october 2011 - fao staff coop...pranic healing mr r. krell 52419 sai baba ms s. kulkarni 52607...

OCTOBER 2011

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Ecosystems are for Ever

6th Edition of the RUN FORFOOD Race

Towards a Holistic Approachto Oil Painting

Window on the world: the wonder & beauty ofPostage Stamps

When in Rome...appreciate thatcity Engineering

World Rabies Day 2011

FAO Staff Artists Corner

ottobre2011.qxp 26/09/2011 12.55 Pagina 1

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Natura

di Laura Guerrini

Il verde della campagnaIl blu del mareIl giallo della montagna

Tre coloriTre luoghima una sola identità

la natura

infinita,meravigliosa,completa,fantasticavera, intrigante, eccitante, fluttuante, devastante

complice

nell’averci dato-nel darci-nel donarci se stessa

non permettiamo di togliercela-non togliamocela

NON UCCIDIAMOLA

Dal libro di poesie “ Sognando Liberamente”


The “FAO CASA GAZETTE” is theregistered title of the journal of

the FAO STAFF COOP

FAO Staff Coop Board

Chairman: Enrica RomanazzoVice-Chairman Bouchra El ZeinSecretary: Valentina Delle FratteTreasurer: Adriano FavaPublicity Officer: Edith MahabirMembers: Cynthia Edwards

Paolo TrippaPatrizia Ragni

Auditor: International Audit Service s.r.l.

Direttore Responsabile: Patrizia Cimini

Editorial Committee: Edith Mahabir, Peter Steele,Danilo Mejia, Alexia Di Fabio,Enrica Romanazzo, Michelle Cherki,Jill Stevenson

Cultural Activity: Patrizia Ragni

Sports Activity: Valentina Delle Fratte

For Advertising:STAFF COOP OFFICEViale delle Terme di Caracalla - 00153 RomaTel: 06/57053142 or 06/57054112 - Fax 06/57297286E-mail: [email protected]: faostaffcoop.org

Printing by: New INTERSTAMPA - RomaVia della Magliana, 295 - Tel. 06.55282956 Fax 06.55178798Finito di stampare: Ottobre 2011

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Typewritten electronic contributions for the FAO CASA Gazetteare welcome. These can be in English, French, Italian or Spanish- articles, poems, drawings, photographs, etc. in fact anythinginteresting that staff members and/or their families in Rome orthe field may like to contribute. No anonymous material will beaccepted, and the Editor reserves the right to choose and/or rejectmaterial that is not in keeping with the ethics of the Organization.Send contributions electronically to the Editor [email protected] or leave signed copies with the COOPOffice on the ground floor of Building E. The deadline for editorialmaterial is due on the 1st of the month preceding the date ofissue. The Editor may schedule articles according to the priorities andeditorial requirements of the FAO Staff COOP. The FAO CASA Gazette is published every month.

The FAO Staff Coop does not take any responsibility for commercial advertisements published in the CasaGazette or for services rendered by third parties according to conventions stipulated with the FAO Staff Coop.

OCTOBER 2011Cover:View of the West Nile fromPlantation Islandphoto: (c)FAO/Rosetta Messori

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Poets Nookdi Laura Guerrini

Ecosystems are for Everby Peter Steele

6th Edition of theRUN FOR FOOD Race

Towards a Holistic Approach to Oil Paintingby Fahmi Bishay

Art Newsby Edna Howe

Creating with the FAO Staff Coop Artist’s Group

Window on the World: the wonder& beauty of postage stanpsby Tony Grey

Capolavori di Mondrain

When in Rome...appreciate that city engineeringby Miguel Moreno


FAO Staff Artists Cornerdi Flavia Carbonetti

Recipes:Chicken Breast withAsiago Cheese and Speck.Ciambellone.


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SSttaaffff CCoooopp SSeerrvviicceess HHoouurrss // LLooccaattiioonn EExxtteennssiioonn

Housing Service Monday-Friday 541129.00 - 13.30Coop Office E.016

Information Monday-Friday 54112/531429.00 - 13.30Coop Office E.016

Library Monday-Friday 5347911.30-14.00 E.008

Theatre Booking Monday-Friday 531429.00 - 13.30Coop Office E.016

G.A.D.O.I. Tuesday 10.00-12.30 56069(by appointment) E.014

Garment Repairs Tuesday 13.00-17.00 E.020 56069Friday 08.00-12.00 E.020

Dry Cleaning Monday 14.00-17.00 E.020 56069Thursday 14.00-17.00 E.020

Staff Lounge Building D, Ground floor

Language Classes:Italian Monday & Wednesday 53142

13.00-14.00 E.021Monday to Thursday17.00-19.00 E.021

Russian Friday 5314212.00-14.00 E.020

INPS Consultant Friday 14.30-17.30 53142/54112(by appointment) E.014

Staff Lawyers Tuesday 13.30-15.30 53142/54112Thursday 13.30-15.30(by appointment) E.014

Services and Special Interest GroupMEMBERSHIPFull membership of the COOP is open to all staff of FAO/WFP.Associate membership is available for spouses and thosewho work with FAO and associated UN agencies. The COOPShare is € 25,00 “una tantum”, annual dues for bothcategories are € 18.00 for singles and € 24.00 for families.Apply for membership at the COOP Office (E.O16) Monday-Friday 9.00 - 13.30.

