Our Familiar and Institutional Contribution for Dominican Republic Council for Economy and Health : TODO esta CONECTADO. Reverendo Martin Luther King, Jr. --------- A: Ingeniero ELECTRONICO DOMINICANO Frank Hatton Guerrero, In Memoriam. ---------- FRANK HATTON GUERRERO PROPULSOR 1970 Exaltado propulsor en el Ceremonial del año 1970. NACIO EN SANTO DOMINGO Nació en Santo Domingo, el 4 de agosto de 1897. FUE DESTACADO JUGADOR DE BEISBOL, EN EL EQUIPO TIGRES DEL LICEY, COMO: SHORE-STOP O PARA-CORTO. Fue destacado jugador de béisbol, 1.PIONERO DOMINICANO EN INTRODUCIR LA TECNICA DEL DOBLE PLAY de los primeros en introducir la técnica del “doble play” en el país. 2.SE DISTINGUIO TAMBIEN COMO: GOLFISTA. Se distinguió también como golfista. 3. PRIMER DIRECTOR GENERAL DE: DEPORTES DE LA REPUBLICA DOMINICANA. Fue el primer Director General de Deportes de la República Dominicana, 4. COOPERANDO SIEMPRE CON EL: DEPORTE NACIONAL. cooperando siempre con el deporte nacional. 5. PIONERO EN LA NARRACION DEPORTIVA RADIAL. 6.FUE SU VOZ... Pionero de la narración deportiva radial, 6.1.LA PRIMERA QUE SE ESCUCHARA fue su voz la primera que se escuchara 6.2.EN LAS VERSIONES EN: ESPANOL 7.DE LOS JUEGOS DE BEISBOL en las versiones en español de los juegos de béisbol 7.1.DE LAS GRANDES LIGAS 7.2.EN ESTADOS UNIDOS. de las Grandes Ligas. 7.3. ATLETA JUVENIL. 7.4. JUGADOR DE: 7.4.1.BALONCESTO. 7.4.2.FUTBOL Atleta Juvenil y jugador de baloncesto y fútbol. CUAL ES SU LABOR, EN LA REPUBLICA DOMINICANA, COMO CIENTIFICO TICs (1920-1981)? 1. DE JOVEN... 1.1. VIAJO A LAS UNIVERSIDADES NORTEAMERICANAS, cuando NADIE VIAJABA, NI ESTUDIABA, EN AQUEL PAIS, porque la poblacion dominicana, se dedicaba a la: 1.AGRICULTURA, 2.LA GANADERIA, 3.EL COMERCIO INTERNACIONAL -DE IMPORTACION & EXPORTACION- 4.LA INDUSTRIA... 5.EL MERCADEO DE PRODUCTOS DE: CONSUMO MASIVO, en sus redes de DISTRIBUCION de los mismos por los: 1. CAMINOS. 2. CARRETERAS. 3. CAMINOS VECINALES de una poblacion -RURAL & POBRE EN MAS DE UN : 92%- HASTA EL ANO: 1962... CUANDO NACE EN LA CIUDAD DE SANTO DOMINGO DE GUZMAN, EL CIENTIFICO DOMINICANO, INGENIERO: ELECTRONICO, FRANK HATTON GUERRERO... 1.LA ELECTRICIDAD NO ERA UN SERVICIO: -POPULAR O DE USO MASIVO- EN LA NACION & EN LA REPUBLICA DOMINICANA. 2. NO SE HABIAN INVENTADO: 2.1. NI LA RADIO. 2.2. NI LA TELEVISION. 2.3. NI LA INTERNET & EL CIBERESPACIO... 2.4. NO EXISTIA EN EL MUNDO: LA SOCIAL MEDIA O LA WEB 2.0 2.5. NO EXISTIAN LOS TELEFONOS CELULARES, O MOVILES, EN TODO: EL MUNDO... 2.6. NO EXISTIAN EN LA REPUBLICA DOMINICANA... 2.6.1. LOS 4,000 KILOMETROS DE NUEVAS CARRETERAS, disenados & construidos, por la Administracion del Estado en tiempo record (2012-2019). 2.6.2. NO existia EL MINISTERIO DOMINICANO DE SALUD PUBLICA & PREVISION SOCIAL, inaugurado por la dictadura de derechas de RAFAEL LEONIDAS TRUJILLO MOLINA,para: 1. LA ENSENANZA DE LAS CIENCIAS MEDICAS. 2. PRACTICA DE LAS CIENCIAS MEDICAS. 3. ATENCION A PACIENTES O ENFERMOS & ENFERMAS, POBRES, RICAS, CLASES MEDIAS, de las ciudades y los campos dominicanos, como: SE VIENE HACIENDO EN LA INDUSTRIA -MEDICA ESPECIALIZADA DOMINICANA- desde el ano 1956 hasta el dia de hoy... 2.6.3. NO EXISTIA EL SERVICIO PUBLICO DOMINICANO, de la autoria de DIPUTADO DOMINICANO, Lic. ELPIDIO BAEZ, llamado: 911... 2.6.4. NO SE HABIAN INCORPORADO LOS 2 MILLONES 700 MIL PACIENTES DOMINICANOS -POBRES, DEL CAMPO & DE LA CIUDAD- AL REGIMEN SUBSIDIADO DE LA SEGURIDAD SOCIAL DOMINICANA (2012-2019): SENASA. 2.6.5. NO SE HABIA ESPECIALIZADO EL 4% DEL PRODUCTO INTERNO BRUTO (PIB) DE LA ECONOMIA DOMINICANA, a la actividad CIENTIFICA & TECNOLOGICA de: 1. ENSENANZA. 2. INVESTIGACION. 3. PRACTICA. 4. PERSONALIZACION DE LOS PROCESOS DE APRENDIZAJE INFANTIL, dentro de los estandares MUNDIALES DE TQM & KAYZEN, para la: MANUFACTURA DE NINOS & NINAS ESCOLARES DOMINICANOS, en la poblacion vulnerable de: 18 anos de edad y menos, PARA QUE SE; 1. HAGAN BACHILLERES, EN CIENCIAS: TICs. 2. PARA QUE PUEDAN SONAR & ASPIRAR a UNA PROFESION UNIVERSITARIA... 3. LUEGO DE PERMANECER ENCERRADOS POR 12 ANOS, en las : AULAS. LABORATORIOS. TALLERES DE LAS ESCUELAS PUBLICAS, DOMINICANAS, EN EL NUEVO SERVICIO PUBLICO, CONOCIDO COMO: LA TANDA EXTENDIDA (2012-2019), donde los cientificos y las cientificas dominicanas, formados EN LA ESPECIALIDAD DE LAS CIENCIAS: 1. PAIDOLOGICAS. 2. DE LAS CIENCIAS DEL DEPORTE. 3. DE LAS CIENCIAS DEL OCIO. 4. DE CHILD-GIRL DEVELOPMENTAL PSYCHOLOGY. 5. DE LAS CIENCIAS TICs. 6. DE LAS CIENCIAS DE LA INNOVACION, LA INVENCION, EL EMPRENDIMIENTO, DESDE unidades productivas de micro y pequena escala llamadas : MYPIMES, les ayuden trabajando, experimentando, innovando, DIA & NOCHE a salir de la pobreza, por sus: 1. MANOS. 2. POR SUS CUERPOS. 3. POR SUS CEREBROS, desde la OPORTUNIDAD EDUCATIVA, en CIENCIAS & TECNOLOGIAS, definidas tanto por EUGENIO MARIA DE HOSTOS -Desde su primer viaje a Santiago de Chile, en el ano 1873, hasta su muerte en SANTO DOMINGO, en 1901- como por PROFESOR JUAN EMILIO BOSCH GAVINO (Rio Verde, La Vega, 1909 hasta su muerte en SANTO DOMINGO, 2001- COMO EL MEJOR Y UNICO CAMINO, que tiene un nino o nina DOMINICANOS, para salir de la pobreza EN EL TIEMPO... INVIRTIENDO SOLAMENTE SU TIEMPO, NO DINERO... 1. EN APUNTARSE A LA ESCUELA... EN ASISTIR AL KINDER, EN ASISTIR A LA ESCUELA PRIMARIA, EN HACERSE BACHILLER, en 12 anos de ESCOLARIDAD...PARA PODER BENEFICIARSE, PERSONAL & FAMILIARMENTE DE: 1. LA OPORTUNIDAD INFINITA de la : ECONOMIA NARANJA, en el ano 2019... 2. LA OPORTUNIDAD INFINITA, de la ECONOMIA CREATIVA, desde los entornos DE TRABAJO & DE ESTUDIO : DIGITALES o del SUENO DEL INGENIERO FRANK HATTON GUERRERO: LA RADIO DOMINICANA, COMO: SERVICIO PUBLICO (1920-1981). CUANDO NACE EN LA CIUDAD DE SANTO DOMINGO, INGENIERO ELECTRONICO DOMINICANO, FRANK HATTON GUERRERO... 1. LOS NINOS & LAS NINAS DOMINICANAS... NO IBAN A LA ESCUELA. 2. NO IBAN A LAS UNIVERSIDADES, NI DOMINICANAS, NI DE NINGUN PAIS DEL MUNDO... 4 de agosto de 1897 ERA EL DIA: 4 DE AGOSTO DEL ANO: 1897... EN UNA NACION CON POCOS CIENTIFICOS Y POCAS CIENTIFICAS: 1.DONDE CASI NADIE PIENSA EN EL FUTURO DE LA ECONOMIA DOMINICANA... en el siglo XXI. 2. DONDE CASI NADIE SABE QUE ES: 2.1.TOTAL QUALITY MANAGEMENT (TQM) O 2.2. KAYZEN O MEJORA CONTINUA... APLICADOS A: 1. EL DISENO CURRICULAR DE EDUCACION INFANTIL DOMINICANA. 2. EL DISENO CO-CURRICULAR DE LA EDUCACION INFANTIL DOMINICANA. 3. DEL DISENO EXTRA-CURRICULAR DE LA EDUCACION INFANTIL DOMINICANA, aun en 2019... 4. CUAL ES LA RELACION ENTRE: CIENCIAS DEL OCIO & CIENCIAS DEL DEPORTE, CON LA SALUD DEL NINO O DE LA NINA DOMINICANOS EN ESE AMBIENTE DE POCA PRIORIDAD PERSONAL & FAMILIAR, PARA: 1. LA ESCOLARIZACION CIENTIFICA & TECNOLOGICA. 2. PARA LA INVESTIGACION INFANTIL EN CIENCIAS TICs... 3. PARA LA INVESTIGACION UNIVERSITARIA EN CIENCIAS DEL: 3.1. APRENDIZAJE, PAIDOLOGICO O INFANTIL. 3.2. CIENCIAS DE LA CREATIVIDAD O LA : CREATICA. 3.2. LA INNOVACION, LA COMPETITIVIDAD & LA EXPORTABILIDAD DE LOS PRODUCTOS AGROPECUARIOS, AGROINDUSTRIALES, INDUSTRIALES DOMINICANOS, por los 5 continentes, COMO PARTE DE NUESTRA: ORGULLOSA DOMINICANIDAD, JUANPABLODUARTIANA, SANTANISTA, BOSCHISTA, EUGENIOMARIADEHOSTOCISTA... Es que en su CASA, su PAPA & SU MAMA DESDE: 4 de agosto de 1897... LE DICEN, LE EXPLICAN AL NINO, ANONIMO DOMINICANO: FRANK HATTON GUERRERO... 1. QUE ES IMPORTANTE... AUNQUE NADIE MAS LE IMPORTE... IR A LA ESCUELA... DOMINICANA... 2. PARA ASEGURARSE UN LUGAR : EN LA ECONOMIA DOMINICANA, DEL FUTURO... COMO LO VIENEN HACIENDO DESDE EL ANO 2012, en la ADMINISTRACION DEL CIENTIFICO DOMINICANO, ING. QUIMICO, ECONOMISTA, especializado en ECONOMIA DOMINICANA & MUNDIAL, desde el INSTITUTO TECNOLOGICO DE SANTO DOMINGO (INTEC) LIC. DANILO MEDINA SANCHEZ (2012-2019) Y SU DIGNA ESPOSA, LA TAMBIEN CIENTIFICA DOMINICANA, PSICOLOGA CLINICA: LIC. CANDIDA MONTILLA DE MEDINA, con los CAIDs, desde el ano 2012 hasta hoy, NOVIEMBRE: 2019... PARA QUE SERVIVIRIA UN MUCHACHO, FORMADO INGENIERO ELECTRONICO, EN LOS ESTADOS UNIDOS DE AMERICA, VIVIENDO EN UN PAIS: 1. SIN ELECTRICIDAD. 2. SIN INDUSTRIAS? PUES PARA NADA, diria en : 1897, 1907, en 1917, en 1927, en 1937, en 1947, en 1957, en 1967, en 1977, en 1987, en 1997, en 2007, en 2017... pero LA OFICINA NACIONAL DE ESTADISTICAS (ONE) CREADA por JUAN BOSCH GAVINO & POR RAFAEL LEONIDAS TRUJILLO, en el periodo HISTORICO : 1930-1938... INFORMA AL PAIS & AL MUNDO QUE YA: LLEGO EL TIEMPO DE LOS SONADORES & DE LAS SONADORAS: DOMINICANOS, EN INGENIERIA ELECTRONICA... QUE YA REPUBLICA DOMINICANA ESTA: ELECTRIFICADA AL 98% ... LO QUE LA CONVIERTE EN UNA : 1. ECONOMIA EXPORTADORA POTENCIALMENTE INDUSTRIAL. 2. PARA APODERARSE, PACIFICAMENTE; DEL MERCADO DE TODA : AMERICA CENTRAL, DE TODAS LAS ISLAS DEL CARIBE, con iniciativas PRESIDENCIALES RACIONALES, CIENTIFICAS, COMO LAS DEL LIC. DANILO MEDINA SANCHEZ & SUS : CIENTIFICOS & CIENTIFICAS DEL COMERCIO EXTERIOR, MUNDIAL, GLOBALIZADO... 1. DESDE LA META PRESIDENCIAL DE LOS 10 MILLONES DE TURISTAS... 2. DESDE LA META PRESIDENCIA DEL POSICIONAMIENTO LIDER PARA: REPUBLICA DOMINICANA OFERTANDO SERVICIOS, EN CIENCIAS MEDICAS ESPECIALIZADAS, COMPETITIVOS, DE ALTA CALIDAD, PARA ATRAER AL SEGMENTO JUGOSO DEL MERCADO REGIONAL & MUNDIAL, QUE SE LLAMA: DEMANDA DE TURISMO DE SALUD... A NUESTRAS CLINICAS DOMINICANAS ESPECIALIZADAS... PORQUE TODOS & TODAS SOMOS YA VIEJOS & VIEJAS DOMINICANOS, y es posible por tener LOS DE MI GENERACION, MAS DE 40 ANOS DE EDAD, que no estemos VIVOS PARA VER ESA VICTORIA : 1. DE LA ECONOMIA NARANJA DOMINICANA. 2. DE LA ECONOMIA CREATIVA DOMINICANA, en 2030, en 2060, en 2090... PERO PARA GARANTIZAR TAL VICTORIA: CIENTIFICA & TECNOLOGICA FUTURA, DE TODOS & TODAS LOS DOMINICANOS & LAS DOMINICANAS, EN LA: 1. CULTURA POLICLASISTA DOMINICANA. 2. EN LA CIVILIZACION POLICLASISTA DOMINICANA. 3. EN LA ECONOMIA POLICLASISTA DOMINICANA... DEL FUTURO... EL GOBIERNO DOMINICANO, EL ESTADO DOMINICANO, LA ADMINISTRACION PUBLICA CIENTIFICA DOMINICANA, LA BUROCRACIA PROFESIONAL DOMINICANA, EL MINISTERIO DE : HACIENDA & COMERCIO, DE LA NACION & DE LA REPUBLICA DOMINICANA... HA PUESTO POR PRIORIDAD: LA INVERSION EDUCATIVA, EN EL SIGLO XXI... PARA QUE? 1. PARA MANUFACTURAR EN AULAS DOMINICANAS... 2. PARA MANUFACTURAR EN LABORATORIOS DOMINICANOS... 3. PARA MANUFACTURAR EN TALLERES DOMINICANOS... A. EN ESCUELAS INFANTILES: PUBLICAS & GRATUITAS, DOMINICANAS, EN : CIUDADES & CAMPOS DOMINICANOS... B. EN LAS 50 UNIVERSIDADES DOMINICANAS QUE ENSENAN EL METODO CIENTIFICO... LOS MILLONES DE NINOS & NINAS DOMINICANOS, encerrados en AULAS, TALLERES & LABORATORIOS... 1 MILLON 300 MIL FRANK HATTON GUERRERO.... DESDE KINDER, en el siglo XXI... 1. PARA ESO LOS ALIMENTA: CON DESAYUNOS... CON ALMUERZOS... CON MERIENDAS, desde el ano : 2012... 2. PARA ESO HA INVENTADO LA : REPUBLICA DOMINICANA: DIGITAL, EDUCACION... para que en 20 anos... 1. NO HAYA UN SOLO DOMINICANO O DOMINICANA, analfabeta: FUNCIONAL... 2. NO HAY UN SOLO DOMINICANO O DOMINICANA, ANALFABETA CIENTIFICO... 3. NO HAYA UN SOLO NINO O NINA: DOMINICANO, POBRES, NI EN LAS CIUDADES DOMINICANAS... NI EN LOS CAMPOS DOMINICANOS... Yoe F. Santos/CCIAV. CCIAV, CC4AVE Talents, Criticism, Friendship! Salut, Polis, Ecumene! (1959-2019) ---------- 4 de agosto de 1897. NACE NINO, ANONIMO, DOMINICANO. INGENIERO ELECTRONICO DOMINICANO FRANK HATTON GUERRERO.... 1. PADRE DE LA INVENCION DE LA : RADIO EN REPUBLICA DOMINICANA, en 1924. 2. FUNDADOR & PRIMER PRESIDENTE: RADIO CLUB DOMINICANO, INC. 3. PRIMER LOCUTOR PROFESIONAL: DOMINICANO. 4. PRIMER LOCUTOR PROFESIONAL -EN SOMETERSE A LOS EXAMENES- PARA TENER CARNET DE : LOCUTOR, en 1938... INMORTAL DEL DEPORTE DOMINICANO. CREADOR DE LA PRIMERA: ESCUELA DE ATLETISMO DE LA NACION & DE LA REPUBLICA DOMINICANA. GOLFISTA. FUTBOLISTA. BALONCETISTA... BEISBOLISTA ACTIVO EN EL EQUIPO MAS ANTIGUO DE LA NACION & DE LA REPUBLICA DOMINICANA: -EL EQUIPO DE LA CAPITAL- LOS TIGRES DEL LICEY. 1.INVENTOR,FUNDADOR & PROPIETARIO DE : RADIO HIZ, 2.PRIMERA EMISORA COMERCIAL DE LA NACION & DE LA REPUBLICA DOMINICANA. 3. INGENIERO ELECTRONICO, FORMADO -EN LOS ESTADOS UNIDOS DE AMERICA- FRANK HATTON GUERRERO (1897-1981) 3.1.CIENTIFICO TICs, 3.2.de la NACION & DE LA REPUBLICA DOMINICANA, en el siglo XX. UN PATRIOTA NACIONALISTA DOMINICANO. UN PATRIOTA NACIONALISTA JUANPABLODUARTIANO...DOMINICANO (1920-1981). ---------- RAFAEL DE LOS SANTOS, STREET. NEW YORK, NEW YORK. -------- EN HONOR A LA TRAYECTORIA: 1. RADICAL. 2. TELEVISIVA. 3. COMUNITARIA DE ESTE: GRAN DOMINICANO. LUNES 18 DE FEBRERO. 12.00 M. 176 STREET & BROADWAY, NEW YORK. (Detras del UNITED PALACE) ---------- HARNESSING THE POTENTIAL OF ICT OF PRACTICE OF BROADCAST... ------------- Harnessing the Potential of ICT on Practice of Broadcast ... https://www.academia.edu › ... SOURCE: INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES International Journal of Research in Social Sciences Vol. ... ITS ACCEPTANCE BY PROFESSIONAL JOURNALIST Its acceptance by professional journalist 1.WILL REDUCE OR ELIMINATE : THE GAP will reduce or eliminate the gap ... 2.NEWS CANNOT ONLY BE BROADCAST IN 2.1.REGULAR TV... News cannot only be broadcast in a regular T.V. 2.2.AND RADO TRANSMISSION WAVES and radio transmission waves 3.BUT ALSO THROUGH THE INTERNET... but also through the internet. ... 3.1.BY MOBILE PHONE OPERATOR by a mobile phone operator 3.2.ALLOWING ACCESS 3.3.TO THE PUBLIC TELEPHONE NETWORK allowing access to the public telephone network. ------------- People also ask 1.What are the TYPES of broadcasting? 2.What is a broadcast STATION? 3.What is THE PURPOSE of broadcasting? 4.How are radio programs and television PROGRAMS DIFFERENT? ---- BROADCASTING. --------- Broadcasting - New World Encyclopedia https://www.newworldencyclopedia.org › entry › broadcasting. Jun 25, 2016 - 1 Introduction to broadcasting; 2 History of broadcasting ... Television and radio programs ARE DISTRIBUTED are distributed through radio ... NBC became the dominant radio network, splitting into Red and ... HE PROMOTED THE PHILOSOPHY he promoted the philosophy OF PUBLIC SERVICE of "public service broadcasting," FIRMLY POLITICS & SOCIAL SCIENCES COMMUNICATION firmly ..... Politics and social sciences · Communication. ---------- BROADCASTING: 1. RADIO. 2. TELEVISION. 3.FILM. 4. DIGITAL MEDIAS. Broadcasting - Radio, Television, Film & Digital Media https://www.centennialcollege.ca › programs-courses › full-time › radio-tel... In the Broadcasting - Radio, Television, Film & Digital Media program, YOU'LL BE TRAINED... you'll be trained in ... television and radio 1. INDUSTRIES. 2. AS MULTIPLATFORM DIGITAL PRODUCTION industries as well as multiplatform digital production. 3.FOR PROFESSIONAL PORTFOLIO ... for a professional portfolio;; 4.SPEND 14 WEEKS Spend 14 weeks 5. IN A FULL - TIME 5.1. INDUSTRY FIELD PLACEMENT in a full-time industry field placement. .... 5.2. BROADCASTER IN: 5.2.1. RADIO. 5.2.2. TELEVISION Broadcasters in radio and television; 1. PRODUCTION. 2. POST-PRODUCTION Production and post-production ... -------------- WORLD COMMUNICATION & INFORMATION REPORT (1999) BY UNESCO (1999-2000) World communication and information report, 1999-2000 ... https://unesdoc.unesco.org › Notice 1.IN THE BROADCASTING SECTOR In the broadcasting sector, 2. LEGISLATION TENDS TO BE: INADEQUATE & THE GAP legislation tends to be inadequate and the gap 1. TELEPHONE. 2. RADIO. 3. TELEVISION PENETRATION ... Telephone, radio and television penetration RATIOS ARE OFTEN FAVOURABLE ratios are often favourable, and the .... Information and communication technologies and social pro c e s s e s24 The ...... In fact, THE POLITICS OF WORLD COMUNNICATION the politics of world communication REPRESENT A HISTORICAL SHIFT FROM A PUBLIC... represent a historical shift from a public ... ----------- PUBLIC SERVICE BROADCASTING. ----------- UNESCO. -------- Public Service Broadcasting | United Nations Educational ... www.unesco.org › communication-and-information › media-development UNESCO - Cover of publication PUBLIC SERVICE BROADCASTING A BEST... "Public service broadcasting: a best ... 1. SUSTAINING . 2. EDITORIALLY INDEPENDENT 3. BROADCASTERS sustaining editorially independent broadcasters 4. IN THE SUBSTANTIAL FULLFILLMENT 5. OF THEIR CULTURAL... in the substantial fulfillment of their cultural ... 6. TRAINING IN MODERN BROADCASTING training in modern broadcasting, 7. PARTICULARLY IN ISSUES RELATED TO ICTs particularly in issues related to ICTs. 8. ENCOURAGING MEDIA PROFESSIONALS Encouraging media professionals 8.1. TO REDUCE DISPLAY 8.2 OF VIOLENCE IN TELEVISION to reduce unnecessary display of violence in television ... ----------- RADIO & DEVELOPMENT IN AFRICA: A CONCEPT... --------- Radio and Development in Africa - A Concept ... DR. MARY MYERS. - Dr Mary Myers www.marysophiamyers.org › pdfs of my publications › 5 Radio and Devel... by M Myers - ‎2008 Radio's historical development OVER THE LAST 20 YEARS... over the last 20 years ..................... WORLD ASSOCIATION OF COMMUNITY RADIO BROADCASTERS ................ .... World Association of Community Radio Broadcasters. AMDI ... on radio, TV to some extent, AND TO GROWING EXTENDENT ON MOBILE PHONES and to a growing extent on mobile phones. RADIOS... 1.RESEARCH ON THE IMPACT 1.1.OF THE NEW ICTs... Radio as a ... Research on the impact of new ICTs 1.2.AND TECHNOLOGY CONVERGENCE and technology convergence 1.3.ON THE RADIO SECTOR on the radio sector. - Evidence ... ------------ THE ROLE OF ICTs. ---- The Role Of Information And Communication Technology ICT) In https://siteresources.worldbank.org › Resources › Role_ICT_paper Information and Communication Technology (ICT) 1. INDUSTRY. 2. INVESTMENTS. 3. APPROPRIATE NETWORKS industry and the ... investments, appropriate networks (partnerships) 3.1. AND ENABLING: ENVIRONMENT. and enabling environment. ... 3.2.TO ENSURE THAT ALL OF THE: WORLD'S POPULATIONS To ensure that all of the world's populations 3.3.HACE ACCESS TO: 3.3.1 TO TELEVISION. 3.3.2. RADIO. SERVICES... have access to television and radio services;. 9. ... 4. REQUIRES A : BUSINESS ENVIRONMENT requires a business environment 4.1. ENCOURAGING OPEN COMPETITION encouraging open competition, 4.2. OPEN TRUST... trust and. ---- READER'S GUIDE: 1. TO PERIODICAL LITERATURE. 2. AND THE BULLETING OF THE: PUBLIC BROADCASTING... Readers' Guide to Periodical Literature and in the Bulletin of the Public ... ------------ BROADCASTING. -------- Broadcasting - Wikipedia https://en.wikipedia.org › wiki › Broadcasting. Broadcasting IS THE DISTRIBUTION is the distribution of audio or video CONTENT content to a dispersed audience VIA ANY... via any ... Over the air broadcasting IS ASSOCIATED 1. RADIO. 2. TELEVISION is usually associated with radio and television, 1.BROADCASTING WAS INITIATED IN THE: ... broadcasting was initiated in the 1960s 2. AND MOVED INTO GENERAL INDUSTRY USAGE... and moved into general industry usage ... 3. PUBLIC BROADCASTING: 3.1. USUALLY NON-PROFIT Public broadcasting: usually non-profit, 3.2. PUBLICLY OWNED STATIONS OR NETWORKS... publicly owned stations or networks ... ----------- DIALOGUE & PUBLIC SPACE: AN EXPLORATION OF RADIO ---------- Dialogue and Public Space: An Exploration of Radio ... - Jstor https://www.jstor.org › stable by A Dale - ‎2005 - ‎ WE EXAMINE TWO MEDIA: 1. RADIO. 2. ICTs. We examine two media, radio and ICTs, ONE HISTORICAL AND THE OTHER: NASCENT one historical and the other nascent ..... Due in part to the character of 1.WARTIME BROADCASTING 2.AND PROGRAMMING wartime broadcasting and pro gramming, which ... ------------------- Searches related to : 1.Radio & Television Professional, 2. ICTs Sciences, 2.1.Open Networks, 2.2.Broadcasting Industry, 3.World History. --- 1.Broadcasting school toronto 2.Features of public service broadcasting 3.Television and film BUSINESS CENTENNIAL business centennial 4.Radio and television programs 5.Principles of PUBLIC SERVICE: BROADCASTING... public service broadcasting 6.WHAT IS PUBLIC SERVICE BROADCASTING? What is public service broadcasting 7.Radio broadcasting programs 7.1. EXAMPLES OF PUBLIC SERVICES: BROADCASTING. Examples of public service broadcasting ------------ IMAGINATIVA TV (2019) DEDICA PROGRAMA ESPECIAL AL INDUSTRIAL DOMINICANO DE LA ECONOMIA NARANJA, DE LA ECONOMIA CREATIVA : RAFAEL CORPORAN DE LOS SANTOS (LA MATA, COTUI, 1937-SANTO DOMINGO, 2012) Yoe F. Santos/CCIAV CCIAV, CC4AVE. Talents, Criticism, Friendship! Salut, Polis, Ecumene! (1959-2019). ----------- EL DIA 22 DE JULIO... 1937. -EN LA COMUNIDAD RURAL- LA MATA, DE COTUI... -EN UNA FAMILIA HETEROSEXUAL DOMINICANA- NACE: UN NINO ANONIMO, DOMINICANO... RAFAEL CORPORAN DE LOS SANTOS. FALLECE: INFARTO, 2012. ---------- Rafael Corporán de los Santos. ------------ From Wikipedia, the free encyclopedia . Rafael Corporán de los Santos Born July 22, 1937 La Mata, Cotuí, Dominican Republic Died March 5, 2012 (aged 74) Santo Domingo, Distrito Nacional, Dominican Republic Cause of death Heart attack OCUPATION: Occupation 1.TV producer, 2.TV host, 3. Entrepreneur, 4. Political figure, 5. FILANTROPO Philanthropist INICIA SU VIDA PROFESIONAL, -COMO ARTISTA DEL MICROFONO- EN: 1963. Years active 1963-2012 Rafael Corporán de los Santos (July 22, 1937 – March 5, 2012), better known as Corporán, was a TV producer, TV host, entrepreneur, political figure, and philanthropist from the Dominican Republic.[1] He died of a heart attack on 5 March 2012.[2] References 1. "ICON TV PRODUCER Icon TV producer Rafael Corporán passes away". DominicanToday.com. 2012-02-03. Retrieved 2012-03-06. 2. "Mourning in Dom Rep for Death of FORMER MAYOR Former Mayor and Communicator". Prensa Latina. 2012-03-06. Retrieved 2012-03-08. Government offices Preceded by Fello Suberví Mayor of Santo Domingo, Distrito Nacional 1990–1994 Succeeded by Fello Suberví Stub icon This biographical article ABOUT A PHILANTHROPIST about a philanthropist is a stub. You can help Wikipedia by expanding it. 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Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization. Privacy policyAbout WikipediaDisclaimersContact WikipediaDevelopersStatisticsCookie statementMobile view --------- UN DIA COMO HOY FALLECE : JUAN JOSE DUARTE, PADRE DE: JUAN PABLO DUARTE & DIEZ... --- HOY ES DIA MUNDIAL DE : SANTA CATALINA, 1.Patrona de las MUJERES & NINAS, SOLTERAS... 2. PATRONA DE LOS : MECANICOS. 3. PATRONA DE LOS : FILOSOFOS. ---- UN DIA COMO HOY, EL PODER EJECUTIVO DE LA NACION & DE LA REPUBLICA DOMINICANA LA ORGANIZACION DE LA SOCIEDAD CIVIL DOMINICANA: ASOCIACION DOMINICANA DE RADIODIFUSORES (ADORA) -------- Un dia como hoy.... hace mucho tiempo... NACIO EL DRAMATURGO espanol, LOPE DE VEGA... ------- UN DIA COMO HOY, NACE EN MOCA, Dona CATANA PEREZ NUNEZ, -PIANISTA, pedagoga MUSICAL- DOMINICANA... __ UN DIA COMO HOY NACE EL CANTANTE POPULAR DOMINICANO, NINI CAFARO... ERASMO CAFARO... CUMPLE: 80 ANOS DE EDAD... ------- En el SANTIAGO DE LOS CABALLEROS, DE MI INFANCIA(1962-1980), tuve el honor de conocer a una: PATRIOTA & NACIONALISTA DOMINICANA, DONA YOLANDA BADIA MONTES DE OCA.... ERA ACTRIZ... Era actriz de TEATRO... Pero ejercia su carrera BI-PERSONAL junto a su esposo... ERA : ESPOSA, ARTISTA DE LOS ESCENARIOS, en el TEATRO... PERO SE DIO CUENTA A TIEMPO, de que: LA ELECTRICIDAD, cambiaria para siempre las ARTES ESCENICAS, de Santiago de los Caballeros & del mundo... ASI QUE HIZO UN ESFUERZO, PERSONAL, MICRO-ECONOMICO, FAMILIAR, junto a su esposo, quien tambien era ARTISTA DE LOS ESCENARIOS... 1. BUSCARON EL DINERO... 2. SE MONTARON UNA : MYPIME... UNA ESCUELA DE LOCUCION... Gracias a esta pareja de esposos dominicanos, SE EDUCO: EN CIENCIAS TICs, una NUEVA GENERACION DE ARTISTAS DOMINICANOS... 1. DE LA VOZ HUMANA... 2. DE LOS MICROFONOS... 3. DE LA INDUSTRIA PUBLICITARIA. 4. DEL OFICIO DE DJ o locutor MUSICAL... 5. DEL OFICIO PROFESIONAL DE LA: MAESTRIA DE CEREMONIAS... 6. DEL OFICIO PROFESIONAL DE LAS: GRABACIONES DE JINGLES PARA LA INDUSTRIA PUBLICITARIA DOMINICANA: NACIENTE EN SANTIAGO... 7. Cuando llego la TELEVISION A LA CIUDAD DE SANTIAGO DE LOS CABALLEROS, esa MUJER & SU ESPOSO, habian logrado desarrollar, con sus PROPIAS IDEAS, con su originalidad, con SU INNOVACION... UNA CLASE LOCUTORIL DE SANTIAGO DE LOS CABALLEROS... ESPECIALISTAS EN EL USO: COMERCIAL DE LA VOZ HUMANA, en: 1. ESTACIONES DE RADIO. 2. EN CANALES DE TELEVISION. 3. EN EL CINE. 4. EN LA INTERNET... SOLO USANDO COMO CAPITAL INICIAL: LA VOZ HUMANA... Yolanda Badia Montes de Oca, es una CONSTRUCTORA, DESARROLLADORA DEL TALENTO DOMINICANO, DE LAS INDUSTRIAS CULTURALES DOMINICANAS, DE LAS INDUSTRIAS CREATIVAS DOMINICANAS, DEL SHOW BUSINESS DOMINICANO, DE LA FARANDULA DOMINICANA, DE LA ECONOMIA NARANJA DOMINICANA, DE LA ECONOMIA CREATIVA DOMINICANA... DE LA NUEVA ECONOMIA DOMINICANA... Pero lo hizo, CUANDO NADIE CREIA EN EL FUTURO EXPORTADOR DOMINICANO... 1. DE LA VOZ HUMANA, EDUCADA... 2. DEL CUERPO HUMANO, CON LA: RESPIRACION DIAFRAGMATICA... 3. DE LA ECONOMIA DE RECURSOS VOCALES... EN EL MERCADO DE TRABAJO DOMINICANO PRODUCTIVO, GENERADOR DE EMPLEOS GENERADORES DE: RIQUEZA DOMINICANA, DESDE EL TALENTO HUMANO, DESDE EL CAPITAL SIMBOLICO, DESDE EL CAPITAL RELACIONAL, DESDE EL CAPITAL COMUNICACIONAL, DESDE EL CAPITAL HUMANO... Para personas POBRES, que no TIENEN: DINERO... 1. SOLO SUS CUERPOS. 2. SOLO SUS VOCES. 3. SOLO SUS : CEREBROS:DOMINICANOS. -------- LA OTRA PERSONALIDAD, DE LA VOZ EDUCADA DOMINICANA, que pude conocer en mi infancia DOMINICANA (1962-1980) : ERA CANTANTE, MAESTRO -DE CANTO, MAESTRO DEL CANTO: CORAL...- MAESTRO JOSE DEL MONTE... llego en su biografia a ser : DIRECTOR DEL CORO NACIONAL, de la REPUBLICA DOMINICANA... ---------- EN LA HISTORIA NACIONAL DE LA: REPUBLICA DOMINICANA, existio una VOZ, de la industria RADIOFONICA DOMINICANA, llamada: PEDRO PEREZ VARGAS... EN UN MUNDO DE IDEAS QUE SE CRUZAN & A VECES ORGANIZAN... CAMBIAR EL ERROR,POR LA VERDAD, SURGE: NOTICIARIO POPULAR... Quien era el dueno de esa RADIOESTACION NOTICIOSA DOMINICANA? RAFAEL CORPORAN DE LOS SANTOS... UN CIUDADANO DOMINICANO, quien comenzo su carrera y su BIOGRAFIA DE ABAJO,sin contar con padrinos, con un apellido rimbombante, ni con una FAMILIA NOTORIA, TRADICIONAL, tuvo que CONSTRUIR SU FORTUNA, desde un emprendimiento de presupuesto: 1.BASE-CERO... 2.DESDE UNA MYPIME... SU OPORTUNIDAD, FUE LA EXISTENCIA DE LAS INDUSTRIAS CULTURALES : 1.ELECTRONICAS. 2. DOMINICANAS. Paso en su biografia POR: 1. LA RADIO DOMINICANA. 2. POR LA TELEVISION DOMINICANA. 3. POR LA ALCALDIA DE LA CIUDAD DE: SANTO DOMINGO DE GUZMAN... 4. NO ERA EXCESIVAMENTE: CULTO, mas bien nos daban risa, sus metidas de pata, en el aire, en el comercial de SPRITE... PERO: PEGADO A UN MICROFONO DOMINICANO, SE CONVIRTIO A SI MISMO EN UNA: RADIO PERSONALITY DOMINICANA. 1. NO LOGRO evolucionar como EXPORTADOR DE CONTENIDOS.. COMO LO HICIERON: MAESTRO TEO VERAS LOPEZ (1950-2018), NI MAESTRO ANTHONY RIOS (1950-2019), NI MAESTRO FREDDY BERAS GOICO (EL SEIBO, 1940-2010)... PERO AL MENOS, tuvo los medios ECONOMICOS, para : 1. PROCREAR. 2. CRIAR. 3. EDUCAR A SUS NINOS & NINAS, DOMINICANOS... EN UNA FAMILIA TIPICA: HETEROSEXUAL DOMINICANA... TRABAJANDO, CON EL SUDOR DE SU : FRENTE COMO DUENO DE UNA MYPIME, DOMINICANA... COMENZANDO DESDE ABAJO EN LAS: CIENCIAS TICs DE LA NACION & DE LA REPUBLICA DOMINICANA... 1.EN LA ECONOMIA NARANJA DOMINICANA. 2.EN LA ECONOMIA CREATIVA DOMINICANA. Yoe F. Santos/CCIAV CCIAV, CC4AVE. Talents,Criticism, Friendship! Salut, Polis, Ecumene! (1959-2019) -------- SOURCE: ACENTO. Calidad para Exportar a Europa. --------- Tu sabes, por que, el HEADQUARTER, las oficinas centrales a nivel mundial de ISO estan en SUIZA? TU SABES LO QUE SIGNIFICA ISO? HOY TE CONTAREMOS DE LA VOZ MAS AUTORIZADA DEL MUNDO, PARA: HABLAR DEL TEMA... 1. Los duenos de ISO. 2.LOs disenadores & disenadoras de este CONJUNTO DE ESTADARES DE: ACEPTACION MUNDIAL, o al menos... 1. Por toda persona que aspira a: la PERFECCION... 2. Por toda persona que detesta: la chapuza... 3. Por tada persona que detesta: LA MEDIOCRIDAD y a sus autores o abanderados: los mediocres y las mediocres.... Yoe Santos/CCIAV CCIAV, CC4AVE. Talents,Critcism, Friendship! Salut, Polis, Ecumene! (1959-2019) CUAELES SON LOS BENEFICIOS: 1. CONCRETOS. 2. MEDIBLES. 3OBSERVABLES EN LOS ENTORNOS DE TRABAJO QUE ADOPTAN NORMAS:ISO? ...EN DINERO -------------- CUALES SON LOS BENEFICIOS DE LAS NORMAS ISO, 1.PARA EMPLEADORES 2.Y PARA SU EQUIPO DE: COLBARADORES, -EN EL DESARROLLO DEL TALENTO HUMANO- en la vida cotidiana, en sus respectivas ECONOMIAS? ---- 1.Que es la norma ISO 9001? 2.Como se aplica a las Ciencias Secretariales? 3.Como se aplica a la Gestion de Oficinas? 4.Como se aplica a la cadena de valor en la INDUSTRIA O EMPRESA QUE APRENDE O LEARNING BUSINESS? 5. Y que diablos tiene que ver ISO 9001 con : 5.1. La NUEVA ECONOMIA? 5.2.Con la Sociedad del Conocimiento y de la Informacion(SCI)? 5.3.Con la Economia Naranja? 5.4.Con el factor humano o el capital humano, dentro de todas areas o centros de labor o trabajo productor de riqueza, en el mundo acual o posterior al ano: 1990? --------------- PRIMERO QUE NADA : QUE SIGNIFICA: ISO? SOCIEDAD INTERNACIONAL PARA: LA ESTANDAIZACION... 1. Y por que tratar de ESTANDARIZARLO TODO? 2.PARA PODER INDUSTRIALIZARLO TODO... ----- International Organization for Standardization. ---- DIRECCION FISICA EN GINEBRA, SUIZA. ----- ISO Central Secretariat 1, chemin de la Voie-Creuse Case postale 56 CH -1211 Genève 20 Switzerland www.iso.org ---------- ISBN 978-92-67-10620-5 © ISO, 2014. All rights reserved EUR CHF USD GBP AUD CNY THB CAD ARS BRL RUB JPY INR NZD ---- Many organizations from the private and public 1.SECTOR USE STANDARDS sector use standards 2. AND PARTICIPATE: 3. IN STANDARDS DEVELOPMENT. and participate in standards development. A few of them see standardization 1.AS DIRECTLY LINKED as directly linked 2. TO THEIR CORE STRATEGY to their core business strategy. Some approach standardization in a highly organized way and have a clear PERCEPTION: 1. OF THE IMPACT OF STANDARDS 2. ON THEIR ACTIVITIES. 