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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

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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]