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Yerba's star Sacha guasca

Yerba the star / Lucera (Pluchea sagittalis )
The generic name Pluchea was given in honor of the French priest and naturalist Noël Antoine Pluche (1688-1761) , better known as Abate Pluche , author of "Spectacle the nature " published in 1732.
Origin and distribution: Bolivia, southern Brazil, Paraguay, Uruguay and Argentina (Salta, Tucumán , Catamarca, Santiago del Estero, Chaco, Formosa, Misiones, Corrientes, Entre Rios and Buenos Aires) .
Other names: luser , star Herb, luser Yerba , Four songs, Quitoco , Quitoc , Quitoque , Arnica, Nasherék ltaá (father of snuff), Uové ( weed ) Uashitó or lok lak Toba language (Mangangá collar ) Yacaré caá .
"Letter to a New Ethnic Gran Chaco" Enter the name tuff Vioxanaxaic (Old Man Center Chaco (Chaco), National Agency for Promotion of Science and Technology)
In Brazil is known by the common names of Mother harpsichord; and Tabacarana Arnica. Use the keyword refers to the resemblance to the flower buds.

"Ethnobotany of Composite Argentinas Special Reference to their Use Pharmacological " records the following data: Pluchea , 4 species, 2 in Argentina.
P. sagittalis ( Lam.) Cabr . ( quitoc DC .; P. suaveolans ( Vell.)
Yungas of NW Argentina and phytogeographical province the S Paranaense of Brazil, Paraguay, Uruguay and NE of Argentina .
Names: Lucera, Kito , Quitoc , Quitoco , Quitoque , Herb of the star, caa Yacaré (Guarani), Naserék ltaá (father of snuff in tuff) Uoué ( weed in tuff) and Uashit 'lok hó or lak (tuff).
"The decoction of the plant is antihysteric, carminative, digestive and liver and is applied externally for washing grains. With the plant is preparing an appetizer and digestive liquor. The leaves in poultice are used in cefalgias . " ( Zardini, Elsa M.: Ethnobotany of Composite Argentinas with Special Reference to their Use Pharmacological , Fac. of Natural Sciences, Universidad Nacional de La Plata, La Plata, Argentina, Farm Act. Buenos Aires 3 (1): 77-99 (1984)

North Collector Road area Nicolás Avellaneda, stretch resistance - Corrientes (Chaco, Argentina)

evergreen herb, stems erect, pubescent, winged, alternate leaves lightly serrated margins, lanceolate. Inflorescences strands of white flowers in lilac . Blooms in summer.
popular use is mentioned for stomach upset.

The Dictionary of Agricultural Sciences mentions that "In Argentina aerial parts used as an antispasmodic, antiinflammatory and aromatic stimulant." ( Barioglio , Carlos Fernando: Dictionary of Agricultural Sciences , Córdoba, Argentina, 2006)

The "Argentine Food Code " Chapter XIV : Espirutuosas Beverages , Alcohol, Alcoholic Beverages Distilled Spirits , where Art. 1129 (Res. 2071, 10/11/1988) states: "With the name of Cocktail (for example : fernets , Bitters, Bitters ) refers alcoholic beverages containing certain principles bitter to which they can allocate the property to be appetite stimulants.
can be obtained by distillation, infusion, maceration or digestion of one or more plants or parts of them in rubbing alcohol from wine: "The list
Figure transcribing the name Latin botanical and plant part normally used, it integrates this list Lucera (Pluchea saggitalis (Lam ) Cabrera) grass. Links


Steffen, SJ: Plants Medicinais - Popular Traditional Uses , Instituto de Pesquisas Anchietano / UNSINOS , 2010, Brazil ( Quitoco , pg. 66)
Medicinal Plants of South America, Knowledge Dialogues for Sustainability , Medicinal Plants Network South America, International Centre for Development Research (IDRC - IDRC), 2005

