It’s been a while since I’ve written on this thing, but i thought I’d introduce you to the most beautiful woman in the world– Coca.

Place of birth: Pinar Del Rio, Cuba.
Date of birth: July 19, 1928.
Life path number: 4.
Chinese Zodiac: Rabbit
Native American Zodiac sign: Goose
Stone: Rose Quartz
Favorite fragrance: Violetas.
Lucky day: Saturday.
Strongest virtue(s): Patience, and a great sense of humor.
Weakness: Moodiness.
Vice(s): Cigarettes.
Hates: Unhygienic scenes and close-up photographs that show her wrinkles.
Likes: Sowing and creating tiny crochet bags to house her pearls; counting the leftover change inside her savings jar; condensed milk.
Dreams of: Someday flying a plane to the French Riviera.
Pivotal moments in her life: Death of Koko (soulmate) in an automobile accident.
Happiest memory: Teaching her two kids to ride a estrella (star) the horse.
Will never be able to: Give up her pearls, not even for her kids (she jokes)
Needs at the moment: A rocking chair that’s comfortable for her to drag to the front porch –the aluminum ones that weigh less– she explained.

At the very beginning of a career, we’re bound to produce works that reveal the very core of our being. Even if they’re assignments given by a professor to learn framing, these somehow end up being the most personal pieces of your life. Sometimes, embedding these works within the public atmosphere without any subjective training can cause great stress, i mean, these works are entirely you– revealing your passions, hopes, and, even sometimes, unintentionally exposing a deep/dark hidden matter– people will see that.

This is the case for a secret gem i found lurking through vimeo. Rick Patton lived through his films, and has just decided to share them with the world. His personal film school portrait is my favorite, it reminds me of the first time i picked up a camera and experimented with film. I was so overwhelmed, that my film made absolutely NO SENSE to anyone but myself, and of course, drowned in embarrassment by the harsh critiques and discussions in the classroom, that film never saw a day of light.

As i was looking through his footage, i thought: someday this will be me; revealing who i used to be, and being okay with that.

Time Portrait:
1965. 16mm. 12 minutes, black and white.

“This is Rick Patton’s first film, made when he was a student at Antioch college. The stylistic premise was that the film would be a self-portrait, like a still photograph, that changed and grew through time. It is not a story, but it does revolve around a love affair gone wrong and a broken heart. Patton did not show this film for 40 years. He found it embarrassing. Now in his 60s, he is OK with it. All filmmakers have a first film.

This film was made in New York City in 1964 while Patton was on a coop job, working as an assistant in a small animation studio. Avant Garde (aka Underground) filmmaking was, at that moment, in 2 camps. Emotionally charged films like Maya Deren’s “Meshes of the Afternoon” and later, Kenneth Anger’s “Fireworks”. These films were loosely referred to as Psychodrama. Patton’s film falls roughly into this camp. The other movement in the avant garde was more formal and structural. The best example was the work of Stan Brakhage. Within a couple of years the films of Andy Warhol, films made by simply setting up a camera and turning it on, would suck the oxygen out of avant garde filmmaking in New York City. The creative center of gravity moved to San Francisco”

I truly believe individuals can mold their minds/bodies in almost any fashion their imaginations can dream up, so I often practice the thought that we can expand and connect beyond this solar system (physically) through creative means. Indeed a grand experiment in itself to expand these thoughts, because transposing such into visual/physical realms isn’t as easy as it sounds.

I don’t think there is a single soul in the world that hasn’t been connected/affected by Steve Jobs. When i heard the news this week, I began thinking of all he’s done for our modern world in terms of creativity and progress; I began to think of him in shades of Indigo Blue. It was a great challenge to produce something related to these thoughts, for i am usually one to shy away from deep hues and vivid colours. So i teamed up with Alejandro and asked for a visual track that could spark up the dreamy sensitivity of Indigo blues; once the images and audio compiled, the project flowed as if Steve Jobs himself was directing it.

It is always essential to discover the past in order to understand the given present. However, my genealogical search became a truckload of dusty library periodicals that only got increasingly difficult to find/understand without the aid of google’s SEO tools. This past summer, i kind of took on the role of detective for this sole purpose. I needed to understand why i was attracted to certain colours, themes of conversations and smells, so i payed a home visit to my dusty genes.

