Vivienne westwoods philosophy and influences in contemporary design

Vivienne westwoods philosophy and influences in contemporary design Abstract The article is talking about one of Englands leading fashion designers, Vivienne Westwood. Who aslo has been one of Britains most consistently original, outrageous, eccentric and controversial designers. Today, she has evolved from an iconoclastic outsider to an internationally revered figure, with two British Designer of the Year awards, an OBE, her own successful fashion label and an unrivalled reputation for leading where other designers follow. Her lifestyle could scarcely be in greater contrast to the opulence which surrounds other leading designers.So in this article, it discuss about how did an awkward girl from a conventional and provincial background become one of world fashions most influential and respected designers and how her design influence on present day design culture. Vivienne Westwood, one of Englands leading fashion designers who maintaining a devotion to history as a key theme to her unique styles. She has these wisps of yellow-blond hair spill around her oval face, which has been plucked, painted and powdered into a perfect cameo. Her lips are a bright kiss-me red, while her walk is that of a slowly advancing, scepter-toting monarch. Vivienne Westwood, really is made of awesome with her funky and creative designs. She is respected throughout the industry and fashion world as a highly influential designer.Vivienne Westwoods early profileVivienne Westwoods story is featured. Westwood grew up in the village of Tintwistle and he worked as a teacher in North England in 1962. She also had a 13 year marriage with Malcolm McLaren in the 1970s that resulted in two sons. At the same time, artists like Chrissie Hynde and bands like the Sex Pistols were influenced by Vivienne Westwood who was the creator of punk rock music and style in the 70s.She inspire d the current British designers such as Christian Lacroix and John Galliano, was knighted the Order of the British Imperial Medal by the queen in 1992, and is presently married to the designer Andreas Kronthaler. Vivienne Westwood starts her fashion career in 1971 when she opened a small shop called Let It Rock at 430 Kings Road in Chelsea with Malcolm McLaren, a former art student six years her junior. They had met in 1965 when Ms. Westwood, already a young mother and separated from her first husband, was working as a primary school teacher. Their partnership, which also produced a child, would soon shake up British fashion.Mr. McLaren was the rebel, the agitator, the provocateur, while Ms. Westwood was his muse and model, already in 1971 she wore spiky peroxide with dyed hair, as well as a skilled craftsman. In its first version, 430 Kings Road became a 1950s nostalgia parlor with Teddy Boy, or Edwardian revival clothes, copied and sold as a kind of anti-hippie protest. And Ms. Westwood was the one doing the unpicking, copying and resolving.In 1973 the couple renamed the store Too Fast to Live Too Young to Die, this time in homage to James Dean and the rising motorcycle culture. Leather, st uds and buckles appeared alongside T-shirts with aggressive slogans. But this lasted barely 15 months.In April 1974 the store became SEX and was filled with sadomasochistic and pornographic references as well as clothes made of leather and rubber, including rubber-wear for the office.In 1975 the Sex Pistols, a rock group formed by Mr. McLaren, carried the punk movement beyond Chelsea, even beyond Britain. Wearing outrageous clothes and scandalizing the media with profanities, the Sex Pistols trumpeted Mr. McLarens anti-authoritarian message. Its first single, Anarchy in the U.K., was followed by an irreverent God Save the Queen, which was promptly banned by British radio. In 1977 SEX was renamed Seditionaries, but punk power began to wane. In 1979 Sid Vicious of the Sex Pistols died of a drug overdose, and the group was disbanded. In 1980 Seditionaries became Worlds End and when Mr. McLaren wanted to vacate it, Ms. Westwood held onto it. More crucially, for the first time she began designing her own clothes with what became known as the Pirates collection. This collection, her first to be presented on a catwalk, in 1981, was to prove a turning point, not only because it announced her interest in historicism, but also because within two years she would form her own company without Mr. McLaren. I decided that in order to understand the world I lived in, I should somehow enter it and exploit my own ideas and see how I could get on, she recalled in a recent interview at the Victoria and Albert. Vivienne Westwoods philosophyMs. Westwood rise herself as a fashion maverick comes from being both wildly inventive and perversely out of touch. But most of the people call her the queen of extreme. Her managing partner, Carlo DAmario said This is a woman whos an English eccentric. But he said it with a tone for unexplained phenomena. To imagine what that means, all you have