3. AND PERFORMANCE. perception of the impact of standards on their activities and performance. Others may use standards from 1. A NARROWER PERSPETIVE a narrower perspective, 1.1. FOR SPECIFIC PROCESSES 1.2. FOR SPECIFIC ACTIVITIES. for specific processes or activities. Most of them realize that standards THE STANDARDS 1.bring benefits to their organization, 2.although the level of awareness and the perception of such benefits vary considerably. But there are other organizations that make only marginal use of standards or that do not use them at all. Companies that consider standards a burden – something that cannot be avoided at times, but that is IS PERCEIVED AS.... 1. ADDITIONAL COST. 2.AN ADITTIONAL OBLIGATION 3. WITH A N E G A T I VE IMPACT... perceived as an additional cost or obligation with a negative impact on the company. Organizations that don’t even consider participating in standards development, or that are not aware of the potential contribution that standards can bring to their activities. One of the key aspects of the mission of national standards bodies is to liaise with organizations from all stakeholder groups to engage them in standardization and to help them get the most from standards. BEING ABLE TO DEMOSTRATE... Being able to demonstrate THE TANGIBLE BENEFITS the tangible benefits that standards bring to organizations – and, more generally, to citizens and society – is therefore essential. DEMOSTRATING & COMMUNICATING: THE VALUE OF STANDARDS... https://www.iso.org/files/live/sites/isoorg/files/archive/pdf/en/ebs_case_studies_factsheets.pdf People involved in standardization are convinced that their work generates considerable benefits for organizations, markets and society. Yet substantiating and quantifying the real world value of voluntary standards is not an easy task. THIS WHY ISO DEVELOPEP THE ISO METHODOLOGY... This is why ISO has developed the “ISO Methodology”, a consistent approach to measuring this value, which has been tested in around 30 company case studies in over 20 countries across the globe. The results speak for themselves: standards do create value for the organizations that use them and it is possible to quantify it. The following summary describes, in a nutshell, how we quantify the economic value of applying standards. Objectives of the ISO Methodology The ISO Methodology aims to identify and quantify the microeconomic benefits of standards, i.e. the economic contribution the use of standards makes to company profits or the costs/revenues of an organization. All the standards assessed in this approach – whether they are international, regional or national standards, published by standards development organizations, industry groups or other consortia – are the result of an open, consensus-based process and are Methodology summary Quantifying the economic benefits of standards 4 -------- NADIE PUEDE SUSTITUIR o llenar el vacio de Don Teo, en la 91... PERO LA VIDA SIGUE, desde 1985, LA 91 HA ESTADO CORONANDO su existencia de reconocimientos Y PREMIOS A LA EXCELENCIA LA 91 FM ELIGIO & CONTRATO... 1.Una mujer: DIRECTORA. 2. Pero no por mujer... CARLOTTI PERALTA, tiene 31 anos seduciendonos, encantandonos con su voz, con su inteligencia, con su papacidad de : improvisar... de hacernos reir, de hacernos fllosofar en torno a las canciones... PERALTA, llego al fin de la ADOLESCENCIA a la 91... hizo buenas migas, con Don Teo, que todo lo del talento de excelencia, le encantaba y le abria las puertas... Y AHI ESTA con una nueva responsabilidad historica: IMPONER su propio estilo, crear un nuevo estilo PERSONAl al tiempo de llenar el vacio insalvable de Don Teo... Yoe F. Santos/CCIAV. CCIAV, CC4AVE Talents, Criticism, Friendship! Salut, Polis, Ecumene! (1959-2019) ----------- BBC Radiophonic Workshop. From Wikipedia, the free encyclopedia The BBC Radiophonic Workshop WAS ONE OF THE SOUND EFFECTS was one of the sound effects units of the BBC, CREATED IN created in 1958 TO PRODUCE INCIDENTAL SOUNDS to produce incidental sounds AND NEW MUSIC 1. FOR RADIO. 2. AND LATER, TELEVISIOIN and new music for radio and, later, television. The unit is known for its 1. EXPERIMENTAL. 2. PIONEERING experimental and pioneering 3. WORK IN ELECTRONIC MUSIC work in electronic music and 4. AND MUSIC TECHNOLOGY music technology, as well as its popular scores for programs such as DOCTOR WHO Doctor Who and Quatermass and the Pit during the 1950s and 1960s.[1] The original Radiophonic Workshop was based in the BBC's Maida Vale Studios in Delaware Road, Maida Vale, London.[2] . THE WORKSHOP WAS CLOSED IN MARCH 1998 The Workshop was closed in March 1998,[3] although much of its traditional work had ALREDEADY BEEN OUTSOURCED already been outsourced by 1995.[2] Its members have included : Daphne Oram, Delia Derbyshire, David Cain, John Baker, Paddy Kingsland, Glynis Jones and Richard Yeoman-Clark. Contents 1 History 2 Techniques 3 Influence on popular music 4 Members of the Radiophonic Workshop 5 Discography 6 Selected other works 7 Works about Radiophonic Workshop 8 See also 9 References 10 Further reading 11 External links History. The Workshop was set up to SATISFY GROWING DEMAND satisfy the growing demand in the late 1950s for "radiophonic" sounds from A GROUP OF : 1. PRODUCERS. 2. AND STUDIO MANAGERS a group of producers and studio managers at the BBC, including Desmond Briscoe, Daphne Oram, Donald McWhinnie, and Frederick Bradnum.[4][5][6] For some time there had been 1. MUCH INTEREST. 2. INPRODUCING 2.1 INOVATIVE MUSIC. 2.2. AND SOUNDS TO GO WITH 2.3. PIONEERING PROGRAMMING 2.3.1. OF THE ERA. much interest in producing innovative music and sounds to go with the pioneering programming of the era, in particular the dramatic output of the BBC Third Programme. 1. OFTEN THE SOUNDS REQUIRED 2. FOR THE ATMOSPHERE Often the sounds required for the atmosphere that programme makers wished to create 3. WERE UNAVAILABLE were unavailable or non-existent through traditional sources and so some, such as the musically trained Oram, would look to new techniques to produce effects and music for their pieces. Much of this interest drew them to 1. MUSIQUE CONCRETE 2. TAPE MANIPULATION TECHNIQUES musique concrète and tape manipulation techniques, since using these methods could allow them to create soundscapes suitable for the growing range of unconventional programming. When the BBC 1. NOTICED. 2. THE RISING POPULARITY noticed the rising popularity of this method 3. THEY ESTABLISHED 4. A RADIOPHONIC EFFECTS they established a Radiophonic Effects 5. COMMITEE Committee, setting up the Workshop in rooms 13 & 14 of the BBC's Maida Vale studios 6. WITH A BUDGET 7. DOS MIL LIBRAS ESTERLINAS... with a budget of £2,000. The Workshop contributed 1. ARTICLES. articles[7] to magazines 2. OR THEIR FINDINGS of their findings, leading to some of their techniques being borrowed by sixties producers and engineers such as Eddie Kramer.[8] Early days Maida Vale Studios. In 1957, Daphne Oram set up[9] the Radiophonic Workshop with Desmond Briscoe, who was appointed the Senior Studio Manager with Dick Mills employed as a technical assistant. Much of The Radiophonic Workshop's early work was in effects for radio, 1. PARTICULAR EXPERIMENTAL DRAMA 2. AND RADIOPHONIC POEMS in particular experimental drama and "radiophonic poems".[10] Their significant early output included 1. CREATING EFFECTS creating effects 2. FOR THE POPULAR SCIENCE FICTION SERIAL for the popular science-fiction serial Quatermass and the Pit and memorable comedy sounds for The Goon Show. In 1959, DAPHNE ORAM LEFT THE WORKSHOP Daphne Oram left the workshop to set up her own studio, the Oramics Studios for Electronic Composition, where she eventually developed her "Oramics" technique of electronic sound creation. THAT YEAR MADGALENA FAGANDINI That year Maddalena Fagandini JOINED THE WORSHOP joined the workshop from the BBC's Italian Service. From the early sixties the Workshop began 1. CREATING TELEVISION THEME TUNES 2. JINGLES creating television theme tunes and jingles, 3. PARTICULARLY FOR LOW BUDGET SCHOOLS 3. PROGRAMMES particularly for low budget schools programmes. The shift from the experimental nature of the late 50s dramas to theme tunes was noticeable enough for one radio presenter to have to remind listeners that the purpose of the Workshop was not pop music. In fact, in 1962 one of Fagandini's interval signals "Time Beat" was reworked with assistance from George Martin (in his pre-Beatles days) and commercially released as a single using the pseudonym Ray Cathode. DURING THIS EARLY PERIOD 1. INNOVATIVE ELECTRONIC During this early period the innovative electronic 2. APPROACHES TO MUSIC approaches to music in the Workshop 3. BEGAN TO ATTRACT SOME: SIGNIFICANT YOUNG TALENT began to attract some significant young talent including: Delia Derbyshire, Brian Hodgson and John Baker, who was in fact a jazz pianist with an interest in reverse tape effects. Later, in 1967. they were joined by David Cain, a jazz bass player AND MATHEMATICIAN and mathematician. In these early days, one criticism[citation needed] the Workshop attracted was its policy of not allowing musicians from outside the BBC to use its equipment, which was some of the most advanced in the country at that time not only because of its nature, BUT ALSO BECAUSE OF THE UNIQUE but also because of the unique 1. COMINATIONS 2. WORKFLOWS combinations and workflows which the Workshop 2.1. AFFORDED ITS COMPOSERS afforded its composers. In later years this would become less important as more electronic equipment 1.BECAUSE READILY AVAILABLE 2.A WIDER AUDIENCE became readily available to a wider audience.[11] Doctor Who Main article: Doctor Who theme music In 1963 they were approached by composer Ron Grainer to record a theme tune for the upcoming BBC television series DOCTOR WHO Doctor Who. Presented with the task of "realising" Grainer's score, complete with its descriptions of "sweeps", "swoops", "wind clouds" and "wind bubbles", Delia Derbyshire created a piece of electronic music which has become one of television's most recognisable themes.[12] Over the next quarter-century the Workshop contributed greatly to the programme providing its vast range of unusual sound-effects, from the TARDIS dematerialisation to the Sonic screwdriver, as well as much of the programme's distinctive electronic incidental music, including every score from 1980 to 1985. In 2018 Matthew Herbert, creative director of The New Radiophonic Workshop, composed the sting used alongside the reveal of the new Doctor Who logo debuting later that year.[13] It has yet to be confirmed as to whether the Workshop will be responsible for music in the series itself. Changes EMS VCS 3 (Putney) EMS Synthi 100 (Delaware). As the sixties drew to a close many of the techniques used by the Workshop changed as more electronic music began to be produced by synthesisers. Many of the old members of the Workshop were reluctant to use the new instruments, often because of the limitations and unreliable nature of many of the early synthesisers but also, for some, because of a dislike of the sounds they created. This led to many leaving the workshop making way for a new generation of musicians in the early 1970s including Malcolm Clarke, Paddy Kingsland, Roger Limb and Peter Howell. From the early days of a studio full of tape reels and electronic oscillators, the Workshop now found itself in possession of various synthesisers including the EMS VCS 3 and the EMS Synthi 100 nicknamed the "Delaware" by the members of the Workshop. In 1977, Workshop co-founder Desmond Briscoe retired from organisational duties with Brian Hodgson, returning after a five-year gap away from the Workshop, taking over. By this point the output of the Workshop was vast with high demand for complete scores for programmes as well as the themes and sound effects for which it had made its name. BY THE END OR THE DECADE By the end of the decade the WORKSHOP WAS CONTRIBUTING TO OVER was contributing to over 300 programmes A YEAR a year from all departments of the BBC and had long since expanded from its early two room setup. Its contributions included: 1. material for programmes such as The Body in Question, Blue Peter and Tomorrow's World 2.as well as sound effects for popular science fiction programmes Blake's 7 and The Hitchhiker's Guide to the Galaxy (in both its radio and television forms) by Richard Yeoman-Clark and Paddy Kingsland respectively. By the early 1990s, BBC Director General John Birt decided that departments were to charge each other and bid against each other for services and to close those that couldn't make enough revenue to cover their costs. In 1991 the Workshop was given five years in which to break even but the cost of keeping the department, which required two dedicated engineers, a software developer (Tony Morton) AND A SECRETARY and a secretary (Maxine) as well as the composers, proved too much and so they failed. Dick Mills, who had worked on Doctor Who since the very beginning, left in 1993,[14] along with Ray White, Senior Engineer, and his assistant, Ray Riley, with the Maida Vale technical team taking on their role, and engineer Fiona Sleigh smoothing the transition. In 1995, despite being asked to continue, organiser Brian Hodgson left the Workshop, and his role was carried out remotely from Broadcasting House by people with other priorities and little enthusiasm. Malcolm Clarke and Roger Limb left. By the end, only one composer, Elizabeth Parker, remained. The Workshop officially closed in March 1998, but Elizabeth stayed on for a couple of months to complete her last job. John Hunt, (who took over much of the specialist editing side of the workshop previously done by Dick Mills) continued working in Studio E, now called “Radiophonics” until well into 2000, occasionally managing to fit in a bit of traditional Radiophonics work. Mark Ayres recalls the Workshop's tape archive being collected on 1 April, exactly 40 years after the department had opened. Legacy. Following the decision to close the Radiophonic Workshop, the studios were cleared and most remaining equipment was disposed of, with some of it being sold to the composers. The tape library was largely forgotten until the room was ordered to be “cleared”. Fortunately the Maida Vale studios technical team became aware of this and were able to hide the tapes away in various dark corners of the building before they could be thrown away. Eventually Mark Ayres and Brian Hodgson were commissioned to catalogue its extensive library of recordings with help from other composers.[citation needed] In October 2003, Alchemists of Sound, an hour-long television documentary about the Radiophonic Workshop, was broadcast on BBC Four.[15] The Magnetic Fields titled the first track of their album Holiday, after the BBC Radiophonic Workshop. Live reunions since 2009 Dick Mills, BBC Radiophonic Workshop reunion live at the Roundhouse in 2009. In May 2009, Dick Mills reunited with former BBC Radiophonic Workshop composers Roger Limb, Paddy Kingsland and Peter Howell with archivist Mark Ayres for a live concert at The Roundhouse, Chalk Farm, London, performing as "The Radiophonic Workshop". The composers, backed by a small brass section and a live drummer, performed a large number of their BBC-commissioned musical works including sections of incidental music from The Hitchhikers' Guide to the Galaxy and Doctor Who (including a medley of Mark Ayres's work) as well as some collaborative compositions written specifically for the Roundhouse concert. The live performances were mixed in surround sound and interspersed with musical video montage tributes of deceased members of the Workshop including Daphne Oram, Delia Derbyshire and John Baker. The two and a half hour event climaxed with live performances of the Derbyshire and Peter Howell arrangements of Doctor Who, segueing into a new Radiophonic version of the theme tune. Celebrated attendees included actor/writer/composer Peter Serafinowicz and satirist/writer/broadcaster Victor Lewis-Smith. MULTIPLE CAMERAS RECORDED Multiple cameras recorded the event but it has yet to be broadcast or released in any form, although amateur footage of the event can be seen on YouTube.[citation needed] In 2013 the original members of the Workshop regrouped again for a more concerted program of live appearances. Performing as 'The Radiophonic Workshop' (dropping the BBC prefix) they were joined by drummer Kieron Pepper (The Prodigy, Dead Kids, OutPatient) and Bob Earland from Clor. They also embarked on a new recording project set for release in Autumn of 2014. This involved collaborations with contemporary electronic musicians, video artists, DJs, remixers, poets, writers and singers. Live appearances in 2013 included Festival Number 6 at Portmeirion, Wales in September and The London Electronic Arts Festival in November. The shows featured archive TV and visuals from many of the TV and film soundtracks that the Radiophonic Workshop contributed to between 1958 and 1998 when the unit was deactivated. The Radiophonic Workshop appeared on BBC television's The One Show on 20 November 2013 playing a unique version of the Doctor Who Theme that combined Delia Derbyshire's original source tapes and Peter Howell's 1980 realisation of the Ron Grainer composition. Radio 6 Music's Marc Riley played host to a Radiophonic Workshop session where they delivered live versions of Roger Limb's Incubus, Paddy Kingsland's Vespucci, the Doctor Who Medley and a new composition - Electricity Language and Me (by American poet Peter Adam Salomon), featuring DJ Andrew Weatherall as the narrative voice for this classic piece of Radiophonic sound design. There were a number of radio, online and print interviews done at the time to coincide with the 50th anniversary of Doctor Who. The Workshop's early archive recordings were also reissued on vinyl in November 2013 to accompany this renewed activity. In 2014, "The Radiophonic Workshop" appeared at festivals including End of the Road Festival, and the reissue programme of earlier work from their extensive catalogue continues along with a planned exploration of previously unheard or rare archive recordings. 2012 online revival. In September 2012 Arts Council England and the BBC announced a joint venture whereby the concept of the Radiophonic Workshop would be revived as an online venture, with seven new, non-original composers and musicians. The new Workshop was based online at The Space,[16][17] a joint venture between the BBC and Arts Council England. Composer Matthew Herbert was appointed the new Creative Director, and worked alongside Micachu, Yann Seznec, Max de Wardener, Patrick Bergel, James Mather, theatre director Lyndsey Turner and broadcast technologist Tony Churnside.[2] Composer Matthew Herbert's first work for The New Radiophonic Workshop takes audio from 25 previous projects featured on the website - from theater performances to poetry readings, creating a "curious murmur of activity". It can be heard by clicking on a button labeled "listen to The Space" at the top of any page on the website.[18] The New Radiophonic Workshop,[19] not to be confused with the reactivated Radiophonic Workshop[20][21] whose members are original BBC personnel,[22][23][24][25][21][26][27] an entirely separate entity from the original unit, was assembled by Mathew Herbert as an online collective of composers for The Space[28] arts project. Techniques Tape manipulation tools: 1. tape recorder, 2.tape splicer, 3.and mending tapes. Sine wave oscillator. The techniques initially used by the Radiophonic Workshop were closely RELATIVE TO THOSE USED IN: MUSIQUE CONCRETE related to those used in musique concrète; new sounds for programs were created 1.BY USING RECORDINGS 2.OF EVERYDAY SOUNDS 2.1. VOICES. 2.2. BELLS by using recordings of everyday sounds such as voices, bells or gravel as raw material for "radiophonic" manipulations. In these manipulations, 3. AUDIO TAPES COULD BE PLAYES BACK AT DIFFERENT SPEEDS audio tape could be played back at different speeds (altering a sound's pitch), REVERSED , CUT AND JOINED PROCESSED USING: 1. REVERB 2. EQUALITATION reversed, cut and joined, or processed using reverb or equalisation. The most famous of the Workshop's creations using 'radiophonic' techniques include the Doctor Who theme music, which Delia Derbyshire created using a plucked string, 12 oscillators and a lot of tape manipulation; and the sound of the TARDIS (the Doctor's time machine) materialising and dematerialising, which was created by Brian Hodgson running his keys along the rusty bass strings of a broken piano, with the recording slowed down to make an even lower sound. Much of the equipment used by the Workshop in the earlier years of its operation in the late 1950s WAS SEMI-PROFESSIONAL was semi-professional and was passed down from other departments, though two giant professional tape-recorders made an early centrepiece. Reverberation was obtained using an echo chamber, a basement room with bare painted walls empty except for loudspeakers and microphones. Due to the considerable technical challenges faced by the Workshop and BBC traditions, staff initially worked in pairs with one person assigned to the technical aspects of the work and the other to the artistic direction. Influence on popular music. The Radiophonic Workshop published "Radiophonics in the BBC" in November 1963,[29] listing all equipment used in their two workshops, diagrams of several systems, and a number of anecdotes. The Radiophonic Workshop also contributed articles[7] 1. TO MAGAZINES OF ITS EPERIMENTS to magazines of its experiments, 1.1. COMPLETE WITH INSTRUCTIONS 1.2.WIRING DIAGRAMS complete with instructions and wiring diagrams.[30] British psychedelic rock group Pink Floyd made a memorable trip to the workshop in 1967. They had employed tape loops, sound effects, found sounds and the principles of musique concrete on their debut album The Piper At The Gates of Dawn from that same year. Other fans of the Radiophonic Workshop included The Rolling Stones' Brian Jones – who visited in 1968 – and Roger Mayer, who supplied guitar pedals to Jeff Beck, Jimmy Page and Jimi Hendrix. Phil Manzanera has also cited the Workshop as an influence on the sound of his group Roxy Music.[31] In 1997 THE ELECTRONIC DANCE MUSIC MAGAZINE the electronic dance music magazine MIXMAG Mixmag described the Workshop as, "the unsung heroes of British electronica".[32] Their work has been sampled extensively by contemporary electronic artists.[1] Members of the Radiophonic Workshop 1958–1998. Desmond Briscoe (1958–1983) Daphne Oram (1958–1959) Dick Mills (1958–1993) Maddalena Fagandini (1959–1966) Brian Hodgson (1962–1972), Organiser (1977–1995) Delia Derbyshire (1962–1973) John Baker (1963–1974) David Cain (1967–1973) Malcolm Clarke (1969–1995) Paddy Kingsland (1970–1981) Richard Yeoman-Clark (1970–1978) Roger Limb (1972–1995) Glynis Jones (1973–?) Peter Howell (1974–1997) Elizabeth Parker (1978–1998) Jonathan Gibbs (1983–1986) Richard Attree (1987–1998) 2009–present Peter Howell (2009–present) Roger Limb (2009–present) Dick Mills (2009–present) Paddy Kingsland (2009–present) Mark Ayres (2009–present) Kieron Pepper (2013–present) Discography Main article: BBC Radiophonic Workshop discography Main albums BBC Radiophonic Music Fourth Dimension The Radiophonic Workshop Out of This World Through A Glass Darkly BBC Sound Effects No. 19 - Doctor Who Sound Effects BBC Radiophonic Workshop - 21 BBC Sound Effects No. 26 - Sci-Fi Sound Effects Doctor Who - The Music The Soundhouse The Living Planet Doctor Who - The Music II Doctor Who: 30 Years at the BBC Radiophonic Workshop Doctor Who at the BBC Radiophonic Workshop Volume 1: The Early Years 1963–1969 Doctor Who at the BBC Radiophonic Workshop Volume 2: New Beginnings 1970–1980 Doctor Who at the BBC Radiophonic Workshop Volume 3: The Leisure Hive Doctor Who at the BBC Radiophonic Workshop Volume 4: Meglos & Full Circle The John Baker Tapes – Volume 1: BBC Radiophonics BBC Radiophonic Workshop - A Retrospective Doctor Who - The Caves of Androzani Doctor Who - The Krotons Radiophonic Workshop The Vendetta Tapes Burials In Several Earths The Changes[33] Doctor Who - The Five Doctors Possum The Box of Delights The Stone Tape[34] Selected other works Radio dramas The Foundation Trilogy (produced by David Cain) (1973) A Wall Walks Slowly (produced by Desmond Briscoe with music by Peter Howell) (1977) August 2026 (produced by Malcolm Clarke) (1977) Notes from Janáček's Diary (produced by Maxwell Steer) (1991) This was the only production ever to be realised at the Radiophonic Workshop completely by an external composer. Sound effects and music contributions Radio The Goon Show The Hobbit (effects and music composed by David Cain) (1968) The Hitchhiker's Guide to the Galaxy (effects by Paddy Kingsland with additional effects by Dick Mills. Music (except theme music) for second series by Paddy Kingsland) The Lord of the Rings (effects by Elizabeth Parker) (1981) Doctor Who: Slipback (BBC Radio) (music by Jonathan Gibbs) (1985) Doctor Who: The Paradise of Death (BBC Radio) (music by Peter Howell) (1993) Doctor Who: The Ghosts of N-Space (BBC Radio) (music by Peter Howell) (1996) Television Quatermass and the Pit (effects by Desmond Briscoe & (uncredited) Dick Mills) (1958) Doctor Who (effects by Brian Hodgson (1963–1972) & Dick Mills (1972–1989). Some additional effects provided by various Workshop members) Penda's Fen (Paddy Kingsland) (1974) Blake's 7 (effects by Richard Yeoman-Clark & Elizabeth Parker) The Hitchhiker's Guide to the Galaxy (music and effects by Paddy Kingsland except theme music) Doctor Who incidental music The Doctor Who theme music was provided by the BBC Radiophonic Workshop from 1963 to 1985. From 1986 to the programme's demise the theme was provided by freelance musicians. Between 1980 and 1985 the complete incidental scores for the programme were provided in-house by the Workshop. Below is a complete[citation needed] list of incidental music provided by the Radiophonic Workshop for the programme. 1968 The Wheel in Space (music by Brian Hodgson) 1972 The Sea Devils (music by Malcolm Clarke) 1975 Revenge of the Cybermen (additional, uncredited music by Peter Howell (main score by Carey Blyton)) 1980 The Leisure Hive (music by Peter Howell) Meglos (music by Paddy Kingsland & Peter Howell) Full Circle (music by Paddy Kingsland) State of Decay (music by Paddy Kingsland) 1981 Warriors' Gate (music by Peter Howell) The Keeper of Traken (music by Roger Limb) Logopolis (music by Paddy Kingsland) In 1981 Peter Howell also supplied the incidental music for the spin-off K-9 and Company. 1982 Castrovalva (music by Paddy Kingsland) Four to Doomsday (music by Roger Limb) Kinda (music by Peter Howell) The Visitation (music by Paddy Kingsland) Black Orchid (music by Roger Limb) Earthshock (music by Malcolm Clarke) Time-Flight (music by Roger Limb) 1983 Arc of Infinity (music by Roger Limb) Snakedance (music by Peter Howell) Terminus (music by Roger Limb) Enlightenment (music by Malcolm Clarke) The King's Demons (music by Peter Howell & Jonathan Gibbs) The Five Doctors (music by Peter Howell) 1984 Warriors of the Deep (music by Jonathan Gibbs) The Awakening (music by Peter Howell) Resurrection of the Daleks (music by Malcolm Clarke) Planet of Fire (music by Peter Howell) The Caves of Androzani (music by Roger Limb) The Twin Dilemma (music by Malcolm Clarke) 1985 Attack of the Cybermen (music by Malcolm Clarke) Vengeance on Varos (music by Jonathan Gibbs) The Mark of the Ra... ------------------------- RAFAEL CORPORAN DE LOS SANTOS, NACE, en COTUI, REPUBLICA DOMINICANA, en el ano 1937, en una comunidad rural o campesina, llamada LA MATA... SE INICIA COMO MICRO-EMPRESARIO, en el ano 1963 Y DESDE ESE PEQUENO : EMPRENDIMIENTO INICIAL de un ANONIMO & SIMPLE LOCUTOR DE RADIO, en la nacionte industria PUBLICITARIA & RADIOFONICA DOMINICANA, llego a LEVANTAR UN IMPERIO... Valiendose de su UNICO CAPITAL INICIAL... 1. LA VOZ HUMANA... 2. LAS ARTES & LAS CIENCIAS COINCIDENTES EN LA PROFESION DE: LOCUTOR, siguiendo los caminos y los pasos del legado de DON FRANK HATTON GUERRERO, PRIMER LOCUTOR PROFESIONAL de la nacion y de la REPUBLICA DOMINICANA, socio co fundador del RADIO CLUB DOMINICANO, Inc, en el ano 1926. Yoe F. Santos/CCIAV. CCIAV, CC4AVE. Talents, Criticism, Friendship! Salut, Polis, Ecumene! (1959-2019) ------------- SABADO CHIQUITO DE CORPORAN,(1988-2011) es el UNICO programa de TELEVISION: INFANTIL... 1 Que logro MANTENERSE EN EL AIRE, por 25 anos... 2. EL UNICO QUE LLEGO A EXPORTAR: TALENTOS, -ESPECTACULOS INFANTILES EXITOSOS- POR AMERICA LATINA Y CARIBE, estableciendo: RECORDS DE ASISTENCIA: 1. NINOS, NINAS, 2. ADOLESCENTES, JOVENES... 3. MAMAS & PAPAS de ninos y ninas en EDAD ESCOLAR... desde UNA PRODUCCION DESARROLLADA: COMPLETAMENTE EN LENGUA ESPANOLA O CASTELLANA (1988-2001) ESOS SON LOS ESTANDARES DE LA : 1. ECONOMIA NARANJA. 2. DE LA ECONOMIA CREATIVA DOMINICANA. 3. EN LA MANUFACTURA DE CONTENIDOS QUE TIENEN QUE APRENDER NUESTROS NINOS & NINAS DE KINDER: QUE PODEMOS TRIUNFAR, TRABAJANDO, TELEVISION & CINE, EN kayzen & TQM, con el sudor de nuestra frente: EN LA CONSTRUCCION DE LA MARCA-PAIS REPUBLICA DOMINICANA, en el siglo XXI, camino a la cuarta revolucion industrial o INDUSTRIA 4.0... 1. NADA QUE VER CON TEATRO... -& OTRAS YERBAS AROMATICAS...- Yoe F. Santos/CC

