The partners had a "real photo" of Fagor, according to its previous manager

The one that was last general director of Fagor Electrodomésticos

 Treviño has declared in the third session of the trial that is being held in the courts of Bergara (Guipúzcoa) for the class action brought by more than 900 former cooperative members of Fagor Electrodomésticos against the Mondragón Corporation.

The plaintiffs, grouped in the groups Eskuratu and Ordaindu, claim this group 47 million euros for the voluntary contributions and commercial loans deposited in the bankrupt company in 2014.

The appearance of Treviño has followed the path marked in the two previous days by the rest of the heads of Fagor Electrodomésticos and the Mondragón Corporation who insisted on the knowledge that the subscribers of the voluntary contributions had of the bad situation of the company and discarded indirectly the existence of a deception to keep their savings in it.

Treviño has reviewed the last months of the company, after a feasibility plan was approved in December 2012, with 70 million euros in support from the Mondragón Group, in two contributions of 35 million euros each. One, a strategy that only a few months later was overtaken by events and triggered a new restructuring project for which another 50 million euros were needed.

He has specified that this new demand for money from the Mondragón Group, which subsequently resulted in the entry into a bankruptcy proceeding, was due to a delay in a financial contribution expected by the Official Credit Institute (ICO).

 he stressed that throughout this process

 he stressed that throughout this process

 

the mechanisms of communication to the partners were “diverse and varied” and insisted that the existing “preoccupation” was “felt” in all the parties by the “treasury tensions” to which The company was subjected, which lived a “very complicated” reality at a time of crisis and in a market that was already “complicated” in and of itself.

He also stated that the way to give the information to the partners in the sessions was carried out with “an important pedagogical effort” and in a “didactic” way to convey “a very clear message” of the figures, so that later the decisions of each of them about the contributions were “yours”.

He has also insisted that the situation was explained “very realistically”, including the “difficulties” of the financing mechanisms and the “impact” that they were expected to have in the short term.

The chairman of the Fagor Electrodomésticos Governing Council in the same period, Xabier Bengoetxea, recalled how he participated in a meeting in which he informed the partners that the company could not pay interest on voluntary contributions for 2012 due to its “difficult “situation.

He assured that at that time they were informed that some plants were closed due to the lack of components and the workers in their homes because there was no money to pay the suppliers and the “little” that was obtained was dedicated to “maintain the activity” , despite which only two lawsuits were filed to demand the reimbursement of the voluntary contributions.

The insolvency administrator of Fagor Electrodomésticos, Ane Alkorta, has indicated that the decision to start the contest started from Fagor Electrodomésticos and Edesa, without appreciating any type of undue delay in their application.

Alkorta also recalled that both the Insolvency Administration and the Prosecutor’s Office did not conclude that information was hidden from any creditor.

Today’s session also featured an expert report from a consultancy whose representatives have indicated that the Mondragón Group did “a huge favor” to Fagor Electrodomésticos with the acquisition of the San Andrés and Garagartza plants in operation Ekimen Berri, which It caused a loss of twenty million euros in two years for the Corporation, which had purchased the plants for 55 million.

At the end of the day, the lawyer of the Mondragón Corporation, Arantxa Estefanía, has assured the journalists that, according to several dates that have been highlighted at this morning’s hearing, the claim of Ordaindu and Eskuratu “is prescribed” because the lawsuit was filed “more than a year later” of the established term. An idea in which he will go into more detail tomorrow, during the presentation of his conclusions before the judge.

The water table agrees that hydraulic works are necessary and agree to study financing methods

The members of the water table, political groups, consumer associations and representatives of Emasa, have agreed on Wednesday that hydraulic works for improvement in the supply and sanitation network are necessary in the city of Malaga, although, they have disagreed on the collection of a municipal canon to finance them, advocating, therefore, for debating and studying how to approach them and for finding ways of financing.

