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Pedro Humberto Allende Saron
National Art Award, 1945 mention

Music Born in Santiago in 1885 one of the most important composers and was awarded the Chilean National Arts Prize words music, in 1945. was the son of Juan Astorga Rafael Allende, writer and journalist and pianist Sharon Celia artistic influence on their children. Juan Rafael was distinguished as a writer and journalist anticlerical, while Celia was described as a woman "of French origin, distinguished pianist and teacher, inspiring art of their children"). He was married to Tegualda Ponce, who was the father of two sons and Ikela Tegualda.

His first contact with music was due to his older brother, Juan Rafael Allende, professor at the National Conservatory. Later in 1899, entered the National Conservatory of Music, where he studied with teachers Agustin Reyes, Aurelio Silva, Carlos Debuysère, Enrique Soro, Aurelio Silva, Dominic Brescia, Luigi Stefano Federico Giard and Stöber, with whom he learned theory, theory, violin, piano, cello, harmony, counterpoint, fugue and composition.

In 1908 he became a teacher, along with obtaining diplomas of harmony, composition, violin and singing. Two years later, in the context of the Centennial celebrations of Chile, participated in a singing competition and won a prize of 1500 pesos. In 1912, one of his former teachers, Brescia, congratulated him warmly on a composition for string orchestra.

the end of 1910 was commissioned a study tour to Europe by the Government of Chile. He studied teaching methods in major conservatories and music education organization in the primary and secondary schools in different countries. In 1922 and 1932, we were commissioned by the Chilean government similar missions in Europe and South America. Upon his return, he presented a report that pointed out some reforms that were introduced at the National Conservatory. The following year, made another trip to Europe, reaping significant victories in Spain.

was a professor at the National Conservatory of Normal School No. 1 in Santiago, the Lyceum Lastarria, the Normal Abelardo Nunez del Liceo Implementation of Liceo Valentin Letelier, among other establishments.

As a composer, I seek inspiration in motifs Chilean and Mapuche peasant character.
In 1922 it was entitled Vocal Music teacher in public schools, the University of Chile. In December the same year he visited Spain. Took place in Madrid during his stay, a Chilean music concert organized by the Latin American Union and sponsored by the Director of the Conservatory of that city, Don Tomas Breton. Premiered at this concert some of the Allende PH works for chamber ensembles. In 1923, in Paris, was one of the founders of the International Academy of Fine Arts.

Invited by the International Institute of Intellectual Cooperation, founded in Paris as an agency of the League of Nations, took part in the First International Congress of Popular Arts, held in Prague in 1928. He was named Vice President of the Section Music of this Congress and a permanent member of the International Folk Art, is at the end, in recognition of the importance of their contribution as a scholar of folklore. He is also appointed member of the Scientific Literature setter a Popular Song. Before returning to Chile on this trip, visited Hungary to study the operation of the Budapest Conservatory and the Ethnographic Museum in this city. Studies of the same kind held in Austria, Czechoslovakia, Germany, Italy, France, Belgium and England.

In 1928, PH Allende was appointed Professor of Harmony and Composition National Conservatory of Chile, a position he held until his retirement in recent years. It has also been professor of violin at the Ecole Normale de Preceptors nb 1, and music teacher at the Ecole Normale José Abelardo Núñez and Implementation in secondary schools, Valentín Letelier, José Victorino Lastarria and Javiera Carrera, all of Santiago.

In 1929, named Guest of Honor by the Diputación de Barcelona (Spain), visited this city where he executed some of his symphonic compositions during the Ibero-American Music Festival performed at the International Exhibition organized by the then English government. Concerts Allende PH works have been performed in Montevideo (1932 and 1939), Buenos Aires and other American capitals. Pedro Humberto Allende

felt from the beginning of his work a strong interest in folk music, both native and Creole. To study and collect examples of folklore araucano visited Chile in southern regions of New Imperial, boron and Lepe. Later got a group of Mapuche musicians moved to Santiago for recording on a collection of songs and dances Araucanian, printed and distributed with great success by RCA Victor. Views in this collection are preserved in folklore and ethnographic museums in Europe and America. Another

interesante en la labor de este músico, aparte de sus creaciones como compositor, lo representan sus contribuciones a la pedagogía musical. P. H. Allende es autor de varios métodos para la enseñanza de la Armonía y Composición, una "Metodología para la enseñanza del canto escolar", una "Colección de piezas para diferentes grados del estudio del piano", un "Método original de iniciación musical", "Piezas para violín" y "Rondas infantiles", para coro, asimismo de carácter pedagógico. En el catálogo de sus composiciones figuran varias destinadas a la práctica de la educación musical en las escuelas.

Es miembro este músico de la Sociedad Folclórica of Kharkoff, USSR, the International Society of Composers, USA, and the International Society for Contemporary Music in England. In 1941 he was appointed Honorary Member of the Academy of Fine Arts of Costa Rica. He received the National Art Prize, awarded by the Chilean state in 1945.

was Inspector of Music for Elementary Schools and for many years, music critic for the newspaper La Nacion. " In this particular aspect, Adolfo Allende has emerged as the strongest critic of training and one of the best designed in the Chilean press today.

His work as composer is small and discontinuous. But of excellent quality, the result of a spirit open to the latest trends, which has managed to print a label itself. His songs for solo voices and chorus, written mostly for educational purposes appraise the best essence of his style. Oddly, the album entitled "Talagante" for voice and piano.

As in the production of his brother Pedro Humberto Allende in Adolfo nationalist is a trend that stylized motifs taken from folklore, Creole over the Araucanian language or build upon foundations derived from the Chilean popular music.

songs In the series of "Talagante" on verses of Daniel de la Vega, with the greatest economy of means get an expression contained and deep, which charges an exquisite musical personality. The melodic line, well shaped and full of interest, slides on harmonies and rich apparent simplicity of intent. As a musician who has had the experience impressionistic, to return to a clear sense of how solid, tonal bases.

The melodies and rhythms of this series of songs derived from native folklore, but not use the grounds directly taken from him. Some of the songs are in line with popular forms, eg "The pitcher, one of the most beautiful, which is a binary tune (sequence of slow time and live).

The piano works of Pedro Humberto Allende must be situated surrounded of compositions that he knew and felt. Iberia by Isaac Albeniz, Claude Debussy's Préludes, in Languedoc Déodat of Séverac. Maurice Ravel's music also fascinated him, instead of Schoenberg felt it beyond his sensitivity. But nevertheless gave me the score of Pierrot Lunaire when I was 15 years. I noticed when I passed this gift admiration for a work that he felt, but whose language it was strange sound.

