Há cerca de nove meses atrás fiz um artigo que criou grande furor e desde então tenho visto muitos screenshots de Ubuntu’s com a barra do Gnome vidrada. Entretanto, o novo Karmic Koala vem com um conjunto de ícones bastante bonito mas que é incompatível com essa barra vidrada: os ícones são brancos e parte da barra é branca. Ora, através deste artigo poderá ter uma barra semelhante à da imagem ao lado, que não é incompatível com os ícones Humanity.
La nuova edizione della TOP500, l’ormai famosa classifica semestrale dei sistemi di calcolo più potenti al mondo, ripropone l’avvincente sfida a colpi di PetaFLOPS tra IBM e Cray. Riconfermato infine il dominio di Linux in ambito High Performance Computing: il 90% delle macchine che compaiono nella TOP500 utilizza un sistema operativo basato sul kernel open source.
Dark Ambient with ritualistic and religious atmospheres. This form of Dark Ambient music usually incorporates more acoustic instruments and voices than any other Ambient Music form. Elements of various ancient rituals are abundant, with appropriate samples, obscure instruments, chanting voices, some tribal rhythms (that can get quite manic and intense at places). Sometimes (but seldom) with Satanic overtones. Often epic, with Pagan ambiences, i.e. crackling fire, singing bowls, voices from the woods, etc. I would call this separate, but somewhat related subgenre Pagan Ambient, which is generally much brighter and focuses of natural ambiences and pre-Christian traditions. Examples: TUU, Alio Die, Matthias Grassow: “Awaken the Empire of Dark Wood”.
Dark Ambient with ritualistic and religious atmospheres. This form of Dark Ambient music usually incorporates more acoustic instruments and voices than any other Ambient Music form. Elements of various ancient rituals are abundant, with appropriate samples, obscure instruments, chanting voices, some tribal rhythms (that can get quite manic and intense at places). Sometimes (but seldom) with Satanic overtones. Often epic, with Pagan ambiences, i.e. crackling fire, singing bowls, voices from the woods, etc. I would call this separate, but somewhat related subgenre Pagan Ambient, which is generally much brighter and focuses of natural ambiences and pre-Christian traditions.
Examples: TUU, Alio Die, Matthias Grassow: “Awaken the Empire of Dark Wood”.
In the attacks of September 11, 2001, 658 of New York brokerage firm Cantor Fitzgerald’s 1,000 New York employees were killed. Immediately following the events, author Tom Barbash traveled to New York to profile his college friend, Cantor CEO Howard Lutnick, and chronicle the firm’s struggles to stay in business and help its employees’ families. The result, On Top of the World, is a compulsively readable book that is difficult to categorize. Unlike many books about the attacks, its story goes well beyond September 11 and into the following year, helping to better demonstrate the human impact of the catastrophe. And while the book ably describes the horror of the events, it is as much a business study as anything: can a company that trades $200 billion a day in commodities futures survive the sudden death of over 65 percent of its New York employees, and its New York headquarters? Cantor Fitzgerald does endure, but soon Lutnick becomes the center of a media firestorm as Connie Chung, Bill O’Reilly from Fox News, and others question the sincerity of Lutnick’s public appearances and denounce his method of compensating the families of those lost. Barbash, a novelist by trade, portrays his friend’s struggles sympathetically but also provides well-researched dimension to the other people involved, which helps deepen the human drama of the efforts on the part of all involved to put their lives and their company back together. — John Moe, Amazon.com Review
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Dune Extended / Alternate Ending
da vedere ascoltando Heart of black science - Gold and dust
TopMod3d is a free, open source, portable, platform independent topological mesh modeling system that allows users to create high genus 2-manifold meshes.
We have a new build of TopMod compiled on Ubuntu 7.04. Click here to try it out before I upload a final version to the SVN repository.
Agalloch - “Not Unlike the Waves” [The End Records]
Norwegian black metal bands can bang on all they want about their endless snowy forests, but Agalloch backs up such themes with sounds to match. Too bad The End saw fit to release Ashes Against the Grain in August when only Australia is cold, and when heavy metal is awash in overproduced summer blockbuster albums. Now that winter is here, this album is finally relevant.
Agalloch has been tagged “gray metal” or “post-black metal,” awkward terms that connote black metal as a point of departure. While its riffs are muscular, with vocals occasionally dropping into a black metal rasp, most of this album is smooth, melodic, and, above all, cold. Playlists that include not only Katatonia but also Cocteau Twins and early Cure should add Agalloch to the rotation.
After two cassette demos, Agalloch made an incredible full-length debut with 1999’s Pale Folklore. The album found the band fully-formed, with only traces of its black metal roots. The songs were essentially hard rock informed by doom metal and folk music. Agalloch’s trademarks had already developed: acoustic guitars, glistening clean tones, and emotive riffs with anthemic upper-register melodies. Scandinavian bands Katatonia, Insomnium, and Sentenced have also explored such sounds, but few American bands have done so this well. 2002’s The Mantle was also phenomenal, dialing back the distortion to uncover pastoral settings of heartbreaking beauty. For snowy days under a blanket by a fire, the first two Agalloch albums are incomparable.
On Ashes Against the Grain, the band brings back the rock. The songs aren’t faster, but they are heavier, and the band spends more time than ever with distortion. But acoustic guitars and clean tones do appear at times, and when they do, they have greater impact than before. The signature melodies are also intact. Previous albums had masterful compositions, but were marred by the occasional out-of-tune guitar or out-of-time performance. Here, all the performances are spot-on. The smooth playing, thick riffs, and hot mastering job contribute to a singularly dense, electric sound.
The album contains six proper songs and two ambient instrumentals. Highlights are constant and many. “Limbs” opens with a single sustained note that splits in two, revealing melodic lines in contrary motion. Gorgeous, heavy doom riffs then drop, trudging through piano and lead guitar detours; the first vocal doesn’t appear until five minutes in. “Falling Snow” is the closest thing to a single here, with clean singing and driving riffs. Near the end, the guitars hit chiming unisons that suggest Joy Division finding light; the song crests and breaks into a triumphant rideout.
This “hopeful Joy Division” vibe also arises near the end of “Fire Above, Ice Below,” a slow waltz of clean tones and whispered vocals. “Not Unlike the Waves” is the album’s most stirring moment. It, too, is in 6/8 time, with huge, rolling riffs that suggest Norsemen hauling boats overland, with snow underfoot and ice on the face. The album ends with seven minutes of distortion and delay-fueled ambience, its fiery embers dying in a haze of mead and frosted breath.
— http://www.stylusmagazine.com/reviews/agalloch/ashes-against-the-grain.htm