Thus, the councilor for Environmental Sustainability, Raúl Jiménez, has stressed that “we all agree that they are works that must be done” and it is necessary to discuss how to address them. At this point, he admitted that “everyone has a position” but an agreement has been reached that a study of possible sources of funding be made, but “without discarding anything”.

You can see works that can be paid by the City Council

You can see works that can be paid by the City Council

others are for progressivity of large consumers and also, why not, the application of the canon, which has not talked about the price,” Jiménez has assessed, while it has affected that the other possible ways of financing “would come to subtract from the canon because 130 million is not possible to obtain by these other alternative routes”, noting, in addition, of the European directives.

Thus, it has made it clear that “we are open above all to seek other sources of funding” and “if the canon can be lowered, hopefully, it remains as small as possible, but because it is realistic it is difficult to finance 130 million with other sources that are not via canon “, alluding to the fact that it would be” more transparent via canon, and if there are other ways better “.

Finally, he announced that the next meeting will be in three or four weeks and it will also have a report, among others, with the destination of the money from previous fees, remembering that the collection of them have added about 160 million.

For his part, the socialist municipal spokesman, Daniel Perez, said that “in the end has adopted the most reasonable solution, which we proposed, leaving in evidence the lack of planning and exhaustion in the management of the Popular Party in front of the Town hall”.

The socialist proposal had three points. Firstly, to finance the infrastructures through the procedure of modification of credit for sustainable investments at a rate of 13 million during the next ten years; Secondly, to open new financing channels by introducing a canon to the large consumers of water and, thirdly, to adjust the company’s expense so that, as in previous years, excessive expenses due to subcontracting of services by of Emasa.

Perez pointed out that the technical panel has approved studying “new funding channels that exclude small consumers, that is, families.” For its part, the Socialist councilor Begoña Medina has valued that the PP government team “recule” on the idea of ​​charging the fee to see, he said, that at the table “we agree that we do not agree with it and want to analyze other ways. “

“We must do more works but through other means,” he added, reiterating the proposals for financially sustainable investments, at least, “for part of the whole”, noting also that “we must see the big consumers and the savings in the own company”.

For Medina, “it has become clear that there is a rejection of the canon”, reiterating also that in the next meeting the income that could be received through these other channels will be addressed with a report.

 the spokeswoman of Málaga Ahora, Ysabel Torralbo

 the spokeswoman of Málaga Ahora, Ysabel Torralbo

has also assessed that different forms of financing have been proposed. “It has been asked to know the rent canon of the networks and the use that has been given to that money,” he said among other examples.

“It is open to the study of all possible alternatives, the idea is that the bill is not serious,” he said, speaking to journalists, Torralbo.

For its part, the Deputy Speaker of Citizens, Alejandro Carballo, has once again expressed the dissatisfaction of his group with the water canon, although he has reiterated that the vast majority of the works included in the report sent by Emasa are necessary, “but it does There is a need to rethink the management of the company and the lack of support from other administrations “.

there are financing alternatives so that it is not passed on to all citizens, especially when Emasa’s debt is very considerable

Finally, he recalled that the orange training has requested information on what contacts Emasa has with the Board to be interested in the fate of the sanitation canon; on subcontracting of services in the municipal company; on support services and advice; on professional, technical and legal services; on the subcontracting of services of sending and preparation of invoices; training courses, or use of water from tertiary treatment, or batteries and meters.

For his part, from Malaga for People, Eduardo Zorrilla, and said that the training “is not willing to allow” that the PP government team in the City of Malaga and the mayor, Francisco de la Torre, “impose malagueños a new canon “of the Málaga water company, Emasa,” to pay for its waste “.

He also reiterated that they will require the mayor to explain in detail “what the money has been spent by the people of Malaga”, he concluded.