to do is picture this quaint-looking lady attended the Dame Edna Show in 1989 with a flesh-tone tights and a glimmering green fig leaf. And her famous entrance into Buckingham Palace in 1992 to receive her Order of the British Empire from the Queen, when she obliged photographers with a triumphant twirl, there was hardly a living soul in Britain who didnt know that Ms. Westwood was 1 sans culottes under her whirling skirts.But that Ms. Westwood truly become the genuine iconoclasts at that period. Those style expresses the delirium and anarchy of their time. Now, at an age when many other designers are resting on their laurels, Ms. Westwood is taking on New York. Yesterday in SoHo, she opened her first store in the United States, a 7,000-square-foot emporium at 71 Greene Street, near Spring Street, that will sell her mens and womens collections, as well as more popular secondary lines. Ms. Westwoods personal style also appear on her design but more on a creative way. Her design contexts come from different elements. First main element is music, more clearly from punk music. The English Punk style began to gain attention when the Sex Pistols wore clothes from Ms. Westwood and McLarens shop. The punk style included 2 BDSM fashion, bondage gear, safety pins, razor blades, bicycle or lavatory chains on clothing and spiked dog collars for jewelry, as well as outrageous make-up and hair. These designs are definited as rebellion , anti form or sexy. In that very beginning of her career as a designer during the punk movement ,her designs become more substance than generally thought. Secondly, there is another essential design element in her which is the adoption of traditional elements of Scottish design such as tartan fabric. The tartan pattern is the main symbol of Scottish tradition clothing style. And Ms. Westwoods using of tartan is unparalleled, in her collections an d triumphed in Anglomania (A/W 1993) (Figure 1). Her fascination with Scottish traditions by using a mix of different tartans, her ensembles exploited the rich depth, colour and diversity of the traditional checked pattern. The tartans were made to order by Locharron of Scotland, who also created a special design for Westwood called the McAndreas, after her second husband, Andreas Kronthaler. Amongst the more unusual elements of her style is the use of historical 17th and 18th century cloth cutting principles, and reinterpreting these in, for instance, radical cutting lines to mens trousers. Use of these traditional elements make the overall effect of her designs more shocking. Other influential elements in Ms. Westwoods work have included Peru, the feminine figure, velvet and knitwear. Ms. Westwoods design has ranged from early punk garments to glamorous historical 5 evening gowns. She worked these together to revolutionize fashion and the impact is still strongly felt today. Now, Ms. West wood has five exclusively-owned shops; three in London, one in Leeds, and one in Milan. Franchise stores are located in Liverpool, Newcastle, Glasgow, three in Manchester and most recently, in FH Mall, Nottingham (20 March 2008), and in Blake Street, York (11 September 2008). Westwoods themes have included Savage (1981), Hobo and Buffalo (1982), and Pirate. Her latest collection was themed Gold and Treasure, Adventure and Exploration. So, if Ms. Westwood often comes across as a bit of a crank, it is easy to see why. Whereas most designers take a humble slice of the cultural pie, Ms. Westwood wallows in the whole glorious mess. She will refer to the Industrial Revolution, Greek skeptism, the Sex Pistols, the decline of standards in English art schools, Picasso, sex, John Stuart Mill in one sitting. Ive always needed to explain myself in more general terms rathe r than only through fashion, she said. Vivienne Westwoods influences on punk cultureVivienne Westwood was punk symbol in the angry 1970s , she was wearing clothes festooned with spikes and pins. Today everyone knows what punk fashion is, but in 1970 it didnt exist. Punk first emerged in the mid 1970s in London as an anarchic and aggressive movement. Punk become a succeeded style even more when Vivienne Westwood and Malcolm McLaren put the punk ideas into their design ventures. In the 1975, McLaren launched the Punk music group called Sex Pistols which became the icon beyond Britain. They were wearing outrageous clothes and all these clothes were come from the shop called Sex that Vivienne Westwood opened on the Kings Road, London. That shop sold leather and rubber fetish goods, especially bondage trousers. Including rubber-wear for the office. Ms. Westwood gave world the fresh shock at that time and that is why her name is associated with the punk movement. In Ms. Westwoods punk style design, BDSM fashion is also a main element. Before 1970s, BDSM fashion wasnt something you can show in public or feel good about it in Britain. But Ms. Westwood brought it into her punk design. In the early summer of 1974, Westwood and Mclaren decided to invent the shop Sex