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Sacha guasca / Sacha huasca ( Dolichandra cynanchoides Cham.)
The generic name Dolichandra derived from the Latin Dolikhos: long andros, male in reference to his long stamens.
Family: Bignoniaceae
and distribution copy Origin: South America, Argentina, Bolivia, southeastern Brazil, Paraguay, Uruguay and Chile.
In our country it is found in Córdoba, San Luis, Catamarca, Salta, Jujuy, Tucumán, Santiago del Estero, Chaco, Formosa, Santa Fé, Misiones, Corrientes and Entre Ríos.
Other names: Teyu isipo; Sachagusano; Touch of Mt.
common name Sacha huasca (sachaguasca) , sacha Quichua: the mountain, wild, wild and guasca / huasca: rope, liana ; with meaning "wild vine "or" bush vine " . Teju
isipo (the Guarani), "vine of lizard of teju: lizard, lizard, iguana and ysypo / isipo: liana, creeper.
The guasca Sacha is a woody vine, perennial, stems verrucose, flexible and ductile, which look like strings or ropes twisting spiral and grow on its support. These stems are used for all types of bonds.
Foliage leathery leaves, opposite, leaflets acute, dark green, trifid tendrils.
showy tubular forest, pendants, yellow to red, the latter predominating color, fruits flat, elongated, brown, membranous contain many seeds.
flowers all year.

properties are concerned: Ornamental

• (beautiful flowers)
• Medicine (used in folk medicine the leaves and stems)
• Crafts (stems in the manufacture of baskets).

referred Hieronymus: "Dolichandra cynanchoides Cham. syn.: Spatodhea (?) Dolichandra, DC., common name: sacha white huasca (C.) Cat's Claw (E. Corr.). Distribution Region: Entre Ríos, Corrientes, Córdoba, Tucumán, Salta, Jujuy, Oran (southern Brazil), said: "These plants are vines that climb trees and flexible and tough stems which are used to tie the linkages or roofs of huts hurdles , etc. Farmers prefer the leather used for the same purpose and say they are more durable than this " . (Hieronymus, G. (1882): Florae Diaphoricae Plant Argentinae , Buenos Aires, Ed Kraft)

North Collector Road area Nicolás Avellaneda Strength stretch - Corrientes (Chaco, Argentina)

The Newsletter 30, referred Argentinos Ecosystems: "The huasca sacha is one of the most beautiful plants and typical of the Sierras de Córdoba. It is a woody vine ( liana), long-lived perennial. The thick stems are entwined around the trunks of trees looking for the light and reach the top, covering it with flowers and leaves. The leaves are compound, evergreen, with two oval leaflets dark green and a tendril with three hooks. The earrings are developed especially in young stems, which through him climb the tree trunks. The roots form a thickening which accumulates water and facilitates the regrowth after drought, frost or cut. The flowers are very showy, tubular, trumpet-shaped, in colors ranging from orange to red. Flowers from spring through fall. Several species of hummingbirds visit to drink nectar and pollinate step The fruit is a dark brown capsule that opens at maturity. The seeds are large, tan, and are surrounded by a "wing" transparent. The distribution of huasca sacha was documented in almost all provinces in central and northern Argentina, in the mountain forests and Chaco and Espinal plains. However, today the species is scarce in most parts of this territory. There are still large populations in forests and scrubland of the Sierra de Cordoba up to 1200 m in height. It is also found, although in less abundance, in the Yungas of northwestern and Espinal de la Selva de Montiel in Entre Ríos. addition to the destruction of native forests, another likely reason for the decline and disappearance of huasca sacha populations in some areas is the exploitation of their stems for handmade baskets and lamps. It is possible that due to overexploitation are no plants in parts of the plains in Cordoba Espinal, and are very rare in Traslasierra. Some artisans have told us be found in places of the increasingly distant Sierras. The plant also has a reputation for medicinal, anti-emetic, contraceptive and ntidiarreica. For his climbing ability, its evergreen foliage and flowers, has high ornamental potential. Propagation by seed is difficult. If seeds are used only mature and healthy fruit which have not been attacked by insects, germination rates are high (70-90%). He begins to germinate in August in trays and moved to nurseries or directly sown in seedbeds. In November or December, when the seedlings have 3-4 leaves, were transplanted into deep pots. The seedlings are robust and survival in culture is high, but growth is slow. It is also possible vegetative propagation by layering or cuttings buried. The experience gained in the spread of huasca sacha could be used for restoration of populations in natural environments. " (Text: Mercedes Mascó, Immanuel Noy-Meir, Argentinos Ecosystem, July 2008)