Tuesday, November 26, 2019

TODO esta CONECTADO. Reverendo Martin Luther King, Jr. --------- A: Ingeniero ELECTRONICO DOMINICANO Frank Hatton Guerrero, In Memoriam. ---------- FRANK HATTON GUERRERO PROPULSOR 1970 Exaltado propulsor en el Ceremonial del año 1970. NACIO EN SANTO DOMINGO Nació en Santo Domingo, el 4 de agosto de 1897. FUE DESTACADO JUGADOR DE BEISBOL, EN EL EQUIPO TIGRES DEL LICEY, COMO: SHORE-STOP O PARA-CORTO. Fue destacado jugador de béisbol, 1.PIONERO DOMINICANO EN INTRODUCIR LA TECNICA DEL DOBLE PLAY de los primeros en introducir la técnica del “doble play” en el país. 2.SE DISTINGUIO TAMBIEN COMO: GOLFISTA. Se distinguió también como golfista. 3. PRIMER DIRECTOR GENERAL DE: DEPORTES DE LA REPUBLICA DOMINICANA. Fue el primer Director General de Deportes de la República Dominicana, 4. COOPERANDO SIEMPRE CON EL: DEPORTE NACIONAL. cooperando siempre con el deporte nacional. 5. PIONERO EN LA NARRACION DEPORTIVA RADIAL. 6.FUE SU VOZ... Pionero de la narración deportiva radial, 6.1.LA PRIMERA QUE SE ESCUCHARA fue su voz la primera que se escuchara 6.2.EN LAS VERSIONES EN: ESPANOL 7.DE LOS JUEGOS DE BEISBOL en las versiones en español de los juegos de béisbol 7.1.DE LAS GRANDES LIGAS 7.2.EN ESTADOS UNIDOS. de las Grandes Ligas. 7.3. ATLETA JUVENIL. 7.4. JUGADOR DE: 7.4.1.BALONCESTO. 7.4.2.FUTBOL Atleta Juvenil y jugador de baloncesto y fútbol. CUAL ES SU LABOR, EN LA REPUBLICA DOMINICANA, COMO CIENTIFICO TICs (1920-1981)? 1. DE JOVEN... 1.1. VIAJO A LAS UNIVERSIDADES NORTEAMERICANAS, cuando NADIE VIAJABA, NI ESTUDIABA, EN AQUEL PAIS, porque la poblacion dominicana, se dedicaba a la: 1.AGRICULTURA, 2.LA GANADERIA, 3.EL COMERCIO INTERNACIONAL -DE IMPORTACION & EXPORTACION- 4.LA INDUSTRIA... 5.EL MERCADEO DE PRODUCTOS DE: CONSUMO MASIVO, en sus redes de DISTRIBUCION de los mismos por los: 1. CAMINOS. 2. CARRETERAS. 3. CAMINOS VECINALES de una poblacion -RURAL & POBRE EN MAS DE UN : 92%- HASTA EL ANO: 1962... CUANDO NACE EN LA CIUDAD DE SANTO DOMINGO DE GUZMAN, EL CIENTIFICO DOMINICANO, INGENIERO: ELECTRONICO, FRANK HATTON GUERRERO... 1.LA ELECTRICIDAD NO ERA UN SERVICIO: -POPULAR O DE USO MASIVO- EN LA NACION & EN LA REPUBLICA DOMINICANA. 2. NO SE HABIAN INVENTADO: 2.1. NI LA RADIO. 2.2. NI LA TELEVISION. 2.3. NI LA INTERNET & EL CIBERESPACIO... 2.4. NO EXISTIA EN EL MUNDO: LA SOCIAL MEDIA O LA WEB 2.0 2.5. NO EXISTIAN LOS TELEFONOS CELULARES, O MOVILES, EN TODO: EL MUNDO... 2.6. NO EXISTIAN EN LA REPUBLICA DOMINICANA... 2.6.1. LOS 4,000 KILOMETROS DE NUEVAS CARRETERAS, disenados & construidos, por la Administracion del Estado en tiempo record (2012-2019). 2.6.2. NO existia EL MINISTERIO DOMINICANO DE SALUD PUBLICA & PREVISION SOCIAL, inaugurado por la dictadura de derechas de RAFAEL LEONIDAS TRUJILLO MOLINA,para: 1. LA ENSENANZA DE LAS CIENCIAS MEDICAS. 2. PRACTICA DE LAS CIENCIAS MEDICAS. 3. ATENCION A PACIENTES O ENFERMOS & ENFERMAS, POBRES, RICAS, CLASES MEDIAS, de las ciudades y los campos dominicanos, como: SE VIENE HACIENDO EN LA INDUSTRIA -MEDICA ESPECIALIZADA DOMINICANA- desde el ano 1956 hasta el dia de hoy... 2.6.3. NO EXISTIA EL SERVICIO PUBLICO DOMINICANO, de la autoria de DIPUTADO DOMINICANO, Lic. ELPIDIO BAEZ, llamado: 911... 2.6.4. NO SE HABIAN INCORPORADO LOS 2 MILLONES 700 MIL PACIENTES DOMINICANOS -POBRES, DEL CAMPO & DE LA CIUDAD- AL REGIMEN SUBSIDIADO DE LA SEGURIDAD SOCIAL DOMINICANA (2012-2019): SENASA. 2.6.5. NO SE HABIA ESPECIALIZADO EL 4% DEL PRODUCTO INTERNO BRUTO (PIB) DE LA ECONOMIA DOMINICANA, a la actividad CIENTIFICA & TECNOLOGICA de: 1. ENSENANZA. 2. INVESTIGACION. 3. PRACTICA. 4. PERSONALIZACION DE LOS PROCESOS DE APRENDIZAJE INFANTIL, dentro de los estandares MUNDIALES DE TQM & KAYZEN, para la: MANUFACTURA DE NINOS & NINAS ESCOLARES DOMINICANOS, en la poblacion vulnerable de: 18 anos de edad y menos, PARA QUE SE; 1. HAGAN BACHILLERES, EN CIENCIAS: TICs. 2. PARA QUE PUEDAN SONAR & ASPIRAR a UNA PROFESION UNIVERSITARIA... 3. LUEGO DE PERMANECER ENCERRADOS POR 12 ANOS, en las : AULAS. LABORATORIOS. TALLERES DE LAS ESCUELAS PUBLICAS, DOMINICANAS, EN EL NUEVO SERVICIO PUBLICO, CONOCIDO COMO: LA TANDA EXTENDIDA (2012-2019), donde los cientificos y las cientificas dominicanas, formados EN LA ESPECIALIDAD DE LAS CIENCIAS: 1. PAIDOLOGICAS. 2. DE LAS CIENCIAS DEL DEPORTE. 3. DE LAS CIENCIAS DEL OCIO. 4. DE CHILD-GIRL DEVELOPMENTAL PSYCHOLOGY. 5. DE LAS CIENCIAS TICs. 6. DE LAS CIENCIAS DE LA INNOVACION, LA INVENCION, EL EMPRENDIMIENTO, DESDE unidades productivas de micro y pequena escala llamadas : MYPIMES, les ayuden trabajando, experimentando, innovando, DIA & NOCHE a salir de la pobreza, por sus: 1. MANOS. 2. POR SUS CUERPOS. 3. POR SUS CEREBROS, desde la OPORTUNIDAD EDUCATIVA, en CIENCIAS & TECNOLOGIAS, definidas tanto por EUGENIO MARIA DE HOSTOS -Desde su primer viaje a Santiago de Chile, en el ano 1873, hasta su muerte en SANTO DOMINGO, en 1901- como por PROFESOR JUAN EMILIO BOSCH GAVINO (Rio Verde, La Vega, 1909 hasta su muerte en SANTO DOMINGO, 2001- COMO EL MEJOR Y UNICO CAMINO, que tiene un nino o nina DOMINICANOS, para salir de la pobreza EN EL TIEMPO... INVIRTIENDO SOLAMENTE SU TIEMPO, NO DINERO... 1. EN APUNTARSE A LA ESCUELA... EN ASISTIR AL KINDER, EN ASISTIR A LA ESCUELA PRIMARIA, EN HACERSE BACHILLER, en 12 anos de ESCOLARIDAD...PARA PODER BENEFICIARSE, PERSONAL & FAMILIARMENTE DE: 1. LA OPORTUNIDAD INFINITA de la : ECONOMIA NARANJA, en el ano 2019... 2. LA OPORTUNIDAD INFINITA, de la ECONOMIA CREATIVA, desde los entornos DE TRABAJO & DE ESTUDIO : DIGITALES o del SUENO DEL INGENIERO FRANK HATTON GUERRERO: LA RADIO DOMINICANA, COMO: SERVICIO PUBLICO (1920-1981). CUANDO NACE EN LA CIUDAD DE SANTO DOMINGO, INGENIERO ELECTRONICO DOMINICANO, FRANK HATTON GUERRERO... 1. LOS NINOS & LAS NINAS DOMINICANAS... NO IBAN A LA ESCUELA. 2. NO IBAN A LAS UNIVERSIDADES, NI DOMINICANAS, NI DE NINGUN PAIS DEL MUNDO... 4 de agosto de 1897 ERA EL DIA: 4 DE AGOSTO DEL ANO: 1897... EN UNA NACION CON POCOS CIENTIFICOS Y POCAS CIENTIFICAS: 1.DONDE CASI NADIE PIENSA EN EL FUTURO DE LA ECONOMIA DOMINICANA... en el siglo XXI. 2. DONDE CASI NADIE SABE QUE ES: 2.1.TOTAL QUALITY MANAGEMENT (TQM) O 2.2. KAYZEN O MEJORA CONTINUA... APLICADOS A: 1. EL DISENO CURRICULAR DE EDUCACION INFANTIL DOMINICANA. 2. EL DISENO CO-CURRICULAR DE LA EDUCACION INFANTIL DOMINICANA. 3. DEL DISENO EXTRA-CURRICULAR DE LA EDUCACION INFANTIL DOMINICANA, aun en 2019... 4. CUAL ES LA RELACION ENTRE: CIENCIAS DEL OCIO & CIENCIAS DEL DEPORTE, CON LA SALUD DEL NINO O DE LA NINA DOMINICANOS EN ESE AMBIENTE DE POCA PRIORIDAD PERSONAL & FAMILIAR, PARA: 1. LA ESCOLARIZACION CIENTIFICA & TECNOLOGICA. 2. PARA LA INVESTIGACION INFANTIL EN CIENCIAS TICs... 3. PARA LA INVESTIGACION UNIVERSITARIA EN CIENCIAS DEL: 3.1. APRENDIZAJE, PAIDOLOGICO O INFANTIL. 3.2. CIENCIAS DE LA CREATIVIDAD O LA : CREATICA. 3.2. LA INNOVACION, LA COMPETITIVIDAD & LA EXPORTABILIDAD DE LOS PRODUCTOS AGROPECUARIOS, AGROINDUSTRIALES, INDUSTRIALES DOMINICANOS, por los 5 continentes, COMO PARTE DE NUESTRA: ORGULLOSA DOMINICANIDAD, JUANPABLODUARTIANA, SANTANISTA, BOSCHISTA, EUGENIOMARIADEHOSTOCISTA... Es que en su CASA, su PAPA & SU MAMA DESDE: 4 de agosto de 1897... LE DICEN, LE EXPLICAN AL NINO, ANONIMO DOMINICANO: FRANK HATTON GUERRERO... 1. QUE ES IMPORTANTE... AUNQUE NADIE MAS LE IMPORTE... IR A LA ESCUELA... DOMINICANA... 2. PARA ASEGURARSE UN LUGAR : EN LA ECONOMIA DOMINICANA, DEL FUTURO... COMO LO VIENEN HACIENDO DESDE EL ANO 2012, en la ADMINISTRACION DEL CIENTIFICO DOMINICANO, ING. QUIMICO, ECONOMISTA, especializado en ECONOMIA DOMINICANA & MUNDIAL, desde el INSTITUTO TECNOLOGICO DE SANTO DOMINGO (INTEC) LIC. DANILO MEDINA SANCHEZ (2012-2019) Y SU DIGNA ESPOSA, LA TAMBIEN CIENTIFICA DOMINICANA, PSICOLOGA CLINICA: LIC. CANDIDA MONTILLA DE MEDINA, con los CAIDs, desde el ano 2012 hasta hoy, NOVIEMBRE: 2019... PARA QUE SERVIVIRIA UN MUCHACHO, FORMADO INGENIERO ELECTRONICO, EN LOS ESTADOS UNIDOS DE AMERICA, VIVIENDO EN UN PAIS: 1. SIN ELECTRICIDAD. 2. SIN INDUSTRIAS? PUES PARA NADA, diria en : 1897, 1907, en 1917, en 1927, en 1937, en 1947, en 1957, en 1967, en 1977, en 1987, en 1997, en 2007, en 2017... pero LA OFICINA NACIONAL DE ESTADISTICAS (ONE) CREADA por JUAN BOSCH GAVINO & POR RAFAEL LEONIDAS TRUJILLO, en el periodo HISTORICO : 1930-1938... INFORMA AL PAIS & AL MUNDO QUE YA: LLEGO EL TIEMPO DE LOS SONADORES & DE LAS SONADORAS: DOMINICANOS, EN INGENIERIA ELECTRONICA... QUE YA REPUBLICA DOMINICANA ESTA: ELECTRIFICADA AL 98% ... LO QUE LA CONVIERTE EN UNA : 1. ECONOMIA EXPORTADORA POTENCIALMENTE INDUSTRIAL. 2. PARA APODERARSE, PACIFICAMENTE; DEL MERCADO DE TODA : AMERICA CENTRAL, DE TODAS LAS ISLAS DEL CARIBE, con iniciativas PRESIDENCIALES RACIONALES, CIENTIFICAS, COMO LAS DEL LIC. DANILO MEDINA SANCHEZ & SUS : CIENTIFICOS & CIENTIFICAS DEL COMERCIO EXTERIOR, MUNDIAL, GLOBALIZADO... 1. DESDE LA META PRESIDENCIAL DE LOS 10 MILLONES DE TURISTAS... 2. DESDE LA META PRESIDENCIA DEL POSICIONAMIENTO LIDER PARA: REPUBLICA DOMINICANA OFERTANDO SERVICIOS, EN CIENCIAS MEDICAS ESPECIALIZADAS, COMPETITIVOS, DE ALTA CALIDAD, PARA ATRAER AL SEGMENTO JUGOSO DEL MERCADO REGIONAL & MUNDIAL, QUE SE LLAMA: DEMANDA DE TURISMO DE SALUD... A NUESTRAS CLINICAS DOMINICANAS ESPECIALIZADAS... PORQUE TODOS & TODAS SOMOS YA VIEJOS & VIEJAS DOMINICANOS, y es posible por tener LOS DE MI GENERACION, MAS DE 40 ANOS DE EDAD, que no estemos VIVOS PARA VER ESA VICTORIA : 1. DE LA ECONOMIA NARANJA DOMINICANA. 2. DE LA ECONOMIA CREATIVA DOMINICANA, en 2030, en 2060, en 2090... PERO PARA GARANTIZAR TAL VICTORIA: CIENTIFICA & TECNOLOGICA FUTURA, DE TODOS & TODAS LOS DOMINICANOS & LAS DOMINICANAS, EN LA: 1. CULTURA POLICLASISTA DOMINICANA. 2. EN LA CIVILIZACION POLICLASISTA DOMINICANA. 3. EN LA ECONOMIA POLICLASISTA DOMINICANA... DEL FUTURO... EL GOBIERNO DOMINICANO, EL ESTADO DOMINICANO, LA ADMINISTRACION PUBLICA CIENTIFICA DOMINICANA, LA BUROCRACIA PROFESIONAL DOMINICANA, EL MINISTERIO DE : HACIENDA & COMERCIO, DE LA NACION & DE LA REPUBLICA DOMINICANA... HA PUESTO POR PRIORIDAD: LA INVERSION EDUCATIVA, EN EL SIGLO XXI... PARA QUE? 1. PARA MANUFACTURAR EN AULAS DOMINICANAS... 2. PARA MANUFACTURAR EN LABORATORIOS DOMINICANOS... 3. PARA MANUFACTURAR EN TALLERES DOMINICANOS... A. EN ESCUELAS INFANTILES: PUBLICAS & GRATUITAS, DOMINICANAS, EN : CIUDADES & CAMPOS DOMINICANOS... B. EN LAS 50 UNIVERSIDADES DOMINICANAS QUE ENSENAN EL METODO CIENTIFICO... LOS MILLONES DE NINOS & NINAS DOMINICANOS, encerrados en AULAS, TALLERES & LABORATORIOS... 1 MILLON 300 MIL FRANK HATTON GUERRERO.... DESDE KINDER, en el siglo XXI... 1. PARA ESO LOS ALIMENTA: CON DESAYUNOS... CON ALMUERZOS... CON MERIENDAS, desde el ano : 2012... 2. PARA ESO HA INVENTADO LA : REPUBLICA DOMINICANA: DIGITAL, EDUCACION... para que en 20 anos... 1. NO HAYA UN SOLO DOMINICANO O DOMINICANA, analfabeta: FUNCIONAL... 2. NO HAY UN SOLO DOMINICANO O DOMINICANA, ANALFABETA CIENTIFICO... 3. NO HAYA UN SOLO NINO O NINA: DOMINICANO, POBRES, NI EN LAS CIUDADES DOMINICANAS... NI EN LOS CAMPOS DOMINICANOS... Yoe F. Santos/CCIAV. CCIAV, CC4AVE Talents, Criticism, Friendship! Salut, Polis, Ecumene! (1959-2019) ---------- 4 de agosto de 1897. NACE NINO, ANONIMO, DOMINICANO. INGENIERO ELECTRONICO DOMINICANO FRANK HATTON GUERRERO.... 1. PADRE DE LA INVENCION DE LA : RADIO EN REPUBLICA DOMINICANA, en 1924. 2. FUNDADOR & PRIMER PRESIDENTE: RADIO CLUB DOMINICANO, INC. 3. PRIMER LOCUTOR PROFESIONAL: DOMINICANO. 4. PRIMER LOCUTOR PROFESIONAL -EN SOMETERSE A LOS EXAMENES- PARA TENER CARNET DE : LOCUTOR, en 1938... INMORTAL DEL DEPORTE DOMINICANO. CREADOR DE LA PRIMERA: ESCUELA DE ATLETISMO DE LA NACION & DE LA REPUBLICA DOMINICANA. GOLFISTA. FUTBOLISTA. BALONCETISTA... BEISBOLISTA ACTIVO EN EL EQUIPO MAS ANTIGUO DE LA NACION & DE LA REPUBLICA DOMINICANA: -EL EQUIPO DE LA CAPITAL- LOS TIGRES DEL LICEY. 1.INVENTOR,FUNDADOR & PROPIETARIO DE : RADIO HIZ, 2.PRIMERA EMISORA COMERCIAL DE LA NACION & DE LA REPUBLICA DOMINICANA. 3. INGENIERO ELECTRONICO, FORMADO -EN LOS ESTADOS UNIDOS DE AMERICA- FRANK HATTON GUERRERO (1897-1981) 3.1.CIENTIFICO TICs, 3.2.de la NACION & DE LA REPUBLICA DOMINICANA, en el siglo XX. UN PATRIOTA NACIONALISTA DOMINICANO. UN PATRIOTA NACIONALISTA JUANPABLODUARTIANO...DOMINICANO (1920-1981). ---------- RAFAEL DE LOS SANTOS, STREET. NEW YORK, NEW YORK. -------- EN HONOR A LA TRAYECTORIA: 1. RADICAL. 2. TELEVISIVA. 3. COMUNITARIA DE ESTE: GRAN DOMINICANO. LUNES 18 DE FEBRERO. 12.00 M. 176 STREET & BROADWAY, NEW YORK. (Detras del UNITED PALACE) ---------- HARNESSING THE POTENTIAL OF ICT OF PRACTICE OF BROADCAST... ------------- Harnessing the Potential of ICT on Practice of Broadcast ... https://www.academia.edu › ... SOURCE: INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES International Journal of Research in Social Sciences Vol. ... ITS ACCEPTANCE BY PROFESSIONAL JOURNALIST Its acceptance by professional journalist 1.WILL REDUCE OR ELIMINATE : THE GAP will reduce or eliminate the gap ... 2.NEWS CANNOT ONLY BE BROADCAST IN 2.1.REGULAR TV... News cannot only be broadcast in a regular T.V. 2.2.AND RADO TRANSMISSION WAVES and radio transmission waves 3.BUT ALSO THROUGH THE INTERNET... but also through the internet. ... 3.1.BY MOBILE PHONE OPERATOR by a mobile phone operator 3.2.ALLOWING ACCESS 3.3.TO THE PUBLIC TELEPHONE NETWORK allowing access to the public telephone network. ------------- People also ask 1.What are the TYPES of broadcasting? 2.What is a broadcast STATION? 3.What is THE PURPOSE of broadcasting? 4.How are radio programs and television PROGRAMS DIFFERENT? ---- BROADCASTING. --------- Broadcasting - New World Encyclopedia https://www.newworldencyclopedia.org › entry › broadcasting. Jun 25, 2016 - 1 Introduction to broadcasting; 2 History of broadcasting ... Television and radio programs ARE DISTRIBUTED are distributed through radio ... NBC became the dominant radio network, splitting into Red and ... HE PROMOTED THE PHILOSOPHY he promoted the philosophy OF PUBLIC SERVICE of "public service broadcasting," FIRMLY POLITICS & SOCIAL SCIENCES COMMUNICATION firmly ..... Politics and social sciences · Communication. ---------- BROADCASTING: 1. RADIO. 2. TELEVISION. 3.FILM. 4. DIGITAL MEDIAS. Broadcasting - Radio, Television, Film & Digital Media https://www.centennialcollege.ca › programs-courses › full-time › radio-tel... In the Broadcasting - Radio, Television, Film & Digital Media program, YOU'LL BE TRAINED... you'll be trained in ... television and radio 1. INDUSTRIES. 2. AS MULTIPLATFORM DIGITAL PRODUCTION industries as well as multiplatform digital production. 3.FOR PROFESSIONAL PORTFOLIO ... for a professional portfolio;; 4.SPEND 14 WEEKS Spend 14 weeks 5. IN A FULL - TIME 5.1. INDUSTRY FIELD PLACEMENT in a full-time industry field placement. .... 5.2. BROADCASTER IN: 5.2.1. RADIO. 5.2.2. TELEVISION Broadcasters in radio and television; 1. PRODUCTION. 2. POST-PRODUCTION Production and post-production ... -------------- WORLD COMMUNICATION & INFORMATION REPORT (1999) BY UNESCO (1999-2000) World communication and information report, 1999-2000 ... https://unesdoc.unesco.org › Notice 1.IN THE BROADCASTING SECTOR In the broadcasting sector, 2. LEGISLATION TENDS TO BE: INADEQUATE & THE GAP legislation tends to be inadequate and the gap 1. TELEPHONE. 2. RADIO. 3. TELEVISION PENETRATION ... Telephone, radio and television penetration RATIOS ARE OFTEN FAVOURABLE ratios are often favourable, and the .... Information and communication technologies and social pro c e s s e s24 The ...... In fact, THE POLITICS OF WORLD COMUNNICATION the politics of world communication REPRESENT A HISTORICAL SHIFT FROM A PUBLIC... represent a historical shift from a public ... ----------- PUBLIC SERVICE BROADCASTING. ----------- UNESCO. -------- Public Service Broadcasting | United Nations Educational ... www.unesco.org › communication-and-information › media-development UNESCO - Cover of publication PUBLIC SERVICE BROADCASTING A BEST... "Public service broadcasting: a best ... 1. SUSTAINING . 2. EDITORIALLY INDEPENDENT 3. BROADCASTERS sustaining editorially independent broadcasters 4. IN THE SUBSTANTIAL FULLFILLMENT 5. OF THEIR CULTURAL... in the substantial fulfillment of their cultural ... 6. TRAINING IN MODERN BROADCASTING training in modern broadcasting, 7. PARTICULARLY IN ISSUES RELATED TO ICTs particularly in issues related to ICTs. 8. ENCOURAGING MEDIA PROFESSIONALS Encouraging media professionals 8.1. TO REDUCE DISPLAY 8.2 OF VIOLENCE IN TELEVISION to reduce unnecessary display of violence in television ... ----------- RADIO & DEVELOPMENT IN AFRICA: A CONCEPT... --------- Radio and Development in Africa - A Concept ... DR. MARY MYERS. - Dr Mary Myers www.marysophiamyers.org › pdfs of my publications › 5 Radio and Devel... by M Myers - ‎2008 Radio's historical development OVER THE LAST 20 YEARS... over the last 20 years ..................... WORLD ASSOCIATION OF COMMUNITY RADIO BROADCASTERS ................ .... World Association of Community Radio Broadcasters. AMDI ... on radio, TV to some extent, AND TO GROWING EXTENDENT ON MOBILE PHONES and to a growing extent on mobile phones. RADIOS... 1.RESEARCH ON THE IMPACT 1.1.OF THE NEW ICTs... Radio as a ... Research on the impact of new ICTs 1.2.AND TECHNOLOGY CONVERGENCE and technology convergence 1.3.ON THE RADIO SECTOR on the radio sector. - Evidence ... ------------ THE ROLE OF ICTs. ---- The Role Of Information And Communication Technology ICT) In https://siteresources.worldbank.org › Resources › Role_ICT_paper Information and Communication Technology (ICT) 1. INDUSTRY. 2. INVESTMENTS. 3. APPROPRIATE NETWORKS industry and the ... investments, appropriate networks (partnerships) 3.1. AND ENABLING: ENVIRONMENT. and enabling environment. ... 3.2.TO ENSURE THAT ALL OF THE: WORLD'S POPULATIONS To ensure that all of the world's populations 3.3.HACE ACCESS TO: 3.3.1 TO TELEVISION. 3.3.2. RADIO. SERVICES... have access to television and radio services;. 9. ... 4. REQUIRES A : BUSINESS ENVIRONMENT requires a business environment 4.1. ENCOURAGING OPEN COMPETITION encouraging open competition, 4.2. OPEN TRUST... trust and. ---- READER'S GUIDE: 1. TO PERIODICAL LITERATURE. 2. AND THE BULLETING OF THE: PUBLIC BROADCASTING... Readers' Guide to Periodical Literature and in the Bulletin of the Public ... ------------ BROADCASTING. -------- Broadcasting - Wikipedia https://en.wikipedia.org › wiki › Broadcasting. Broadcasting IS THE DISTRIBUTION is the distribution of audio or video CONTENT content to a dispersed audience VIA ANY... via any ... Over the air broadcasting IS ASSOCIATED 1. RADIO. 2. TELEVISION is usually associated with radio and television, 1.BROADCASTING WAS INITIATED IN THE: ... broadcasting was initiated in the 1960s 2. AND MOVED INTO GENERAL INDUSTRY USAGE... and moved into general industry usage ... 3. PUBLIC BROADCASTING: 3.1. USUALLY NON-PROFIT Public broadcasting: usually non-profit, 3.2. PUBLICLY OWNED STATIONS OR NETWORKS... publicly owned stations or networks ... ----------- DIALOGUE & PUBLIC SPACE: AN EXPLORATION OF RADIO ---------- Dialogue and Public Space: An Exploration of Radio ... - Jstor https://www.jstor.org › stable by A Dale - ‎2005 - ‎ WE EXAMINE TWO MEDIA: 1. RADIO. 2. ICTs. We examine two media, radio and ICTs, ONE HISTORICAL AND THE OTHER: NASCENT one historical and the other nascent ..... Due in part to the character of 1.WARTIME BROADCASTING 2.AND PROGRAMMING wartime broadcasting and pro gramming, which ... ------------------- Searches related to : 1.Radio & Television Professional, 2. ICTs Sciences, 2.1.Open Networks, 2.2.Broadcasting Industry, 3.World History. --- 1.Broadcasting school toronto 2.Features of public service broadcasting 3.Television and film BUSINESS CENTENNIAL business centennial 4.Radio and television programs 5.Principles of PUBLIC SERVICE: BROADCASTING... public service broadcasting 6.WHAT IS PUBLIC SERVICE BROADCASTING? What is public service broadcasting 7.Radio broadcasting programs 7.1. EXAMPLES OF PUBLIC SERVICES: BROADCASTING. Examples of public service broadcasting ------------ IMAGINATIVA TV (2019) DEDICA PROGRAMA ESPECIAL AL INDUSTRIAL DOMINICANO DE LA ECONOMIA NARANJA, DE LA ECONOMIA CREATIVA : RAFAEL CORPORAN DE LOS SANTOS (LA MATA, COTUI, 1937-SANTO DOMINGO, 2012) Yoe F. Santos/CCIAV CCIAV, CC4AVE. Talents, Criticism, Friendship! Salut, Polis, Ecumene! (1959-2019). ----------- EL DIA 22 DE JULIO... 