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MARIN, RY 2003
OTHER TEACHING OF ART EDUCATION

This text tries to convey the complexity of a good education for arts education specifying the changes it has had throughout history, which affected education in changing the way schools teach methods such as drawing. We

transmits the work involved the construction of an image or object role of the artist to build their visual and artistic work, whether in the arts of design, painting, ceramics and sculpture. All these are different areas of art which requires a concept of material and processing time, all this thinking about his role .. We cite
six stages of evolution:

Plantón and Aristotle, philosophers who gave us an orientation in antiquity arts education in schools, mentioning the drawing as teaching excellence for life.
It shows the change in the concept of teaching in the Middle Ages be had, giving more importance to material and function on media taught in workshops. These were called handicrafts since built their own working materials for the execution of works with an aesthetic concept not in the end after they had, but with a functional concept.

Before imparting art education in schools generally for it, just existed and more schools Renaissance drawing, which highlights the artist Vasari, who promoted this school. All instruction was aimed at drawing as essential to the art. Focused on the copy of sculptures, sequenced parts of the body by facilitating its implementation to make drawings to more complex natural character.
This makes the drawing SXIX considered the primary area art schools, causing the problem of teaching drawing to the population, which is required for new industries
Art aesthetic and descriptive technique come together to form the concept dibujistico.

Pestalozzi is the author of one book for children according to art education in the drawing, which supports the idea that you should familiarize freehand drawing, not through facilitators utensils ello.Esto synthesize a better perception visual and learning. Friedrich introduced the idea of \u200b\u200bdrawing and manual methods in the second half of the century were provided to primary schools.
also found a new way of looking at children's art in SXX half, where diagrams and doodles were considered a different way of seeing reality and the world at large, giving to understand the minds of children through their own drawings, abstraction, cubism are synthesized and similar movements that art form child of which we speak.

In the Second half of SXX there is a path from self-expression to the art and discipline education, giving more importance to the student transmitter sensitive feelings, apprentice at the same area. All this comes to a student has to face the future art world, learning to be an individual transmitter of ideas and feelings through his work. That is why I conclude that the goal of good art education would be the student's creative capacity, formulating questions and making you think to yourself, since many teachers today are those same problem solving without thinking and research, essential where reflection and research, the resolution and production of issues make the student a better person.

occurs also the creation of the agency (UNESCO), the highest rise in education where I get to create the organization's most important art education at the international level (INSEE). One of the most important was when in 1955 adopted arts education in primary and secondary where the primary was based on free expression, considering the visual language and art as a form of knowledge.

Of all the projects the DBAE, discipline based arts education aims to develop knowledge to appreciate and value art, and I think is the most successful because it is based on a number of criteria that are essential for good education, must have both a broad agenda encompassing aesthetics, art criticism, art history and art forms (drawing, painting, ceramics, sculpture and architecture), and creative ability.
also agree with the assertion that works of art should occupy a central to this discipline, I think his study is part of the story and that is part of our past and future of art that we must not forget.


PROS AND CONS OF STAGES:

affinity WHAT REMAINS WITH DIFFERENT VIEWS DEVELOPED ALONG THE ART EDUCATION?

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the end of art, Danto.

In this paper, we question the art Danto is to come, assuming it still exists in the future and say his death coming. Open fields of art such as works and your future perception, the music, dance and many other arts, considered at this time, unimaginable in times past because it could not be seen as art in the past for lack of precedents.
There are thousands of possibilities for change, but is considered a highly innovative work coming in, will always have something older that makes us think about his past.

Referring to Hegel's thesis, firms and supposed death remains an art, and there are doubts about its future as an example by putting `` source''of Duchamp, nobody would say that in the past a simple urinary considered one of the most widely spoken art history and commentary.

caught my eye a phrase, I would say that in context all that today there is something that makes us remember the past, is that''nothing outside its own time as the incursion of a time in your future.
If we try to think of something future, will always be a reconstruction of what we see, observe and know. is that in the future will we be a reflection of what really went?. Danto
art as serious in the future would show only a mirror reflecting our image of what we already know.

Technological advances are one of the causes of the changing world, and art generally, reaching change. This is one of the reasons for the death not the same as someone will do something different, new, create, or not based on antedecentes earlier, because art makes history as the film
with new films created through games, such as science and medicine creates new curative drugs.