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Adios, Violet Eye. In Memory of Elizabeth Taylor (1932 - 2011)

Miguel Cane

There was nothing like her and always knew, since he left to share screen with Roddy McDowall and Lassie ineffable, to be the teenager who radiated charisma National Velvet, the story of a girl and her pony, her violet eyes, the classic features, the raven hair, captured the world. She was born, in April 1932 - to be a star.

English daughter of an ill-assorted marriage who emigrated to America to seek his fortune, his mother was always a mixture of support and pressure that shot to fame quickly, have developed very fast, with gorgeous figure , was the key that helped them climb in a blink to be the biggest star of his generation and the last great film legend (and Angelina Jolie arrives, ladies and gentlemen) in its own right.

The losing streak that had in their marriages does not mean that Elizabeth Taylor Hilton Wilding Todd Rosamund Fisher Burton Burton Warner Fortensky had not been happy or do not know the love, the thing is I always wanted more, know it was not like the other, the same at 18 years with the poor little rich boy Nicky Hilton (who beat her during their honeymoon in Rome, a situation which was saved by the timely intervention of Deborah Kerr, while filming Quo Vadis? , Which literally took it out of the honeymoon suite with a black eye) than 60 with the worker Larry Fortensky (they broke the love, as I said the D'Alessio, both used). And all the admiration of their fans (well, plural) who loved her dearly and forgave him everything from bad movies (like the grotesque Cleopatra, who, where you look, is a beautiful disaster) to stealing utterly, almost in his face, the husband of her best friend from childhood (the sweet and sensitive Debbie Reynolds, who eventually agreed that Liz did you a favor by removing this louse called off and Eddie Fisher were reconciled and Mature), while drunkenness aside, tantrums elephantine and extra kilos.

The Taylor was obviously a force of nature. Violet eyes fixed where nothing was ever the same, and was much more courageous than people think: you have to see their work in two films that followed was based on works of his intimate gossip Tennessee Williams: Cat on Hot Tin Roof (in which her beauty and temper himself overshadowed by Paul Newman) and suddenly last summer, where she and the thing known as Katharine Hepburn formidable got to you for you on camera and behind They rang Joe Mankiewicz Scrub for torturing the very Monty Clift. When Dick filming Night of the Iguana in Puerto Vallarta in 1963, she came to visit him and clung together sensational pedals with John Huston, Ava Gardner and Gabriel Figueroa (the Kerr just covered his eyes with his hands) and armed the pachanga. By day you could see her playing with the kid cuicas the town and eating tlacoyos. He liked the place, bought a house there in Mismaloya. Must recognize that any actress of her status would dare to blow twenty kilos of fat and stay drunk during a shoot (if that is not the way I do not know what it is), as did the enormísima to play Martha in Who Afraid of Virginia Woolf? (1966), where she and Burton, the greatest love of his life after precious stones and their children, "she turned back to her chic image of" Liz and Dick "(it is impossible to think of the zeitgeist of the sixties without this element) to be displayed as two children injured, stark and brutal, that only she won an Oscar for this work is a great injustice.