His thinking was rooted in the French philosophers who prepared the Revolution of 1789: Voltaire, Diderot, Rousseau, Saint-Simon. The novels of Honoré de Balzac, Victor Hugo and Anatole France, L'ile des pingouins especially his satirical features, as well as the stories of Guy de Maupassant were their spiritual background, rational and critical. The literary work of his father, Juan Rafael Allende, with its social and anticlerical, marked him deeply. To this we must add his interest in the sciences: physics and mathematics that led him to study the laws of acoustics.

His musical language is already unmistakable in his works of the years 1913 to 1915, and is the same in rural scenes as his Préludes, 1913, 1915, in their studies or in the tunes. In 1910

travels first to Europe and France makes contact with French cousins \u200b\u200bliving in Paris. One of them, André Saron, was a collaborator of Gustave Eiffel, builder of the tower, a symbol of Paris, but also of a church in Arica. In Paris

make friends with musicians such as Claude Debussy, Manuel de Falla, Maurice Ravel, Ricardo Vines, Florent Schmitt, but also with pesonajes such as Victor Basch, cofounder of the League of Human Rights. " Victor Basch and his wife were murdered by the Nazis during the occupation of France. As a child, my uncle showed me the letters Humberto Massenet, Debussy and Basch that he had received. Victor Basch's handwriting like I have recorded Debussy forever in my memory.

In Spain, linked in friendship with Felipe Pedrell, who in a letter dated October 24, 1913 to his "dear and beloved friend," he writes, "no exaggeration to say that his peasant scenes excited me and still wonder" . Years later, in 1916, is Debussy who tells the following about the cello concerto "oeuvre c'est tout à fait joins distinguée, est l'écriture in absoluement remarquable. Il-ya aussi dans le rythme personnalité joins qu ' rarely does on rencontre dans la musique contemporaine. "

In Spain could sense the affinity between the Andalusian and the Chilean peasant: on how to dress men with short jacket, the color belt at the waist and high heels shoes. Furthermore, the Andalusian pronunciation was sent to Chile.

Thus, it is not surprising to note a relationship also in music, for example in the tunes. Eugenio Pereira Salas demonstrated in his book Origins of musical art in Chile (Santiago, 1941). Pedro Humberto Allende

created a very complex harmonic language in terms of richness of sound combinations, there are many passages polytonal in almost all his works. To this is added a well-marked rhythmic profiles. In its citation Tunes no folk, all is invention, even in the metric, as in many sometimes replaces the rhythm of 6 / 8 by 7 / 8 or a 5 / 4. The allusion to the popular song in this collection of tunes is like the outline of the guitar in the cubist paintings of Pablo Picasso.

achieved within the tonal language Pedro Humberto Allende find harmonic situations on the brink of atonality. That tension that occurs when you touch the limits of the tonal system belongs to the drama of this composer. In some studies, in certain Tunes and songs for children (Cotón red) accumulates only at the end dissonance of the piece are resolved in a pattern often accompanied by a sixth, a seventh or ninth.

Works
For orchestra

• Andante and Allegro for string orchestra (1903).
• Overture in G major (1904).
• Symphony in B flat (1910).
• Chilean Rural Scenes (1913).
• The voice of the streets. Symphonic poem (1920).
• Six Tunes for String Orchestra (1925).
• Prelude and Fugue for string orchestra (1930). Tunes
• Nos. 10, 11 and 12 for large orchestra (1930). Tunes
• Nos. 1, 2 and 9, for large orchestra (1936).
  

For solos and orchestra:

• Mountains and castles. Soprano and String Orchestra (1905).
• Solitudine. Soprano and Strings (1906). Concerto for cello and orchestra (1915).
• La Partida, tune for two sopranos, alto and orchestra (1933).
• midnight moon and to your door, two songs for soprano and orchestra (1937).
• Concerto for Violin and Orchestra (1940).
• In one morning, for soprano and orchestra (1945).
  

For chorus and orchestra and solo, chorus and orchestra:

• Hymn Barros Arana. Soprano, female choir and string orchestra (1908).
• Hymn Music Education Association. Mixed choir and orchestra (1911). Anthem
• Normal School N º 1. Solo, female chorus and strings (1912).
• Chilean Landscape. Mixed choir and orchestra (1913).
• Board Hymn for Children. Solo, mixed chorus and orchestra (1921).
• Ode to Spain. Solo, mixed chorus and orchestra (1922).
  

a Cappella Choir:

• Violet (1908).
• dirge (1912).
• greet Chile (1912).
• Anthem Liceo Santiago (1913).
• Patria, You, Voz de la Patria, three choirs (1914).
• School Hymn Exhibit No. 1 (1914).
• Anthem of the Federation of Teachers (1915).
• Spring (1918).
• Messenger of God (1920).
• Liceo Anthem Ancud (1923).
• Be good (1923).
• Ave Maria (1932).
• Fidelity Serranilla, Pastoral, three choirs (1935).
• Choir Anthem Allende (1935).
  

for chamber ensemble:

• Sarabande and Minuet, for quartet (1916).
• Berceuse and Gavotte, for violin and piano (1907).
• Fugue for violin, viola and two cellos (1909).
• Gavotte and Minuet, for violin and piano (1910).
• Trio. First Time (1920).
• String Quartet. First Time (1925). Second (1932). Third (1948).
• Ave Maria, for soprano and quartet (1926).
• Three Miniatures Greek, transcribed for quartet (1930).
  

For piano:

• Gavotte, March, Sonata in F (1906).
• accompanying sounds, theme and variations (1907).
• Black Keys, Waltz in E major (1907). Rondo
• in G, Rondo in D (1908).
• Sonata in C minor (1909).
• Sonata in D major (1909).
• Polonaise, Minuet, Rondo in La (1909).
• Albumblatt (1911).
• Preluludio No. 1 (1915).
• Sonata in G minor (1915). Thumbnails
• Greece (1918-1929).
• 12 Tunes of popular Chilean (1918-1922).
• 9 Studies (1920-1936). Cuts
• Children (1931). Berceuse
• (1932).
  

For voice and piano:

• Ave Maria (1914).
• youth anthem (1912).
• Encounter and Beneath a lime, soprano and alto with piano (1915).
• The unhappy lover. Tune (1915).
• Easter Tree.
• Round (1916).
• Anthem (1924).
• While lowering the snow, the fountain, to the clouds of sorrow Ojitos (1925).
• Ode to Chiloé (1926).
• Six Children's Songs (1926).
• Constitution Himno del Liceo (1928).
• Liceo de Talca Hymn (1931).
• The white water lilies (1932).
• Anthem (1934).
• Anthem at The (1936).
  

number:

• A layman who asks silver. Singing and guitar (1907).
• Mozart Rondo alla (1908).
• Tempo di valse, Gavotte, Waltz for Four Hands for piano (1915).
• Havdage arnue. Ask post-futuristic, for piano (1916). He
• brush ingredients. As school piano (1919).
• Minus alla Ravel for piano (1920).
• Time says valleys, for harp (1925).
• Schumann Reverie for voice and piano (1925).
• Nocturne in G Chopin. Soprano, the altos and piano (1925).
• Novelletta No. 9, Schumann Four voices and piano (1925).
• Adagio for guitar (1928).
• pantomime "El Amor Brujo" de Falla. For the pianos (1932).
Album
• school songs one and two voices, with piano (1933).
• Study No. 5, transcription for lute quartet (1933).
• Sarabande and Minuet, Gavotte and Rondo for two pianos (1936).
• "Cinderella" comic chamber opera (1948).
  