FAO STAFF COOPSTAFF COOP OFFICE

Bldg. E Ground Floor Ext. 53142Monday-Friday 9.00 - 13.30WFP1

stand 3rd Wednesday of each month

JOIN OUR ACTIVITIES

Cultural Contact Extension

Antroposofia Ms A. Vittorini 52422Arab Cultural (Al Rouman) Ms M. Mansell 55356Artists Ms I. Sisto 53312Caribbean Cultural Mr Robert Lee 56021Childrens Ms V. Delle Fratte 54015Choir Ms M. Saraceni 54308Coro ÑDancing:

Bellydance Ms M. Derba 54589Dancercise: Zumba Ms M. Manuel 53820Salsa Mr A. Kohli 53374

Drama:English Ms J. O'Farrell 56550Italian Mr P. Tosetto 53585

Feldenkrais Method Ms G. Pistella 54629Hispanic Cultural Ms M.E. Gazaui 54072Human Values Mr A. Banzi 54817Music Therapy Ms K. Hasselman 52109Pet group Mr P. Trippa 55150Philippines Cultural Ms D. Mendoza-Galasso 56240Pranic Healing Mr R. Krell 52419Sai Baba Ms S. Kulkarni 52607Sensory Evaluation Ms B. Burlingame 53728Tai-Chi Ms G. De Santis 53344Hatha & Raja Yoga Ms C. Spadaro 52255Yoga for Self Development Ms D. Bordet 53686Yoga Yin Ms E. Donch 55715

SPORTSAngler’s Mr M. Evangelistella 52127Athletics Mr D. Gargano 54024Basketball Mr D. Catton 22273Badminton Ms I. de Borhegyi 56174Beach Volley Mr F. Jimenez-Aureli 53908Cycling Mr F. Calderini 53828Darts Ms C. Canzian 52617Football Men Mr M. Staffilani 53268Football Women Ms R. Nettuno 56742Golf Mr A. Stocchi 55276Gymnastics:

Eutonic Ms B. Bouyssieres 56453Fitness & Muscle Toning Mr C. Pardy 54087Lotte Berk Ms M. Van Arkadie 56835Pilates Ms D. Perpoli 56325Soft Ms C. Bosi 52253

Table Tennis Mr B. Bultmeier 53008Tennis Ms A. Gabrielli 53012Volleyball Men Mr G. Trobbiani 53142Volleyball Women Ms A. Laurenza 55344

All activities arefor Staff CoopMembers only


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Ecosystems are for Everby Peter Steele

Dig up the soil and grow crops and you mess with the natural ecosystem that was inreasonable dynamic harmony with the neighborhood biosphere before you came along.People, of course, have been doing this for more than 100 000 years but they only reallygot serious about it when settling Mesopotamia – the land between the rivers – about 6000 years ago. Conditions were good – and populations began to expand. People stillfarm this land.

the extent of those resources, their value as ameans of creating economic wealth and fromlevels of exploitation. The key issue is one ofsustainability - exploitation within limits thatcan be managed.

Ultimately it is people in the community whotake responsability for the resilience of theirlocal environment; and if not directly, then bymeans of national decision-makers whoestablish the laws, maintain the institutions ofstate, plan on the basis of national priorities,encourage direction and mobilize the technical

Nature takes a roleThe people of the countries of the Middle Eastand North Africa face the challenge of socialexpectations typical of people everywhere –increased wealth and security, equitable lives,sufficient food and opportunities for raisingfamilies and planning for their future.Expectations of this kind come from thestability of communities working in harmonywith each other and, equally important,working in harmony with their naturalresource base.

Much of this comes from an understanding of

Arid ecosystems. Dry climate shrubs, bare soil and hills in the distance that provided the water shedthat filled the lake during the winter months. Precipitation may be as low as 250 mm/year, with highevaporation loss from open water during the summer months.


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and financial resources with which to takeaction. This is done as part of the publicservices provided to all citizens.

This notwithstanding, understanding thecomplexity required of natural resourcesmanagement remains extremely difficult, butthis is exactly what is required of agriculturalproducers everywhere; people working withnature to produce the foods and materialsrequired of socio-economic development. Associeties industrialize, machines replacepeople on the land, production intensifies andthe agro-technologies adopted become moredemanding - but productivity and yieldsincrease.

Sharing space with peoplePeople construct their societies on the basis ofthe food and materials produced; and peopleprosper and grow in numbers, and typicallydemand more of the natural environment.Viable agro-food industries depend ultimatelyon the exploitation of the natural resourcesavailable – and particularly organic materials,

soils, land and water; all of which exist indynamic change one-to-the-other. Natureworks within firm ecological systems thatprovide for the native flora and fauna, and thebiological and other life-supporting servicesrequired.

Whilst our species has evolved and expandedsuch that we dominate everywhere, it is amoot point that we share the planet withalmost nine million other species (plus orminus a million or so) - and that’s withoutcounting the bacteria. Human activity isalmost certainly causing species to disappear;not so much those on the IUCN red list ofendangered animal species – mammals, birdsand reptiles - but the micro-fauna, fungi,plants and more that have not even beenidentified.People are no exception to the rule and dependupon exactly the same ecological systems – forfood, freshwater, pollination and regulation ofthe climate. Across the region, however,climate is subtly changing – and these changescan be tracked. Change will come within two

Water is a key resource. The beauty of the Nile at Aswan in Upper Egypt belies the reality of thedeserts that dominate the country; with a cultivated valley that is at best 30 km wide for >500 km.River flow is also relatively low given the lack of tributaries north of the Atbara River in Sudan, andwater loss from evaporation.


FALL TRIPS OCT. 20-22, 2011Students, accompanied by their teachers, will be learning

outsideof the classroom from Thursday to Saturday,October 20 to 22 on the annual all-school fall trips.

NO SCHOOL OCTOBER 31 & NOVEMBER 1Classes will not be in session on Monday, October 31st

and Tuesday, November 1, 2011.

DOTT. FRANCO ETTOREMedico Chirurgo

Specialista in Psicologia Clinica

Studio: 00145 Roma Via R.R. Garibaldi 141 Tel: (+39) 06 5123018E-Mail: [email protected] Mobile:(+39) 339 1857948

DOTT. DE LELLISORAZIO

MEDICO CHIRURGOSPECIALISTA

MALATTIEORECCHIO, NASO,

GOLA. MISURAZIONE UDITO. TERAPIA

DELLA VERTIGINE

Via A. Ambrosini 114Roma

06 59453267329 6270770


ST. STEPHEN’S SCHOOLUniquely set in the historical center ofRome near the Circo Massimo and FAO,St. Stephen’s School is a non-denominational, co-educational day andboarding high school for ages 14 to 19.Visits welcome.

Accredited by the New England Associationof Schools and Colleges and the C. I. S.

Uniquely set in the historical center ofRome near the Circo Massimo and FAO,St. Stephen’s School is a non-denominational, co-educational day andboarding high school for ages 14 to 19.Visits welcome.

