde según la ONG Laboratorio Electoral han sido asesinados 50 políticos relacionados con las elecciones del próximo 2 de junio, entre ellos 26 candidatos. Para la viuda de Villavicencio, “es una falta de respeto que López Obrador use el asesinato de mi esposo para hacer política, más, cuando su actitud complaciente con los carteles (de la droga) ha facilitado su expansión a otros países, como es el caso de Ecuador”. Las principales bandas ecuatorianas del narcotráfico están asociadas a las grandes organizaciones criminales mexicanas. Los Choneros al Cártel de Sinaloa (CDS), y Los Lobos y Los Tiguerones al Cártel de Jalisco Nueva Generación (CJNG). Según las investigaciones de la Fiscalía ecuatoriana, Los Lobos es la banda que instrumentó el asesinato de Villavicencio, ocurrido en Quito el 9 de agosto de 2023, y en cual participaron seis sicarios colombianos ejecutados en prisión a principios de octubre de ese año, tras ser capturados por ese magnicidio. En su conferencia de prensa matutina del pasado miércoles, López Obrador aseguró que ese magnicidio hizo caer las preferencias de los electores ecuatorianos por la candidata presidencial de “las fuerzas progresistas” (Luisa González, apoyada por el expresidente Rafael Correa) y provocó el fortalecimiento del “candidato que iba en segundo” lugar (presuntamente se refería al actual presidente Daniel Noboa). Otros datos sobre Ecuador Sarauz, quien respalda a Noboa en su decisión de expulsar del país a la embajadora mexicana Raquel Serur tras las declaraciones de López Obrador, sostiene además que estas son “mentiras que revelan mucha ignorancia sobre lo que ocurre en Ecuador” y que exhiben al mandatario como “un presidente, o muy desinformado, o muy mentiroso”. Según López Obrador, la candidata correísta Luisa González iba “como 10 puntos arriba” en las encuestas, pero tras el asesinato de Villavicencio “se cae, y el candidato que iba en segundo, sube”. Esa afirmación es incorrecta ya que el apoyo a González en los sondeos de opinión no se modificó tras el asesinato de Villavicencio, e incluso en la primera vuelta electoral, realizada 11 días después del magnicidio, la candidata obtuvo el 33.61 por ciento de los votos, 10 puntos más que Daniel Noboa, quien ganó la segunda vuelta con el 51.83 por ciento. En la segunda vuelta, realizada el 15 de octubre de 2023, González se quedó con el 48.17 por ciento de los votos, un poco más del porcentaje que ha mantenido el correísta partido Revolución Ciudadana en otros comicios presidenciales desde que es oposición. Es decir, López Obrador “o desconoce la realidad, o miente deliberadamente cuando afirma que el asesinato de mi esposo provocó la caída” de González. La candidata correísta, además, nunca fue señalada como “sospechosa” de ese magnicidio, como afirmó el presidente mexicano. Para Sarauz, no es casual que López Obrador se haya referido en eso estos días al magnicidio que enlutó a Ecuador ya que precisamente el próximo lunes se inicia un juicio contra cinco sospechosos de participar en el crimen, que según las investigaciones fue ejecutado por sicarios colombianos de Los Lobos y a cambio del cual los jefes de esta banda podrían obtener beneficios judiciales y arrebatar a Los Choneros, sus enemigos, el control de varias prisiones. Sarauz señala que falta procesar a los autores intelectuales del homicidio, entre los cuales señala “a políticos correístas y del Partido Social Cristiano” que están procesados por la Fiscalía por vínculos con el crimen organizado dentro de casos judiciales conocidos como “Metástasis”, “Purga” y “Plaga”, al igual que jueces, funcionarios e integrantes de la fuerza pública. La viuda de Villavicencio asegura que “México se ha convertido en la guarida del correísmo” ya que en ese país residen varios dirigentes de ese movimiento y hasta él viaja con frecuencia el expresidente Rafael Correa, que está refugiado en Bélgica por los juicios que enfrenta en Ecuador. Además, el expresidente ecuatoriano Jorge Glas, quien enfrenta cargos por supuesta corrupción en su país, está refugiado en la sede de la Embajada de México en Quito desde el pasado 17 de diciembre. La mañana de este viernes, López Obrador anunció su disposición de otorgar asilo político y traer a México a Glas y afirmó que la sede diplomática de México en Quito ha sido rodeada con fuerza “con mucha prepotencia” por la fuerza pública de Ecuador. “Lo que estaban buscando es que nosotros aceptáramos que entraran a la embajada (para detener a Glas) o que nosotros les entregáramos al vicepresidente, eso no lo podemos hacer, esa es una cuestión de principios; la política exterior de México se caracteriza por proteger a perseguidos políticos”, sostuvo. Sarauz considera que “no es coincidencia” que esto ocurra no sólo en vísperas del inicio del juicio contra presuntos autores del asesinato de su marido, sino cerca del 21 de abril, fecha en que se realizará una consulta popular en Ecuador para someter a votación varias medidas tendientes a endurecer el combate al crimen organizado, entre ellas autorizar la extradición de connacionales y permitir la participación de las Fuerzas Armadas en la lucha contra el narcotráfico. ) facebook.com/acapress.mx ) facebook.com/angelblanco.press  ) facebook.com/groups/mexicosur.news ) facebook.com/groups/AcapulcoNoticias ) acapulcopress.com Read the full article

[laopiniononline]

Santuario de la Naturaleza: Cerro La Cruz de Zapallar avanza en la protección de la biodiversidad.