References:
http://www.scielo.cl/scielo.php?pid=S0716-27902002019700004&script=sci_arttext
http://es.wikipedia.org/wiki / Pedro_Humberto_Allende
http://www.memoriachilena.cl/mchilena01/temas/dest.asp?id=acariopedro
http://mazinger.sisib.uchile.cl/repositorio/lb/uchile/salasv01/compositores/02.html
http://www.epdlp.com/compclasico.php?id = 3311
http://mazinger.sisib.uchile.cl/repositorio/lb/uchile/salasv01/compositores/03.html

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Joaquin

Entrepreneur
Chiorrini Molfino Radial, tireless innovator

was born in Santiago (grandson and son of Italian sailors) on November 24, 1935. They, my parents, they found a rather unusual to be around. I started at St. George and then at the Liceo de Aplicación, to finish this in 1955. The reason was my individualism and spiritual comfort to feel pleasant sailing in the waters.

my mind always turned to fly, yes fly, also in the flight of radio waves, botany, nature and music, but not because I studied Political Science and Management at the University of Chile.

were decanted It continued thoughts and music, but how to hear it in all its dimensions, where one would like? For me, the Municipal sneak my biggest pleasure, I realized that there listening to music was raw, real as a magnificence.

So one day do not know when or how, I said "you have to do it." As failing to carry through the air, ether, an entire orchestra with all the wonderful range of sounds, magnificence and resonances that can only be found in nature in musical groups "live" ... and broke with everything I read, I traveled around Europe and USA and I noticed that if there was one means of doing so: it was the FM.

But if imports were to do something almost forbidden and my financial resources, only ideas in the mind. But the momentum and vehemence was higher. In frustration I realized that never would implement a project Similarly, if it was not a decision with great effort and with no turning back.

And so came a blow of wind. Orphans I walked one summer afternoon in 1958 when as fate would find me before President Don Jorquiera Alessandri. I felt an irresistible impulse to write to him and told him the idea of \u200b\u200bcreating an FM station with a sense of values. He pondered a moment (which seemed ages) finally liked the idea, he desired me to speak with the Minister of Interior, Sotero del Rio. In summary, 2 years delay in processing the consent decree to implement the first season of Frequency Modulation in Chile and South America.

Then came another difficult point. How to make it reality: With more financial resources wit, four years after a March 1, 1962, Santiago was able to hear the first independent FM transmission in HI-FI: The Conqueror. Time passed quickly. The new problem we would face would be the small number of disks Long Play 33 1 / 3. Among friends and supporters we have more variety in orchestral and classical music. And the second obstacle insurmountable that we saw was that there were no FM receivers in the country. It took me a world to convince the trade that mattered and so began arriving mainly German brands such as Grundig, Saba, Telefunken et al. These owners were actually the founders of El Conquistador auditors.

But that was not all, felt that the auditors would like to someday be our wireless signal and I had another tough battle, which was to convince importers of cars, which brought with of FM receivers, which was not easy and it took me a long time. Like all things, missing the third obstacle. Our transmitting station was on the floor 11, Alameda 580, San Isidro corner and from there, the signal came faintly up to Pedro de Valdivia. Then came the imperative to place a link, something unthinkable, between that point and the summit of Cerro San Cristobal, where you'd install the transmitter. That gave us tremendous coverage and great enthusiasm, and so we began to think that someday we could have economic returns that would enable us to live.

Years passed and today we cover the entire country, from Arica to Tierra del Fuego, with stations of high coverage and joint programming, partly done in our Central Research in Huechuraba, Santiago and another in provincial capitals .

also have two signs on the internet, podcast and TV viewing of news programs.

north of this radio, we hope not to lose it after 45 years to navigate Flag of the culture and values \u200b\u200bat the top, something increasingly rare in these times.

noble teachings delivered by teachers as rector in July Orlandi and Don Pedro Contreras, among others, gave me perhaps undeniable momentum to consolidate an ideal.

A new adventure in their long history of entrepreneurial Joaquin.

One day in August 1994, Joaquin Molfino wakes up in the morning with a funny and strange dream ... "dreamed of here across the street from the farm house ran swiftly giving a Tyrannosaurus Rex jumps fast from one side to another. "The dream was very understandable after Having seen a couple of days ago the release of Jurassic Park.

But the conversation went on ... Hey, there will be some animal like ... It may raise ... How about an ostrich?

Thus began the investigation. More than a year touring farms in the U.S., Canada, Africa and Europe. But what convinced us was the product.

There is a basic principle in Marketing: When a product is good, sooner or later be sold. And when a test known ostrich meat and leather, you realize that we are dealing with this type of product.

The rest is history. About a year and a half of sleep, arrived in Chile The first batch of Black African Ostriches. And had inadvertently set in motion a small snowball.

A little further we found a couple of farms that were also formed in other parts of Chile. And together we founded the Ostrich Breeders Association of Chile. Today, many of us, but we all join the same spirit: Innovation.
reliably
We believe that ostrich farming is the farming of the future. There is no better way, more efficient way to produce ostrich meat ... and no one disputes. And while there is other great products such as leather. We thank

in this paper to large contributors to this project, without which it would be impossible to advance. Featured place has our Agronomist, as well as our Manager of the farm and his right hand in the area ostriches, who have changed the loop by a hook. Similarly, everyone who has helped to reinforce this idea.

anecdotes have been part of those years. As forgetting the memorable visit of His Excellency the President of the Republic of Botwana and our friend Sir Ketumile Masire.

is no doubt that Joaquin should be planning a new project, while we enjoy the music of El Conquistador.
http://www.cqfm.cl/


thank Joaquin Molfino their collaboration for the preparation of this note.

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GUSTAVO CUEVAS FARRE
lawyer, political scientist, University Professor, Dean of the Faculty of Law

studied at the Liceo de Aplicación, graduating Sixth Humanities D, 1953. Later he joined the Catholic University Law School, where he earned his law degree in 1961, the following year received from the Supreme Court its title lawyer.

Subsequently we performed a Diploma (post - graduate) at the International Institute of Management, Paris, France, 1970

He has held the following positions:

• Professor of Constitutional Law at the Pontificia Universidad Católica de Chile.