Accredited by the New England Associationof Schools and Colleges and the C. I. S.

Via Aventina 3, 00153 Rome, ItalyTel: 06 57 50 605 - Fax: 06 57 41 941

Web site: www.ststephens-rome.com E-mail: [email protected]

AUTONOLEGGIOCON CONDUCENTE

Fabio e LucaRoma - Fiumicino - Ciampino

Airport

Transport shuttle car service

Transfer da e per tutte

le destinazioni

Auto: Mercedes classe S

Mini Van

Fabio - Cell. 347-1707798

Gianluca - Cell. 338-3644737

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generations – and it will seriously impact uponthose living in the region.

What people wantPopulations of people continue to expand and,during the next 40-years, there will be anadditional 50 percent more people living onthe basis of the same resources and, crucially,expecting higher standards of living. For thecountries of the Arabian Gulf world foodmarkets continue to provide those surplusesthat can be purchased. For the 10-12 agro-producer countries the options are moreprosaic - shifting priorities into boostingproduction in all countries where agricultureis practical, increased investment by themineral-rich countries and the adoption of atechno-culture of ‘sustainable intensification’.Everything else brings risk.

Sustainable what?The latest in a line of technical terms for theearly Twenty-first century that catch themood of the day - sustainable intensificationcomes with realization of population growthexpected to peak at estimated 9-10 billion

people worldwide by 2050; up from sevenbillion in 2011. And, more realistically, theneed to provide an additional 70 percent morefood and industrial materials from largelyexisting resources of organic materials, soil,land and water during the next 40-years. In aregion which is already 50 percent food importdependent, this will mean an additional 250million people. This additional output will berequired, without further negative impact onthe environment.

For the food producers, challenges becomethose of change and adaptation from the socio-economic values of existing society and theneed to adopt new agro-resource managementtechnologies. This requires focus upon cropimprovements, conservation agriculture,agro-forestry and soil conservation,integrated pest management, horticulture,livestock and fodder crops, aquaculture andnovel policies and partnerships. Others arguerealistically for a non-agricultural future;except that 40 percent of regional people makea living from agriculture.

Horticulture. High quality and high value vegetables and fruits are in demand in local towns andexport markets. They represent cost effective use of water resources that may already be in shortsupply. Better returns than growing cereals. Less resilient than small ruminants.


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Social progress - disrupted economiesThe original optimism that regional countrieswould comfortably trade their way out of theimpasse of the international economicdownturn beginning 2007/2008 has changedduring the course of this year; and the ‘ArabSpring’ has brought disrupted economicprogress, damaged infrastructure, reducedinvestments, raised expectations on the partof large proportions of national populations –including higher wages, better social welfare,etc. - and the uncertainty of the new politicalorder that may follow.

Comment and projections of ‘what next’ areavailable from many contemporary analysts –and cutting through the rhetoric remains achallenge. Most observers predict a period ofturmoil and disruption followed by asemblance of ‘business-as-usual’, but this maybe a western view and directed mainly atregional oil industries and associated servicesand networks. This is the world’s petrolstation – driving the international energy

markets upon which everyone depends. This isalso the richer regional countries ‘buyingthemselves out of trouble’. Options of this kindare not available to the poorer countries.

Focus upon investment - quicklyWhat is certain, however, is that the mainconstraints of limited natural resources, out-dated agro-production and nascent agro-industries, state-intervention, impoverishedrural communities and cities that remain out-of-contact with food production will continueinto the next period. People will continue toexpect instant results, and state services willcome under increasing scrutiny for deliveryand quality of performance. Not so much agloomy prognosis of change, but one to beappreciated for the opportunity it presents;and the quicker investment funds can beshifted into agro-production, materials,structures and systems, the quicker thosesocio-economic changes can be made. Thetime-line involved, however, remainsunknown ■

Irrigation. Drip technologies – precision placement of water around the root growing zone and withnone of the inefficiencies of flood or furrow application; and none of the runoff, waterlogging orsalination that results.


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6th Edition of the RUN FOR FOOD RaceJoin in the 2011 World Food Day celebrations, participate in the 6th Run for Food at the Terme diCaracalla Stadium on Sunday 16 October 2011. The Race will depart from the Stadium at 10.00 hrs,it will consist of a non-competitive 5-km race and a 10-km competitive race with professional andamateur competitors. The percorso will be through the very suggestive and beautiful streets of thehistoric centre of Rome.

The Competitive race is open only to athletes with tessera while the non-competitive race is opento everyone, old and young, fast and slow. The maximum time is 90 minutes so you can also stroll.

All registration fees and voluntary donations will be given to the Telefood Fund and will contribute tofinance projects in the developing countries in the Horn of Africa. All participants will receive a T-shirtas a souvenir. The participants in the non-competitive race will be given a pectoral with 1 Miliardo(1 billion) written on it to testify that almost 1 billion people, mainly women and children, aresuffering from hunger and malnutrition and hence risking death.

There will be other fun activities at the Stadium from 9.00 until 16.00 hrs such as a cultural andmusical show featuring the Tam Tam Morolla, Heroes Crew, Hip Hop breakdance Group (acrobaticdancers) and entertainment for children.

Naturally there will also be the traditional Ethnic Food Fair where you can buy lunches, finger food,cakes and sweets from around the globe and our Italian favorite - Porchetta from Ariccia. Mauro andhis assistants will be at the Bar Service which will function throughout the event with coffees,cappuccino, cold tea, soft drinks, Caribbean sorrel and ginger drinks and rum punch (to completeyour lunch). Thanks to a generous sponsor there will also be a distribution of water and milk.

All proceeds from the food and drinks sales will go towards the Telefood projects in the Horn ofAfrica.

We count on your support, please pass the word and bring along families, friends andrelatives.