Personally I found it monotonous reading of it, actually established on the death of art, and I'm not seeing anything sane in the radical assertion that makes Danto.
How can you say that art has died before, that we who are evolving entities, but at some point cease to exist. I think the story will never die like the film, dance, philosophy, science, art is the aesthetic and historical knowledge of evolutionary change.

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FIELDS OF SPAIN / INGLES







FIELDS OF SPAIN / INGLES FIELDS

When the devastation of livelihoods and ecological balance takes the measure of progress, make a gesture like this is just anecdotal. I open this series
FIELDS OF SPAIN title to define the show of appearances.

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TIME MORNING:


Abbott, Alan Edgar Almanza Lisandro 8

Angaroni Appeal, Juan Ignacio 7
Angelillo, Magdalena Appeal Angelini
Korn, Lara Maria Appeal
Antonelli, Luciana Lozano Emiliana 7
Arancibia, Edith 8
Otilia Arca, Horacio 7
Areta, Pillar 6
Ascheri, Solange Nazaria 7
Asensio, María Cecilia 8
Ayaviri Pedraza, Johnny 7
Aybar Lucas Sebastian 7
Barraza, Delma Barrera
Appeal, Emmanuel 7
Barrios, Jorge Diego
Benialgo 7, Angels 6
Berry, Alin Towie 7
Birrittella, Ana Valeria 7
Biscardi, Juan Nicolas 7 7

Mariana Bobbio Bologna, Maria Paula 8
Cabrera, Heidi Kimei 6
Castiglioni, Agustina 8
Casu, Sebastian 6
Ceccarelli, Pablo Alejandro 7
Cherry, Silvina Alejandra 7
Columbro, Paolo Appeal
Neck 7
Franco D'Alessandro, Franco 7
Daguerre, Renata 7
Daneri, Sofia Julieta
Appeal Charras, Leonel 6
source 8
Mariano de la Fuente, Luz 7
del Castillo, Belen 7
Alumine Delmas, Phaedra 6
Diaz, Juan Mauel 7
Nahuel Domenica 7
Duran, Claudia Laureana 7
erbette, Irene 8
Ervin, Manuel 8
Damian Falco, Falcon
Pillar 8, Dew Action
Falivene, Nele 7
Naomi Felice, Paul Ezekiel 7
Ferrari, Ana Victoria 6
García Castro, Pamela María Rocío García
Jazmin 6 6
Gardinetti, James Garritano
8, Bruno 8
Ayelén 7
Micaela Gonzalez Gonzalez, Ricardo Walter Recursa
Gorostidi, Clarisa 6
Greco Caporella, Julieta 7
Gualtieri, Diego 8
Haidar, James Aylen 7 7
Herradon
Fajardo Herrera Edwin Herrera Recursa
Hungle, Felix 8
Juncos, Federico Daniel 8
Lazzari, Alan Gaudencio Recursa 8

Lorusso Agustina Lima, Gustavo Appeal
Losada, Luis Paula Macarena 6 6

Mancini, Mauro 7
Martinefsky, 7
Magali Daiana Martinez, Maria Martinez Melina 7
, ma Pillar 6
Martiniau, Maximiliano 7
Massimino, David Ezekiel 6
Masson, Juan Pablo Meana 8
Maresca, Julia 7
Minervini, Federico Molina
Pessagno 7, Maria 6
Nieto, Barbara Nigro Ayelén 6 7

Nocelli Salazar, Giuliana 7
Olivera, Juan Manuel Appeal
Orazzi, Ignacio Nicolás 6
Pagani, Natalia 7
Paglioni, Gonzalo Martin 7 7