My great-grandfather was always somewhat of a jigsaw puzzle. I never really grasped why the old man spent countless hours under dim light inside a room full of canvas and gigantic dusty leather books– i mean, to any kid, this was visually the closest thing to a gargoyle’s dungeon. The minute you stepped into his office at home, the smell of old books impregnated the very souls of your nostrils; the bookcases blended strong and pure mahogany with bleeding linseed oil and acrylic mediums. If i even dared to try and touch anything, this man would really convert into the space’s protective Gargoyle. I never really understood how important all of these possessions were until recently. After much attic snorkeling through waves of dusty memorabilia, I found photographs and letters of an amazing man, husband and scholar. Esteemed and accredited with countless contributions in the fields of painting and medicine, Arturo held over 6 active degrees– 3 of which were in completely unrelated fields. It was a strange thought to accept that the dark and often spooky “abuelo Arturo” was actually a brilliant and sensible human being; not a gargoyle (I would’ve preferred the gargoyle story) He had a soft spot for his roots/patronage as well. In one of his dusty attic blurbs, the Cuban revolution threatened his life-long research and career, but he chose to stay in the country and develop his research and abilities within the community he held so dearly. The University of Havana’s Odontology school now bears his name, and I was able to get a hold of his biography when i visited Havana. Needless to say, as I was reading it i couldn’t help but think “Really? Not a Gargoyle?” and “How are we related?”

At 24 and holding a Film degree, I’ve yet to experience even a quarter of the academic success/achievements of my late grandfathers. So, i guess.. thanks for the good looks, dad..

Arturo Garcia Planas Self Portrait 1954 (grandfather)

Rooted traditional/technical arts were closely passed down to his three sons. His first-born, my grandfather –also named Arturo– took affinity to photography; documenting almost every day of his life until he became heavily involved in revolutionary politics. Going through suitcases upon suitcases of old photographs back home, I found self-portraits of Arturo II as early as 13 years old. These photographs all instilled a sense of nostalgia that fueled almost every inch of my working senses.

Arturo Garcia Marques 1967 (dad taken by grandfather)

I took a shot at translating his Biography from Spanish to English. The included medical terms are practically written in hieroglyphics. Some, I took a whim and butchered in the English language, others, i just felt needed to be left alone..

BIOGRAPHY DR. ARTURO LUIS GARCÍA MENDOZA

Arturo Luis Giraldo Isidro Garcia-Mendoza, was born the 5th of November of 1914, in his address, situated in Belascoain street # 52 in the City of Havana.Son of Arthur and Asuncion, naturals of the same city. According to his companions, he was disciplined, organized, planning and demanding in the entrusted tasks he undertook; in addition to being extremely self-critical. His knowledge of Marxist and Leninista Theory guaranteed by official courses as well as the practical application, became a source of influence in all his subjects. After attending his first studies obtained as a result of his inclination to painting and sculpture; Arturo graduated the 7th of July of 1933 and quickly attained the Title of Modeling and Drawing Professor at the Internationally acclaimed Professional School of Painting and Sculpture “San Alejandro” in Havana, Cuba.

San Alejandro

Arturo on his day of graduation pictured 4th in the center (counting from left/right)

University of Havana

At the tender age of 19, on January 5th of 1934, the designated court at the University of Havana approved his entrance to the Veterinary School of Medicine paying the low sum of just $5.00. Writing extensive research and informative articles for the school of Veterinary Medicine, the director of the University of Havana exempts Arturo from payment of his matriculation. Similarly, Arturo continued negotiating the cost of his matriculation and the value of books and instruments for scientific use, with the obtaining of ordinary prizes in different subjects like: Pathology and Medical Clinic, Inspection of meats, Legal Medicine, Veterinary Legislation and Veterinary Obstetrics. This fact corroborates the humble origin of the professional, as well as the form in which he forged the qualities and values that would accompany him during the rest of his life. Arturo received the title of Veterinary Medicine Doctor on July 25th of 1938.

Not yet satisfied in the field of Medicine, at the age of 24, he enrolled in beginning courses of Doctor in Odontology. Obtaining the director’s approval to be exempt from the subjects already attended in the curriculum of Veterinary medicine compatible with those of Odontology; Arturo continued with excellent grades and scholarship prizes in subjects like: Radiological Odontology and Dental Prosthesis, which led him to the extraordinary “COLGATE” Prize and a full scholarship to the school of Odontology. In short time (August 11th of 1942) he received the Title of Doctor in Dental Surgery.

