Mozart - Ars Antigua - Divertimento in F Major
http://arsantiguapresents.com/audio/2-14-02 MP3/Divertimento in F Major (K. 138).mp3
domingo, 27 de fevereiro de 2011
Stanley Kubrick dixit
Playboy: Se a vida é tão sem propósito, você acha que vale a pena viver?
Kubrick: Sim, para aqueles que conseguem de alguma maneira lidar com nossa mortalidade. A própria ausência de significado na vida força o homem a criar seu próprio significado. As crianças, é claro, começam a vida com um senso ainda não embaçado do maravilhoso, uma capacidade de experimentar alegria total diante de algo tão simples como o verde de uma folha; mas à medida que ficam mais velhas, a consciência da morte e da decadência começa a influenciar sua consciência e enfraquece sutilmente sua joie de vivre (alegria de viver), seu idealismo - e sua suposição de imortalidade. À medida que uma criança amadurece, ela vê morte e dor à sua volta e começa a perder a fé na bondade absoluta do homem. Mas se for razoavelmente forte -e tiver sorte - ela pode emergir desse crepúsculo da alma em um renascimento do élan da vida. Por causa de sua consciência da ausência de significado da vida, e a despeito dessa consciência, ela pode forjar um novo senso de propósito e afirmação. Ela pode não recapturar o mesmo senso puro de maravilha com o qual nasceu, mas pode dar forma a algo muito mais duradouro e encorajador. O fato mais terrível sobre o universo não é que ele seja hostil, mas que seja indiferente; entretanto, se conseguirmos lidar com essa indiferença e aceitar os desafios da vida diante dos limites da morte - não importando o quanto o homem consiga modificá-los - nossa existência enquanto espécie pode ter significado e realização genuínos. Não importa a vastidão das trevas: nós devemos criar nossa própria luz.
Kubrick: Sim, para aqueles que conseguem de alguma maneira lidar com nossa mortalidade. A própria ausência de significado na vida força o homem a criar seu próprio significado. As crianças, é claro, começam a vida com um senso ainda não embaçado do maravilhoso, uma capacidade de experimentar alegria total diante de algo tão simples como o verde de uma folha; mas à medida que ficam mais velhas, a consciência da morte e da decadência começa a influenciar sua consciência e enfraquece sutilmente sua joie de vivre (alegria de viver), seu idealismo - e sua suposição de imortalidade. À medida que uma criança amadurece, ela vê morte e dor à sua volta e começa a perder a fé na bondade absoluta do homem. Mas se for razoavelmente forte -e tiver sorte - ela pode emergir desse crepúsculo da alma em um renascimento do élan da vida. Por causa de sua consciência da ausência de significado da vida, e a despeito dessa consciência, ela pode forjar um novo senso de propósito e afirmação. Ela pode não recapturar o mesmo senso puro de maravilha com o qual nasceu, mas pode dar forma a algo muito mais duradouro e encorajador. O fato mais terrível sobre o universo não é que ele seja hostil, mas que seja indiferente; entretanto, se conseguirmos lidar com essa indiferença e aceitar os desafios da vida diante dos limites da morte - não importando o quanto o homem consiga modificá-los - nossa existência enquanto espécie pode ter significado e realização genuínos. Não importa a vastidão das trevas: nós devemos criar nossa própria luz.
Leia a entrevista completa:
http://www.playboy.com/articles/stanley-kubrick-interview/index.html?page=2
http://www.playboy.com/articles/stanley-kubrick-interview/index.html?page=2
sábado, 26 de fevereiro de 2011
Uma Música
Para exemplificar o CD de Roy Buchanan aí abaixo, uma música que não está no disco. Se puder, leia o verbete dele (RB) na Wikipedia.
Roy Buchanan - Green Onions
Para ouvir alto...
Roy Buchanan - Green Onions
Para ouvir alto...
O grande Roy Buchanan
Muito bom!Roy Buchanan - The Definitive Collection (2006)
mp3 320 kbps Label: Universal 171.81 MB
Genre: Blues, Rock
Roy Buchanan was one of America's true geniuses of the electric guitar. Even posthumously, he commands the ardent respect of his fellow guitarists and a devoted army of fans. The Buchanan sound is unique: heartbreaking, searing solos, trademark shimmering tone, gorgeous melodies and a mixture of lightning quickness and technical creativity that mark him as a wizard of the instrument. He was a pioneer in the use of controlled harmonics, and although this technique has been used by the likes of Jeff Beck, Robbie Robertson and ZZ Top's Billy Gibbons, all acknowledge Buchanan as the master.Raised in the small town of Pixley, California, Roy's musical fire was sparked at an early age. His father was a sharecropper and Pentecostal preacher and Roy's first musical memories were of the racially-mixed revival meetings his family would attend. Surrounded by gospel, R&B and country influences, it wasn't long before Roy expressed interest in playing an instrument. His parents sent him to the local lap steel guitar teacher, Mrs. Pressure, who had Roy picking out the Hit Parade favorites by the time he was seven years old. Six years later, Roy moved on to a Fender Telecaster. "I liked the tone," he said, "it sounded a lot like steel guitar." Soon thereafter, drawn to the blossoming R&B scene in Los Angeles, Roy ran away from home and headed for the big city. At only 15 years of age, he was taken under the wing of famed bandleader/producer/writer/arranger/impresario Johnny Otis. The young Roy studied the blues mastery of guitarists such as Jimmy Nolen (later with James Brown), Pete Lewis and Johnny 'Guitar' Watson.