FAO Staff Coop

Long distance runners near gazebo'scredit: ©FAO/Giulio Napolitano

Prize giving (women)credit: ©FAO/Giulio Napolitano


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Towards a Holistic Approach to Oil Painting

Fahmi Bishay

Based on my experience as an amateur painter and drawing on selected literature onthe subject, I found that a number of key principles, constituting an effective holisticapproach to oil painting, can be very helpful in realizing the painter’s objectives. Thisapproach is highlighted in this article

Figure (1). Content. A portrait by the author (oil on canvas: 60x40 cm)

IntroductionIn the literature on art techniques for oilpainting, there are so many theories,principles, approaches and a large numberof schools of painting. For a professionalpainter, he/she has, indeed, to study,analyze and reflect on that very richliterature. However, for the amateurpainter I have singled out in this articleonly a few techniques that, in myjudgment and experience, are simple yeteffective elements that would helphim/her to achieve his/her objectives.

Those elements constitute a holisticapproach to oil painting. Notwithstanding the above, we must keepin mind that art (all sorts) by definition hasa significant element of “subjectivity”.And that is what makes it innovative,dynamic, interesting and enjoyable. Notethat we say “an element of ” and not “totalsubjectivity” for there is a number of basic“objective” principles that can help theartist to achieve his/her objective.Furthermore, in view of that subjectivityelement in the art of painting, the selection

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of and the emphasis placed upon each oneof the key “objective” painting principlesvary from one painter to another, onesubject to another and one media toanother. With the above in mind, the following aremy selected elements of a holisticapproach to oil painting.

On a Holistic Approach to Oil Painting:An Integrative ProcessI wish to postulate that there is a holisticapproach to painting. That is, the art ofpainting is a process, a holistic process,not an event. Although the discussions tofollow on the selected painting techniquesare presented in sets of separate elements(to facilitate presentation), the effectiveapproach is, indeed, holistic. That is, atthe implementation phase of painting theartist has to fully integrate those aspectsin a single holistic approach in order torealize what he/she aims to achieve fromhis/her work.

Key Components of a Holistic Approachto Oil PaintingFocal Point: The Concept and the plan

In one of my earlier articles in the CasaGazette (January 2010), I strongly arguedthat before you start your painting, youshould have a concept or an objective ofthe envisaged painting. The painting’sobjective culminates in your focal point.You should next have a plan for yourpainting to achieve that objective. Apainting plan is how the painting will beimplemented and how it will be read by theviewers. The integration of the objective,focal point and the associated plandemonstrates the artist’s way of seeingthings. In the above-mentioned article, anumber of examples of paintings’objective, focal points and plans werehighlighted.

Other examples are presented here. Forinstance, in Figure (1) above, the objectiveof the painting was to show thecontentment of the character in that

portrait. The focal point was, thus, thesmiling peaceful face and the eyesexpression. The plan of the painting was toemphasize the light movements on theface’s muscles as the subject was smiling.The eyes were cast in a happy mood. Usingbright colors both in the face and theclothing helped to bring the radiance inthe smile and emphasize the painting’sobjective.

Composition: Guiding the Viewer’s Eyes

Once you have decided on your painting’sconcept or objective, the focal point andthe execution plan, you would have amental image of your painting. Next, youcompose your painting to realize thatimage. Although the phrase “paintingcomposition” could be intimidating, itshould not. When, you have a mentalimage of your painting, composition of the

Figure 2. Thirsty: A painting by the author (oil on canvas: 50X40 cm)


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Figure 3. Portrait (of Roses: A painting by the author

(oil on canvas: 60X40 cm)

painting becomes easy and simple. Incomposition you have to mainly focus onthe following three elements: direction,balance and integration.

Under “direction” you design yourpainting such that you guide the viewer’seyes towards your focal point. In generalthe focal point of your painting should notbe in the centre of your painting for thatcould make the painting too symmetricaland boring. The components of thepainting should, in a subtle way, guide theviewer’s eyes to your focal point. Forinstance in Figure (2), the focal point is thewater coming from the pot into the girl’smouth. The main elements leading theviewer’s eyes are: The movements in thegirl’s face, eye, neck and shoulders. Theposition of the water pots and the girl’sleft arm further direct the viewer’s eyes tothe focal point.

Under “balance” you balance the“weights” of various shapes in yourpainting. That is because in painting,shapes are conceived as if they haveweights: A shape may look “heavy” if it islarge, dark, busy or very bright. You haveto aim at balancing those imaginaryweights in your painting. This element inparticular is especially subjective. Thusbalancing the weights in a paintingcomposition is based on how you feel aboutthose imaginary weights (see Figure 2).

Under “integration” you avoid a paintingof scattered components. Shapes or majorcomponents of the painting should lead toeach other so that you should have a flowto the painting structure. This aspect isespecially important in the composition of“still life and flowers”, (see Figure 3).

Color and Value: From Two to ThreeDimensions

Of the many theories of colors, I foundthat a few color principles work very well.Those are: First, contrast cool colors (e.g.,blue, light blue, white...) with warm colors

(e.g., red, brown, orange, yellow…).Second, contrast neutral against pure andintense colors. Third, repeat colorsintelligently around the painting until itlooks virtually balanced.

The “value” refers to “lightness” or“darkness” of a particular color in thepainting. Value is very important to reflectlights and shadows, and, thus, value cancreate the illusion of transforming the flattwo dimensions image on the canvas into aseemingly three dimensions painting. Thisis achieved by making objects and spacesseem to “recede” (darker) or “comeforward” (lighter).

When a Painting is finished?

Finally you have to know when yourpainting is finished; otherwise you mightreach an overworking stage in yourpainting. An overworked painting loses its


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freshness and becomes dull. The answer tothat question was presented in my earlierarticle in the Casa Gazette referred toabove under the title: “When a painting isfinished?” As noted in that article, whenyour perceived objective and the essenceof the plan of your painting are achieved,you stop. Your painting is finished. Thisapproach makes the painting processthoughtful and well guided.

Concluding Remarks

While the above proposed holistic

approach will certainly help you in goingabout your oil painting in an effective andworking manner, I wish to reiterate theabove-mentioned innovative subjectivityelement in painting. Thus, while theproposed holistic approach will be helpful,you have to use your own feelings, yourown personal perceptions and your owntaste in your painting. Only then you willbe innovative, and you will reflect yourown personality in your art work: Aprocess that is most enjoyable andhighly rewarding ■■

ART NEWSby Edna Howe

If you have already done your Christmas shopping ‘on-line’ and dread the idea of going tothe centre with the Christmas crowds, make a note in your November Diary.

