En este blog estaré colocando material para las materias que estoy impartiendo.

Friday, November 23, 2007

Preocupa e-Basura en China

Defectos en la legislación permiten que muchos aparatos eludan los acuerdos internacionales sobre la exportación de electrónicos viejos a China

AP

Guiyu, China (22/11/2007).- El aire tiene un aroma picante, por el humo que despiden los mecheros instalados frente a numerosas viviendas, en los que se funden cables para recuperar el cobre y se derriten las tarjetas de circuitos de computadoras desechadas, a fin de obtener oro.

Los trabajadores inmigrantes, en harapos, trituran las pantallas de los viejos televisores para recolectar el vidrio y los componentes electrónicos, arrojando al medio ambiente hasta tres kilogramos de polvo de plomo.

Durante cinco años, los ambientalistas y la prensa han alertado sobre los peligros para los trabajadores chinos que desmantelan buena parte de los aparatos electrónicos desechados por el mundo. Pero una visita a esta población del sureste de China, considerada el corazón de los desperdicios de alta tecnología, muestra que muy poco ha mejorado.

De hecho, el problema empeora, con la participación de la propia China.

El país produce actualmente más de un millón de toneladas de desechos electrónicos al año, dijo Jamie Choi, responsable de una campaña de Greenpeace China en Beijing. Ello se suma a casi cinco millones de televisores, cuatro millones de refrigeradores, cinco millones de lavadoras, 10 millones de teléfonos celulares y cinco millones de computadoras personales, según Choi.

"La mayoría de los desechos electrónicos en China proviene del extranjero, pero crece la cantidad de desperdicios generados por el país", añadió.

Este negocio se basa sólo en factores económicos. Para Occidente, donde las reglas de seguridad elevan el costo de reciclar y reutilizar los desperdicios, resulta hasta 10 veces más barato el exportarlos a países en desarrollo. En China, los pobres que emigran de las zonas rurales están dispuestos a enfrentar los riesgos para la salud a fin de ganar unos cuantos yuanes, explotados por empresarios codiciosos.

Los acuerdos internacionales y la regulación en Europa han reducido la exportación de electrónicos viejos a China, pero algunos defectos en la legislación --y a veces los sobornos-- permiten que muchos aparatos eludan esos requisitos. Y apenas una parte de los electrónicos vendidos vuelve a manos de los fabricantes como Dell o Hewlett-Packard con el objeto de reciclarse en forma segura.

Hasta el 90 por ciento termina en basureros que incumplen con estándar ambiental alguno, donde se utilizan trituradores, fogatas, baños de ácido y mecheros para recuperar el oro, la plata el cobre y otros metales valiosos, en un proceso que emite humos tóxicos y contamina los cielos y ríos del país.

Es difícil determinar las cifras sobre este comercio oscuro y libre de regulación. Sin embargo, los expertos coinciden en que resulta un problema cada vez más grave para el mundo en desarrollo. Estiman que 70 por ciento de los entre 20 y 50 millones de toneladas de desperdicios electrónicos producidos cada año en el mundo es arrojado en China.

El resto va principalmente a India y a países africanos.

De acuerdo con la Agencia de Protección Ambiental de Estados Unidos, resulta 10 veces más barato exportar los desperdicios electrónicos que encargarse de éstos en el país.

Los desechos llegan a China pese a que el país lo prohibe y a que Beijing ha ratificado la Convención de Basilea, un acuerdo internacional que proscribe el comercio de desperdicios electrónicos. Ted Smith, quien estudia esta industria, dijo que un exportador le contó que todo lo que hacía falta para que los productos viejos pasaran por las aduanas chinas era un billete de 100 dólares adherido en el interior de cada contenedor.

"El gobierno central está al tanto de los problemas, pero no ha tenido la capacidad o la disposición de resolverlos", dijo Smith, estratega de Silicon Valley Toxics Coalition, una organización con sede en California.

La Unión Europea prohibe esas exportaciones, pero Smith y otros especialistas consideran que el contrabando es rampante, principalmente ante la falta de castigos para los infractores. China, en tanto, permite la importación de desperdicios de plástico y restos metálicos, lo que muchos grupos de reciclaje usan como excusa para enviar al país los electrónicos viejos.

Y aunque los gobiernos estatales de Estados Unidos requieren cada vez con más frecuencia que los electrónicos sean enviados a lugares de recolección y reciclaje, es posible que incluso desde esos centros, las firmas del país envíen los desechos al extranjero, legalmente, porque el Congreso no ha ratificado la Convención de Basilea.