All Miró in his house

the large exhibition that the Miró Foundation has inaugurated this Saturday and that will remain open until March 25 next year, has cost three years of work by hundreds of specialists. Its logistics is so complex and delicate that few visitors imagine it when they see so much beauty concentrated in a building that was built so that Miró’s work speaks for itself. The idea came from Rosa Maria Malet, director of the Miró Foundation, who convinced the directors of the Tate Modern in London and the National Gallery of Art in Washington. “Miro’s friendliest work has been widely publicized, but we think that the time has come to show the world its political and social commitment, its indignation at wars and injustices, its Catalanness and its resistance against the dictatorship.” Malet speaks in the still empty rooms of the foundation, that the day General Franco died, he did not annul his actions and inaugurated an exhibition as if nothing had happened.

Designed elbow to elbow by the architect Josep Lluís Sert and Joan Miró , the beautiful white building was erected on the mountain of Montjuïc, with panoramic views over the popular, working and republican Barcelona. See those rooms as white and empty as when they were built is a unique feeling. “Every time Miró came without warning, he noticed how we had the blinds, because he was afraid that so much natural light would affect his paintings,” recalls Malet. The day the artist saw how Malet had ordered and cataloged his letters, drawings, notes and personal papers, he said: “You have stripped me.”

Part of those personal documents and preparatory drawings, which almost never appear to the public, accompany the exhibited works. This fund is indispensable for any specialist and scholar of Miró’s work. “As we are the only one in the world, our small and specialized foundation has so much international prestige that it makes things a lot easier when working together with major museums such as the Tate Modern in London, the National Gallery of Art in Washington, the Reina Sofía in Madrid, the Pompidou of Paris, the Guggenheim of the United States and with private collectors, “says Teresa Montaner , curator of the foundation and one of the curators of La escalera de el evasion .

For more than two years, Montaner and his team have dealt with invisible work.

For more than two years, Montaner and his team have dealt with invisible work.

“Make requests for loans to museums and collectors, wait for them to say yes or no, have prepared alternatives, locate the works in private hands … Then, the legal procedures and permits, because in state museums involved several ministries and administrations . We also control that the insurance policies are adjusted to the value of the works in the market and that cover all contingencies: damage, theft, disasters and natural disasters, in addition to the security requirements of each museum and each individual, “he says. . The diaspora of Miró’s work throughout the world makes everything difficult, because each country has its laws and regulations. That diaspora is explained because during the Second World War Miró only had one dealer in the United States and there many of his works remained. Later, he was a cursed artist in Franco’s Spain but admired and consecrated abroad.

Once negotiations and procedures have been completed, the most delicate operation begins, which is to coordinate transportation. Meanwhile, the exhibition team removes and stores the exhibited works to make room for those who will arrive. The rooms are painted, the lights are reoriented and false walls are raised so as not to have to move those large Miró tapestries that are the jewels of the permanent exhibition. Specialists and architects simulate the new exhibition in computers and mark to the millimeter the exact place where each painting will be hung and each sculpture will be placed. “

Where we temporarily wall the tapestry goes the triptych The hope of the condemned to death , which Miró painted in 1974, when the execution of Puig Antich. In this room will hang from the ceiling Burnt fabrics , which will be seen on both sides and are another example of his art more violent and outraged, “says the director. They also design the location of the panels and panels with the explanations of each work. Everything is planned, nothing can move one iota, and each change requires the permission of the owners of the works, which cede on the condition that they are displayed on that wall and not on another.

Another professional comes to that meeting and suffers. He is responsible for the exhibition department

Another professional comes to that meeting and suffers. He is responsible for the exhibition department

Jordi Juncosa . It depends on the most complicated and delicate, which is the planning, logistics, transportation, unpacking, placement of the works and repeat the entire cycle when the exhibition is over and go to Washington in March next year. “The most complicated are the transatlantic air travel and the customs regulations, ministries and various administrations. There is too much bureaucracy, officials and paperwork, “sentence.