• Professor of Constitutional Law at the University of Chile.


• Professor of Political Law at the Universidad Nacional Andrés Bello.


• Director of the Institute of Political Science at the University of Chile (1982 - 1994).


• Member of the Study of the Organic Constitutional Law Commission (Fernandez) 1983 - 1990.


• President of the Economic Social de Chile (1986).


• Director of the School of Law, University of Development until 1998.


• Professor of Constitutional Law at the University of Development.
  
  now doomed to continue teaching.
  
• Dean of the Faculty of Law and Social Sciences at the Universidad Mayor.


• Professor of Law Constitution in the same university.


• Chairman of the Arbitration and Mediation Center of Region IX (Araucania CAM).
  

Books and Articles

written several academic articles in his field of Constitutional Law and Political, legal journals and science and foreign policy.

• Guardians of the Constitution: Who chooses them?. Dean Faculty of Law and Social Sciences, Universidad Mayor.


• Lessons Chilean constitutional law. - Santiago Chile: Universidad Mayor, 2003.


• Pinochet: results of a 1973-1990 mission. Foreword by W. Thayer, ed. Arch, Santiago de Chile 1998, 286 pp.


• The historical project of the Popular Unity Publishing Literate. Santiago 1988.


• ideological Renewal in Chile: The party and its new strategic vision, Santiago, Institute of Political Science. Universidad de Chile, 1993.


• Chile 1973-1983. Approaches for a decade, Santiago, Universidad de Chile, 1983. (Editor).


• social market economy and Chile's economic policy.


• Chile no.


• Democracy and military issue.


• remember death.


• "The Constitutional Government and the rules on collective bargaining," in The Collective Bargaining in Chile, Santiago, Universidad Las Condes, Editorial Management, 1997, pp. 127-149.
  wish to thank Mr. Gustavo Cuevas Farren, the assistance provided for the preparation of this note.

Wood Bench - Blueprints

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Collaboration

Christian Rodriguez, crfilms@hotmail.com

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HERNÁN CASTILIAN GIRÓN
Writer, Poet, Actor, Filmmaker and Illustrator

born in Coquimbo, Chile, in 1937. studied at the Liceo de Aplicación, graduating in 1954, then studied Chemistry and Pharmacy in Santiago.

has been a writer, poet, actor, filmmaker and illustrator especially (or "Translator images") of the work of other poets as Pablo Neruda, César Vallejo, Rosamel del Valle, Vicente Huidobro and Federico García Lorca.

has participated in numerous exhibitions and has had solo exhibitions in Rome, Detroit, Santa Barbara and San Luis Obispo. His artistic activities covering seven decades since the 40's to the present. There is an illustrated tale of Castilian Girón, dating from 1948.

has worked as a teacher and research scientist at the University of Chile in Santiago. After the 1973 coup, had to go into exile to Italy, where he lived until 1981, when he traveled to the United States to continue a doctorate in Modern Languages \u200b\u200bat Wayne State University in Detroit. There he studied under the guidance of teacher and scholar Ivan A. Schulman, received his doctorate in 1987.

has published ten books in the genres of novels, short stories, poetry and literary criticism. He has performed solo and group exhibitions in several European countries and the United States. He has published articles and essays in literary and academic journals as Hispamérica, Revista Iberoamericana, Revista Cuadernos Americanos and National Culture.

In 1986 he was hired as full-time player at the California Polytechnic University San Luis Obispo (Cal Poly). At Cal Poly, he made his race from reader to Associate Professor until his retirement in 2002, teaching English and Italian American literature and Latin American culture and Italian.

In November 2000 he was elected Poet Laureate of the City of San Luis Obispo, the community of local poets. It is the only English-language poet to receive this honor.

is currently Professor Emeritus of English and Latin American literature at Cal Poly.

EXHIBITIONS

• "Self Portraits" (Self Portraits), Art Lives Here Gallery, San Luis Obispo, California, June-July 2000.


• "Into the Mix", exhibition of art group "ARTernatives", Gallery Space 47, San Luis Obispo, California, December 1995.
  
• Hernan Giron Castilian, Chilean painter-poet: "Drawings" and Lillian Mulero, Puerto Rican artist: "Lolita: Silkskreen Series" 24th Annual International Literary Arts Festival, The Center Press Small, 20W. 44th St. New York City, May 1995.


• "Voices Behind the Mask", an exhibition of four poets, painters, Bettina Barrett, Castilian Hernan Giron, Marguerite Costigan and Jared Dawson, Guernica Art Gallery, Santa Barbara, April / May 1994.


• "Poetry as Art / Artists as Poets," Gallery "Green Dragon", Santa Barbara, California, May 1992.
  
• "Mythic Power Lines / The Poet and the Visual Artist, watercolors, texts and facts rayograms xerox-color, with Dona Ohno and Janice Lincoln, Pontiac Art Center, Pontiac, Michigan, October 1988.


• Several visual poetry are included in the exhibition "Art is a Prison", Amsterdam, Holland, summer 1977. The same exhibition was presented at The Bugade, Chartreuse Villeneuve-lez-Avignon, France, summer 1978.


• "Chilean Young Painters," Museum Contemporary Art, Santiago, two exhibited collages, Spring 1971.


• Art Fair, collage and visual poetry, Santiago, Chile, 1967.


• College Art Exhibition Pharmaceutical Chemistry, Santiago, Chile, Spring 1960. First Prize in watercolor.

• Student Hall, University of Chile, Santiago, September 1959.


• Student Hall, Liceo de Aplicación, second prize in painting, spring 1954.

SOLO

• "Dream Landscapes / The Snakes of Ahumada Street" Art Lives Here Gallery, San Luis Obispo, California, May-June 2000.


• Forbidden Landscapes (Landscapes Prohibited) recent watercolors and gouaches, ARTernatives / Gallery Space 47, San Luis Obispo, February-March 1996.


• "Orpheus' Eye / Brush" (The Eye / The Brush Orpheus), recent watercolors and gouaches, Contemporary Arts Forum, Partridge Gallery, Santa Barbara, November / December 1993.


• "Hernán Castilian-Girón", exhibition of books and watercolors, Public Library San Luis Obispo Public, June 1992.


• "Images / Visions / Metaphors", watercolors based on texts by American poets, American and European CuestaCollege Art Gallery, San Luis Obispo, November 1989.


• "Poets of Three Worlds", watercolors based on the work English American poets, French, Italian and American, Detroit Gallery of the Arts Council / Front Room, January 1984.


• "Neruda and Lorca: due poeti della libertà" watercolors. Workers Union Istituto Superiore di Sanita, Rome, December 1980.


• Neruda segreto, watercolors based on poems by Pablo Neruda. Segrete Carte Gallery, Rome, Italy, June 1980.
  