Los resultados son evidentes en las calles de Guiyu, donde la industria de desechos electrónicos emplea a unas 150 mil personas. Los contenedores navieros de partes de computadoras, viejas consolas de juegos de video, pantallas de computadora, teléfonos celulares y electrónicos de todo tipo, desde los muy antiguos hasta los prácticamente nuevos, son arrojados en las calles y separados para su desmantelamiento y fusión.

El cobre, el oro y la plata se obtienen al fundir o bañar en ácido los componentes, mientras que el acero se arranca y el plástico se tritura para otros usos.

En el poblado de Nanyang, a unos minutos de Guiyu, un matrimonio de la provincia interior de Hunan separa varios cables eléctricos en una choza con piso de tierra. Ese trabajo, además de la fusión de tarjetas de circuitos, les reditúa unos 800 yuanes (100 dólares) al mes, dice el marido, quien se niega a dar su nombre.

Muchas fundidoras se improvisan en las viviendas. Los mecheros de gas, fabricados por herreros locales, se instalan junto a la puerta principal, con una alta chimenea a fin de despedir los gases tóxicos.

Un visitante experimenta pronto jaquecas y un sabor metálico en la boca. El agua del subsuelo ha estado contaminada durante mucho tiempo, y no es propicia para el consumo humano. La cantidad de plomo en los sedimentos del río duplica los límites permitidos en Europa, de acuerdo con Basel Action Network, un grupo ambientalista.

Salvo por traer agua potable a la zona en camiones cisterna, los riesgos a la salud son prácticamente ignorados. Se sigue pescando en los estanques locales y hay varios montones de cenizas y desperdicios plásticos junto a los arrozales y diques del Río Lianjiang, el principal del área.

Varios químicos, incluyendo mercurio, flúor, bario, cromo y cobalto, generados por los desperdicios o por su procesamiento, habrían causado enfermedades dérmicas y respiratorias. Llevaría décadas el disipar la contaminación, según los expertos, y los efectos a largo plazo sobre la salud incluyen daños al riñón y al sistema nervioso, debilitamiento del sistema inmunológico y cáncer.

Mientras, varios vehículos lujosos están aparcados frente a las mansiones de quienes controlan el negocio en el centro de Guiyu. Muchas casas están adornadas con letreros que muestran nombres evocadores de su belleza, como: "Salón de la Paz Sureña".

Wednesday, June 20, 2007

Co-star





Alone in my room
I switch on the tube
And wave at the screen
It stares back at me

So I turn to the sky
And watch as it cries
Just waiting in here
For the car to appear

Cause when we're together the world smiles
And when we're together it feels right
We'll live for the future and its scenes
When we're together, my co-star and me

Your plane is delayed
So I walk from the gate
But when you appear
I'll stick to you dear

And we'll stumble outside
And dance in the sunlight
Like ice in the sun
We'll melt into one

Yes when we're together the world smiles
And when we're together it feels right
We'll live for the future and its scenes
When we're together, my co-star and me

When we're together the planets align
When we're together I burn from the inside
We'll live for forever in this insanity
When we're together, my co-star and me

When we're together the world smiles
And when we're together it feels right
We'll live for the future and its scenes
When we're together, my co-star and me

When we're together the planets align
And when we're together the stars gonna shine
We'll live for forever in this insanity
When we're together, my co-star and me


Thursday, May 10, 2007

Wednesday, May 09, 2007

Para la mamá más comprometida del mundo en su día...




Madre, en tu día
no dejamos de mandarte nuestro amor.
Madre, en tu día
con las vidas construimos tu canción.

Madre, que tu nostalgia se vuelva el odio más feroz.
Madre, necesitamos de tu arroz.
Madre, ya no estés triste, la primavera volverá,
madre, con la palabra libertad.
Madre, los que no estemos para cantarte esta canción,
madre, recuerda que fue por tu amor.

Madre, en tu día
—Madre Patria y Madre Revolución—,
madre, en tu día,
tus muchachos barren minas de Haiphong.

Versión original:



Powered by ScribeFire.

Saturday, April 21, 2007

I Will Follow You Into The Dark (Ben Gibbard Style)

*IMPORTANT!* Death Cab plays this with a capo on the 5th fret!
If you do not use a capo you will not be playing the song in
the correct key! Tonally, the song is in Dm.. not Am.

Rhythm Notes: Light palm muting on the larger strings, while
allowing the b string to ring out.