Addicted to chocolates and many other things, among them the attention and love from his audience, the Taylor leaves an indelible mark. Not only was the goddess we all know, also was from the 80, a tireless crusader in the fight against HIV / AIDS. After losing many dear friends, as Rock Hudson, and his daughter, Aileen Ghetty, the Liz worked tirelessly to raise funds for research, something that no one will thank you enough. There is no star like her is the last of its kind. So we gave his life on film: a faithful witness of his existence.

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faithful copy / Copy As of Abbas Kiarostami



Miguel Cane



A small town in southern Tuscany is the scene of encounter between a critic British art and the owner of a French art gallery The two live a private affair that transcends the conventions of gender cuaquier. Faithful copy surprising at first sight because it is a European co-production between France and Italy, and the first conference outside their country of lofty and well-known (among a sector of critical) Iranian director Abbas Kiarostami, who won the Palme d'Or in 1997 with the excellent The Taste of Cherry .



Almost all have said that looks like Roberto Rossellini's classic Italian Journey (1954) and not far from the truth. Kiarostami has always done a very natural film, almost raw, to never use any artificial use to decorate your message. Virtually uses two tools: Actors and script. This takes your style to tell what could be a typical love story in Tuscany, showing only the point of view of its two main characters, apart from the typical landscapes with which we are entertained with the romantic comedies set in the area.

Already in the first sequence, the strength of the looks of the characters, as the son of Elle (Juliette Binoche), who is able to interpret the looks and gestures of his mother to predict their subsequent acts , introduces us to the universe of the couple formed by Elle James (William Shimell). The simple staging allows the viewer to focus on the speech of the protagonists, as the car ride which are reflected in the windshield buildings that even they themselves comment, but who do not pay attention Kiarostami because history is not in buildings or landscape, but in their characters.

Kiarostami takes full advantage of the image projected on the real life actors who give life to his characters: Juliette Binoche, a veritable goddess of European cinema, William Shimell, opera singer who plays the writer which questions the validity of the certified copies found in each pair that crosses his path, or even Jean-Claude Carrière, Buñuel collaborator and friend, who plays one of the pieces of another couple when you look at the protagonists, as they themselves face their own reflection in a mirror in two of the most beautiful sequences in the film.



All three happen to be perfect copies of each of their nationalities, French actress, English and Italian baritone screenwriter, each representing the three languages \u200b\u200bspoken in the film, pointing to a critique of the traditional character Anglo-Saxon as a diner waitress says, do not usually speak a language other than their own. Also, the couple who are Elle and James is not a copy of a universal family, but rather the European couple, the Iranian director himself seems to assume a European artistic nationality sponsored.

But Kiarostami's work will not be interpreted the same by all sectors of the public film is divided into two sectors very pronounced, those who only see it work "boring" and "pretentious", and those who discover in it an interesting story that will stimulate your imagination, which is, ultimately, the the cinema. Certified copy

/ Copy As
With Juliette Binoche, William Shimell and Jean-Claude Carrière
Directed by: Abbas Kiarostami
Iran / France / Italy / UK 2010

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Ispansi / Spanish, by Carlos Iglesias

Claudi Etcheverry



The English film by Carlos Iglesias (Ispansi) presents a realistic and dramatic effects without the real drama of the English local fleeing a war (Civil War), to go for belly with an international, World War II, fleeing from the pan fell to the coals.

That alone makes you have to treat with respect the content of such a miserable disgrace furious and unforgiving about a lot of innocent people, aided by a host of other generous souls persecuted who dreamed of a return impossible to settle open sores. Long time to do that is not treat lightly, or historical, or criticism, no politics, or trying to stake driven past the nostalgia and estrangement. From the human perspective of those who had to spend and on behalf of those who were not able to all respect is required and must be solemn if we do not want to confuse the political responsibilities to the opprobrium of the wounds inflicted on a massive human tragedy in which many people still live lick indelible wounds. The introitus is essential to address three or four ideas on the continent that formal macabre odyssey on the way to tell from this film, but never frivolous in light of its content or miserable trim. For

