Rodrguez
2013
a
b
o
u
t
m
e
EDITORIAL PROJECTS
Books designed and composed for
diferent editorial publishers.
DESIGN ON SCREEN
Educational and experimental
multimedia designs.
GRAPHIC IDENTITY
Corporate identity designed for companies
and independent collectives.
Posters, brochures, fyers and other printed
pieces designed for diferent customers.
OTHER PRINTED STUFF
Professional graphic designer specialized in
editorial processes, print production (mainly
books), text composition, text editing and
writing for print and digital content.
Im currently managing an independent
publishing project (Chiquitico.org) and we
have already published 14 titles, including
books, minibooks and personal editions. I do
the editorial coordination for all publications.
In this portfolio there are samples mainly
of editorial projects and independent books,
but there are image (corporate) design
and a couple of multimedia projects.
Contact:
sonia.rod@gmail.com
[57 1] 245 9192 (Bogota, Colombia).
[57] 316 392 0394 (Colombia).
SELF-PUBLISHED BOOKS
Books published under the independent
editorial project Chiquitico.org, managed
by Sonia Rodrguez and Andrs Montoya.
SELF-PUBLISHED BOOKS
Vivir de a dos (Living in twosome, 2012).
Independent publication by chiquitico.org
Book layout and text composition.
Book of refections for honeymooners, couples
who live together or who are thinking of doing so.
This edition was thought to be a wedding gift.
6
notas y ms notas
Nota sobre la libertad
Lo que se dice en ese libro no es una verdad abso-
luta. Cada pareja es libre de decidir cmo vive su amor.
Qe nadie {ni ese libro} imponga reglas en su relacin.
Lo que yo he aprendido del amor no es La Verdad Sobre
el Amor. Qien lee es libre de decidir sobre lo que lee.
Nota sobre las distinciones de gnero
Personalmente, me disgusa muco hacer disincio-
nes de gnero {l/ella, las/los, -a/o, etc.}, pues con-
fundenenvez de aclarar. Creo que el lenguaje es muco
ms complejo que simplemente a b.
Base decir que las recomendaciones en ese libro
van dirigidas a parejas de cualquier gnero y compo-
sicin. Me ha faltado, eso s, incluir consejos especf-
cos para tros, cuartetos y otro tipo de agrupaciones
familiares, principalmente por falta de experiencia y
desconocimiento del pblico. Puede que en el futuro
En fn, en compensacin para l_s acivisas de g-
nero, procurar darle el tono ms genrico posible.
Nota para los dos
Ser pareja de alguien entraa un compromiso,
aunque no vivan juntos; incluso antes de que decidan
permanecer juntos largo tiempo. Pero suele llegar un
momento en que se decide ser pareja de alguien {y
entonces se suele complicar todo}. No se puede ser pare-
ja impunemente. Tendrs que hacer cosas que no tenas
21
ser dos o ser uno
En una relacin
{aunque haya un solo corazn}
hay dos voces diferentes,
con ideas disintas sobre toda clase de cosas.
tu tiempo y tu espacio son tuyos. esto no es
negociable, por unido que te sientas a otra persona.
Ref lexiones para
recin casados.
sonia ro
Above: double page starting section.
Right: page with poem, notes
page and cover page.
34
no me ames para siempre,
que la eternidad no exise.
mame este instante completa,
no le pongas peros a mi geografa,
ni lmites a mis alas;
que yo no soy tuya,
no soy tu propiedad,
no tienes escrituras
sobre mis argumentos.
no me ames para siempre,
las promesas son un sueo,
deja libre tu espalda
del peso de mi vida.
pero recrreme entera,
cada una de mis lneas,
mi sombra, mis ojeras,
las pequeas mentiras
que esconden el miedo.
SELF-PUBLISHED BOOKS
{9} Las respuestas estn en ti
Las respuestas a las incgnitas
de la vida estn en tu interior.
Todo lo que necesitas es
mirar, escuchar y confar.
{7} Los otros son slo
espejos tuyos
No puedes amar u odiar algo de otra
persona a menos que eso refeje algo
que amas u odias de ti mismo.
{1} Tendrs un cuerpo
Te puede gustar o lo puedes odiar,
pero de todos modos ser tuyo
para mantenerlo por el periodo completo.
De reglas y anarqua (2012).
Independent publication by chiquitico.org
Selection of photograph, book
layout and text composition.
Minibook which includes the Rafael Barrets text
My Anarchism and Cherie Carter Scotts If Life is
a Game, These are the Rules. The photographs
are under Creative Commons license and were
sought specifcally to accompany each text.
Left: inside double pages. Below: text page and cover page.
Y se teme el caos si nos desembarazamos del
borcegu, si rompemos el tiesto y nos plantamos
en plena tierra, con la inmensidad por delante!
Qu importan las formas futuras? La realidad
las revelar. Estemos ciertos de que sern bellas
y nobles, como las del rbol libre.
Que nuestro ideal sea el ms alto. No sea-
mos prcticos. No intentemos mejorar la ley,
sustituir un borcegu por otro. Cuanto ms
inaccesible aparezca el ideal, tanto mejor.
Las estrellas guan al navegante. Apuntemos
enseguida al lejano trmino. As sealaremos el
camino ms corto. Y antes venceremos.
Qu hacer? Educarnos y educar. Todo se
resume en el libre examen. Que nuestros nios
examinen la ley y la desprecien!
Publicado en La Rebelin
{Asuncin, Paraguay}
el 15 de marzo de 1909.
Rafael Barret {Espaa, 1876 - Francia, 1910}
fue un escritor, narrador, esayista y periodista que
desarroll en Paraguay la mayor parte de su obra.
Por haber pasado ms de 90 aos desde su muerte,
la obra de Rafael Barret est en el dominio pblico.
Reglas para ser humano
Cherie Carter Scott
Mi anarquismo
Rafael Barrett
De reglas
&
anarqua
SELF-PUBLISHED BOOKS
n
MEMORIAS DEL
XI CONGRESO DE
INVESTIGACIN
EDITORIAL PROJECTS
Yearbook (2011-2012).
Santa Francisca Romanas High School, Bogot.
Book layout and art direction for the yearbook.
Collage technique and fashion magazines
were used as graphic benchmarks to design
the layout, which was coordinated step by
step with the editorial committee composed
of eight last graders from the school.
Left: text page.
Right: starting section double
page and course page.
Cover with spine.
The illustration is a
portrait of the colleges
principal in his youth,
drawed by a student.
JUN
In Memoriam of our Schools foundress
New ways
to change this
World
1000+
JUN
J
U
N
CSFR CSFR
C
S
F
R
2012
2
0
1
2
LIFE
SECRET
THE
THE
WOMAN
SISTER MARY
PROM 2012
GRADUATES!
BETH MODDE
IT ALL
WHO STARTED
of the
Homeroom
What we love
will forever miss
Teachers
The young,
the talented
& the ambitious
&
Colegio Santa Francisca Romana
Colegio Santa Francisca Romana
It estium in nos esciae
moleni cus.
Hilit exerionsequi sequo
dolum es con nonserem rae
rerita consersperit quo-
diate nobis exerspiet eius
sunto offici conse oditatem
ex et re re vidictusa.
Dis magniat re, sit ersper-
ciusam corenitatis comnien
dandis moloriberit maion-
sequia conem acestiorem
ipide et voluptur?
Mara Anglica Pez
Olut millame ndiore dolore net dolo
millore henihillest pra eatquam di
nit aliqui dunti in nonsequaeUt
utem anda volupta tibeatem quis
auta quas dolupiciis si reptasperi
iliquia consequidem. Acipiet andis-
tiaes im quiberu mendam cum cus
dolut enda dolupta cusda conseque
et plianditae quam quatus mo dolli-
quiat qui vid eum a int mollibus et
moluptatur?
To esto cum eturibus aborunt.
Enis enime velignit omnima nobit
lamentota volest, volore, ut voloris
et qui cum aut estem alit dernatia
prorepudis coVerterum adhuci-
ven vit publiam idius estrum terte,
nostroximo hortu senim ura ortiliu
sperebusse, pl. Habem que ferrit.
Mara Camila Montaz
Romnihina, nultodin Ita ne tus,
senam hostem sulicav enduciam
aciis oruntemoves Catabenesse
convermanum eortuam tum tus con-
dam sensus coternit, Cupio virmant,
niaes ervirio it viveris; in deffresse-
nam omaximus, con audescre ad rei
factam dii patum host? is, qui fecrei
intis. Ser ad mus re hostarbis, quit.
condum inam atum fac ia rediis
opulicon det; num diem renatusque
quam patie fue ideridemod nosu-
ppli consuliena, consum adeti, esta
noculto ruriaes senihi, plium perfec
viri te intes ignato nu sa issenihicam
pares a dena, Cuppl. Haberei tuam
tebusIberi es hoc resulissente efa-
cris, urniu men teritam.
Sultissili, am patus et, con volis
nonsulvid ftiu maximo ne deo ad
cons hilicatur abunt? Ror pubisquit
et iam. ma, tum derviliciem tam po-
publincur ia destilicam dem sultod
se in tes mussuliis bon se, se norte
nontions simis.
Laura Jimena Ospitia
Cupiesilis, nota receste consum sent,
Cas consi tatumus silintis cus is sun-
tiam opublie ntestisse coenaterum
publi, coneque consis, Cat L. me
pro utelus abus, Palic facri publiss
ulaberi furis ipio C. Qua re cam eri
iamqui sistrum imeniam ad Catil
viripie ponsuloc vidicepora vigit;
nihilinte novigil icipser dienam ta ne
pripien defacienem cae ner potem
intie in sendam, nonloc, post potis;
nici consil verios, facioctus esse in
derium hosum nor acenatiam eli-
ciortia des vis nium terfrtusa virmili
caetiocatum hocaequ idendam los,
consusa orei ft, nem atabus nimpra
dit, num videm ter prortua mquon-
fecum fecomno nfessenatqua esid
iae, nonsulica no. Bussunc mium
itebus, conerit.
Sandra Milena Gmez
Etratu mo Castratus sturnin ditam.
Ips, C. et quidita tasdam intris. Cave,
noraestis ponftuus maximei faudem,
convesimis, quod ducta vis mus
huconita re adhum iusquostrem,
nocrid consus, veses etem re confeci
erferei inte deri, se mus ex nonfri-
bes cuperud ervidicam inature sulo-
ca non tam, qua occhus egit.
Ublis, quis bonsuppli convesi me-
rica efex nor ala abuntique re ina,
vit; Catrore que ce descerimis iam
tabeste adduc foraecon senat, ceres
rentemqui inicaellemus cotili, qui
iam hilin Itaris.
Senimor urnit; hala vit L. O te ta-
rioncla ductati linatis eterio hor
uribut vis rei patus; nitandit Catius.
Habem crest vivirmis es et fauceperi
pro ex me tus sederio paris es au-
conterte audet reis idem mei seriu
vitri imodiu et rem dervivir a mora-
voc, si pris consi signa, que estribu
sulissi murbes!
Graciela Torres
Serfrtie ceris, quit; et, P. Ad in di
suncum ia re, etere condum priampe
ricesse tumentemuro mente factur
linvo, cla rec re tandam dentius are
esse note et gratussulto ex molis ia
verectu simis mod sed intenate iam
re vit, vid maximovem. Nam hem
musulis, nulegilintra molicaedem
opubliisul coentertum in Etra re-
hempe rfcaudere, quem etiam mus
aute iam in tilingu ltoraectus; no-
tiostes, am noves periam mendum
tum publis hocae, sid di, norum ego
Catusquam ignon stamdiOtatat a
sus dolor as deraerrovid magnatio.
Inctur sinvendio. Lessunt harum
none voluptiant dis velendae volo-
reh enditasperum sitibus ipsandiatis
quas ipsunti omnim rehendi tatemo
int adigendae simillab inis cus, om-
nis parum soluptat.