Columbia University 1945

Wanting to further apply his skills in the field of research and surgical Odontology, Arturo asked once again for monetary exemption from the University of Havana, since the matriculation was to his knowledge “excessively elevated ($550.00) by the course of post degree”. This request was not approved. Despite the hardships and now married to his beloved sweetheart “Lola”, he was granted a full scholarship by the University Council in New York to Columbia.

Arturo & Lola at Columbia (1945) 3rd from left>right

On October of 1944, Dr. Arthur L. Garcia Mendoza makes agreements again so that payment went to his studies, because otherwise, the scholar must leave his postgraduate studies. Once finalized his studies of postgraduates in the University of Columbia in October of 1945, he returns to the mother country and he begins his labor life. He puts together a private clinic of Veterinary Medicine, in Jaruco, province of Havana and at the same time he was approved in the exercises of Opposition in the Subjects of Incrustations, Crowns and Bridges by the School of Odontolgy of the University of Havana. In June of that year he receives a chair in the School of Odontolgy. He occupied this position until September of 1959. From the 11 to the 15 of December of 1950, he attended a Special Course of Periodoncia distributed by professor Dr. Irving Gilckman and from the 18 to the 20 of March of 1955, the Special Course on Sets of teeth is introduced by him to the School of Odontolgy in the University of Havana. Dr. Arthur L. Garcia Mendoza brought these skills to the School of Odontolgy and spread the teachings to more than 3 000 professionals in the field. Dr. Arturo L. Garcia Mendoza, is one of the few patriots which did not leave the country, nor the classrooms in the triumph of the Cuban Revolution; becoming in addition the first Director to this Institution in the revolutionary period.

In September of 1959, in the City of New York, until now, took place a greater event, well-known of the American Dental Association, not only celebrating the centenary of his foundation, but the 47 Annual Meeting of the International Dental Federation. An organization he became an active member of (Colegio Estomatológico Nacional (CEN)
In 1963 he attended the Congress of the FDI celebrated in the city of Stockholm, Sweden to celebrate the Dental Medical Provincial Congress with the subject of “Importance of the Aesthetic Factor in Total Prothesis”. In the same year, he attend and presented/displayed the Scientific session on Surgical preparation of maxillary with prosthetic aims, with subject to “Importance of the Diagnosis in Dental Prothesis” and in addition he then studied the German language. Arturo then moved to the University of Leipzig in the Germany, with the purpose to perfect his subject “buco-máxilo-facial prosthesis” Upon his return, he creates the pioneering prosthetic service in Cuba under the collaboration of Mariano technician Osorio Wheels; this service contributed to improve the quality of life of the population and to perfect the formation of professionals and technicians of this one unique branch.
As of today, Arturo stands out in different international events with the subject from “Nasal Somatoprótesis” It comprised of the group of professors responsible for the elaboration of educational Literature, getting to hold the position of President of the Commission of Educational Literature. He also tutored several works of residents. He obtains in addition the Educational Category to “Professor Titular”, 9 of May of 1976. From the 26 of December of 1974, Member Holder of the Society of Estomatológica Prosthesis is appointed and acts as President of the court of residence for Degree specialist. Throughout the period of the decades of the 70 and the 80 prothesis of the Faculty was Responsible for the service, where in addition teaching in its rotations offered the residents of the department, reason why distributed teaching in pre- degree and postgraduate respectively. Prosperous it was his scientific production in the marks of his specialty, where works like “Total Prothesis in a Hemimandibulectomizado” and “Technique in Total prothesis in relation to the Welfare Medical Service” both published in the Cuban Magazine of Stomatology of August of 1966 can be emphasized; “Prothesis Restauratriz Maxilofacial”, also published in the Cuban Magazine of Stomatology. Sep. – Dic. 1972. For 1978, the preparation of 3 chapters for the conferences of Prothesis is significant (caps 3-12 and 42), and in 1979 elaborated and published the “Work on Somato Total Nasal Prothesis”, in the Cuban Magazine of Stomatology.

