thegoodfellas/blogset-br huggingface dataset:
E PRECISANDO SE ADEQUAR, PODE NOS CONTATAR QUE ACOMPANHAMOS TODO O PROCESSO DE HOMOLOGACAO.http://www.inmetro.gov.br/legislacao/rtac/pdf/RTAC002235.pdfColaboracao de dicas para importar ou exportar precisando tirar Radar e Importar ou Exportar, e so chamar.(11) 27788730 - aejcomex@gmail.comJeronymo - Despachante Aduaneiro
mais acessiveis, sua venda e feita atraves de representantes e sua promocao e feita atraves de catalogos.Denuncia: um produto de boa qualidade, seu preco esta um pouco acima do mercado devido as altas propagandas investidas, seu principal clientes e o publico feminino devido aos detalhes da calca jeans e sua principal promocao e a propaganda feita no programa Super Pop da Rede Tv.Osmoze: jeans de qualidade, vendido geralmente por representantes e lojas, seu preco e acima do mercado e suas promocoes sao atraves de boca a boca e cartazes.EXPORTADORES DE CALCA JEANSJeans China : fabrica de jeans e brim localizado no Cantao do Sul da China, estao no mercado a 10 anos. Fornecem ja ao mercado europeu e americano e tem projetos para ajudar a novos compradores.http://www.jeans-china.com/About-Us-Portguese.htmlEndereco: Guangshen Road 107 , Xin-Tang Town, Guangzhou, P. R. China.Telephone: +86-20-3291 8985Guangzhou Hui-He Clothing & Textile Manufacturing Co. Ltd: fornecem produtos de qualidade e um preco competitivo, as instalacoes da fabrica, ficam perto de Hong Kong o maior porto exportador da China. Com o grande volume de exportacao para a Europa, ha um escritorio na Holanda.http://www.jeans-china.com/About-Us.htmlEndereco: GuangShenDaDao 184, Xin-Tang Town, Guangzhou, China.Telefone: 00-86-186 7918 0806Shunde Junzirui Garment Factory: especializada na producao e comercializacao de calcas, saias e jaquetas jeans para homens e mulheres. Os produtos ja sao distribuidos para: Asia, Europa, America, Oriente Medio e Africa.http://www.tradekey.com/company/shunde-junzirui-garment-factory-5623597.htmlEndereco: No 6 ,XingYeRd, ShaPu Industrial Park, JunAn distr.Telefone: 86-13711-445396E perceptivel que este projeto tera aceitacao por parte do publico porque e um produto de larga utilizacao e qualidade com viabilidade de aceitacao por todas as faixas etarias, sendo que seu custo inicial apresenta competitividade no mercado nacional.CONCLUSAOA elaboracao do presente projeto proporcionou o aferimento de conhecimentos atinentes a realidade pratica empresarial, especialmente no que toca a logistica dos processos de importacao.A superacao das etapas inerentes a negociacao comercial internacional hipotetica abordada neste trabalho, bem assim a verificacao dos aspectos legais que permeiam as transacoes que os diversos Estados soberanos realizam entre si, foi viabilizada pelo sistema Comexlabs, atraves da simulacao das operacoes pertinentes.Destarte, cumpre concluir que, para a obtencao de exito na aquisicao de produtos advindos do exterior, e imperioso que o adquirente se atenha principalmente aos custos da mercadoria negociada tendo em vista a carga tributaria que lhe e aplicavel.REFERENCIASReceita Federal. Disponivel em:<http://www.receita.fazenda.gov.br/Aduana/Importacao.htm> Acesso (Junho, 18, 2012)Ministerio do Desenvolvimento , Industria e Comercio Exterior. Disponivel em: <http://www.desenvolvimento.gov.br/sitio/interna/index.php?area=5> Acesso (Junho, 17, 2012)"CASO PRECISAR DE ORIENTACAO DE PROFISSIONAL PARA IMPORTAR OU EXPORTAR, E SO LIGAR.(11) 27788730 (11) 947561598 - JERONYMO - DESPACHANTE ADUANEIRO
desenvolver uma linha de pensamento empreendedor, do que fazer para conseguir viver por conta propria. Nao e apenas querer. E se preparar.Este video e um excelente inicio para sua nova jornada rumo a se tornar uma pessoa mais competente e rentavel para VOCE, e nao para seu patrao.Clique na imagem abaixo.