Natalia Esguerra
Giaesent, quas quo quam enditium
con nonserciet liquid maiorpore
sus dunt voluptiunti voloreius, cum
sinumquam nihiciistio ommolup ta-
sinti berum ut aut explaut odit labo-
ria voluptaquam, aut velicte catusap
ellupicium inum cust laccaer ioren-
tiam et hicil magnatur alitio inciae
eatumquos est et ese velique suntis
et es ma sequo maionsed mo dollatis
modit eumquod ut lant quis sintume
num facerum aut quam eate possima
ea a dolorro ritati con ex et adit aut
ma nossedipsam, sim abor sus audis-
tibust, consecto eturerae.
Evelia Hurtado
evenet aute pa pores distiorupta ven-
tian diosam, estis quam fugit, quibus
aliqui di sinctur errore natem ver-
fernat aute veligen ditissed ma nam
expliquam, offc tem quidit am fugia
imil esenda del esto berum iunditae
cus dolorem aut qui nat.
Soluptatis quam de audistiuntia con
et accuptasint ut modis eum landae
quam, tem. Alibus reperspiet quam,
quia vene vid excepro omnis dolori-
bus ea que liquae pe as ium fugitat
acerit antor ad quam quam quatini-
min ra veles dolorum, istem duciur
si to cuptate dio. Od quo optatem
sum, as aut aut laudi dolorio dolorec
temporiam et quiatio quia qua.
Giselle Castiblanco
Olut millame ndiore dolore net dolo
millore henihillest pra eatquam di
nit aliqui dunti in nonsequaeUt
utem anda volupta tibeatem quis
auta quas dolupiciis si reptasperi
iliquia consequidem. Acipiet andis-
tiaes im quiberu mendam cum cus
dolut enda dolupta cusda conseque
et plianditae quam quatus mo dolli-
quiat qui vid eum a int mollibus et
moluptatur?
To esto cum eturibus aborunt.
Enis enime velignit omnima nobit
lamentota volest, volore, ut voloris
et qui cum aut estem alit dernatia
prorepudis coVerterum adhuci-
ven vit publiam idius estrum terte,
nostroximo hortu senim ura ortiliu
sperebusse, pl. Habem que ferrit.
Martha Luca Ramrez
Romnihina, nultodin Ita ne tus,
senam hostem sulicav enduciam
aciis oruntemoves Catabenesse
convermanum eortuam tum tus
condam sensus coternit, nosuppli
consuliena, consum adeti, esta no-
culto ruriaes senihi, plium perfec
viri te.Ducimus estotament quiant
fugiam nemperum quaecte nien-
ditibus estemporis eate dolorest ea
quunt magnat latia dolum ullam,
simin nihillu ptatet molorrovid mo-
lupiti volum ra doluptatem re nitas
est ut prae sequisimus dis denimpe-
ri quam fuga. Itatur sit as atis eatem
excea que eos aut verchillest, tem ea
nientis aligenti nectur? Ebisin exped
quasi atis et late non everio et accus-
tion preped escia sus ne cora nosa
cor reicia eum volupta parchitaque
nobis autatibus, quas et ipsandit
dolupta as eaque con prae dolore
minctas volectur, et esti atectis dit
odis rest es maximiliqui nihicit quae
non re volestiis sus explique omni-
musam aliqui blaborrum voluptate
quatem et fugiasint.
Jimena Gonzlez
Icto in et abo. Et vendaeces dolori
impossinti con eveles ium dolo eum
facerovidus expe voluptur? Aborit,
vollo voluptatus volectur aut idis que
rem rat.
Lorepro qui dolor resciist es dolo-
rum il illuptae volut aut es et ut vo-
llibuscia voloriae. Itae es quas auda
solorunti to id quo ommo esciae aut
earia dit rae estioria ersperum utet,
num hilis sectur, vendiae. Videm sedi
untis explicto escil ius audam, offca-
bora pellorp oreprovita idelis simi-
lias ellestius aliquat resciet esedit
doluptas deliti volut idignisci do-
luptas apiciaectem nos alibusaerum
volenia tenimusdam, aut ulpa in res
veruptatquat recte nonemporum
quate lanis as mil ipiducitatur sape-
rru ptatur?
Diana Paola Espinosa
Quis ium qui sundicabore, samus-
cipsus alicillam ipsum, ommodi
offcia explab ipsanducium soluptate
cum re nam re, omnist exceptate
sanderios doluptat ius magnient
dolut aliqui si doloribust, natus, eici
to es et dolores quament apit arum
nimus, optatus vel il mi, suntiis is
sum aut anis ut il iliquiatias et ipsum
abo. Latusa quosa nimillam labore
susdaes ecatus sitat que poressitem
alitat quae nonsent emquidebis eos
eum, con everrov ideliquae ma et ut
verumquae perum facitia iur acea
pelicil lesequosandi ant omnihit pa
nam, te excepro mil maion pedit
venis et quia que si aceperum den-
dem ipsa natquodit odit aborepuda
solupti dunt explicabo. Nem si offcil
mod es duci temquae nam et escides
qui dolorestia imi, sum fugitisim
reium, nonsedit magnimil ipsam
harchil loraepra dessitas aute dolup-
ta tistruptas pressus et odipitia etus
quibusciet mod moluptatque.
Camila Montaa
Cipsae solessime si imustib eaquist,
ipsamusdae volorun tionest, tendis si
qui aut quasit volut maios vit, off-
ciusam senistrum, te lacerrum fu-
giaectate doluptinus esed quissi con
cuptatempos eatem sequam non cus
pernature ideniminumet volorrore
corestem sit vit fugiate ctaero et
quae vernatibus dem quiatur? Tem-
porepuda dici nimolorunt remodi
occatur? Agnam fugit delluptat.
Nem fugitasit earum unt, cullorrovid
molut offctatibus.Tota explab inum
eseque prempore, que que mi, omni
saectotam quas dio. Nam rem quia
simaio. Nem cones doluptaspe ped
ute volupta ssimus.
Fabiana Villanueva
Ucid que vendanient alis apeliquis
eos dios que non pe explibus aut
vendanimet aut lat quam, in elit rem
que nate none nobitatur amendan-
dusam ad que niet pratur?
Offciur aut acculpa rchitatium que
maximagnit utenihi lloratur? Ucit
accaepe runtem vel il ma doluptius
porrum eumet fugiate mporehe
ntibusam lam ant ernatio nsequi
quia volut dolorpo stotatio blaccae
nonsernam, sapiet volum faccull
uptate voluptatam, non plique et et,
to que nem restis evellaccum eum
ut dolestes sae num ni alic totasin
torita nobis dic te sandis moluptatus
alibus dolore cullorr ovidestia prae-
pudis solorepratur anihiliqui conse-
quo voloratusam qui ant verrum ilit
andelitiis sam quis ent, nem seque
nosse vella comnimin cusam, offcii-
simi, offciendit aut volupta sitia
discium res dunto dellupis rehenec
tintore dolor acepel ium fugias adia-
tur maxime pra qui bernatum fugia
nust aspero to et lit, nem. Et am re,
tet omni vitaspit lacearibus, omni-
hitat.
Acknowledgements
A
G
R
A
D
E
-
C
I
M
I
E
N
T
O
S
Mara Anglica Trivio 4C
Its name is Mambo
It is my pet
My aunt gave it to me
When I was in bed.
Mambo has a lot of hair,
and it runs like a hare.
It is always hungry
It thinks it is time to eat
Rice and vegetables
Eggs and meat.
Sometimes it is happy
And some others it is sad.
But It tries to be good
And never be bad.
Mambo is so beautiful
ACTI
VID
A
D
ES
Activities
a
Cuarto
Fourth
Juanita Jimnez Ramrez,
Sara Luca Daz Benavides,
Elena Stiles Rosselli,
Carolina Vargas Vega, Ana
Luca Ferro Narvez
Juanita Jimnez Ramrez,
Sara Luca Daz Benavides,
Elena Stiles Rosselli, Carolina
Vargas Vega, Ana Luca Ferro
Narvez
Juanita Jimnez Ramrez, Sara Luca Daz
Benavides, Elena Stiles Rosselli,
Carolina Vargas Vega, Ana Luca Ferro Narvez
Juanita Jimnez
Ramrez, Sara Luca Daz
Benavides, Elena Stiles
Rosselli
Juanita Jimnez Ramrez, Sara Luca Daz
Benavides, Elena Stiles Rosselli,
Carolina Vargas Vega, Ana Luca Ferro Narvez
Juanita Jimnez Ramrez,
Sara Luca Daz
Benavides, Elena Stiles
Rosselli,
Directores de Grado
Jorge Luis Benavides
Crdenas y Luisa
Fernanda Parra.
EDITORIAL PROJECTS
The Scoop, school newspaper (2012).
Santa Francisca Romanas college, Bogota.
Book layout, art direction and text composition.
The layout was coordinated step by step
with the editorial committee composed of
fve next-to-last graders of the school.
The cover was printed in two colors and the
inside pages were designed in black and white.
16 pages per number. Open Size: tabloid.
Left: june edition, 2012.
Front page and inside double page.
The newspapers logo showed on
the front page is designed by a
student, chosen by competition.
Next screen: two previous
numbers of same newspaper.
Right: January edition, 2012.
Front page and inside double page.
10
The Scoop
http://scoop.csfr.edu.co
january, 2012
DearMissConfidential
My brother Nicolas is about
to have a daughter in these days
and I amreally worried about this
situation. First of all, I dont really
like litle babies, I have never liked
them. Babies just eat, sleep and
poop all day long, whats the fun
about that? It is really disgusting
and exhausting; especially if you
think about changing their diaper,
not cool at all. Second of all when
Juliet (my niece) is born everyone
will forget about my existence. I
have always been the youngest
member of the family and I dont
want people to start treating me
diferent just because theres a
new baby. My brother, the one
that has been like my father will
now have his own child and he
will forget that I need himtoo; my
daddy will have a newlitle girl to
spoil and she will not be myself;
and my mother will end up taking
care of me so that she can go and
play with her new granddaughter.
Just thinking about this I get re-
ally upset and I feel lonely. Finally,
I just want Juliet to like me so that
she can start loving me. Litle kids
dont usually like me I dont know
why, just like dogs, they dont like
me either. My own dog didnt love
me, he preferred anyone else but
me, and I dont want my own niece
to not love me either. I dont know
what is happening with me, may-
be I am nervous but I think I need
some advice to solve my worries.
Sincerely,
newauntie.
Dear New Auntie,
You dont have to worry about a
single thing. As youve said, youre
scared and confused about what
might come next when the baby
is born, but when the time comes
youll realize shell be a blessing,
not a burden, for you and your fam-
ily. When baby Juliet is born youll
see that not only will your family
still pay atention to you, but also
therell be a new person to care for
you, because the baby will surely
and truly love you. Moreover, when
you see her, youll like her and grow
fond of her with every second, and
youll play with her as will all your
family, so you will all get to be to-
gether having a good time around
the baby. Without realizing it, youll
be happier than ever.
Teres nothing to worry about.
Sincerely,
Miss Confidential
Dear Miss
Confdential,
Last week I was moving into
our new apartment and when we
fnished organizing everything
there was nothing to do. Tere was
no cable for our TV, there was no
access to internet, there was no
fridge, therefore if you think we
could eat something, youre wrong.
My brother Nicolas doesnt live
with us because he is married, but
sometimes he comes to check on
us. Tat day he came and I was
alone waiting for my mom to ar-
rive with something to eat. She
had forgoten her cell phone so I
didnt know at what time she was
coming and I was starving. I was
with Nico and we were absolutely
bored, so we started to play difer-
ent games and when we were tired
he proposed me something. Nicolas
said: If you let me paint a beard,
a mustache and a unit eyebrow
on your face, I will take you to El
Corral and I will buy you anything
you want. Without thinking in the
consequences, I rapidly told him
sure. He painted my face and I
looked like a dirty and ugly girl but
I really didnt care. He drove me to
the restaurant and he told me that
I had to take the order myself and
he would watch for me from the
car. I got of the car and there was
a couple in the entrance, they saw
me and they couldnt hold their
laughter; I was ashamed of my-
self. When I entered, the place was
full and everyone was looking at
me and smiling just about to start
laughing. I returned to the car and
Nicolas was also amused by my
very nice face. He came back with
me so that we could take the order
together, but the people who made
fun of me entertained him. When
we got to the cashier the guy who
took our order couldnt hold it ei-
ther but at that point I had goten
used to people laughing at me so I
didnt care. I just hoped they didnt
believe all that hair in my face was
real. Well, fnally I got my delicious
hamburger with chilly fries and
vanilla milkshake and everything
I did was all worth it. I am forget-
ting the worst part of the story. Te
next day I had to go to my French
class and I woke up late, so I took a
quick shower and dressed up with-
out even looking at the mirror. You
can imagine what happened next.