Tracks:
Roy Buchanan was one of America's true geniuses of the electric guitar. Even posthumously, he commands the ardent respect of his fellow guitarists and a devoted army of fans. The Buchanan sound is unique: heartbreaking, searing solos, trademark shimmering tone, gorgeous melodies and a mixture of lightning quickness and technical creativity that mark him as a wizard of the instrument. He was a pioneer in the use of controlled harmonics, and although this technique has been used by the likes of Jeff Beck, Robbie Robertson and ZZ Top's Billy Gibbons, all acknowledge Buchanan as the master.Raised in the small town of Pixley, California, Roy's musical fire was sparked at an early age. His father was a sharecropper and Pentecostal preacher and Roy's first musical memories were of the racially-mixed revival meetings his family would attend. Surrounded by gospel, R&B and country influences, it wasn't long before Roy expressed interest in playing an instrument. His parents sent him to the local lap steel guitar teacher, Mrs. Pressure, who had Roy picking out the Hit Parade favorites by the time he was seven years old. Six years later, Roy moved on to a Fender Telecaster. "I liked the tone," he said, "it sounded a lot like steel guitar." Soon thereafter, drawn to the blossoming R&B scene in Los Angeles, Roy ran away from home and headed for the big city. At only 15 years of age, he was taken under the wing of famed bandleader/producer/writer/arranger/impresario Johnny Otis. The young Roy studied the blues mastery of guitarists such as Jimmy Nolen (later with James Brown), Pete Lewis and Johnny 'Guitar' Watson.
Tracks:
01. Baltimore
02. The Story Of Isaac
03. Sweet Dreams
04. Pete's Blue
05. The Messiah Will Come Again
06. After Hours
07. Five String Blues
08. My Baby Says She's Gonna Leave Me
09. Wayfaring Pilgrim
10. Down By The River (Live)
11. I'm a Ram (Live)
12. I'm Evil (Live)
A mente é diferente do cérebro
The period of the brain pretending to be the mind
Key Sun
Published on January 15, 2011
A mente é diferente do cérebro, assim como a psicologia é diferente da biologia. Ainda que os processos mentais estejam associados a algumas operações bioquímicas/neurológicas, alguns pesquisadores e os meios de comunicação populares representaram erradamente a associação entre os dois sistemas como uma relação causal (modificações bioquímicas causam experiências psicológicas) ou simplesmente consideraram que os dois eram a mesma coisa.
Com a utilização crescente de medições psicofisiológicas como fMRI, PET, EEG, MEG e neuroimagem óptica, tornou-se comum ouvir que eventos biológicos estão na base de (são mais fundamentais do que) eventos psicológicos. Por exemplo, declarações como "a depressão é um desequilíbrio químico" ou "a esquizofrenia é uma doença do cérebro" tornaram-se a norma durante as duas últimas décadas. A neuroimagem também foi usada para explicar comportamentos ou atitudes políticos ou de votação, comportamento criminal ou outras interações sociais (por exemplo: Miller, 2010). Ainda que algumas pessoas acreditem que a neuroimagem ou processos bioquímicos forneçam um verdadeiro entendimento da mente humana, do outro lado do debate estão cientistas que são profundamente céticos quanto a confiar demais na neurociência e se ofendem com estas afirmações prematuras (Diener, 2010).
Felizmente, alguns psicólogos (por exemplo, Beck, 2010; Gernsbacher, 2010; Miller, 2010) identificaram sérios problemas na afirmativa de que "eventos biológicos estão na base dos eventos psicológicos". Suas principais razões podem se resumidas como se segue...
Leia o restante no link acima.
Key Sun is a psychologist, social worker and a professor of law and justice at Central Washington University.
Leia também:
A Commonsense Theory of Mind-Body Interaction
Andrew S. Gordon and Jerry R. Hobbs 2011
A neurobiological mapping of theory of mind
Ahmad Abu-Akel 2003
Mind, brain and consciousness
Susan Greenfield 2002
Ouça e leia:
Episode 58 of the Brain Science Podcast is an interview with philosopher Alva Noë, whose book Out of Our Heads: Why You Are Not Your Brain, and Other Lessons from the Biology of Consciousness argues persuasively that our Minds are MORE than just our brains. He says that "the brain is necessary but not sufficient" to create the mind.
Listen to Episode 58
http://media.libsyn.com/media/brainsciencepodcast/58-brainscience-Noe.mp3
Episode Transcript (Download PDF)
http://www.sciencepodcasters.org/Transcripts/58-brainscience-Noe.pdf
E já que estás no www.scincepodcasters, por que não investigar as centenas de outras entrevistas/apresentações do site sobre os mais variados assuntos da ciência?
Key Sun
Published on January 15, 2011
A mente é diferente do cérebro, assim como a psicologia é diferente da biologia. Ainda que os processos mentais estejam associados a algumas operações bioquímicas/neurológicas, alguns pesquisadores e os meios de comunicação populares representaram erradamente a associação entre os dois sistemas como uma relação causal (modificações bioquímicas causam experiências psicológicas) ou simplesmente consideraram que os dois eram a mesma coisa.
