Ludwig Van Beethoven – 9 SYmphonien (Herbert Von Karajan, 1963)
Recorded at The Jesus-Christus-Kirche, Berlin between December 1961 and November 1962.

Coments:

• By general consensus, Herbert von Karajan’s first (1963) Beethoven cycle for Deutsche Grammophon is the best of the four (!) that he recorded. The Berlin Philharmonic was in top form, and they had not yet made an artistic fetish out of the bland smoothness that typified the conductor’s later recordings of this music (and just about everything else). Karajan’s squeaky clean, emotionally cool Beethoven will always be something of an acquired taste, but this set makes the best possible case for it. –David Hurwitz

• This celebrated set, recorded in 1961-62, is generally considered the best of Herbert von Karajan’s four Beethoven symphony cycles. (His cycles from the 1950s, 1970s, and 1980s are also available.) Karajan had trained the Berlin Philharmonic to produce an ultra-smooth sound — the conductor’s trademark — yet their playing crackles with energy. The recorded sound has held up amazingly well, especially in this latest remastering…Barnes & Noble

• Herbert von Karajan recorded the symphonies of Beethoven four times in his remarkable career — once with the Philharmonia in the Fifties and three times with the Berlin Philharmonic (1961-2, 1975-7, 1982-5). In many ways, his 60s cycle stands out from the other three. It was the first recording of the Nine to be conceived, planned and sold as an integral set. The initial purchasers had to pay a subscription for the LPs which were sent to them symphony by symphony. Thirty-six years later, this cycle has become somewhat of a benchmark for these cornerstones of the symphonic repartoire.Upon first hearing, I was struck by the tremendous enthusiasm in the playing of the orchestra. I can just imagine the excitement in the recording sessions, one of the finest orchestras of the time conducted by this energetic conductor at the start of what was to become a long tenure. This notion of a great event must have added a frisson to the atmosphere, and it certainly shows here…Isaak Koh

• Ah, fame! Beethoven is such a ubiquitous presence that even gangsters, immigrants, and devotees of Mantovani know his name, while bankers, rock hounds and mental patients will regale you with the joke about the origin of the Fifth Symphony in a landlady’s odd laugh — Ha-ha-ha-huh! And because so much of his work is surefire, it communicates even when performed by bush league bands and amateurs. Which is to say that he is both superficially known and badly overexposed. As the trunk of the mighty Beethoven tree, the symphonies have been heard so often that, often, they are hardly heard at all. Ha-ha-ha-huh-ho hum. The glut of new Beethoven symphony recordings never ceases — the flood, at least, lasted but 40 days and 40 nights. The original instruments craze promised to deliver Beethoven’s work with pristine authenticity by taking us back to limitations the composer manifestly sought to transcend. Meanwhile, we rummage among the rich trove of artifacts left by the great interpreters of the past — Mengelberg, Toscanini, Klemperer, Furtwangler — for revelations of the divine spark animating these Promethean works, and we find them inseparable from the flat, primitive technology of their era. But every generation presents us with a tiny elite of interpretive genius and Herbert von Karajan, born in 1908, had the great good fortune of having been born into a time and place in which his native gifts could play upon a rich inheritance. In the early 1960s, when these recordings were made, Karajan was in his vigorous mid-fifties, only recently at the helm of the Berlin Philharmonic — which he had already made his own— and playing to a superb recording technology which digitalization only gussies up a bit. A bloom attended everything he touched. Want the revolutionary Beethoven in all his power and his glory? Try Karajan in his prime…Adrian Corleonis

Artists:

Track List:

cd1:
1. Symphony no.1 in C major, op.21 – Adagio molto. Allegro con brio (9:33)
2. Symphony no.1 in C major, op.21 – Andante cantabile con moto (5:53)
3. Symphony no.1 in C major, op.21 – Menuetto. Allegro molto e vivace (3:57)
4. Symphony no.1 in C major, op.21 – Adagio – Allegro molto e vivace (5:51)
5. Symphony no.3 in E flat major, op.5 – Allegro con brio (14:48)
6. Symphony no.3 in E flat major, op.5 – Marcia funebre. Adagio assai (17:10)
7. Symphony no.3 in E flat major, op.5 – Scherzo. Allegro vivace (5:48)
8. Symphony no.3 in E flat major, op.5 – Finale. Allegro molto (12:20)
cd2:
1. Symphony no.2 in D major, op.36 – Adagio. Allegro con brio (10:21)
2. Symphony no.2 in D major, op.36 – Larghetto (10:36)
3. Symphony no.2 in D major, op.36 – Scherzo. Allegro (3:53)
4. Symphony no.2 in D major, op.36 – Allegro molto (6:28)
5. Symphony no.4 in B major, op.60 – Adagio. Allegro vivace (9:54)
6. Symphony no.4 in B major, op.60 – Adagio (9:58)
7. Symphony no.4 in B major, op.60 – Allegro vivace (5:45)
8. Symphony no.4 in B major, op.60 – Allegro ma non troppo (5:23)
cd3:
1. Symphony no. in C minor, op.67 – Allegro con brio (7:19)
2. Symphony no. in C minor, op.67 – Andante con moto (10:05)
3. Symphony no. in C minor, op.67 – Allegro (4:54)
4. Symphony no. in C minor, op.67 – Allegro (9:07)
5. Symphony n.6 in F major, op.68 ‘Pastorale’ – Allegro ma non troppo (9:01)
6. Symphony n.6 in F major, op.68 ‘Pastorale’ – Andante molto mosso (11:36)
7. Symphony n.6 in F major, op.68 ‘Pastorale’ – Allegro (3:02)
8. Symphony n.6 in F major, op.68 ‘Pastorale’ – Allegro (3:25)
9. Symphony n.6 in F major, op.68 ‘Pastorale’ – Allegretto (8:46)
cd4:
1. Symphony No.7 in A major, op.92: I. Poco sostenuto · Vivace (11:27)
2. Symphony No.7 in A major, op. 92: II. Allegretto (8:01)
3. Symphony No.7 in A major, Op.92: III. Presto (7:50)
4. Symphony No.7 in A major, Op.92: IV. Allegro con brio (6:46)
5. Symphony No.8 in F major, op.93: I. Allegro vivace e con brio (9:20)
6. Symphony No.8 in F major, Op.93 – II. Allegretto scherzando (3:58)
7. Symphony No.8 in F major, Op.93 – III. Tempo di menuetto (5:58)
8. Symphony No.8 in F major, Op.93 – IV. Allegro vivace (7:06)
cd5:
1. Symphony no.9 in D minor, Op.125 “Choral” – I. Allegro ma non troppo, un poco maestoso (15:32)
2. Symphony no.9 in D minor, Op.125 “Choral” – II. Molto vivace (11:03)
3. Symphony no.9 in D minor, Op.125 “Choral” – III. Adagio molto e cantabile (16:28)
4. Symphony no.9 in D minor, Op.125 “Choral” – IVa. Presto (6:22)
5. Symphony no.9 in D minor, Op.125 “Choral” – IVb. Presto · “O Freunde, nicht diese Töne!” · Allegro assai (17:34)

Stereo, ADD, mp3, 320 kbps CBR, 5 hours 32 minutes. Covers, pictures & full info included.

cd1 Part1 — cd1 Part2
cd2 Part1 — cd2 Part2
cd3 Part1 — cd3 Part2
cd4 Part1 — cd4 Part2
cd5 Part1 — cd5 Part2

Scans

Para Amelia.

Es indudable que los precios de los programas de empresas como Microsoft por ejemplo hacen prohibitibo para la generalidad de las personas comprar un Office o algun otro producto de uso diario.