Literary Work

• God's Egg and Other Stories, stories (Santiago: LOM, 2002).


• A Orfeo Pacific Rosamel poetry anthology Valley, selection, introduction, notes and postscript of HCG (Santiago: LOM, 2000).


• Calderon street or snakes Ahumada, novel (Santiago: Planeta Chilena, 1998).


• The Unreadable: 'The clouds and the years' , Novella (Concepción: Notebooks Southern Fiction, 1988).


• Another sky, poetry (Concepción: Notebooks South, 1985).


• The twilight of Anthony Wayne Drive / Twilights of Anthony Wayne Drive, poetry (DOME Press, 1984). Bilingual edition translated by Emil Efthimidas with an afterword by Waldo Rojas and illustrations by the author.


• Theory poor circus, poetry (Ottawa: Cordillera Publishing, 1978).


• Auto Heavenly / L'automobile heaven, poetry (Bari, Italy: Editorial Gea, 1977). Bilingual Edition , With translation and foreword by Mario Lunetta.


• The forest of glass, stories and collages (Santiago: Ars Nova, 1969).


• Kraal, stories and drawings (Santiago, Chile: Collection "The wind called" 1965
  
  
  For more works and information about the author, visit his website: http : / / www.hernancastellanogiron.com

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JUAN ROBERTO VILLAVICENCIO Munizaga

Anthropologist (1934-1996) Juan

I studied at Liceo de Aplicación, where he graduated in 1952. then entered medical school at the University of Chile, passion for anthropology, which would be one of the pioneers in Chile.

work yesterday a memory of John Munizaga, Professor Eugenio Aspillada in the Revista Chilena Anthropology in his No. 13 (1995 - 1996) of the Faculty of Social Sciences at the University of Chile, which were then transcribed.

Less than a year after the official creation of the Center for Anthropological Studies at the University of Chile, in 1953, when he joined that group of pioneers of the National Anthropology, a young medical student with little more than nineteen . With his passion for a discipline little known in our continent, managed to take a place in the fledgling institution and from there develop to their consolidation in academic circles of our country. That passion for Anthropology Physics, in all its expressions, Don Juan Munizaga characterized his entire life, passed several of his students, and escorted him to the time when he left, quietly, as he always was.

His early works not only allowed him to secure its inclusion in the university environment, but also external recognition, which was confirmed by a predoctoral Guggenheim Fellowship (1961 - 1962) that allowed him to continue their education in Physical Anthropology, under the custody of Thomas D. Stewart, at the Smithsonian Institution of the United States. During this period was linked to other renowned anthropologists such as Betty Meggers, Clifford Evans, Douglas Ubelaker, and developed important work, like his classic paper: "Skeletal Remains from sites of Valdivia and Machalilla Phases." Later, return to the Smithsonian Institution (1973-1974) with a postdoctoral fellowship, which provide in-depth topics such as Human Paleontology Paleopathology and also to develop a teaching strategy in physical anthropology and the training of specialists in this field, to implement in our country. Its passage by the Smithsonian, more than any other activity performed by John Munizaga abroad, left a deep imprint on him as a scientist and also in other aspects of person.

I find it difficult to detail all that we owe to Professor Munizaga, and do not just mean the huge debt of gratitude is a disciple to his teacher, who generously gave him the tools to function in a discipline and showed him a road where directed. This also emphasized the role played and will continue his work in Chilean and American anthropology, as were many issues addressed in the research, both in the field of theory and in the generation or evaluation of methods and techniques. Covered fields as varied as those for the studies on the origin and evolution of human populations the continent and especially our country, Paleopathology, intentional alteration of the human body or forensic physical anthropology. He made important contributions to each of these themes, and some of its innovative approaches, such as dealing with the problems of paleopathology from an epidemiological perspective.

His work extended beyond the scientific level, understanding both the extent and university teaching. The latter was one of the richest aspects of "Don Juan" as his students used to call, since she put her knowledge as a scientist with ease and simplicity, making efforts so that the contents of Anthropology Physics reach all students. Several generations of social anthropologists and archaeologists from the University of Chile and other universities, received his teachings directly or through their disciples, several of which were determined to continue its work. Professor Juan

Munizaga intensely lived the adventure of opening the field for the full exercise of a little-known discipline in our country and in much of America and the world, with its actions as prolific, not only what we remember as the "father of physical anthropology chilena", but as a great teacher and human being. Who had the privilege of being his disciples We owe a huge recognition, gratitude and a deep commitment to continue and enhance their work. EUGENE

Aspillaga

Department of Anthropology Faculty of Social Sciences University of Chile

http://www.facso.uchile.cl/publicaciones/antropologia/13/docs/antropologia_13.pdf

Office Of Behavioral Health Licensure And Arizona

remember

E Fourth Generation Collaboration
1992 Christian Rodriguez, crfilms@hotmail.com

Abraham

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Freifeld Umanskaia
Engineer, Sculptor, Professor University

Novasuliza Born in 1921, a village in Bessarabia, which was then part of Russia. His family suffered famine and wandered long to settle in Bucharest, Romania.

arrived in Chile at age seventeen with his family in 1939 to escape Nazi persecution in Europe, thanks to a comprehensive Consul of Chile and I had friends in our country, settling in Santiago.

The teenager gave a "test of maturity" from the School of Application, from where he graduated in 1940 from sixth of humanities. Later he joined the School of Engineering, University of Chile. At

Engineering fourth year he discovered his artistic vocation. While in Antofagasta, in practice, familiar with the work of a sculptor Yugoslav and decided "this is what I do." When I informed her mother, she reacted wisely. "Demuéstrate yourself that you do not give as a flight engineering. Finish your studies first and then you do the art. "

And so, in addition to his professional work, Freifeld joined the Faculty of Fine Arts at the University of Chile and so begins his tireless search for the ways of art. [1]

Slipped Disc Symptoms More Condition_treatment

José Rodríguez Elizondo
Abogado, Periodista, Escritos, Docente Universitario y Diplomático

Realizó sus estudios de humanidades en el Liceo de Aplicación, egresando el año 1952. Posteriormente ingresó a la Facultad de Derecho de la Universidad Chile, where a degree in law and social sciences, later obtained his law degree.

exile in East Germany came in 1974, along with hundreds of leftists fleeing repression unleashed by the military junta in Chile. Thanks to its intellectual status, saved proletarianization process by which hundreds of fellow worked for years in German factories. His fate was Karl Marx University of Leipzig. There, along with other thinkers of the PC, tried unsuccessfully to apply Marxism-Leninism to the Chilean reality many answers about the failure of the UP .

His deep disillusionment with socialism and the theoretical uncompromising he was dropping his party did, two years after breaking with the PC and out of East Germany . So began a process of self-criticism that culminated in the publication of the book "Crisis and Renewal of the Left in Latin America."