In 1979, Anniversary of the University of Havana granted Arturo Medal 250.

LINKS:

http://articulos.sld.cu/protesis/archives/323

http://www.cubainformacion.tv/index.php?option=com_content&view=article&id=11620:reconocen-a-prominente-doctor-de-la-estomatologia-cubana&catid=49&Itemid=200077

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Original Biography in Spanish:

Arturo Luís Giraldo Isidro García Mendoza, nació el 5 de noviembre de 1914, en su domicilio, sito en calle Belascoain # 52 en Ciudad de La Habana, hijo de Arturo y Asunción, naturales de la misma ciudad.

Después de cursar sus primeros estudios, obtuvo como resultado de su inclinación por la pintura y la escultura el Título de Profesor y Modelado y Dibujo de la Escuela Profesional de Pintura y Escultura de “San Alejandro” el 7 de julio de 1933 y el de Profesor de Dibujo y Pintura de la Escuela Profesional de “San Alejandro” el 18 de julio de 1933.
Luego con sólo 19 años de edad, el 5 de enero de 1934 el tribunal designado para aprobar el ingreso a los aspirantes a la Escuela de Medicina Veterinaria, lo declaró apto para ello.

Abonando la cantidad de $5.00 como derecho a su matrícula al curso académico de 1933- 1934, inicia la carrera de Medicina Veterinaria y el 20 de julio de 1934, amparado en la calificación de sobresaliente en la asignatura de Histología Normal y Embriología solicitó se incluyera entre los aspirantes a premio. Resultando ganador del mismo.

Para el curso 1934- 35 y en los sucesivos años que comprende la carrera, todas las asignaturas las concluye con notas sobresalientes. Respaldándose en este resultado y en el artículo 195 de los Estatutos de la Universidad, solicita al Rector de la Universidad de La Habana le sirva de eximirle del pago de su matrícula.

De igual forma continúa negociando el costo de su matrícula y el valor de los libros e instrumentos de uso científico, con la obtención de premios ordinarios en diferentes asignaturas como: Patología y Clínica Médica, Inspección de carnes, Medicina Legal y Legislación Veterinaria y Obstetricia Veterinaria. Este hecho corrobora la procedencia humilde del profesional, así como la forma en que fue forjando las cualidades y valores que le acompañarían durante toda su vida.

Recibe el título de Doctor en Medicina Veterinaria el día 25 de julio de 1938, el mismo se encuentra registrado en Secretaria General de la Universidad de La Habana con folio 16 y número 357 y en Secretaria General de Educación con folio 294 y número 15411.

A los 24 años de edad, soltero y vecino de Sitios 202, matricula en el curso 1938-39 la carrera de Doctor en Odontología.

Con fecha 22 de mayo de 1939 solicita al rector de la Universidad de La Habana y lo logra, se le abone las asignaturas que ya cursó en la carrera de Veterinaria y que son afines con las de Odontología. Sus notas en esta carrera continuarán sobresalientes y de igual manera, las evaluaciones de sobresalientes y exámenes de premios en asignaturas como: Técnica radiológica, Operatoria Dental y Prótesis Dental en 1ero y 2do curso, entre otras, le permitirán continuar negociando su matrícula y la obtención de instrumentos y materiales docentes e investigativos necesarios. Recibe el 11 de agosto de 1942 con folio 122 y número 450 el Título de Doctor en Cirugía Dental.

Se conoce por el Dr. Rafael Madan, secretario de la Facultad de Odontología y al escribirlo el Sr. Gustavo A. Sacerio, oficial a cargo de Certificaciones con fecha 3 de diciembre de 1948, que el Dr. Arturo L. García Mendoza, obtuvo el Premio extraordinario “COLGATE” y la Beca de Viaje de la escuela de Odontología de los cursos 1940- 41 y 1941- 42.

Es significativo señalar que dicha beca constituye un reconocimiento y estímulo a los resultados académicos del Dr. Arturo L. García Mendoza, ya que según consta en el Artículo 207 de los Estatutos de la Universidad, la declaratoria de “Alumno Becado” será un MÉRITO ESPECIAL a favor del que la obtiene, para su ingreso en el profesorado.