Mais saude, mais tempo e com dinheiro.Esta oportunidade de negocios e para 4 tipos de pessoas:1 - Empreendedores que querem diversificar suas atividades e estejam atentos para algo que realmente lhes traga retorno.2 - Pessoas que estejam insatisfeitas com seu trabalho e procurando uma alternativa que lhes traga uma melhor qualidade de vida e proporcione manter-se no mesmo nivel social que seu atual trabalho.3 - Quem esta negativado, gastando mais do que ganha e precisa de uma renda extra para cobrir os custos mensais.4 - Quem esta sem trabalho e precisa de qualquer renda.*Os resultados de perda de peso e ganhos financeiros a seguir nao sao garantia nem representam uma media. Podem variar de acordo com cada pessoa e com diversos outros fatores.PROPOSTA DO BLOG: Ser uma apresentacao COMPLETA sobre a empresa, produtos, atividade de negocios, mercado, sistema de trabalho e possibilidades. E, ao final, lhe dar a oportunidade de conversar diretamente comigo sobre a sua decisao.Seja bem vindo e tire bastante proveito.PRODUTO: Apresentar uma refeicao completa, com todos os nutrientes necessarios para uma vida saudavel, por apenas R$ 4,50;NEGOCIO: Ensinar a ganhar R$ 500 extras nos primeiros 30 dias de trabalho.E a montar uma estrutura que podera lhe render R$ 15 mil por mes apos um ano de atividades.NAO E UMA PROPOSTA DE EMPREGO.E UMA OPORTUNIDADE DE NEGOCIO PROPRIO.Voce tem varias opcoes de investimento inicial, entre elas:1 - Distribuidor.Investimento inicial de R$ 130,00 apenas no cadastro. Voce adquire produtos de acordo com as encomendas dos seus clientes. Seu desconto a cada compra e de 25% no valor bruto dos produtos. Lucros mensais de R$ 300,00.2 - Consultor Senior. R$ 130,00 do cadastro + Estoque inicial de cerca de R$ 1.500,00. Este estoque supre por volta de 10 clientes e e adquirido com 35% de desconto no valor bruto dos produtos direto da Herbalife e gera um faturamento em torno de R$ 2.200,00. Lucros mensais de R$ 700,00.3 - Construtor de Sucesso. R$ 130,00 de cadastro + Estoque inicial de cerca de R$ 2.700,00. Este estoque supre por volta de 20 clientes e e adquirido com 42% de desconto no valor bruto dos produtos direto da Herbalife e gera um faturamento em torno de R$ 4.400,00. Lucros mensais de R$ 1.700,00.4 - Supervisor.Este nivel de investimento e maior pois o leva ao patamar de inicio mais elevado, abrindo as outras formas de ganho que serao explicadas mais adiante. A partir deste nivel e possivel receber rendimentos advindos da estrutura de distribuicao que sera construida e podera leva-lo a ganhos de R$ 15.000,00 mensais dentro de um ano. Ou menos. Ou mais.Ha varias formas de se qualificar a este nivel, com investimentos que variam de R$ 2.500,00 a R$ 12.000,00.Meu conselho pessoal como seu coach e que, para entrar inicalmente como Supervisor, somente aquelas pessoas que tenham o capital disponivel e nao precisem utilizar o cartao de credito, pois o volume de estoque e maior, necessitando de mais de 30 dias para sua comercializacao. A nao ser que seja uma estrategia feita em grupo.Nao quero ninguem da minha equipe com dividas.Agora, veja a
seriedade que o espera:Fundada em 1980, esta e a Decada da HerbalifeApos se interessar, entre em contato direto comigo pelo email abaixo e tiraremos todas as duvidas dentro do seu objetivo.Saude e bem estar? Controle de peso? Melhorar a aparencia da sua pele? Renda extra? Atividade em tempo parcial? Tempo integral? Negocio proprio a medio-longo prazo?Avalie os produtos, a empresa, o mercado e a oportunidade de uma forma global.Bem vindo e conte com nosso apoio.drsilvioramos@yahoo.com.br