Dear Miss
Confdential,
Tis happened at a museum
during a trip with my friends. A
bus picked us up at the hotel to take
us to a museum; when the bus ar-
rived, we werent ready yet. I didnt
even get to go to the bathroom. Te
trip to the museum lasted about
two hours! When we got there, I
literally jumped ofmy seat and got
of the bus as quick as I could look-
ing for a bathroom, just to run into
a line of at least 15 women waiting;
howeverthe mens bathroomwas
empty. My guy friend volunteered
to help and tell me if someone was
coming, and I was so desperate at
that point that I decided to go in.
When I was done I noticed some-
thing I shouldve noticed before
there was no toilet paper. In that
very moment, I heard people com-
ingin. I hadtoaskone of those guys
to hand me the toilet paper. I was
so red when I came out; I tried to
hurry, trying to ignore all the eyes
I knew were on me. Once outside,
I saw all of my friends laughing at
me, and some other people too.
Love,
Embarrassed-for-life
Dear Miss
Confdential,
Check out Te Scoops
new original mystery
story! Impact pg. 9
Fact: you never know
what you have until
you clean your room.
The Scoop
colegio santa francisca romana bogot, colombia january 2012 http://csfr.edu.co/scoop/
Very Colombiano
Between the Walls
of Culture: Bogot 3
Pachas Sports Network
Freakishly Passionate 4
Tats so Pacha!
2012, Till the World
Ends Contest 5-6
Literary Corner
Te Potter Generation 8
Scoop Jr. 11-13
Hakuna Matata
Tips for a Healthy
Way of Living 15
Index
ADDICTED
TO NOTHING
Modern day world bombs us
with newer and beter technol-
ogy with every second, and like
sponges we absorb this informa-
tion as if we were forced to use
every new device or web service
that comes out; that has made us
addicted. We all knew that most
of us (referring specially to young
people) had passed the line, and
we stopped being just users to
become dependent of these new
technologies, but it never was so
evident until the recent world-
wide collapse of Blackberry mes-
senger. Every minute, people
around the globe were cursing
about their Blackberry service
and they even got nervous break-
downs because of the failing sys-
tem. But its not only Blackberry
Facebook, Twiter, iPhones, iPods,
iPads and other kinds of social
networks, android cell phones,
tablets or similar technologies
are making us addicted to them
and to what they can ofer. It is
nonsensical, however, to become
dependent of these devices and
services for what they can give us,
because those utilities are barely
useful for most people owning
any of these popular tools or an
account on these booming social
networks. In other words, these
common modern devices and ser-
vices are not worth the addiction.
Probably, the program most
widely used, at least in our com-
munity, is Facebook. Most girls
have an account and actively
use it (I include myself on the
list) but usually we dont stop
to think about the use most ap-
plications on Facebook have.
Of course, it works perfectly to
keep us connected with other
people, through wall posts, in-
box, or Facebook chat. Neverthe-
less, there are other things such
as status or photos, that despite
their common use, their purpose
is not clear, or they are not cor-
rectly used. For instance, most
of the time statuses are the place
to post the songs a person likes
the most, quotes that somebody
found when reading something,
or even inside jokes. Teres not
a problem in posting those kinds
of things, but if you think about
it, there is only a handful of
people who understand why you
wrote what you wrote, or who
even care about it.
Same thing happens when
using Twiter. Unless you are a
celebrity, or youre famous or rec-
ognized for some reason, tweet-
ing about what you eat, where
you are, whether or not you go to
the bathroom or go to sleep, is of
no interest to almost everybody.
If you publish it just for close
friends to know, you could tell
them in person, or by the phone,
or even by instant messaging,
By: Laura A. Bohrquez 10b
It is 7:00pm and im having my
habitual early night cafeine crash.
I go to the kitchen to get my fx and
out of mere boredom I sit in front
of my dens TV. CNN is on. Tey
are assuring that afer extensive
amounts of research and excessive
calculation, the most prestigious
scientists alive have arrived to the
nerve-wrecking conclusion that
the world is indeed ending, by a
devastating implosion, on Decem-
ber 31st, 2012 at 11:59PM.
I panic. Te span of time for
me to accomplish all my dreams
has been reduced brutally from a
lifetime to a litle bit more than 16
months. I cant move. I just stare at
the fresh pressed suit of the hand-
some newscaster for what seems
like forever until I abruptly realize
that every ticking of the clock is
time that will be forever lost.
By: Jazz Alvarado
Te End of
the World
| p. 6
you dont have to tell the whole
world about it.
Just like Twiter and Facebook
status there are a lot of things
that we are now addicted to, but
are not worth the atention we
are paying to them. I say we be-
cause, I confess, Im a victim of
social networks and technology
too. However, with a litle help
from time, Im trying to change
this and Im realizing that theres
not a good, valid reason to de-
vote our lives and all of our time
to social networks and electronic
devices (which have social appli-
cations in them, too), and I want
to invite you to do this too. Just
ask yourself: Are you really go-
ing to spend that much of your
precious time doing basically
nothing? Tink about it: the
clock is ticking and urging you
to act, to actually do something
for yourself. Are you sure all
you want to do with your time is
spend it doing something worth-
less? I know its difcult, but if
we win much more than what
we lose by leting go a bit, it is
really worth trying.
EDITORIAL PROJECTS
10
Title: Howto be an
Explorer of the World
Author: Keri Smith
To whoever that might pick up this
book must be able to use his/her imagination,
this is a book that will ask you to complete
tasks ,look at the world in ways that make
you think diferently, conduct experiments
on a regular basis, and see inanimate objects
as alive!
Tis is an incredible book writen by Keri
Smith, who invites the reader to give some
moments in life to observe the hundreds
of things that are around you, and realize
that everything is interesting and worth
documenting.
Te reader can read it in any order,
everything inside the book is open for
interpretation, the idea is that you make it
yours, personalize it, feel free to add, alter or
ignore, there are no rules, just enjoy it and
have fun with it.
Title: The Red Saree
Author: Javier Moro
The complete life of Sonya Gandhi is
told in this book. It is an interesting story
about India, its history of corruption, personal
interests, religious conficts and internal
wars. Te book highlights the importance
of the Gandhi family for this country. Afer
reading this book you will learn muc more
about India modern history than you could
imagine.
With a powerful narrative style, Javier
Moro dramatizes the great Nehru-Gandhi
family saga, the story women and men,
prisoners of a destiny they have not cosen.
Te same destiny that will lead Sonia, a
native Italian girl, to embody the hopes of
more than a billion people in the country of
Mahatma Gandhi.
Books!
Music
Reviews
Daniela Buitrago
Castelblanco 10a
The albums recommended have two
things in common, they are motion picture
soundtracs and they are worth hearing.
ALBUMS NAME: A
Single Man (Original
motion picture
Soundtrack)
BY: Abel Korzeniowski &
Shigeru Umebayashi.
Its a fully orchestral score and
emotionally it really touces you. It is the
kind of music that can turn you into tears
several times while listening to this beautiful
score. Te reason it works so well is that they
keep it simple and concentrate. Powerful
music like this is why people love flm music;
its suc a beautiful theme. It can put suc
powerful emotions in the mind, how does
it do it? Whatever it is, this score is full of
moments wh ere mixing piano and strings
turn into a beautiful harmony.
Albums name: About a
Boy Soundtrack
By: Drawn boy
This soundtrack seems like a light
airy spring day.Te soundtrac will outline
the movie, almost scene by scene. It is not too
deep, not too thought provoking, but fun just
the same. Tis would be good bacground
music in your car, good music to have some
fun.
Albums name: The
Social Network
Soundtrack
By: Trent Reznor and Atticus Ross
Everyone knows Facebook has been a
huge success. Ive read that its even bigger
than Google nowyou can even see its movie
or why not, hear its soundtrac.
Te Social Network is an intriguing and
interesting score by Trent Reznor and Aticus
Ross, one that works well within its context
and also in certain situations. It is a solid
electronic score built around the premise of
Facebook and goes a long way of representing
just that.
Daniela Buitrago
Castelblanco 10a
Title: The Never-Ending
Story
Author: Michael Ende
This year celebrates the thirtieth
anniversary of the book Te Never-ending
Story, writen by the famous German author
Micael Ende in 1979, it might be beter
known as a kids novel, but truly it is more
than that, and if you didnt have this as a
cildrens reading it is never too late to read
a good book.
A boy named Bastian, ends up pilfering
a book the store owner tells him isnt safe to
read. A book, whic concerns the troubles
facing a world called Fantastica and the
eforts of a young warrior named Atreyu to
save it. As Bastian gets more involved in the
story, he discovers hes actually becoming
apartof it
An important message of the story is that
of imagination. Te Nothingthat is destroying
Fantastica is a physical representation of the
lac of people reading stories. If nobody reads
a book, the story within has no purpose,
and the caracters are as good as dead. An
adventure can only be lived if someone is
living it.
vERYBOGOTANO
11
vERYBOGOTANO
Movies
Reviews
By> Daniela Buitrago
Castelblanco 10a
Seven Years in Tibet
During 1939, Heinrich Harrer (Brad
Pit), Instead of staying with his pregnant
wife, he leaves the country headed for an
expedition to the Himalayan Mountains.
What started out as a climbing expedition
turns into quite an adventure laced with
political fervor. Due to the Austrian pairs
association with German Nazis, they
become captives of the British prior. Afer
living the life of a prisoner of war in India,
he and a friend fnd the way to escape and
following a lengthy stay in the wilderness,
they make their way to Lhasa in Tibet. Tis
mysterious Tibetan city is foreign to nearly
all outsiders, but a citizen eventually takes
them in. Here begins Herrers seven year
visit in Tibet. Where Afer some time, he
will become friend with the young DALAI
LAMA.
A movie worth seeing, where plot,
sceneries and script is well made and really
educates the viewer about the Tibetan
culture and religion, Buddhism.
Behind the scenes : Incredibly, most of
the flming took place in South America but
looked so authentic as to astound even the
most observant critics!.
Cherry Blossoms
An elderly husband suffering from a terminal illness begins to
appreciate his wife on a whole new level afer she suddenly dies during a
trip to see their cildren and grandcildren in Berlin. Before Trudys death,
the doctor recommends to her and Rudi, (her husband), to do something that
they have been planning for years but could never fnd the time to ft into
their busy scedules, because Rudis health is in terrible conditions. Later, afer
convincing Rudy to travel with her to Berlin and visit their family for the frst
time in years, the couple is heartbroken to realize that their cildren have no
time for them. When, Trudy, suddenly passes away and Rudy (who was the one
with health issues) realizes that he never knew his wife as well as he wanted or
expressed his afection. Afer these situations, the widower, Rudy, is devastated
to discover all the things Trudy sacrifced to be with him, so he dedicates his
remaining days to realizing Trudys unfulflled dreams, traveling to Tokyo to
celebrate her life during the cerry blossom festival, this trip would cange
Rudis life.
Ten , Cherry Blossoms is a must seen movie because it is an exquisitely
and delicately crafed flm about love, loss, and a kind of spiritual healing.
Get your
Backpack!
By Dina Caicedo
10a
Every year people travel to different
parts of Colombia, but always to the same
places; like Cartagena, Santa Marta, Melgar,
Amazonas, Paipa, etc.
Are you looking for a
new place to go? New
experiences? Maybe a place
where you can do extreme
sports, horse riding,
swimming, hiking, and
many other activities... a
place just like Nimaima.
In Chibcas language Nimaima means
Canto de Gigante (Giants song) . Nimaima
is located in Cundinamarca, Colombia, in the
province of Gualiv. It is 77 km from Bogota
and normally its temperature is 24C. Tere
are incredible things you can do there, for
example: La cascada de Barandillas with
approximately 70 meters of altitude, you can
make ecological walks and extreme sports
like rappel.