Incluso el mismo sistema operativo windows si lo desglosamos en el precio de una computadora es parte importante del precio de la misma, sobre todo en las mas baratas, por ejemplo las tan de moda netbooks.

sin embargo existen alternativas para no caer en la pirateria comun y corriente, el software de libre distribución, el dia de hoy les palticare del Open Office y algunas alternativas dignas de mencionar que nos ayudan en la redacción de textos, creacion de presentaciones y hojas de calculo.

El open office como ya mencione es de libre distribución y practicamente es un clon del office de microsoft, el 90% o mas de las tareas comunes que realizamos se pueden llevar a cabo sin ningun problema a través de los distintos programas que conforman la suite, como son:

Open Office base, Open office calc, open Office draw, open office writer, open Office Impress y Open Office Math.

Ademas el producto es multiplataforma (hay versiones para Mac OS, SOlaris y Linux), Multilenguaje mas de 90 distintos idiomas, usa el formato ISO estandar para guardar los archivos aunque tiene la capacidad de importar de una gran cantidad de formatos (incluidos los de Microsoft Office) y exportar tambien en otra gran cantidad de formatos.

De donde podemos obtener open office, hay 2 principales sitios para “bajarlo” http://www.openoffice.org y http://www.sun.com/software/openoffice/ y aprovecho esta ultima liga para mencionar que Sun es uno de los grandes contribuidores al desarrollo del Open Office con gran cantidad del codigo del mismo, ellos mismo cuentan con versiones que si tienen un precio como lo son el staroffice o el starsuite y en los que definitivamente aportan una mayor cantidad de caracteristicas y beneficios.

Otro fabricante que tiene una propuesta similar es IBM que tiene su Lotus Simphony que es una suite tambien de libre distribucion y esta la podemos encontrar en: http://symphony.lotus.com/software/lotus/symphony/home.nsf/home.

Entonces porque aun se da la practica de piratearse el software?

Costumbre, facilidad, flojera, desinformacion?

Lo invito a que si no quiere o no puede pagar un producto busque si existe una propuesta similar en el software libre y use este ultimo, seguro es que no sera igual al que conoce, le recomendaron o siempre ha usado, pero con un poco de practica y paciencia debera de poder hacer casi todo lo que ya hace con software pirata.

Hay ademas propuestas de software libre en las siguientes categorias: servidores, comunicaciones, bases de datos, desarrollo, educacion, gobierno, finanzas, juegos y entretenimiento, redes, seguridad, telefonia, almacenamiento, administracion de sistemas, VoIP, etc.

Incluso, muchas pero muchisimas de las grandes empresas o de los grandes portales de internet en el mundo hacen uso de software de libre distribución para su uso diario, en Mexico tenemos ejemplos en educación en que la plataforma de educación por internet esta basada en propuestas de software libre, etc. etc.