ESCUTAR PELEJAS DE ARTISTAS, CRITICOS, ETC... COMECARA ENTAO A FAZER-SE ESSA PERGUNTA EM UM NIVEL MAIS PROFUNDO E, QUANDO FINALMENTE NAO TENHA AINDA RESPOSTA... TERMINARA POR ENTENDER!2 LOGO, DEVERA DECIDIR SER ARTISTA E CRER LOGICAMENTE QUE SEM ARTISTA NAO HA ARTE!3 DEVERA ENTAO PERGUNTAR-SE: QUE FUNCAO AGORA CUMPRE O OUTRO?4 FINALMENTE, DEVERA ESPERAR QUE AS INSTITUICOES OFICIAIS E A IMPRENSA LHES ABRAM PORTAS OU ESCREVA SOBRE VOCE. BEM OU MAL. VIVO OU MORTO! DA NO MESMO!NOTA DA CHEF: SE OUVE QUE NAO E NECESSARIA A LEGITIMACAO FINAL DAS INSTITUICOES, MAS, EM MINHA EXPERIENCIA PESSOAL, DE TODOS OS GRANDES ARTISTAS QUE ME INTERESSEI, FOI POR INDICACAO DE OUTROS ARTISTAS, POR LIVROS E POR TE-LOS VISTO EM GALERIAS E MUSEUS VIVOS OU MORTOS, DA NO MESMO! DE FATO, ME INTERESSEI POR ELES PORQUE ELES PROPRIOS OU ALGUEM ESCREVEU SOBRE ELES VIVOS OU MORTOS, DA NA MESMA!TIPO: DISSERAM-ME UMA VEZ, QUE EM UM LUGAR QUE NAO SEI ONDE, NAO SEI QUANDO ACONTECEU, HA UMA GRANDE ARTISTA QUE FEZ UMA GRANDE OBRA. MAS, DELA NAO CONHECO NADA, NEM SEI SE ELAS EXISTEM...IMPORTANTE: E POSSIVEL ACELERAR ESTE ULTIMO PASSO!PARA ISSO SE PODEM ESTABELECER DIFERENTES ESTRATEGIAS, E COMO UM BOM CONSELHO, E BOM TER UM POUCO DE NOCOES DE MARKETING E DEDICAR-SE A ISSO O MAIOR TEMPO POSSIVEL UTILIZANDO DE TODOS OS MEIOS, ANALOGICOS E DIGITAIS.ALGUMAS SUGESTOES DE ESTRATEGIAS SAO: CRIAR UMA OBRA QUE SEJA ALGO QUE SE ESPERA QUE ALGUEM O FACA OU O CONTRARIO. DA NO MESMO! EVIDENTEMENTE, CRIAR UMA OBRA COM CERTA CAPACIDADE DE EFEITO, IMPACTO! ASSISTIR E PARTICIPAR DE UMA BOA QUANTIDADE A MAIOR POSSIVEL DE VERNISSAGES E CUMPRIMENTAR MUITA GENTE A MAIOR QUANTIDADE POSSIVEL. SE VOCE TEM MENOS DE 30 ANOS, NA DUVIDA... RECOMENDA-SE LEVAR UM TAPETE VERMELHO EM BAIXO DO BRACO! SABER, EM ORDEM ALFABETICA, OS NOMES E SOBRENOMES DE CURADORES, DIRETORES DE GALERIAS, PRODUTORES, JORNALISTAS, URLS E LINKS DE FESTIVAIS, PREMIOS, EDITAIS E RESIDENCIAS... MANDAR PROPOSTAS AOS SALOES E PREMIOS E MAIS QUE FAVORAVEL! PESQUISAR NA INTERNET SOBRE O QUE SE ESTA FAZENDO EM OUTROS LUGARES, NESTE MOMENTO... (ESPACOS/TEMPOS). FICAR ATENTO AO QUE ESTA SENDO PREMIADO PELOS SALOES, DE PREFERENCIA, AOS QUE OFERECEM A CIMA DE 10 SALARIOS MINIMOS, MAS, CLARO, TAMBEM OS QUE NO MINIMO OFERTAM A CIMA DE 3! LEVAR EM CONSIDERACAO QUE SE VOCE PASSAR DOS 30 ANOS, NAO DEIXARA DE SER ARTISTA JOVEM NEM EMERGENTE MAS, INFELIZMENTE, ESTARA DE FORA DA MAIORIA DOS EDITAIS E BOLSAS DE PESQUISA INSTITUCIONAIS! LEMBRE-SE TAMBEM, QUE ATE OS 65 ANOS, NAO LHE CHAMARAO DE MESTRE. PODE ACONTECER QUE POR PRECIPITACAO E NA DIFICULDADE DE DETERMINAR ALGUEM DE PRECURSOR(A), MESTRE PODERAO LHE CHAMAR, EM ALGUMA ENTREVISTA, DE VOVO OU VOVO... MAS AI, JA E OUTRA HISTORIA! BUSQUE ALGUM NICHO DE MERCADO LINGUAGEM, TEMA E TECNICA QUE NAO ESTEJA MUITO EM USO... OU... EM RE-USO! OBSERVE AS TENDENCIAS DAS GRANDES BIENAIS EM GERAL, CHEGAM AO MERCADO LOCAL EM DOIS ANOS E POR VEZES, A ASSIMILACAO NUNCA CHEGA; SE BEM, QUE COM A MUNDIALIZACAO... ESTA BEM ACELERADINHO ESSE PROCESSO! IH! ESSA LISTA E BEM MAIS EXTENSA...SE POR ACASO VOCE SENTIR E PERCEBER QUE ESTE
edicao/montagem do ICAP - Instituto Cultural e Audiovisual Potiguar; a musica e do Gogol Bordello!+civonemedeiros@gmail.com | Natal /RN ~ Brasil naredecomcivone.blogspot.com facebook.com/civonemedeiros performare.blogspot.com escriturasangradas.blogspot.com twitter.com/civonemedeiros youtube.com/civone vimeo.com/civonemedeiros civonemedeiros.tumblr.com+ Link para o Making-off: youtu.be/J9UtSE_DrwUvar addthis_pub="civonemedeiros";
time-based oriented artworks plays a significant role in 20th century art until today. RoseLee Goldberg (Courtesy R Goldberg)RoseLee GoldbergFounding Director and Curator at Performa (New York, NY) I can think of so many things that people collect that maintain their integrity and carry a message, and that bring pleasure to the collector. The person who is likely to buy a performance, or the ephemera from a performance, is no doubt inspired by what the "matter" represents, the cultural references, and other associations of the work. A performance is unlikely to have resale value, except again