In addition to suffering for any bureaucratic mishap, it coordinates special transports. “Transportation by land is easier. The trucks are sealed and have mechanisms that control temperature and humidity so that the works do not suffer sudden changes and their health conditions are the same as in London, New York or Barcelona, ​​”he says. These vehicles are equipped with special boxes with shock absorbers that absorb vibrations and carry alarms for detection and automatic fire extinction. As if that were not enough, “the packaging is made and painted with non-flammable materials that prevent the filtration of water, humidity and the formation of fungi”, adds Juncosa. The packaging of each museum has its own color . In the case of the Miró Foundation, it is that red so unique of the artist. Those of the Tate Modern are of a beautiful blue.

Each box has labels and codes that indicate how many hours later it can not be opened and if it must be done before the owner’s representative. “The works are distributed in several trucks to diversify the risk and up to a certain limit of the value of the frames that go in each vehicle. In each one, two drivers travel and the restorer of the museum or the individual who lends them “. Arrived at their destination, some boxes go to the reserve store of the foundation and others are arranged in the room where the works they contain will be exhibited. After the mandatory hours or days for the fabrics to acclimate, the restorer of the foundation and the representative of the owner intervene.

Then comes one of the most exciting moments.

Then comes one of the most exciting moments.

The workers, equipped with white gloves, unseal and open the boxes and disassemble the rigid polyurethane protectors. Then remove the foams, sponges, plastics and soft special fabrics that protect the canvases. Once this is done, each table is arranged with great care on the restoration table. Elisabet Serrat is the restorer of the foundation. Receive emails from colleagues in the Tate Modern and the National Gallery of Art in Washington. In the envelope there are very detailed conservation reports of each piece. Equipped with a magnifying glass with a flashlight, see every millimeter of each work. “The waves, the dust, the cracks, the old restorations …”, he enumerates. Record each detail in a general photograph, in more specific ones and in some sketches. “This is how the story of each painting , its travels and the museums it goes through is written.”

The protocol will be repeated in reverse when the exposure ends and each frame returns to its owner. “If there were any change, we would detect if it was originally, in the transfer or during the loan,” he says. As they are contemporary works they pose fewer complications than the old ones, “because with the passage of time all the oils are drying up and cracking. It is very rare that a painting comes badly of origin, because in this case it does not travel anymore, “he says. After signing the minutes of the state of each piece and filing the copy, check the room and the location points. “The environmental conditions, the temperature, the intensity of the light …”.

It’s the time for the truth. The person in charge of the exhibition gives the last instructions, and the workers begin to hang the painting. “They are specialists in fine work,” he says while holding his breath. There is a reverential silence among the specialists. But everything is so programmed and scheduled, that the operation lasts a few minutes. A tense relief goes through the room. “My work ends when the exhibition opens. I suffer, but it makes up for working with such beauty, “confesses the head of the operation. He is right, because the farmhouse looks splendid and safe.

It is one of the most important works in the history of art and comparable to a Da Vinci. Of such an incalculable value, it scares to hear the price stipulated by insurers. “In the United States and Great Britain, the State takes over and is responsible for insurance, but in Spain it only covers that contingency in public museums and the law does not include private institutions and foundations,” laments Rosa María Malet, who talks about art never talks about money. As he almost never talks about the time they stole Miró paintings that were happily recovered. Not one that was lost forever when the 1937 exhibition in Paris was dismantled. Nor of the tapestry that succumbed under the rubble of the Twin Towers of New York that fateful September 11.

The farmhouse is one of the great attractions of the exhibition.

The farmhouse is one of the great attractions of the exhibition.

It has only been three times in Barcelona and it will take many years to return. Miró began painting the painting in the summer of 1921 in Mont-Roig del Camp (Tarragona) and finished it the following year in Paris. It was when he went to the countryside, took off his shoes to feel the earth that gave him energy and painted natural. “It is a mythical painting that Miró mythologized even more because he always spoke about it and marks a before and after between his art with Catalan roots and his surrealist phase. Here is all his rural world and everything he loved: farm implements, the garden, tomatoes, a snail, an ant, some spikes … “, recites Malet while recalling the emotion of the painter, who only managed to see him in his city when he was already nonagenarian. Before it was his friend Ernest Hemingway, with whom Miró boxed in Paris. The writer bought it after a dice game for a ridiculous price because it was too big for the apartments in the United States. So much loved that picture, that a house in Havana was built identical to the farmhouse. Only death separated them, and his widow donated it to the National Gallery of Art in Washington.