Com a utilização crescente de medições psicofisiológicas como fMRI, PET, EEG, MEG e neuroimagem óptica, tornou-se comum ouvir que eventos biológicos estão na base de (são mais fundamentais do que) eventos psicológicos. Por exemplo, declarações como "a depressão é um desequilíbrio químico" ou "a esquizofrenia é uma doença do cérebro" tornaram-se a norma durante as duas últimas décadas. A neuroimagem também foi usada para explicar comportamentos ou atitudes políticos ou de votação, comportamento criminal ou outras interações sociais (por exemplo: Miller, 2010). Ainda que algumas pessoas acreditem que a neuroimagem ou processos bioquímicos forneçam um verdadeiro entendimento da mente humana, do outro lado do debate estão cientistas que são profundamente céticos quanto a confiar demais na neurociência e se ofendem com estas afirmações prematuras (Diener, 2010).
Felizmente, alguns psicólogos (por exemplo, Beck, 2010; Gernsbacher, 2010; Miller, 2010) identificaram sérios problemas na afirmativa de que "eventos biológicos estão na base dos eventos psicológicos". Suas principais razões podem se resumidas como se segue...
Leia o restante no link acima.
Key Sun is a psychologist, social worker and a professor of law and justice at Central Washington University.
Leia também:
A Commonsense Theory of Mind-Body Interaction
Andrew S. Gordon and Jerry R. Hobbs 2011
A neurobiological mapping of theory of mind
Ahmad Abu-Akel 2003
Mind, brain and consciousness
Susan Greenfield 2002
Ouça e leia:
Episode 58 of the Brain Science Podcast is an interview with philosopher Alva Noë, whose book Out of Our Heads: Why You Are Not Your Brain, and Other Lessons from the Biology of Consciousness argues persuasively that our Minds are MORE than just our brains. He says that "the brain is necessary but not sufficient" to create the mind.
Listen to Episode 58
http://media.libsyn.com/media/brainsciencepodcast/58-brainscience-Noe.mp3
Episode Transcript (Download PDF)
http://www.sciencepodcasters.org/Transcripts/58-brainscience-Noe.pdf
E já que estás no www.scincepodcasters, por que não investigar as centenas de outras entrevistas/apresentações do site sobre os mais variados assuntos da ciência?
Psicologia Evolutiva - aceitação e resistência
Examining the Acceptance of and Resistance to Evolutionary Psychology
Carey J. Fitzgerald & Mitchell B. Whitaker 2010
Evolutionary Psychology - 2010. 8(2): 284-296
Abstract. O campo da psicologia continua dividido. Diversas subdisciplinas diferentes (por exemplo, desenvolvimento, cognitiva, behaviorista, social, etc.) formam mo que poderia ser uma área científica unificada. Entretanto, não existe uma teoria de unificação aceita amplamente. Charles Darwin argumentou que a teoria evolutiva modificaria os fundamentos da psicologia; mas através dos anos a psicologia evolutiva foi recebida com resistência hostil por parte de alguns psicólogos proeminentes de outras subdisciplinas. Em anos recentes, no entanto, todas as subdisciplinas apartadas da psicologia vêm lentamente implementando princípios evolutivos em sua literatura e pesquisa. Esta lenta integração da psicologia evolutiva com outras subdisciplinas indica a possibilidade de uma psicologia unificada, tendo a evolução como seu fundamento. Este estudo revisa brevemente a literatura de cada subdisciplina principal da psicologia para mostrar suas implementações de teorias psicológicas evolutivas, indicando a possibilidade de que a psicologia evolutiva se torne o paradigma unificador sobre o qual posa se basear todo o campo da psicologia. Uma chamada para a ação a fim de que esse processo seja continuado também é discutida.
Carey J. Fitzgerald & Mitchell B. Whitaker 2010
Evolutionary Psychology - 2010. 8(2): 284-296
Abstract. O campo da psicologia continua dividido. Diversas subdisciplinas diferentes (por exemplo, desenvolvimento, cognitiva, behaviorista, social, etc.) formam mo que poderia ser uma área científica unificada. Entretanto, não existe uma teoria de unificação aceita amplamente. Charles Darwin argumentou que a teoria evolutiva modificaria os fundamentos da psicologia; mas através dos anos a psicologia evolutiva foi recebida com resistência hostil por parte de alguns psicólogos proeminentes de outras subdisciplinas. Em anos recentes, no entanto, todas as subdisciplinas apartadas da psicologia vêm lentamente implementando princípios evolutivos em sua literatura e pesquisa. Esta lenta integração da psicologia evolutiva com outras subdisciplinas indica a possibilidade de uma psicologia unificada, tendo a evolução como seu fundamento. Este estudo revisa brevemente a literatura de cada subdisciplina principal da psicologia para mostrar suas implementações de teorias psicológicas evolutivas, indicando a possibilidade de que a psicologia evolutiva se torne o paradigma unificador sobre o qual posa se basear todo o campo da psicologia. Uma chamada para a ação a fim de que esse processo seja continuado também é discutida.