Pavon Pavon, Maria Florencia Paz David 7 7


Perazzo Fabrizio Piana 8 7
Agustin Pinedo Augustine 7
Plantamura, Joaquin 7
Ponce, Juan Martín Appeal
Remon, Natalia 8
Rivas, Ma 7
Paula Rodriguez, Franco Appeal
Rodriguez, Jose Pablo 8
Rodriguez, Pablo Ivan Appeal
Rosales, Emmanuel Dario Appeal
Saibene, Maria Lucia 8
Sanchez, Julieta 8
Scasso Federico Suarez Hurevich
Appeal, Federico 7
Toledo, Matias Ezequiel Appeal
Traversa, Florence 8
Ventre, Gonzalo Ezequiel 7
Vignoli, Martina 9
Witon Lorena, David Leandro Appeal
Zaldivar, Juan Manuel 7
Zavari Federico 7
Zorrilla, Pablo Damián Appeal





NIGHT TIME:


Plains Lasala

Acevedo Diaz, Leandro				8
Aguero, Martin				6
Aillapán, Fernando Ariel				7
Ayala, Darian Ezequiel				7
Balerdi, Lucia				6
Bella, Nicolas Gonzalo				8
Belza, Martin				7
Benavides, Francisco				7
Berghella, Emily Glass				7
Bernatene, Manuel				7
Bonilla, Maria Jimena				6
Bravo				Appeal
Buzurro, Matias				7
Cordoba, David				7
Daneri, Sofia				Appeal
Del Barrio, Maria Emilia				7
Demarco, Luis Fernando				7
Disiervo, Miguel Seb.				7
Echenique, Agustín				7
Figlioli, Maria Laura				6
Fonseca Suarez, Diana				7
Galvez, Paula				7
Garcia, Mariano				7
Garcia Barros, Julian				7
Ghiglione, Jennifer				7
Greco, Ayeray				8
Herrero Fiorucci, Ornella				6
Laborde, Natalia Celeste				8
Lopez, Francisco				8
Lopez Puertas, Arturo				7
Lorenti, Sofia Erica				8
Luna Castillo, Alex.				6
Marinelli, Nicholas Jose				7
Martinez, Jose Fabian				7
Morera, Salvador				7
Pompeu Mayer, Ricardo				6
Portillo, Alejandro				Appeal
Reale, Santiago Andres				8
Rostan, Mariano				8
Roverano, Ariel Ignacio				7
Acosta Sanchez, In.				9
Sartor, Mercedes				7
Sayt, Ana Manuela				8
Sivero, Cristina				8
Turchet, Maximiliano				7
Ugalde, Maria Clara				7
Valenzuela Cortes, Marg.				7
Velozo, Paula Ines				6

............................................. .................................................. ..

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Endnotes LINK ASSEMBLY PROGRAM INCLUDES 1 & 2 Partial Bibliography Notes

http://sites.google.com/site/montajeyedicionunlp/home/programa-de-montaje-1-y-2

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the 1st Domiciliary Domiciliary Partial Delivery

Morning Shift: Jasmine Mary



Paula Luis García Recovers Naomi
Recover Recovers Falivene

Pilar Jose P. Areta Recovers Rodriguez Juan Manuel Murillo Retrieves
Renata
Daguerre Zaldúa 6 6
Juan Nicolas Biscardi 9
Macarena Losada Cabrera Heidi
Recovers 6 (?)
Barbara Nieto 7
Angeles Benialgo 6
Ayelen 6.5
Maria Nigro Fr Martinez 6 (?)
Johnny Ayaviri 7.5
Light Source 8
John Paul Masson
Gian F Perasso 9.5 7 9

Agustina Paul E Castiglioni, Felice 9.5
Federico
Lucia Antonelli Zavari 9 9 6

Clarisa Gorostidi Herradon Aylen 9.5
Cherry: 9
Minervini: 6
Martinefsky: 9
Diaz, Juan Manuel: 6
Piana, Paul: 8
Birrittella, Valeria: 9
Vignoli, Martina: 10
Durán, Claudia: 9
Ervin, Damien: 10 Nocelli
Salazar: 9
Pavón, Juan Martin: 10
Rivas, Maria Paula: 10
Barrera Delgado, Emanuelle Sebastian: 8
Lima Berto, Agustina 9
Neck 8
Gardinetti Franco, Santiago 10
Traversa, Florence 9 9
Julieta Sanchez
Mancini, Mauro González
9.50, 8.50
Micaela Bologna, Maria Paula 9
Orazzi, Ignacio
6.50 Saibene, Maria Lucia 9
Paglioni, Gonzalo Pinedo
9.50, 9.50
Cecarelli Agustín, Pablo 10
Pagani, Natalia 7
Asensio, Maria cecilia 9 9