José Rodríguez Elizondo is now Professor of International Relations Faculty of Law University of Chile and columnist The Third , Chile, and La Vanguardia of Barcelona Caretas magazine in Peru. Member of Editorial Board of Tendencias21, has also written books and essays. His main work consists of 20 titles, including fiction, essays, philosophical and legal argument and reports.

He served as counsel for the Comptroller , Attorney CORFO, Steering UN, Ambassador of Chile in Israel during the government of Eduardo Frei between 1997 and 2000. He was the first director Information Centre United Nations in Spain (1986-1991), Director of Cultural Affairs and Information, Ministry of Foreign Affairs of Chile (1991-1994).

The drawing, a vocation and a natural talent who know only his closest.

A little-known perspective of Rodriguez Elizondo is his fondness for the cartoon, the journalist Ximena Torres Captive in the interview that is transcribed reveals.

Where was this taste. Why Chile is not public this talent of yours. You have exhibited outside of Chile, where? It was so

boy, who can not remember when I started drawing people from a comic perspective. I found that had some merit, when my art teacher at the school, seized the monkey was doing to a partner, looked appreciatively and asked me to do one to it. In Chile has been a very private hobby, but known and suffered by my friends concho Plaza Brazil and my colleagues in the Faculty of Law. In this all remember "The Escupitín", a bulletin board that took out two other idle. There was no one without his monkey. By the way, the historian Jaime Eyzaguirre repeated good-humored gesture drawing of my teacher. He asked me to give away the caricature he had exposed in the newspaper. In Peru, I published a column in the newspaper Ultima Hora ("articultura Notes"), which I illustrated with comics and cartoons monkeys. And in Israel made a public statement, which was well attended and discussed. I was organized Pituach Herly Mayor, the city where he lived. Also there, the Castilian Aurora magazine published several cartoons of me fellow ambassadors.

Of the Chilean cartoonists and the world, what are you most admire?

Jimmy Scott is a great teacher for your collection gesture, the fineness and cleanliness of the stroke. I also enjoy peanuts, its styling features. In Argentina I still admire the colossal Hermenegildo Sabat, by creative-interpretive elements incorporated. In Peru, is Carlin, who gets distorted caricatures that look like photographs. And in the United States is a great, in the New York Times, but I do not remember your license plate.

Why in this graphic and humorous side of journalism are not many women, given that we are many in the profession and practice of the profession?

Apparently, it's a genre that is beyond the genre. There is, yes, a Frenchwoman who makes comics great. I mean Claire Breteche. His style is so contagious that eventually appear in the monkeys imitated Jimmy Scott himself.

What are your most successful cartoons?

Those of my family. The credit goes to my wife and my children Maricruz Maca and Sebastian, which support and (sometimes) to semi-smile. My kids are monkeys on the day of birth.

What attributes must have a face to be a good cartoon?

Main attribute: not be pretty or clean-shaven (men section). A perfect face is an insult to the cartoonist, who must settle for finding the gesture. And gesture is captured much better when it is inserted in Nose, dried apricots, brush brows, crow's feet, bald, bald or balding with grapevine, feathers and gills of any Episcopal.

is, much of which goes in the Chavez and Lulas Evos, among others, visit us and talk about the Lakes, Insulza and many others who populate the scene. Why women do not like us caricaturized?

because you suspect from the beginning that do not inspire cute cartoons.

Has anyone angry or felt you to see your interpretation of him or her?

As a cartoonist I made, ever caricaturing the mistake of people who had real features of caricature. I learned early (thankfully) that amounted to mocking caricature. That was stupid enough to laugh at because it is short a midget or a homosexual because he does not like women. Beyond that, I learned that women suffer a bit, I stopped trying ... with some exceptions, such as Maricruz and Maca (thanks, again ... we must be cautious and a little bootlicking). As men, they just feel angry or those unsure of themselves, those who love too much and fools serious. Categories 2 and 3 tend to coincide.

What do you think hurts more: a accurate portrait of a successful written or cartoon?

clarify: a good cartoon can only hurt the self-conscious men, fools and prep. But these will hurt anything, oral or written, that is not flattering. The smart guys, cultured and friendly, they know that if they go through life without a good cartoon published, there were none. Published

Terra Chile on 9 November.

---

Written by José Rodríguez Elizondo on Tuesday November 27 2007 19:59

Works:

• His first nude and other tales of humor and amazement (Radio U. de Chile, 2006).

• neighborhood crises in the government of Lagos (test 2006)

• Chile-Peru: The century we live in danger (test 2004)

• Chile: a successful case of underdevelopment (essay, 2002)

• The Pope and his fellow Jews (essay, 2000)

• The Neruda I knew (Essay, 2000)

• La pasión de Iñaki (novela, 1996)

• Crisis y renovación de las izquierdas (Ensayo, 1995)

• La ley es más fuerte (ensayo, 1995)

• Vargas Llosa: historia de un doble parricidio (Ensayo, 1993)

• Por no matar al general (Novela, 1993)

• Crisis de las izquierdas en América Latina (Ensayo, Premio América del Ateneo Madrid, 1990)

• Democracy and Human Rights in Latin America, Madrid: Ediciones de Cultura Hispánica, 1989

• Nosferatu and other exiles (Cuentos. 1984).

Awards:

• King of Spain Prize for Journalism (1984), for his work in the magazine Caretas

• Diploma of Honor Municipality de Lima (1985)

• America Award Ateneo de Madrid (1990)

• International Award Peace of the City of Zaragoza (1991).

Ref:

http://www.tendencias21.net/conosur/

http://docs.tercera.cl/especiales/2001/verdeolivo/capitulo03/entrevista02.htm

http://www.terra.cl/noticias/index.cfm?id_cat=302&id_reg=875955

Racquel Darrian Stream

application note highlights the Remembrance Photo

D Fourth Generation 1992

Collaboration Christian Rodriguez, crfilms@hotmail.com

Le Vrai Groslascard Divorce

Generation Reunion Reunion

The past week met graduate Generation 1997, the Liceo de Aplicación. It indicates a link where you can see some photos of that meeting.

http://www.slide.com/r/NA07EFfe4D9h2-1UtpqB_o3TwldTThIj?view=original

Free Rail Car Blueprints

97 67

Forty years is possible only once

Science and popular wisdom agree that emotion increases with age. A good demonstration of this was the lunch that the generation share Ldea 67 to Saturday 10 November at the restaurant El Caleuche to re-enter or remember the 40 years of our formal exit from the eaves strict but loving of our teachers.

was late 1967 when 156 young people full of concerns and believed to be men in a bustling world of illusions and seizures abandoned the classrooms that were growing. They felt that finally broke the egg and cut the umbilical cord. It was already the sixth year graduates of the humanities. And saw themselves arise in the first germs ideological, but that never stopped respected, appreciated. Divide unthinkable.

later life behaved differently with each of us. For some better than others and still others could not be physically but in loving memory of Saturday's fair. We reached 58.

five teachers accompanied us: Jorge Perez (French), Arturo Escalona (physics), Jaime Petit (biology), Theodebert Rojas (PE) and Fernando Barraza (PE). Do me that!