quinta-feira, 24 de fevereiro de 2011
Humanos, Animais e Máquinas
At Stanford University in 1987, a conference was held to try to sketch out the boundaries and overlaps among humans, animals, and machines. The resulting presentations were published as The Boundaries of Humanity: Humans, Animals and Machines. When one reads the essays, it is clear that none of the conference presenters had a cogent sense of how to draw these boundaries or even to articulate what was distinctive about humans, animals, and machines. Advances in computer science, neurophysiology, genetics, ethnography, biology, philosophy, critical theory, communications, and so many other fi elds have perhaps made this task more plausible now, have at least given us more data and theories to consider, and certainly also have made the need more pressing. (p. 7)
Ch. 1 Approaching Humans, Animals, and Machines 1
Ch. 2 The Common Ground between Animals and Humans: Prolonged Bodies in Dwelling Places 21
Ch. 3 Machines Finding Their Place: Humans and Animals Already Live There 49
Ch. 4 Drawing the Boundary of Humans with Animals and Machines: Greater Area and Depth 87
Ch. 5 Drawing the Boundary of Humans with Animals and Machines: Reconsidering Knowing and Reality 125
Ch. 6 Animals: Excellences and Boundary Markers 169
Ch. 7 Machines: Excellences and Boundary Markers 209
Conclusion: Toward the Community of Humans, Animals, and Machines 235
Humans, Animals, Machines
Glen A. Maizis
Humans, Animals, Machines
Glen A. Maizis
SUNY Press 2008 276 pages PDF 2 MB http://www.filesonic.com/file/111102742/_cH5D4SUp.pdf
Internet - Recursos para Médicos
Feel like you're being sucked down into a swirl of never-ending information? Today's physicians are faced with new advances in medicine and new research that can impact practice, but finding the right information at the right time seems overwhelming in the constant deluge of scientific research. That's where this illustrated guide will walk you through some of today's most useful Internet tools, tools that can help you find, manage, and organize the information you need, so that it is always at your fingertips, whether for patient care, research, practice, or fun.From the reviews:"This book easily will take any healthcare provider from novice to savvy Internet user in minutes. The goal isn’t to teach medicine, but to help readers find quality tools and medical information without spending hours online. … This book will attract physicians, but it could be used by college faculty and students, reference librarians, patients, and the entire multidisciplinary team. … The authors have very thoughtfully provided tools that range from comfortable to cutting edge." (Kathryn L Fowler, Doody’s Review Service, June, 2009)
“Internet Cool Tools for Physicians is an up-to-date, concise, and easy-to-read book that provides numerous tips and suggestions to allow one to more successfully and quickly navigate through an ever increasingly voluminous World Wide Web. … applicable to numerous other groups including, but not limited to, information technology and picture archiving and communication system personnel, nurses, medical researchers, basic scientists, and medical students, as well as undergraduates who are interested in health care professions … I highly recommend this much-needed and well-planned work.” (Robert D. Stoffey, Radiology, Vol. 256 (1), July, 2010)
Internet Cool Tools for Physicians
Melissa Rethlefsen, David Rothman, Daniel Mojon
Melissa Rethlefsen, David Rothman, Daniel Mojon
Springer 2008 154 pages PDF 23,7 MB
http://www.filesonic.com/file/112929161/3540763813InternetPhysicians.rar ou
http://uploading.com/files/m23cb5a7/3540763813InternetPhys.rar/
http://www.filesonic.com/file/112929161/3540763813InternetPhysicians.rar ou
http://uploading.com/files/m23cb5a7/3540763813InternetPhys.rar/
Dougie MacLean é o fino!
Dougie MacLean - Butterstone (1983)
MP3 CBR 320Kbps / 104 Mb 10 tracks Covers
Scottish Folk Dambuster Records DAMCD002 Time: 42:02
The sad and questioning tracks give a sense of searching. This is seems to be a transition album for Maclean and is not of his own label. Star man left me with with a wondering feeling for a confused soul. The high point is a great version of 'Farewell to Whiskey' the traditional Neil Gow tune. ~ CDUniverse
Tracks:
The sad and questioning tracks give a sense of searching. This is seems to be a transition album for Maclean and is not of his own label. Star man left me with with a wondering feeling for a confused soul. The high point is a great version of 'Farewell to Whiskey' the traditional Neil Gow tune. ~ CDUniverse
Tracks:
1. Down too Deep (3:36)
2. Loving Hannah (5:17)
3. We're all that Close to Danger (3:24)
4. Over the Hebrides (3:13)
5. Please Don't Let the Starman Come Again (5:03)
6. Sailing to Australia (4:29)
7. Farewell to Whiskey (3:31)
8. Jamie's Song (4:45)
9. Just a little Thunder (3:48)
10. Will ye no Come Back Again? (4:55)
Rock du bão
Dr. Feelgood - Singles: The U.A. Years + (1989)
MP3 CBR 320 Kbps - 171 MB
Pub Rock / Blues-Rock / Rock & Roll TT - 75:02 minutes
Dr. Feelgood are a British pub rock band formed in 1971. The band's name derives from a slang term for heroin or for a doctor who is willing to overprescribe drugs. The group's original distinctively British R&B sound was centred on Wilko Johnson's choppy guitar style. Although their most commercially productive years were the early to mid 1970s, they continue to tour and record to this day.
Dr. Feelgood are a British pub rock band formed in 1971. The band's name derives from a slang term for heroin or for a doctor who is willing to overprescribe drugs. The group's original distinctively British R&B sound was centred on Wilko Johnson's choppy guitar style. Although their most commercially productive years were the early to mid 1970s, they continue to tour and record to this day.