No obstante, no se trataba de un viaje placentero, tuvo que enfrentar determinadas vicisitudes económicas. Con fecha 18 de septiembre de 1944 el Dr. Arturo L. García Mendoza le solicitó al rector de la Universidad de La Habana le adelantará las 2 últimas mensualidades que otorgaban para la mencionada beca, ya que la matrícula era como el mismo cita en su carta “excesivamente elevada ($550.00) por el curso de post grado”. Esta solicitud no fue aprobada. No obstante el 23 de octubre de 1944 comunica nuevamente al Rector que a partir del 1º de noviembre comenzará la beca concedida por el Consejo Universitario en New York en los Estados Unidos.

En octubre de 1944 el apoderado del Dr. Arturo L. García Mendoza hace gestiones nuevamente para que se le adelante ese pago, pues de lo contrario el becado tiene que abandonar los estudios de postgrado. Una vez finalizado sus estudios de postgrados en la Universidad de Columbia, para octubre de 1945, regresa a la patria y se incorpora a la vida laboral.

Se inicia en la práctica clínica privada de la Medicina Veterinaria, en Jaruco, provincia de La Habana y simultáneamente a partir de abril de 1949, fecha en que fue aprobado en los ejercicios de Oposición en la Asignatura de Incrustaciones, Coronas y Puentes de la Escuela de Odontología de la Universidad de la Habana, realiza la actividad docente.

En Junio del propio año recibe el nombramiento sobre prestación de Servicios como Instructor de la Cátedra “A” de Prótesis Dental Total de la Escuela de Odontología. Éste cargo lo ocupó hasta septiembre de 1959, pues específicamente el 22 recibe el nombramiento como Profesor Agregado por Concurso de Oposición de la Cátedra “A” de Prótesis Dental Total.

Del 11 al 15 de diciembre de 1950, asistió a un Curso Especial de Periodoncia impartido por el profesor Dr. Irving Gilckman y del 18 al 20 de marzo de 1955, al Curso Especial sobre Dentaduras Implantadas en la Escuela de Odontología de la Universidad de la Habana.

Una vez que se produce el triunfo del primero de enero de 1959, el Dr. Arturo L. García Mendoza como parte del claustro de profesores de la Escuela de Odontología de la Universidad de La Habana, ante el éxodo de más de 3 000 profesionales de la salud, es uno de los pocos patriotas que no abandonan ni el país, ni las aulas, convirtiéndose además en el primer Director de ésta Institución en el período revolucionario. Es decir que es designado Delegado Propietario de la Escuela de Estomatología ante el Directorio del Retiro Estomatológico desde el 1ro de julio de 1961 hasta el 30 de junio de 1963.
Entre los días del 13 al 18 de septiembre de 1959, en la Ciudad de Nueva York, se produjo el mayor evento, conocido hasta la fecha, de la Asociación Dental Americana, pues no sólo se celebraba el centenario de su fundación sino la 47 Reunión Anual de la Federación Dental Internacional, organización de la cual era miembro nuestra institución Colegio Estomatológico Nacional (CEN), desde su fundación en 1933.

A esta actividad asistió una Delegación Oficial de Odontólogos Cubanos entre los que se encontraba el Dr. Arturo L. García Mendoza. Esta Delegación aprovecha el evento para poner su mayor empeño y amor patrio en defensa de su Revolución, al repartir con gran profusión entre norteamericanos y extranjeros asistentes, un volante que los invitaba a visitar el país, conocer la Revolución cubana por sí mismo, para de esa forma no darle crédito a las difamaciones que la propaganda anticomunista se deleitaba con mentiras y calumnias sobre nuestra sociedad.

Fue miembro de la Comisión de Reforma de Marzo de 1961 y de la Comisión de Docencia de la Escuela de Estomatología de la Universidad de la Habana desde Febrero de 1962 a octubre de 1963.
Encabeza las Milicias Revolucionarias Universitarias que conformaron los estudiantes universitarios junto a sus profesores en la Escuela de Odontología de la Universidad de La Habana.

Fue Delegado Suplente de la Facultad de Odontología ante el Retiro Estomatológico a partir del 9 de Septiembre 1960 y Presidente de la Junta de Gobierno de la Facultad de Odontología de la Universidad de la Habana el 18 de Octubre de 1960.