Franz Liszt – Four Symphonic Poems

About the author:
Liszt was the only contemporary whose music Richard Wagner gratefully acknowledged as an influence upon his own. His lasting fame was an alchemy of extraordinary digital ability — the greatest in the history of keyboard playing — an unmatched instinct for showmanship, and one of the most progressive musical imaginations of his time. Hailed by some as a visionary, reviled by others as a symbol of empty Romantic excess, Franz Liszt wrote his name across music history in a truly inimitable manner.
From his youth, Liszt demonstrated a natural facility at the keyboard that placed him among the top performing prodigies of his day. Though contemporary accounts describe his improvisational skill as dazzling, his talent as a composer emerged only in his adulthood. Still, he was at the age of eleven the youngest contributor to publisher Anton Diabelli’s famous variation commissioning project, best remembered as the inspiration for Beethoven’s final piano masterpiece. An oft-repeated anecdote — first recounted by Liszt himself decades later, and possibly fanciful — has Beethoven attending a recital given by the youngster and bestowing a kiss of benediction upon him.
Though already a veteran of the stage by his teens, Liszt recognized the necessity of further musical tuition. He studied for a time with Czerny and Salieri in Vienna, and later sought acceptance to the Paris Conservatory. When he was turned down there — foreigners were not then admitted — he instead studied privately with Anton Reicha. Ultimately, his Hungarian origins proved a great asset to his career, enhancing his aura of mystery and exoticism and inspiring an extensive body of works, none more famous than the Hungarian Rhapsodies (1846-1885).
Liszt soon became a prominent figure in Parisian society, his romantic entanglements providing much material for gossip. Still, not even the juiciest accounts of his amorous exploits could compete with the stories about his wizardry at the keyboard. Inspired by the superhuman technique — and, indeed, diabolical stage presence — of the violinist Paganini, Liszt set out to translate these qualities to the piano. As his career as a touring performer, conductor, and teacher burgeoned, he began to devote an increasing amount of time to composition. He wrote most of his hundreds of original piano works for his own use; accordingly, they are frequently characterized by technical demands that push performers — and in Liszt’s own day, the instrument itself — to their limits. The “transcendence” of his Transcendental Etudes (1851), for example, is not a reference to the writings of Emerson and Thoreau, but an indication of the works’ level of difficulty. Liszt was well into his thirties before he mastered the rudiments of orchestration — works like the Piano Concerto No. 1 (1849) were orchestrated by talented students — but made up for lost time in the production of two “literary” symphonies (Faust, 1854-1857, and Dante, 1855-1856) and a series of orchestral essays (including Les préludes, 1848-1854) that marks the genesis of the tone poem as a distinct genre.
After a lifetime of near-constant sensation, Liszt settled down somewhat in his later years. In his final decade he joined the Catholic Church and devoted much of his creative effort to the production of sacred works. The complexion of his music darkened; the flash that had characterized his previous efforts gave way to a peculiar introspection, manifested in strikingly original, forward-looking efforts like Nuages gris (1881). Liszt died in Bayreuth, Germany, on July 31, 1886, having outlived Wagner, his son-in-law and greatest creative beneficiary.

About this work:
The Symphonic Poems (S.95-107) are a series of 13 orchestral works by Hungarian composer Franz Liszt. The first 12 were composed in the decade 1848–58 (though some use material conceived earlier); the last, Von der Wiege bis zum Grabe (From the Cradle to the Grave), followed in 1882. They were enormously influential in establishing the genre of orchestral programme music—music written to illustrate an extra-musical plan derived from a play, poem, painting or work of nature—and they inspired the symphonic poems of Bedrich Smetana, Richard Strauss and others.
Liszt’s intent was for these single-movement works, according to Hugh McDonald in the New Grove Dictionary of Music and Musicians (1980), was for them “to display the traditional logic of symphonic thought.” That logic, embodied in sonata form as musical development, was traditionally the unfolding of latent possibilities in given themes in rhythm, melody and harmony, either in part or in their entirety, as they were allowed to combine, separate and contrast with one another. To the resulting sense of struggle Ludwig van Beethoven had added an intensity of feeling and the involvement of his audiences in that feeling, beginning from the Eroica Symphony to use the elements of the craft of music—melody, bass, counterpoint, rhythm and harmony—in a new synthesis toward this end.
Liszt attempted in the symphonic poem to extend this revitalization of the nature of musical discourse and add to it the Romantic ideal of reconciling classical formal principles to external literary concepts. Toward this end, he combined elements of overture and symphony with descriptive elements, approaching symphonic first movements in form and scale. While showing extremely creative amendments to sonata form, Liszt utilized compositional devices such as cyclic form, motifs and thematic transformation to lend these works added coherence. Their composition proved daunting, with a continual process of creative experimentation that included many stages of composition, rehearsal and revision to reach a version where different parts of the musical form seemed balanced.
Liszt also provided written prefaces for nine of his symphonic poems. Possibly knowing well how the public liked to attach stories to instrumental music in an attempt to explain the inexplicable, and feeling that since many of these works were written in new forms, some sort of verbal or written explanation would be welcome, he provided context before others could invent something to take its place. However, Liszt’s view of the symphonic poem tended to be evocative rather than purely pictorial, usually refraining from narrative and literal description in the music. In this regard he differed not only from contemporaries such as Hector Berlioz but also from many who would follow him in writing symphonic poems, such as Smetana, Dvorak and Richard Strauss.