Allmusic.com says:Singles -- The UA Years is a terrific double-album set that chronicles all of Dr. Feelgood's major singles, from 1974's "Roxette" to 1986's "See You Later Alligator." Although the hits-only approach leaves out some major Feelgood songs, Singles remains a first-rate retrospective, and for many years, it was the best Dr. Feelgood collection available. The 1997 double-disc Twenty Five Years of Dr. Feelgood later replaced Singles as the definitive retrospective, yet there are enough songs on this collection to make it worthwhile for serious fans who don't want to spring for either the box set Lookin' Back or the entire catalog.
Tracks:
01. Roxette
02. She Does It Right
03. Back In The Night
04. Going Back Home
05. Riot In Cell Block No.9
06. Sneakin' Suspicion
07. She's A Wind Up
08. Baby Jane
09. Down At The Doctors
10. Milk And Alcohol
11. As Long As The Price Is Right
12. Put Him Out Of Your Mind
13. Hong Kong Money
14. No Mo Do Yakamo
15. Jumping From Love To Love
16. Violent Love
17. Waiting For Saturday Night
18. Monkey
19. Trying To Live My Life Without You
20. Crazy About Girls
21. My Way
22. Mad Man Blues
23. See You Later Alligator
24. Hunting Shooting Fishing
Avalanche de pesquisas de baixa qualidade
We Must Stop the Avalanche of Low-Quality Research
By Mark Bauerlein, Mohamed Gad-el-Hak, Wayne Grody, Bill McKelvey, and Stanley W. Trimble (veja quem são no final desta postagem)
The Chronicle of Higher Education June 13, 2010
Esse artigo deu o que falar: quando os comentários (inflamadíssimos) dos leitores chegaram a 173, a revista fechou o recebimento e encerrou o assunto por ali. Não deixe de dar uma olhada: como sempre digo, nos comentários constumam aparecer novidades, dicas e despautérios em geral. Uma glória. Aqui vai uma tradução de suas primeiras linhas:
Todos concordam que as pesquisas científicas são importantes para a saúde, a prosperidade e a segurança da nação. Nas diversas discussões sobre o valor das pesquisas, entretanto, raramente se ouve qualquer menção sobre qual é a melhor quantidade de publicações dos resultados. De fato, apesar de todas as queixas que ouvimos hoje sobre as pesquisas estarem passando por problemas de financiamento, não devemos esquecer o fato de que as últimas décadas testemunaharam um crescimento notável da produção de achados e conclusões de pesquisas. Imagine o aumento direto do número de publicações. Utilizando o Ulrich's Periodicals Directory, Michael Mabe mostra que o número de "publicações acadêmicas e de especialistas" examinadas cresce a uma taxa de 3.26 por cento ao ano (isto é, dobra a cada 20 anos). A causa principal: o aumento do número de pesquisadores,
Muitas pessoas vêem esse crescimento como um sinal de boa saúde. Enfatizam as notáveis descobertas e conquistas das pesquisas científicas através dos anos; notam que na classificação (do Times Higher Education) das universidades que fazem pesquisas em todo o mundo as faculdades dos Estados Unidos prenchem seis dos dez primeiros lugares. Mais produção publicada significa mais descobertas, mais conhecimentos e empreendimentos que melhoram cada vez mais.
Ah, se fosse verdade...
Quem são os autores:
Mark Bauerlein is a professor of English at Emory University; Mohamed Gad-el-Hak is a professor of mechanical engineering at Virginia Commonwealth University; Wayne Grody, Bill McKelvey, and Stanley W. Trimble, respectively, are professors of medicine, management, and geography at the University of California at Los Angeles.
By Mark Bauerlein, Mohamed Gad-el-Hak, Wayne Grody, Bill McKelvey, and Stanley W. Trimble (veja quem são no final desta postagem)
The Chronicle of Higher Education June 13, 2010
Esse artigo deu o que falar: quando os comentários (inflamadíssimos) dos leitores chegaram a 173, a revista fechou o recebimento e encerrou o assunto por ali. Não deixe de dar uma olhada: como sempre digo, nos comentários constumam aparecer novidades, dicas e despautérios em geral. Uma glória. Aqui vai uma tradução de suas primeiras linhas:
Todos concordam que as pesquisas científicas são importantes para a saúde, a prosperidade e a segurança da nação. Nas diversas discussões sobre o valor das pesquisas, entretanto, raramente se ouve qualquer menção sobre qual é a melhor quantidade de publicações dos resultados. De fato, apesar de todas as queixas que ouvimos hoje sobre as pesquisas estarem passando por problemas de financiamento, não devemos esquecer o fato de que as últimas décadas testemunaharam um crescimento notável da produção de achados e conclusões de pesquisas. Imagine o aumento direto do número de publicações. Utilizando o Ulrich's Periodicals Directory, Michael Mabe mostra que o número de "publicações acadêmicas e de especialistas" examinadas cresce a uma taxa de 3.26 por cento ao ano (isto é, dobra a cada 20 anos). A causa principal: o aumento do número de pesquisadores,
Muitas pessoas vêem esse crescimento como um sinal de boa saúde. Enfatizam as notáveis descobertas e conquistas das pesquisas científicas através dos anos; notam que na classificação (do Times Higher Education) das universidades que fazem pesquisas em todo o mundo as faculdades dos Estados Unidos prenchem seis dos dez primeiros lugares. Mais produção publicada significa mais descobertas, mais conhecimentos e empreendimentos que melhoram cada vez mais.