The ritual and the reverential silence are repeated every time other works such as Cabeza de campesino catalán (1924), the series of Wild paintings (1936) or El segador , exhibited in 1937 in the pavilion of the Spanish Republic in Paris next to the Gernika de Picasso Or Tierra labrada (1923), which is said to never return to Europe. “We have combined the protest works with other more lyrical and poetic works to talk to each other,” says Malet.

That is why the famous Constellations and their emblematic stars contrast so much with May of 68 or with those three sculptures that the foundation almost never exhibits and they are titled Their Majesties . Convicted and confessed Republican, Miró made them with remains of agrarian tools in 1974, when the then princes of Spain were his neighbors in Mallorca and spent the summer in a house below the artist’s residence. Beyond, the torn series of lithographs Barcelona , which he made during the Second World War. There are only five complete collections in the world, and one is from the foundation.

With almost everything ready for the inauguration

With almost everything ready for the inauguration

the rooms welcome other foundation specialists who do those works that some visitors do not observe. This is the case of Magda Anglès, responsible for the edition of the catalog, which is published in Catalan, Spanish and English and written by several specialists in Miró. “But it is not a book for specialists, but informative, because we have included original documents, letters, unpublished writings and drawings of the foundation’s fund.

All this allows us to see that Miró was a city man, very methodical and very routine, who idealized the countryside, “he says. Its greatest difficulty has not been to ensure reproduction rights, but to translate the titles of the paintings into several languages. “In addition to the differences and nuances between Castilian, English and Catalan, when he titled his paintings in French, he resorted to surrealistic automatic writing, and we searched for translators specialized in lexicon and artistic vocabulary”. In terms of graphic quality, he has opted for photomechanical printing, which elevates it to the category of handicraft work. “We had not published such an important catalog for many years,” he summarizes.

When Miró created his foundation in Barcelona against all odds and in adverse political circumstances, he wrote

When Miró created his foundation in Barcelona against all odds and in adverse political circumstances, he wrote

“The foundation is an open door to the future, an international cultural exchange with my absolute faith that Catalonia will play a great role in the world of morning”. True to this legacy, the communication department launches a system of new technologies for visitors that until now has only been used in London and New York. They are iPads, iPhones and smart reading and QR reading systems that when they focus on each frame have access to images, texts and related links. “For this, we have negotiated with Wikipedia the updating of the texts on the works of Miró and a system that recognizes the language of each mobile and translates them automatically,” says Mercè Sabartés.

The pedagogical department also develops specific activities for the schools that visit the exhibition. And another department prepares a sample of the protest posters that Miró made during the last years of the Franco regime and that will be seen in the Museum of History of Catalonia. All this is complemented by a guided tour of Miró’s Barcelona. This route, which can be traveled on foot or by public transport, passes through his home, his school when he was a child, the drugstore where he worked as an accountant, the academies where he studied and was forged as an artist, the first gallery where he exhibited …

Everything is in the heart of the historic and ancient city, from which he took so many natural notes.

The visit continues through the Gran Teatro del Liceo, where he went with his friend and composer Frederic Mompou. And for the historic Siete Puertas restaurant, which they then went to dinner with their wives and where they keep their favorite menu, the table where they sat and displayed drawings and dedications that Miró made for the establishment. Another unique space is the Majestic Hotel, where he stayed and, while his wife was taking a nap, he relaxed in a living room in front of a painting by the modernist Modest Urgell. Do not miss in that visit the mosaic he made on the Rambla “to welcome those who arrive in Barcelona by sea,” he said. Neither the great sculpture Woman and bird that raised “to welcome those who arrive by land”. Nor his mosaic at the airport “to welcome those who arrive by air”. Now, Barcelona welcomes that universal artistic heritage that has arrived by land, sea and air.

