book of life

09/17/2008 4:11 PM

After a one-month hiatus in Paris and shying away from TV guestings, Dr. Vicki Belo gives us the lowdown on the latest techniques in slimming, losing fat and getting that body shape you’ve always wanted in "Salamat Dok" this Sunday, September 21st.
 
TV host and endorser Tintin Bersola Babao shares with the viewers how she benefited from this by losing her post-natal fats.
 
This Saturday, this year’s UAAP Cheerdancing Competition champion, the UP PEP Squad, will be featured in the Astig ‘To portion, while TV and film director Carlo J. Caparas appears on Sunday.
 
"Salamat Dok" will also tackle various forms of muscle weakness, including Lou Gehrig’s Disease, Pompe’s Disease, muscular dystrophy, among others.
 
Herb expert and Food and Nutrition Research Institute consultant Dr. Emil Aligui tells us the benefits of adding lemon juice to our drinking water to lower lactic acid that contributes to weakened muscles. He will also explain how the inner rind of the pomelo helps improve digestion and lower body fat.
 
Don’t miss all these in "Salamat Dok" with Cheryl Cosim every Saturday at 6 AM and Sunday at 7:30 AM on ABS-CBN.
 

as of 09/22/2008 12:34 PM

By Ginger Conejero, ANC | 09/08/2008 2:25 PM

ABS-CBN is now home to the 13th international edition of the hit comedy series, Betty La Fea, with I Love Betty La Fea.  This is the most expensive project that ABS-CBN is putting out this year…it’s 55th anniversary on television. The exact figure of the international rights to the program remain under wraps… but it’s definitely worth a lot!
 
I Love Betty La Fea stars Bea Alonzo, John Lloyd Cruz, Ruffa Gutierrez, Vhong Navarro, Ai-Ai de las Alas and many other stars.
 
So why has this particular story of the ‘ugly duckling’ been so successful, despite its numerous worldwide remakes?
 
Bea told MORNINGS@ANC last Friday that playing Betty has taught her so much about herself.  She asked "Why do beautiful people think they are not beautiful? In Betty’s case, she’s not good looking, but she doesn’t care, her confidence isn’t taking a beating."
 
Well, Betty probably has loads more confidence than Bea who admits that, yes, she’s gotten more vain outside of taping her new series.   She laughingly said, "Yes I want to make myself up more… so I can clearly distinguish me from my character."

 as of 09/08/2008 3:16 PM

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Traditional European philosophy has favored theories in which causality is the dominant explanatory principle: things happen because someone, or by extension something, makes them happen. It is clear that this reflects a fantasy, probably particularly masculinist, of power over life, the world, and especially other humans (desirable females, dangerous males in the dominant view). But causality has rarely provided adequate accounts of most systems because they consist of many interacting parts and the behavior of the system as a whole, and often of the individual parts, is an complex aggregation of the interactions of all the parts — and no part controls the whole, or can even control another part outside the influence of the rest of the system. Such systems are said to be ’self-organizing’ and the behavior of aggregates of components is said to be ‘emergent’. In these systems, which certainly include living organisms, ecosystems, and social or ecosocial systems, there are no isolated controlling agencies. There is no all-powerful father, boss, or king. There are no control hierarchies among components: no generals, captains, and soldiers. Self-organizing systems are inherently democratic, and eurocultural philosophies basically are not.

 

The modern theory of self-organization phenomena has several roots: cybernetics, which did look for control hierarchies, but quickly saw more complex behavior; organismic biology, especially the early traditions of "holism" that opposed the "reductionism" of physics; ecosystem theory; the autopoesis theory of Varela and Maturana; auto-catalytic and cross-catalytic reaction theory in chemistry; mathematical ecology; cellular automata theory; thermodynamics and statistical physics of irreversible processes; and the mathematics and physics of non-linear equations.

 

For an overview in relation to social dynamics, see: Lemke, Textual Politics, chapter 6; Lemke, Cultural Dynamics article; and Lemke, Downward Causation article. References in these works cite the major sources of the theory. Key names and associations are:

 

• Stuart Kauffman — cellular automata, evolutionary and developmental biology

   

• Stanley Salthe — developmental and evolutionary biology, origins of life, hierarchical levels in complex system

   

• Ilya Prigogine — thermodynamics and statistical physics of irreversible process; origins of complexity

   

• Gregory Bateson — cybernetic models of ecosocial interactions, meta-learning

   

• Francisco Varela and Umberto Maturana — autopoetic systems theory

   

• Howard Odum — systems ecology

   