with a fetish and bondage outlet, inspired in part by their recent visit to New York. This trip had opened their eyes to the outsider status of sexual deviancy, which, now as then, has a far greater capacity to shock than youth cult. The shop Sex underwent a prolonged refit, and the fact that it was closed for months and reopened in September 1974, the transformation was total (Figure 2). Outside, the name `SEX was emblazoned in four-feet-high pink rubber capitals and sprayed with slogans from Valerie Solanas SCUM manifesto, as well as slogans and quotes from the drug addicted outsider pornographer Trocchi. And these design gave the information to public that everyone can enjoy their style with no shame. Even in today, it still influence on youth sub-cultural.Vivienne Westwoods influences on Scottish design styleScottish Style become wold knowing in fashion by Vivienne Westwood in 1990s. Before, Scottish culture is just famous by it s traditional instrument the Great Highland Bagpipe clothing, and the performers who are wearing 3 kilts. Ms. Westwood use this tartan pattern into her design with creativity. We can find it with all different shapes or colors through her collections. But she use the tartan in a complete new way, she will mix and match them , put great flash on them through Viviennes color and lining. Today, tartan become one of the main fashion style which called Preppy Look, has been wide using by many designers. But Ms. Westwood still the on who done more for tartan than any other designer embracing the plaid extensively in her collections. The Locharron Textile Mill in Scotland created a special tartan for Westwood called the McAndreas. (Figure 3) Vivienne Westwood mix fashion with sexualityMs. Westwoods collection Britain Must Go Pagan in 1989 was truly a show full of sexuality information. But she showed that is people privately decide what they want to do their sexuality so it is not erroneous to show it in fashion. Ms. Westwood explored a diversity of influences, from Serves porcelain to pornographic Greek scenes. The clothing reflected the inherent contradiction in Westwoods work between respect for tradition and culture and a love of parody and sexual liberty. She paired classical drapery with Prince of Wales check, Fair Isle sweaters with computer-game patterns, and designed articulated jackets and corsets with removable sleeves, inspired by medieval armour. Precise Miss Marple suits (after Agatha Christie) in thorn-proof Harris Tweed received a fillip with saucy tulle flounces. She teamed Savile Row-style jackets with nude tights with a fig leaf (Figure 4), creating something that shocked even herself: When I first did the fig leaf, in 1989, I just kept screaming. It was porno and so hilariously mad. Then I got used to it, and I think it looks so elegant and ironic. And she based this outrageous ensemble on fashion of around 1800 in which men wore flesh coloured breeches in a conscious emulation of classical statuary.Vivienne Westwood brings historical into modernHistorical 17th and 18th century are always Ms. Westwood s big element. She use these traditional elegant style dresses as the base , mix with her modern design to fit into todays lifestyle. In her interpretations of historical dress, Ms. Westwood emphasise the idea of constriction as a way to define the body and its movement and to direct posture. She explore historical costume and, from it, to develop a completely new range of clothes that would form her first catwalk collection in 1981. The Pirate collection (Figure 5) drew inspiration from historical mens clothing and became the look for the emergent New Romantics, while providing We stwood with a vastly expanded repertoire of styles of cutting and tailoring, construction, fabric design and manufacture, pattern, colour and texture. Later When Ms. Westwood was working in Italy from 1984 to 1986, she developed the crinoline idea as the Mini-Crini, abbreviating it as a provocative new shape in total contrast to the exaggerated shoulders and narrow hips of the prevailing style of power dressing. In Vivienne Westwoods Cut, Slash and Pull collection of 1991, (Figure 6) The inspiration for this collection lay in the historical technique of cutting textiles to create a decorative pattern. In the original garments, the slashes exposed bright silk underlinings, but here Westwood reveals bare skin. To give the passionate, masculine vitality that she so admired in Tudor portraits, she used denim with hand-cut gashes and frayed edges. For the lighter fabrics, she adapted a 4 broderie anglaise machine programme, omitting the embroidery but retaining the fine, regular cuts. To sum up, nothing is ever quite as it seems with British fashion designer Vivienne Westwood. She has eccentric personality, she is an icon of rebellion. And that make she become one of the highly influential designers today. Her design always stand out of other designer with its unique technic and style which head the world into Ms Westwoods fashion fantasyland.