Inclinado siempre hacia el estudio de diferentes perfiles de la temática de prótesis buco-máxilo-facial y ante la aparición en 1961 del Sistema Nacional de Salud (SNS) con una favorable influencia en ese terreno, comenzó a superarse como parte del personal especializado e interesado en este campo.

Para 1963 asistió al Congreso de la FDI celebrado en la ciudad de Estocolmo, Suecia del 29 de junio al 6 de julio y en Septiembre del propio año al Congreso Provincial Médico Dental celebrado en Varadero, Matanzas con el tema “Importancia del Factor Estético en Prótesis Total”.

Se destacó por la labor realizada en el desarrollo Docente del Plan Fidel en la Escuela de Estomatología de la Universidad de Oriente, Santiago de Cuba, en la Asignatura de “Técnica de Laboratorio de Prótesis Dental Total”, durante los meses de Septiembre a Diciembre de 1965.

El 23 de Febrero de 1966 participa como Coordinador del Simposium “Empleo de una Técnica de Prótesis Total en relación con el Servicio Médico Asistencial” durante el 11no. Congreso Médico y 7mo. Estomatológico Nacional.

Ya para Febrero, del 24 al 26 de 1967 asiste a la Jornada Médico-Estomatológica de la Ciudad de Nuevitas, Camagüey, con el Tema “Diferentes Técnicas para la toma de Impresiones en Prótesis Total”. En el mismo año pero el 5 de octubre asiste y presenta en la Sesión Científica sobre preparación Quirúrgica de los maxilares con fines Protésicos, el tema “Importancia del Diagnóstico en Prótesis Dental” y además cursa estudios del idioma alemán.

Se traslada a la Universidad de Leipzig en la República Democrática de Alemania, con el fin de perfeccionar sus conocimientos acerca de la prótesis buco-máxilo-facial desde el primero de Septiembre de 1968 al 3 de julio de 1969 y a su regreso crea el servicio pionero en Cuba bajo la colaboración del técnico Mariano Ruedas Osorio; este servicio contribuyó a mejorar la calidad de vida de la población cubana y a perfeccionar la formación de profesionales y técnicos de ésta rama estomatológica.

A partir de éste momento se destaca en diferentes eventos tanto nacionales como internacionales con el tema de “Somatoprótesis Nasal” como por ejemplo el Congreso de la FDI celebrado en la ciudad de Munich, Alemania Federal del 16 al 22 de junio de 1971 y la1ra Jornada Científica de la Facultad de Ciencias Médicas de la Universidad de la Habana el 21 de enero de 1972.

Obtiene como fruto de su constante quehacer el certificado como Especialista de Segundo Grado en Prótesis Dental el 14 de septiembre de 1973.

A continuación, durante los años que restan para concluir la década del 70 y del 80, su labor científica y docente se manifiestan por su participación sistemática en actividades como: “Planeamiento de la Investigación”, marzo de 1974, Cursos Impartidos a los compañeros Técnicos Dentales en la Escuela para Técnicos Dentales Medios del 20 de mayo a 20 de julio de 1974, “Objetivos Educacionales de la Estomatología”, 10 de diciembre de 1974, III Jornada Nacional de Cirugía Máxilo Facial efectuada en Santiago de Cuba del 21 al 24 de Noviembre de 1974.

Para 1976, se convierte en la representación del CENTEC en los tribunales de otorgamiento de las categorías docentes en el Instituto Superior de Ciencias Médicas de La Habana. Formó parte del colectivo de profesores responsables de la elaboración de la literatura docente, llegando a ocupar el cargo de Presidente de la Comisión de Literatura Docente. Tutoreó varios trabajos de residentes. Por lo que se hizo acreedor del Certificado de Reconocimiento por la labor realizada como Educador. Obtiene además la Categoría Docente de Profesor Titular, 9 de mayo de 1976.

Desde el 26 de diciembre de 1974, es nombrado Miembro Titular de la Sociedad de Prótesis Estomatológica y funge como Presidente del tribunal de residencia para especialistas de Primer Grado en la ciudad de Matanzas del 8 al 11 de abril de 1980. Además participó en tribunales estatales para la Defensa de los trabajos finales de residencia, siendo muy preocupado por la calidad científica de los graduados.