The lunch was enhanced by the fiery speeches of several former students of the generation and the teachers present. In addition, these list as last happened 40 years ago. Nobody made little effort to hide a tear that escaped mischievous, especially when the name the missing and for all, all responded "present, sir."

I take this forum to pay due recognition to the organizing committee (comprising representatives of the four sixths), which for months he took his ... for the success of the meeting.

No details or loose ends left from the transportation of the most "busy and important", to collect the funds, pay what he had to pay, to help those in need to avoid missing, CD recording of a memorial with pictures of past and present, to what I personally find most striking: all dressed in red T-shirts with the logo glorious Ldea left chest on a black legend "Generation 67".

solapines Finally we had to hang us with name and year of graduation to identify and recognize after four decades without a hug and, in many cases not even see us.

is likely that we can meet again, but it is impossible to do so in 40 years. Therefore, as of Saturday, 10 was unprecedented and unrepeatable. What a pity the who missed it!

Arnoldo García Carreras

Journalist
6 º D 1967
Humanities Lyceum Application
acarrerasg@vtr.net

Parasound Zpre Review

Generation Reunion, 1979 4A

Only a few days ago, there was a meeting room camaraderie A year 1979 graduate of the Liceo de Aplicación , gathered at the Santa Rosa Country Club Las Condes, Catholic University.

The arrival was at about noon for a football game or tennis according to preferences, then the healthy exercise and drink a few beers, passed a room where a video was prepared by Nicolas Correa, with memories of our student days, including serial music tv that marked or refer to any of us, and our image in the time of primary and secondary images of those who were our teachers and inspectors.

It continued to this lunch, then to entertain a while singing karaoke, the typical light and closed off, guitar playing several songs from that era, to say the amount of memory flocked to each of us on this magical day, new memories to be dusted off and many touching words of several of us.

attendees as the photo left to right starting always with the bottom row are:
Juan Carlos Molina, Guillermo Castro, Marcelo Valenzuela, Marcelo Bustamante, Ricardo Toloza, Waldo Corvalan, Max Avila, Juan Olivares, Patrick Jorquera, Renato Chacón, Rafael Pizarro, behind Nicolas Correa, Andres Allende, Ricardo Araya (of hat), hidden behind Cesar Pizarro, Hector Bravo, Pedro Cavicchioli yellow, next to Abraham Jarpa, in front of them, Victor Ayala, Brown, and Jaime Sepulveda.

Collaboration Rafael Guzman Pizarro
http://rafakerpi @ gmail.com /

Intitle/:'' -catcher Console-web Monitor''

Manfred Max-Neef
Economist, musicians, teachers and university rectors,

Candidate for President of the Republic, Alternative Nobel Prize

Manfred was born October 16, 1932 in Valparaiso, Chile. His parents were German, which, however, did not belong to the classic nineteenth-century immigration introverted, but those who moved to South America after the 1st World War. His mother sent him an education humanism and love for music, the father is one of the founders of the Chilean political economy.

He studied Humanities at the Liceo de Aplicación, graduating in 1949 from sixth in humanities later admitted to study economics.

Manfred Max-Neef tells about his graduation from college: "I just graduated from the University of Chile, at 21 years old, I received a job offer from Shell. I was legitimately proud of being hired by one of the largest companies in the world. I made very good race in a few years, becoming a young and successful executive. After four years I was a night alone in my living room, listening to the Brahms First Symphony. By the second movement had the sudden feeling that Brahms asked, "What are you doing with your life?" It was a feeling so intense that I began to imagine visions of my future as an executive worldwide, making big oil business, in the middle of well-known tycoons. Suddenly I was sure that the character did not fit me. I could not recognize me at ease in these images. A week later I gave up undisclosed, of course, the real reasons "brahmsianas." I returned to college to complete my studies graduate. And Brahms acquired with a debt of gratitude for life. "

Max-Neef leaves the conventional career to engage in intellectual vagrancy, while developing a growing interest in development issues. In 1957 he's back to the industry and is dedicated to studying the problems of developing countries. He worked for UN organizations and U.S. universities and Latin America. In 1961 goes to a school called the U.S., where it becomes a career in Berkeley, California.

In 1973 accepted a call from the University of Chile, which was up just before the coup against the government of the Unit Popular. Max-Neef went into exile.

happens to work in Argentina in the Bariloche Foundation, strongly marked by Carlos Mallmann, and which grow symbiotically natural sciences, mathematics and music. In those times is published "Limits of poverty ', in A. Herrera and HD Scolnik, which appears in the Bariloche model "which presents a model of alternative world based on equality and the idea of \u200b\u200bbasic needs, it does not end with the global collapse.

Project Between work and theoretical reflection, grow your wealth of ideas. Max-Neef is finally rewarded in 1983 with the Alternative Nobel.

With the prize money, Max-Neef in Santiago, Chile founded the Center for the Study and Promotion of Urban Affairs (CEPAUR), in order to implement their ideas on a "human scale development 'and from then multiply the international awards.

Max-Neef becomes a member of the Club of Rome, the European Academy of Arts and Sciences, International Group Protectors of Refugee Studies Program at the University of Oxford, Great Britain, as well as committees Scientific Leopold Kohr Academy in Salzburg, Austria, and Honorary International Dag Hammarskjold Foundation, Sweden. It also forms the Advisory Board of the Institute for Environmental Creativity (Creative Environment Institute) in Yokohama, Japan and serves as scientific advisor to the Black Sea University, Romania, and Fellow of the British Society Schumacher.

Professor of Ecological Economics in the UK also Schumacher College, based in Devon, also participates on the Editorial Board of the International Journal of Ecological Economics (Journal of Ecological Economics). Professor of Development Economics at the University of California, Berkeley, and visiting teacher at several universities in the United States and other countries in Latin America.

For current activities, the expert in applied economics vast experience as a member of the Advisory Council of the Governments of Canada and Sweden for Sustainable Development, or as a professor of economics at the University of Chile.

Among other duties, he served as an Economist General Fund of the United Nations Food and Agriculture Organization (FAO), Head of Mission of the International Labour Organization (ILO), consultant to the United Nations Fund Children's Fund (UNICEF) and United Nations Program for Development (UNDP).