Also, La laguna Liverpool or Santa
Brbara, located at 700 m of the urban rea,
where you can practice fshing, with species
like tilapia, shad, carp, catfsh, small mouth,
among others. Ten, you can visit Tobias
tunnel and Los rapidos del Rionegro where
you can enjoy 90 minutes of rafing. Other
places could be La Qebrada la Berberia,
and the Cerro Sautatum and at the end
of the day you can go to the hot springs in
the Pinzaima river and relax from all the
activities you did.
14 june 2011
Last but not least
Farewell Prom 2011
By: Maria Alejandra
Corts
11th grade
We love what we do
By: Natalia Emiliani
9c
Champions arent made in the
gyms. Champions are made from
something they have deep inside
thema desire, a dream, a vision.
Muhammad Ali
This is what we, as cheerlea-
ders have: a spirit full of dreams,
dreams that for many of us came
true on this trip to Orlando, Flori-
da during the Easter vacation.
We arrived very excited. Te
days were hard - we had very few
hours of sleep, and we had to walk
a lot, so we were exhausted. Te
frst day we went to Hollywood
One of the most expected
nights for eleventh graders fnal-
ly came the past March 3rd, 2011,
when the Zarza, the symbol of
the school, was given to them in a
very emotional ceremony. It took
place at the schools coliseum at 7
oclock and lasted two hours. Te
coliseum was full of families and
friends, who atended as a way of
expressing their love towards each
one of the senior girls. It was a
night full of surprises which were
really touching; this was proven
by the tears that were dropped by
the majority of the audience, espe-
cially by eleventh graders.
With a mixture of emotions,
this evening was full of beautiful
images that certainly will stay in
senior girls hearts forever. At frst,
they sang a song fromPhil Collins,
En Marcha Estoy, which trans-
mited a message of their desire
for succeeding in life, and gave the
best wishes to each one of them.
Tis was followed by the reading
of two profound leters writen by
Natalia Tellez and Maria Alejan-
dra Navarrete, explaining the rea-
son why they deserved the Zarza.
Finally, Maria Paula Gmez and
Natalia Jimenez read the eleventh
grade commitment, in which they
made clear that prom2011 has plen-
ty of intelligent and kind women,
who are willing to make this world
a beter place; women that are in
constant seeking of change and
societys welfare.
Tis night would not have
been the same without the par-
ticipation of tenth graders. All
the surprises that were given by
them to senior girls, showed a
great efort and a lot of commit-
ment. Tey sang two emotive
songs which sounded great and
produced a huge amount of tears
from eleventh graders. Tese
songs were joined by videos with
plenty of photographs from the
childhood and school life of prom
2011, which flled this moment
with nostalgia. Besides, they gave
a beautiful fask to the seniors as
a farewell gif; of course seniors
were amazed with the present. In
my opinion, the speech that was
read by Maria Alejandra Qintero
was one of the most meaningful,
nostalgic, and overwhelming mo-
ments of the night. It was the mo-
ment when almost every senior
and tenth grader cried.
Te Zarzas evening was a
symbolic ending and farewell to
prom 2011. It was a demonstration
of love and gratitude among them,
and towards the school, especially
tenth graders. Between tears of
joy, satisfaction, nostalgia, and
sadness, prom 2011 said goodbye
to so many memories, moments,
and friends. Now, it is the time
to continue on our own, leaving
in our hearts life at school, keep-
ing by our side true friends, and
leaving in our path the best of
us. We ought to be thankful for
every year we spent here, espe-
cially for the senior year which is
flled with dreams and friendship.
Finally, prom 2011 thanks tenth
graders for making our Zarza an
unforgetable moment.
Studios where we had fun and
the best of it all was that we were
with our friends, so we enjoyed
a lot. During the second day we
went to Magic Kingdom and had
fun too. I remember we had the
chance to get into every atrac-
tion like three times because we
had plenty of time, which made
it even beter. Te third day was
shopping and because we were
divided into small groups it all
went perfect. From that day on,
as the championship approached,
we started training and fnally
Friday and Saturday our two per-
formances took place.
Almost six months of hard
training was all we needed to be
in ffh place in the COA Ultimate
International Championship in
the US; we were so glad that all
our efort paid of and was refect-
ed in the shape of a cup, the cup of
a championship we dreamed dur-
ing years, a cup that wasnt easy
to achieve. We had problems and
the performance wasnt as perfect
as we expected it to be, but even
though we were worried because
of all the trouble, we learned
something essential: teamwork is
one of the most important things
in life, and in this championship
next page
15 june 2011
Last but not least
Te fame that never
extinguishes
By: Juanita Riveros
10b
we had to work as a unit, togeth-
er for the art we all love and the
reason we were there, competing:
cheerleading. It wasnt about
being the best, it was about be-
ing together; that was what made
our team stronger and what made
our last presentation the best one.
Of course it had mistakes but the
most important thing was we lef
our hearts on stage. We enjoyed
every second of that last presen-
tation because that was our last
chance to show what Colombia
and Pachas is. We are very proud
all our efort was worth it and now
I can say i trade cheerleading
for nothing.
We love what...
Te art of...
previous page
page 10
invent the words or dance and
jump all over the room. It is hard
when there is a kid who doesnt
want to be part of the singing, or
games and just fools around with
the other kids, but be patient and
with more practice you are going
to learn what to do in this situ-
ation. Ten, at 12:00 parents pick
their kids up and you are ready
to go back to school and to class.
If you end up too tired, I strongly
recommend sleeping while you
are on the bus; it might give you
the extra energy you need for the
rest of the day.
So, I had a wonderful experi-
ence and Im sure all my fellow
team members too. I thank the
school for it. I thank those litle
kids who gave me smiles and
hugs and taught me that we can
do so much for other people.
Pachas are recognized for
their leadership, among many
other qualities. Maybe this is due
to the fact that in each grade the
girls are in charge of organizing a
diferent activity. Te responsibil-
ity, though always huge, starts to
increase as the grade is higher. In
the case of tenth grade, the grade
in which I am at this moment,
one of our duties is to organize a
ceremony for eleventh graders. In
this celebration, as a tradition the
school hands them the Zarza,
our schools symbol which stu-
dents also receive frst in transi-
tion and afer that, in ffh grade.
Although this is something
every girl in the school knows
about, few girls know the real
meaning of the Zarza. Tis is the
reason why I decided to get deep
inside the issue and surprisingly
turned out deciphering the story
behind not only the Zarza but
also about our school, two stories
that cannot be separated.
Having as my most important
source of information the school
newspaper of 1988 (which by the
way was called La Zarza), I began
to read about our schools history
and ended up being astounded by
the great number of facts that I had
no idea about. Why was the school
created? Where did the name San-
ta Francisca Romana come from?
Why and when did the Zarza be-
come the symbol of the school?
What is its real meaning?
Here, a short historical sum-
mary of the Santa Francisca Ro-
mana School.
Everything started in 1961,
when Cardinal Luis Concha Cor-
doba was receiving a medical
treatment in Saint Marys hospital
in the city of Rochester, Minne-
sota. Te hospital was directed by
the Franciscan sisters with moth-
er Calixta as the president of the
institution. She was the one who
heard once about the cardinals
interest to establish a school in
Bogot that could provide educa-
tion to girls that didnt have the
economic resources to aford it.
Mother Calixta along with the
rest of the Franciscan community
liked the idea and made the deci-
sion to come to Colombia to found
the school.
Considering our country was
absolutely unknown for the Unit-
ed States, mother Calixta gathered
a group of sisters who packed ev-
erything; they thought they would
need seventeen trunks to carry all
of their stuf! Finally, in 1962, six
sisters arrived in Bogota: Sister
Mary Beth Mode, Sister Consuelo,
Sister Maeve, Sister Gratia, Sister
Baylom, and Sister Roabaire.
Afer establishing in a house
located in street 64 between car-
rera 7a and 8a, and afer having re-
ceived the aid of Monsignor Carlos
Vargas Umaa and his family, as
well as the help of the Curia of Bo-
gota (on which the school would
rely completely), they started do-
ing all the procedures with the
National Educational Ministry.
At last, the school was opened a
Monday February 11 of 1963 with
Monsignor Carlos Vargas Umaa
as the principal. Te school start-
ed to work with 90 girls, most of
them were relatives of Monsignor
or daughters of his friends.
Additionally, cardinal Con-
cha Cordoba suggested the name
of the school to be Santa Francis-
ca Romana, the same name as his
chapel in Rome.
In this way, the school started
to sewits beginnings when fnally
in 1967 the frst class graduated in
a ceremony that took place in the
Javeriana Teater with the pres-
ence of: Cardinal Concha Cordo-
ba, Monsignor Vargas Umaa, the
sisters, and the educative commu-
nity as well as special guests.
It was on this occasion when
for the frst time the Zarza was giv-
en, by sister Ruarc to the founders
of the school. She designed it sym-
bolizing something that would
always be in the heart of every
Pacha. Like Moses was atracted
by the fames of the bramble and
guided by Gods voice to free the
people of Israel from the captivity
of the Egyptians; we must always
atract the people surrounding us
through the love we provide, a love
that never dies and that invites us
to free ourselves of everything that
oppresses us according to sister
Patricia de Leons words.
Like sister Tierney Trueman
said once: Te Zarza was chosen
as the symbol to represent that
dream- the fame in the heart,
that would not die, that would
burn to warm the hearts of oth-
ers and enkindle in them a dream
of a beter future, a fair future, for
all Colombians.
Unfortunately, sister Ruarc,
the designer of such a beautiful
and meaningful symbol, died in
1987 but one thing is for sure: her
spirit is still alive in all the hearts
that have received the Zarza.
Left: June edition, 2011.
Front page and inside double page.
Right: March edition, 2011.
Front page and inside double page.
The Scoop, school newspaper (2011).
Santa Francisca Romanas high school, Bogota.
Santa Francisca Romana
Schools Gazette Scoop
T
h
e
June 2011 Bogot Colombia http://csfr.edu.co/scoop/
[Page 12]
[page 3]
[page 7]
[Page 10] A food of despair Te art of serving
She owns her mind
Tere are many questions about the way this school is managed, mainly because
running a school is a really exhausting job that requires patience and dedication. Santa
Francisca Romana is everything but an ordinary school; for starters were the best school
in Colombia. A group of curious Scoop members had an interview with Maria Teresa
Baraya, the schools principal, to see if they could get the answer to their questions.
Whats hot
Colombia
Our school
Getting to know
our Principal
The
Scoop
Santa Francisca Romana
Schools Gazette
No. 7 March 2011
1
in this edition:
Rejection is the biggest fear from every single person.
Being pointed out or criticized is something that is avoided no
mater what it takes. No mater if it requires acting against ones
beliefs. Every day, it is more common to hear about the consequences
of group pressure in peoples behavior (especially in teenagers).
Nevertheless, this term is used so frequently that it has become a
typical excuse to avoid guilt from inadequate behaviors.
So, is the peer pressure really infuencing peoples actions? Or is
it just the easy way it hide ones real personality?
I defnitely believe that now days we live in a society where we
are vulnerable to stereotypes and to media. Our society has been
immersed in the idea that the right or accepted things are the ones
everyone follows, and the ones who trace their own paths are labelled
Peer Pressure,
real cause
or simple excuse
Some books can cange your live, and make you ask,
why? Here is one of the refections 11th graders did afer
reading Animal Farm by George Orwell. We should all start
asking our selves why? and why not? because that is the only
way we can cange the world.
EDITORIAL
hEARTHEwORLD
By: Daniela Remolina Moreno
11a
...to page 12
...to page 2
vERYBOGOTANO
MAN RAY
Artist
Revelation
p. 8
2010; An
Unforgettable
Year for
Colombians.
By: Mara Paula Vargas Urquijo
10b
Debates, polls, interviews, thousands of songs
and slogans running through the streets, orange shirts, green
songs, yellow bracelets, blue and red everywhere. Colombia
was in the middle of a political atmosphere, everyone would
talk about last nights debate, the morning interview on
the radio, and even elementary students would wear a
bracelet from one of the candidates. Colombia was having a
political turning point; there were nine candidates fghting
in a tough batle to gain Colombians love and vote. 2010
was a year that will always be remembered in Colombian
history because there was a big intervention from young
voters thanks to the media and networking development.