Lozano Herrera Arancibia, Felix 9
Delmas Fedra 7
Lisa Almanza Plantamura Joaquin Retrieves
10
Remon, Natalia 8
Gualtieri, Diego 9
Greco, Juliet 8
Arca, Horacio 8
David Witon Retrieves
Santiago Haidar 8
Juan Olivera Recovers Rocio Falcon Retrieves

Nazaria
Ascheri 6 6
Julieta Meana M. Maresca 6.25 Pessagno Eugnia
Federico Molina Suarez Hurevich Recover Recovers

Alan Lazzari E. Matias Toledo Recovers




Night Shift:


Acevedo, Leandro: 9
Aillapán, Fernando: 8
Bella, Nicholas: 9
Belza, Martin: Recovers
Benavides, Francisco: 7
Berghella, Emily: 9
Bernatene Manuel: 7.5
Buzurro, Matias: 6
Cordoba, David: 8.5
Del Barrio, Ma Emilia: 8
Disiervo, Miguel: 7
Echenique, Augustine: 7
Figlioli, M. Laura: Retrieves
Galvez Plains Paula: 8
Garcia, Mariano: 6
Garcia Barros, Julian: 7
Ghiglione, Jennifer: 7
Greco, Ayeray: 9
Herrero Fiorucci, Ornella: Recovers
Laborde, Natalia: 9
Lasala Lopez, Francisco: 9.5
Lorenti, Sofia: 9.5
Luna Castillo, Alexandra: 6
Marinelli, Nicholas: 6
Martinez, Fabian: 7
Morera, Salvador: 6
Pompermayer: Recovers
Reale, Santiago: 8
Rostan, Mariano: 9
Roverano, Ariel: 9.5
Sanchez Acosta, Emmanuel: 9.5
Sartor, Mercedes: 6
sayto, Ana: 7.5
Siver, Cristina: 9.5
Turchet, Max: 7
Ugalde, Ma Clara 6
Valenzuela Cortes, Margot: 8
fast, Paula: 8



................................... .................................................

What Illness Do Pirates Have

Guide 2010

Partial Household Guide:

Choose a

filmography movie chosen by the group or other group and subdivided in the format of Partial 1st year house:

1 - A scene of alternative or parallel mount (justifying why it is alternate or parallel assembly as appropriate)

2 - A scene or sequence of dispute indicating which is the general conflict of the film and what the conflict is part of the scene or sequence chosen.

3 - A scene transition indicating that the information is more important than the apparent conflict if there is possible doubt and the transition sequence analysis.

4 - In his opinion which of the three types of script the movie belongs to choose from: external conflict? Internal conflict? Or conflict of expectation? Theoretically justify this classification according to the criteria given in class or as the book of Mc Kee.

5 - What is relationship between the rate (the succession of important actions, not slices) of the scene or sequence chosen and conflict (in case of conflict stage)

That relationship is between the illusion of time step or succession of important information (in the case of scene transition) and the rate of assembly?

In that case the rhythm is more important mounting external (generated by the succession of courts)?

6 - Define the following concepts: Ellipsis. Scene. Sequence. Plot Point and Time-scheme of a classic movie (external conflict to the viewer).

7 - Find a flashback scene in the movie or racconto analyzed. Specify Time code

Note: The Chair suggests that conflict choose classic movies. In case of choosing one belonging to the other types of script that there psibilidades sequences or scenes chosen not comply with the conceptualizations developed in class.

All entries must be submitted with a copy of the film attached or clarifying that Time Code of the film is scenes or sequences analyzed.

5 APRIL

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ASSEMBLY SCHEDULE 2 - CHANGES IN YEAR 2010



Class 1 Review on types and is cutting factor:
As this differs from factor factor of continuity or sense.
Courts and other links. Different factors
Court between shots in a scene. I argue in Part
Household.

APRIL 12 Class 2

what I argue is a look and its importance in the field of editing. That allows us to relate, beyond cash. I raise the TP1


APRIL 19 Class 3

What is rewritten in assembly, examples. Iron man, other examples of short films.
.