Ah, se fosse verdade...
Quem são os autores:
Mark Bauerlein is a professor of English at Emory University; Mohamed Gad-el-Hak is a professor of mechanical engineering at Virginia Commonwealth University; Wayne Grody, Bill McKelvey, and Stanley W. Trimble, respectively, are professors of medicine, management, and geography at the University of California at Los Angeles.
terça-feira, 22 de fevereiro de 2011
Uma Música
Murder by Death - Foxglove
http://s3.amazonaws.com/site-images.vagrant.com/audio_items/262/09_Foxglove.mp3
http://s3.amazonaws.com/site-images.vagrant.com/audio_items/262/09_Foxglove.mp3
Frida Hyvönen - Silence Is Wild
Frida Hyvönen - Silence Is Wild (2008)
Mp3 CBR 320kbps ~ 116 Mb (incl 5%)
Genre: Alternative rock, Folk-rock, Indie rock, Singer-songwriter
Label: Secretly Canadian # SC184 Time: 00:47:49
"Silence Is Wild" is the third album by Swedish Singer-songwriter Frida Hyvönen. It was released on October 29, 2008 in Scandinavia, and November 4, 2008 in North America. In Sweden, the album debuted at #9 in the official albums chart, making it her highest charting album to date.
Frida Hyvönen's debut record, Until Death Comes (ver abaixo) , unveiled a singer with a sweet and powerful voice, as well as a songwriter with a gift for catchy melodies and compelling, off-kilter lyrics. Her second album, Silence Is Wild, changes up a few things but retains everything that made Hyvönen special. The main change is that, while her debut was rather sparse and featured Hyvönen's piano as the main instrument, here she and co-producer Jari Haapalainen chose to surround her voice and piano with a wide range of instruments (horns, strings, drums, synthesizers) and lush arrangements. This decision works wonderfully, as it gives the album a sense of diversity and dynamic tension that was missing on Until Death Comes. That record sounded very good, but by the end came across as a little one-dimensional; this record is full and rich with plenty of variation in tempos and instrumentation. One fear might have been that the increased attention to the sound of the record might have diminished the impact of the lyrics, but instead of burying them, the arrangements bring the words to life. A track like "Pony" might have been a bit too dirge-like with just piano, but the swooping synths and steady beat of the drums keep the song chugging ahead, "Oh Shanghai" could have been a drag without the vocal chorus and swelling organ. Elsewhere, the arrangements give the record a welcome injection of energy -- check "London!" with its swinging tambourines, or the headlong rush of "Scandinavian Blonde," to hear Hyvönen actually almost rocking out. Only a handful of songs are stripped down to just voice and piano (like the harrowing and unsparing "December"), and while they don't sound bad, these tracks serve to reinforce what a good idea it was to open up Hyvönen's sound. Her voice on its own can be overwhelming (check the opening of "Highway 2 U," where she lets loose and comes dangerously close to sounding like a joke contestant on American Idol) and tough to warm up to. Adding strings, organs, and other voices wraps the vocal punch in velvet and helps the quirks go down easier. That she writes songs as affecting as "Dirty Dancing" and "Why Do You Love Me So Much" also helps. Alvin & the Chipmunks could sing them and bring a tear to your eye. Silence Is Wild is a solid step forward for Frida Hyvönen and a record to check out if you like singer/songwriters with a unique approach to be singing and songwriting. Review by Tim Sendra, Allmusic.com
Tracks:
"Silence Is Wild" is the third album by Swedish Singer-songwriter Frida Hyvönen. It was released on October 29, 2008 in Scandinavia, and November 4, 2008 in North America. In Sweden, the album debuted at #9 in the official albums chart, making it her highest charting album to date.
