They have manipulated video footage and have distorted teachings, messages and foundations that are taught in our Church. The freedom to worship or religious freedom is a fundamental right that allows each human being to freely choose their belief or religion, or to choose none, to believe or not to believe, and to be able to exercise this right publicly, without being made a victim of oppression, discrimination or pressure to change that belief.
Colombian regulations recognise what is already clear for the whole world and the international right as designated in Article 18 of the Universal Declaration of Human Rights, Article 18 of the International Convention on Civil and Political Rights, Article As such, exercising our full rights and freedoms as citizens: 1. We manifest our indignation over the slanderous, offensive and objectionable words that have been used to refer to Sister Maria Luisa Piraquive, the spiritual leader of our Church, to Brother Carlos Alberto Baena Lopez, the Senior Preacher of the Church, and to us the believers of the Church, because an institution is nothing apart from the people that constitute it; as each and every one of us, we are the Church.
We manifest that we are free to think, to form our own ideas, to make our own decisions and to act in accordance with our individual life plans and best knowledge and belief. We share common principles and exercise our freedom and we have decided to attend and remain in the Church of God Ministry of Jesus Christ International.
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To address the many questions, we declare that no one has obliged us to be part of the congregation, to testify, to tithe or give offering, or even to contribute to the financial and economic sustainability of the Church. Reach out to warring parties to address lingering issues, and security arrangements. These agreements should be fair, just and comprehensive. Convene a Comprehensive Constitutional Conference to address key national issues, with the objective of forming a National Constitution Committee.
Apply the brakes on the current state of economic freefall, and work to improve the livelihood of all Sudanese citizens. Oversee efforts to dismantle the structure of governance set up by a totalitarian one-party regime, and transition it to institutions based on a constitution and the rule of law.
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The goal is to create the conditions for a thriving state in which the people of Sudan elect their representatives freely; and to restructure civil services and the armed forces to be representative of the nation i. National, Diverse, and Independent. The imagination without strings By the imagination without strings I mean the absolute freedom of images or analogies, expressed with unhampered words and with no connecting strings of syntax and with no punctuation.
Up to now writers have been restricted to immediate analogies. For instance, they have compared an animal with a man or with another animal, which is almost the same as a kind of photography. They have compared, for example, a fox terrier to a very small thoroughbred.
Others, more advanced, might compare the same trembling fox terrier to a little Morse Code machine. I, on the other hand, compare it with gurgling water. In this there is an ever vaster gradation of analogies, there are ever deeper and more solid affinities, however remote.
Analogy is nothing more than the deep love that assembles distant, seemingly diverse and hostile things. An orchestral style, at once polychromatic, polyphonic, and polymorphous, can embrace the life of matter only by means of the most extensive analogies. When, in my Battle of Tripoli, I compared a trench bristling with bayonets to an orchestra, a machine gun to a femme fatale, I intuitively introduced a large part of the universe into a short episode of African battle.
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Images are not flowers to be chosen and picked with parsimony, as Voltaire said. They are the very lifeblood of poetry. Poetry should be an uninterrupted sequence of new images, Or it is mere anemia and greensickness. The broader their affinities, the longer will images keep their power to amaze. The imagination without strings, and words-in-freedom, will bring us to the essence of material.
As we discover new analogies between distant and apparently contrary things, we will endow them with an ever more intimate value. Instead of humanizing animals, vegetables, and minerals an outmoded system we will be able to animalize, vegetize, mineralize, electrify, or liquefy our style, making it live the life of material. Telegraphic images. Maximum vibrations. Nodes of thought.
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MANIFESTO OF NEGATIVITY
Compressed analogies. Color Balances.
Dimensions, weights, measures, and the speed of sensations. The plunge of the essential word into the water of sensibility, minus the concentric circles that the word produces. Restful moments of intuition. Movements in two, three, four, five different rhythms. The analytic, exploratory poles that sustain the bundle of intuitive strings. Death of the literary I Molecular life and material My technical manifesto opposed the obsessive I that up to now the poets have described, sung, analyzed, and vomited up. To rid ourselves of this obsessive I, we must abandon the habit of humanizing nature by attributing human passions and preoccupations to animals, plants, water, stone, and clouds.
Instead we should express the infinite smallness that surrounds us, the imperceptible, the invisible, the agitation of atoms, the Brownian movements, all the passionate hypotheses and all the domains explored by the high-powered microscope. To explain: I want to introduce the infinite molecular life into poetry not as a scientific document but as an intuitive element. It should mix, in the work of art, with the infinitely great spectacles and dramas, because this fusion constitutes the integral synthesis of life.
To give some aid to the intuition of my ideal reader I use italics for all words-in-freedom that express the infinitely small and the molecular life. Semaphoric adjective Lighthouse-adjective or atmosphere-adjective Everywhere we tend to suppress the qualifying adjective because it presupposes an arrest in intuition, too minute a definition of the noun. None of this is categorical.
Imagination Without Strings and Words-in-Freedom. Futurist Manifesto
I speak of a tendency. We must make use of the adjective as little as possible and in a manner completely different from its use hitherto. One should treat adjectives like railway signals of style, employ them to mark the tempo, the retards and pauses along the way. So, too, with analogies. As many as twenty of these semaphoric adjectives might accumulate in this way. What I call a semaphoric adjective, lighthouse-adjective, or atmosphere-adjective is the adjective apart from nouns, isolated in parentheses. This makes it a kind of absolute noun, broader and more powerful than the noun proper.
The semaphoric adjective or lighthouse-adjective, suspended on high in its glassed-in parenthetical cage, throws its far-reaching, probing light on everything around it.
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The profile of this adjective crumbles, spreads abroad, illuminating, impregnating, and enveloping a whole zone of words-in-freedom. If, for instance, in an agglomerate of words-in-freedom describing a sea voyage I place the following semaphoric adjectives between parentheses: calm, blue, methodical, habitual not only the sea is calm, blue, methodical, habitual, but the ship, its machinery, the passengers. What I do and my very spirit are calm, blue, methodical, habitual.
The infinitive verb Here, too, my pronouncements are not categorical. I maintain, however, that in a violent and dynamic lyricism the infinitive verb might well be indispensable. Round as a wheel, like a wheel adaptable to every car in the train of analogies, it constitutes the very speed of the style. The infinitive in itself denies the existence of the sentence and prevents the style from slowing and stopping at a definite point. While the infinitive is round and as mobile as a wheel, the other moods and tenses of the verb are either triangular, square, or oval.
Onomatopoeia and mathematical symbols When I said that we must spit on the Altar of Art, I incited the Futurists to liberate lyricism from the solemn atmosphere of compunction and incense that one normally calls by the name of Art with a capital A. Art with a capital A constitutes the clericalism of the creative spirit.
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