Track List:
1. Les Préludes Poem No.3 (16:48)
2. Orpheus Poem No.4 (11:58)
3. Ungarische Rhapsodie No.5 (12:55)
4. Tasso-Lamento e Trionfo, Poem No.2 (20:21)

The Players:
Londoner Festival Orchestra
Alfred Scholz: conductor

Stereo, DDD, mp3, 320 kbps, 143.76 Mb, 62:02 minutes. Covers included.

Part1 —–   Part2

Fecha: 22 de marzo de 2009

La noticia la destapaba el New York Times el pasado miércoles 18. Lo cierto es que la posibilidad de un “Blue SUN” (IBM es el gigante azul), es un movimiento bastante sensato para ambas empresas y una mala noticia para Microsoft y HP principalmente. Si IBM pone sobre la mesa los 6.500 millones de dólares, SUN va a aceptar con toda seguridad, ahora veremos porqué. El tema se veía venir por lo menos desde diciembre de 2008, cuando IBM compró Transitive, una empresa especializada en mover aplicaciones desde entornos Solaris (sistema operativo de SUN) a Linux.

SUN Microsystems es uno de los fabricantes de grandes servidores más importantes del mundo, y la única “pequeña” empresa que ha sabido plantarle cara a los grandes fabricantes del entorno de servidores: IBM, HP y Dell. Además SUN se ha caracterizado siempre por tener una apuesta bastante innovadora, basada en productos propios y contribuyendo notablemente a la innovación y el desarrollo de los entornos para grandes servidores a nivel mundial. Digamos que es una pequeña empresa que ha marcado época y está completamente reconocida en los ambientes de alta innovación.

SUN fue creada por el alemán Andreas von Bechtolsheim y los norteamericanos Vinod Khosla, Bill Joy, Scott McNealy y Marcel Newman en el año 1982 a partir del trabajo realizado para unir las bibliotecas de la Universidad de Stanford (SUN no significa Sol sino Stanford University Network). SUN ha tenido siempre una fuerte presencia en el sector empresas de la mano de sus máquinas con procesadores SPARC y su sistema operativo Solaris (un UNIX muy optimizado). Su slogan “The Network is The Computer” (La red es el ordenador) la hizo muy popular en el año 95. En la actualidad cuenta con unos 31.000 empleados en todo el mundo.

De IBM (International  Business Machines) poco se puede decir porque el nombre la presenta sola. El “gigante azul” tiene en la actualidad 330.000 empleados repartidos por 161 países. Aunque fue constituida el 14 de junio de 1921, llevaba operando desde 1889, a través de la empresa Tabulating Machine Company fundada por Charles R. Flint que se fusionó con un par de empresas más para dar lugar a la actual IBM. Es una empresa multidisciplinar dentro del mundo de la informática, aunque más de la mitad de sus ingresos en la actualidad vienen de sus actividades de consultoría y servicios. En este sentido conviene destacar que renunció a la fabricación de ordenadores personales en el año 2004 al vender toda su rama de fabricación a la china Lenovo, la mayor fabricante del mundo.

La cifras de IBM y SUN son muy diferentes. IBM ingresó 91.100 millones de dólares en 2005 y tiene 330.000 empleados en la actualidad. SUN ingresó 11.000 millones de dólares en 2007 y cuenta con 31.000 empleados en la actualidad. El valor en bolsa de IBM es de 123.000 millones de dólares , mientras que el de SUN es de unos 3.000 millones de dólares.