Your search

intellectual sympathy for simple people, the small is beautiful Schumacher, Leopold Kohr's obsession by units comprised inspired by Dag-Hammarskjöld Foundation, I needed examples of alternative sector development in Latin America, the alternative thinking of the Bariloche Foundation and especially its own project work fueled the search for Max-Neef's proposals for the implementation of the 'human scale development. " As the development should not be imposed from above but must come from the base, developed a method to grasp the true wishes and needs of ordinary people.

The "development" defined it as the "liberation of possibilities creative "of all members of society, as a distinctly separate concept of economic growth and not be a condition for it.

The object of his search as exemplified by the act of a mother breastfeeding her baby, a newborn has a basic need, the subsistence finds satisfaction in being breastfed, an act which in turn wakes up other needs such as protection, love and identity and simultaneously stimulates your satisfaction.

According to this model, Max-Neef builds an array with nine basic needs (tenth, the search for transcendence, seemed then too bold), connected axiologically with four categories of satisfaction of needs. The nine basic needs are: subsistence, protection, affection, understanding, participation, leisure, creation, identity and freedom. The four categories corresponding to the level of satisfaction are: be, have, do, and interaction.

Experiments were originally performed in the late 60's and early 70's in different parts of Latin America and then went elsewhere, even in developed countries. With the experience thus obtained was then crystallized as a result that will have a central value in thinking posterior de Max-Neef: no existe, tal su tesis, correlación alguna entre el grado de desarrollo económico (industrial) y la felicidad relativa de las personas implicadas y también parecen aumentar la soledad y la alienación en las sociedades desarrolladas.

Para los conocedores de las teorías del desarrollo, tales formulaciones no son nada nuevo. En ese sentido, Max-Neef no es tanto un teórico, sino más bien un pensador pragmático sobre lo sensato y factible, que desea inspirar a la gente sencilla de la periferia geográfica y social a desarrollar la iniciativa propia, la responsabilidad y la búsqueda de identidad. Tampoco es el fundador de una escuela propia del pensamiento, sino que moves within defined parameters and by others before him, Schumacher, Kohr, Fundación Bariloche, Dag Hammarskjöld Foundation. Max-Neef wants to be a voice in the chorus of alternative thinkers, a stubborn and high voice.

In his reflections on the future of humanity has come to define scenarios between sunset and feasibility. As possibilities include the partial or total loss of humanity as a result of a nuclear or ecological catastrophe. But the real terror for Max-Neef is the scene of a realization of science fiction, the case of a polarized society of barbarians, in which the rich barricade themselves behind wire barbed, high voltage fences, walls with shards of glass and armed guards, while some in the midst of nightmarish landscapes, the marginalized wander in and steal.

These reflections lead him in the 90 to make the thesis of 'threshold' at a certain point of economic growth, industrialization classic, quality of life of citizens began to decline. Verify this hypothesis based on the index of Sustainable Economic Welfare of the United Nations: Austria, as the timid modernizing, you get a better position than Germany and the countries of continental Europe experienced the "threshold point" less dramatically than England, USA

For most Chileans Manfred Max-Neef is known in the mid-nineties, when in the midst of a polarized presidential election, launched a bizarre presidential campaign where the candidate, Manfred himself, said that under no circumstances I wanted to be president. The nomination in 1993, managed to overcome in votes to the Communist candidate, was generated in a participatory process by a large rainbow of contesting social and political organizations. This, in a context in which he was guaranteed the victory of the Concertación's presidential candidate, as could be expected that a portion of the electorate seek expression through this application.

was Rector of the Universidad Austral de Chile (1994 - 2002). Currently he serves as Professor of Ecological Economics and Pro Dean of the Faculty of Economics and Management at the Universidad Austral de Chile, and maintains collaborative relationships with diverse groups of researchers from Europe and Latin America.


THEIR WORKS

• Limits to Anthropic Manipulation of the Biosphere. Paper, University of Chile and the Club of Rome, 1999.


• Economic Growth and Quality of Life: A Threshold Hypothesis, in: Ecological Economics, 15 (1995), 115-118.


• Barefoot Economy Signals from the Invisible World (1993).


• Human Scale Development: Concepts, Applications and Reflections (1993).


• From the Outside Looking in: Experiences in Barefoot Economics. Foreword by Leopold Kohr, Uppsala, Dag-Hammarskjöld-Foundation (new edition, London, Zed Books 1992).


• -Real-Life Economics. Understanding Wealth Creation. Edited by Paul Ekins and Manfred Max-Neef, London, New York, Routledge.
1992 Rethinking

• City Latin America (1988).


• Real Life Economics: Understanding Wealth Creation (1992).


• From the Outside Looking In: Experiences in Barefoot Economics (1992).


• Human Scale Development. Conception, Application and Further Reflections. New York, London, Apex Press. 1991


• menschlichem Entwicklung nach Mass (1990).


• From the Outside Looking In (1984).

Fran Andra Sidan
• (1984).


• civil society and democratic culture: Messages and paradoxes. With Antonio Elizalde Santiago de Chile, CEPAUR. 1989.


• Work, Urban Size and Quality of Life (1978).


• The World Apart (1972).


• Resources Development (1968).


• Business Motivation and Concentration of Economic Power (1965).


• Around a Sociology of Development (1965). Awards
  
  
  
• Alternative Nobel Prize 1983, awarded by the Parliament of Sweden as the creator of the principles of "Barefoot Economics" and the Theory Human Scale Development.


• In 1987, he received the National Prize for the Promotion and Defense of Human Rights, delivered by a group of institutions that fought against the dictatorship that ruled the destiny of Chile between 1973 and 1990 and acknowledged that how the work of the scientist in favor of democracy in his country.


• Gold Shield merit Grand Officer of the Order of Sol de Carabobo, Venezuela.
  academic award granted by the University of Manizales, Colombia. (1997)


• Japanese Soka University bestowed the Award Highest Honor University (University Award of Highest Honour) (1997).


• Medal Excellence in Grade Gold Universitaria, Universidad Santiago de Cali, Colombia.


• Doctor of Economics honoris causa from the University of Jordan.
  

References
http://www.sipaz.net/noticias.shtml?x=4572
http://es.wikipedia.org/wiki/Manfred_Max-Neef
http://www.tierramerica.net/global/consejo/mmneef.shtml
http://www.revistaca.cl/2005/10/manfred-max-neef-la-inevitable-necesidad- of-a-more-efficient-energy /
http://www.max-neef.cl
http://www.mundonuevo.cl/revista/nov_dic_2007/interior_jpg/10.php
http://www .iepe.org / magazine / ver_articulo.php? id = 91 & PHPSESSID = 44b4f3170fde70b904ef7d9f4aa60cb4
http://www.mundonuevo.cl/revista/nov_dic_2007/interior_jpg/10.php
http:/ / www.revistaca.cl/2005/10/manfred-max-neef-la-inevitable-necesidad-de-una-mayor-eficiencia-energetica/