1937. -EN LA COMUNIDAD RURAL- LA MATA, DE COTUI... -EN UNA FAMILIA HETEROSEXUAL DOMINICANA- NACE: UN NINO ANONIMO, DOMINICANO... RAFAEL CORPORAN DE LOS SANTOS. FALLECE: INFARTO, 2012. ---------- Rafael Corporán de los Santos. ------------ From Wikipedia, the free encyclopedia . Rafael Corporán de los Santos Born July 22, 1937 La Mata, Cotuí, Dominican Republic Died March 5, 2012 (aged 74) Santo Domingo, Distrito Nacional, Dominican Republic Cause of death Heart attack OCUPATION: Occupation 1.TV producer, 2.TV host, 3. Entrepreneur, 4. Political figure, 5. FILANTROPO Philanthropist INICIA SU VIDA PROFESIONAL, -COMO ARTISTA DEL MICROFONO- EN: 1963. Years active 1963-2012 Rafael Corporán de los Santos (July 22, 1937 – March 5, 2012), better known as Corporán, was a TV producer, TV host, entrepreneur, political figure, and philanthropist from the Dominican Republic.[1] He died of a heart attack on 5 March 2012.[2] References 1. "ICON TV PRODUCER Icon TV producer Rafael Corporán passes away". DominicanToday.com. 2012-02-03. Retrieved 2012-03-06. 2. "Mourning in Dom Rep for Death of FORMER MAYOR Former Mayor and Communicator". Prensa Latina. 2012-03-06. Retrieved 2012-03-08. Government offices Preceded by Fello Suberví Mayor of Santo Domingo, Distrito Nacional 1990–1994 Succeeded by Fello Suberví Stub icon This biographical article ABOUT A PHILANTHROPIST about a philanthropist is a stub. You can help Wikipedia by expanding it. Categories: 1937 births2012 deathsMayors of places in the Dominican RepublicDominican Republic philanthropists PEOPLE FROM COTUI People from Cotuí Social Christian Reformist Party politiciansPhilanthropist stubs Navigation menu Not logged inTalkContributionsCreate accountLog inArticleTalkReadEditView historySearch Search Wikipedia Main page Contents Featured content Current events Random article Donate to Wikipedia Wikipedia store Interaction Help About Wikipedia Community portal Recent changes Contact page Tools What links here Related changes Upload file Special pages Permanent link Page information Wikidata item Cite this page In other projects Wikimedia Commons Print/export Create a book Download as PDF Printable version Languages Español Edit links This page was last edited on 18 April 2018, at 23:11 (UTC). Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization. Privacy policyAbout WikipediaDisclaimersContact WikipediaDevelopersStatisticsCookie statementMobile view --------- UN DIA COMO HOY FALLECE : JUAN JOSE DUARTE, PADRE DE: JUAN PABLO DUARTE & DIEZ... --- HOY ES DIA MUNDIAL DE : SANTA CATALINA, 1.Patrona de las MUJERES & NINAS, SOLTERAS... 2. PATRONA DE LOS : MECANICOS. 3. PATRONA DE LOS : FILOSOFOS. ---- UN DIA COMO HOY, EL PODER EJECUTIVO DE LA NACION & DE LA REPUBLICA DOMINICANA LA ORGANIZACION DE LA SOCIEDAD CIVIL DOMINICANA: ASOCIACION DOMINICANA DE RADIODIFUSORES (ADORA) -------- Un dia como hoy.... hace mucho tiempo... NACIO EL DRAMATURGO espanol, LOPE DE VEGA... ------- UN DIA COMO HOY, NACE EN MOCA, Dona CATANA PEREZ NUNEZ, -PIANISTA, pedagoga MUSICAL- DOMINICANA... __ UN DIA COMO HOY NACE EL CANTANTE POPULAR DOMINICANO, NINI CAFARO... ERASMO CAFARO... CUMPLE: 80 ANOS DE EDAD... ------- En el SANTIAGO DE LOS CABALLEROS, DE MI INFANCIA(1962-1980), tuve el honor de conocer a una: PATRIOTA & NACIONALISTA DOMINICANA, DONA YOLANDA BADIA MONTES DE OCA.... ERA ACTRIZ... Era actriz de TEATRO... Pero ejercia su carrera BI-PERSONAL junto a su esposo... ERA : ESPOSA, ARTISTA DE LOS ESCENARIOS, en el TEATRO... PERO SE DIO CUENTA A TIEMPO, de que: LA ELECTRICIDAD, cambiaria para siempre las ARTES ESCENICAS, de Santiago de los Caballeros & del mundo... ASI QUE HIZO UN ESFUERZO, PERSONAL, MICRO-ECONOMICO, FAMILIAR, junto a su esposo, quien tambien era ARTISTA DE LOS ESCENARIOS... 1. BUSCARON EL DINERO... 2. SE MONTARON UNA : MYPIME... UNA ESCUELA DE LOCUCION... Gracias a esta pareja de esposos dominicanos, SE EDUCO: EN CIENCIAS TICs, una NUEVA GENERACION DE ARTISTAS DOMINICANOS... 1. DE LA VOZ HUMANA... 2. DE LOS MICROFONOS... 3. DE LA INDUSTRIA PUBLICITARIA. 4. DEL OFICIO DE DJ o locutor MUSICAL... 5. DEL OFICIO PROFESIONAL DE LA: MAESTRIA DE CEREMONIAS... 6. DEL OFICIO PROFESIONAL DE LAS: GRABACIONES DE JINGLES PARA LA INDUSTRIA PUBLICITARIA DOMINICANA: NACIENTE EN SANTIAGO... 7. Cuando llego la TELEVISION A LA CIUDAD DE SANTIAGO DE LOS CABALLEROS, esa MUJER & SU ESPOSO, habian logrado desarrollar, con sus PROPIAS IDEAS, con su originalidad, con SU INNOVACION... UNA CLASE LOCUTORIL DE SANTIAGO DE LOS CABALLEROS... ESPECIALISTAS EN EL USO: COMERCIAL DE LA VOZ HUMANA, en: 1. ESTACIONES DE RADIO. 2. EN CANALES DE TELEVISION. 3. EN EL CINE. 4. EN LA INTERNET... SOLO USANDO COMO CAPITAL INICIAL: LA VOZ HUMANA... Yolanda Badia Montes de Oca, es una CONSTRUCTORA, DESARROLLADORA DEL TALENTO DOMINICANO, DE LAS INDUSTRIAS CULTURALES DOMINICANAS, DE LAS INDUSTRIAS CREATIVAS DOMINICANAS, DEL SHOW BUSINESS DOMINICANO, DE LA FARANDULA DOMINICANA, DE LA ECONOMIA NARANJA DOMINICANA, DE LA ECONOMIA CREATIVA DOMINICANA... DE LA NUEVA ECONOMIA DOMINICANA... Pero lo hizo, CUANDO NADIE CREIA EN EL FUTURO EXPORTADOR DOMINICANO... 1. DE LA VOZ HUMANA, EDUCADA... 2. DEL CUERPO HUMANO, CON LA: RESPIRACION DIAFRAGMATICA... 3. DE LA ECONOMIA DE RECURSOS VOCALES... EN EL MERCADO DE TRABAJO DOMINICANO PRODUCTIVO, GENERADOR DE EMPLEOS GENERADORES DE: RIQUEZA DOMINICANA, DESDE EL TALENTO HUMANO, DESDE EL CAPITAL SIMBOLICO, DESDE EL CAPITAL RELACIONAL, DESDE EL CAPITAL COMUNICACIONAL, DESDE EL CAPITAL HUMANO... Para personas POBRES, que no TIENEN: DINERO... 1. SOLO SUS CUERPOS. 2. SOLO SUS VOCES. 3. SOLO SUS : CEREBROS:DOMINICANOS. -------- LA OTRA PERSONALIDAD, DE LA VOZ EDUCADA DOMINICANA, que pude conocer en mi infancia DOMINICANA (1962-1980) : ERA CANTANTE, MAESTRO -DE CANTO, MAESTRO DEL CANTO: CORAL...- MAESTRO JOSE DEL MONTE... llego en su biografia a ser : DIRECTOR DEL CORO NACIONAL, de la REPUBLICA DOMINICANA... ---------- EN LA HISTORIA NACIONAL DE LA: REPUBLICA DOMINICANA, existio una VOZ, de la industria RADIOFONICA DOMINICANA, llamada: PEDRO PEREZ VARGAS... EN UN MUNDO DE IDEAS QUE SE CRUZAN & A VECES ORGANIZAN... CAMBIAR EL ERROR,POR LA VERDAD, SURGE: NOTICIARIO POPULAR... Quien era el dueno de esa RADIOESTACION NOTICIOSA DOMINICANA? RAFAEL CORPORAN DE LOS SANTOS... UN CIUDADANO DOMINICANO, quien comenzo su carrera y su BIOGRAFIA DE ABAJO,sin contar con padrinos, con un apellido rimbombante, ni con una FAMILIA NOTORIA, TRADICIONAL, tuvo que CONSTRUIR SU FORTUNA, desde un emprendimiento de presupuesto: 1.BASE-CERO... 2.DESDE UNA MYPIME... SU OPORTUNIDAD, FUE LA EXISTENCIA DE LAS INDUSTRIAS CULTURALES : 1.ELECTRONICAS. 2. DOMINICANAS. Paso en su biografia POR: 1. LA RADIO DOMINICANA. 2. POR LA TELEVISION DOMINICANA. 3. POR LA ALCALDIA DE LA CIUDAD DE: SANTO DOMINGO DE GUZMAN... 4. NO ERA EXCESIVAMENTE: CULTO, mas bien nos daban risa, sus metidas de pata, en el aire, en el comercial de SPRITE... PERO: PEGADO A UN MICROFONO DOMINICANO, SE CONVIRTIO A SI MISMO EN UNA: RADIO PERSONALITY DOMINICANA. 1. NO LOGRO evolucionar como EXPORTADOR DE CONTENIDOS.. COMO LO HICIERON: MAESTRO TEO VERAS LOPEZ (1950-2018), NI MAESTRO ANTHONY RIOS (1950-2019), NI MAESTRO FREDDY BERAS GOICO (EL SEIBO, 1940-2010)... PERO AL MENOS, tuvo los medios ECONOMICOS, para : 1. PROCREAR. 2. CRIAR. 3. EDUCAR A SUS NINOS & NINAS, DOMINICANOS... EN UNA FAMILIA TIPICA: HETEROSEXUAL DOMINICANA... TRABAJANDO, CON EL SUDOR DE SU : FRENTE COMO DUENO DE UNA MYPIME, DOMINICANA... COMENZANDO DESDE ABAJO EN LAS: CIENCIAS TICs DE LA NACION & DE LA REPUBLICA DOMINICANA... 1.EN LA ECONOMIA NARANJA DOMINICANA. 2.EN LA ECONOMIA CREATIVA DOMINICANA. Yoe F. Santos/CCIAV CCIAV, CC4AVE. Talents,Criticism, Friendship! Salut, Polis, Ecumene! (1959-2019) -------- SOURCE: ACENTO. Calidad para Exportar a Europa. --------- Tu sabes, por que, el HEADQUARTER, las oficinas centrales a nivel mundial de ISO estan en SUIZA? TU SABES LO QUE SIGNIFICA ISO? HOY TE CONTAREMOS DE LA VOZ MAS AUTORIZADA DEL MUNDO, PARA: HABLAR DEL TEMA... 1. Los duenos de ISO. 2.LOs disenadores & disenadoras de este CONJUNTO DE ESTADARES DE: ACEPTACION MUNDIAL, o al menos... 1. Por toda persona que aspira a: la PERFECCION... 2. Por toda persona que detesta: la chapuza... 3. Por tada persona que detesta: LA MEDIOCRIDAD y a sus autores o abanderados: los mediocres y las mediocres.... Yoe Santos/CCIAV CCIAV, CC4AVE. Talents,Critcism, Friendship! Salut, Polis, Ecumene! (1959-2019) CUAELES SON LOS BENEFICIOS: 1. CONCRETOS. 2. MEDIBLES. 3OBSERVABLES EN LOS ENTORNOS DE TRABAJO QUE ADOPTAN NORMAS:ISO? ...EN DINERO -------------- CUALES SON LOS BENEFICIOS DE LAS NORMAS ISO, 1.PARA EMPLEADORES 2.Y PARA SU EQUIPO DE: COLBARADORES, -EN EL DESARROLLO DEL TALENTO HUMANO- en la vida cotidiana, en sus respectivas ECONOMIAS? ---- 1.Que es la norma ISO 9001? 2.Como se aplica a las Ciencias Secretariales? 3.Como se aplica a la Gestion de Oficinas? 4.Como se aplica a la cadena de valor en la INDUSTRIA O EMPRESA QUE APRENDE O LEARNING BUSINESS? 5. Y que diablos tiene que ver ISO 9001 con : 5.1. La NUEVA ECONOMIA? 5.2.Con la Sociedad del Conocimiento y de la Informacion(SCI)? 5.3.Con la Economia Naranja? 5.4.Con el factor humano o el capital humano, dentro de todas areas o centros de labor o trabajo productor de riqueza, en el mundo acual o posterior al ano: 1990? --------------- PRIMERO QUE NADA : QUE SIGNIFICA: ISO? SOCIEDAD INTERNACIONAL PARA: LA ESTANDAIZACION... 1. Y por que tratar de ESTANDARIZARLO TODO? 2.PARA PODER INDUSTRIALIZARLO TODO... ----- International Organization for Standardization. ---- DIRECCION FISICA EN GINEBRA, SUIZA. ----- ISO Central Secretariat 1, chemin de la Voie-Creuse Case postale 56 CH -1211 Genève 20 Switzerland www.iso.org ---------- ISBN 978-92-67-10620-5 © ISO, 2014. All rights reserved EUR CHF USD GBP AUD CNY THB CAD ARS BRL RUB JPY INR NZD ---- Many organizations from the private and public 1.SECTOR USE STANDARDS sector use standards 2. AND PARTICIPATE: 3. IN STANDARDS DEVELOPMENT. and participate in standards development. A few of them see standardization 1.AS DIRECTLY LINKED as directly linked 2. TO THEIR CORE STRATEGY to their core business strategy. Some approach standardization in a highly organized way and have a clear PERCEPTION: 1. OF THE IMPACT OF STANDARDS 2. ON THEIR ACTIVITIES. 3. AND PERFORMANCE. perception of the impact of standards on their activities and performance. Others may use standards from 1. A NARROWER PERSPETIVE a narrower perspective, 1.1. FOR SPECIFIC PROCESSES 1.2. FOR SPECIFIC ACTIVITIES. for specific processes or activities. Most of them realize that standards THE STANDARDS 1.bring benefits to their organization, 2.although the level of awareness and the perception of such benefits vary considerably. But there are other organizations that make only marginal use of standards or that do not use them at all. Companies that consider standards a burden – something that cannot be avoided at times, but that is IS PERCEIVED AS.... 1. ADDITIONAL COST. 2.AN ADITTIONAL OBLIGATION 3. WITH A N E G A T I VE IMPACT... perceived as an additional cost or obligation with a negative impact on the company. Organizations that don’t even consider participating in standards development, or that are not aware of the potential contribution that standards can bring to their activities. One of the key aspects of the mission of national standards bodies is to liaise with organizations from all stakeholder groups to engage them in standardization and to help them get the most from standards. BEING ABLE TO DEMOSTRATE... Being able to demonstrate THE TANGIBLE BENEFITS the tangible benefits that standards bring to organizations – and, more generally, to citizens and society – is therefore essential. DEMOSTRATING & COMMUNICATING: THE VALUE OF STANDARDS... https://www.iso.org/files/live/sites/isoorg/files/archive/pdf/en/ebs_case_studies_factsheets.pdf People involved in standardization are convinced that their work generates considerable benefits for organizations, markets and society. Yet substantiating and quantifying the real world value of voluntary standards is not an easy task. THIS WHY ISO DEVELOPEP THE ISO METHODOLOGY... This is why ISO has developed the “ISO Methodology”, a consistent approach to measuring this value, which has been tested in around 30 company case studies in over 20 countries across the globe. The results speak for themselves: standards do create value for the organizations that use them and it is possible to quantify it. The following summary describes, in a nutshell, how we quantify the economic value of applying standards. Objectives of the ISO Methodology The ISO Methodology aims to identify and quantify the microeconomic benefits of standards, i.e. the economic contribution the use of standards makes to company profits or the costs/revenues of an organization. All the standards assessed in this approach – whether they are international, regional or national standards, published by standards development organizations, industry groups or other consortia – are the result of an open, consensus-based process and are Methodology summary Quantifying the economic benefits of standards 4 -------- NADIE PUEDE SUSTITUIR o llenar el vacio de Don Teo, en la 91... PERO LA VIDA SIGUE, desde 1985, LA 91 HA ESTADO CORONANDO su existencia de reconocimientos Y PREMIOS A LA EXCELENCIA LA 91 FM ELIGIO & CONTRATO... 1.Una mujer: DIRECTORA. 2. Pero no por mujer... CARLOTTI PERALTA, tiene 31 anos seduciendonos, encantandonos con su voz, con su inteligencia, con su papacidad de : improvisar... de hacernos reir, de hacernos fllosofar en torno a las canciones... PERALTA, llego al fin de la ADOLESCENCIA a la 91... hizo buenas migas, con Don Teo, que todo lo del talento de excelencia, le encantaba y le abria las puertas... Y AHI ESTA con una nueva responsabilidad historica: IMPONER su propio estilo, crear un nuevo estilo PERSONAl al tiempo de llenar el vacio insalvable de Don Teo... Yoe F. Santos/CCIAV. CCIAV, CC4AVE Talents, Criticism, Friendship! Salut, Polis, Ecumene! (1959-2019) ----------- BBC Radiophonic Workshop. From Wikipedia, the free encyclopedia The BBC Radiophonic Workshop WAS ONE OF THE SOUND EFFECTS was one of the sound effects units of the BBC, CREATED IN created in 1958 TO PRODUCE INCIDENTAL SOUNDS to produce incidental sounds AND NEW MUSIC 1. FOR RADIO. 2. AND LATER, TELEVISIOIN and new music for radio and, later, television. The unit is known for its 1. EXPERIMENTAL. 2. PIONEERING experimental and pioneering 3. WORK IN ELECTRONIC MUSIC work in electronic music and 4. AND MUSIC TECHNOLOGY music technology, as well as its popular scores for programs such as DOCTOR WHO Doctor Who and Quatermass and the Pit during the 1950s and 1960s.[1] The original Radiophonic Workshop was based in the BBC's Maida Vale Studios in Delaware Road, Maida Vale, London.[2] . THE WORKSHOP WAS CLOSED IN MARCH 1998 The Workshop was closed in March 1998,[3] although much of its traditional work had ALREDEADY BEEN OUTSOURCED already been outsourced by 1995.[2] Its members have included : Daphne Oram, Delia Derbyshire, David Cain, John Baker, Paddy Kingsland, Glynis Jones and Richard Yeoman-Clark. Contents 1 History 2 Techniques 3 Influence on popular music 4 Members of the Radiophonic Workshop 5 Discography 6 Selected other works 7 Works about Radiophonic Workshop 8 See also 9 References 10 Further reading 11 External links History. The Workshop was set up to SATISFY GROWING DEMAND satisfy the growing demand in the late 1950s for "radiophonic" sounds from A GROUP OF : 1. PRODUCERS. 2. AND STUDIO MANAGERS a group of producers and studio managers at the BBC, including Desmond Briscoe, Daphne Oram, Donald McWhinnie, and Frederick Bradnum.[4][5][6] For some time there had been 1. MUCH INTEREST. 2. INPRODUCING 2.1 INOVATIVE MUSIC. 2.2. AND SOUNDS TO GO WITH 2.3. PIONEERING PROGRAMMING 2.3.1. OF THE ERA. much interest in producing innovative music and sounds to go with the pioneering programming of the era, in particular the dramatic output of the BBC Third Programme. 1. OFTEN THE SOUNDS REQUIRED 2. FOR THE ATMOSPHERE Often the sounds required for the atmosphere that programme makers wished to create 3. WERE UNAVAILABLE were unavailable or non-existent through traditional sources and so some, such as the musically trained Oram, would look to new techniques to produce effects and music for their pieces. Much of this interest drew them to 1. MUSIQUE CONCRETE 2. TAPE MANIPULATION TECHNIQUES musique concrète and tape manipulation techniques, since using these methods could allow them to create soundscapes suitable for the growing range of unconventional programming. When the BBC 1. NOTICED. 2. THE RISING POPULARITY noticed the rising popularity of this method 3. THEY ESTABLISHED 4. A RADIOPHONIC EFFECTS they established a Radiophonic Effects 5. COMMITEE Committee, setting up the Workshop in rooms 13 & 14 of the BBC's Maida Vale studios 6. WITH A BUDGET 7. DOS MIL LIBRAS ESTERLINAS... with a budget of £2,000. The Workshop contributed 1. ARTICLES. articles[7] to magazines 2. OR THEIR FINDINGS of their findings, leading to some of their techniques being borrowed by sixties producers and engineers such as Eddie Kramer.[8] Early days Maida Vale Studios. In 1957, Daphne Oram set up[9] the Radiophonic Workshop with Desmond Briscoe, who was appointed the Senior Studio Manager with Dick Mills employed as a technical assistant. Much of The Radiophonic Workshop's early work was in effects for radio, 1. PARTICULAR EXPERIMENTAL DRAMA 2. AND RADIOPHONIC POEMS in particular experimental drama and "radiophonic poems".[10] Their significant early output included 1. CREATING EFFECTS creating effects 2. FOR THE POPULAR SCIENCE FICTION SERIAL for the popular science-fiction serial Quatermass and the Pit and memorable comedy sounds for The Goon Show. In 1959, DAPHNE ORAM LEFT THE WORKSHOP Daphne Oram left the workshop to set up her own studio, the Oramics Studios for Electronic Composition, where she eventually developed her "Oramics" technique of electronic sound creation. THAT YEAR MADGALENA FAGANDINI That year Maddalena Fagandini JOINED THE WORSHOP joined the workshop from the BBC's Italian Service. From the early sixties the Workshop began 1. CREATING TELEVISION THEME TUNES 2. JINGLES creating television theme tunes and jingles, 3. PARTICULARLY FOR LOW BUDGET SCHOOLS 3. PROGRAMMES particularly for low budget schools programmes. The shift from the experimental nature of the late 50s dramas to theme tunes was noticeable enough for one radio presenter to have to remind listeners that the purpose of the Workshop was not pop music. In fact, in 1962 one of Fagandini's interval signals "Time Beat" was reworked with assistance from George Martin (in his pre-Beatles days) and commercially released as a single using the pseudonym Ray Cathode. DURING THIS EARLY PERIOD 1. INNOVATIVE ELECTRONIC During this early period the innovative electronic 2. APPROACHES TO MUSIC approaches to music in the Workshop 3. BEGAN TO ATTRACT SOME: SIGNIFICANT YOUNG TALENT began to attract some significant young talent including: Delia Derbyshire, Brian Hodgson and John Baker, who was in fact a jazz pianist with an interest in reverse tape effects. Later, in 1967. they were joined by David Cain, a jazz bass player AND MATHEMATICIAN and mathematician. In these early days, one criticism[citation needed] the Workshop attracted was its policy of not allowing musicians from outside the BBC to use its equipment, which was some of the most advanced in the country at that time not only because of its nature, BUT ALSO BECAUSE OF THE UNIQUE but also because of the unique 1. COMINATIONS 2. WORKFLOWS combinations and workflows which the Workshop 2.1. AFFORDED ITS COMPOSERS afforded its composers. In later years this would become less important as more electronic equipment 1.BECAUSE READILY AVAILABLE 2.A WIDER AUDIENCE became readily available to a wider audience.