to someone who might be obsessed with the artists' ideas. Glenn Phillips (photo courtesy Glenn Phillips)Glenn Phillips Principal Project Specialist/Consulting Curator, Department of Architecture and Contemporary Art at the Getty Research Institute (Los Angeles, CA) That's a difficult question to answer. But I think that performance art can almost to the same degree that any other artwork can. It's true with painting and sculpture as well that their original message, their original impact, changes over time. We're not shocked by the avant-garde of the early 20th Century in the same way people were, but both with a little act of the imagination we can try to think back and still feel that impact. The same is true with Jackson Pollock or Andy Warhol or even someone like Jeff Koons, his work felt more shocking in the 1980s than when we see the artwork now because art has developed. So every artwork goes away a little bit over time, but that's not a reason for us not to still think about those works and appreciate those works. Performance, of course, is different because it is a temporary act, so there's sort of an added step for a viewer who wasn't there. There's the added step of encountering the work either through documentation, photography or video or film, sound recording or reading the artist's original score those are just sort of mental acts that we can do with no problem. At the Getty Research Institute, where I work, we have amazing products that are documenting early firework spectacles from hundreds of years ago and there's no way for us to imagine how amazing something like that might've been hundreds of years ago because it's so common now but there's still these prints, this documentation, these beautiful artworks in their own right. I think it's challenging because we see museums now trying to collect performance art and there's always the question of what they even should collect, how you would piece together ephemera or what form of performance you would even say is the object. And that's a problem that a lot of artists take on individually. A lot of artists have very strong feelings about what form their documentation should take or what type of objects leftover after a performance might be turned into artworks and that's just part of an artistic process too. Artists continue to be creative in the way they treat what's left after. They put the same degree of creativity into assembling documentation of work,
producing scores that are beautiful, it's just another step of the creative process for them. Of course other artists are focused only on the ephemeral and don't try to do that, so it changes from case-to-case. But I guess nonetheless there's still value and reason for us to learn about this type of work and to make our own intellectual acts of trying to take from it what we can even if it's not the full original object. Hector Canonge and artists after the presentation of ITINERANT performances at Grace Exhibition Space, Brooklyn (photo courtesy Hector Canonge) Hector CanongeArtist and Founder of the Itinerant Performance Art Festival (New York, NY) Performance Art is a different form of expression. We are not talking about a painting, sculpture or even a video that can be archived, collected, sold and exchanged. Performance Art can be documented through film, video, photography and other media, but it is ephemeral in nature. The message itself is embedded in the action and the form the performance takes place. A live performance is experienced in a different manner than let's say, for example, seeing the documentation of the same performance. It is important for performance artists to document their projects so there is a record of it even if the performance is meant to live only for a few minutes. As an artist, I always make sure that there is someone documenting my performances. As