Clara Hemsted has joined forces with Edna Howe to show water colours at ‘The Studio’Viale Aventino 44 (Cortile).

Inauguration 16 November at 5 p.m. The MOSTRA will run from 16 – 19 November.

times: 11.00 – 14.00 morning16.00 – 19.00 afternoon.

meanwhile Clara is in Tuscany taking part in the Vendemmia.


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CREATING WITH THE FAO STAFF COOPARTIST’S GROUP

Have you ever wanted to paint ordraw a picture but didn’t knowhow to get started?

The FAO Staff Coop’s Artists Group isyour answer if you work in FAO. In fact,during the daytime FAO staff wives andrelatives can use the well equippedArtist’s Studio for lessons in oils, watercolours, acrylics, pastels or drawing for 3hours. No one has a fixed time to begin orend their session.

For example the well known artist andteacher, Bob Dickerson, is in the Art Studio from 10.00 to 19.00 hrs on Mondays andThursdays.

Students can come and work for 3 hours in this time schedule. The idea is a sort of ARTWORKSHOP where the creative process goes at the pace of the student as each receivespersonal attention. There are no beginners, middle or advanced level as working next tomore skilled artists encourages and stimulates progress.

The FAO Staff Coop Artists’ Group has its studio in Building E Basement (Gym A). It iswell equipped with studio easels, sinks and hot and cold water, drying racks for paintingsand a library of art books. Even lockers for storing art materials are available.

There is a session for staff from FAO, WFP and IFAD from 17.00 to 19.00 hrs.

Marina Haas also teaches in the Art Studio on Tuesday evenings and Wednesday mornings.If you would like to try you can have a free use of materials which are available in the ArtStudio. You will have to be a member of the FAO Staff Coop and lessons cost 30.00 for a3-hour lesson to be paid in the Staff Coop office beforehand.

Comments from an artist group member on the Art classes:

Are you a budding Monet, or maybe you’re a person who would love to try painting but,like I was, not brave enough to take up the challenge? I had a few friends encouraging meto join the FAO Staff Coop Artists’ Group and one eventually managed to drag me along(thank you Margaret, it really was my “lucky” day). The classes are run by Bob Dickerson,a very experienced and inspiring professional. Under Bob’s gentle encouragement, youwill discover talents you never thought existed. IF you are a beginner you will soon becreating something you are pleased with, and if you are experienced, you will have theopportunity to develop and extend your skills. So, come and join the friendly group forclasses at FAO ■For further enquiries contact: Bob Dickerson on 340.3415028

Marina Haas on 0637851623


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Window on the World: the wonder andbeauty of postage stamps

by Tony Grey

The collecting and study of postagestamps (philately) has beenpopular since the first national

postage service was introduced inBritain in 1840 using adhesive prepaidstamps printed unperforated on sheetsrequiring cutting with scissors. Prior tothis posted letters were paid for pereach written sheet on delivery. Stampsused on envelopes, postcards or parcelswere cancelled by rubber stamp toprevent reuse. In time stamps wereperforated allowing them to bedetached without the need for cuttingby scissors. Stamps were not alwaysadhesive – as recently as 2003 I sat in apost office in Viet Nam using a pot ofglue and a brush to attach my stamps topostcards!

Stamps for collectors are sold as used(cancelled), mint (unused) and mounted(with a stamp hinge attached) orunmounted and values vary accordingto which category the stamp falls in.Stamp collecting was popular from thelate Nineteenth century and earlier tomid-Twentieth century providing awindow on the world for both young andold before the days of mass travel, TVand the internet. In fact stampcollecting could lead to arrest and thegulag in Stalin’s USSR on a charge of‘cosmopolitanism!’ Earlier stampalbums had a page (or more) percountry starting with Albania andending with Zanzibar. Stamps were

attached to the page by adhesivehinges. Nowadays stamps are housedloose behind transparent paper orplastic strips on the album page.Stamps must be undamaged to have anyvalue and rare types are ‘expertised’ bya recognised specialist with a certificateof authenticity. The benchmark value ofall the world’s stamps is set byrecognised organisations, the mostfamous of which is Stanley Gibbons ofthe Strand, London with regularlypublished catalogues. Dealers at stampfairs usually sell at half to two-thirds ofthe catalogue value.

Stamps from earlier times were printedfrom careful and detailed engravingsand occasionally printed onwatermarked paper (as in bank notes)to deter forgery. The postal authoritiesof different countries invited designs toshow various themes reflecting thecountry concerned. Commemorativestamp sets (often issued quitefrequently) might show themes likeflora, fauna, geography and culturaltreasures. Definitive stamp sets remainunchanged for a long period and maysimply portray the ruler (president,prime minister or monarch). Theauthoritarian nations of the Twentiethcentury aimed to portray national prideby showing famous people, militaryvictories, aviation, cars, claimedterritories and so on. Some stampsdepict unrestrained propaganda.


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Stamps as propaganda: stamp block with Colonel Gaddafi and his green book

Stamps of this kind closely trackmodern history and form the basis formy own collecting.

Sudden political change has yieldedvery interesting stamps from earlierregimes overprinted to show the newregime which were used until newstamps could be issued. New countries

emerging from the wreckage of WorldWar 1 using overprinted stampsincluded Czechoslovakia, Poland,Jugoslavia, Palestine and Iraq whilemore recent examples include India andBangladesh. Stamps could also beoverprinted to show a change in value (asurcharge).


21

Dr. Corinne PerisséMedico Psicoterapeuta

Francese - Italiano

Aventino Medical GroupVia S.Alberto Magno 5, Roma

Tel. 06 57 80738

06 57 288349

Via A. Baldovinetti 13, Roma

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Overprinted stamps showing regimechange: upper row from left, VichyFrench stamp from World War 11withR.F. (for Republique Francaise)liberation overprint, Tsarist Russianstamp with Bolshevik regimesurcharge, Imperial Chinese dragonstamp with 1912 republic overprint,Nigerian stamp with Biafra overprint.Centre row: British Raj stampoverprinted Pakistan, Imperial

Austrian stamp overprinted PolishPost, 1919. Lower row: BritishOccupation in Iraq with Indiancurrency (annas) on an OttomanTurkish stamp, State of Katanga on anIndependence for Congo stamp, newlyrestored Austria on a Third Reichstamp 1945.