The citrus smile: about tangerines, oranges, clementines and others

The citrus smile: about tangerines, oranges, clementines and others

 Tangerines, oranges, clementines, grapefruit, etc., we are again in luck with this temporality … you know some things are going (but will return) and others arrive ; and now begins the moment of citrus (among many other foods of autumn and winter)

For those who enjoy a good table, I do not know any more absurd question than those of the type which is your favorite dish and, in this case, your favorite fruit. At least it happens to me, that I am unable to give one, not even a dozen … at its point of ripeness, all the fruits seem exquisite . But it is also true that for oranges and citrus in general I have a particular predilection, I think I like everything I know or smell of orange, lemon, and so on. I like the citrus-inspired colonies, my daughters have a beautiful story called ” the beautiful mandarin ” and I enjoy as a dwarf of desserts and recipes that either roughly or more elaborately incorporate this type of elements (dark chocolate with orange , bitter orange marmalade of cachorreñas oranges , salads with orange or tangerine , baked loin with orange , etc.).

 

Juice vs. fruit.

<strong>Juice vs. fruit.</strong>

One of the most recurrent questions regarding these food items is whether a juice equals a serving of fruit , especially when it comes to oranges, which is the typical “juice” fruit. And the answer must be clear: NO . Let’s see why:

When you make a juice you use about three oranges (I know, it depends) and you drink in half a minute the calories of those three oranges while leaving much of the fiber in the juicer. However, when you eat orange, you eat one , with all your calories but no more , you take more time to do it than drinking a glass, which favors the increase of satiety and also you get all your fiber with all your Benefits. So, the juice, even if it is “natural” and made from fruit, is not fruit . For more reasons on whether a fruit juice equals a serving of fruit, I suggest you take a look at this GREP-AEDN positioning document . And since we are what contrasts in this link (and a shit fruit! ) The usefulness of those preparations that are sold especially for children and that supposedly equate to a serving of fruit.

 

Vitamin C and colds

Image result for vitamin c and cold

Another idea quite well installed among the general population is the fact that citrus fruits prevent or minimize the flu and catarrh processes, thanks to their contribution of vitamin C.

With this nutrient as the center of attention and the issue of colds and flu have been published countless scientific studies in which the vast majority do not observe these preventive benefits and, a few, it seems that yes. Fortunately, in a recent meta-analysis on this issue ( Vitamin C for preventing and treating the common cold ) whose conclusions are the following:

The failure of vitamin C supplements to reduce the incidence of colds in the normal population indicates that prophylaxis with mega-doses of this vitamin does not rationally justify its use in the general population . However, the evidence also shows that its use could be justified in people exposed to intense physical activity in cold environments for brief periods of time. […] Those studies in which vitamin C was used at the onset of colds as a possible therapy showed no benefit at doses of up to 4 grams per day [of vitamin C]. However, in a large study in which therapeutic doses of up to 8 grams were used, it showed positive but controversial results on this possible use at the onset of symptoms

Note 1: To give you an idea of ​​how much higher there are 4 and 8 grams of the intake recommendations for the general population regarding vitamin C, suffice it to say that these recommendations are specified at 75 and 90 mg / day.

Note 2: In any case, whether you have a cold or not, it is still more convenient to take an orange (or an apple or a persimón or …) than, say, a Swiss muffin.

In summary

There is no need to promote the consumption of fruit using for this the claim of their isolated nutrients, which would not stop being an expression of the well-known nutritionism .

The benefits of including an adequate proportion of fruit in our daily diet are more than contrasted to the point that, for example, WHO figures in 1.7 million deaths in the world directly attributable to low consumption of fruits and vegetables.

My advice is that to achieve that adequate consumption, that you resort to seasonal products , and the reasons are clear: these products are cheaper than at other times of the year, they gather all their best sensory qualities (they are richer) and you learn to follow a healthy variety without falling into boredom .