the organizer of the festival Itinerant, I make sure that we documented all performances, public actions and presentations including the talks with the artists. That is a record for posterity, but it doesn't have the same "value" as experiencing the live performance. In terms of "collecting" performances, Performance Art cannot be treated as an object. However ephemera from performances could be collected. The objects left by the artists serve as mementos of what happened live, but they are only pieces and those pieces cannot reflect the entire performative act. In terms of reproducing a performance, if it is scripted and the artist leaves detailed instructions of its execution, and if there is documentation to substantiate the original presentation, it could be reproduced. But is it still the same performance? Is the question. Unlike theater, dance and other performative disciplines, performance art exists for a particular moment within a particular historical, social and political framework. The relevance of a piece might be extremely important in a determined period of time, but within a few years, that relevance might not speak to audiences in the same manner. Therefore, although the performance might be the same, its message might not translate or be what the artist intended. What I elaborated above is in terms of live performance art. Video performance is different because the performance has been created for a particular medium, video, and that can be treated differently. A performance for video exists for that form and within that type of presentation. It is possible to collect it, but more difficult to reproduce because one needs to know what the original intention of the piece was and
how the artist put together all the elements within the structure of video presentation. Photo Credit: Marni Kotak, "Advice for the Mom-to-be", Grace Exhibition Space, Brooklyn, NY (2011)Marni Kotak Performance Artist (Brooklyn, NY)A performance itself cannot be collected, because, as life, it can never be truly contained. The ephemerality of a performance can never be taken away regardless of any attempt to commodify it; it just is. What can be collected, however, are what I refer to as "mementos" of the original event. Just in the way that people collect family heirlooms, home-movies and memorabilia from daily life, we can collect these elements from live art. So photos, videos, sculpture, installations and other remnants of the performance can be collected. It is possible to attempt to re-enanct, or, to use your words, re-produce, a performance, as Marina Abramovic did in "Seven Easy Pieces," and as I have done in my "Found Performances" from life, but it will always be different the second time around. If the performance is strong, it will capture the emotional experience of the original event, as I try to do in my life re-enactments. By collecting or re-producing performance art we are trying to make its ephemerality immortal and timeless in a sense we are fighting against the very nature of what it is. But to try to do this is utterly human, and driven by the nostalgic need to hold onto the wondrously fleeting moments of life. Anya Liftig (photo by Alessandro Vecchi)Anya LiftigPerformance Artist (New York, NY) When I went to the Guggenheim to see Marina Abramovic re-perform Vito Acconci's "Seedbed" (1972) I realized that the only way I had encountered Acconci's piece was through documentary photographs and written descriptions. The re-performance differed from Acconci's original in significant ways. First of all, Marina is a woman, and a woman masturbates differently than a man. Acconci used a ramp that sloped upwards into the gallery wall and Abramovic used a free-standing circular stage with a small ramp on the side for viewer access. The scale of the Guggenheim atrium made the intimate thoughts