German bondholders versus Argentine dinosaur’s owners
From: Josemsanz
Date: 7:55 AM
http://forums.about.com/n/pfx/forum.aspx?tsn=1&nav=display&webtag=ab-dinosaurs&tid=36
Tags: Argentinosaurus huinculensis, Plaza Huincul Museum, bondholders, Argentina dinosaur national collections, Conicet, debt, dinosaurs, display, embargo, germany, bondholders, Neuquen, provincial museums, county museums, casts, original fossils, cultural assets, lies, inept authorities-.
From: Josemsanz
Date: 7:55 AM
http://forums.about.com/n/pfx/forum.aspx?tsn=1&nav=display&webtag=ab-dinosaurs&tid=36
Tags: Argentinosaurus huinculensis, Plaza Huincul Museum, bondholders, Argentina dinosaur national collections, Conicet, debt, dinosaurs, display, embargo, germany, bondholders, Neuquen, provincial museums, county museums, casts, original fossils, cultural assets, lies, inept authorities-.
"The Argentine National Research Council (CONICET) has distributed on September 25th. a press release full of lies hiding the fact that a high percentage of the dinosaurs cast collection being exhibited at Rosenheinm, Germany, belongs to the Argentine Museum of Natural Sciences that is a Research Unit directly depending from CONICET, in other words, part of the collection is owned by the federal government, but these are not the only ones: there are others belonging to the Sciences Museum, a branch of the University, that is also a dependency of the Federal Education Ministry.Other casts belong to the Feruglio Paleontological Museum that is an Associated Research Unit (http://www.conicet.gov.ar/UE/listado.php?instituciones=3) of the CONICET.
This status allows the museum to receive funds and salaries for researchers from the Federal government, while the Feruglio Foundation receives grants almost exclusively from the CONICET and manages CONICET funds for other Patagonian agencies..
A fourth museum, the Natural Sciences Museum of the National University of San Juan has contributed with casts to the exposition. Dr. Oscar Alcober, who is the expo’s curator, is also a researcher whose salary is being paid by the CONICET being also the museum’s Director.
Are dinosaur casts real cultural treasures?
A second consideration should be if dinosaur’s casts or resin commercial replicas are real cultural items, they are partially copied from original fossils, but are not real fossils, they are not true cultural items, as original paintings. More over because they are casts for commercial purposes and sales abroad, as the Argentinosaurus Huinculensis that was sold to an Orlando-Florida, Disney restaurant.
It would be the same to say that a commercial reproduction of a Renoir’s painting is a cultural item.
As the collection being exhibited at Rosenheim is a mix of a few original dinosaurs fossil bones, and a majority of dino casts, body reconstructions and footprints, that belong to four Federal agencies and three municipal museums, German judges should establish with extreme care which cast belong to each museum, in order to avoid confiscating or reclaiming funds originated from the rent being paid by the owners of the Rosenheim exposition. to the CONICET.
We don’t know why Dra. Marta Rovira, the President of the CONICET has authorized her Legal Advisor to distribute a press release with so numerous and flagrant lies.
We can try to think that the press released was distributed to confuse the general public, who normally is not well informed on these matters, fortunately we are sure that news like this will not be taken in consideration in Germany where there is ample evidence of the CONICET’s involvement in the expo’s organization, since the expo propaganda mentioned, even now, all the federal and provincial museums that had contributed with casts or fossils.
The only logical explanation for a press release so full of lies is to think that inept and ambitious CONICET authorities have tried to diminish and disguise the high political internal impact that the German bondholders produced when they freezed Rosenheim’s 4th, 5th and 6th payment’s to CONICET.
We can not understand why the CONICET Legal Adviser and Dr. M. Rovira decided in February 2009 to follow up with the expo shipment to , even though there were sufficient warning signals among the Argentine Chancellery and the Ministry of Economy authorities about the possible German bondholders reactions against any Argentine asset.
But not all Argentine authorities are so inept. On the same month, for example, the Argentine Culture authorities decided to block the loan of valuable works from its National Museum of Fine Arts to a museum in for fear that German bondholders might succeed in having the art work seized and sold to satisfy their claims (See: Clarin: El arte argentino no puede viajar: temen embargos de bonistas europeos).
The Argentine government has also used various ruses to move money out of the US and away from the reach of American courts, where many bondholders have brought legal action. French courts have been a little more successful, freezing some one million euros in the French bank account of Argentina’s Paris embassy, a mere pittance given the amount owed, but a small success nevertheless."
This status allows the museum to receive funds and salaries for researchers from the Federal government, while the Feruglio Foundation receives grants almost exclusively from the CONICET and manages CONICET funds for other Patagonian agencies..
A fourth museum, the Natural Sciences Museum of the National University of San Juan has contributed with casts to the exposition. Dr. Oscar Alcober, who is the expo’s curator, is also a researcher whose salary is being paid by the CONICET being also the museum’s Director.
Are dinosaur casts real cultural treasures?
A second consideration should be if dinosaur’s casts or resin commercial replicas are real cultural items, they are partially copied from original fossils, but are not real fossils, they are not true cultural items, as original paintings. More over because they are casts for commercial purposes and sales abroad, as the Argentinosaurus Huinculensis that was sold to an Orlando-Florida, Disney restaurant.
It would be the same to say that a commercial reproduction of a Renoir’s painting is a cultural item.
As the collection being exhibited at Rosenheim is a mix of a few original dinosaurs fossil bones, and a majority of dino casts, body reconstructions and footprints, that belong to four Federal agencies and three municipal museums, German judges should establish with extreme care which cast belong to each museum, in order to avoid confiscating or reclaiming funds originated from the rent being paid by the owners of the Rosenheim exposition. to the CONICET.
We don’t know why Dra. Marta Rovira, the President of the CONICET has authorized her Legal Advisor to distribute a press release with so numerous and flagrant lies.
We can try to think that the press released was distributed to confuse the general public, who normally is not well informed on these matters, fortunately we are sure that news like this will not be taken in consideration in Germany where there is ample evidence of the CONICET’s involvement in the expo’s organization, since the expo propaganda mentioned, even now, all the federal and provincial museums that had contributed with casts or fossils.
The only logical explanation for a press release so full of lies is to think that inept and ambitious CONICET authorities have tried to diminish and disguise the high political internal impact that the German bondholders produced when they freezed Rosenheim’s 4th, 5th and 6th payment’s to CONICET.
We can not understand why the CONICET Legal Adviser and Dr. M. Rovira decided in February 2009 to follow up with the expo shipment to , even though there were sufficient warning signals among the Argentine Chancellery and the Ministry of Economy authorities about the possible German bondholders reactions against any Argentine asset.
But not all Argentine authorities are so inept. On the same month, for example, the Argentine Culture authorities decided to block the loan of valuable works from its National Museum of Fine Arts to a museum in for fear that German bondholders might succeed in having the art work seized and sold to satisfy their claims (See: Clarin: El arte argentino no puede viajar: temen embargos de bonistas europeos).
The Argentine government has also used various ruses to move money out of the US and away from the reach of American courts, where many bondholders have brought legal action. French courts have been a little more successful, freezing some one million euros in the French bank account of Argentina’s Paris embassy, a mere pittance given the amount owed, but a small success nevertheless."
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