• H. Ross Ashby — cybernetics

1. Neo-Thomism- “Neo” new; Thomism is a branch of Christian scholasticism associated with the work of St. Thomas Aquinas. He contended that faith and reason do not conflict humankind in our ideas, our mind, and our spirit, as the physical nature of the world created by God as a perfect being is considered more important. it is established knowledge through both faith and reason.
               - The educational implications of idealism are to contribute to the development of mind and self, the school should emphasize intellectual abilities moral judgement, aesthetics, self realization, individual freedom, individual responsibility and self control.
2. IDEALISM- Stresses intrinsic or spiritual value rather than physical fact or material value. It emphasizes the development of the values in the student, values based on long held-principles and standard of morality, idealist believe the existence of God-summum, Bonum or the highest good in whom absolute good, beauty and values are found.
            - Idealism as an educational philosophy proclaims the spiritual nature of men. It stresses the human spirit, and soul or mind as the most important in life. T holds that the good, true, and beautiful are permanently part of the structure of a related, coherent, orderly, and unchanging universe (san Mateo and Tangco; 1997.)
3. EXISTENTIALISM- Is primarily attributed to Soren Kierkeggard. According to him that education should enable a person to make choices for his/her life. It should be a means to open his/her very eyes to the naked truth of existence and make him/her aware of his/her status. In so doing, Education serves as a guiding spirit for a person’s  decisions and wise action
              - Existentialism is a way of viewing and thinking about life in the world so that priority is given to individualism and subjectivity. The existentialists believe that the human being is the creator of his essence; He creates his own values through freedom of choice or individual preference. The most important kind of knowledge about the realities of human life and choices that each person has to make. Education is the process of developing awareness about the freedom the freedom choice and the meaning and responsibility for once choice
4. REALIS M- Applies to the position that education should be concerned with the actualities in life. Realism is an educational philosophy w/ advocates that education should be considered with realities of life and should prepare a person for his/her duties in life it holds that reality, knowledge and values exists independent of the human mind,
5. HUMANISM- Aimed for the development of the intellectual, spiritual and physical capacities of a person through education. This philosophy of education places spiritual things over and above worldly things. Man is both matter and spirit and his spiritual will must prevail over his material and worldly desires for him to avoid sinning and for him to attain spiritual perfection. For instance, an individual is confronted with a choice between going to church or going to a disco pub. If the spirits prevails, he goes to church. It is the function of education to make him choice going to church or to choice the better

Jacques-Louis David was born into a prosperous family in Paris on August 30, 1748. When he was nine, his father was killed in a duel, and his mother left him with his prosperous architect uncles. They saw to it that he received an excellent education at the College des Quatre Nations, but he was never a good student; he had a tumor that impeded his speech, and he was always too busy drawing. He covered his notebooks with his drawings, and he once said, “I was always hiding behind the instructor’s chair, drawing for the duration of the class.” Soon, he desired to be a painter, but his uncles and mother wanted him to be a soldier. He soon overcame the opposition, and went to learn from François Boucher, the leading painter of the time, who was also a distant relative. Boucher was a Rococo painter, which was falling out of style and becoming more classical. Boucher decided that instead of taking over David’s tutelage, he would send David to his friend Joseph-Marie Vien, a mediocre painter, but one that embraced the classical reaction to Rococo. There David attended the Royal Academy, based in what is now the LouvreDavid attempted to win the Prix de Rome, an art scholarship to the French Academy in Rome four times. Once, he lost, according to legend because he had not consulted Vien, one the judges. Another time, he lost because a few other students had been competing for years, and Vien felt David’s education could wait for these other mediocre painters. In protest, he attempted to starve himself to death. Finally, in 1774, David won the Prix de Rome. Normally, he would have had to attend another school before attending the Academy in Rome, but Vien’s influence kept him out of it. He went to Italy with Vien in 1775, as Vien had been appointed director of the French Academy at Rome. Before leaving for Italy, he felt that the ancient was cold and irrelevant, but while in Italy, David observed the Italian masterpieces, and the ruins of ancient Rome. David filled sketchbooks with material that he would derive from for the rest of his life. While in Rome, he studied great masters, and came to favor above all others Raphael. In 1779, David was able to see the ruins of Pompeii, and was filled with wonder. After this, he sought to revolutionize the art world with the "eternal" concepts of classicism.
JACQUES-LOUIS DAVID’S EARLY WORK
David’s fellow students at the academy found him difficult to get along with, but they recognized his genius. David was allowed to stay at the French Academy in Rome for an extra year, but after 5 years in Rome, he returned to Paris. There, he found people ready to use their influence for him, and he was made a member of the Royal Academy. He sent two paintings to the royal academy, and both were included in the Salon of 1781, a high honor. He was praised by his famous contemporary painters, but the administration of the Royal Academy was very hostile to this young upstart. After the Salon, the King granted David lodging in the Louvre, an ancient and much desired privilege of great artists. When the contractor of the King’s buildings, M. Pecol, was arranging with David, he asked the artist to marry his daughter, Marguerite Charlotte. This marriage brought him money and eventually four children. David had his own pupils, about 40 to 50, and was commissioned by the government to paint "Horace defended by his Father," but Jacques soon decided, "Only in Rome can I paint Romans." His father in law provided the money he needed for the trip, and David headed for Rome with his wife and his favorite student, the Prix de Rome winner of that year. In Rome, David painted his famous Oath of the Horatii. “This painting occupies an extremely important place in the body of David’s work and in the history of French painting. The story was taken from Livy. We are in the period of the wars between Rome and Alba, in 669 B.C. It has been decided that the dispute between the two cities must be settled by an unusual form of combat to be fought by two groups of three champions each. The two groups are the three Horatii brothers and the three Curiatii brothers. The drama lay in the fact that one of the sisters of the Curiatii, Sabina, is married to one of the Horatii, while one of the sisters of the Horatii, Camilla, is betrothed to one of the Curiatii. Despite the ties between the two families, the Horatii’s father exhorts his sons to fight the Curiatii and they obey, despite the lamentations of the women.”