wrong, the director Carlos Iglesias does not remember the very fall of the Germans who get lost in more than one front. Unfortunately does the same, and points to multiple records at once without due to what that "Whoever much covers short squeeze, "and the tape is released so many pointing to the historical drama, the family melodrama, the personal pathos, the altarpiece of manners and romantic tragedy. With so much in dance, some lame leg, and sometimes more than one, because the family scene is weak everywhere with a dialogue between two brothers who not only express the wrong political disagreements that separate but indifference to the lost. The altarpiece manners not hold and the Madrid of the winners is presented only in a topical judgmental recite what they do not know or believe. And the romantic tragedy gets thrown out and will soon pricked with pins. In the end, which is best expressed in the human drama, the historical slaughter, because you know at the bottom that this was true, but more aware that the historical chronicle and snow from the tundra broken by steam from a train that moves such as the steppe to the talent of the shooting.

Iglesias has the unquestionable merit of having made a story that every time he goes up and facing blistering opinions. Deftly sidesteps the debate stage wilderness so hard to Spain with some of those wounds are still open. From this perspective, it does so with great dignity and sneaks not get to take position on the matter, which has no declamations on a measure which is both categorical and respectful, without moralizing, it looks to the disaster that faced all that people do not need syndicate who caused it, but it does not save a single table to get in key blockbuster with signs of both large and small scales snowy landscapes, in my opinion, taken from a textbook, a secondary manual, transforming scenes of pure reduction leaving the story into something that looks a lot like the stories of an old man tell his memoirs and no one will do as much attention. Have been told a thousand times these hardships no less real these days, and the film loses the set to avoid getting into the feelings of his protagonists are, by definition, always new and rich as an input stage. All the characters are clichés and acquaintances, and none of them up from the general mediocrity, particularly serious in the case of Paula / Beatrice, in the lead actress Regina Esther, that confuses emotion with exophthalmos, opening his eyes much more than it was be forgetting that the audience is there to open his own and not a thing.

Despite its lofty pretensions, the film is almost bombastic but does not become pedantic. Churches notices it, and in many passages gets a voice not to be left with the desire that the message be convoluted and make clear what he suspects might be lost or not clear, which would have been able to show the vicissitudes of own characters, in which the seed was to spin a story both personal and universal. So what we really lose is the opportunity to show those old troubles with voices that were on hand to make them new to the simple story of a handful of escapees to sink your feet in the snow while the perpetrators are behind on their heels.

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Rango, Gore Verbinski

Claudi Etcheverry



Anyone who believes that range is a children's film to dry, think long, think you seen a 3D puppets bill this is a stunning story to make the kids do not fight at home locked up on a Sunday and nothing else. Range has several levels and falls much wise reflections and bright, without being apologetic or highbrow. Is one reason the identity that we can take to not stir up the kids at home while we read between the lines in a beautiful visual display solid (especially in this era when graphic resources are one of the main characters in many productions including some in which there is no other characters or not even a decent plot that holds). Many people believe that thinking about oneself is tantamount to crying spells, feeling overwhelmed, panic attacks or psychoanalytic sessions devastating.



There are other ways much simpler, not less sensitive "to realize that we are all determined by our own history and what the personality is to address the facts of the only way he knows: repeating patterns, even wrapping up in thinking that we crave more sophisticated and better argued to make us believe that we have exceeded our parents-those who are often noted as the architects of our molds, but seen from above, we are probably doing what they changing from the jam pot. There must be a skull to see what the truth is that without history there is no identity, and that surely repeat models us but we are convinced that overcomes reincarnated in an instance of our origins. Fox loses hair but keeps the tricks, and Range, a chameleon urbanite lying on a remote desert, is a literal metaphor for many of us.