Podríamos preguntarnos si SUN tiene la necesidad de ser vendida y si es un precio justo el de 6.500 millones de dólares. Por capitalización en bolsa parece que el precio es bastante razonable ya que la prima (dinero adicional al precio de la acción) que IBM está dispuesta a asumir es del 100%, es decir, va a pagar más o menos el doble por cada acción. Para los tiempos que corren, y para una empresa que no pasa por su mejor momento no podemos hablar de una mala propuesta. Que SUN tiene problemas en la actualidad no es ningún secreto. Sus números rojos (1.650 millones de dólares en pérdidas en el último trimestre de 2008) vienen de mucho antes de la crisis, y el año pasado tuvo que despedir a más de 6.000 empleados en todo el mundo, es decir el 18% de la plantilla aproximadamente. Además IBM tiene dinero en caja, unos 13.000 millones de dólares según el último informe de diciembre de 2008, así que el tema económico no parece ser un problema. Si profundizamos un poco más en los problemas actuales de SUN  podemos hablar de lo tarde que ha llegado al mundo del software libre, y la dificultad de encontrar compradores para sus caros y complejos sistemas Solaris, ante la invasión de arquitecturas hardware basadas en la utilización de granjas de pequeños servidores. Además de esto, otras circunstancias como el no saber monetizar adecuadamente Java, o el mal trato hacia MySQL, hacen que SUN no pase por su mejor momento y que lo suyo no sea sólo cuestión de la crisis que se está atravesando en todos los sectores.

¿Porqué quiere IBM comprar SUN? IBM no está interesada en el negocio de procesadores SPARC, ni en el del x86, es más no sería descabellado pensar en la venta de la línea de procesadores SPARC a empresas metidas en ese mercado como por ejemplo Fujitsu. Lo que le interesa realmente a IBM es el negocio de software de SUN. En primer lugar IBM se haría con el lenguaje de programación Java, muy extendido en herramientas propias como Eclipse. El promover la utilización de Java en entornos Linux, conjuntamente con el binomio AIX/Solaris ayudará a IBM a mantener a Microsoft fuera de de los ciclos de desarrollo de software sobre todo en el caso de los grandes servidores.

Otra parte interesante es MySQL. La popular base de datos adquirida por SUN a principios de 2008, no pasa por sus mejores momentos. SUN no la ha tratado adecuadamente y el responsable actual de desarrollo y CEO anterior de MySQL, Michael Widenius, reconoció que la versión 5.1 estaba llena de bugs. De la mano de la división de DB2 de IBM, MySQL podría relanzarse de una manera espectacular.

La herramienta StarOffice de SUN (la versión comercial del popular OpenOffice) no caerá tampoco en saco roto. IBM está muy interesada en aunar esfuerzos con el desarrollo de su herramienta Simphony, aunque seguramente StarOffice como nombre desaparezca.

Adicionalmente todo el negocio de consultoría y desarrollo de SUN puede ser reconducido adecaudamente por IBM, unificar equipos y sumar comptencias y habilidades generando de esta manera una empresa tecnológica de un enorme atractivo.

Por todos estos condicionantes y circunstancias pienso que la venta es sólo cuestión de que finalicen las negociaciones entre ambas empresas, pero se va a realizar con toda seguridad y se va a crear, entre otras cosas, el mayor fabricante de servidores del mundo de largo (IBM ya fue el mayor el año pasado con el 31% del mercado seguida de HP -29,5%- y Dell -11%-, mientras que SUN tuvo un 10% de cuota de mercado) y una de las mayores consultoras de sistemas de información.

OVERTURE 2600 by Antonio First ( neoclassical guitar )

TED: My Stroke Of Insight.