Stamps provide a fascinating window onthe world. Why not start collecting?

L’armonia perfetta di Mondrian in 70 capolavori

Dall’8 ottobre alla fine di gennaio a roma, al Complesso del Vittoriano

La mostra autunnale del complesso del vittoriano sarà dedicata a Piet Mondrian. A lui fino al 29gennaio 2012, a partire dal 7 ottobre, sarà dedicata una mostra monografica “L’ArmoniaPerfetta” che racconterà la sua ossessione per l’idea di progresso. Negli anni a cavallo tra i due

secoli infatti gli artisti d’avanguardia non si accontentavano più di un’arte deputata a rappresentarel’aspetto esteriore della realtà e ricercavano una verità più profonda, oltre l’esteriorità. Affascinato

dalla corrente cubista, Mondrian continuò a lavorare sullepossibilità di strutturazione per riduzione, già contenute nelCubismo, fino alla pittura astratta e, alcuni anni più tardi, inauguròquello che definì “Neoplasticismo”. Come in Kandinskij, aglielementi espressivi della pittura – linea, colore e forma o superficie– veniva attribuito un valore proprio, che non rimandava aqualcos’altro. In più, Mondrian ridusse tali elementi all’essenziale:soltanto linee rette, verticali e orizzontali, mai diagonali; soltantocolori primari – nessun colore composto, come in natura – e i non-colori nero, bianco e grigio. Ne derivò una delle fasi più affascinantidella storia dell’arte moderna: il gioco di Mondrian con le lineeorizzontali e verticali e la ricerca della composizione ideale ■

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Coliseum. Roman engineering in all its glory – classic design, functional, durable andmassive; wherever the Romans established themselves in Europe or North Africa theybuild their entertainment centres. Two thousand years later the majority remain intact.

When in Rome ... appreciate that city engineeringby Miguel Moreno

Newcomers to the city are always overwhelmed at the structures that the ancientRomans left behind; as if modern man (and woman) were the first to plan, design andconstruct on city-scale. It took Western Europe more than 15 centuries to catch up withthe Romans – and re-establish and surpass the intellectual empire that ancient Romerepresented. Remember your first impression? Engineers sometimes see thingsdifferently.

First impressionsIf you have ever visited this city, you willagree with me that what makes Romespecial are the people, the crazy roads andthe food….yes, and the Coliseum also helps.That monument, like many other ancientstructures which still remain in this city arethe last vestiges of the vast Roman Empire.And for better or worse, these are the mainthings that remain....the.structures.

Those old fellows prepared the foundationsof this city so well that their original town

planning and public facilities still function:roads, palazzos, drainage systems. Yes, ofcourse the materials may have changed butthe original concepts remain unchanged.What a well-known Roman engineerdecided thousands of years ago is stillrelevant today.

I guess thoughts like those made me decideto study engineering when I was still a kid.I also considered studying architecture, likemost engineers do, but I found engineeringmuch more democratic. Fashion won’t


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demolish your structures if they are wellprojected. And even when I endured loadsof suffering during my studies, includingthe challenge of mathematics and manycomplex equations such as:

Studying-booze-girlfriends+money+K =becoming an engineer

Where K is a constant that all studentsneed; sometimes called ‘good fortune’,‘being in the right place at the right time’ orsimply ‘doggedness’.

Surprisingly, I made it.

Cambodian side-trackSo then, by luck I found myself doing aninternship with a consultancy company inCambodia. When a client asked me what myopinion was about their half a billion USDproject in water irrigation schemes, I wasdumbfounded. No doubt my answer wasn’tthe best that I could have given. Helped by

my lack of English, the fact that I was anovice in engineering I recall answeringsomething along the lines of ....’It is prettybig’. Peals of irrepressible laughterfollowed.

Now I can say that I’ve been to Cambodiaand helped the modern day equivalent ofthe Roman engineer design those pondsthat will feed the country in the future and,if the work is properly done, two thousandyears from now a young engineer like mewill write an article about that same manwho laughed at me.

This month I started my internship at FAO,Rome - full of hope and pride for joining theengineering team - but also surprised thatthe engineering unit has become so small ina city that so perfectly demonstrates howmajestic good engineering can be. But I amstill young, and the Coliseum of the future isstill out there waiting for me to design it ■

Cambodia. A green and pleasant land with water and vegetation as far as the eye can see– natural resources aplenty. But it’s this thing about management that ultimately counts,and >80 percent of the population continues to live in poverty. This is a floating village onTonle Sap Lake.


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Rabies is a disease that can infect bothanimals and humans, and althoughthe disease is more readily

associated with domestic and wild animals,infection of humans can also occur all tooeasily. The rabies virus is usually spread tohumans through bites or scratches viainfected saliva, and if timely preventativetreatment is not carried out, the diseasemay prove fatal. If bitten, the first action toprevent rabies infection is to wash thewound thoroughly with soap and copiousamounts of water for 15 minutes. Indeveloping countries where soap is notavailable, ashes may be used instead. Bitevictims should next seek out medicalattention as soon as possible for evaluation,and post-exposure vaccination.

Rabies may, in fact, be the oldest knowninfectious disease to man, with references ofthe disease dating from as far back as 2000BCE, including ancient Babylonian text andreferences from Homer and Aristotle.Rabies remained an unpreventable diseaseuntil Louis Pasteur and Emile Rouxdeveloped their rabies vaccine in 1885. Sincethen, rabies has been tightly controlled inthe developed world, but continues to be aserious problem elsewhere, killinghundreds of people and animals each day.

