The water is basic resource to the life, indispensable resource in the agriculture of familiar base, of average and wide it scales, and in almost all the productive processes. Suppliments of water demand are a continuous concern of the humanity, which had to the increasing population increase, the uncertainties of the climatic factors and the increasing hdrica pollution. In a devoid water region, the knowledge of the hidrolgicos processes is basic for the permanence and survival of the man in the field. With the increase of the population throughout the years, the gamma of uses of the water grew together with the relative restrictions to its quality. The uses of the water had evolved throughout the time, having involved the feeding and personal hygiene, agriculture, navigation, industrial production, cooling of thermoelectrial and nuclear plants and recreativas activities. The antrpicas actions have modified the climate in the most diverse regions of the world and many times the necessary conditions to maintenance of the life human being has been harmed. The awareness of the importance of the hdricos resources in the quality of life of the population comes originating increasing demands of information for the elaboration of projects, mainly in small hidrogrficas basins. The projects in these basins have attracted to the attention of researchers and borrowers of decision, since the data collected in these regions are valuable sources of information that could be used in bigger basins. The great variability of the hdrica availability, secular as in such a way space, standes out the necessity of permanent quantification of liquid discharges aiming at to the forecast of future outflows and the amounts of sediments produced for a rain event. The water availability in amount and quality for the diverse uses, in special the water for human supplying, is a concern of the humanity and the subject has been debated in diverse regions, mainly the half-barren ones.
Nxel Grovethe painter and German photographer, deceased in 2010, marked with their unpredictable style the European artistic panorama of second half of century XX. They set out in New York its series of iconoclastic photos among 1964 and 2000. He was an eager consumer for sicodlicos fungi. It translated the hallucinatory quality in its work and its life: he was unpredictable, erratic and wild. To Sigmar Polke (1941-2010) the curators of art feared to him merchant and: he appraised his works by simple whim. He was able to inflate the price of a picture until placing it at the level of a Renaissance masterpiece or, on the contrary, reducing it as if one was a piece of street swap-meet. That same attitude presided over its race.
One of its known series more calls I Don t Really Think About Anything Too Much (nonfodder too much in anything, 2002). It left from the base of which no image is sagrada and that anyone (an emblem of cmic, an advertising announcement, a snapshot of tourist or a cut of press) can be an art work if it is manipulated of certain form. Machines of to paint In another one, For Hunt the Taliban and To the Qaeda (the hunting of talibn and To the Qaeda, 2002), proposed that the artistic pieces can be realised by painting machines (machines to paint) in which the human intervention was fitted to the adjustments of a mechanical system. During all their adult life, this German of Silesia (region that now belongs to Poland) was an eager recreational drug user. They enchanted to him, mainly, the hallucinogenic fungi. The hallucinatory quality of the psilocibina, the present alkaloid in many of them, is necessary to understand its work: unpredictable, wild and changing. Years after History of Everything (History of everything), the great anthology that dedicated the Tate Modern to him, exposes now in New York Sigmar Polke: Photoworks 1964-2000 (Sigmar Polke: Photographic works 1964-2000.
Gallery I read Koening), an ample anthology of its photographic, perhaps not so important production or breaker as pictorial or graphical, but the equally representative one of artist who never let itself restrict by means or the company/signature. ” Seduction accidental” The photos of Polke are so mysterious and difficult stylistically to locate as the rest of their work. They are not possible either to be explained in strict terms of meaning. The organizers of the sample emphasize the capacity of the images to cause one ” seduction accidental” in the spectator. Considering that the artist, untiring traveller, mainly by the Far East, did thousands of photos during its life, the selection was complex, they add the commissioners. Perhaps the most showy pieces are the seizures in the Catacombs of Capucin of Palermo (Italy) and a series of extreme experiments, in which Polke tried with the ctos of radioactive material in the developing process. Influenced in its beginnings by pop art of Robert Rauschenberg, Jasper Johns and Andy Warhol and founder in 1963 of the movement anti artistic Kapitalistischer Realismus (Capitalist Realism) with Gerhard Richter, Polke was come off the teachers from the Seventies and developed a disorderly, full race of devoid humor and of limits. It made art with industrial potatoes, remainders and rest of cartelera; in the eighty it mixed painting with abrasive chemical agents or toxic to set out the reaction and lately it reduced his production to which denominated ” allegories histricas” (almost mechanical visions from control towers).