[11] Doctor Who Main article: Doctor Who theme music In 1963 they were approached by composer Ron Grainer to record a theme tune for the upcoming BBC television series DOCTOR WHO Doctor Who. Presented with the task of "realising" Grainer's score, complete with its descriptions of "sweeps", "swoops", "wind clouds" and "wind bubbles", Delia Derbyshire created a piece of electronic music which has become one of television's most recognisable themes.[12] Over the next quarter-century the Workshop contributed greatly to the programme providing its vast range of unusual sound-effects, from the TARDIS dematerialisation to the Sonic screwdriver, as well as much of the programme's distinctive electronic incidental music, including every score from 1980 to 1985. In 2018 Matthew Herbert, creative director of The New Radiophonic Workshop, composed the sting used alongside the reveal of the new Doctor Who logo debuting later that year.[13] It has yet to be confirmed as to whether the Workshop will be responsible for music in the series itself. Changes EMS VCS 3 (Putney) EMS Synthi 100 (Delaware). As the sixties drew to a close many of the techniques used by the Workshop changed as more electronic music began to be produced by synthesisers. Many of the old members of the Workshop were reluctant to use the new instruments, often because of the limitations and unreliable nature of many of the early synthesisers but also, for some, because of a dislike of the sounds they created. This led to many leaving the workshop making way for a new generation of musicians in the early 1970s including Malcolm Clarke, Paddy Kingsland, Roger Limb and Peter Howell. From the early days of a studio full of tape reels and electronic oscillators, the Workshop now found itself in possession of various synthesisers including the EMS VCS 3 and the EMS Synthi 100 nicknamed the "Delaware" by the members of the Workshop. In 1977, Workshop co-founder Desmond Briscoe retired from organisational duties with Brian Hodgson, returning after a five-year gap away from the Workshop, taking over. By this point the output of the Workshop was vast with high demand for complete scores for programmes as well as the themes and sound effects for which it had made its name. BY THE END OR THE DECADE By the end of the decade the WORKSHOP WAS CONTRIBUTING TO OVER was contributing to over 300 programmes A YEAR a year from all departments of the BBC and had long since expanded from its early two room setup. Its contributions included: 1. material for programmes such as The Body in Question, Blue Peter and Tomorrow's World 2.as well as sound effects for popular science fiction programmes Blake's 7 and The Hitchhiker's Guide to the Galaxy (in both its radio and television forms) by Richard Yeoman-Clark and Paddy Kingsland respectively. By the early 1990s, BBC Director General John Birt decided that departments were to charge each other and bid against each other for services and to close those that couldn't make enough revenue to cover their costs. In 1991 the Workshop was given five years in which to break even but the cost of keeping the department, which required two dedicated engineers, a software developer (Tony Morton) AND A SECRETARY and a secretary (Maxine) as well as the composers, proved too much and so they failed. Dick Mills, who had worked on Doctor Who since the very beginning, left in 1993,[14] along with Ray White, Senior Engineer, and his assistant, Ray Riley, with the Maida Vale technical team taking on their role, and engineer Fiona Sleigh smoothing the transition. In 1995, despite being asked to continue, organiser Brian Hodgson left the Workshop, and his role was carried out remotely from Broadcasting House by people with other priorities and little enthusiasm. Malcolm Clarke and Roger Limb left. By the end, only one composer, Elizabeth Parker, remained. The Workshop officially closed in March 1998, but Elizabeth stayed on for a couple of months to complete her last job. John Hunt, (who took over much of the specialist editing side of the workshop previously done by Dick Mills) continued working in Studio E, now called “Radiophonics” until well into 2000, occasionally managing to fit in a bit of traditional Radiophonics work. Mark Ayres recalls the Workshop's tape archive being collected on 1 April, exactly 40 years after the department had opened. Legacy. Following the decision to close the Radiophonic Workshop, the studios were cleared and most remaining equipment was disposed of, with some of it being sold to the composers. The tape library was largely forgotten until the room was ordered to be “cleared”. Fortunately the Maida Vale studios technical team became aware of this and were able to hide the tapes away in various dark corners of the building before they could be thrown away. Eventually Mark Ayres and Brian Hodgson were commissioned to catalogue its extensive library of recordings with help from other composers.[citation needed] In October 2003, Alchemists of Sound, an hour-long television documentary about the Radiophonic Workshop, was broadcast on BBC Four.[15] The Magnetic Fields titled the first track of their album Holiday, after the BBC Radiophonic Workshop. Live reunions since 2009 Dick Mills, BBC Radiophonic Workshop reunion live at the Roundhouse in 2009. In May 2009, Dick Mills reunited with former BBC Radiophonic Workshop composers Roger Limb, Paddy Kingsland and Peter Howell with archivist Mark Ayres for a live concert at The Roundhouse, Chalk Farm, London, performing as "The Radiophonic Workshop". The composers, backed by a small brass section and a live drummer, performed a large number of their BBC-commissioned musical works including sections of incidental music from The Hitchhikers' Guide to the Galaxy and Doctor Who (including a medley of Mark Ayres's work) as well as some collaborative compositions written specifically for the Roundhouse concert. The live performances were mixed in surround sound and interspersed with musical video montage tributes of deceased members of the Workshop including Daphne Oram, Delia Derbyshire and John Baker. The two and a half hour event climaxed with live performances of the Derbyshire and Peter Howell arrangements of Doctor Who, segueing into a new Radiophonic version of the theme tune. Celebrated attendees included actor/writer/composer Peter Serafinowicz and satirist/writer/broadcaster Victor Lewis-Smith. MULTIPLE CAMERAS RECORDED Multiple cameras recorded the event but it has yet to be broadcast or released in any form, although amateur footage of the event can be seen on YouTube.[citation needed] In 2013 the original members of the Workshop regrouped again for a more concerted program of live appearances. Performing as 'The Radiophonic Workshop' (dropping the BBC prefix) they were joined by drummer Kieron Pepper (The Prodigy, Dead Kids, OutPatient) and Bob Earland from Clor. They also embarked on a new recording project set for release in Autumn of 2014. This involved collaborations with contemporary electronic musicians, video artists, DJs, remixers, poets, writers and singers. Live appearances in 2013 included Festival Number 6 at Portmeirion, Wales in September and The London Electronic Arts Festival in November. The shows featured archive TV and visuals from many of the TV and film soundtracks that the Radiophonic Workshop contributed to between 1958 and 1998 when the unit was deactivated. The Radiophonic Workshop appeared on BBC television's The One Show on 20 November 2013 playing a unique version of the Doctor Who Theme that combined Delia Derbyshire's original source tapes and Peter Howell's 1980 realisation of the Ron Grainer composition. Radio 6 Music's Marc Riley played host to a Radiophonic Workshop session where they delivered live versions of Roger Limb's Incubus, Paddy Kingsland's Vespucci, the Doctor Who Medley and a new composition - Electricity Language and Me (by American poet Peter Adam Salomon), featuring DJ Andrew Weatherall as the narrative voice for this classic piece of Radiophonic sound design. There were a number of radio, online and print interviews done at the time to coincide with the 50th anniversary of Doctor Who. The Workshop's early archive recordings were also reissued on vinyl in November 2013 to accompany this renewed activity. In 2014, "The Radiophonic Workshop" appeared at festivals including End of the Road Festival, and the reissue programme of earlier work from their extensive catalogue continues along with a planned exploration of previously unheard or rare archive recordings. 2012 online revival. In September 2012 Arts Council England and the BBC announced a joint venture whereby the concept of the Radiophonic Workshop would be revived as an online venture, with seven new, non-original composers and musicians. The new Workshop was based online at The Space,[16][17] a joint venture between the BBC and Arts Council England. Composer Matthew Herbert was appointed the new Creative Director, and worked alongside Micachu, Yann Seznec, Max de Wardener, Patrick Bergel, James Mather, theatre director Lyndsey Turner and broadcast technologist Tony Churnside.[2] Composer Matthew Herbert's first work for The New Radiophonic Workshop takes audio from 25 previous projects featured on the website - from theater performances to poetry readings, creating a "curious murmur of activity". It can be heard by clicking on a button labeled "listen to The Space" at the top of any page on the website.[18] The New Radiophonic Workshop,[19] not to be confused with the reactivated Radiophonic Workshop[20][21] whose members are original BBC personnel,[22][23][24][25][21][26][27] an entirely separate entity from the original unit, was assembled by Mathew Herbert as an online collective of composers for The Space[28] arts project. Techniques Tape manipulation tools: 1. tape recorder, 2.tape splicer, 3.and mending tapes. Sine wave oscillator. The techniques initially used by the Radiophonic Workshop were closely RELATIVE TO THOSE USED IN: MUSIQUE CONCRETE related to those used in musique concrète; new sounds for programs were created 1.BY USING RECORDINGS 2.OF EVERYDAY SOUNDS 2.1. VOICES. 2.2. BELLS by using recordings of everyday sounds such as voices, bells or gravel as raw material for "radiophonic" manipulations. In these manipulations, 3. AUDIO TAPES COULD BE PLAYES BACK AT DIFFERENT SPEEDS audio tape could be played back at different speeds (altering a sound's pitch), REVERSED , CUT AND JOINED PROCESSED USING: 1. REVERB 2. EQUALITATION reversed, cut and joined, or processed using reverb or equalisation. The most famous of the Workshop's creations using 'radiophonic' techniques include the Doctor Who theme music, which Delia Derbyshire created using a plucked string, 12 oscillators and a lot of tape manipulation; and the sound of the TARDIS (the Doctor's time machine) materialising and dematerialising, which was created by Brian Hodgson running his keys along the rusty bass strings of a broken piano, with the recording slowed down to make an even lower sound. Much of the equipment used by the Workshop in the earlier years of its operation in the late 1950s WAS SEMI-PROFESSIONAL was semi-professional and was passed down from other departments, though two giant professional tape-recorders made an early centrepiece. Reverberation was obtained using an echo chamber, a basement room with bare painted walls empty except for loudspeakers and microphones. Due to the considerable technical challenges faced by the Workshop and BBC traditions, staff initially worked in pairs with one person assigned to the technical aspects of the work and the other to the artistic direction. Influence on popular music. The Radiophonic Workshop published "Radiophonics in the BBC" in November 1963,[29] listing all equipment used in their two workshops, diagrams of several systems, and a number of anecdotes. The Radiophonic Workshop also contributed articles[7] 1. TO MAGAZINES OF ITS EPERIMENTS to magazines of its experiments, 1.1. COMPLETE WITH INSTRUCTIONS 1.2.WIRING DIAGRAMS complete with instructions and wiring diagrams.[30] British psychedelic rock group Pink Floyd made a memorable trip to the workshop in 1967. They had employed tape loops, sound effects, found sounds and the principles of musique concrete on their debut album The Piper At The Gates of Dawn from that same year. Other fans of the Radiophonic Workshop included The Rolling Stones' Brian Jones – who visited in 1968 – and Roger Mayer, who supplied guitar pedals to Jeff Beck, Jimmy Page and Jimi Hendrix. Phil Manzanera has also cited the Workshop as an influence on the sound of his group Roxy Music.[31] In 1997 THE ELECTRONIC DANCE MUSIC MAGAZINE the electronic dance music magazine MIXMAG Mixmag described the Workshop as, "the unsung heroes of British electronica".[32] Their work has been sampled extensively by contemporary electronic artists.[1] Members of the Radiophonic Workshop 1958–1998. Desmond Briscoe (1958–1983) Daphne Oram (1958–1959) Dick Mills (1958–1993) Maddalena Fagandini (1959–1966) Brian Hodgson (1962–1972), Organiser (1977–1995) Delia Derbyshire (1962–1973) John Baker (1963–1974) David Cain (1967–1973) Malcolm Clarke (1969–1995) Paddy Kingsland (1970–1981) Richard Yeoman-Clark (1970–1978) Roger Limb (1972–1995) Glynis Jones (1973–?) Peter Howell (1974–1997) Elizabeth Parker (1978–1998) Jonathan Gibbs (1983–1986) Richard Attree (1987–1998) 2009–present Peter Howell (2009–present) Roger Limb (2009–present) Dick Mills (2009–present) Paddy Kingsland (2009–present) Mark Ayres (2009–present) Kieron Pepper (2013–present) Discography Main article: BBC Radiophonic Workshop discography Main albums BBC Radiophonic Music Fourth Dimension The Radiophonic Workshop Out of This World Through A Glass Darkly BBC Sound Effects No. 19 - Doctor Who Sound Effects BBC Radiophonic Workshop - 21 BBC Sound Effects No. 26 - Sci-Fi Sound Effects Doctor Who - The Music The Soundhouse The Living Planet Doctor Who - The Music II Doctor Who: 30 Years at the BBC Radiophonic Workshop Doctor Who at the BBC Radiophonic Workshop Volume 1: The Early Years 1963–1969 Doctor Who at the BBC Radiophonic Workshop Volume 2: New Beginnings 1970–1980 Doctor Who at the BBC Radiophonic Workshop Volume 3: The Leisure Hive Doctor Who at the BBC Radiophonic Workshop Volume 4: Meglos & Full Circle The John Baker Tapes – Volume 1: BBC Radiophonics BBC Radiophonic Workshop - A Retrospective Doctor Who - The Caves of Androzani Doctor Who - The Krotons Radiophonic Workshop The Vendetta Tapes Burials In Several Earths The Changes[33] Doctor Who - The Five Doctors Possum The Box of Delights The Stone Tape[34] Selected other works Radio dramas The Foundation Trilogy (produced by David Cain) (1973) A Wall Walks Slowly (produced by Desmond Briscoe with music by Peter Howell) (1977) August 2026 (produced by Malcolm Clarke) (1977) Notes from Janáček's Diary (produced by Maxwell Steer) (1991) This was the only production ever to be realised at the Radiophonic Workshop completely by an external composer. Sound effects and music contributions Radio The Goon Show The Hobbit (effects and music composed by David Cain) (1968) The Hitchhiker's Guide to the Galaxy (effects by Paddy Kingsland with additional effects by Dick Mills. Music (except theme music) for second series by Paddy Kingsland) The Lord of the Rings (effects by Elizabeth Parker) (1981) Doctor Who: Slipback (BBC Radio) (music by Jonathan Gibbs) (1985) Doctor Who: The Paradise of Death (BBC Radio) (music by Peter Howell) (1993) Doctor Who: The Ghosts of N-Space (BBC Radio) (music by Peter Howell) (1996) Television Quatermass and the Pit (effects by Desmond Briscoe & (uncredited) Dick Mills) (1958) Doctor Who (effects by Brian Hodgson (1963–1972) & Dick Mills (1972–1989). Some additional effects provided by various Workshop members) Penda's Fen (Paddy Kingsland) (1974) Blake's 7 (effects by Richard Yeoman-Clark & Elizabeth Parker) The Hitchhiker's Guide to the Galaxy (music and effects by Paddy Kingsland except theme music) Doctor Who incidental music The Doctor Who theme music was provided by the BBC Radiophonic Workshop from 1963 to 1985. From 1986 to the programme's demise the theme was provided by freelance musicians. Between 1980 and 1985 the complete incidental scores for the programme were provided in-house by the Workshop. Below is a complete[citation needed] list of incidental music provided by the Radiophonic Workshop for the programme. 1968 The Wheel in Space (music by Brian Hodgson) 1972 The Sea Devils (music by Malcolm Clarke) 1975 Revenge of the Cybermen (additional, uncredited music by Peter Howell (main score by Carey Blyton)) 1980 The Leisure Hive (music by Peter Howell) Meglos (music by Paddy Kingsland & Peter Howell) Full Circle (music by Paddy Kingsland) State of Decay (music by Paddy Kingsland) 1981 Warriors' Gate (music by Peter Howell) The Keeper of Traken (music by Roger Limb) Logopolis (music by Paddy Kingsland) In 1981 Peter Howell also supplied the incidental music for the spin-off K-9 and Company. 1982 Castrovalva (music by Paddy Kingsland) Four to Doomsday (music by Roger Limb) Kinda (music by Peter Howell) The Visitation (music by Paddy Kingsland) Black Orchid (music by Roger Limb) Earthshock (music by Malcolm Clarke) Time-Flight (music by Roger Limb) 1983 Arc of Infinity (music by Roger Limb) Snakedance (music by Peter Howell) Terminus (music by Roger Limb) Enlightenment (music by Malcolm Clarke) The King's Demons (music by Peter Howell & Jonathan Gibbs) The Five Doctors (music by Peter Howell) 1984 Warriors of the Deep (music by Jonathan Gibbs) The Awakening (music by Peter Howell) Resurrection of the Daleks (music by Malcolm Clarke) Planet of Fire (music by Peter Howell) The Caves of Androzani (music by Roger Limb) The Twin Dilemma (music by Malcolm Clarke) 1985 Attack of the Cybermen (music by Malcolm Clarke) Vengeance on Varos (music by Jonathan Gibbs) The Mark of the Ra... ------------------------- RAFAEL CORPORAN DE LOS SANTOS, NACE, en COTUI, REPUBLICA DOMINICANA, en el ano 1937, en una comunidad rural o campesina, llamada LA MATA... SE INICIA COMO MICRO-EMPRESARIO, en el ano 1963 Y DESDE ESE PEQUENO : EMPRENDIMIENTO INICIAL de un ANONIMO & SIMPLE LOCUTOR DE RADIO, en la nacionte industria PUBLICITARIA & RADIOFONICA DOMINICANA, llego a LEVANTAR UN IMPERIO... Valiendose de su UNICO CAPITAL INICIAL... 1. LA VOZ HUMANA... 2. LAS ARTES & LAS CIENCIAS COINCIDENTES EN LA PROFESION DE: LOCUTOR, siguiendo los caminos y los pasos del legado de DON FRANK HATTON GUERRERO, PRIMER LOCUTOR PROFESIONAL de la nacion y de la REPUBLICA DOMINICANA, socio co fundador del RADIO CLUB DOMINICANO, Inc, en el ano 1926. Yoe F. Santos/CCIAV. CCIAV, CC4AVE. Talents, Criticism, Friendship! Salut, Polis, Ecumene! (1959-2019) ------------- SABADO CHIQUITO DE CORPORAN,(1988-2011) es el UNICO programa de TELEVISION: INFANTIL... 1 Que logro MANTENERSE EN EL AIRE, por 25 anos... 2. EL UNICO QUE LLEGO A EXPORTAR: TALENTOS, -ESPECTACULOS INFANTILES EXITOSOS- POR AMERICA LATINA Y CARIBE, estableciendo: RECORDS DE ASISTENCIA: 1. NINOS, NINAS, 2. ADOLESCENTES, JOVENES... 3. MAMAS & PAPAS de ninos y ninas en EDAD ESCOLAR... desde UNA PRODUCCION DESARROLLADA: COMPLETAMENTE EN LENGUA ESPANOLA O CASTELLANA (1988-2001) ESOS SON LOS ESTANDARES DE LA : 1. ECONOMIA NARANJA. 2. DE LA ECONOMIA CREATIVA DOMINICANA. 3. EN LA MANUFACTURA DE CONTENIDOS QUE TIENEN QUE APRENDER NUESTROS NINOS & NINAS DE KINDER: QUE PODEMOS TRIUNFAR, TRABAJANDO, TELEVISION & CINE, EN kayzen & TQM, con el sudor de nuestra frente: EN LA CONSTRUCCION DE LA MARCA-PAIS REPUBLICA DOMINICANA, en el siglo XXI, camino a la cuarta revolucion industrial o INDUSTRIA 4.0... 1. NADA QUE VER CON TEATRO... -& OTRAS YERBAS AROMATICAS...- Yoe F. Santos/CC