Part I - INTRO/CHORUS (Capo 5th)

Am C F C G/B
e|-------------------------------|-------------------------------|
b|-------1--------------1--------|------1---------------1-----3--|
g|-----2----2---2-----0----0---0-|----------2---2-----0-----0----|
d|-2----------2----2---------2---|----3-------3------------------|
a|-0---------------3-------------|-3---------------3------2------|
E|-------------------------------|-1-----------------------------|


Am C G
e|-------------------------------|-------------------------------|
b|-------1--------------1--------|------3--------3-------3-------|
g|-----2----2---2-----0----0---0-|---------0--------0-------0----|
d|-2----------2----2---------2---|---0--------0--------0-------0-|
a|-0---------------3-------------|-------------------------------|
E|-------------------------------|-3-----------------------------|


Am C E Am Am/G
e|-------------------------------|-------------------------------|
b|-------1--------------1--------|------0---------------1------1-|
g|-----2----2---2-----0----0---0-|----------1---1-----2------2---|
d|-0h2--------2----2---------2---|----2-------2-------2------2---|
a|-0---------------3-------------|-2---------------0-------------|
E|-------------------------------|-0-----------------------3-----|


F Fm C
e|-------------------------------|-------------------------------|
b|------1----------1----1--------|-------1--------------1--------|
g|----------2---2--1-------1---1-|-----0----0---0-----0----0---0-|
d|----3-------3----3--3------3---|-2----------2----2---------2---|
a|-3---------------3-------------|-3---------------3-------------|
E|-1---------------1-------------|-------------------------------|



Part II - VERSES (Capo 5th)
Note: Repeat this sequence as often as necessary.

C Am
e|-------------------------------|-------------------------------|
b|-------1--------------1--------|-------1--------------1--------|
g|-----0----0---0-----0----0---0-|-----2----2---2-----2----2---2-|
d|-2----------2----2---------2---|-2----------2----2---------2---|
a|-3---------------3-------------|-0---------------0-------------|
E|-------------------------------|-------------------------------|


F C G
e|-------------------------------|-------------------------------|
b|------1---------------1--------|-------1--------------3--------|
g|----------2---2----------2---2-|-----0----0---0----------0---0-|
d|----3-------3-------3------3---|-2----------2-------0------0---|
a|-3---------------3-------------|-3-----------------------------|
E|-1---------------1-------------|-----------------3-------------|



Part III - ENDING (Capo 5th)
Note: Replace last two bars of CHORUS with these.

F Fm C C/B Am Am/G
e|-------------------------------|-------------------------------|
b|------1----------1----1--------|-------1--------------1--------|
g|----------2---2--1-------1---1-|-----0----0---0-----2----0---0-|
d|----3-------3----3--3------3---|-2---------------2-------------|
a|-3---------------3-------------|-3----------2----0-------------|
E|-1---------------1-------------|---------------------------3---|


F Fm C
e|-------------------------------|-------------------------------|
b|------1----------1-------------|-1-----------------------------|
g|----------2---2--1-------------|-0-----------------------------|
d|----3-------3----3-------------|-2-----------------------------|
a|-3---------------3-------------|-3-----------------------------|
E|-1---------------1-------------|-------------------------------|

I Will Follow You Into The Dark (Ben Gibbard Style)

*IMPORTANT!* Death Cab plays this with a capo on the 5th fret!
If you do not use a capo you will not be playing the song in
the correct key! Tonally, the song is in Dm.. not Am.

Rhythm Notes: Light palm muting on the larger strings, while
allowing the b string to ring out.



Part I - INTRO/CHORUS (Capo 5th)

Am C F C G/B
e|-------------------------------|-------------------------------|
b|-------1--------------1--------|------1---------------1-----3--|
g|-----2----2---2-----0----0---0-|----------2---2-----0-----0----|
d|-2----------2----2---------2---|----3-------3------------------|
a|-0---------------3-------------|-3---------------3------2------|
E|-------------------------------|-1-----------------------------|


Am C G
e|-------------------------------|-------------------------------|
b|-------1--------------1--------|------3--------3-------3-------|
g|-----2----2---2-----0----0---0-|---------0--------0-------0----|
d|-2----------2----2---------2---|---0--------0--------0-------0-|
a|-0---------------3-------------|-------------------------------|
E|-------------------------------|-3-----------------------------|


Am C E Am Am/G
e|-------------------------------|-------------------------------|
b|-------1--------------1--------|------0---------------1------1-|
g|-----2----2---2-----0----0---0-|----------1---1-----2------2---|
d|-0h2--------2----2---------2---|----2-------2-------2------2---|
a|-0---------------3-------------|-2---------------0-------------|
E|-------------------------------|-0-----------------------3-----|


F Fm C
e|-------------------------------|-------------------------------|
b|------1----------1----1--------|-------1--------------1--------|
g|----------2---2--1-------1---1-|-----0----0---0-----0----0---0-|
d|----3-------3----3--3------3---|-2----------2----2---------2---|
a|-3---------------3-------------|-3---------------3-------------|
E|-1---------------1-------------|-------------------------------|



Part II - VERSES (Capo 5th)
Note: Repeat this sequence as often as necessary.