Rabies is found throughout the world,however, Asia and Africa account for morethan 95% of human rabies deaths. It isestimated that more than three billionpeople are at high risk of contracting rabies.Most unvaccinated mammals may serve asa route of rabies virus transmission tohumans, but the predominant species variesby region. For example, skunks andraccoons are the most important vectors inNorth America, while in South Americabats are important sources of infection forboth livestock and humans. That said, in theAsian and African continents the dog is themost important source of rabies virustransmission, accounting for 99% of humaninfections. It is estimated that more than55,000 human deaths occur annually, and ofthese deaths 40% are children under the ageof 15. This number is probably greatlyunder-estimated due to under-reporting. Inline with other diseases in poorer areas, themain problems associated with combatingrabies are inadequate access to healthcare(especially in rural areas), lack of educationand the prohibitive cost of preventativetreatment when infection is suspected.Overcoming these barriers is importantbecause canine rabies is an entirelypreventable disease otherwise.


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FAO and rabies

The impact of rabies goes beyond individualhealth and influences food security andlivelihoods in developing countries. FAO hasbecome increasingly involved with the issue ofrabies control in recent years, raisingawareness, aiding in the development anddistribution of educational materials, andsupporting rabies control campaigns. In thisway, FAO is not only recognising andstrengthening the fight against rabies, it isalso broadening its vision of “One Health” tostrengthen FAO’s role in fighting disease atthe animal, human and ecosystem interface.More specifically, FAO aids and contributes topartnerships combating rabies such as thePartnership for Rabies Prevention and theGlobal Alliance for Rabies Control. FAO isalso a strong proponent of the annual WorldRabies Day.

World Rabies Day, September 28th 2011

World Rabies Day plays a key role ineducating people and advocating withgovernment leaders and policymakers for theprevention and control of rabies. Started in2006, the World Rabies Day initiative was put

into action and since then has grown fromstrength to strength. The campaign nowinvolves major entities in animal and humanhealth promotion worldwide, including FAO,WHO, the World Society for the Protection ofAnimals, as well as governmental, non-governmental and community partners. Theinitiative has also substantially grown at thegrass-roots level to include studentorganisations and animal health clubs. Theover-arching aim of the initiative is to raiseawareness while also increasing theavailability of funding for preventing rabiesand saving lives. From the first campaign in2007 up until 2010, World Rabies Day eventshave been held in 135 countries, havingreached 150 million people and has lead to thevaccination of 4.6 million dogs. For WorldRabies Day 2011, it is expected that thisimpact will grow once again, including yetmore countries, more events and deeperreach. With the support of FAO staff bothworking in headquarters and in the field, thisyear we hope to make it the best yet!

For further information on World Rabies Day2011, including all the different events fromaround the world, please visithttp://www.worldrabiesday.org ■

Boys taking their dogs to be vaccinated at the Veterinary Faculty in Huambo, Angola. (Credit: Marisa Ventura da Silva).


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The FAO Staff Artists CornerLa ricerca interiore di Momcil Milanov

by Flavia Carbonetti

“Ritratto di Rita” - matite su cartone - cm. 50 x 70 - anno 2008

Il Sig. Momcil Milanov, Bulgaro, èdiplomato in scenografia pressol’Accademia delle Belle Arti di Roma ed è

iscritto al FAO Staff Artists Group dal 2010.

Sig. Milanov dove e come nasce la suapassione per la pittura? E’ forse figliod’arte? Perché ha deciso di venire astudiare arte in Italia?

La passione per l’arte si trova nel mio DNA, imiei genitori sono insegnanti d’arte. Fin daragazzino ho disegnato e dipinto e penso diavere ereditato da mia madre la passione per iritratti. Mi sono diplomato in un liceo artisticoin Bulgaria ed uno dei miei sogni era difrequentare l’Accademia delle Belle Arti diRoma e così seguendo il mio sogno, nel 2000,sono venuto in Italia. Ho dovuto frequentare laquarta e la quinta superiore per ottenere ildiploma di Italiano, obbligatorio per avere

accesso all’Accademia. Devo dire che è statauna bella esperienza che mi ha aiutatomoltissimo a proseguire i miei studi.

A quale linguaggio pittorico si sente piùvicino e perché? Quali sono i suoi pittoripreferiti? C’è un pittore in particolare alquale si ispira?

L’Impressionismo: sono sempre stato attrattoda Claude Monet e la tecnicadell’impressionismo mi appassiona. Mi dà quelsenso di libertà nell’usare i colori direttamentesulla tela senza preparare prima le tonalità enello stesso tempo di ottenere la leggerezza, lavivacità, l’attendibilità nella creatività. Sono adir poco “innamorato” di Caravaggio,Kokoshka, Picasso, Kandinsky, Chagall, Dali.Stili diversi, comunicazione diversa, linguaggidiversi fra loro, epoche diverse, però in tuttiquesti grandi artisti io trovo qualcosa di me.


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“Donna incinta” - Pigmenti naturali su tela.110 x 90 cm – anno 2009

“Feto” - Olio su tela – 50 x 70 cm - anno 2011

Come se loro possedessero una piccola partedella mia anima e della mia arte.

Non sarebbe meglio dire che è lei hapossedere una parte della loro arte, poichésono loro che l’hanno preceduta? Forse nonpotrebbe essere più giusto pensare ad una”Anima Universale” alla quale ognunoattinge a secondo delle proprie personalipeculiarità, interessi o sensibilità?

Ognuno di questi artisti ha vissuto in un’epocadiversa, con dei problemi e dei temi dell’epocastessa. Ognuno di loro esprimeva e viveva i“problemi” e le “emozioni” in modo diverso eproprio attraverso il loro prisma.

L’energia cosmica che si manifestaattraverso la vita con l’attesa, la nascita, lafamiglia e si riassorbe nell’infinito con lamorte. Sig. Milanov le sue opere d’artesembrano più ispirate dal suo cuore che

dalla sua mente. Ricerca della veraconoscenza del sé? Quanta ”anima“ c’ènelle sue opere d’arte?

Io credo che l’arte abbia una forma esterna edun’anima interna. Per me il senso e lo scopodell’arte è nella ricerca dell’artista di cercare edi ritrovare se stesso, della consapevolezza dise stesso, di accettare la realtà attraverso ilsuo prisma, di potersi liberare e di poterricreare la reazione della sua anima. Io creoquello che provo dentro di me in quel momentoconcreto, quello che mi ha colpito. Se riesco ariprodurre il mio stato d’emozionale, dimaterializzarlo in qualche modo, ditrasformarlo da una cosa eterea ed invisibilead una cosa visibile, allora sono riuscito nelmio intento. E se devo rispondere quantaanima c’è in ogni mia opera, posso risponderecon una sola parola: tutta!