For the frst time in history all the political campaigns were
not only very organized but also, made their best to have a
fundamental role in social networks; because now a days
those are the places where most information travel, in a
very short time and can be seen not only from Colombians,
but from people of the entire world.
...and
much
more...
Egypt shouts Fredom /2
Story behind an Image /3
Scop France /3
Mis Confidential /4
Argentina 2010 /5
Christmas Around the World /6
Literary Corner /6-8
The Click! /9
Get your Backpack /11
Geting to Know
your Country /12
The marvelous Wonders of
Public Transportation /12
Scop Junior /15-16
EDITORIAL PROJECTS
Yearbook (2010-2011).
Santa Francisca Romanas high school, Bogot.
Background photographies selection,
book layout and art direction.
Photography was used as subject for the
general design. Book layout was managed
step by step with the editorial committee
composed of eight last graders of the school.
Left: cover with spine.
Above: section end and grade beggining.
Right: staf photographies.
Below: Grade photographies double page.
Grado Once
Eleventh Grade
Onze Degr
Paisaje urbano Sandra Catalina Villegas
septimo B
Paisaje urbano
Sandra Catalina
Villegas
septimo B
5
G
ra
d
o
On
ce
Eleventh
Grade
Onze
Degr
Dcimo A
Tenth A
Juanita Jimnez Ramrez - Sara Luca Daz Benavides - Carolina Vargas Vega - Ana Luca Ferro Narvez - Elena Stiles Rosselli
Ana Luca Ferro Narvez - Elena Stiles Rosselli - Juanita Jimnez Ramrez - Sara Luca Daz Benavides - Carolina Vargas Vega
Carolina Vargas Vega - Ana Luca Ferro
Narvez - Elena Stiles Rosselli - Juanita
Jimnez Ramrez - Sara Luca Daz Benavides Elena Stiles Rosselli - Juanita Jimnez Ramrez
- Sara Luca Daz Benavides - Carolina Vargas
Vega - Ana Luca Ferro Narvez
Sara Luca Daz Benavides - Carolina Vargas
Vega - Ana Luca Ferro Narvez - Elena
Stiles Rosselli - Juanita Jimnez Ramrez
Juanita Jimnez Ramrez - Sara Luca Daz
Benavides - Elena Stiles Rosselli - Carolina
Vargas Vega - Ana Luca Ferro Narvez
D.G.: Jorge Luis Benavides Crdenas
Codirectora: Luisa Fernanda Parra
Ana Luca Ferro Narvez
- Elena Stiles Rosselli - Juanita Jimnez Ramrez - Sara Luca Daz Benavides
- Carolina Vargas Vega
Carolina Vargas Vega - Ana Luca Ferro Narvez - Elena Stiles Rosselli - Juanita Jimnez Ramrez - Sara Luca Daz Benavides
Audiovisuales
Audiovisuals
Transporte
Transportation
1
3
EDITORIAL PROJECTS
Above: content pages, chapter starting and bibliography.
Left: inside double page.
Below: cover.
Ensayos sobre la dialctica, estructura
y unidad de las matemticas modernas
(Essays on dialectical structure and
unity of modern mathematics, 2011).
Centro Editorial de Ciencias Humanas,
Universidad Nacional de Colombia, Bogot.
Text composition.
The book layout had to be adjusted for the
handling of many mathematical equations.
Captulo 5. Los mixtos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
El espacio de Hilbert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Las familias normales de funciones analticas . . . . . . . . . . . . . . . . 240
Captulo 6. Del carcter excepcional de la existencia . . . . . . . 244
Los mtodos de Poincar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Las singularidades de las funciones analticas . . . . . . . . . . . . . . . . 254
Conclusin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
6. Ensayo sobre la unidad de las ciencias
matemticas en su desarrollo actual (1937) . . . . . . . . . . . . . . . . . . . . . . . . . 277
Introduccin. La distincin de las dos matemticas . . . . . . . . 279
Captulo 1. Estructura de un dominio de
magnitudes y descomposicin de sus elementos.
Las consideraciones dimensionales en anlisis . . . . . . . . . . . . . . 286
Captulo 2. El dominio y los nmeros.
Las mtricas no euclidianas
en la teora de las funciones analticas . . . . . . . . . . . . . . . . . . . . . . . 300
Captulo 3. El lgebra de las magnitudes
no conmutativas. Las formas de Pfaf
y la teora de ecuaciones diferenciales . . . . . . . . . . . . . . . . . . . . . . . 308
Captulo 4. Lo continuo y lo discontinuo.
El anlisis y la teora de nmeros . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Conclusin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
7. Nuevas investigaciones sobre la estructura
dialctica de las matemticas (1938) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Prembulo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Primera parte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
La gnesis de lo Existente a partir de la Idea . . . . . . . . . . . . . . . . 334
La gnesis de las Matemticas
a partir de la Dialctica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340
65
Bibliografa
Bibliografa primaria de Albert Lautman
*
Publicaciones en vida
[1931] Notice biographique sur Jacques Herbrand (en
colaboracin con Claude Chevalley). Annuaire de
lAssociation Amicale de Secours des Anciens lves de
lcole Normale Superieure (1931), pp. 66-68.
[1935a] Mathmatiques et ralit. En Actes du Congrs
International de Philosophie Scientifque (Sorbonne,
1935), VI. Philosophie des Mathmatiques. Paris:
Hermann (Actualits Scientifques et Industrielles
393), 1936, pp. 24-27.
[1935b] Le Congrs International de Philosophie des
Sciences (du 15 au 23 septembre 1935). Revue de
Mtaphysique et de Morale, XLIII (1936), pp. 113-129.
[1936] Laxiomatique et la mthode de division.
Recherches Philosophiques, VI (1936-1937), pp. 191-203.
[1937a] De la ralit inhrente aux thories
mathmatiques. En R. Bayer (ed.), Travaux du
IX
e
Congrs International de Philosophie (Congrs
Descartes), VI. Logique et Mathmatiques. Paris:
Hermann (Actualits Scientifques et Industrielles
535), 1937, pp. 140-143.
[1937b] Essai sur les notions de structure et de existence en
mathmatiques, I. Les schmas de structure. Paris:
* A excepcin de las tres ltimas entradas, que corresponden a compila-
ciones pstumas de los trabajos de Lautman, las fechas entre corchetes
corresponden a los aos de escritura de los textos. Para una explicacin
de la determinacin de esas fechas, vase la primera seccin del estu-
dio introductorio.
465
Apndice B
Obituario de Albert Lautman
por Suzanne Lautman (1946)
Notice sur Albert Lautman. Annuaire de lAssociation Ami-
cale de Secours des Anciens lves de lcole Normale Suprieure, 2
(1946), pp. 56-60 (reeditado en Symtrie et dissymtrie en math-
matiques et en physique. Le problme du temps, Paris: Hermann,
1946, pp. 3-8).
Lautman (Albert), nacido en Pars el 8 de febrero de
1908, fusilado por los alemanes en el campo de Souges
(Gironde) el 1. de agosto de 1944. Promocin 1926.
Fue por Albert Lautman que me enter de la vida de
variste Galois, el inventor de la teora de grupos, la pri-
mera vez que lo vi. Fue en 1928, en Davos, adonde haba
ido para un congreso de acercamiento franco-alemn. Te-
na veinte aos y era ya desde haca dos aos alumno de la
cole Normale Suprieure: No conozco nada ms trgico
deca que ese amanecer antes del duelo, cuando Galois
tom conciencia de que ya no tena ms tiempo para dar sus
demostraciones. En efecto, Albert Lautman era uno de esos
hombres que preferen su obra a su vida.
Tena desde entonces la impaciencia de elaborar la suya,
de llevarla lo ms lejos y lo ms rpido posible, as como el
temor de verla impedida por los acontecimientos, de dejar
232
Albert Lautman
son las funciones que son soluciones del problema, pero la
estructura del dominio no est directamente adaptada para
poner en evidencia a las soluciones. Los esquemas de gne-
sis del captulo anterior son impotentes as para describir el
paso a la existencia para ecuaciones de ese tipo.
Esas ecuaciones tienen una importancia considerable,
ya que su solucin presenta una suerte de sntesis notable
entre nociones continuas y nociones discontinuas. En efecto,
no admiten soluciones u
1
,...,u
n
,... continuas sobre todo el
dominio de las variables y nulas en los lmites, sino para cier-
tos valores discontinuos del parmetro, l
1
,l
2
,...,l
n
,..., que
conforman el espectro de los valores propios de la ecuacin.
Las soluciones propias u
1
,...,u
n
,... correspondientes a esos
valores propios tienen una propiedad esencial para toda la
teora que expondremos ahora: forman un sistema completo
de funciones sobre el dominio de base D. Esto quiere decir
que toda funcin continua sobre ese dominio, dos veces dife-
renciable y nula en los lmites, puede ser representada como
una combinacin lineal de esas funciones de base; se dice que
toda funcin arbitraria f(x,y,z) sobre el dominio puede ser
desarrollada en serie convergente, en el sistema de las fun-
ciones de base, bajo la forma siguiente:
f x y z c u c u c u
n n ( , , ) = + + +
1 1 2 2
.
Una situacin anloga se ha encontrado en el estudio
de las ecuaciones integrales
94
. Consideremos ante todo la
ecuacin integral lineal y homognea (es decir, sin segundo
miembro):
I. ( ) ( , ) ( ) s K s t t dt =
0
0
1
.
94 Vase para todo esto Ernst Hellinger, Hilberts Arbeiten ber Integral-
gleichungen und unendliche Gleichungssysteme, en Hilbert, Gesamm.
Abh., t. III, pp. 94 ss.
233
Ensayo sobre las nociones de estructura y de existencia en matemticas
La variable s vara de 0 a 1, y la funcin desconocida
buscada es la funcin j(s); la funcin K(s,t) es una funcin
continua dada de dos variables; es el ncleo de la ecuacin
integral, que supondremos en lo que sigue simtrico en s
y t: K(s,t)=K(t,s). Se demuestra, como en los problemas
anteriores, que para 0<s<1, la ecuacin I no tiene solu-
ciones sino para ciertos valores discontinuos del parmetro,
los valores propios, l
1
,l
2
, ...; las soluciones j
1
,j
2
, ... que les
corresponden son de nuevo llamadas soluciones o funciones
propias de la ecuacin homognea. Veremos ms adelante
cmo las funciones y los valores propios dependen esencial-
mente del ncleo K(s,t); lo que aqu nos interesa es que, en
el caso en que exista una infnidad enumerable de funciones
propias, estas forman un sistema completo de base para el
conjunto de las funciones f(s) que satisfacen a una ecuacin
del tipo:
f s K s t x t dt ( ) ( , ) ( ) =
0
1
,
siendo x(s) una funcin continua cualquiera. Se tiene en-
tonces
y este teorema de desarrollo en serie uniformemente con-
vergente de funciones propias del ncleo K(s,t) se aplica en
particular a las funciones que son soluciones de la ecuacin
integral no homognea (con segundo miembro):
( ) ( , ) ( ) ( ) s K s t t dt f s =
0
1
.
Toda solucin de la ecuacin no homognea es lmite de
combinaciones lineales fnitas de las funciones propias de la
ecuacin homognea correspondiente. Puede entonces verse
asomar la idea central que ha guiado a Hilbert en su teora
general de las ecuaciones integrales lineales: construir sobre
f s c
n n
n
n
( ) =
=
=
j
1
EDITORIAL PROJECTS
232
Captulo 3: Componentes de la capacitacin
Tarea
A manera de refexin debemos preguntarnos:
Dentro de las labores cotidianas en nuestras viviendas Utilizamos mtodos de economizar agua, como ahorradores?
Cunto tiempo me demoro en la duca? , Puedo reducir el tiempo que
gasto en la duca sin disminuir mi higiene personal? Cierro la llave de la duca mientras me enjabono o cepillo mis dientes?
Coloco el agua a hervir antes de su consumo? Si no lo hago Por qu?
Conozco los riesgos de consumir o ingerir agua que no ha sido tratada?
Conozco los riesgos de no lavar y desinfectar adecuadamente las fru-
tas y verduras que se van a consumir en el hogar?