To de-stress a little with so many deaths and so on, I leave you with a hilarious monologue by Luis Piedrahita (like all yours) in which he starts wondering if the oranges are named for their color, or if the color “orange” “It is named for the color of oranges, and ends up raving on the skin of tangerines. A kind of what was before if the egg or the chicken but an orange-hilarious color.

If you want, before giving the “play” I suggest you go for some tangerines, or for an orange, and enjoy the double while you see it.

About thirty detainees and charged in a macrorredada by detours in the Diputació de Barcelona

  • A fraud in subsidies in the matter of international cooperation is investigated through different entities for a minimum value of two million euros
  • Macro police cooperation in Catalonia, latest news live
About thirty detainees and charged in a macrorredada by detours in the Diputació de Barcelona

The Economic and Fiscal Crime Unit ( UDEF ) of the Police and the Anticorruption Prosecutor’s Office launched a macro-operation this morning against the Diputació de Barcelona . The cause is open for the crimes of embezzlement, prevarication, negotiation prohibited to the public official, falsehood and fraud in subsidies destined to international cooperation between 2012 and 2015. Fraud in subsidies is investigated through different entities for a minimum value of two millions of euros .

At the moment there are about thirty detainees and accused , as confirmed by the Zoido Minister, among whom is the president of the CATmón Foundation Víctor Terradellas ; the former director of International Relations of the Diputació de Barcelona, Jordi Castells ; the mayor of Tordera, Joan Carles Garcia Cañizares; and the former mayor of Martorell and former president of the Diputació de Barcelona, Salvador Esteve . Zoido himself has ruled out for the moment that the diversion of funds is related to procés pro-independence.

In the framework of this case, which is secret, the magistrate has agreed to the practice of 20 entries and records in professional offices, offices, homes and businesses (including the Development Cooperation Office or the headquarters of the CATmón Foundation) located in Barcelona, ​​Manresa, Olot, Tordera, Cambrils and Reus, among others. To ensure the execution of entries and records, the police will make about thirty arrests. Nearly 500 police officers participate in the device.

The Court of Instruction No. 1 of Barcelona has been investigating a framework for more than a year for which a minimum of two million euros would have been defrauded through irregular subsidies in the field of development cooperation with countries in Latin America, Morocco or Bosnia , among others, from the Diputació de Barcelona through various entities between 2012 and 2015. The money defrauded was intended to provide technical assistance to developing countries, but did not reach its beneficiaries.

The headquarters of London Street in Barcelona, ​​where the services of legal assistance, international relations, the betting board and real estate management are, is one of the main points registered by the agents. In the Rambla de Catalunya building members of the UDEF interrogate Joan Carles García Cañizares , who is assisted by the lawyer Xavier Melero. In addition to mayor of Tordera, Garcia is also deputy delegate of Finance, Human Resources, Processes and Information Society and, formerly between 2011 and 2015, he was direct of International Relations of the Diputació de Barcelona.

As detailed by the Ministry of the Interior, among the irregular grants stand out those received by the not-for-profit entities CATmón and IGMAN. Only these two entities perceived between 2011 and 2015 more than 10 million euros from various Catalan public bodies, including the Diputació itself, so it is suspected that the fraud would be much higher .

Complaint for fraud

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The Diputació de Barcelona , chaired by Mercè Conesa, is not the first time it has been put in the glass for alleged subsidy fraud. Precisely, two years ago the CUP denounced to the Anti-Fraud Office of Catalonia that the Diputació de Barcelona had granted subsidies for development cooperation to companies and employers through contracts without advertising or competition, at least for one million euros.

The irregularities they denounced are focused on the granting of funds that supposedly had to be dedicated to international cooperation but that were allocated, between 2012 and 2015, to employers and companies that did not have previous experience in development cooperation and that would be in process of internationalization or conquest of markets in poor countries, especially in the Maghreb and Latin America.