Sig. Milanov molte delle sue opere, intense,dal significato profondo, trasmettono unaforza misteriosa. Che cosa cerca dicomunicare al suo pubblico? La sua idea dispiritualità? La percezione dell’esistenza inaltre dimensioni oltre a quella materiale?

Credo che la dimensione dell’aldilà sia proprioin noi stessi. L’anima dell’uomo è illimitata ed


29

inesauribile, la questione è che un uomo deveprovare a cercare di scoprire il misticismo. Equi veniamo ancora una volta alla questionedella coscienza. Quando una persona è ingrado di dare libertà al pensiero eall’immaginazione per andare oltre le normestabilite e le categorie al di là dalla personalitàed a cercare il senso nella profondità deldettaglio, allora ha scoperto il misticismo. E sele mie opere riescono davvero a trasmettereun potere mistico, significa che sono riuscito afar sentite allo spettatore il mio messaggio,che in ogni caso è il risultato di uno sforzo pertrovare il misticismo in se stesso.

Gli antichi greci chiamavano la pittura “skiagraphìa” , cioè scrittura delle ombre.Lei pensa che la pittura sia solo l’ombradella realtà?

Penso che l’arte in generale, e la pittura inparticolare, sia provocata dalla realtà e in

“L’altro mondo” - Pigmenti naturali su tela.120 x 90 cm – anno 2009

“Famiglia” - Terra cotta dipinta - 50 x 50 cmanno 2010

questo senso potrebbe essere chiamata“l’ombra della realtà.” Tuttavia, decisivo è losguardo dell’artista, il modo di ricreare, lapresenza personale in quest’ombra, la capacitàdi generare la vita. Se “ nell’ombra del reale”è incorporato il senso della riflessione illusoriadella realtà, allora io non sono d’accordo conquesta definizione. L’arte è connessa con larealtà. Se è isolata, tagliata fuori in qualchemodo lontano dalle cose che ci circondano, èremota ed inaccessibile. La pittura non è unafinzione. E’ il pensiero, processo e filosofia.

Sig Milanov, in Ottobre 2011 è prevista unasua mostra personale presso il FAO Loungeal Quartiere Generale della FAO a Roma.Sono previste anche delle sue mostrecollettive o personali al di fuori della FAO?Dove?

Dopo la mostra personale “Metamorphosis”prevista ad Ottobre 2011 presso il FAOLounge al Quartiere Generale della FAO, hodei progetti a breve per una mostra a Sofia inBulgaria e per altre mostre presso i centriculturali di Budapest, Praga e Mosca.

Nel ringraziare il Sig. Milanov per la suadisponibilità gli auguriamo un futuro artisticoricco di soddisfazioni e di successi. Per lepersone interessate alle sue opere d’ artequesto è il sito dell’artista www.momcil.com ■


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Speck – smoked prosciutto

The Alto Adige region is heavily influenced by its German speaking neighbours and soits culinary specialties reflect this. In Alto Adige there is no ingredient more prominentthan Speck – or smoked prosciutto. The process of making speck first begins withcuring the legs of pork in salt and various spice combination which may include juniper,pine, cinnamon nutmeg and coriander. After this the smoking process begins.

Speck is smoked slowly and intermittently for two or three hours a day. The wholeprocess takes about 3 months, slow smoking allows for the inner layers of meat to bereally penetrated with the flavours of the wood – commonly juniper and pine woods.

Speck used to be smoked by hanging the meat in the chimney space above the domesticfire, but today smoking is completed in a cold smoking process, in which temperaturesdo not exceed 68° Fahrenheit. Though the meat is now kept in well-ventilatedsmokehouses around, the altitude and cool climate of the Alto Adige region is ideal forcold smoking.

A consortium of speck producers for the Alto Adige, the Consorzio dei produttori speckdell’Alto Adige, was formed in 1987. Its goal is to guarantee that consumers are buyinga product that tastes as good as traditional prosciutto and made in a way that honoursthe small-scale handmade approach to smoking meat, even though production has beenaltered with industrialization methods.

In the Alto Adige, speck is revered and it is often eaten with most meals and thisdelicacy is well-appreciated beyond this region and is now quite popular throughoutItaly.

Some notes on Speck


31

Chicken breast with Asiago cheese and Speck

by Edith Mahabir

Ingredients2 chicken breasts 6 slices Speck (sliced like ham)6 slices Asiago cheese 4-5 tbsps Olive oilSalt Black pepper½ glass white wine Toothpicks

MethodCut the chicken breast into 3 long slices each. Place a slice of speck on top and then a sliceof Asiago cheese. Roll to form 6 round involtini and secure ends with 2 or 3 toothpicks (toensure that all the melted cheese does not ooze out during cooking).

In a non-stick heavy frying pan heat briefly the olive oil and place the involtini closetogether. Season with a little salt and black pepper, turn them after 3 minutes, and seasonalso the other side. Cook them covered over moderate heat for an additional 3 minutes toallow them to get a little colour. Add the white wine, lower heat and simmer gently coveredfor about 8 minutes turning once or twice. By that time they should be cooked through andthere should be a little sauce. Serve hot with the sauce on a heated plate accompanied witha mixed salad or boiled or steamed broccoli or cauliflower and carrots sauteed in olive oil,garlic and dried hot pepper.

Ciambellone (Ring Cake)

by Elvira Bonacci

Ingredients

4 eggs300 gr sugar400 gr flour1 glass of milk1 glass of oil1 lemon 1 packet Pane degli Angeli or 1 heaped teaspoonbaking powder

MethodMix together the eggs and sugar well until light and fluffy. Add the lemon rind grated. Mix in the flour, milk and oil a little at a time. Pour the mixture in a greased and lightlyfloured baking dish for ciambellone or ring cakes and bake at 180°C for 40-45 minutes. Coolbefore serving. Excellent for breakfast and afternoon tea or simply as cake after a meal.


october 2011 - fao staff coop...pranic healing mr r. krell 52419 sai baba ms s. kulkarni 52607...

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