Nueva publicación en https://www.laopiniononline.cl/santuario-de-la-naturaleza-cerro-la-cruz-de-zapallar-avanza-en-la-proteccion-de-la-biodiversidad/

Santuario de la Naturaleza: Cerro La Cruz de Zapallar avanza en la protección de la biodiversidad.

En una de las alianzas públicas privadas más emblemáticas de la comuna y luego de un trabajo técnico acucioso, el municipio de Zapallar junto a la Corporación para el Desarrollo de Zapallar y La Corporación Bosques de Zapallar, consiguieron la declaratoria de Santuario de la Naturaleza de uno de los hitos geográficos más importantes por su valiosa diversidad: el Cerro La Cruz.

La declaración de Santuario de Naturaleza realizada por el consejo de ministros a fines del año 2023 logra reconocer a este lugar como un área protegida de manera oficial, obligando con ello al Estado a resguardar el legado medioambiental que posee, obligación que el municipio Zapallarino asumió como propia en la ceremonia oficial de reconocimiento, realizada hoy antes un centenar de vecinos comprometidos con la conservación y protección del lugar.

En la instancia, el alcalde Gustavo Alessandri, señaló que “este hito se logra desde la iniciativa de 3 grandes instituciones que trabajan en conjunto. Esta meta fue propuesta el 2018 y el año 2023 ya salió la nominación. Este santuario nos trae recuerdos pero también inspiración para seguir trabajando por la flora y fauna del lugar porque nuestro municipio tiene una convicción muy arraigada respecto de la importancia que tiene el patrimonio biocultural de la comuna sobre todo hoy que tenemos el desafío de asumir cambios urgentes para enfrentar la crisis climática que vivimos”.

Asimismo, Alessandri valoró que #hoy Zapallar cumple el sueño de ver que el área de conservación municipal muestra sus primeros frutos con el Cerro de la Cruz y el Humedal Urbano de la Laguna y Estero de Catapilco, iniciativas donde nos hemos involucrado fuertemente porque sabemos que es el legado que le podremos dejar a las futuras generaciones”.

Al respecto María Luisa Eyzaguirre de Corporación para el Desarrollo de Zapallar señaló que la cooperación pública privada es fundamental porque cada uno aporta lo que puede, “en este caso la corporación puso la gestión y los recursos; la corporación bosques de zapallar cuida el lugar y el municipio es dueña del lugar. Con este logro buscamos que en los colegios se haga educación ambiental, que se explique la importancia de que la naturaleza se conserve porque esa es también la conservación del ser humano. Finalmente, si la naturaleza se destroza, destrozamos el mundo”

Cabe precisar que este valioso territorio destaca por su clima mediterráneo donde se alojan ecosistemas tan importantes como el bosque esclerófilo, uno de los ecosistemas más importantes de nuestro planeta, el que, si bien ocupa solo el 2% de la superficie de la tierra, alberga el 20 por ciento de las especies de flora del mundo. De igual manera el Cerro La Cruz cuenta con un nivel de endemismo que alcanza el 44,1% de la riqueza florística total del área.

[delectablywaywardbeard-blog]

Ambientalista dell'Anno è Associazione sentieri alta Val Malone

E’ andato all’Associazione sentieri alta Val Malone (Asavm) il ‘Premio Luisa Minazzi – Ambientalista dell’Anno’ 2023. La cerimonia di consegna si è tenuta oggi pomeriggio nel Municipio di Casale Monferrato (Alessandria). L’alta Val Malone è un territorio alpino, un tempo meta di villeggiatura della borghesia torinese, ma che si è spopolato e non condivide la notorietà delle località turistiche…

[gaddaboutgriffon]

And we ain’t done yet!

Ok so the new evil organization we will name Neolux. And their super soldier creations we will keep simple and continue calling the Chimaeras.

Now then each of the original 10 are made from a mix of 3 or more metas dna plus Danny. So I took a list of super powers. Put them on a spinning wheel and made some up. …. Except for one, because I really want a werewolf boy based off of the pokemon lucario.

So let’s list them off.

1 Subject: Wolfsbane - male- has an canine like appearance with abilities such as heightened senses, an energy blast, extendable steel strong claws, and empathic ability to sense if someone is lying or being deceptive.

2 Subject: Shadow mage - male- ability to teleport, telekinesis, emp burst, and random things that is being labeled wild magic. This last one he has no control over and can’t predict what will happen himself.