Dosifcacin del cloro
Cantidad de agua Cloro comercial
(concentracin a 5%)
1 litro
1 gota
20 litros
20 gotas
50
galones
200 litros
2 tapas rosca
Examples of inside pages.
Circular icons were used
to identify subheadings.
Right: infographic designed to explain
the process of water fltration.
Huertas familiares...
Por una nutricin sana (Family vegetable
garden for a healthy nutrition, 2010).
Santaf de Bogot Foundation.
Layout adjustment and text composition.
Editorial coordination.
Fifty-page booklet published as a working paper
for urban agriculture community workshops.
224
Captulo 3: Componentes de la capacitacin
Filtracin. La fltracin permite retener los slidos que contiene el agua y
limpiarla de algo de su turbiedad, y aunque puede eliminar algunos mi-
croorganismos, no garantiza que se puedan remover totalmente del agua,
por lo que se hace necesario posteriormente implementar un proceso de
desinfeccin.
Figura 2. Esquema de proceso casero
de fltracin de agua para consumo humano
1
2
4
5
Volumen de agua
con slidos en
suspensin y turbiedad
o color, que no es
seguro su consumo.
Ponchera de agua que en su
parte inferior posee varios
agujeros de 0.6 cm distribuidos
uniformemente.
Inicialmente suele colocarse
una capa de arena fina bien
lavada o arena limpia de ro.
En segunda instancia el segundo
lecho suele ser de 10cm. de carbn
vegetal. En algunas ocasiones el
tamao de esta puede ser de 10cm.
de gruesa (piedra triturada de ).
Lecho de piedras grandes
muy bien lavadas.
6
Tanque de
almacenamiento
de agua filtrada
7
Grifo de salida de agua.
Es recomendable
que esta vaya a un
proceso de desinfeccin.
Lechos de filtrado
Dependiendo de las
caractersticas del agua y el
tamao del recipiente, este sector
puede tener desde una sola capa
hasta 8 capas de diferentes
materiales y grosores. Estas
dimensiones dependen de las
caractersticas del agua, y de los
recipientes que se posean.
Cribado
Almacenamiento
3
36
Captulo 3: Componentes de la capacitacin
Unidad 1:
Organizacin comunitaria
Objetivo
Proporcionar un espacio de refexin sobre las actitudes y los princi-
pios positivos que favorecen, no solo el ejercicio de la agricultura ur-
bana, sino de cualquier proyecto que se emprenda.
Tiempo
15 minutos.
Material para participantes
Fotocopia del cuento Los Tres Cerditos.
Desarrollo del taller
Introduccin
La planeacin es imaginar, prever, visualizar, pensar con orden y
sentido comn lo que se tendr que hacer el da de maana, de tal
forma que al iniciar cualquier actividad, se pueda ejecutar de la me-
jor manera posible pensando a corto y a largo plazo.
Importancia de la planeacin:
Propicia el desarrollo.
Reduce al mximo los riesgos.
Maximiza el aprovecamiento de los recursos y tiempo.
Tema: planifcando nuestro trabajo
Subtema: planeacin, trabajo duro e ingenio
EDITORIAL PROJECTS
Infancia y trabajo infantil indgena en
Colombia (Children and indigenous
child labor in Colombia, 2010).
Editorial Centre for Human Sciences,
Universidad Nacional de Colombia, Bogota.
Text composition. Cover assembling.
Contenido
Presentacin 9
Mapa Etnias indgenas de Colombia 13
Franoi s correa r.
Trabajo infantil indgena en Colombia 41
maYa maZZoldi daZ
Educacin y trabajo infantil entre los wayu 63
patri cK morales tHomas
Trabajo infantil en la Sierra Nevada de Santa Marta 75
li bia tattaY bolaos
Nios y nias del Cauca indgena 93
laura calle alZate
Para la erradicacin del trabajo infantil en la Orinoquia 125
ana mara lpeZ
Trabajo infantil entre indgenas del Vaups 141
li na mara montoYa morales
Infancia y trabajo entre los embera y wounan 161
Franoi s correa
Autonoma desde la infancia indgena 179
Los(as) autores(as) 505
ndice de materias 505
ndice de lugares 505
66
Franois Correa R.
Grupo tnico
Poblacin rea (ha)
Uitoto (witoto, huitoto, murui,
muinane, mi-ka, mi-pode)
7.343 6.380.965
Uwa (tunebo, uwua, lache)
7.231 352.422
Wanano (guanano, kotoria, uanano) 1.395
38.750
Waunan (waunana, wounaan,
noanam, waumeu)
8.177 189.452
Wayu (guajiro, wayu, uira, waiu) 149.827 1.082.547
Wiwa (arzario, guamaca,
malayo, sanja, dumuna)
1.922
4.209
Yagua (nihamwo, mishara)
297
209
Yanacona (nHla) (mitimae)
21.457
43.098
Yauna (kamejeya)
103
0
Yuko (yukpa, yuco)
3.651
34.218
Yukuna (yucuna, yukuna-mapap)
550 212.320
Yuri (carabayo, arojes)
217
0
Yuruti (wai jiara masa, wadyana,
wadzana, totsoca,
687
0
Total
785.356 30.664.043
Algunas etnias aparecen con 0 hectreas porque el territorio se halla registrado bajo
otros grupos tnicos con quienes lo comparten. Los muinane, del departamento del
Amazonas, se incluyeron en el grupo tnico uitoto. La fuente lista 84 pueblos indge-
nas reconocidos por el Estado y no incluye los reconocidos por la onic.
nHla: No hablante de la lengua aborigen.
( ) Entre parntesis la autodenominacin o denominacin de la literatura etnogrfca.
*Se design con el nombre del resguardo.
**Corresponde a representantes de 47 etnias residentes en Bogot, segn censo de
1993.
Fuente: Arango y Snchez, 2006
67
Educacin y trabajo infantil entre los wayu
Maya Mazzoldi Daz
Magster en Antropologa Social
Universidad Federal de Santa Catarina, Brasil
Nuestros hijos llevan nuestros apellidos, el del clan de su madre.
La mujer sostiene la duracin de la etnia
wayu, ella da a la tierra los seres.
Es el eje tanto en sus conocimientos como en su
ideologa, en su quehacer, en la conduccin de su
familia, sus labores, su visin como mujer.
La sabidura toda la aprendemos de la convivencia con nuestras
abuelas y tas, orientadas por esa universidad de la vida.
proFesora dorila ecHeto ipuana
Escuela Intercultural Bilinge Yanama
Zona fronteriza de Guarero, Venezuela.
El pueblo wayu, sujeto colectivo precolombino que milenios
atrs ocupara las tierras agrestes de la pennsula de La Guajira,
puede ser descrito como etnia de bravos cazadores-recolectores y
pescadores de mar, que adoptaron en el siglo Xvii el pastoreo de
ganado vacuno, caprino y ovino. Sin embargo, en el siglo XiX su
resistencia guerrera a la integracin a una repblica neogranadina
hizo de ellos astutos comerciantes semibilinges que sobrevivieron
a la formacin de las ciudades espaolas en lugares estratgicos de
su hbitat ancestral: Riohacha, en Colombia, y el Golfo de Mara-
caibo, en Venezuela. En el siglo XX esa nueva divisin del trabajo y
la acumulacin monetaria esclaviza a los ms dbiles; sobrevienen
hambrunas y epidemias en el territorio de la pennsula; las mi-
siones de Capuchinos, en la alta Guajira, y de las hermanas Lau-
ritas, en el municipio Pez (estado Zulia, Venezuela), se establecen
en el territorio.
398
Las(os) autoras(es)
Maya Mazzoldi Daz es antroploga de la Universidad Nacional de
Colombia y maestra en Antropologa Social de la Universidad Federal
de Santa Catarina (Brasil). Sus trabajos etnogrfcos han analizado
la corporalidad femenina entre los wayu de la Guajira colombiana
y en barrios periurbanos de la ciudad de Maracaibo (Venezuela).
Actualmente, reside en la ciudad de Maracaibo como investigadora
independiente dedicada a estudios del cuerpo y la religiosidad de
los wayu. Ha participado en distintos congresos de antropologa
en Brasil y Argentina, y entre sus publicaciones se encuentran
Etnografa da experiencia da corporalidade feminina wayu na cidade
de Maracaibo (2007), Una ventana a travs de Tranva Corazn
Descabellado Rueda (2007) y Simbolismo del ritual de paso femenino
entre los wayu de la Alta Guajira (2004).
Lina Mara Montoya Morales es antroploga de la Universidad de
Antioquia y magster en Estudios Amerindios de la Universidad
Complutense de Madrid. Doctoranda en Ciencias Sociales de la
Facultad Latinoamericana de Ciencias Sociales, Flacso. Ha sido
docente del Departamento de Antropologa y del Departamento
de Historia de la Universidad de Antioquia y de la Escuela de
Ingeniera de la Universidad de Antioquia. Su investigacin actual
atiende a procesos de etnognesis en el Atlntico colombiano. Es
miembro del grupo de investigacin Laboratorio de Comidas y
Culturas, del Departamento de Antropologa de la Universidad de
Antioquia. Su investigacin ha producido diferentes textos sobre los
wounan del Choc y entre sus elaboraciones se cuentan Diagnstico
para el diseo e implementacin de los planes de vida para los
pueblos indgenas Embera de Valle del Cauca (2007) y Fontica y
fonologa wounan. El caso de la comunidad de Papayo (2004).
Patrick Morales Thomas es antroplogo de la Universidad Nacional de
Colombia y Doctor en Antropologa Social de la Escuela de Altos
Estudios en Ciencias Sociales de Pars. Actualmente es asesor
del Ministerio de Cultura en temas de patrimonio inmaterial y
coordina un proyecto de televisin tnica con el pueblo kankuamo.
Sus trabajos se han concentrado en el anlisis de los procesos
Inside double page with chapter starting
and authors review page.
Right: content page and cover.
EDITORIAL PROJECTS
Serie de ciencias sociales (2008).
ECOE Editions (Bogota).
Book layout.
Graphic guideline proposal for a Social
Sciences books serie wiiche required
the inclusion of tables and inserts.
2
CUESTIONARIO DE EvAlUACIN
Se dice en este captulo que los elementos de proteccin personal se deben 1.
utilizar solo como:
ltimo recurso, la primera accin debe ser la eliminacin y control a.
de los riesgos
Elementos indispensables en el control de los accidentes
Producto de los costos totales de la produccin y ahorrando en su b.
adqui sicin.
Sobre la capacitacin y los elementos de proteccin personal se dice que: 2.
1
M1
=
n1
y1
+
n2
y2
+. . . +
nm
ym
n
1
M1
=
ni
yi
n
= M
ni
yi
Q1 = y
j1
+C
n
4
Nj1
nj
r =
xiyi (
xi) (
yi)
x
2
i (
xi)
2
n
y
2
i (
yi)
2
s
ic
a
a
p
lic
a
d
a
C
a
p
tu
lo
6
. m
e
d
id
a
s
d
e
te
n
d
e
n
c
ia
c
e
n
tra
l
accidentalidad, que recomiendo consultar con frecuencia. Se puede con-
sultar en www.icontec.org.co, Email: cliente@icontec.org.co.
COSTOS DE lOS ACCIDENTES: {lOS TTUlOS DE PRIMER NIvEl vAN
AlINEADOS A lA DEREChA}
{Estilo de caracter para itlicas}: Tabla de clases de riesgo. Para la clasi-
fcacin de empresas se establecen cinco clases de riesgos.
En el mundo econmico en que nos desarrollamos y que tiene una clara
tendencia hacia los resultados econmicos y por lo tanto hacia el control
de los costos, este control es fundamental y nos da todas las herramientas
para convertir la seguridad y la salud ocupacional, no en una fuente de
cargas econmicas y reporte de accidentes, gastos y problemas, sino en
una fuente de solucin de problemas, y en una clara reduccin de costos
y gastos por accidentes, lesiones, daos y prdidas de todo tipo.
{Estilo para prrafos resaltados. Negrita, 11pt, negro al 80%}.
Esto es, que cuando decimos que un accidente o dao le gener
cargas econ micas a la empresa por un milln de pesos.