that Abramovic was expressing almost inaudible while the 1972 piece had a much lower ceiling and the audio was able to be understood. Throughout the seven nights of Marina's piece, I was watched as she reinterpreted the works of her predecessors but I couldn't help feeling the attendant sadness I would never actually see Acconci under THE actual ramp at Sonnabend. I would never see Beuys muttering to a dead hare. That the past was past and maybe it was best left that way. I love reading about history, it is a deep passion of mine, but reenactments bore me and tickle that bone of doubt that feels art is frivolous in a world with bigger problems. Yes, performance is ephemeral, but it takes a really talented and charismatic performer to make that ephemeral moment something that sears into your memory. Not all performers are created equal in this regard. And lately, the attitude is: "I have something I would like to do in
a performance that I am not physically or mentally capable of doing, so I'll just hire someone to do it for me and say that it is my work while they run on treadmills or jump up and down all day or eat dirt." That is crap to me.I think the best model for re-performance is the old career comedy joke, "The Aristocrats," where everyone adds their own spin to the telling. No one owns a single interpretation, but over time, each person becomes known for their particular style. In performance, this takes the form of a score. It is a free, open source way of interpreting action and can be passed infinitely. Trying to collect performance art and, it goes without saying, monetizing it, is a little sad to me, like catching lighting bugs in a jar and watching them die. Joseph Ravens (photo by Flavia Arruda, courtesy Joseph Ravens)Joseph Ravens Executive Director of DEFIBRILLATOR performance art gallery(Chicago, IL) Several things come to mind right away.First is simply semantic: The idea of a performance work having a "message" is problematic. I think theater has messages, TV shows have messages, but I don't think it is usually an element in performance art. Perhaps the idea of maintaining an original "impact" might be a more fitting way to say it ... The second thought I have is that artists work in many different ways. I know there are performance artists who frown upon work presented more than once, or are opposed to wearing a costume, or the idea of rehearsal. Some artists feel this falls into the territory of theater. I don't believe that. I'm very frustrated with those who attempt to limit or define a medium that by its very nature is limitless and enigmatic. I do believe that performance art sits in the realm of visual art. And I do prefer action-based and conceptual performance work that is distinctly different from theater or dance. But I also think it's wonderful that theater is becoming more abstract. And I think dancers have an awareness of space that many performance artists might do well to learn from. I see no reason for there to be animosity between these time-based disciplines. So the idea of reproducing a performance art work though a convention of theater is completely possible and viable, though not necessary. In terms of creating performances that are repeated (in repertoire, so to speak), I must admit that it is like sex the first time always feels the best, but it might be a little clumsy. Down the road, it isn't as exciting, but the kinks are worked out and it has a different sort of strength. How to collect performance art? I run a gallery in Chicago and we collect objects from performance. We at this stage have no intention of selling this work. We are simply interested in the memory that an object holds, especially if presented alongside some other form of documentation. Video and photo are standard ways of documenting a performance, but we're curious about other ways that