TODO esta CONECTADO.

Reverendo Martin Luther King, Jr.

---------
A: Ingeniero ELECTRONICO DOMINICANO

Frank Hatton Guerrero,

In Memoriam.

----------
FRANK HATTON GUERRERO

PROPULSOR

1970

Exaltado propulsor en el Ceremonial del año 1970.

NACIO EN SANTO DOMINGO

Nació en Santo Domingo, el 4 de agosto de 1897.

FUE DESTACADO JUGADOR DE BEISBOL, EN

EL EQUIPO TIGRES DEL LICEY, COMO:

SHORE-STOP O PARA-CORTO.

Fue destacado jugador de béisbol,

1.PIONERO DOMINICANO EN INTRODUCIR

LA TECNICA DEL DOBLE PLAY

de los primeros en introducir la técnica

del “doble play” en el país.

2.SE DISTINGUIO TAMBIEN COMO:

GOLFISTA.

Se distinguió también como golfista.

3. PRIMER DIRECTOR GENERAL DE:

DEPORTES DE LA REPUBLICA

DOMINICANA.

Fue el primer Director General de Deportes de la República Dominicana,

4. COOPERANDO SIEMPRE CON EL:

DEPORTE NACIONAL.

cooperando siempre con el deporte nacional.

5. PIONERO EN LA NARRACION DEPORTIVA

RADIAL.

6.FUE SU VOZ...

Pionero de la narración deportiva radial,

6.1.LA PRIMERA QUE SE ESCUCHARA

fue su voz la primera que se escuchara

6.2.EN LAS VERSIONES EN:

ESPANOL

7.DE LOS JUEGOS DE BEISBOL

en las versiones en español de los juegos de béisbol

7.1.DE LAS GRANDES LIGAS

7.2.EN ESTADOS UNIDOS.

de las Grandes Ligas.

7.3. ATLETA JUVENIL.

7.4. JUGADOR DE:

7.4.1.BALONCESTO.

7.4.2.FUTBOL

Atleta Juvenil y jugador de baloncesto y fútbol.

CUAL ES SU LABOR, EN LA REPUBLICA

DOMINICANA, COMO CIENTIFICO TICs

(1920-1981)?

1. DE JOVEN...

1.1. VIAJO A LAS UNIVERSIDADES

NORTEAMERICANAS, cuando NADIE

VIAJABA, NI ESTUDIABA, EN AQUEL

PAIS, porque la poblacion dominicana,

se dedicaba a la:

1.AGRICULTURA,

2.LA GANADERIA,

3.EL COMERCIO INTERNACIONAL

-DE IMPORTACION & EXPORTACION-

4.LA INDUSTRIA...

5.EL MERCADEO DE PRODUCTOS DE:

CONSUMO MASIVO, en sus redes de

DISTRIBUCION de los mismos por los:

1. CAMINOS.

2. CARRETERAS.

3. CAMINOS VECINALES de una poblacion

-RURAL & POBRE EN MAS DE UN : 92%-

HASTA EL ANO: 1962...

CUANDO NACE EN LA CIUDAD DE SANTO

DOMINGO DE GUZMAN, EL CIENTIFICO

DOMINICANO, INGENIERO: ELECTRONICO,

FRANK HATTON GUERRERO...

1.LA ELECTRICIDAD NO ERA UN SERVICIO:

-POPULAR O DE USO MASIVO- EN LA NACION

& EN LA REPUBLICA DOMINICANA.

2. NO SE HABIAN INVENTADO:

2.1. NI LA RADIO.

2.2. NI LA TELEVISION.

2.3. NI LA INTERNET & EL CIBERESPACIO...

2.4. NO EXISTIA EN EL MUNDO:

LA SOCIAL MEDIA O LA WEB 2.0

2.5. NO EXISTIAN LOS TELEFONOS

CELULARES, O MOVILES, EN TODO:

EL MUNDO...

2.6. NO EXISTIAN EN LA REPUBLICA

DOMINICANA...

2.6.1. LOS 4,000 KILOMETROS DE NUEVAS

CARRETERAS, disenados & construidos, por

la Administracion del Estado en tiempo record

(2012-2019).

2.6.2. NO existia EL MINISTERIO DOMINICANO

DE SALUD PUBLICA & PREVISION SOCIAL,

inaugurado por la dictadura de derechas de

RAFAEL LEONIDAS TRUJILLO MOLINA,para:

1. LA ENSENANZA DE LAS CIENCIAS MEDICAS.

2. PRACTICA DE LAS CIENCIAS MEDICAS.

3. ATENCION A PACIENTES O ENFERMOS &

ENFERMAS, POBRES, RICAS, CLASES MEDIAS,

de las ciudades y los campos dominicanos, como:

SE VIENE HACIENDO EN LA INDUSTRIA

-MEDICA ESPECIALIZADA DOMINICANA- desde

el ano 1956 hasta el dia de hoy...

2.6.3. NO EXISTIA EL SERVICIO PUBLICO

DOMINICANO, de la autoria de DIPUTADO

DOMINICANO, Lic. ELPIDIO BAEZ, llamado:

911...

2.6.4. NO SE HABIAN INCORPORADO LOS

2 MILLONES 700 MIL PACIENTES DOMINICANOS

-POBRES, DEL CAMPO & DE LA CIUDAD-

AL REGIMEN SUBSIDIADO DE LA SEGURIDAD

SOCIAL DOMINICANA (2012-2019): SENASA.

2.6.5. NO SE HABIA ESPECIALIZADO EL 4%

DEL PRODUCTO INTERNO BRUTO (PIB) DE

LA ECONOMIA DOMINICANA, a la actividad

CIENTIFICA & TECNOLOGICA de:

1. ENSENANZA.

2. INVESTIGACION.

3. PRACTICA.

4. PERSONALIZACION DE LOS PROCESOS DE

APRENDIZAJE INFANTIL, dentro de los estandares

MUNDIALES DE TQM & KAYZEN, para la:

MANUFACTURA DE NINOS & NINAS ESCOLARES

DOMINICANOS, en la poblacion vulnerable de:

18 anos de edad y menos, PARA QUE SE;

1. HAGAN BACHILLERES, EN CIENCIAS: TICs.

2. PARA QUE PUEDAN SONAR & ASPIRAR a

UNA PROFESION UNIVERSITARIA...

3. LUEGO DE PERMANECER ENCERRADOS

POR 12 ANOS, en las :

AULAS.

LABORATORIOS.

TALLERES

DE LAS ESCUELAS PUBLICAS, DOMINICANAS,

EN EL NUEVO SERVICIO PUBLICO, CONOCIDO

COMO:

LA TANDA EXTENDIDA (2012-2019), donde los

cientificos y las cientificas dominicanas, formados

EN LA ESPECIALIDAD DE LAS CIENCIAS:

1. PAIDOLOGICAS.

2. DE LAS CIENCIAS DEL DEPORTE.

3. DE LAS CIENCIAS DEL OCIO.

4. DE CHILD-GIRL DEVELOPMENTAL

PSYCHOLOGY.

5. DE LAS CIENCIAS TICs.

6. DE LAS CIENCIAS DE LA INNOVACION,

LA INVENCION, EL EMPRENDIMIENTO,

DESDE unidades productivas de micro y

pequena escala llamadas : MYPIMES, les

ayuden trabajando, experimentando, innovando,

DIA & NOCHE a salir de la pobreza, por sus:

1. MANOS.

2. POR SUS CUERPOS.

3. POR SUS CEREBROS, desde la OPORTUNIDAD

EDUCATIVA, en CIENCIAS & TECNOLOGIAS,

definidas tanto por EUGENIO MARIA DE HOSTOS

-Desde su primer viaje a Santiago de Chile, en el

ano 1873, hasta su muerte en SANTO DOMINGO,

en 1901- como por PROFESOR JUAN EMILIO

BOSCH GAVINO (Rio Verde, La Vega, 1909

hasta su muerte en SANTO DOMINGO, 2001-

COMO EL MEJOR Y UNICO CAMINO, que

tiene un nino o nina DOMINICANOS, para

salir de la pobreza EN EL TIEMPO...

INVIRTIENDO SOLAMENTE SU TIEMPO,

NO DINERO...

1. EN APUNTARSE A LA ESCUELA...

EN ASISTIR AL KINDER,

EN ASISTIR A LA ESCUELA PRIMARIA,

EN HACERSE BACHILLER, en 12 anos

de ESCOLARIDAD...PARA PODER

BENEFICIARSE, PERSONAL & FAMILIARMENTE

DE:

1. LA OPORTUNIDAD INFINITA de la :

ECONOMIA NARANJA, en el ano 2019...

2. LA OPORTUNIDAD INFINITA, de la

ECONOMIA CREATIVA, desde los entornos

DE TRABAJO & DE ESTUDIO : DIGITALES

o del SUENO DEL INGENIERO FRANK

HATTON GUERRERO:

LA RADIO DOMINICANA, COMO:

SERVICIO PUBLICO (1920-1981).

CUANDO NACE EN LA CIUDAD DE SANTO

DOMINGO, INGENIERO ELECTRONICO

DOMINICANO, FRANK HATTON GUERRERO...

1. LOS NINOS & LAS NINAS DOMINICANAS...

NO IBAN A LA ESCUELA.

2. NO IBAN A LAS UNIVERSIDADES, NI

DOMINICANAS, NI DE NINGUN PAIS DEL

MUNDO...

4 de agosto de 1897

ERA EL DIA: 4 DE AGOSTO DEL ANO:

1897...

EN UNA NACION CON POCOS CIENTIFICOS

Y POCAS CIENTIFICAS:

1.DONDE CASI NADIE PIENSA EN EL FUTURO

DE LA ECONOMIA DOMINICANA... en el siglo

XXI.

2. DONDE CASI NADIE SABE QUE ES:

2.1.TOTAL QUALITY MANAGEMENT (TQM)

O

2.2. KAYZEN O MEJORA CONTINUA...

APLICADOS A:

1. EL DISENO CURRICULAR DE EDUCACION

INFANTIL DOMINICANA.

2. EL DISENO CO-CURRICULAR DE LA

EDUCACION INFANTIL DOMINICANA.

3. DEL DISENO EXTRA-CURRICULAR DE LA

EDUCACION INFANTIL DOMINICANA, aun

en 2019...

4. CUAL ES LA RELACION ENTRE: CIENCIAS

DEL OCIO & CIENCIAS DEL DEPORTE, CON

LA SALUD DEL NINO O DE LA NINA DOMINICANOS

EN ESE AMBIENTE DE POCA PRIORIDAD

PERSONAL & FAMILIAR, PARA:

1. LA ESCOLARIZACION CIENTIFICA &

TECNOLOGICA.

2. PARA LA INVESTIGACION INFANTIL

EN CIENCIAS TICs...

3. PARA LA INVESTIGACION UNIVERSITARIA

EN CIENCIAS DEL:

3.1. APRENDIZAJE, PAIDOLOGICO O INFANTIL.

3.2. CIENCIAS DE LA CREATIVIDAD O LA :

CREATICA.

3.2. LA INNOVACION, LA COMPETITIVIDAD &

LA EXPORTABILIDAD DE LOS PRODUCTOS

AGROPECUARIOS, AGROINDUSTRIALES,

INDUSTRIALES DOMINICANOS, por los 5

continentes, COMO PARTE DE NUESTRA:

ORGULLOSA DOMINICANIDAD,

JUANPABLODUARTIANA, SANTANISTA,

BOSCHISTA, EUGENIOMARIADEHOSTOCISTA...

Es que en su CASA, su PAPA & SU MAMA

DESDE:

4 de agosto de 1897...

LE DICEN, LE EXPLICAN AL NINO, ANONIMO

DOMINICANO:

FRANK HATTON GUERRERO...

1. QUE ES IMPORTANTE... AUNQUE NADIE

MAS LE IMPORTE...

IR A LA ESCUELA... DOMINICANA...

2. PARA ASEGURARSE UN LUGAR : EN LA

ECONOMIA DOMINICANA, DEL FUTURO...

COMO LO VIENEN HACIENDO DESDE EL

ANO 2012, en la ADMINISTRACION DEL

CIENTIFICO DOMINICANO,

ING. QUIMICO,

ECONOMISTA, especializado en ECONOMIA

DOMINICANA & MUNDIAL, desde el INSTITUTO

TECNOLOGICO DE SANTO DOMINGO (INTEC)

LIC. DANILO MEDINA SANCHEZ (2012-2019)

Y SU DIGNA ESPOSA, LA TAMBIEN CIENTIFICA

DOMINICANA, PSICOLOGA CLINICA:

LIC. CANDIDA MONTILLA DE MEDINA, con los

CAIDs, desde el ano 2012 hasta hoy, NOVIEMBRE:

2019...

PARA QUE SERVIVIRIA UN MUCHACHO,

FORMADO INGENIERO ELECTRONICO,

EN LOS ESTADOS UNIDOS DE AMERICA,

VIVIENDO EN UN PAIS:

1. SIN ELECTRICIDAD.

2. SIN INDUSTRIAS?

PUES PARA NADA, diria en :

1897,

1907,

en 1917,

en 1927,

en 1937,

en 1947,

en 1957,

en 1967,

en 1977,

en 1987,

en 1997,

en 2007,

en 2017...

pero LA OFICINA NACIONAL DE ESTADISTICAS

(ONE) CREADA por JUAN BOSCH GAVINO &

POR RAFAEL LEONIDAS TRUJILLO, en el

periodo HISTORICO : 1930-1938...

INFORMA AL PAIS & AL MUNDO QUE YA:

LLEGO EL TIEMPO DE LOS SONADORES

& DE LAS SONADORAS: DOMINICANOS,

EN INGENIERIA ELECTRONICA...

QUE YA REPUBLICA DOMINICANA ESTA:

ELECTRIFICADA AL 98% ... LO QUE LA

CONVIERTE EN UNA :

1. ECONOMIA EXPORTADORA POTENCIALMENTE

INDUSTRIAL.

2. PARA APODERARSE, PACIFICAMENTE;

DEL MERCADO DE TODA :

AMERICA CENTRAL,

DE TODAS LAS ISLAS DEL CARIBE,

con iniciativas PRESIDENCIALES RACIONALES,

CIENTIFICAS, COMO LAS DEL LIC.

DANILO MEDINA SANCHEZ & SUS :

CIENTIFICOS & CIENTIFICAS DEL

COMERCIO EXTERIOR, MUNDIAL,

GLOBALIZADO...

1. DESDE LA META PRESIDENCIAL

DE LOS 10 MILLONES DE TURISTAS...

2. DESDE LA META PRESIDENCIA

DEL POSICIONAMIENTO LIDER PARA:

REPUBLICA DOMINICANA OFERTANDO

SERVICIOS, EN CIENCIAS MEDICAS

ESPECIALIZADAS,

COMPETITIVOS,

DE ALTA CALIDAD,

PARA ATRAER AL SEGMENTO JUGOSO

DEL MERCADO REGIONAL & MUNDIAL,

QUE SE LLAMA:

DEMANDA DE TURISMO DE SALUD...

A NUESTRAS CLINICAS DOMINICANAS

ESPECIALIZADAS...

PORQUE TODOS & TODAS SOMOS YA

VIEJOS & VIEJAS DOMINICANOS, y es

posible por tener LOS DE MI GENERACION,

MAS DE 40 ANOS DE EDAD, que no estemos

VIVOS PARA VER ESA VICTORIA :

1. DE LA ECONOMIA NARANJA DOMINICANA.

2. DE LA ECONOMIA CREATIVA DOMINICANA,

en 2030,

en 2060,

en 2090...

PERO PARA GARANTIZAR TAL VICTORIA:

CIENTIFICA & TECNOLOGICA FUTURA,

DE TODOS & TODAS LOS DOMINICANOS

& LAS DOMINICANAS, EN LA:

1. CULTURA POLICLASISTA DOMINICANA.

2. EN LA CIVILIZACION POLICLASISTA

DOMINICANA.

3. EN LA ECONOMIA POLICLASISTA

DOMINICANA...

DEL FUTURO...

EL GOBIERNO DOMINICANO,

EL ESTADO DOMINICANO,

LA ADMINISTRACION PUBLICA CIENTIFICA

DOMINICANA,

LA BUROCRACIA PROFESIONAL DOMINICANA,

EL MINISTERIO DE :

HACIENDA & COMERCIO, DE LA NACION &

DE LA REPUBLICA DOMINICANA...

HA PUESTO POR PRIORIDAD:

LA INVERSION EDUCATIVA, EN EL SIGLO XXI...

PARA QUE?

1. PARA MANUFACTURAR EN AULAS

DOMINICANAS...

2. PARA MANUFACTURAR EN LABORATORIOS

DOMINICANOS...

3. PARA MANUFACTURAR EN TALLERES

DOMINICANOS...

A. EN ESCUELAS INFANTILES: PUBLICAS

& GRATUITAS, DOMINICANAS, EN :

CIUDADES & CAMPOS DOMINICANOS...

B. EN LAS 50 UNIVERSIDADES DOMINICANAS

QUE ENSENAN EL METODO CIENTIFICO...

LOS MILLONES DE NINOS & NINAS

DOMINICANOS, encerrados en AULAS,

TALLERES & LABORATORIOS...

1 MILLON 300 MIL

FRANK HATTON GUERRERO....

DESDE KINDER, en el siglo XXI...

1. PARA ESO LOS ALIMENTA:

CON DESAYUNOS...

CON ALMUERZOS...

CON MERIENDAS, desde el ano : 2012...

2. PARA ESO HA INVENTADO LA :

REPUBLICA DOMINICANA: DIGITAL, EDUCACION...

para que en 20 anos...

1. NO HAYA UN SOLO DOMINICANO O

DOMINICANA, analfabeta: FUNCIONAL...

2. NO HAY UN SOLO DOMINICANO O

DOMINICANA, ANALFABETA CIENTIFICO...

3. NO HAYA UN SOLO NINO O NINA:

DOMINICANO,

POBRES,

NI EN LAS CIUDADES DOMINICANAS...

NI EN LOS CAMPOS DOMINICANOS...

Yoe F. Santos/CCIAV.

CCIAV, CC4AVE

Talents, Criticism, Friendship!

Salut, Polis, Ecumene!

(1959-2019)

----------
4 de agosto de 1897.

NACE NINO, ANONIMO, DOMINICANO.

INGENIERO ELECTRONICO DOMINICANO

FRANK HATTON GUERRERO....

1. PADRE DE LA INVENCION DE LA : RADIO

EN REPUBLICA DOMINICANA, en 1924.

2. FUNDADOR & PRIMER PRESIDENTE:

RADIO CLUB DOMINICANO, INC.

3. PRIMER LOCUTOR PROFESIONAL:

DOMINICANO.

4. PRIMER LOCUTOR PROFESIONAL

-EN SOMETERSE A LOS EXAMENES-

PARA TENER CARNET DE :

LOCUTOR, en 1938...

INMORTAL DEL DEPORTE DOMINICANO.

CREADOR DE LA PRIMERA:

ESCUELA DE ATLETISMO DE LA NACION

& DE LA REPUBLICA DOMINICANA.

GOLFISTA.

FUTBOLISTA.

BALONCETISTA...

BEISBOLISTA ACTIVO EN EL EQUIPO MAS

ANTIGUO DE LA NACION & DE LA REPUBLICA

DOMINICANA:

-EL EQUIPO DE LA CAPITAL-

LOS TIGRES DEL LICEY.

1.INVENTOR,FUNDADOR & PROPIETARIO DE :

RADIO HIZ,

2.PRIMERA EMISORA COMERCIAL

DE LA NACION & DE LA REPUBLICA

DOMINICANA.

3. INGENIERO ELECTRONICO, FORMADO

-EN LOS ESTADOS UNIDOS DE AMERICA-

FRANK HATTON GUERRERO (1897-1981)

3.1.CIENTIFICO TICs,

3.2.de la NACION & DE LA

REPUBLICA DOMINICANA, en el siglo XX.

UN PATRIOTA NACIONALISTA DOMINICANO.