Essay --

cting the country, the Philippines do have the potential to become a developed country. An issue that is affecting the country’s progress towards development is education. The Philippines is the only remaining Asian nation in the world putting the 10-year cycle of basic education in effect. The Department of Education was pushing for the implementation of the K-12 program to finally take effect in the Philippines. Seventy percent of the country’s unemployed citizens are high school graduates. To improve the education of the people in the Philippines, President Benigno Aquino has formally signed the law extending the basic education curriculum in the country (Al Nisr Publishing LLC). The President signed the Enhanced Basic Education Act of 2012, or the K to 12 Basic Education Program, a scheme that took at least five years to finally implement (Al Nisr Publishing LLC). Aquino believe that the K to 12 program will make way for a brighter future for young Filipinos by equipping them with basic education up to international standards. Another issue affecting the country’s progress towards becoming a developed country is the natural disasters within the country. The most recent typhoon that has taken place in the Philippines, Typhoon Haiyan, is said to have killed more than 10,000 people. However, there have been other natural disasters that have also left startling devastation in the Philippines prior. There has been at least ten other natural disasters in the last decade that have also left high death tolls. For example, on December 3, 2012, Typhoon Bopha smashed into the main southern island of Mindanao, Philippines. The region suffered roughly 1,900 people dead or missing. Another example of this was on February 17, 2006 when an e... ...r in the Philippines, but sea levels have also risen by half an inch in the past ten to twenty years, faster than the worldwide average (The Washington Post). In 2009, some of the world's developed countries pledged $30 billion in climate aid, which would rise over time. However, a recent report from Oxfam found that most developed countries have yet to make any concrete plans to follow through (The Washington Post). Another issue in the Philippines is malnutrition and hunger. Malnutrition among children has not changed much over the past 10 years, making it very unlikely for the country to meet the Millennium Development Goal (MDG) of eliminating poverty and extreme hunger by 2015 (Inquirer). Families who do not get the 100 percent dietary energy requirement even increased from 57 percent of the population in 2003 to 66.9 percent in 2008, the survey said (Inquirer).

The Decay of English as a Language

But today, in a world filled with computers and keyboards and various applications like Microsoft Office to facilitate our writing and even correct our errors, do we really need to know how to write properly anymore? In the modern world where we use our phones and messages to communicate with the least amount of effort, short and concise text to get to the point regardless of punctuation, grammar nor orthography. In a fast living world where everybody seems to have less time, Is there really room for linguist? According to John Humphrey, a newspaper author mentioned in Crystals essay, exiting is ruining our Language.Ever since the mobile phone was introduced and along with the way to communicate with messages, companies have been using this invention to make the most profit of it by developing the Global System for Mobile Communications Network in the mid sass's. Messages at that time had a limited amount of characters, so the message people are trying to forward had to be short and concise. There was no room for orthography nor grammar. The beginning of SMS, short message service. Testing as a trend rocketed In the 21 SST century and a ewe creative style of writing has emerged.However, David Crystal is not agreeing with the majority, he states, that it rather â€Å"helps than hinders literacy' (b or not b, David Crystal, 337). He also argues that even though a lot of grammar and general linguistic rules are often broken, the messages are still understandable. And Isn't that the point? Furthermore, the longer the messages become the less linguist errors occur. Symbols and single letters to replace words (b or not b, David Crystal, 337-338) In fact, this so called problem is not new. People have been solving puzzles and riddles in newspapers using this structure of text in the 19th century.English has a lot of abbreviation words ever since it began to be written down. A different approach David Crystal is bringing up, is that author are using â€Å"textileâ₠¬  to write poems, short- stories or even novels. But the mobile phone is limiting the capabilities of this new found style. So authors craved for a platform with more expressive power. Therefore, â€Å"textile† moved to the PC where people have more possibilities like color, font, type- size and shape. This shows creativity for the English language (b or not b, David Crystal, 344). And isn't that Just a development of Language?Like Languages have always evolved and changed over time? At the same time, increasing evidence from different researches, form a team at Coventry University, came to the conclusion that testing does not effect children's ability to write or read. Instead, it improves. One of the researches show that the more abbreviations they use, the better is their grade in test's on reading and vocabulary. This research also states that the younger the age is, where they get heir first phones, the better their skills in linguistic (b or not b, David Crystal, 345) .The main argument is that children could not be good at testing if they had not already developed a secure considerable literacy awareness, hence children who are able to use this kind of communication style already have a sense of how the language works and sounds. David Crystal isolates himself clearly from other authors or professors by not sharing the same opinion. And this essay depicts it coherently. I think that it is true that English as a Language is changing and its not going to be he same as it was. But is that a bad thing? Personally.