Durante todo el período de las décadas del 70 y el 80 fue Responsable del servicio de somato prótesis de la Facultad, donde además se brindaba docencia en sus rotaciones a los residentes del departamento, por lo que impartió docencia en pre- grado y postgrado respectivamente.

Próspera fue su producción científica en los marcos de su especialidad, donde se pueden destacar trabajos como “Prótesis Total en un Hemimandibulectomizado” y “Técnica en prótesis Total en relación con el Servicio Médico Asistencial” ambos publicados en la Revista Cubana de Estomatología de Agosto de 1966; “Prótesis Restauratriz Maxilofacial”, también publicado en la Revista Cubana de Estomatología. Sep. – Dic. 1972. Para 1978, es significativa la confección de 3 capítulos para las conferencias de Prótesis (caps 3-12 y 42), y en 1979 elaboró y publicó el “Trabajo sobre Somato Prótesis Nasal Total”, en la Revista Cubana de Estomatología.

En 1979, se le otorgó la Medalla 250 Aniversario de la Universidad de La Habana.

Según sus compañeros era disciplinado, organizado, planificador y exigente en las tareas encomendadas y además autocrítico.

Poseía conocimiento de la Teoría Marxista Leninista avalado por cursos oficiales así como la aplicación práctica de éstos en sus actividades diarias en la formación comunista de los estudiantes. Colaboró a fin de garantizar el cumplimiento de la línea política del PCC y los acuerdos del 1er Congreso del PCC en lo relativo a la Educación Superior entre sus alumnos y demás integrantes de su colectivo.

Cumplió con sus deberes ciudadanos y ante la defensa de la Patria participando en la Emulación Socialista, preocupándose por su superación política. Fue cederista y un activo miembro de la CTC y la Defensa Civil.

Very few sentiments compare to that of love. We all feel almost the same temporary glitch that change the course of our lives for better/worse. Granted, it’s a different feeling for all of us in terms of ritual and intensity. For instance, when we get completely blinded by this overwhelmingly amazing feeling in layers of deep/colorful hues; other times a more of a subdued, saturated feeling, which for some reason also produces a high level of intensity, but over a certain period. Hues are exciting, but disappear quickly, and eventually become one boring solid block of color. This is where it gets interesting, at least for myself; a simple/saturated feeling turns out to be the more satisfying kind of love. Seeing them as the vivid colours they were before the process of saturation took over. This is hard for every one of us to accomplish (including myself), because we’re all looking for cheap thrills and pretty colours to decorate our superficial porches. Saturation hasn’t always proved to be aesthetically satisfying, so we’re quick to give up on what we can’t physically see: colour. But, like the charcoal/ink drawing above describes: “The most important/essential things in life are invisible to human eyes.”

Los Zafiros have a tendency of describing this saturated sentiment in the simplest metaphors. No over-exaggeration, or over-romanticized ideals, just exactly what happens when you meet a saturated equal.

Los Zafiros

I strongly believe that a large amount of a person’s life is based on selective choices. The rest belongs to a significant paste that is evenly distributed between: their physical limitations, luck, and how far a person can take his/her imagination. The problem with this belief is that we are usually provided with two out of three (depending on society’s system.) Omitting either what we’ve come to know as good fortune/physical advantage, or restricting the imagination by having easy access to contemporary forms of creativity. Our popular western culture, for instance, has such convenient accessibility to create and dispose of materials, that in turn, it has dematerialized anything with true value. Tangible value seems to be the only concern of western society; forgetting to engage the imagination by sparking an interesting conversation, creating your own materials, or even enjoying a meditative moment to appreciate the process of creating from zero.

Over the past few years, I’ve been merely focusing on career-oriented aspects of life, and have completely ignored my sensible need for human exchange and interaction. The need to simply just enjoy a friend’s company over a glass of wine, or perhaps pack my bags and go off on a rural adventure with an equally interested counterpart. Well, I cannot begin to explain how my recent trip to Cuba bitch-slapped all of my senses. I was suddenly trapped in a world in which i actually had to engage with people in order to survive –this was not a new concept to me, but certainly a forgotten one. I found myself actually listening and participating in the inventive stories my uncle fabricated on his hunt for daily bread. I laughed a lot, and actually enjoyed sitting still with even just the mere presence of my cigar (a ritual I’ve incorporated within my Miami routine) I also explored and met some really amazing souls, kids mostly: who are imaginative beyond words, but struggle with the physical limitations imposed by the Castro regime. It’s really quite sad when we come to notice how incredibly lucky we are to have all possible means to create, but it is as equally depressing to find that we aren’t as nearly evolved in imaginative/interactive practices. This trip/story will certainly be one of many to come, besides visiting my family and friends back home, i found that it provided me with a simple happiness that reminded me of why I’m still here.