APRIL 26 Class 4 Delivery
Looks Part 1 TP1


MAY 3 Class 5
types of sequences and cinematic scenes typical from the point of view of the assembly. As identification.

MAY 10

Class 6 Delivery TP1

Looks Part 2 MAY 17

Class 7 Type of Script: Examples. That is esctructura narrative and how this relates to the assembly. Relationship between assembly and script.

MAY 31 (assuming that 25 holiday is going to Monday 24)

Delivery Class 8 Part 3
Looks TP1 to TP2
I raise
7 JUNE

Class 9 Parallel and Alternate assembly. Examples. History of Assembly 1.


JUNE 14 Class 10
TP1 Retrieval Delivery writings. TP2 Delivery
Alternate Mounting a

JUNE 21 (if not passed the holiday to Monday)

Class 11 Partial Class home consultation.
structure and temporality. Types of narrative scenes and film sequences.
function of the scene in the narrative plan. Relationship between this and the time duration of the scene in the style of movie.


JUNE 28 Class 12 Mounting TP2
Alternate Delivery 2

JULY 5 (if not passed the holiday to Monday)

Class 13 First Date Part home delivery (with the option to recover)


JULY 12 Class 14 Mounting TP2
Alternate Delivery 3


JULY 19 Class 15 Class
partial inquiry on the house.


JULY 26 Class 16 (Class jointly)
Delivery of lecture notes. Partial Recuperatorios delivery of home.

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REGULATION ASSEMBLY 2-YEAR 2010

REGULATION CHANGES IN YEAR 2010

The rules:

In assembly 2 becomes practical to have 2 jobs instead of 3. The first presentation is
without written and oral group. The note will be put on the spot.
The TP is written Recuperatorios individual. Partial Household
The work is not practical. 1 is retrieved only once and should be delivered out of the due date happens to be directly Recuperatorios. The Partial Household
is individual.

ONCE SET DATES AND PUBLISHED IN THE BLOG ARE ENDURING.
TO THE STATEMENT OF PRACTICAL WORK ARE ADVISED TO ADVANCE THE ORDER OF EXPOSURE TO EACH OF THE GROUPS.
IF YOU DO NOT PASS TO EXPOSE Recuperatorios DIRECTLY. Change

making these : After the First Class, in which patterns and shifts Groups (half of the students for each shift), shall draft class to class lists will be signed by students, and will recheck the end of the class.
A student visa is not in the two moments is absent.


PRACTICAL:

Investigation 1: Scene dialog and looks.
With the material provided by the chair should set up a telepathic dialogue or a scene of dialogue where the voices of the characters but the characters do not move the mouth. There can be a voiceover scene or character inner voice.
should apply the rule of the axes or not to apply it to tell why not implemented. Attention should be paid to the rhythm of the scene according to the dialogue is invented for the characters. You can not have music. But keep the rest of the bands: Dialogues, environments, Folley and well mixed effects.
The presentation must have at least 2 versions of assembly. A male character closer and closer to another female character. Practical Work

2: Scene
alternate mounting. Delivered 3 versions of the scene made out of material provided by the chair.
In version 1 is the story of the male
In version 2 of the female character
In version 3 assembly is practiced alternate between the two scenes.
Attention is given to the links used to connect by mounting the two scenes alternate and general rhythmic sequence mounted on alternate.
must have these three versions of the four music soundtracks.
A fourth version can be musical, but not required. The first 3 versions they are.




HOME STAY:
Based on the notions of narrative structure and function of a film fragment to be analyzed formally: a sequence, a scene transition, a scene parallel or alternative mounting the films drawn provided by students. Partial
The house will guide made shortly to be published on the blog.
You can refer to the same stylistic features editor in other movies and make connections between films, but without deviating from the movie targeted for analysis. Work is written
individual.
The three types of narrative units may or may not belong to the same film, but never can be chosen from a film outside the films.