Consultar e imprimir I-94 registro de entrada y salida

Estados Unidos registra la entrada y salida de extranjeros no inmigrantes admitidos al paà ­s mediante los formularios I-94, I-94W e I-95, en papel o digitalmente. Estos registros de entrada y salida sirven, entre otras cosas, para que cada visitante tenga acceso a su rà ©cord de fechas y dà ­as de presencia en Estados Unidos y para saber cuà ¡ntos dà ­as se ha autorizado para permanecer en el paà ­s. Antes este dato de cuà ¡ntos dà ­as era posible permanecer en EE.UU. cada vez que se entraba se marcaba con un sello en el pasaporte. Ahora, en el caso de I-94 digitalizados hay que buscar esa informacià ³n en una pà ¡gina oficial de la CBP, iniciales de la Policà ­a Fronteriza. Tambià ©n el I-94 es un documento que puede necesitarse para trà ¡mites migratorios como el ajuste de estatus, la solicitud de extensià ³n de visa o el cambio de una visa inmigrante por otra como, por ejemplo, la de turista por la de estudiante. En estos casos, si se tiene un I-94 digital, serà ¡ necesario acceder a la pà ¡gina de la CBP, obtener una copia e imprimirla. En este artà ­culo se explica cuà ¡ndo el documento de registro es un I-94, un I-94W o un I-95. Ademà ¡s, cuà ¡ndo el I-94 o I-94W es digital o de papel. Finalmente, cà ³mo obtener una copia en el caso de documento digital e imprimirla o un reemplazo en caso de pà ©rdida o mutilacià ³n de uno de papel y cà ³mo corregir posibles errores en los datos. Tambià ©n se explica quà © hacer cuando se ingresa por avià ³n o barco y se sale por frontera terrestre y cà ³mo comunicar la salida cuando se ha olvidado entregar el I-94 de papel. Diferencias entre I-94, I-94W e I-95 Todos esos documentos registran el ingreso y la salida de EE.UU. El I-95 aplica a las personas que forman parte de una tripulacià ³n. El I-94W aplica a los turistas y personas de negocios con un pasaporte de un paà ­s incluido en el Programa de Exencià ³n de Visado y que, por lo tanto pueden ingresar sin visa a los EE.UU. por un mà ¡ximo de 90 dà ­as, que no pueden ser prorrogados bajo ninguna circunstancia. El I-95 aplica a miembros de una tripulacià ³n a los que se le concede una estadà ­a mà ¡xima de 29 dà ­as como un D1 o un D2. Cada vez que entran, el cà ³mputo se realiza agregando nuevos dà ­as a ese I-95 original. El I-94 aplica al resto de visitante temporales que no reciben ni un I-94W ni un I-95. En el caso especà ­fico de turistas que ingresan con visa B2 o una combinacià ³n de la B1/B2 el tiempo mà ¡ximo de estancia autorizado es de 180 dà ­as en la mayorà ­a de los casos, aunque hay excepciones. Por esta razà ³n es aconsejable verificar el I-94 para saber el tiempo mà ¡ximo de permanencia legal en el paà ­s y que nada tiene que ver con la vigencia de la visa. Una copia del I-94 tambià ©n puede necesitarse en casos de extensià ³n o cambio de la visa, etc. Registro I-94 digital: ingreso por puerto o aeropuerto En la actualidad, el I-94 y el I-94W està ¡ digitalizado. Esto quiere decir que cuando un extranjero no inmigrante llega a un puerto a aeropuerto de EE.UU. su ingreso queda registrado automà ¡ticamente en el sistema informà ¡tico de la Patrulla Fronteriza, tambià ©n conocido como CBP. A diferencia de lo que ocurrà ­a hace aà ±os, no se hace entrega de ningà ºn papel. Ese registro digitalizado contiene informacià ³n relevante, como el dà ­a de llegada, el tipo de visa, etc. Es posible consultar el  formulario digitalizado I-94 en la pà ¡gina oficial de la CBP e imprimir una copia. Se necesitan los siguientes datos: Apellidos/s (family name)Nombre (first -given- name)Fecha de nacimiento (birth date). Debe seguirle el estilo anglosajà ³n de escribir fechas, es decir, dos nà ºmeros para el mes/dos nà ºmeros para el dà ­a/cuatro nà ºmeros para el aà ±o.Nà ºmero de pasaporte (passport)Paà ­s que