Frida Hyvönen's debut record, Until Death Comes (ver abaixo) , unveiled a singer with a sweet and powerful voice, as well as a songwriter with a gift for catchy melodies and compelling, off-kilter lyrics. Her second album, Silence Is Wild, changes up a few things but retains everything that made Hyvönen special. The main change is that, while her debut was rather sparse and featured Hyvönen's piano as the main instrument, here she and co-producer Jari Haapalainen chose to surround her voice and piano with a wide range of instruments (horns, strings, drums, synthesizers) and lush arrangements. This decision works wonderfully, as it gives the album a sense of diversity and dynamic tension that was missing on Until Death Comes. That record sounded very good, but by the end came across as a little one-dimensional; this record is full and rich with plenty of variation in tempos and instrumentation. One fear might have been that the increased attention to the sound of the record might have diminished the impact of the lyrics, but instead of burying them, the arrangements bring the words to life. A track like "Pony" might have been a bit too dirge-like with just piano, but the swooping synths and steady beat of the drums keep the song chugging ahead, "Oh Shanghai" could have been a drag without the vocal chorus and swelling organ. Elsewhere, the arrangements give the record a welcome injection of energy -- check "London!" with its swinging tambourines, or the headlong rush of "Scandinavian Blonde," to hear Hyvönen actually almost rocking out. Only a handful of songs are stripped down to just voice and piano (like the harrowing and unsparing "December"), and while they don't sound bad, these tracks serve to reinforce what a good idea it was to open up Hyvönen's sound. Her voice on its own can be overwhelming (check the opening of "Highway 2 U," where she lets loose and comes dangerously close to sounding like a joke contestant on American Idol) and tough to warm up to. Adding strings, organs, and other voices wraps the vocal punch in velvet and helps the quirks go down easier. That she writes songs as affecting as "Dirty Dancing" and "Why Do You Love Me So Much" also helps. Alvin & the Chipmunks could sing them and bring a tear to your eye. Silence Is Wild is a solid step forward for Frida Hyvönen and a record to check out if you like singer/songwriters with a unique approach to be singing and songwriting. Review by Tim Sendra, Allmusic.com
Tracks:
1. "Dirty Dancing" - 4:06
2. "Enemy Within" - 3:48
3. "Highway 2 U" - 4:09
4. "London!" - 4:03
5. "My Cousin" - 2:57
6. "Science" - 3:32
7. "Scandinavian Blonde" - 2:05
8. "December" - 4:05
9. "Birds" - 2:50
10. "Pony" - 3:05
11. "Sic Transit Gloria" - 4:08
12. "Oh Shanghai" - 5:42
13. "Why Do You Love Me So Much" - 3:12
http://www.filesonic.com/file/106731621/FridHyvSIVVmp32O.rar
Until Death Comes
http://www.filesonic.com/file/59108863/fridahyvonenuntilmp32O.rar
http://www.filesonic.com/file/106731621/FridHyvSIVVmp32O.rar
Until Death Comes
http://www.filesonic.com/file/59108863/fridahyvonenuntilmp32O.rar
William Clarke with Junior Watson - Double Dealin'
William Clarke with Junior Watson - Double Dealin' (2010)
Label: Watchdog Records MP3 320 Kbps 119.07 Mb
Genre: West Coast blues / Harmonica blues
Between his huge frame and the immense sounds he coaxed out of his harmonica, West Coast blues harmonica virtuoso William Clarke was a giant of the blues. A full-time blues musician since quitting his job as a machinist in 1987, Clarke regularly toured the U.S. and Europe before his untimely death in 1996. His mix of Chicago blues traditions with West Coast swing placed him at the forefront of contemporary blues harmonica players.Clarke's harmonica playing, particularly his chromatic work, was simply astonishing. According to the Chicago Sun Times, Clarke was "the most dynamic harp player on the circuit." The Washington Post declared, "Few can match the imposing harp and vocal power of William Clarke."Clarke was born March 29, 1951 into a blue-collar family in Inglewood, California. While most of his friends were surfing and listening to Beach Boys records, Clarke fell in love with the blues through the early Rolling Stones albums. By age 17 he began following his dream of becoming a bluesman. He befriended blues legends like T-Bone Walker, Eddie "Cleanhead" Vinson, Big Joe Turner, Pee Wee Crayton, Lowell Fulson, Big Mama Thornton, Shakey Jake Harris, and the man who was to become his mentor, ex-Muddy Waters harmonica legend George "Harmonica" Smith. The two performed and recorded together from 1977 until Smith's death in 1983.
Tracks:
Between his huge frame and the immense sounds he coaxed out of his harmonica, West Coast blues harmonica virtuoso William Clarke was a giant of the blues. A full-time blues musician since quitting his job as a machinist in 1987, Clarke regularly toured the U.S. and Europe before his untimely death in 1996. His mix of Chicago blues traditions with West Coast swing placed him at the forefront of contemporary blues harmonica players.Clarke's harmonica playing, particularly his chromatic work, was simply astonishing. According to the Chicago Sun Times, Clarke was "the most dynamic harp player on the circuit." The Washington Post declared, "Few can match the imposing harp and vocal power of William Clarke."Clarke was born March 29, 1951 into a blue-collar family in Inglewood, California. While most of his friends were surfing and listening to Beach Boys records, Clarke fell in love with the blues through the early Rolling Stones albums. By age 17 he began following his dream of becoming a bluesman. He befriended blues legends like T-Bone Walker, Eddie "Cleanhead" Vinson, Big Joe Turner, Pee Wee Crayton, Lowell Fulson, Big Mama Thornton, Shakey Jake Harris, and the man who was to become his mentor, ex-Muddy Waters harmonica legend George "Harmonica" Smith. The two performed and recorded together from 1977 until Smith's death in 1983.
Tracks:
[4:41] 01. Slow Down Baby
[5:35] 02. Musta Been Jelly
[4:24] 03. All Night Long
[5:45] 04. On Room Country Shack
[4:15] 05. Celebrate Life
[3:56] 06. Whan I Get Drunk
[5:13] 07. Groovin' With Mr. K
[3:56] 08. I'm A Wild Man
[4:49] 09. Junior's Jump
[2:30] 10. Please Be Mine
[2:52] 11. Yeah Yeah
[2:55] 12. Boogie Woogie Woman
[3:12] 13. My Mind Is Workin' Overtime
http://hotfile.com/dl/106043287/7c27377/William_Clarke_with_Junior_Watson_-_Double_Dealin.rar.html
http://hotfile.com/dl/106043287/7c27377/William_Clarke_with_Junior_Watson_-_Double_Dealin.rar.html
Redbird - Live at the Café Carpe
Redbird - Live at the Café Carpe (2011)
mp3 CBR 320 kbps HQ 118 MB (5% recovery inf.)