ASSESSMENT METHOD AND PARTIAL TP
The work not done according to guidelines are disapproved automatically without exceptions.
If that condition is met, an evaluation of the depth of analysis and reflection about the resources used to mount the stage or enter the work depending on whether partial or practical work.
In case of TP 1 is evaluated using the rhythm as a function of start and end of the dialogue. It will also assess how to use the planes in terms of presenting the situation as clearly and use countershot and establishment level.
In the case of TP2 assess the rhythm in each version, the treatment of the issue between shots. In the 3rd version should be correctly used the moments of possible link between one scene and another, prepared from the film .- should be given equal importance to both characters (using rhythmic or duration of the action plan or to be used for that purpose)
The partial house should be a demonstration of the use of terminology in the assembly, well applied to each sample and quoting reference bibliography.

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Courses 2009 Endnotes ENDNOTES

TIME MORNING


Raineri resource Stichi resource resource Free Free Free resource Peterlin 7 Free Free 7 Free Free Hurevich resource Free

Alvarez, Francisco	7
Amengual, Ana	7
Arau, Lisandro	7
Asensio Cecilia
Avellar Mercon de Vargas, Raphael	7
Boats, Mariela	7
Benitez, Emanuel	7
Bertolini, Paul	6
Capra, James	7
Carrizo , Sergio E. 7
Castillo, Ignacio	6
Casu, Sebastian
Chocobar, Esteban	8
Colombo, Thomas	7
Cozzolino, Gerardo
Crha, Marcela	6
Dagatti, Natalia	7
Daguerre, Renata Free
Daneri, Mariano
Flores, Natalia	7
Funes, Silvina Edit	7
Galán, Lucas	7
Garcia Barros, Julián
Garritano, Bruno
Gaud, José	7
Gazzano, Lautaro	7
Gimenez, Maria Celeste	7
Gramajo, Matias	7
Guido Lavalle, Nicholas
Greco, Ayeray
Huerta, Pablo	7
Jalil, Lucia	7
Juárez, Ayelén	6
Leiva, Natalia	6
Letelier Cabrero, Marianella	7
Marchetti, Rocío	7
Martinez, Federico
Mercado, Noel	7
Muñoz, Rubén	6
Musolino, Ana	7
Noriega, Pablo	7
Ordoñez Maria Paz	7
Perez White, Maria Eugenia	7
Périgo, Maria Antonela	7
Petti, Aimé	7
Provost Camila	7
Raffaele, Franco
Ramuzzi, Paul	6
Reden Medrano, Valeria
Rodriguez C, Jonny
Rodriguez, Franco
Rodriguez, Juan Matias	7
Simonetti, Mauro
Suarez, Federico
Valerio, Miguel	7
Ventre, Gonzalo resource
Vita, Antonella	6
Vonscheidt, Constanza	7
Zorrilla, Pablo

NIGHT TIME

resource resource resource resource 7 resource Free Nesse resource resource Free Banking 7 7 Alfano, Rocío Antunez, Carlos 6 Aragon Alexandrina Maria 7 Aristimuño, Rodrigo 7 Arp, Paul Damian 8 Bachiega, Julia 7 Bianco, Laura Sofia 7 Biscardi, Juan Nicolás Bobbio, Mariana Buzzurro, Matías Carro, Michelle Evelyn Cedola, Tobias 8 Tops, Daniel Libre Civello, Franco Clemente, Joao Paulo Consoli, Maria Luz resort Cubas, Daniel 6 De Meo, Jeremiah 7 Dell `Oro, Tatiana 7 Duo, Shuel 7 Echenique Agustin resource Espil, Inés 7 Fernández, Pablo resource Salvador Figueroa, Daniel Frias, Gisela 7 Gomez, Mauro 6 Grennan, Juan Agustín Lair, Valeria 7 Iriarte, Pablo Lleral, Juliana 7 Mamberti, Florence 9 Manque 8 Mayorga, Joaquín Olaciregui, Agustina 7 Orovitz, Matías 7 Paloma, Ignacio 6 Panella, María Agustina 7 Polo, Juán Joaquín 9 Resenido, Aretha 7 Ridao, Carolina 8 Rodriguez, Gastón G 7 Rojas, Tomás 6 Romaniuk, Damian 8 Ruiz, Nicolás 7 Ruscuni, Florence 8 Scattini, Sofia 7 Silicz, Daniela Ivana Tapia, Javier 7 Vallega, Barbara 8 Vargas, Elisa 7 Vásquez Ocampo, Andrea 9 Vido, Juliana 6