UN PATRIOTA NACIONALISTA

JUANPABLODUARTIANO...DOMINICANO

(1920-1981).

----------

RAFAEL DE LOS SANTOS, STREET.

NEW YORK, NEW YORK.

--------

EN HONOR A LA TRAYECTORIA:

1. RADICAL.

2. TELEVISIVA.

3. COMUNITARIA DE ESTE:

GRAN DOMINICANO.

LUNES 18 DE FEBRERO.

12.00 M.

176 STREET & BROADWAY, NEW YORK.

(Detras del UNITED PALACE)

----------

HARNESSING THE POTENTIAL OF ICT

OF PRACTICE OF BROADCAST...

-------------

Harnessing the Potential of ICT

on Practice of Broadcast ...

https://www.academia.edu › ...

SOURCE:

INTERNATIONAL JOURNAL OF

RESEARCH IN SOCIAL SCIENCES

International Journal of Research in Social Sciences Vol. ...

ITS ACCEPTANCE BY PROFESSIONAL

JOURNALIST

Its acceptance by professional

journalist

1.WILL REDUCE OR ELIMINATE : THE GAP

will reduce or eliminate the gap ...

2.NEWS CANNOT ONLY BE BROADCAST

IN

2.1.REGULAR TV...

News cannot only be broadcast in a regular T.V.

2.2.AND RADO TRANSMISSION WAVES

and radio transmission waves

3.BUT ALSO THROUGH THE INTERNET...

but also through the internet. ...

3.1.BY MOBILE PHONE OPERATOR

by a mobile phone operator

3.2.ALLOWING ACCESS

3.3.TO THE PUBLIC TELEPHONE NETWORK

allowing access to the public telephone network.

-------------

People also ask

1.What are the TYPES of broadcasting?

2.What is a broadcast STATION?

3.What is THE PURPOSE of broadcasting?

4.How are radio programs and television

PROGRAMS DIFFERENT?

----

BROADCASTING.

---------

Broadcasting - New World Encyclopedia

https://www.newworldencyclopedia.org › entry › broadcasting.

Jun 25, 2016 -

1 Introduction to broadcasting;

2 History of broadcasting ...

Television and radio programs

ARE DISTRIBUTED

are distributed through radio ...

NBC became the dominant radio network,

splitting into Red and ...

HE PROMOTED THE PHILOSOPHY

he promoted the philosophy

OF PUBLIC SERVICE

of "public service broadcasting,"

FIRMLY

POLITICS & SOCIAL SCIENCES

COMMUNICATION

firmly ..... Politics and social sciences · Communication.

----------

BROADCASTING:

1. RADIO.

2. TELEVISION.

3.FILM.

4. DIGITAL MEDIAS.

Broadcasting - Radio, Television, Film & Digital Media

https://www.centennialcollege.ca › programs-courses › full-time › radio-tel...

In the Broadcasting - Radio, Television, Film & Digital Media program,

YOU'LL BE TRAINED...

you'll be trained in ... television and radio

1. INDUSTRIES.

2. AS MULTIPLATFORM

DIGITAL PRODUCTION

industries as well as multiplatform digital production.

3.FOR PROFESSIONAL PORTFOLIO

... for a professional portfolio;;

4.SPEND 14 WEEKS

Spend 14 weeks

5. IN A FULL - TIME

5.1. INDUSTRY FIELD PLACEMENT

in a full-time industry field placement. ....

5.2. BROADCASTER IN:

5.2.1. RADIO.

5.2.2. TELEVISION

Broadcasters in radio and television;

1. PRODUCTION.

2. POST-PRODUCTION

Production and post-production ...

--------------

WORLD

COMMUNICATION & INFORMATION

REPORT (1999)

BY UNESCO (1999-2000)

World communication and information report, 1999-2000 ...

https://unesdoc.unesco.org › Notice

1.IN THE BROADCASTING SECTOR

In the broadcasting sector,

2. LEGISLATION TENDS TO BE:

INADEQUATE & THE GAP

legislation tends to be inadequate and the gap

1. TELEPHONE.

2. RADIO.

3. TELEVISION PENETRATION

... Telephone, radio and television penetration

RATIOS ARE OFTEN FAVOURABLE

ratios are often favourable, and the ....

Information and communication technologies

and social pro c e s s e s24 The ...... In fact,

THE POLITICS OF WORLD COMUNNICATION

the politics of world communication

REPRESENT A HISTORICAL SHIFT

FROM A PUBLIC...

represent a historical shift from a public ...

-----------

PUBLIC SERVICE BROADCASTING.

-----------

UNESCO.

--------

Public Service Broadcasting |

United Nations Educational ...

www.unesco.org › communication-and-information › media-development

UNESCO - Cover of publication

PUBLIC SERVICE BROADCASTING

A BEST...

"Public service broadcasting: a best ...

1. SUSTAINING .

2. EDITORIALLY INDEPENDENT

3. BROADCASTERS

sustaining editorially independent broadcasters

4. IN THE SUBSTANTIAL FULLFILLMENT

5. OF THEIR CULTURAL...

in the substantial fulfillment of their cultural ...

6. TRAINING IN MODERN BROADCASTING

training in modern broadcasting,

7. PARTICULARLY IN ISSUES RELATED

TO ICTs

particularly in issues related to ICTs.

8. ENCOURAGING MEDIA PROFESSIONALS

Encouraging media professionals

8.1. TO REDUCE DISPLAY

8.2 OF VIOLENCE IN TELEVISION

to reduce unnecessary display of violence

in television ...

-----------

RADIO & DEVELOPMENT IN AFRICA:

A CONCEPT...

---------

Radio and Development in Africa - A Concept ...

DR. MARY MYERS.

- Dr Mary Myers

www.marysophiamyers.org › pdfs of my publications › 5 Radio and Devel...

by M Myers - ‎2008

Radio's historical development

OVER THE LAST 20 YEARS...

over the last 20 years .....................

WORLD ASSOCIATION OF COMMUNITY

RADIO BROADCASTERS

................ .... World Association

of Community Radio Broadcasters.

AMDI ... on radio, TV to some extent,

AND TO GROWING EXTENDENT

ON MOBILE PHONES

and to a growing extent on mobile phones.

RADIOS...

1.RESEARCH ON THE IMPACT

1.1.OF THE NEW ICTs...

Radio as a ... Research on the impact

of new ICTs

1.2.AND TECHNOLOGY CONVERGENCE

and technology convergence

1.3.ON THE RADIO SECTOR

on the radio sector. - Evidence ...

------------

THE ROLE OF ICTs.

----

The Role Of Information And Communication Technology ICT) In

https://siteresources.worldbank.org › Resources › Role_ICT_paper

Information and Communication Technology (ICT)

1. INDUSTRY.

2. INVESTMENTS.

3. APPROPRIATE NETWORKS

industry and the ... investments,

appropriate networks (partnerships)

3.1. AND ENABLING: ENVIRONMENT.

and enabling environment. ...

3.2.TO ENSURE THAT ALL OF THE:

WORLD'S POPULATIONS

To ensure that all of the world's populations

3.3.HACE ACCESS TO:

3.3.1 TO TELEVISION.

3.3.2. RADIO.

SERVICES...

have access to television and radio services;. 9. ...

4. REQUIRES A : BUSINESS ENVIRONMENT

requires a business environment

4.1. ENCOURAGING OPEN COMPETITION

encouraging open competition,

4.2. OPEN TRUST...

trust and.

----

READER'S GUIDE:

1. TO PERIODICAL LITERATURE.

2. AND THE BULLETING OF THE:

PUBLIC BROADCASTING...

Readers' Guide to Periodical Literature

and in the Bulletin of the Public ...

------------

BROADCASTING.

--------

Broadcasting - Wikipedia

https://en.wikipedia.org › wiki › Broadcasting.

Broadcasting

IS THE DISTRIBUTION

is the distribution of audio or video

CONTENT

content to a dispersed audience

VIA ANY...

via any ...

Over the air broadcasting

IS ASSOCIATED

1. RADIO.

2. TELEVISION

is usually associated with radio and television,

1.BROADCASTING WAS INITIATED IN THE:

... broadcasting was initiated in the 1960s

2. AND MOVED INTO GENERAL INDUSTRY

USAGE...

and moved into general industry usage ...

3. PUBLIC BROADCASTING:

3.1. USUALLY NON-PROFIT

Public broadcasting: usually non-profit,

3.2. PUBLICLY OWNED STATIONS

OR NETWORKS...

publicly owned stations or networks ...

-----------

DIALOGUE & PUBLIC SPACE:

AN EXPLORATION OF RADIO

----------

Dialogue and Public Space:

An Exploration of Radio ... - Jstor

https://www.jstor.org › stable

by A Dale - ‎2005 - ‎

WE EXAMINE TWO MEDIA:

1. RADIO.

2. ICTs.

We examine two media, radio and ICTs,

ONE HISTORICAL AND THE OTHER:

NASCENT

one historical and the other nascent .....

Due in part to the character of

1.WARTIME BROADCASTING

2.AND PROGRAMMING

wartime broadcasting and pro gramming, which ...

-------------------

Searches related to :

1.Radio & Television Professional,

2. ICTs Sciences,

2.1.Open Networks,

2.2.Broadcasting Industry,

3.World History.

---

1.Broadcasting school toronto

2.Features of public service broadcasting

3.Television and film BUSINESS CENTENNIAL

business centennial

4.Radio and television programs

5.Principles of PUBLIC SERVICE:

BROADCASTING...

public service broadcasting

6.WHAT IS PUBLIC SERVICE BROADCASTING?

What is public service broadcasting

7.Radio broadcasting programs

7.1. EXAMPLES OF PUBLIC SERVICES:

BROADCASTING.

Examples of public service broadcasting

------------

IMAGINATIVA TV (2019) DEDICA PROGRAMA

ESPECIAL AL INDUSTRIAL DOMINICANO DE LA

ECONOMIA NARANJA, DE LA ECONOMIA

CREATIVA :

RAFAEL CORPORAN DE LOS SANTOS

(LA MATA, COTUI, 1937-SANTO DOMINGO,

2012)

Yoe F. Santos/CCIAV

CCIAV, CC4AVE.

Talents, Criticism, Friendship!

Salut, Polis, Ecumene!

(1959-2019).

-----------

EL DIA 22 DE JULIO... 1937.

-EN LA COMUNIDAD RURAL-

LA MATA, DE COTUI...

-EN UNA FAMILIA HETEROSEXUAL DOMINICANA-

NACE:

UN NINO ANONIMO, DOMINICANO...

RAFAEL CORPORAN DE LOS SANTOS.

FALLECE: INFARTO, 2012.

----------

Rafael Corporán de los Santos.

------------

From Wikipedia, the free encyclopedia

.

Rafael Corporán de los Santos

Born July 22, 1937

La Mata, Cotuí, Dominican Republic

Died March 5, 2012 (aged 74)

Santo Domingo, Distrito Nacional, Dominican Republic

Cause of death Heart attack

OCUPATION:

Occupation

1.TV producer,

2.TV host,

3. Entrepreneur,

4. Political figure,

5. FILANTROPO

Philanthropist

INICIA SU VIDA PROFESIONAL,

-COMO ARTISTA DEL MICROFONO-

EN:

1963.

Years active 1963-2012

Rafael Corporán de los Santos (July 22, 1937 – March 5, 2012), better known as Corporán, was a TV producer, TV host, entrepreneur, political figure, and philanthropist from the Dominican Republic.[1]

He died of a heart attack on 5 March 2012.[2]

References

1. "ICON TV PRODUCER

Icon TV producer Rafael Corporán passes away". DominicanToday.com. 2012-02-03. Retrieved 2012-03-06.

2. "Mourning in Dom Rep for Death of

FORMER MAYOR

Former Mayor and Communicator". Prensa Latina. 2012-03-06. Retrieved 2012-03-08.

Government offices

Preceded by

Fello Suberví Mayor of Santo Domingo, Distrito Nacional

1990–1994 Succeeded by

Fello Suberví

Stub icon This biographical article

ABOUT A PHILANTHROPIST

about a philanthropist is a stub. You can help Wikipedia by expanding it.

Categories: 1937 births2012 deathsMayors of places in the Dominican RepublicDominican Republic philanthropists

PEOPLE FROM COTUI

People from Cotuí

Social Christian Reformist Party politiciansPhilanthropist stubs

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---------

UN DIA COMO HOY FALLECE :

JUAN JOSE DUARTE, PADRE DE:

JUAN PABLO DUARTE & DIEZ...

---

HOY ES DIA MUNDIAL DE :

SANTA CATALINA,

1.Patrona de las MUJERES & NINAS,

SOLTERAS...

2. PATRONA DE LOS : MECANICOS.

3. PATRONA DE LOS : FILOSOFOS.

----

UN DIA COMO HOY, EL PODER EJECUTIVO

DE LA NACION & DE LA REPUBLICA DOMINICANA

LA ORGANIZACION DE LA SOCIEDAD CIVIL

DOMINICANA:

ASOCIACION DOMINICANA DE RADIODIFUSORES

(ADORA)

--------

Un dia como hoy.... hace mucho tiempo...

NACIO EL DRAMATURGO espanol,

LOPE DE VEGA...

-------

UN DIA COMO HOY, NACE EN MOCA,

Dona CATANA PEREZ NUNEZ,

-PIANISTA, pedagoga MUSICAL-

DOMINICANA...

__

UN DIA COMO HOY NACE EL CANTANTE

POPULAR DOMINICANO, NINI CAFARO...

ERASMO CAFARO...

CUMPLE: 80 ANOS DE EDAD...

-------

En el SANTIAGO DE LOS CABALLEROS,

DE MI INFANCIA(1962-1980), tuve el

honor de conocer a una:

PATRIOTA & NACIONALISTA DOMINICANA,

DONA YOLANDA BADIA MONTES DE OCA....

ERA ACTRIZ...

Era actriz de TEATRO...

Pero ejercia su carrera BI-PERSONAL junto

a su esposo...

ERA :

ESPOSA,

ARTISTA DE LOS ESCENARIOS,

en el TEATRO...

PERO SE DIO CUENTA A TIEMPO, de que:

LA ELECTRICIDAD, cambiaria para siempre

las ARTES ESCENICAS, de Santiago de los

Caballeros & del mundo...

ASI QUE HIZO UN ESFUERZO, PERSONAL,

MICRO-ECONOMICO, FAMILIAR, junto a su

esposo, quien tambien era ARTISTA DE LOS

ESCENARIOS...

1. BUSCARON EL DINERO...

2. SE MONTARON UNA : MYPIME...

UNA ESCUELA DE LOCUCION...

Gracias a esta pareja de esposos dominicanos,

SE EDUCO: EN CIENCIAS TICs, una

NUEVA GENERACION DE ARTISTAS

DOMINICANOS...

1. DE LA VOZ HUMANA...

2. DE LOS MICROFONOS...

3. DE LA INDUSTRIA PUBLICITARIA.

4. DEL OFICIO DE DJ o locutor MUSICAL...

5. DEL OFICIO PROFESIONAL DE LA:

MAESTRIA DE CEREMONIAS...

6. DEL OFICIO PROFESIONAL DE LAS:

GRABACIONES DE JINGLES PARA LA

INDUSTRIA PUBLICITARIA DOMINICANA:

NACIENTE EN SANTIAGO...

7. Cuando llego la TELEVISION A LA CIUDAD

DE SANTIAGO DE LOS CABALLEROS, esa

MUJER & SU ESPOSO, habian logrado

desarrollar, con sus PROPIAS IDEAS,

con su originalidad,

con SU INNOVACION...

UNA CLASE LOCUTORIL DE SANTIAGO

DE LOS CABALLEROS...

ESPECIALISTAS EN EL USO: COMERCIAL

DE LA VOZ HUMANA, en:

1. ESTACIONES DE RADIO.

2. EN CANALES DE TELEVISION.

3. EN EL CINE.

4. EN LA INTERNET...

SOLO USANDO COMO CAPITAL INICIAL:

LA VOZ HUMANA...

Yolanda Badia Montes de Oca, es una

CONSTRUCTORA, DESARROLLADORA

DEL TALENTO DOMINICANO,

DE LAS INDUSTRIAS CULTURALES DOMINICANAS,

DE LAS INDUSTRIAS CREATIVAS DOMINICANAS,

DEL SHOW BUSINESS DOMINICANO,

DE LA FARANDULA DOMINICANA,

DE LA ECONOMIA NARANJA DOMINICANA,

DE LA ECONOMIA CREATIVA DOMINICANA...

DE LA NUEVA ECONOMIA DOMINICANA...

Pero lo hizo, CUANDO NADIE CREIA EN EL

FUTURO EXPORTADOR DOMINICANO...

1. DE LA VOZ HUMANA, EDUCADA...

2. DEL CUERPO HUMANO, CON LA:

RESPIRACION DIAFRAGMATICA...

3. DE LA ECONOMIA DE RECURSOS

VOCALES...

EN EL MERCADO DE TRABAJO DOMINICANO

PRODUCTIVO,

GENERADOR DE EMPLEOS GENERADORES

DE: RIQUEZA DOMINICANA, DESDE EL TALENTO

HUMANO,

DESDE EL CAPITAL SIMBOLICO,

DESDE EL CAPITAL RELACIONAL,

DESDE EL CAPITAL COMUNICACIONAL,

DESDE EL CAPITAL HUMANO...

Para personas POBRES, que no TIENEN:

DINERO...

1. SOLO SUS CUERPOS.

2. SOLO SUS VOCES.

3. SOLO SUS : CEREBROS:DOMINICANOS.

--------

LA OTRA PERSONALIDAD, DE LA VOZ

EDUCADA DOMINICANA, que pude conocer

en mi infancia DOMINICANA

(1962-1980) : ERA CANTANTE, MAESTRO

-DE CANTO, MAESTRO DEL CANTO: CORAL...-

MAESTRO JOSE DEL MONTE...

llego en su biografia a ser :

DIRECTOR DEL CORO NACIONAL, de la

REPUBLICA DOMINICANA...

----------

EN LA HISTORIA NACIONAL DE LA:

REPUBLICA DOMINICANA, existio

una VOZ, de la industria RADIOFONICA

DOMINICANA, llamada:

PEDRO PEREZ VARGAS...

EN UN MUNDO DE IDEAS QUE SE CRUZAN

& A VECES ORGANIZAN...

CAMBIAR EL ERROR,POR LA VERDAD,

SURGE:

NOTICIARIO POPULAR...

Quien era el dueno de esa RADIOESTACION

NOTICIOSA DOMINICANA?

RAFAEL CORPORAN DE LOS SANTOS...

UN CIUDADANO DOMINICANO, quien comenzo

su carrera y su BIOGRAFIA DE ABAJO,sin contar

con padrinos,

con un apellido rimbombante,

ni con una FAMILIA NOTORIA, TRADICIONAL,

tuvo que CONSTRUIR SU FORTUNA, desde

un emprendimiento de presupuesto:

1.BASE-CERO...

2.DESDE UNA MYPIME...

SU OPORTUNIDAD, FUE LA EXISTENCIA

DE LAS INDUSTRIAS CULTURALES :

1.ELECTRONICAS.

2. DOMINICANAS.

Paso en su biografia POR:

1. LA RADIO DOMINICANA.

2. POR LA TELEVISION DOMINICANA.

3. POR LA ALCALDIA DE LA CIUDAD DE:

SANTO DOMINGO DE GUZMAN...

4. NO ERA EXCESIVAMENTE: CULTO,

mas bien nos daban risa, sus metidas de

pata, en el aire, en el comercial de SPRITE...

PERO:

PEGADO A UN MICROFONO DOMINICANO,

SE CONVIRTIO A SI MISMO EN UNA:

RADIO PERSONALITY DOMINICANA.

1. NO LOGRO evolucionar como EXPORTADOR

DE CONTENIDOS..

COMO LO HICIERON:

MAESTRO TEO VERAS LOPEZ (1950-2018),

NI MAESTRO ANTHONY RIOS (1950-2019),

NI MAESTRO FREDDY BERAS GOICO

(EL SEIBO, 1940-2010)...

PERO AL MENOS, tuvo los medios ECONOMICOS,

para :

1. PROCREAR.

2. CRIAR.

3. EDUCAR

A SUS NINOS & NINAS, DOMINICANOS...

EN UNA FAMILIA TIPICA: HETEROSEXUAL

DOMINICANA...

TRABAJANDO, CON EL SUDOR DE SU :

FRENTE COMO DUENO DE UNA MYPIME,

DOMINICANA...

COMENZANDO DESDE ABAJO EN LAS:

CIENCIAS TICs DE LA NACION & DE LA

REPUBLICA DOMINICANA...

1.EN LA ECONOMIA NARANJA DOMINICANA.

2.EN LA ECONOMIA CREATIVA DOMINICANA.

Yoe F. Santos/CCIAV

CCIAV, CC4AVE.

Talents,Criticism, Friendship!

Salut, Polis, Ecumene!

(1959-2019)

--------

SOURCE:

ACENTO.

Calidad para Exportar a Europa.

---------

Tu sabes, por que, el HEADQUARTER,

las oficinas centrales a nivel mundial de

ISO estan en SUIZA?

TU SABES LO QUE SIGNIFICA ISO?

HOY TE CONTAREMOS DE LA VOZ MAS

AUTORIZADA DEL MUNDO, PARA:

HABLAR DEL TEMA...

1. Los duenos de ISO.

2.LOs disenadores & disenadoras de este

CONJUNTO DE ESTADARES DE:

ACEPTACION MUNDIAL, o al menos...

1. Por toda persona que aspira a:

la PERFECCION...

2. Por toda persona que detesta:

la chapuza...

3. Por tada persona que detesta:

LA MEDIOCRIDAD y a sus autores

o abanderados:

los mediocres y las mediocres....

Yoe Santos/CCIAV

CCIAV, CC4AVE.

Talents,Critcism, Friendship!

Salut, Polis, Ecumene!

(1959-2019)

CUAELES SON LOS BENEFICIOS:

1. CONCRETOS.

2. MEDIBLES.

3OBSERVABLES

EN LOS ENTORNOS DE TRABAJO

QUE ADOPTAN NORMAS:ISO?

...EN DINERO

--------------

CUALES SON LOS BENEFICIOS DE LAS NORMAS

ISO,

1.PARA EMPLEADORES

2.Y PARA SU EQUIPO DE:

COLBARADORES,

-EN EL DESARROLLO DEL TALENTO HUMANO-

en la vida cotidiana, en sus respectivas

ECONOMIAS?

----

1.Que es la norma ISO 9001?

2.Como se aplica a las Ciencias Secretariales?

3.Como se aplica a la Gestion de Oficinas?

4.Como se aplica a la cadena de valor en la

INDUSTRIA O EMPRESA QUE APRENDE

O LEARNING BUSINESS?

5. Y que diablos tiene que ver ISO 9001 con :

5.1. La NUEVA ECONOMIA?

5.2.Con la Sociedad del Conocimiento y de la

Informacion(SCI)?

5.3.Con la Economia Naranja?

5.4.Con el factor humano o el capital humano,

dentro de todas areas o centros de labor

o trabajo productor de riqueza, en el mundo

acual o posterior al ano: 1990?

---------------

PRIMERO QUE NADA :

QUE SIGNIFICA:

ISO?

SOCIEDAD INTERNACIONAL PARA:

LA ESTANDAIZACION...

1. Y por que tratar de ESTANDARIZARLO TODO?

2.PARA PODER INDUSTRIALIZARLO TODO...

-----

International Organization

for Standardization.

----

DIRECCION FISICA EN GINEBRA,

SUIZA.

-----

ISO Central Secretariat

1, chemin de la Voie-Creuse

Case postale 56

CH -1211 Genève 20

Switzerland

www.iso.org

----------

ISBN 978-92-67-10620-5

© ISO, 2014.

All rights reserved

EUR

CHF

USD

GBP

AUD

CNY

THB

CAD

ARS

BRL

RUB

JPY

INR

NZD

----

Many organizations from the private and public

1.SECTOR USE STANDARDS

sector use standards

2. AND PARTICIPATE:

3. IN STANDARDS DEVELOPMENT.

and participate in standards development.

A few of them see standardization

1.AS DIRECTLY LINKED

as directly linked

2. TO THEIR CORE STRATEGY

to their core business strategy.

Some

approach standardization in a

highly organized way and have a clear

PERCEPTION:

1. OF THE IMPACT OF STANDARDS

2. ON THEIR ACTIVITIES.

3. AND PERFORMANCE.

perception of the impact of standards on their activities and performance.

Others may use standards from

1. A NARROWER PERSPETIVE

a narrower perspective,

1.1. FOR SPECIFIC PROCESSES

1.2. FOR SPECIFIC ACTIVITIES.

for

specific processes or activities.

Most of them realize that standards

THE STANDARDS

1.bring benefits to their organization,

2.although the level of awareness

and the perception of such benefits vary considerably.

But there are other organizations that make only marginal use of standards or that do not use them at all. Companies that consider standards

a burden – something that cannot be avoided at times, but that is

IS PERCEIVED AS....

1. ADDITIONAL COST.

2.AN ADITTIONAL OBLIGATION

3. WITH A N E G A T I VE IMPACT...

perceived as an additional cost or obligation with a negative impact

on the company. Organizations that don’t even consider participating in standards development, or that are not aware of the potential

contribution that standards can bring to their activities.

One of the key aspects of the mission of national standards bodies is to

liaise with organizations from all stakeholder groups to engage them in

standardization and to help them get the most from standards.

BEING ABLE TO DEMOSTRATE...

Being able

to demonstrate

THE TANGIBLE BENEFITS

the tangible benefits that standards bring to organizations

– and, more generally, to citizens and society – is therefore essential.

DEMOSTRATING & COMMUNICATING:

THE VALUE OF STANDARDS...

https://www.iso.org/files/live/sites/isoorg/files/archive/pdf/en/ebs_case_studies_factsheets.pdf

People involved in standardization are convinced that their work generates considerable benefits for organizations, markets and society.

Yet substantiating and quantifying the real world value of voluntary

standards is not an easy task.

THIS WHY ISO DEVELOPEP

THE ISO METHODOLOGY...

This is why ISO has developed the “ISO Methodology”, a consistent

approach to measuring this value, which has been tested in around

30 company case studies in over 20 countries across the globe. The

results speak for themselves: standards do create value for the organizations that use them and it is possible to quantify it.

The following summary describes, in a nutshell, how we quantify the

economic value of applying standards.

Objectives of the ISO Methodology

The ISO Methodology aims to identify and quantify the microeconomic benefits of standards, i.e. the economic contribution the use

of standards makes to company profits or the costs/revenues of an

organization. All the standards assessed in this approach – whether

they are international, regional or national standards, published by

standards development organizations, industry groups or other consortia – are the result of an open, consensus-based process and are

Methodology summary

Quantifying

the economic benefits

of standards

4

--------

NADIE PUEDE SUSTITUIR o llenar el vacio

de Don Teo, en la 91...

PERO LA VIDA SIGUE, desde 1985, LA 91

HA ESTADO CORONANDO su existencia de

reconocimientos Y PREMIOS A LA EXCELENCIA

LA 91 FM

ELIGIO & CONTRATO...

1.Una mujer: DIRECTORA.