C Am
e|-------------------------------|-------------------------------|
b|-------1--------------1--------|-------1--------------1--------|
g|-----0----0---0-----0----0---0-|-----2----2---2-----2----2---2-|
d|-2----------2----2---------2---|-2----------2----2---------2---|
a|-3---------------3-------------|-0---------------0-------------|
E|-------------------------------|-------------------------------|


F C G
e|-------------------------------|-------------------------------|
b|------1---------------1--------|-------1--------------3--------|
g|----------2---2----------2---2-|-----0----0---0----------0---0-|
d|----3-------3-------3------3---|-2----------2-------0------0---|
a|-3---------------3-------------|-3-----------------------------|
E|-1---------------1-------------|-----------------3-------------|



Part III - ENDING (Capo 5th)
Note: Replace last two bars of CHORUS with these.

F Fm C C/B Am Am/G
e|-------------------------------|-------------------------------|
b|------1----------1----1--------|-------1--------------1--------|
g|----------2---2--1-------1---1-|-----0----0---0-----2----0---0-|
d|----3-------3----3--3------3---|-2---------------2-------------|
a|-3---------------3-------------|-3----------2----0-------------|
E|-1---------------1-------------|---------------------------3---|


F Fm C
e|-------------------------------|-------------------------------|
b|------1----------1-------------|-1-----------------------------|
g|----------2---2--1-------------|-0-----------------------------|
d|----3-------3----3-------------|-2-----------------------------|
a|-3---------------3-------------|-3-----------------------------|
E|-1---------------1-------------|-------------------------------|

Sunday, March 25, 2007

Suede - New Generation

I wake up every day to see her back again
Screaming my name through the astral plane
And in this catalogue town she takes me down
Down through the platinum spires
Down through the telephone wires
And we shake it around in the underground
And like a new generation rise

And like all the boys in all the cities
I take the poison, take the pity
But she and I, we soon discovered
we'd take the pills to find each other

Oh but when she is calling here in my head
Can you hear her calling
And what she has said?
Oh but when she is calling here in my head
It's like a new generation calling
Can you hear it call?
And I'm losing myself, losing myself to you

I wake up every day, to find her back again
Breeding disease on her hands and knees
While the styles turn and the books still burn
Yes it's there in the platinum spires
It's there in the telephone wires
And we spread it around to a techno sound
But like a new generation rise

Cos like all the boys in all the cities
I take the poison, take the pity
But she and I we soon discover
We take the pills to find each other

Oh but when she is calling here in my head
Can you hear her calling?
And what she has said?
Oh but when she is calling here in my head
It's like a new generation calling

Can you hear her call?

And I'm losing myself, losing myself to you

Saturday, February 24, 2007

Oraciones para la semana del 26 de febrero al 2 de marzo

Oración 26 de febrero




Oración 27 de febrero



Oración 28 de febrero



Oración 1 de marzo



Oración 2 de marzo

Friday, February 23, 2007


The Railway Children - Collide








Monday, February 19, 2007

Aztec Camera - The Crying Scene





Words and music by Roddy Frame


We were two in a million,
Stars like the ones in the sky,
A love scene and a vision,
We saw the world and we waved goodbye.
Watched the fireworks falling,
We kissed and innocence died.
The sound of certainty calling,
A world that wouldn't be satisfied.

Chorus:
You only get one hit, that's the beauty of it,
What's the good in crying?
It's always been that way, at the end of the day,
You gotta keep on trying.
Life's a one take movie and I don't care what it means,
I'm saving up my tears for the crying scene.

Tears fall and they haunt me,
The sad words of a song,
It's like necessity wants me,
Sometimes I long just to belong.
I dream of demons and money,
I see the straights in the rain,
I gotta keep on movin',
Before they drag me down again...

Chorus

Wednesday, February 14, 2007

The Railway Children - Every Beat of the Heart

That's some angry sky behind me
i don't need you here to guide me
indentify too familiar ground and
i'll keep away i'll keep away
i think i can control this need
but your so precious when you leave
don't demonstrate this is life and death
in front of me
in front of me
don't show me around
it's just an easy way you've found
every beat of the heart brings
me closer to the start
takes me further away from you brings
me closer to the truth
don't show me around
it's just an easy way you've found
that's a part of my life behind me
and i conclude that we can't fail to see
centre ground better days
too familiar now to keep away
you think you can control this greed
well turn full circle you can't fail to see
it's second place i've found the key
close to you i can believe.