emitià ³ el pasaporte (country of issuance)Fecha de entrada. Tambià ©n escrito a la manera americanaClass of admission, que hace referencia tipo de visa Se obtendrà ¡ el nà ºmero del rà ©cord (Admission Record #) y la fecha hasta la que se ha sido admitido. Esa es la forma de confirmar la fecha mà ¡xima en la que se debe salir de EE.UU. Cabe destacar que los dos primeros nà ºmeros corresponden al mes, NO al dà ­a. Asà ­, por ejemplo, si pone 05/08/ 2019, eso quiere decir que se puede estar legalmente en EE.UU. hasta el 8 de mayo de 2019. Si se detecta algà ºn un error en la fecha de entrada o en el tipo de admisià ³n, por ejemplo, pone visa F-1, que es de estudiante, cuando en realidad se entrà ³ con una visa de turista, hay que presentarse a las oficinas locales de la Policà ­a de Frontera   para arreglar el problema. En ese enlace, en la parte derecha de la pantalla, hacia el final, pone View ports of entry in your state. Elegir estado en el que se està ¡. En los casos en los que se ingresa a EE.UU. por puerto o aeropuerto pero sale por una frontera terrestre, antes de salir imprimir el I-94 digital y entregarlo a la salida. Si no se hace, no hay rà ©cord de salida y constarà ¡ como que se està ¡ dentro de EE.UU. Ademà ¡s se recomienda que guardar evidencias de que realmente salieron dentro del tiempo autorizado. Por ejemplo, con los sellos en el pasaporte de la CBSA, en el caso de Canadà ¡, o del INM en el de Mà ©xico, con recibos de transporte, de compra de gasolina, etc. Sin embargo, cuando se ingresa y se sale por puerto y aeropuerto no es necesario imprimir el I-94. Las aerolà ­neas y los cruceros introducen en una base informà ¡tica los datos de los pasaportes de los viajeros extranjeros. Las computadoras de Inmigracià ³n comparan ese rà ©cord con el de entrada y asà ­ ya se sabe si se ha salido a tiempo o si se ha permanecido mà ¡s tiempo del autorizado. Cuando se sale de EE.UU. no sellan el pasaporte en ningà ºn momento. Por à ºltimo, no hay I-94 digital y sà ­ de papel a pesar de ingresar por puerto a aeropuerto en los casos de parole, es decir, de extranjeros que ingresan a EEUU por una frontera marà ­tima o aeropuerto y que no son calificados como admitidos pero se les permite entrar al paà ­s por razones como peticià ³n creà ­ble de asilo. El I-94 de papel cuando se ingresa por frontera terrestre Si se ingresa a Estados Unidos por una frontera terrestre debe llenarse el formulario I-94 o el I-94W. Esta regla no aplica a: ciudadanos americanosresidentes permanentes legalespersonas con visa de inmigrante sellada en el pasaportepersonas con visas là ¡ser tambià ©n conocida como tarjeta de cruce siempre y cuando no alarguen su estadà ­a n i en tiempo ni en millas mà ¡s allà ¡ de lo autorizado por esta visaCasi todos los ciudadanos canadienses. Todos los demà ¡s necesitan un I-94 de papel que ahora es posible solicitar por internet antes de llegar al puente internacional de acceso a Estados Unidos ingresando a la pà ¡gina oficial del I-94: i94.cbp.dhs.gov. El costo es de $6.00. La pà ¡gina brinda tres opciones. La correcta para este caso es la que aparece a la izquierda. Hacer click donde pone Apply for New I-94 (Land Border Travelers Only). Se abre una nueva pà ¡gina con advertencias oficiales, bajar el cursor hacia el final y hacer click en el lado derecho donde pone Consent and Continue. Por otro lado, los ciudadanos del Programa de Exencià ³n de visas aplicarà ¡n por la versià ³n I-94W. El documento I-94 consta de dos partes: la de entrada y la de salida. Esta à ºltima tiene forma de una tarjeta cuadrada grande y debe conservarse todo el tiempo junto el pasaporte, mientras dure la estancia en Estados Unidos. Todos los formularios para el gobierno estadounidense se rellenan en tinta negra y en letras mayà ºsculas. Se completa un documento por