Es porque realmente este accidente o dao tuvo un costo de cinco
millones en cargos indirectos. Lo anterior, en simple aritmtica, nos lleva
a la conclusin de que por cada peso identifcado como perdido por un
dao o accidente, la empresa perdi real mente seis.
En el Decreto 1295 (segundo nivel):
{El estilo general de tablas es muy limpio, con ttulos en negrita y celdas
centradas. La lnea de contorno es de 0.25pt}.
{Ttulo para tablas}:
Clase Riesgo
Clase I Riesgo Mnimo
Clase II Riesgo Bajo
Clase III Riesgo Medio
Clase Iv Riesgo Alto
Clase v Riesgo Mximo
Artculo 32: Variacin del monto de la cotizacin. Para variar el monto
de la cotizacin dentro de la tabla de valores Mnimo y Mximo de que
trata el artculo 27 de este decreto, se tendr en cuenta:
La variacin del ndice de lesiones Incapacitantes (ILI) de la respectiva
empresa, y el resultado de la evaluacin de la aplicacin de los programas
de Salud Ocupacional por parte de la empresa, de conformidad con la
reglamentacin que para tal efecto se expida. La variacin del ndice de
lesiones Incapacitantes (ILI) de la respectiva empresa, y el resultado de
3
MEDIDAS DE TENDENCIA
CENTRAl
INTRODUCCIN
{Esta pgina de inicio de captulo contempla la inclusin de informacin
adicional que encabeza el captulo. Para ello, se usarn las dos columnas
con vietas para listar los contenidos}. Los permisos de trabajo son una
herramienta bsica en toda labor que se desarrolle en cualquier tipo de
industria y proceso y, defnitivamente, son una excelente herramienta de
seguridad ocupacional. Toda empresa y organizacin debe tener sus pro-
pios formatos y normas estrictas de elaboracin de permisos de trabajo y
entrenar adecuadamente a todo su personal.
El personal del nivel de direccin y supervisin se debe capacitar con
una fuerte conciencia sobre el benefcio de estos permisos de trabajo,
para que ensee, cumpla y haga cumplir las instrucciones a los operarios
dentro de las ms severas normas y prin cipios de seguridad y proteccin
de las instalaciones.
Los permisos de trabajo en cualquier tipo de industria y proceso y, de-
fnitivamente, son una excelente herramienta de seguridad ocupacional.
{Tamao de pgina: 175x250 mm. Mrgenes: superior: 17,5 mm, inferior:
17 mm, exterior: 30 mm, interior: 25 mm}.
Los permisos de trabajo pueden clasifcarse en varias clases principales:
ObjETIvOS
Identifcar, manejar e interpretar correc-
Indices simples
Encadenamiento
6
Above: inside double page.
Left: tests page and chapter starting.
EDITORIAL PROJECTS
Gua acadmica de posgrados
(Postgraduate studies guide, 2006).
Universidad Nacional de Colombia.
Book layout and text composition.
The strength of this proposal was the driving
in the headings and titles hierarchy, reaching
up to ffth and sexth level in some sections.
Left above: inside double page.
Left below: chapter and section starting
pages and glossary.
Below: cover page.
OTHER PRINTED STUFF
Am 10. Mai 2005 stellte die Knstlerin und
Anthropologin Trixi Allina, Professorin an der Kunstfakultt der National Universitt Kolumbien das Kunstprojekt im Rahmen des forumINTERNATIONAL ihr
knstlerisches Projekt von zu Hause aus im Hrsaal der HfbK einer interessierten
ffentlichkeit vor.
Von hier aus hat sich das Projekt Art in
Residence, Bogota-Hamburgo, zwischen der kunstfakultt Universidad Nacional
de Colombia (Leitung Prof.Trixi Allina)
und der Hochschule fr bildende Knste, Hamburg entwickelt.
Das Projekt wird von Prof. Gerd Roscher
(Studiengang VK/Medien) und Ute
Janssen (Studiengang Kunst/Video,
Performance) begleitet und steht allen
Interessierten jederzeit offen und ldt Sie ein daran aktiv mitzuarbeiten.
En el forumINTERNATIONAL AG
LATEINAMERIKA del 10 de mayo de
este ao, presentamos a la artista Prof.
Trixi Allina, profesora de la Facultad de
Artes en la Universidad Nacional de
Colombia.
Su conferencia Cmo salir de la casa, que se
realizar en el Aula de la Academia de
Artes de Hamburgo (HfbK) incitar un
gran inters en la Escuela.
De la conferencia se derivar un taller de
trabajo, en conjunto con el Prof. Gerd
Roscher, director y docente de la Facultad de Comunicacin Visual y Medios en
Artes, y con estudiantes de la HfbK.
El proyecto a desarrollarse se denominar: forumINTERNATIONAL Art in Residence, Bogot-Hamburgo.
Trixi Allina
von zu Hause aus
anschlieend:
internationaler Stammtisch
Kolumbianischer Abend
in Raum K 38 ca. 19.30 Uhr
Es gibt Pollo sudado con pltano
frito y arroz (Huhn mit frittierten
Bananen und Reis)
Diskutierf wird ber die Kunst und
Klischees in Sdamerika.
Redaction:
Prof. Frank, Prof. Friemert, Ute Janssen LfA, Prof. Loreck Montserrat Rojas, Prof. Roscher, Frau Schrder, Bettina Sefkow, Ingrid Jger LfA, Studio 38, Miwa Ogasawara, Cagdas Ozgur, Jeong Hyun Kim, Naho Kawabe
Informationen ber Montserrat Rojas: montserrat_rojas@hotmail.com
und Jan Hoffman:
jan@studio-k38.de
forumINTERNATIONAL
AG LATEINAMERIKA
Am Dienstag dem, 10. Mai
Trixi Allina
Professorin an der Kunstfakultt der
National Universitt Kolumbien
Vortrag und knstlerisches Projekt:
von zu Hause aus
der Vortrag wird auf Englisch,
Deutsch und Spanisch gehalten
Am Mittwoch dem, 11. Mai
Projekt Vorbereitung des
Art in Residence in Bogota,
Kolumbien und Arbeitsbesprechen
im Raum 46 um 10 Uhr, Averhofstrae 38
(neben Mundsburg) mit Ute Janssen
und Trixi Allina
03
Spanisch/Lateinamerikanischer
Abend
anschlieend internationaler Stammtisch K38
10
Trixi Allina, Knstlerin
Fachbereich Kunst,
National Universitt Kolumbien
anschlieend internationaler Stammtisch K38
17
Erasmus und Sabine
anschlieend internationaler Stammtisch K38
24
Asiatischer Abend
(Design, Matton, Luce)
anschlieend internationaler Stammtisch K38
31
Herr Habbich,
Leiter Referat 233 DAAD
Frderprogramme fr Deutsche
im Ausland, Schwerpunkt Bildende
Knste, Film und Design
anschlieend internationaler Stammtisch K38
07
Trin Minh Ha, Kunstlmemacherin,
Essayistin und Musikerin geboren in
Vietnam, aufgewachsen in den USA,
ausgebildet in Paris, auf den Philip-
pinen, in Amerika, die in Afrika arbeitet
und in Berkeley lehrt - ein beispielhaft
transkulturelles Frauenleben
anschlieend internationaler Stammtisch K38
14
Russischer Abend
anschlieend internationaler Stammtisch K38
21
Hans-Christian Dany
Filmemacher
anschlieend internationaler Stammtisch K38
28
Roberto Cobot
brasilianischer Multimediaknstler
In Brasilien geboren, lebt in Kln
anschlieend internationaler Stammtisch K38
forumINTERNATIONAL
internationaler Stammtisch
Vortrge/Berichte/Filme/Videos/
Dias/Essen und Diskussionen
jeden Dienstag um 18 Uhr
im kleinen Hrsaal Raum 229
ab 19.30 Uhr im Raum K 38
May Juni
Education for International
Understanding
Vortrge/Berichte/Filme/Videos/
Dias/Essen und Diskussionen
jeden Dienstag um 18 Uhr
im kleinen Hrsaal Raum 229
ab 19.30 Uhr im Raum K 38
Mi casa es tu casa
(My house is your house, 2008).
Trixi Allina (independent artist).
Folding design for the photographic
exhibition in Hamburg.
Front and back of 3-bodies folding fyer with
the programming of the artistic exhibition.
OTHER PRINTED STUFF
66East
:: Centro de Cultura Urbana
Amsterdam, Holanda
www.66east.org
:: Residencia / Exposicin
local - lokaal - local
Pedro Gmez Egaa
Trixi Allina
Galera 66East, Amsterdam.
: Residencia
junio 3 /06 - julio 4 /06
Durante este mes los artistas buscaron una
interaccin particular con el lmite de la zona
central de Amsterdam, un lugar habitado por una
diversa poblacin migrante y un agresivo proceso
de gentrifcacin. Desde el Centro de Cultura
Urbana 66East ubicado en esta zona de la ciudad,
se generaron procesos que continan abriendo
preguntas sobre la forma en que el arte se produce
en circunstancias de constante desplazamiento.
: Exposicin
junio 31 /06 - julio 31 /06
Trixi y Pedro construyen su percepcin de lo local
desde las ventanas del 66East, y permiten un
constante dilogo no-verbal con los transentes
quienes encuentran una serie de imgenes, objetos y
sonidos que enfatizan e invierten las relaciones con
este lugar de exposicin.
Miritte Ben-Yitzchak, 66East
:: Proyecto de creacin
: Conferencia
La nocin de autonoma en las prcticas
artsticas contemporneas
Tahl Kaminer
16 de agosto/06, 5pm
Maestra en Artes Plsticas y Visuales,
Taller 112. Entrada libre
El arte contemporneo est regido por 2 formas de
prctica, el arte cotidiano y la crtica ideolgica. La
defnicin de estas dos prcticas est determinada por
su acercamiento a la autonoma: En el arte cotidiano
se busca desplazar la nocin de autonoma al crear un
continuo entre arte y vida, y en la crtica ideolgica se
refuerza la autonoma como agente distanciador.
: Talleres
Desde la segunda semana del mes de abril el proyecto
Local se rene semanalmente en los salones de la Maestra
de Artes Plsticas. Los encuentros se dirigen a realizar
ejercicios con base en los problemas que confuyen en esta
mirada a lo local-migrante.
1. Rosana Barragn.
El cuerpo, el extraamiento y el equilibrio
La tensin entre lo local y lo extrao visto desde el
cuerpo en movimiento. El equilibrio y la quietud pueden
ser entendidos como un estado anatmicamente estable,
en realidad el equilibrio invoca estados constantes y
dinmicos de extraamiento que resultan posibilitadores
tanto en la improvisacin como en la generacin de
material de movimiento.
2. Pedro Gmez-Egaa.
Resonancia vs. Simpata en el sonido y lo intermeditico
Mientras que la resonancia es de los fenmenos acsticos
ms comunes y buscados, la mirada a los estados
simpticos de objetos y conceptos musicales o no-
permite abordar el problema del dilogo en trminos de
posibilidad ms que de compatibilidad.
3. Trixi Allina.
Acumulacin y Redundancia
La relacin entre la captura de imgenes y los estados de
extraamiento y sealamiento. Desde la accin se trazan
lmites entre la representacin y la negacin de una
imagen al desatar procesos acumulativos.
Universidad Nacional de Colombia
:: Maestra en Artes Plsticas y Visuales
:: Instituto Taller de Creacin
Bogot, Colombia
www.facartes.unal.edu.co/martesplasticas
Ministerio de Cultura
:: Saln Nacional de Artistas
:: Laboratorio
Bogot, Colombia
www.sna40.com
Percepcin y recorridos en la ciudad
Tahl Kaminer
agosto 14 al 18 /06
Teatro Delia Zapata (Participacin por invitacin)
40 Saln Nacional de Artistas
Como parte de las actividades del Saln Nacional
de Artistas, el proyecto Local ha sido invitado
a participar en el captulo de Laboratorios
del Ministerio; Tahl Kaminer estar en Bogot
coordinando este laboratorio. Las actividades se
llevarn acabo del 14 al 18 de Agosto del 2006
en las instalaciones del teatro Delia Zapata y la
experiencia se desarrollar a partir de un ejercicio
de percepcin y documentacin sobre un mapa
del centro de la ciudad en el cual se trazan
lneas arbitrarias que han de ser recorridas y
documentadas por los participantes del taller.