Exposed to almost every form of traditional art since very early, it was in the great stimulant city of Vedado that I developed my taste for line and color. Close to everything I understand about visual art I owe it to the early memories that draw back to this city and my experiences in every corner; filled with music, dancers, theater and live painters. This friday, i will be completely disconnected from my daily routine as i become entirely submerged in the land i once called home. What’s even more exciting about this venture, is that i get to enjoy it with two of my incredibly talented and amazing best friends: LA KlAUDIA and Indie Queen Val. I plan to build incredible memories with these gals; walking amongst the colonial city buildings in all their faded glory. Bathing in the virgin caribbean waters of Varadero and smoking cohibas accompanied by a Cuba Libre under swaying palm trees.

If you have no idea what Cuba looks/sounds like; just imagine the pristine weather of a deserted Caribbean island that is practically a virgin to industrial ways. The fact that Cuba is completely ignorant to capitalist ways is definitely part of its charm (although the cuban population would probably beg to differ). Having purely organic meals grown by cuban farmers, completely extinct from advertisements and filled with traditional political posters; i simply cannot wait to go back in time to my childhood playgrounds and be completely disconnected from the outside world.

I remember my father lighting one of these bad boys in his white 1959 Mercedes 220S Ponto; which he sadly had to sell in order to bring me and my family to a brighter future. At the time, the smell of cohibas were the closest thing to hell for me, but on this trip i plan to change that and enjoy the taste of pure tobacco leaves grown from virgin soil.

There are days when i wake up feeling quite nostalgic; craving the adventures i had back in my native land when i was a kid. Back then, i was half explorer and somewhat of a part-time architect, often building castles ground-up with discarded materials. I spent countless hours in a particular junkyard filled with rusted metal and cardboard boxes; which my mother detested because I would often lose track of time and she would have to enter the labyrinth to find me. My activities ranged from running with nike (my dog), to painting metal sheets and using them to roof my lunar ships. I didn’t mind the pungent copper smell; in fact, it played a leading part in the rusted setting that somehow linked my imagination to being inside a spaceship. This magical space was the only escape available from the early -and often harsh- realities bestowed upon kids living in third-world countries. I considered myself quite the lucky sport to have such a big space to be completely uninhibited; a space where nobody could find/bother me with outside ramblings of chewed-up politics.

This video/song by Baby Monster reminds me of the space i built a childhood in. Using hazardous materials without even knowing, and creating games that only i knew the rules to. Created by Naor Aloni, the visuals are charged with contemporary issues and revolutionary ideals. The editing based on the characters imagination is simply stunning, bringing life and colour to the song itself and reviving the old/moldy place.

In order to grasp this, first think about sound and image as two separate patterns of information that can be transposed with equal impact to any medium. Now, when these two blend, they create a super-cluster of sensible outbursts that are capable of affecting or creating an ostensible environment. This synesthetic notion isn’t anything new; explored by artists like Aphex Twin & Chris Cunningham through juxtaposing colour/images with their corresponding sounds.

I attached the mix below by Valentin Stip because the moment i heard the first few seconds, a world juxtaposed with visuals incubated my cortex. I replayed it to see if the effects would wear off, but this tune is simply screaming for a visual partner. Hopefully something will surface soon, or i just might have to get messy.

Valentin Stip - Gravels (I and II) by Clown and Sunset

This video by strangeloop is the perfect audio-visual matrimony. Strangeloop says he “wanted to use FIELDS, the album, as an excuse to do what I really want to do, which is create worlds” Using real photography of natural phenomena, Maya, Modo, Cinema4d, After Effects, Final Cut, Quadrium, Artmatic, Resolume for Live Visuals, Ableton Live & Logic; this kat is a total bad-ass, & gives a whole new meaning to the term “cross-platform”

STRANGELOOP // FIELDS [ mov. 1 of 3 ] from StrangeLoop on Vimeo.