Fidest – Agenzia giornalistica/press agency

Quotidiano di informazione – Anno 32 n° 220

Archive for 26 settembre 2014

The extreme right has hijacked Finland’s national symbols

Posted by fidest press agency su venerdì, 26 settembre 2014

The same is also happening elsewhere in Europe. Now a new national identity is being designed for Finland by the neighbouring country Sweden. This goodwill initiative for a more open and positive Finland is called “Finland Redesign”. One of Sweden’s most influential designers Henrik Nygren is working on a new identity, which will be revealed in December at Eurobest, Europe’s biggest festival of creativity. Though Finland is just a small nation in the Nordics, good news are written about it every day. The Finnish education system is one of the best in the world, Finland is one of the world’s least corruptedcountries and the best place to become a mother. New innovations and scientific
discoveries are continuously created there – not to mention that Finland is home to some of the world’s most interesting new startups such as Rovio and Supercell.But Finland is facing the same problems as many other countries in Europe. It is hard for a normal citizen to show national pride as the right wing has hijacked the national symbols. This is the reason for the goodwill initiative “Finland Redesign”, started by Finnish creative agency Bob the Robot.“We wanted to create something concrete using creativity and design. So we decided to create a completely new identity for our nation – symbolizing a more open and positive Finland. That is why we needed a completely new perspective. So we turned to Sweden, our neighbours, who we strongly love and hate”, says Miska Rajasuo, CEO of Bob the Robot. How would you feel if your country’s new national identity was designed by your neighbours? What would happen in Germany if France would design their new
national identity? Or what about Canada designing a new one for USA? This has finlandnever been done before, so the whole project is way out of the box. After a long search, a perfect designer was found. Henrik Nygren, who is undertaking
the feat of redesigning the identity of Finland, is one of the most influential designers in Sweden. During the course of his career of over 30 years, he has designed stamps for a king, won the most prestigious design prize in Sweden, the Platinum Egg, and influenced the Swedish graphic design scene as an educator. His work has also been exhibited around the world from Stockholm to Tokyo. But this is the first time for Nygren to design an identity for a whole nation: “It is interesting in this profession how all projects are in a way the same. Big or small, close or far, they all need the same focus and hard work to be believable, stand out and tell a story. This project for Finland is no exception”, Nygren comments.The new national identity of Finland, designed in Sweden, will be presented during Europe’s biggest festival of creativity, Eurobest, in Helsinki in the beginning of December. The new identity will be freely available to use for any Finnish person or organization.

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Money laundering, transfer of funds, fraud, Europol

Posted by fidest press agency su venerdì, 26 settembre 2014

BruxellesCivil Liberties MEPs give green light to negotiations with member states The Civil Liberties, Justice and Home Affairs Committee decided on Wednesday to open the negotiations on the legislative files on money laundering, transfer of funds, fight against fraud and Europol. The three-way talks between the Parliament, the Council and the Commission (trialogues) will start soon.The mandate for the negotiations correspond to the amendments adopted in plenary during the previous term, as reconfirmed by the Civil Liberties Committee in its decision to resume its “unfinished business” (rule 229 of the EP Rules of Procedure).The decision by the committee to enter into negotiations with the Council and the Commission in view of an agreement also includes a decision on the composition of the EP negotiating teams.

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Bilan de la politique énergétique allemande dans un contexte européen