:: Laboratorio
:: Exposicin
Local Amsterdam / Bogot
Pedro Gmez-Egaa
Trixi Allina
agosto 9 al 25 /06
Galera Valenzuela & Klenner, Bogot
Como uno de los eventos que hace visible las
prcticas de los laboratorios del Ministerio de
Cultura, ste ha invitado a Pedro Gmez-Egaa y
Trixi Allina a realizar una muestra de los procesos
realizados durante la Residencia en Amsterdam
66east. Esta exposicin busca establecer el puente
entre Bogot y Amsterdam.
Trixi Allina
Artista plstica. Miembro grupo Ubicua.
Docente Universidad Nacional de Colombia.
Pedro Gmez-Egaa
Artista plstico. Miembro grupo Ubicua.
Tutor Maestra Artes Plsticas
Universidad Nacional de Colombia
Rosana Barragn
Artista en las reas de coreografa y
performance.Miembro grupo Ubicua.
Tahl Kaminer
Arquitecto, investigador en Arquitectura y
Arte.
Director Centro de Cultura Urbana 66East.
Amsterdam.
Miritte Ben-Yitzchak
Diseadora y gestora de arte.
Centro de Cultura Urbana 66East.Amsterdam.
Fredy Alzate
Estudiante Maestra en Artes Plsticas,
Universidad Nacional de Colombia.
Miembro grupo Ubicua.
Gustavo Gutirrez
Estudiante de Artes Plsticas, Facultad de
Artes, Universidad Nacional de Colombia.
Miembro grupo Ubicua.
Adrin Villa
Estudiante de Artes Plsticas, Facultad de
Artes, Universidad Nacional de Colombia.
Miembro grupo Ubicua.
Icaro Zorbar
Estudiante Maestra en Artes Plsticas,
Universidad Nacional de Colombia.
Miembro grupo Ubicua.
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Proyecto de creacin / migracin
Amsterdam - Bogot
mayo /06 - junio /07
Inauguracin exposicin local lokaal local.
Galera 66East, Amsterdam.
www.ubicua.org
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3-bodies folding fyer with activities programming.
Local :: lokaal :: local (2007).
Amsterdam/Bogota artistic residence exploring
the creative research around the concepts of
local, displacements, journeys and migration.
Programme folding design.
The design is proposed to be printed in one ink
and support reproduction by photocopies.
OTHER PRINTED STUFF
Primer Encuentro de Jvenes Compositores de
Amrica Latina y Espaa y el Concurso Nacional
de Composicin Musical Ciudad De Bogota,
organizados por el Convenio Andrs Bello y el
Instituto Distrital de Cultura y Turismo, los
departamentos de Msica de la Universidad de los
Andes, Ponticia Universidad Javeriana, Universi-
dad del Bosque y Conservatorio de la Universidad
Nacional de Colombia y el coln electrnico. ciclo
de eventos sonoros y visuales contemporneos
presentan el concierto monogrco en homenaje
al compositor Guillermo Rendn G.
Lanzamiento de la publicacin de la partitura
Trpico de Capricornio, para violonchelo solo,
edicin realizada por Matiz Rangel editores,
Centro de Documentacin Musical de la Biblio-
teca Nacional de Colombia del Ministerio de
Cultura y el coln electrnico.
Este concierto se realiza con la colaboracin de la
Facultad de Msica de la Juan N. Corpas.
Encuentro de Jvenes Compositores de
Amrica Latina y Espaa
Bogot, Colombia - Noviembre 4 al 11 de 2005
La msica acadmica
contempornea en el contexto
de la globalizacin y las
diversidades culturales
Homenaje al compositor Guillermo Rendn G.
Teatro de Cristbal Coln. Martes 08.11.2005, 7:30 pm
1
er
[
Ciclo Coln Electrnico (2006).
Cycle of contemporary electronic and
electroacoustic music in Colon Theater (Bogota).
Monthly and weekly programming fyers design.
The design is proposed to be printed in one ink
and support reproduction by photocopies.
Above: Monthly programming
fyer printed in ofset (1 ink).
Right: programme cover page
for a tribute concert.
3-bodies folding fyer with concert
programme, reproduced by photocopying.
OTHER PRINTED STUFF
Left and above: spreading posters and activities programme.
Far left: web fyer.
in-eye i: atlas (2005).
Series of events, processes and artistic
workshops around the problem of interaction.
Posters and programming fyers
design and other pieces for spreading
and internal communication.
GRAPHIC IDENTITY
CS Consultora (2013).
Consultancy frm on public
administration and law, Colombia.
Corporate identity and stationery.
The logo was built thinking in interdisciplinary
work, wide range of services and focus on the
three pillars of the companys services.
Business cards.
Logoand logo structure.
Front of folder and letterhead.
GRAPHIC IDENTITY
Green calendar Gaia (2013)
Student project, Bogota. Appointment book
for university students in Peru.
Logo and cover design.
Ecology and Earth as life-giving are the
starting point for developing this logo,
which marks the 4 directional axes, symbolic
elements of Earth in various cultures.
Gaia
Tu conexin con la Tierra
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agenda ecolgica
Gaia
Tu conexin con la Tierra
FLIA Bogota (2011-2012).
Independent and self-managed book fair.
Logo design and spreading pieces.
FLIA is a collaborative, horizontal and
self-managed event where creatives of
various artistic and publishing disciplines
come together to create an open,
free and independent book fair.
Participar en la FLIA es muy sencillo: Puedesunirteaellaasistiendoalasreunionesdeorganiza-
cinydonandotutiempoytutrabajoparahacerquela3
FLIAsalgaalaluz.Nohayjefes.Nohayencargados.Nohay
jerarquas.Nohayprotocolos.Nohayquellenarunformula-
riooescribirunacarta.Solovienesyteunesalequipo.Nos
reunimossemanalmenteparaorganizarasuntosdelogstica
(conseguirunespacio,convocaramsgente,organizarlos
esfuerzosparaquefructifquen,proponermejoresideaspara
queestosigarodandoylleguelejos).Encuentra ms infor-
macin enhttp://www.fiabogota.blogspot.com
Sidefnitivamentenotienestiempoparadonarnos,puedes
llegarala3FLIAcontupuesto(nohayrestriccionesdein-
greso)ycompartirtuscreaciones. Puedesasistirala3FLIAcomovisitante.Desegurotellevas
algo;comomnimo,elbuenrecuerdodequeexistanespacios
verdaderamentelibresyabiertosparatodos. Aydanosadifundirestaidea.Encuentra ms informacin en
http://www.fiabogota.blogspot.com
La FLIA en apoyo al movimiento estudiantil:
LaFLIABogot,comomovimientoautogestivoylibre,apoya
lasiniciativasestudiantilesquesevienendandoenelmarcode
lareformaalaeducacinsuperior.TomaelespaciodelaEscue-
ladeArtesPlsticasdelaUniversidadNacionalcomounvivo
aplausoalacultura,elarteylacreacin,quesonbienespbli-
cosSetratadecompartirelconocimientoparatodos.Msall
deenmarcarseenunpartidopolticoounaconsignaideolgica,
laFLIABogotcomparteelidealdelaeducacin pblica, inclu-
yente y de calidad.
Somosresistenciayalternativa
Contgiatedelibertad
2
a
FLIA BOGOT Feria del Libro Independiente y (A)utogestiva
Alternativa, Anrquica, Amorosa, Astuta, Amante, Andariega, Autnoma
Qu es la FLIA?
LaFLIAesuncolectivodeartistasyescritoresdetodosloscaminos
queserenenparacrearunespacioculturalyalternativoabierto
paratodos.
Antesquenadaunsentimiento,unaformadevida,unaformaviable
deorganizacinlibre,hechaportodoelquequieraparticipar,unida
porloslibrosyelarteparademostrarqueentretodospodemos.
Unespacioparacompartirydifundirideasycreacionessinningn
tipodec(u)alifcaciones,sinunpatrocinadorquepongalmitesal
imaginardeloscreadoresoasuformadeexpresin,sinunjefeque
digacmohacerlascosas.
Unacontrapropuestaalsistemaactual,pero,sobretodo,un acto
colectivo de creacin libre.
2 FLIA Bogot
AlapardelavigsimaFLIAdeBuenosAiresCapital{enArgentina,
cunadeestaideasinfronteras},seinauguralaSegundaFLIABogot,
pocomsdeunaodespusdesuprimeraversin,quereuniams
de30puesterosyacientosdevisitantes.LaFLIABogotnaciel9de
abrilde2011,enmemoriadeJorgeElicerGaitn,pioneroenimpul-
sarlasferiaspopularesdellibroenlacapital.LaFLIABogotcontina
construyendoespaciosparaloscreadoresindependientes,dando
ejemplodetrabajolibre,colectivoyhorizontal. Cmo participar?
Invitamosaescritores,editoresyeditorialesindependientes{delas
quepublicanmsporgustoypasinquepornmerosenunpapel},
artistas,organizacionessociales,mediosalternativos,artesanosy
todotipodecreadoresparahacerpartedelaFLIA,quenospermitea
todoscompartirydifundirnuestrostrabajosyesfuerzos.
ENTRADA LIBRE
PARTICIPACIN LIBRE
Todaclasedepublicaciones
independientesbandasenvivocharlas artevisualtalleresproyecciones audiovisualesmicrfonoabiertoyde
ahparaarriba...
http://fiabogota.blogspot.com
fiabogota@gmail.com
Facebook: F.L.I.ABogot
nete con un puesto!
http://fliabogot.blogspot.com
fliabogota@hotmail.com - fliabogota@gmail.com
Reunin general de puesteros
lunes 7 de marzo de 2011, 6pm
Av. Calle 32 # 15-22
Feria del
Libro
Independiente y
(A)utogestiva
Invitamos a
escritores, editores y editoriales
independientes, artistas,
organizaciones sociales, diseadores, cineastas,
poetas, realizadores audiovisuales, medios alternativos,
artesanos y todo tipo de creadores a unirse a
la primera FLIA que se realizar en Bogot,
el sbado 9 de abril de 2011 (10am a 10pm)
en la Kcitt Audiovisual (Av. Calle 32 # 15-22).
Participacin y asistencia gratuita!
Porque todos hacemos parte de la FLIA
y la FLIA la hacemos entre todos.
Aydanos a darle alas a este sueo!
GRAPHIC IDENTITY
in-eye i: artistic community (2005-2007).
Research and artistic creation interdisciplinary
project with emphasis on musicality, physicality,
visibility and writing (Bogota-London).
Graphic identity, folding fyers design
and other pieces for spreading and
internal communication.
Left: DVD box design (open).
Below: 3-bodies folding fyer
for group presentation.
The colon (wich was part of the collectives name in-eye i:)
was used as a graphic element to explore variations of the logo,
which was updated according to the character of each event.
DESIGN ON SCREEN
Mtodos de estudio y lectura integral (Study
and comprehensive reading methods, 2007)
Educar Editores Publishers (Bogota).
Didactic multimedia design
(programming and graphic).
CD-ROM multimedia accompanying a speed
reading method. Fourteen games were
programmed for diferent reading exercises.
Section menu (upper left), exercises
screenshots (green and yellow), score screen
(above) and multimedia starting (lower right).
DESIGN ON SCREEN
Rosana Barragn (2006)
Independent dancer (Bogota).
DVD-ROM development
(programming and graphic).
DVD collecting the biography, resume
and work (photos and videos) of the
dancer to disseminate her work.
DVD screenshots. Texts were animated
with automatic scrolling so they could
appear complete in a single screen.
DESIGN ON SCREEN
Laborinto (2006)
Grade work for Multimedia Design Specialization,
Universidad Nacional de Colombia (Bogota).
Multimedia design (programming and graphic).
Experimental website builded as a refection
on the road, the trip and the journey .
Multimedia screenshots. While browsing the
user look over several sections relating to
past, present and future tenses. Meanwhile,
photographies, video and random texts show
up, as well as mouse trails, maps y animacions.