Jordi Castells resigned in 2015 as a result of accusations in the press of having distributed more than one million euros of development cooperation irregularly between private companies and non-profit entities. In addition to the allegations of the CUP and the CGT union, there were also other anonymous complaints.

The president of the Diputació de Barcelona, ​​surprised with the operation

Image result for ​​Mercè Conesa

The president of the Diputació de Barcelona, ​​Mercè Conesa, has confessed in RAC1 that they did not know anything about this operation and that the news in the media has caught them by surprise: “We have no idea in what sense the request can go of files they will make. ” Conesa does not see “any reason to stop me” and considers it a “media shock to show that Catalan institutions are not clear water”.

The Bank of Spain warns that a bank tax would reduce credit

The Bank of Spain warns that a bank tax would reduce credit

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Throughout this week, both the banking association AEB and the main entities (BBVA, CaixaBank and Bankia) have categorically rejected a tax that would be used to finance the pension deficit. Alonso opted to seek a “global” solution to the problem of pensions and not do so “sectorally”. Alonso came to warn that if an entity is not profitable recurrently, it is a “problem”, and recalled that it does not want to return to situations of the past, in reference to the bank rescue.

The supervisor warns of fraud and the speculative nature of the cryptoactives

On the other hand, the deputy governor avoided commenting on the information published on the investigation being conducted by the National Securities Market Commission (CNMV) about possible irregularities in Banco Popular’s 2016 accounts. According to Expansión, the CNMV detected “inaccurate data or not truthful or with misleading information or that omits relevant aspects “in the report of the accounts of 2016. In the same course, the president of the CNMV, Santiago Albella, declared that” it is a matter to which I referred in an appearance in the Congress in January. ” Albella added that the institution acts whenever it sees irregularities and recalled that it can lead to “very serious” infractions.

Both the head of the Bank of Spain and the CNMV referred to the rise of crypto-assets and cryptocurrencies. These are financial assets or currencies (such as bitcoin) that use blockchain technology (block chains) to operate. As the Bank of Spain has already done on several occasions, yesterday the deputy governor insisted that these types of assets have “a markedly speculative nature, without the backing of supervisors and susceptible to being subject to fraud or price manipulation.” Alonso added that “it is worrying that, in a context in which less than half of the population understands the concept of compound interest, there is such a demand for complex assets of these characteristics”.

Alonso also referred to a study on savings that states that “the second most common method, behind the current account, is money in cash, even in the highest ranges of education and income.” That same study reveals that 38% of respondents save in cash.

The CNMC wants to unify the regulation of tourist apartments

In addition, the CNMV denied that there is any advanced project on the table of a Spanish company to launch a cryptocurrency or cryptoactive. According to Albella, of the ten companies that have approached the agency to market one of these new alternative assets, among them, he quoted Nostrum, no one has completed it, adding that there are only a couple that seem reasonable. He also revealed that all these companies were told to explain the project to the CNMV. “There are people who say they are delighted and then do not return and others who say they are going to Switzerland and then there is no trace in Switzerland,” he said. Albella referred on several occasions without citing it to the project of the food chain Nostrum that has announced that it will commercialize a token-type cryptoactive system in its English terminology (Spanish vouchers, in Albella’s words). The president of the CNMV said that “the distribution of cryptoactives made on the basis of the Swiss regulator, Gibraltar or Malta” must go through “certain procedures” in Spain.

The course was also attended by the president of the National Commission of Markets and Competition (CNMC), José María Marín Quemada, who revealed that a work commission has been created with some regional and local administrations to unify the regulation on apartments tourist. Marín Quemada said that it is important “to have regulations that are as similar as possible throughout Spain”. He insisted in any case that this new regulation must force compliance with tax, labor and also security obligations. For Marín Quemada, it is a concern for the regulatory body that there is no harmonization in this new activity. In relation to other activities such as the regulation of new transport systems through VTC licenses, Marín Quemada stated that it is positive that competition increases.

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