(If a name is inside () it means it is a placeholder until a better one is suggested)

3 Subject: (Plasmadame) - female - sonic blast, phasing, and electricity.

4 Subject: (Diamondlad) - male- near invulnerability, earth bending, can make any gem or crystal grow in size

5 Subject: (mystic flame)- male - enhanced speed, Pyrokinesis, near future vision.

6 Subject: (Changling) - female- shape shifting, invisibility, and the ability to not only change her size but that of other things she has touched.

7 Subject: Vigora - female - super strength, extremely tough, healing bother herself and others, unbreakable hair. (Yes I am basing this one off of repunzel from tangled. But with Luisa from encanto too)

8 Subject: (Barrierette) - female - energy shield and blast, flight, telepathy

9 Subject: (Coldfront) - male - ice powers, weather control, wind and air manipulation

10 Subject: (Hemlock) - male - clorokinesis to make plants move and grow fast, can drain powers and vitality from other, after draining can temporarily use the abilities.

Ya know Danny could absolutely get away with doing homework on the watchtower bc ghosts would absolutely go for a school called Casper High School in the ghost zone. I imagine it going a little like this.

Some Leaguer: "What the...are you doing homework?"

Danny: *not really listening* "Uh, yeah, of course."

Leaguer: "but you're, y'know..."

Danny: *panicking internally but committing to the bit* "Ghosts have schools too."

L: "Okay yeah. Sorry, that was insensitive of me."

D: "It's okay."

Also the idea of someone finding a piece of paper like a form for school gets left behind and they immediately know it's for Danny because Casper High School? That's a ghost school if they ever heard one.

[gazeta24br]

Realizado desde 2012, projeto oferece informação sobre hábitos saudáveis além de evento com atividades de lazer e práticas esportivas A Biolab Farmacêuticas destacou-se na 12ª edição do Prêmio Excelência em Gestão de Saúde e Segurança do Trabalho – Bumerangue, promovido pelo Sindicato da Indústria de Produtos Farmacêuticos (Sindusfarma). A companhia venceu na categoria GST (Gestão e Saúde do Trabalho) com o projeto “Programa Sorria”, que há 11 anos proporciona bem-estar e qualidade de vida aos colaboradores e seus familiares. Além disso, a dra. Fernanda Podboi Polese, gerente de Saúde Corporativa da Biolab, foi premiada na categoria Saúde Ocupacional, sendo reconhecida como profissional de destaque em sua área de atuação. Os temas centrais da premiação foram qualidade de vida e promoção de saúde. Mais do que uma iniciativa interna, o Programa Sorria representa o cuidado e a dedicação da Biolab com foco no bem-estar e na adoção de hábitos saudáveis. Iniciado em 2012 por Maria Luisa Hilário de Oliveira, da Ativus Ergonomia, dra. Egle Costa Oppi, gerente Médica Executiva, e Emerson Zago, gerente de Meio Ambiente e Segurança do Trabalho, o programa ganhou um comitê que tem como objetivo oferecer ações de conscientização de saúde, prevenção, autocuidado e integração continuamente, além de um evento denominado “Caminha Sorria” que oferece atividades para os colaborares e seus familiares. Desde o início, o Sorria supera metas e números de participantes todos os anos, não apenas promovendo a qualidade de vida, mas também estendendo seu impacto positivo para além da Biolab. Com o prêmio Bumerangue do Sindusfarma, ele entra para a lista dos projetos excepcionais em saúde e segurança do trabalho. “Quando escolhemos a medicina, optamos por cuidar de pessoas. Estou muito feliz em fazer parte de uma empresa que nos permite unir a vocação à paixão essencial: levar saúde para todos. Na Biolab, recebemos o incentivo necessário para cuidar dos colaboradores e suas famílias. Estendo minha gratidão a todos os que batalham e contribuem para o sucesso desta iniciativa”, agradece a dra. Fernanda Podboi Polese, gerente de Saúde Corporativa da Biolab Farmacêutica. Sobre a Biolab Promover um futuro com mais qualidade de vida requer uma busca incansável por tratamentos seguros e inovadores. Por isso, a Biolab, indústria farmacêutica brasileira fundada em 1997 e com presença internacional, investe em pesquisas para superar os crescentes desafios da saúde. Com nossos mais de 3.800 colaboradores e a 4ª maior Força de Vendas do Brasil, estamos entre as maiores farmacêuticas do país, com liderança na cardiologia e atuação relevante em demais especialidades, como dermatologia, ginecologia, ortopedia, gastroenterologia, pediatria, clínica médica e sistema nervoso central. Nossas linhas de negócio Biolab Genéricos, Avert Humana e Avert Saúde Animal contribuem com o nosso portfólio de mais de 500 produtos. Todos com a qualidade e a confiança que só a Biolab tem. Estamos em crescimento constante. São três unidades de produção, além de um moderno complexo fabril em construção. E não paramos por aí: no Canadá, somos a 1ª farmacêutica brasileira com um Centro de pesquisas e adquirimos a empresa Exzell Pharma para expandir nossa internacionalização. Juntos, estamos construindo o futuro. Viva a evolução! Saiba mais em www.biolabfarma.com.br e nas nossas redes sociais @biolabfarmaceutica

[daisyherrera]

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