James

To celebrate...

James' reunion here is Sit Down, live at the G-Mex (this version includes the famous "extra verse")

Saturday, February 03, 2007

Un profeta para nuestro tiempo



Billy Bragg
"Waiting For The Great Leap Forwards"
live on October 5th, 2006

It may have been Camelot for Jack & Jacqueline
But on the Hugo Chavez highway, filling up with gasoline,
Little Donald Rumsfeld spies a rich lady who's crying
Over luxury's disappointments, so he goes over and he's trying
To sympathize with her, but he thinks that he should warn her
To prepare to be bombed back into the Stone Age

In the former Soviet Union, the citizens demand
To know why they're still the target of Strategic Air Command
And they shake their fists in anger and respectfully suggest
We take the money from our missiles and spend it on our hospitals instead

The Cold War now is over, but the stakes are getting higher
I'm frightened of collateral damage, and of friendly fire
and I don't believe we can defeat no axis of evil
by putting smart bombs in the hands of dumb people

Mixing pop and politics, they ask me what the use is
I offer 'em my acupuncturist and my masseuses
While looking down the corridor out to where my ego is waiting
I'm looking for the New World Order

Jumble sales are organized, all my mates got fat
Even after all this time, y'know you can still send me a fax
You can be active with the activists, or sleeping with the media
While you're waiting for the Great Leap Forwards

One leap forwards, two leaps back,
Will YouTube give MTV the sack?
Waiting for the Great Leap Forwards

Well here comes the future, and you can't run from it
If you've got a website, I wanna be on it
Waiting for the Great Leap Forwards

In a perfect world, we'd all sing in tune,
But this is reality, not American Idol
Waiting for the Great Leap Forwards

So join the struggle while you may
The revolution's just an ethical haircut away
When you're waiting for the Great Leap Forwards

Sunday, January 28, 2007

Joan Osborne - One of Us





Aquí está el video. Les pido que por favor revisen la letra y contesten las siguientes preguntas:

¿Cómo te imaginas a Dios?
¿Te sería difícil pensar en El como una persona común, igual a tí?
Si has visto el programa Joan of Arcadia, ¿te parece apropiada la forma en que Dios es presentado en ese show?


If God had a name, what would it be/And would you call it to his face/If you were faced with him in all his glory/What would you ask if you had just one question

And yeah yeah/God is great yeah yeah/God is good/yeah yeah yeah yeah yeah

What if God was one of us/Just a slob like one of us/Just a stranger on the bus/Trying to make his way home

If God had a face what would it look like/And would you want to see/If seeing meant that you would have to believe/In things like heaven and in jesus and the saints and all the prophets

And yeah yeah god is great yeah yeah god is good/yeah yeah yeah yeah yeah

What if God was one of us/Just a slob like one of us/Just a stranger on the bus/Trying to make his way home/He's trying to make his way home/Back up to heaven all alone/Nobody calling on the phone/Except for the pope maybe in rome

And yeah yeah God is great yeah yeah God is good/yeah yeah yeah yeah yeah

What if god was one of us/Just a slob like one of us/Just a stranger on the bus/Trying to make his way home/Just trying to make his way home/Like a holy rolling stone/Back up to heaven all alone/Just trying to make his way home/Nobody calling on the phone/Except for the pope maybe in rome

Wednesday, January 24, 2007

Saturday, December 23, 2006

Antes de Navidad

Compras de último minuto, visitas familiares. Espero que tengamos oportunidad de encontrar paz en estos días.





Thursday, December 14, 2006

The Real Indies

I was amused to hear my students refer to a certain type of music as "indie", as if it were some kind of novelty. Once more my theory that the eighties are back is confirmed.



As much as kids nowadays want to sound cool by using that label to address music that is not gobbled up by the masses, the truth is that once again record companies use it as a marketing gimmick (just the same way they did when I was a kid).



Before I go on, let us look at what the term indie originally wanted to acknowledge. Indie comes from the word independent and, as far as music is concerned, usually meant any band that did not record its material through one of the "Big Four" (Warner, Universal, Sony BMG, and EMI). I believe this to be a relatively sensible definition of the term (for the time being I will not go into independent films, as I am not that familiar with the concept).



The term gained notoriety in the eighties, as some artists decided to shy away from the burgeoning business started by MTV, in which musicians were more about style than substance. The counter culture started by labels such as Factory Records, Rough Trade Records, and Sarah Records gained popularity specially in college campuses, where many teenagers felt a sense of dislocation amidst the new cult to image.

Blog Archive