 The buildings, sculpture, painting, and decorative arts of ancient Egypt from about 5000 bc to the conquest of Egypt by Rome in 30 bc.

 

Today, we look at Egyptian art primarily in museums or in books. For the Egyptians, however, the objects now regarded as art were made to serve a particular purpose, usually a religious one. For example, temples were decorated with paintings and filled with statues of gods and kings in the belief that doing this served the gods, showed devotion to the king, and maintained the order of the universe. The Egyptians wore jewelry and amulets (charms) not only as decoration, but because they believed these items protected them against harm. They buried their dead with jewelry and amulets for the same reason: to protect against the perils of the afterlife.

 

Most Egyptians never saw the art that is now displayed in museums, because only kings and members of the ruling elite were allowed to enter temples, tombs, and palaces. But the Egyptians had in mind another audience for their art: the gods and, for the art in tombs, the spirits of people who had died.

 

Artists in ancient Egypt joined workshops and worked in teams to produce what their patrons—the king and the elite—needed. For this reason, few works can be attributed to individuals. Religious beliefs largely dictated what artists created, especially the paintings and statues that filled Egyptian temples and tombs. Artists endlessly repeated the same themes and subjects, changing them only when beliefs changed. (A rare change came around 1350 bc, for example, when the sun god Aton gained more prominence than ever before.) The style of depicting these themes and subjects, by contrast, changed from one generation of artists and patrons to the next. For example, during the 18th dynasty (1550-1307 bc) there was a shift from painting the human figure in a rather stiff and rigid posture to using curved lines and varied poses. But most of the changes were more subtle.

 

            Welcome to the world of art. Wherever people exist, art exists. Art is universal. Through the ages, men and women have reached out to express their feelings and their thoughts, and share their experiences and their view in life.  They do this through the medium of worlds, color, sound, body movements, bronze, and marble. With their imagination and creativity, the string of words become poetry, the sequence of sound becomes music, bodily movements become dance, the harmony of color and canvas become paintings, form in space become sculpture, form around space become architecture, and a series of pictures becomes movie. Joseph Machlis wrote “Art appeals to our mind, arouses our emotions, kindles our imagination and enchants our senses” Art brings us to the heights of awareness of our being human and intensifies our experience.
            Whenever you listen to music, look at painting, view a building, touch a statue or vase, recite a poem, read a story or watch a movie, you are communicating with the artist –another human being. When you get the message he or she gave, or share the same feelings, you will realized that too, are human.
            In this life, you will be able to discover and appreciate the language of art. Be aware of the significant role of art in your daily life –that of feeling your need of beauty.

            Visual impairments include people who never had any visual function, those who had normal vision for a time before becoming gradually/ suddenly partially or totally blind, those with disabilities in addition with the visual loss, those with impairments of parts of the visual field, and those with a general degradation of acuity across the visual field. Persons who have visual impairments have a best corrected acuity of 20/70 or less in their better eye, or may experience difficulty with optic muscle control.
Characteristics
1. Low vision
            -limited ability to visually absorb their “out of arm’s reach” environment
            -Field of vision or muscles may be affected
            -Possible color blindness
            -Migraines headaches and/or debilitating fatigue after long periods of reading
2. Legally Blind
            A person who had visual acuity of 20/200 or less in the better eye even with correction or has a field of vision so narrow that its widest diameter subtends an angular distance no greater than 20 degrees. May not “appear” to have a visual disability, but will need accommodations in order to read printed materials and/or function within an unfamiliar environment.
3. Blindness

            Persons who are blind experience a complete lack of vision, though they may have some perception of light and colors. They often depend on their senses, such as hearing and touch, to gather information. Individuals who are blind do not always have the experience of sight from their past to assist in the recollection of data, so it is not appropriate to assume that someone who is blind is familiar with objects in the class room or in a new environment. They may use canes and/or seeing-eye dogs in order to navigate their environment.