En verdad es dificil traducir insight bien. es una mezcla entre: idea y revelacion. En este caso tiene ambo de las dos:

El testimonio es de una neurologa que sufre un derrame en el hemisferio izquierdo y empieza a ver el mundo solo con su hemisferio derecho , solo el “right here, right now”..experimenta un nirvana personal. Mejor verlo…, la vieja Jill Bolte Taylor lo explica con pasión. “Definitivamente una idea que vale la pena compartir” (ideas worth spreading)

pt1

ver en TED.com (mejor calidad)

El tema me recuerda a la vision de Daniel Pink -mas materialista que la anterior, enfocada a los negocios- reunida en su libro “A whole new mind, Why right brainers will rule the future” (un nombre muy tipo autoayuda bestseller, pero que no lo es) , ..y que en verdad no lo leí pero vi un video (torrent) que explica lo mismo. (y hay varios videos en youtube, elija el suyo)

“Hoy por hoy, las capacidades que perfilaban la era anterior –las habilidades del hemisferio izquierdo que impulsaron la Era de la Información- siguen siendo necesarias pero ya no son suficientes. Y son aquellos talentos que desdeñábamos o considerábamos frívolos –los atributos “del hemisferio derecho” como la creatividad, la empatía, la alegría y la dotación de sentido- los que determinarán cada vez más quién se abrirá paso hasta la cumbre y quién no”

Sin duda el primer video es mucho mas espiritual y humano, y lo segundo es mas practico, pero ambas cosas se relacionan con lo mismo: dejar de ser tan mecánicos y al menos saber elegir.

http://www.ilustrae.com/ilustrae/una-nueva-mente.html

Download de Ringtone Grátis para todos os celulares com MP3 aqui

Dados do Arquivo:
* Formato: MP3

Lista de Ringtones:

• Shmoopsy (46,25 KB)
• Silly Ringtone (27,40 KB)
• Shifty N Moody Will He Be Caught (206,79 KB)
• Skratch (206,87 KB)
• Sktch2 (92,44 KB)
• SMS (81,71 KB)
• SMS Arrived (52,24 KB)
• Skratch Gotcha (307,46 KB)
• Someone Is In The Toilet (35,06 KB)
• Speedy (20,71 KB)
• Snoring (157,04 KB)
• Sports Baseball (10,36 KB)
• Southern Style SMS (55,10 KB)
• Squeaky Voice Squeaky Voice (27,25 KB)
• Somebodies On The Line (271,25 KB)
• Starter Problem (74,69 KB)
• Steel Canvas (94,50 KB)
• Svullo – Frog1 (41,33 KB)
• Super Fart (63,98 KB)

Quer mais ringtone? Você pode procurar no iCelular.net ou no Buscapé!

Personaggio letterario ma realmente esistito, da sempre appare nelle nostre menti come il progenitore di una stirpe di esseri che strisciano nella notte, seduttori e malefici come nessun altro essere “vivente” . Il suo vero nome appare negli scritti russi e rumeni verso la fine del 14oo ; di lui scrisse anche Papa Pio II che ne esaltò le capacità intellettuali e militari senzaperò degnare di alcuna nota i massacri da lui compiuti (vere sono infatti le informazioni sulle impalazioni da lui effettuate e le terribili torture che riservava non solo ai nemici).

Questa piccola premessa sulla storia di Dracula è solamente un pretesto per informare i cultori del genere dell’imminente uscita di un nuovo episodio della Serie di CastleVania: questa volta in ben 2 film – uno in serie animata , l’altro con attori reali (cosa mai accaduta prima d’ora) dai titoli rispettivamente Castlevania – Dracula’s Begins e Castlevania – Dracula’s Curse ( Ispirato all’ultimo titolo Castlevania – Dawn of Sorrow per Nintendo DS)

La trama del film non è ancora stata resa nota , noti sonoinvece alcuni dei gruppi (band) che potrebbero aver preso parte all’incisione di quella che potrebbe essere la colonna sonora più bella degli ultimi anni per i cultori del genere:

In primis Cradle of Filth che con iloro leggendari pezzi ( tra cui posso citare “Gothic Instrumental” o “Bloody Tears”) hanno reso intramontabili titoli del tipo CastleVania – Simphony of the Night e lo stesso Castlevania – Bloody Tears.