Posted by fidest press agency su venerdì, 26 settembre 2014

Ucraina-graFace à la crise ukrainienne, la sécurité d’approvisionnement en gaz naturel est devenue une question de premier plan dans le débat sur la politique énergétique européenne. Au point de faire perdre de vue d’autres importants défis auxquels l’UE est confrontée en matière de politique énergétique. Pour l’Allemagne, en raison de sa transition énergétique, il y a trois problèmes qui ne peuvent être résolus qu’au niveau européen :
1. En dépit de la transition énergétique, les émissions de CO2 en Allemagne augmentent.
C’est le résultat d’un excédent de certificats d’émissions dans le cadre du Système communautaire d’échange de quotas d’émissions (SCEQE) qui s’explique principalement par une chute de la production industrielle après la crise économique de 2009. Ainsi, le prix du CO2 a baissé et la production d’électricité à partir du charbon et du lignite a augmenté, alors que les centrales au gaz respectueuses du climat en Allemagne ont généré de moins en moins d’électricité, voire ont été démantelées. Les émissions de CO2 en Allemagne ne pourront être réduites que par une approche européenne, par le biais d’une modification du SCEQE.
2. Malgré l’augmentation de la génération d’électricité à partir du charbon, les coûts de l’électricité en Allemagne sont élevés.
Cela tient notamment à la répartition prévue dans la Loi sur les énergies renouvelables qui a augmenté à 6,24 cents par kilowatt heure en 2014. Alors que l’industrie et les ménages privés en Allemagne font face à d’importants coûts visant à réduire les émissions de CO2 ; celles qui ne le sont pas en Allemagne le sont dans le reste de l’UE en raison du faible coût des certificats d’émissions. Le Groupe intergouvernemental sur l’évolution du climat (GIEC) indique qu’idéalement, les émissions ne devraient être limitées que par l’échange de droits d’émissions. Des mécanismes supplémentaires de promotion des énergies renouvelables au niveau national ne feraient qu’augmenter les coûts, sans atténuer les effets sur les changements climatiques. Cette proposition n’est pas injustifiée mais a peu de chances d’être mise en œuvre. Une autre solution, meilleure en termes de coût-efficacité, pourrait être l’harmonisation européenne des mécanismes de soutien.
3. L’Allemagne est confrontée au risque de pénurie d’approvisionnement en électricité lors des périodes de pointe, lorsque le soleil et le vent ne peuvent fournir suffisamment d’électricité.
Parallèlement, combler ces pénuries par la mise en marche de centrales au gaz naturel n’est pas faisable économiquement pour les fournisseurs d’énergie. Des pénuries d’approvisionnement pourraient être prévenues par l’importation d’électricité des pays européens voisins, ce qui impliquerait de créer un réseau de distribution transnational. Les fournisseurs allemands préfèrent la création d’un marché d’approvisionnement pan-Européen dans lequel l’État paie les opérateurs des centrales pour la mise à disposition des capacités de génération d’électricité, même si celles-ci ne sont pas utilisées.

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Royal Academy of ArtsBurlington House

Posted by fidest press agency su venerdì, 26 settembre 2014

Anselm KieferPiccadilly, London W1J 0BD 10am – 6pm daily (last admission 5.30pm) Fridays until 10pm (last admission 9.30pm) Admission. In September 2014, the Royal Academy of Arts will present the first major retrospective of Anselm Kiefer’s work to be held in the UK. Considered to be one of the most important artists of his generation, the exhibition will span over forty years from Kiefer’s early career to the present time, bringing together artwork from international private and public collections. The exhibition will be arranged chronologically, presenting the epic scale of his artwork and the breadth of media he has used throughout his career, including painting, sculpture, photography and installation. Kiefer has also created a number of works conceived specifically for the Royal Academy’s Main Galleries, showcasing his continued interest in seeking new challenges and producing ever more ambitious artwork.Kiefer’s fascination with history itself and with the work of past masters permeates his subject matter. From mythology, to the Old and New testaments, Kabbalah, alchemy, philosophy and the poetry of Paul Celan and Ingeborg Bachmann, Kiefer’s work wrestles with the darkness of German history and considers the complex relationship between art and spirituality. His technical use of materials such as clay, ash, earth, lead, fabric and dried flowers amongst others, adds further symbolism and depth to his work.Highlights of the exhibition include photographs and paintings from the controversial Occupations and Heroic Symbols (Heroische Sinnbilder) series of the late 1960s and early 1970s. These images record Kiefer’s re-enactment of the Nazi salute in locations across Europe, made in the belief that one must confront rather than supress the experiences of history. A series of paintings from Kiefer’s Attic series will also be exhibited, including Father, Son and the Holy Ghost (Vater, Sohn, Heiliger Geist), 1973 and Notung, 1973 depicting powerful renderings of wooden interior spaces based on the studio space that Kiefer was occupying in Walldürn-Hornbach in south-west Germany, which he has referred to as “a place to teach myself history.” The exhibition will also feature his monumental architectural paintings, such as To the Unknown Painter (Dem unbekannten Maler), 1983 that reflecton the neo-classicist buildings of Albert Speer, Hitler’s architect, and the role of the artist in considering collective memory.The exhibition will consider the key themes and the diverse, personal iconography that Kiefer has created in his work over the years and will look at the influence of place on his oeuvre. As he said in a recent interview, “Art is an attempt to get to the very centre of truth. It never can, but it can get quite close.”Other paintings on display include Palette on a Rope (Palette am Seil), 1971 that uses the motif of the artist’s palette to represent Kiefer’s engagement with the facets of history, as well as a series of early watercolours including From Oscar Wilde (Von Oskar Wilde),1974 and Winter Landscape (Winterlandschaft), 1970.Anselm Kiefer will also present his celebrated lead books, including the paintings For Paul Celan, Ash Flowers (Für Paul Celan, Aschenblume), 2006 and Black Flakes (Schwarze Flocken), 2006. Kiefer’s new works for the exhibition will incorporate a number of large-scale paintings and sculptures, including a major installation for the Royal Academy’s courtyard.Image: Anselm Kiefer, The Language of the Birds, 2013

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