The journey of this chameleon is truly heroic, not because they are facing bullets, but because he gets face to face with some questions of vertigo: Who am I? Should I? "It's good to remain who I am?, Although the film is not a sequence of stills to Bergman or a bill is presented in intimate and dark. We can see the film as a film elite which not think of anything else (whether knows that the world does not display anything without looking eyes). There have been many animated films for adults as "Fritz the cat", I saw in 1975, an intimate portrait of the critic and corrosive cynical American Society put on the skin of a cat that marked the boundaries with what politically incorrect to call it today, and you just killed her lover it is loaded ostrich smashed their skulls with an ice pick after much inter species sex . But without getting much further, those pictures were safe and suggested only a few cats fucking in a bathtub and a little more, it's much easier to treat than the idea who want to be and the frustration of facing every day with who we are without remedy.



The use of hiding a little behind thoughts of an apparently simple story is centuries old, and already tested Aesop and Lafontaine Samaniego, with naive animals that explain human nature and its deviations. For those who want to look through the gaps in this story, director Gore Verbinski animated features unlargometraje encouraging, never better, to see the passage of a chameleon who invents himself who is going off, not as an act of alienation or alienation, but as a search of his person because it makes him aware of his true nature in a personal design, lucid and stubborn, headed for who wants to be respected yourself. A casualty leaves him literally lying in the road, losing all references (such as identity crises, heh ... heh ...) and it's the first metaphor that it is a chameleon, a creature that by definition goes into mimesis with everything it touches. But he soon realizes that the shots do not go around, and is face to face with who should be unambiguously to come into balance, as Ortega y Gasset would say, between himself and his circumstances.

The thought of repeating patterns is evident and was soon useless guesses. The bug squamous warns if you keep repeating what he did until now not going to be really happy ever, unconvinced that are its arguments. Then he gets serious for determining who is, where is the tank and what fuel leads. Even further, the film presents both the source of personal identity in parallel to the origin of a nation in which the West was used as a heroic symbol of tenacity settler, after conquering the territory and have many dead, see here how to forge and breaks into a savage capitalism in which economic resources who have retained power over others. Here the hero and villain counterweight will not only moral nuances, but even the writer goes much further by showing the physical landscape change meant that going natural desert they found the settlers in the plains studded with concrete in the middle of fields with artificial irrigation we saturate the real estate brochures eyes as we emptied hits the pockets of mortgage. The film is redeemed happy fresh water flooding the dry town this 400-year history shown in 110 minutes.

cinephile Verbinski reveals reissuing the Babe mariachi and Apocalypse Now battles in treble clef, and while this seems a pastime and the kids think this is another of Disney or pure 3D, while screen passes and the kids have left us alone. Which puts us at ease is not this movie, except that we have decided to see her putting barriers in the field and look childish eyes blocking out the sun with their hands. But you know that you can see where it allows its own history, and look at the picture with yourself in is a virtue rare because the eye never sees itself. In this chameleon eyes diverge doodle fun, although in what for him is the scenery apparent one cow-boys, the little guy has the balls to ask saints themselves who want to be.

And she succeeds.

(Gore Verbinski, U.S., 2010, with Johnny Depp in the voice of a chameleon ragged and tentative)

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Ñapindá

Ñapindá (Acacia bonariensis)
The generic name - Acacia (Greek akakia ) - name used by Dioscorides, derived from akantha , thorny plant
Family: Fabaceae
Distribution and ecology: "Native species widely distributed in Argentina, Uruguay, Paraguay and southern Brazil. lives in the forests of central and northern parts of the province of Santa Fe, forming dense thickets impossible to penetrate. Their abundance is usually related to improper handling of vegetation. " ( Sheet prepared by: Pensiero, J. & H. Gutierrez, Applied Research Project Native Forest Resources - PIARFON, Monte and Espinal - Ethnobotany Area)
Other names: Ñapinday, Cat's Claw (common name shared with other species that have similar spines); Cari-cari, Yuquerí / Juqueri, Yuquerí white white Doodle
common name ñapindá derived from the Guaraní ana: devil and Pinder: nail , "devil's claw" for other "hook devil or" cat's claw ", referring to their curved spines stings like a .