cada persona que viaja, incluidos nià ±os. Si el I-94 contiene un error, contactar con la oficina local de la CBP. Por el contrario, si se extravà ­a, es robado o se estropea se debe llenar el formulario I-102 si todavà ­a se està ¡ en Estados Unidos. Nunca si ya ha salido del paà ­s. En los casos de pà ©rdida o mutilacià ³n debe abonarse una cuota de $330. La planilla puede enviarse a diferentes direcciones, segà ºn el lugar donde està © viviendo el solicitante. Es importante comprobar que se envà ­a a la direccià ³n correcta. Puede enviarse ordinariamente o con carà ¡cter urgente. Quà © hacer cuando se ha salido ya de Estados Unidos y no se ha entregado el I-94 a la salida terrestre Este puede ser un problema grande ya que lo normal es que si esto ocurre las autoridades migratorias de EUA no tengan constancia de que el extranjero ha salido a tiempo y van a asumir que se quedà ³ ilegalmente en el paà ­s. Puede suceder con un alto grado de probabilidad que las autoridades estadounidenses cancelen las visas de las esas personas. O en el caso de los acogidos al Programa de Exencià ³n de Visas les prohà ­ban la entrada la prà ³xima vez que se presenten en una frontera americana. Para evitar estos problemas y correr ademà ¡s el riesgo de ser castigado por tres o cinco aà ±os hay que notificar a las autoridades migratorias la salida. No se debe enviar nunca el I-94 a una embajada americana o consulado, ya que no se ocupan de este tema y la gestià ³n quedarà ­a sin realizar. El procedimiento a seguir es el siguiente: Escribir una carta en inglà ©s dejando claro por quà © no se entregà ³ el I-94 a la salida y presentando todos los documentos, traducidos al inglà ©s, que se puedan para probar que efectivamente se salià ³ a tiempo. Entre los documentos que se admiten se encuentran: Billete de tren de regreso, si lo hubiera, o de autobà ºs.Pasaporte sellado con la entrada a otro paà ­s y su fecha correspondientePago de nà ³minasRecibos de gastos con tarjeta de crà ©dito en los que aparezca la fecha.Si se conserva el I-94, adjuntar el original Se puede enviar original o copias de los documentos. Pero tener en cuenta que si se envà ­a original, à ©ste no serà ¡ devuelto. La carta y la documentacià ³n de apoyo ha de enviarse a la oficina siguiente del CBP: DHS - CBP SBU1084 South Laurel RoadLondon, KY 40744U.S.A. Puntos Clave: Formulario I-94 de registro de ingreso y salida de EE.UU. Estados Unidos registra el ingreso y salida del paà ­s de todos los extranjeros no inmigrantes mediante los formularios I-94 W (turistas y negocios de un paà ­s en el Programa de Exencià ³n de Visados), I-95 (miembros de tripulacià ³n) y I-94 (resto de extranjeros no inmigrantes).Versià ³n digitalizada: ingresos por aeropuertos y puertos, excepto personas con parole (ej. peticià ³n de asilo). Esto quiere decir que ya no sellan ningà ºn papel en el paso migratorio y que no hay que preocuparse si no dicen la fecha que se debe salir de EE.UU. Esa informacià ³n se puede consultar en la pà ¡gina web i94.cbp.dhs.gov. Tambià ©n es posible imprimir el I-94 para realizar trà ¡mites migratorios o para guardarlo como rà ©cord personal.Versià ³n en papel del I-94: ingreso a EE.UU. por frontera terrestreSi se ingresa por frontera terrestre y se sale por avià ³n, entregar el I-94 de papel al hacer gestiones de embarque. Por seguridad, guardar toda la informacià ³n que pueda demostra r que se salià ³ de EE.UU. en esa fecha. Las compaà ±Ãƒ ­as aà ©reas envà ­an a la CBP la informacià ³n de quià ©n vuela en cada uno de los viajes internacionales hacia y desde Estados Unidos y asà ­ queda registrado quià ©n volà ³ y quà © dà ­a.Si se ingresa por avià ³n y se sale por frontera terrestre, comunicarlo a un oficial de la CBP en el punto fronterizo de salida. Este es un artà ­culo informativo. No es asesorà ­a legal.