2. Pero no por mujer...

CARLOTTI PERALTA, tiene 31 anos

seduciendonos, encantandonos con su voz,

con su inteligencia, con su papacidad de :

improvisar...

de hacernos reir,

de hacernos fllosofar en torno a las canciones...

PERALTA, llego al fin de la ADOLESCENCIA

a la 91...

hizo buenas migas, con Don Teo, que todo lo

del talento de excelencia, le encantaba y le

abria las puertas...

Y AHI ESTA con una nueva responsabilidad

historica:

IMPONER su propio estilo,

crear un nuevo estilo PERSONAl al tiempo de

llenar el vacio insalvable de Don Teo...

Yoe F. Santos/CCIAV.

CCIAV, CC4AVE

Talents, Criticism, Friendship!

Salut, Polis, Ecumene!

(1959-2019)

-----------

BBC Radiophonic Workshop.

From Wikipedia, the free encyclopedia

The BBC Radiophonic Workshop

WAS ONE OF THE SOUND EFFECTS

was one of the sound effects units of the BBC,

CREATED IN

created in 1958

TO PRODUCE INCIDENTAL SOUNDS

to produce incidental sounds

AND NEW MUSIC

1. FOR RADIO.

2. AND LATER, TELEVISIOIN

and new music for radio and, later, television.

The unit is known for its

1. EXPERIMENTAL.

2. PIONEERING

experimental and pioneering

3. WORK IN ELECTRONIC MUSIC

work in electronic music and

4. AND MUSIC TECHNOLOGY

music technology, as well as its popular

scores for programs such as

DOCTOR WHO

Doctor Who

and Quatermass and the Pit

during the 1950s and 1960s.[1]

The original Radiophonic Workshop was based in the BBC's Maida Vale Studios in Delaware Road, Maida Vale, London.[2] .

THE WORKSHOP WAS CLOSED IN

MARCH 1998

The Workshop was closed in March 1998,[3]

although much of its traditional work had

ALREDEADY BEEN OUTSOURCED

already been outsourced by 1995.[2] Its

members have included :

Daphne Oram,

Delia Derbyshire,

David Cain,

John Baker,

Paddy Kingsland,

Glynis Jones and Richard Yeoman-Clark.

Contents

1 History

2 Techniques

3 Influence on popular music

4 Members of the Radiophonic Workshop

5 Discography

6 Selected other works

7 Works about Radiophonic Workshop

8 See also

9 References

10 Further reading

11 External links

History.

The Workshop was set up to

SATISFY GROWING DEMAND

satisfy the growing demand in the late 1950s

for "radiophonic" sounds from

A GROUP OF :

1. PRODUCERS.

2. AND STUDIO MANAGERS

a group of producers and studio managers

at the BBC, including Desmond Briscoe,

Daphne Oram,

Donald McWhinnie,

and Frederick Bradnum.[4][5][6]

For some time there had been

1. MUCH INTEREST.

2. INPRODUCING

2.1 INOVATIVE MUSIC.

2.2. AND SOUNDS TO GO WITH

2.3. PIONEERING PROGRAMMING

2.3.1. OF THE ERA.

much interest in producing innovative music and sounds to go with the pioneering programming of the era, in particular the dramatic output of the BBC Third Programme.

1. OFTEN THE SOUNDS REQUIRED

2. FOR THE ATMOSPHERE

Often the sounds required for the atmosphere that programme makers wished to create

3. WERE UNAVAILABLE

were unavailable or non-existent

through traditional sources and so some,

such as the musically trained Oram,

would look to new techniques to produce

effects and music for their pieces.

Much of this interest drew them to

1. MUSIQUE CONCRETE

2. TAPE MANIPULATION TECHNIQUES

musique concrète and tape manipulation techniques, since using these methods could allow them to create soundscapes suitable for the growing range of unconventional programming.

When the BBC

1. NOTICED.

2. THE RISING POPULARITY

noticed the rising popularity of this method

3. THEY ESTABLISHED

4. A RADIOPHONIC EFFECTS

they established a Radiophonic Effects

5. COMMITEE

Committee,

setting up the Workshop in

rooms 13 & 14 of the BBC's Maida Vale studios

6. WITH A BUDGET

7. DOS MIL LIBRAS ESTERLINAS...

with a budget of £2,000.

The Workshop contributed

1. ARTICLES. articles[7] to magazines

2. OR THEIR FINDINGS

of their findings, leading to some of their techniques being borrowed by sixties producers and engineers such as Eddie Kramer.[8]

Early days

Maida Vale Studios.

In 1957, Daphne Oram set up[9] the Radiophonic Workshop with Desmond Briscoe, who was appointed the Senior Studio Manager with Dick Mills employed as a technical assistant.

Much of The Radiophonic Workshop's early work was in effects for radio,

1. PARTICULAR EXPERIMENTAL DRAMA

2. AND RADIOPHONIC POEMS

in particular experimental drama and "radiophonic poems".[10]

Their significant early output included

1. CREATING EFFECTS

creating effects

2. FOR THE POPULAR SCIENCE FICTION SERIAL

for the popular science-fiction serial Quatermass and the Pit and memorable comedy sounds for The Goon Show. In 1959,

DAPHNE ORAM LEFT THE WORKSHOP

Daphne Oram left the workshop to set up her own studio, the Oramics Studios for Electronic Composition, where she eventually developed her "Oramics" technique of electronic sound creation.

THAT YEAR MADGALENA

FAGANDINI

That year Maddalena Fagandini

JOINED THE WORSHOP

joined the workshop from the BBC's

Italian Service.

From the early sixties the Workshop began

1. CREATING TELEVISION THEME TUNES

2. JINGLES

creating television theme tunes and jingles,

3. PARTICULARLY FOR LOW BUDGET SCHOOLS

3. PROGRAMMES

particularly for low budget schools programmes.

The shift from the experimental nature of the late 50s dramas to theme tunes was noticeable enough for one radio presenter to have to remind listeners that the purpose of the Workshop was not pop music.

In fact, in 1962 one of Fagandini's interval

signals "Time Beat" was reworked with

assistance from George Martin

(in his pre-Beatles days) and commercially

released as a single using the pseudonym

Ray Cathode.

DURING THIS EARLY PERIOD

1. INNOVATIVE ELECTRONIC

During this early period the innovative electronic

2. APPROACHES TO MUSIC

approaches to music in the Workshop

3. BEGAN TO ATTRACT SOME:

SIGNIFICANT YOUNG TALENT

began to attract some significant young talent

including:

Delia Derbyshire,

Brian Hodgson and

John Baker, who was in fact a jazz pianist

with an interest in reverse tape effects.

Later, in 1967. they were joined by David Cain,

a jazz bass player AND MATHEMATICIAN

and mathematician.

In these early days, one criticism[citation needed] the Workshop attracted was its policy of not allowing musicians from outside the BBC to use its equipment, which was some of the most advanced in the country at that time not only because of its nature,

BUT ALSO BECAUSE OF THE UNIQUE

but also because of the unique

1. COMINATIONS

2. WORKFLOWS

combinations and workflows

which the Workshop

2.1. AFFORDED ITS COMPOSERS

afforded its composers.

In later years this would become less important as more electronic equipment

1.BECAUSE READILY AVAILABLE

2.A WIDER AUDIENCE

became readily available to a wider audience.[11]

Doctor Who

Main article: Doctor Who theme music

In 1963 they were approached by composer Ron Grainer to record a theme tune for the upcoming BBC television series

DOCTOR WHO

Doctor Who. Presented with the task of "realising" Grainer's score, complete with its descriptions of "sweeps", "swoops", "wind clouds" and "wind bubbles", Delia Derbyshire created a piece of electronic music which has become one of television's most recognisable themes.[12]

Over the next quarter-century the Workshop contributed greatly to the programme providing its vast range of unusual sound-effects, from the TARDIS dematerialisation to the Sonic screwdriver, as well as much of the programme's distinctive electronic incidental music, including every score from 1980 to 1985.

In 2018 Matthew Herbert, creative director of The New Radiophonic Workshop, composed the sting used alongside the reveal of the new Doctor Who logo debuting later that year.[13] It has yet to be confirmed as to whether the Workshop will be responsible for music in the series itself.

Changes

EMS VCS 3 (Putney)

EMS Synthi 100 (Delaware).

As the sixties drew to a close many of the techniques used by the Workshop changed as more electronic music began to be produced by synthesisers.

Many of the old members of the Workshop were reluctant to use the new instruments, often because of the limitations and unreliable nature of many of the early synthesisers but also, for some, because of a dislike of the sounds they created.

This led to many leaving the workshop making way for a new generation of musicians in the early 1970s including Malcolm Clarke, Paddy Kingsland, Roger Limb and Peter Howell. From the early days of a studio full of tape reels and electronic oscillators, the Workshop now found itself in possession of various synthesisers including the EMS VCS 3 and the EMS Synthi 100 nicknamed the "Delaware" by the members of the Workshop.

In 1977, Workshop co-founder Desmond Briscoe retired from organisational duties with Brian Hodgson, returning after a five-year gap away from the Workshop, taking over.

By this point the output of the Workshop was vast with high demand for complete scores for programmes as well as the themes and sound effects for which it had made its name.

BY THE END OR THE DECADE

By the end of the decade the

WORKSHOP WAS CONTRIBUTING

TO OVER

was contributing to over 300 programmes

A YEAR

a year from all departments of the BBC

and had long since expanded from its early

two room setup.

Its contributions included:

1. material for programmes such as The Body in Question, Blue Peter and Tomorrow's World

2.as well as sound effects for popular science fiction programmes Blake's 7 and The Hitchhiker's Guide to the Galaxy (in both its radio and television forms) by Richard Yeoman-Clark and Paddy Kingsland respectively.

By the early 1990s, BBC Director General John Birt decided that departments were to charge each other and bid against each other for services and to close those that couldn't make enough revenue to cover their costs.

In 1991 the Workshop was given five years in which to break even but the cost of keeping the department, which required two dedicated engineers, a software developer (Tony Morton)

AND A SECRETARY

and a secretary (Maxine) as well as the composers, proved too much and so they failed.

Dick Mills, who had worked on Doctor Who since the very beginning, left in 1993,[14] along with Ray White, Senior Engineer, and his assistant, Ray Riley, with the Maida Vale technical team taking on their role, and engineer Fiona Sleigh smoothing the transition.

In 1995, despite being asked to continue, organiser Brian Hodgson left the Workshop, and his role was carried out remotely from Broadcasting House by people with other priorities and little enthusiasm. Malcolm Clarke and Roger Limb left. By the end, only one composer, Elizabeth Parker, remained.

The Workshop officially closed in March 1998, but Elizabeth stayed on for a couple of months to complete her last job. John Hunt, (who took over much of the specialist editing side of the workshop previously done by Dick Mills) continued working in Studio E, now called “Radiophonics” until well into 2000, occasionally managing to fit in a bit of traditional Radiophonics work.

Mark Ayres recalls the Workshop's tape archive being collected on 1 April, exactly 40 years after the department had opened.

Legacy.

Following the decision to close the Radiophonic Workshop, the studios were cleared and most remaining equipment was disposed of, with some of it being sold to the composers. The tape library was largely forgotten until the room was ordered to be “cleared”.

Fortunately the Maida Vale studios technical team became aware of this and were able to hide the tapes away in various dark corners of the building before they could be thrown away.

Eventually Mark Ayres and Brian Hodgson were commissioned to catalogue its extensive library of recordings with help from other composers.[citation needed]

In October 2003, Alchemists of Sound, an hour-long television documentary about the Radiophonic Workshop, was broadcast on BBC Four.[15]

The Magnetic Fields titled the first track of their album Holiday, after the BBC Radiophonic Workshop.

Live reunions since 2009

Dick Mills, BBC Radiophonic Workshop reunion live at the Roundhouse in 2009.

In May 2009, Dick Mills reunited with former BBC Radiophonic Workshop composers Roger Limb, Paddy Kingsland and Peter Howell with archivist Mark Ayres for a live concert at The Roundhouse, Chalk Farm, London, performing as "The Radiophonic Workshop".

The composers, backed by a small brass section and a live drummer, performed a large number of their BBC-commissioned musical works including sections of incidental music from The Hitchhikers' Guide to the Galaxy and Doctor Who (including a medley of Mark Ayres's work) as well as some collaborative compositions written specifically for the Roundhouse concert.

The live performances were mixed in surround sound and interspersed with musical video montage tributes of deceased members of the Workshop including Daphne Oram, Delia Derbyshire and John Baker.

The two and a half hour event climaxed with live performances of the Derbyshire and Peter Howell arrangements of Doctor Who, segueing into a new Radiophonic version of the theme tune.

Celebrated attendees included actor/writer/composer Peter Serafinowicz and satirist/writer/broadcaster Victor Lewis-Smith.

MULTIPLE CAMERAS RECORDED

Multiple cameras recorded the event but it has yet to be broadcast or released in any form, although amateur footage of the event can be seen on YouTube.[citation needed]

In 2013 the original members of the Workshop regrouped again for a more concerted program of live appearances. Performing as 'The Radiophonic Workshop' (dropping the BBC prefix) they were joined by drummer Kieron Pepper (The Prodigy, Dead Kids, OutPatient) and Bob Earland from Clor. They also embarked on a new recording project set for release in Autumn of 2014.

This involved collaborations with contemporary electronic musicians, video artists, DJs, remixers, poets, writers and singers.

Live appearances in 2013 included Festival Number 6 at Portmeirion, Wales in September and The London Electronic Arts Festival in November.

The shows featured archive TV and visuals from many of the TV and film soundtracks that the Radiophonic Workshop contributed to between 1958 and 1998 when the unit was deactivated.

The Radiophonic Workshop appeared on BBC television's The One Show on 20 November 2013 playing a unique version of the Doctor Who Theme that combined Delia Derbyshire's original source tapes and Peter Howell's 1980 realisation of the Ron Grainer composition. Radio 6 Music's Marc Riley played host to a Radiophonic Workshop session where they delivered live versions of Roger Limb's Incubus, Paddy Kingsland's Vespucci, the Doctor Who Medley and a new composition - Electricity Language and Me (by American poet Peter Adam Salomon), featuring DJ Andrew Weatherall as the narrative voice for this classic piece of Radiophonic sound design.

There were a number of radio, online and print interviews done at the time to coincide with the 50th anniversary of Doctor Who.

The Workshop's early archive recordings were also reissued on vinyl in November 2013 to accompany this renewed activity. In 2014, "The Radiophonic Workshop" appeared at festivals including End of the Road Festival, and the reissue programme of earlier work from their extensive catalogue continues along with a planned exploration of previously unheard or rare archive recordings.

2012 online revival.

In September 2012 Arts Council England and the BBC announced a joint venture whereby the concept of the Radiophonic Workshop would be revived as an online venture, with seven new, non-original composers and musicians.

The new Workshop was based online at The Space,[16][17] a joint venture between the BBC and Arts Council England. Composer Matthew Herbert was appointed the new Creative Director, and worked alongside Micachu, Yann Seznec, Max de Wardener, Patrick Bergel, James Mather, theatre director Lyndsey Turner and broadcast technologist Tony Churnside.[2]

Composer Matthew Herbert's first work for The New Radiophonic Workshop takes audio from 25 previous projects featured on the website - from theater performances to poetry readings, creating a "curious murmur of activity".

It can be heard by clicking on a button labeled "listen to The Space" at the top of any page on the website.[18]

The New Radiophonic Workshop,[19] not to be confused with the reactivated Radiophonic Workshop[20][21] whose members are original BBC personnel,[22][23][24][25][21][26][27] an entirely separate entity from the original unit, was assembled by Mathew Herbert as an online collective of composers for The Space[28] arts project.

Techniques

Tape manipulation tools:

1. tape recorder,

2.tape splicer,

3.and mending tapes.

Sine wave oscillator.

The techniques initially used by the Radiophonic Workshop were closely

RELATIVE TO THOSE USED IN:

MUSIQUE CONCRETE

related to those used in musique concrète;

new sounds for programs were created

1.BY USING RECORDINGS

2.OF EVERYDAY SOUNDS

2.1. VOICES.

2.2. BELLS

by using recordings of everyday sounds such as voices, bells or gravel as raw material for "radiophonic" manipulations. In these manipulations,

3. AUDIO TAPES COULD BE PLAYES BACK

AT DIFFERENT SPEEDS

audio tape could be played back at different speeds (altering a sound's pitch),

REVERSED , CUT AND JOINED

PROCESSED USING:

1. REVERB

2. EQUALITATION

reversed, cut and joined, or processed using reverb or equalisation.

The most famous of the Workshop's creations using 'radiophonic' techniques include the Doctor Who theme music, which Delia Derbyshire created using a plucked string, 12 oscillators and a lot of tape manipulation; and the sound of the TARDIS (the Doctor's time machine) materialising and dematerialising, which was created by Brian Hodgson running his keys along the rusty bass strings of a broken piano, with the recording slowed down to make an even lower sound.

Much of the equipment used by the Workshop in the earlier years of its operation in the late 1950s

WAS SEMI-PROFESSIONAL

was semi-professional and was passed down from other departments, though two giant professional tape-recorders made an early centrepiece.

Reverberation was obtained using an echo chamber, a basement room with bare painted walls empty except for loudspeakers and microphones.

Due to the considerable technical challenges faced by the Workshop and BBC traditions, staff initially worked in pairs with one person assigned to the technical aspects of the work and the other to the artistic direction.

Influence on popular music.

The Radiophonic Workshop published "Radiophonics in the BBC" in November 1963,[29] listing all equipment used in their two workshops, diagrams of several systems, and a number of anecdotes.

The Radiophonic Workshop also contributed articles[7]

1. TO MAGAZINES OF ITS EPERIMENTS

to magazines of its experiments,

1.1. COMPLETE WITH INSTRUCTIONS

1.2.WIRING DIAGRAMS

complete with instructions and wiring diagrams.[30]

British psychedelic rock group Pink Floyd

made a memorable trip to the workshop in 1967.

They had employed tape loops, sound effects, found sounds and the principles of musique concrete on their debut album The Piper At The Gates of Dawn from that same year.

Other fans of the Radiophonic Workshop included The Rolling Stones' Brian Jones – who visited in 1968 – and Roger Mayer, who supplied guitar pedals to Jeff Beck, Jimmy Page and Jimi Hendrix. Phil Manzanera has also cited the Workshop as an influence on the sound of his group Roxy Music.[31]

In 1997

THE ELECTRONIC DANCE MUSIC

MAGAZINE

the electronic dance music magazine

MIXMAG

Mixmag described the Workshop as,

"the unsung heroes of British electronica".[32]

Their work has been sampled extensively

by contemporary electronic artists.[1]

Members of the Radiophonic Workshop

1958–1998.

Desmond Briscoe (1958–1983)

Daphne Oram (1958–1959)

Dick Mills (1958–1993)

Maddalena Fagandini (1959–1966)

Brian Hodgson (1962–1972), Organiser (1977–1995)

Delia Derbyshire (1962–1973)

John Baker (1963–1974)

David Cain (1967–1973)

Malcolm Clarke (1969–1995)

Paddy Kingsland (1970–1981)

Richard Yeoman-Clark (1970–1978)

Roger Limb (1972–1995)

Glynis Jones (1973–?)

Peter Howell (1974–1997)

Elizabeth Parker (1978–1998)

Jonathan Gibbs (1983–1986)

Richard Attree (1987–1998)

2009–present

Peter Howell (2009–present)

Roger Limb (2009–present)

Dick Mills (2009–present)

Paddy Kingsland (2009–present)

Mark Ayres (2009–present)

Kieron Pepper (2013–present)

Discography

Main article: BBC Radiophonic Workshop discography

Main albums

BBC Radiophonic Music

Fourth Dimension

The Radiophonic Workshop

Out of This World

Through A Glass Darkly

BBC Sound Effects No. 19 - Doctor Who Sound Effects

BBC Radiophonic Workshop - 21

BBC Sound Effects No. 26 - Sci-Fi Sound Effects

Doctor Who - The Music

The Soundhouse

The Living Planet

Doctor Who - The Music II

Doctor Who: 30 Years at the BBC Radiophonic Workshop

Doctor Who at the BBC Radiophonic Workshop Volume 1: The Early Years 1963–1969

Doctor Who at the BBC Radiophonic Workshop Volume 2: New Beginnings 1970–1980

Doctor Who at the BBC Radiophonic Workshop Volume 3: The Leisure Hive

Doctor Who at the BBC Radiophonic Workshop Volume 4: Meglos & Full Circle

The John Baker Tapes – Volume 1: BBC Radiophonics

BBC Radiophonic Workshop - A Retrospective

Doctor Who - The Caves of Androzani

Doctor Who - The Krotons

Radiophonic Workshop

The Vendetta Tapes

Burials In Several Earths

The Changes[33]

Doctor Who - The Five Doctors

Possum

The Box of Delights

The Stone Tape[34]

Selected other works

Radio dramas

The Foundation Trilogy (produced by David Cain) (1973)

A Wall Walks Slowly (produced by Desmond Briscoe with music by Peter Howell) (1977)

August 2026 (produced by Malcolm Clarke) (1977)

Notes from Janáček's Diary (produced by Maxwell Steer) (1991)

This was the only production ever to be realised at the Radiophonic Workshop completely by an external composer.

Sound effects and music contributions

Radio

The Goon Show

The Hobbit (effects and music composed by David Cain) (1968)

The Hitchhiker's Guide to the Galaxy (effects by Paddy Kingsland with additional effects by Dick Mills. Music (except theme music) for second series by Paddy Kingsland)

The Lord of the Rings (effects by Elizabeth Parker) (1981)

Doctor Who: Slipback (BBC Radio) (music by Jonathan Gibbs) (1985)

Doctor Who: The Paradise of Death (BBC Radio) (music by Peter Howell) (1993)

Doctor Who: The Ghosts of N-Space (BBC Radio) (music by Peter Howell) (1996)

Television

Quatermass and the Pit (effects by Desmond Briscoe & (uncredited) Dick Mills) (1958)

Doctor Who (effects by Brian Hodgson (1963–1972) & Dick Mills (1972–1989). Some additional effects provided by various Workshop members)

Penda's Fen (Paddy Kingsland) (1974)

Blake's 7 (effects by Richard Yeoman-Clark & Elizabeth Parker)

The Hitchhiker's Guide to the Galaxy (music and effects by Paddy Kingsland except theme music)

Doctor Who incidental music

The Doctor Who theme music was provided by the BBC Radiophonic Workshop from 1963 to 1985. From 1986 to the programme's demise the theme was provided by freelance musicians. Between 1980 and 1985 the complete incidental scores for the programme were provided in-house by the Workshop. Below is a complete[citation needed] list of incidental music provided by the Radiophonic Workshop for the programme.

1968

The Wheel in Space (music by Brian Hodgson)

1972

The Sea Devils (music by Malcolm Clarke)

1975

Revenge of the Cybermen (additional, uncredited music by Peter Howell (main score by Carey Blyton))

1980

The Leisure Hive (music by Peter Howell)

Meglos (music by Paddy Kingsland & Peter Howell)

Full Circle (music by Paddy Kingsland)

State of Decay (music by Paddy Kingsland)

1981

Warriors' Gate (music by Peter Howell)

The Keeper of Traken (music by Roger Limb)

Logopolis (music by Paddy Kingsland)

In 1981 Peter Howell also supplied the incidental music for the spin-off K-9 and Company.

1982

Castrovalva (music by Paddy Kingsland)

Four to Doomsday (music by Roger Limb)

Kinda (music by Peter Howell)

The Visitation (music by Paddy Kingsland)

Black Orchid (music by Roger Limb)

Earthshock (music by Malcolm Clarke)

Time-Flight (music by Roger Limb)

1983

Arc of Infinity (music by Roger Limb)

Snakedance (music by Peter Howell)

Terminus (music by Roger Limb)

Enlightenment (music by Malcolm Clarke)

The King's Demons (music by Peter Howell & Jonathan Gibbs)

The Five Doctors (music by Peter Howell)

1984

Warriors of the Deep (music by Jonathan Gibbs)

The Awakening (music by Peter Howell)

Resurrection of the Daleks (music by Malcolm Clarke)

Planet of Fire (music by Peter Howell)

The Caves of Androzani (music by Roger Limb)

The Twin Dilemma (music by Malcolm Clarke)

1985

Attack of the Cybermen (music by Malcolm Clarke)

Vengeance on Varos (music by Jonathan Gibbs)

The Mark of the Ra...

-------------------------

RAFAEL CORPORAN DE LOS SANTOS,

NACE, en COTUI, REPUBLICA DOMINICANA,

en el ano 1937, en una comunidad rural o

campesina, llamada LA MATA...

SE INICIA COMO MICRO-EMPRESARIO, en

el ano 1963 Y DESDE ESE PEQUENO :

EMPRENDIMIENTO INICIAL de un ANONIMO

& SIMPLE LOCUTOR DE RADIO, en la nacionte

industria

PUBLICITARIA & RADIOFONICA DOMINICANA,

llego a LEVANTAR UN IMPERIO...

Valiendose de su UNICO CAPITAL INICIAL...

1. LA VOZ HUMANA...

2. LAS ARTES & LAS CIENCIAS COINCIDENTES

EN LA PROFESION DE:

LOCUTOR, siguiendo los caminos y los pasos del

legado de DON FRANK HATTON GUERRERO,

PRIMER LOCUTOR PROFESIONAL de la nacion

y de la REPUBLICA DOMINICANA, socio

co fundador del RADIO CLUB DOMINICANO, Inc,

en el ano 1926.

Yoe F. Santos/CCIAV.

CCIAV, CC4AVE.

Talents, Criticism, Friendship!

Salut, Polis, Ecumene!

(1959-2019)

-------------
SABADO CHIQUITO

DE CORPORAN,(1988-2011) es el

UNICO programa de TELEVISION:

INFANTIL...

1 Que logro MANTENERSE EN EL AIRE,

por 25 anos...

2. EL UNICO QUE LLEGO A EXPORTAR:

TALENTOS,

-ESPECTACULOS INFANTILES EXITOSOS-

POR AMERICA LATINA Y CARIBE, estableciendo:

RECORDS DE ASISTENCIA:

1. NINOS, NINAS,

2. ADOLESCENTES, JOVENES...

3. MAMAS & PAPAS de ninos y ninas

en EDAD ESCOLAR...

desde UNA PRODUCCION DESARROLLADA:

COMPLETAMENTE EN LENGUA ESPANOLA

O CASTELLANA (1988-2001)

ESOS SON LOS ESTANDARES DE LA :

1. ECONOMIA NARANJA.

2. DE LA ECONOMIA CREATIVA DOMINICANA.

3. EN LA MANUFACTURA DE CONTENIDOS

QUE TIENEN QUE APRENDER NUESTROS

NINOS & NINAS DE KINDER:

QUE PODEMOS TRIUNFAR, TRABAJANDO,

TELEVISION & CINE, EN kayzen & TQM,

con el sudor de nuestra frente:

EN LA CONSTRUCCION DE LA MARCA-PAIS

REPUBLICA DOMINICANA, en el siglo XXI,

camino a la cuarta revolucion industrial o

INDUSTRIA 4.0...

1. NADA QUE VER CON TEATRO...

-& OTRAS YERBAS AROMATICAS...-

Yoe F. Santos/CC

Our Familiar and Institutional Contribution for Dominican Republic Council for Economy and Health

Tuesday, November 26, 2019

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