E’ possibile stimareche altri famosi gruppi death – Grounge e Black metal Partecipino alla realizzazione di quella che è la saga più seguita del genere Dark VideoGame.

Non Vedo l’ora che esca… stanza buia, pop corn e candele nere sono già pronte per l’Evento dell’ascensione Vampirica!

Estive hoje num Workshop sobre Complexidade em Sistemas Sociais, que vai decorrer até amanhã no ISCTE. Vários investigadores vieram mostrar os seus trabalhos e entre eles vários mostraram simulações executadas em Repast.

Para quem não sabe, o Repast é uma biblioteca Java para facilitar a vida na programação de sistemas multi-agente.

Ora acontece que o Repast está agora na versão Simphony 1.0. A criação desta versão foi uma grande alteração em relação à anterior 3.1 (sim, a numeração é mesmo assim… O Simphony é um “novo” produto) uma vez que agora o Simphony deixou de ser uma biblioteca java que podia ser logo utilizada, para agora ser um pacote com o editor Eclipse integrado. Isto não facilita em nada a utilização do Repast, uma vez que quem até agora não utilizava o Eclipse não pode desde logo continuar a utilizar o mesmo IDE para o desenvolvimento das suas simulações.

Mas isto podia ser embirração minha com o eclipse, mas ao falar hoje com quem lida mais com a ferramenta, a opinião é quase unânime: “Foi erro acoplar o Repast o Eclipse. É mais pesado, lento e obriga a aprendizagem do Eclipse por parte de quem programa noutras linguagens. O Download também aumentou de tamanho (por culpa do Eclipse) e as funcionalidades 3D não são suficientes para justificar tanta chatice”. Muitos dizem mesmo que continuam a utilizar a versão 3.1 e que não pensam fazer o upgrade…

Isto mostra um pouco que o acoplamento do que até agora era uma boa biblioteca de java a um editor particular vai afastar algumas pessoas. Naturalmente que para utilizava o Eclipse anteriormente isto não coloca problemas, mas nem todos estão dispostos a fazer esta transição.

Estive hoje num Workshop sobre Complexidade em Sistemas Sociais, que vai decorrer até amanhã no ISCTE. Vários investigadores vieram mostrar os seus trabalhos e entre eles vários mostraram simulações executadas em Repast.

Para quem não sabe, o Repast é uma biblioteca Java para facilitar a vida na programação de sistemas multi-agente.

Ora acontece que o Repast está agora na versão Simphony 1.0. A criação desta versão foi uma grande alteração em relação à anterior 3.1 (sim, a numeração é mesmo assim… O Simphony é um “novo” produto) uma vez que agora o Simphony deixou de ser uma biblioteca java que podia ser logo utilizada, para agora ser um pacote com o editor Eclipse integrado. Isto não facilita em nada a utilização do Repast, uma vez que quem até agora não utilizava o Eclipse não pode desde logo continuar a utilizar o mesmo IDE para o desenvolvimento das suas simulações.

Mas isto podia ser embirração minha com o eclipse, mas ao falar hoje com quem lida mais com a ferramenta, a opinião é quase unânime: “Foi erro acoplar o Repast o Eclipse. É mais pesado, lento e obriga a aprendizagem do Eclipse por parte de quem programa noutras linguagens. O Download também aumentou de tamanho (por culpa do Eclipse) e as funcionalidades 3D não são suficientes para justificar tanta chatice”. Muitos dizem mesmo que continuam a utilizar a versão 3.1 e que não pensam fazer o upgrade…

Isto mostra um pouco que o acoplamento do que até agora era uma boa biblioteca de java a um editor particular vai afastar algumas pessoas. Naturalmente que para utilizava o Eclipse anteriormente isto não coloca problemas, mas nem todos estão dispostos a fazer esta transição.