Folk, Americana, Singers/Songwriters
The “members” of Redbird would like you to know that it is not a group; rather, Redbird is what happens when three friends get together and make music. There is a forth friend who lends support on electric guitar and contributes one original tune, an instrumental. Redbird is more than worth hearing, because the three friends are Peter Mulvey, Kris Delmhorst, and Jeffrey Foucault. The forth friend is David Goodrich, who is less known because he does not sing, but he is a fine, supportive player. Every year for the last five, these friends have gotten together at the end of the year for four shows at Café Carpe in Fort Atkinson, Wisconsin. This album is culled from the 2008 and 2009 shows. I would not call this album a document of these shows. In the interest of including as much music as possible, the decision was made to leave out most of the stage patter between songs. So, the listener does not precisely get the feel of these shows. On the other hand, these certainly are not polished studio performances either. The intimate quality of a show at a small venue has been left in, so there is applause and some audience noise, and there are comments by the musicians. In a couple of spots, the musicians seem to get a barely suppressed case of the giggles. What comes through is the enormous talent of the artists, their level of comfort with one another, and the energy they receive from the crowd.
The “members” of Redbird would like you to know that it is not a group; rather, Redbird is what happens when three friends get together and make music. There is a forth friend who lends support on electric guitar and contributes one original tune, an instrumental. Redbird is more than worth hearing, because the three friends are Peter Mulvey, Kris Delmhorst, and Jeffrey Foucault. The forth friend is David Goodrich, who is less known because he does not sing, but he is a fine, supportive player. Every year for the last five, these friends have gotten together at the end of the year for four shows at Café Carpe in Fort Atkinson, Wisconsin. This album is culled from the 2008 and 2009 shows. I would not call this album a document of these shows. In the interest of including as much music as possible, the decision was made to leave out most of the stage patter between songs. So, the listener does not precisely get the feel of these shows. On the other hand, these certainly are not polished studio performances either. The intimate quality of a show at a small venue has been left in, so there is applause and some audience noise, and there are comments by the musicians. In a couple of spots, the musicians seem to get a barely suppressed case of the giggles. What comes through is the enormous talent of the artists, their level of comfort with one another, and the energy they receive from the crowd.
The format of the album, and I presume the shows as well, is a song swap. One artist starts things off with a song, and that reminds the next artist of another song, and so on. Usually in a song swap, an artist will start a song alone, and then the others will find their parts, entering tentatively at first, and then singing and playing more confidently as the song goes on. That often happens here as well, but there are also songs that Mulvey, Foucalt and Delmhorst have played together often enough that the confidence is there from the beginning. The guitar styles of the three also have a bearing on things. Mulvey started out busking in the Boston subways, so he developed a guitar style that fills space to compete with the noise of the trains. Foucault has a blues and country background, and he plays a lot of lead lines. Delmhorst has a classic folk approach, where her voice is the lead instrument, and she plays a rhythm guitar part to accompany herself; that means that it is easiest for the others to join in on the songs Delmhorst starts, so her songs come together faster than the others. Stewart’s Coat is one of these, and it is the finest ensemble performance on the album. I particularly enjoyed the call-and-response vocals at the end of the song.
It is fairly easy to talk about the songs each artist starts, even though each only contributes one original song to the album. Mulvey contributes three upbeat numbers, but his ballad selection is one of the albums highlights, a beautiful take on Come All Ye Fair and Tender Ladies. Foucault brings the album to a rousing close with his own 4 & 20 Blues, and also contributes another uptempo number and a country ballad. He also starts the two ensemble numbers, Ships and a goofy cowrite by all of the artists involved, Phonebooth of Love. For this one, the musicians are joined by Barry Rothman on harmonica. Phonebooth of Love is a piece of strange humor spoken over a tight blues groove. Delmhorst’s contributions are four ballads, all rendered beautifully. There is also an instrumental ballad by David Goodrich, Snowed In.
So the balance of faster and slower numbers is perfect here. The energy level is consistently high, as is the musicianship. When you’re in the mood to listen to live folk music, this album would make a fine choice.
Tracks:
1. I'm Beginning To See The Light
2. Strangers
3. What Made Milwaukee Famous
4. Come All Ye Fair And Tender Ladies
5. For The Turnstiles
6. Ships
7. Snowed In
8. Let The Mermaids Flirt With Me
9. Silver Wings
10. Ooh La La
11. Phonebooth Of Love
12. Stewart's Coat
13. Sad, Sad, Sad
segunda-feira, 21 de fevereiro de 2011
Postagens de Domingo
Alguma coisa na troca do horário de verão fez com as as postagens de domingo saíssem com data de sábado. Howevs, tá tudo publicado.
Algumas Músicas
Nina Simone - Suzanne
http://www.achtungbaby.org/08/10/nina_simone-suzanne.mp3
Murder by Death - Spring Break
http://www.indyweek.com/music/102908/spring.mp3
http://www.achtungbaby.org/08/10/nina_simone-suzanne.mp3
Murder by Death - Spring Break
http://www.indyweek.com/music/102908/spring.mp3
Evolução e diversidade comportamental humana
Human beings exhibit enormous behavioural diversity within and between populations and have succeeded in populating most of the globe. People vary in their social, mating and parenting behaviour and have diverse and elaborate cultural traits, traditions, norms and institutions. This Theme Issue asks whether and how evolutionary theory can help us to understand this behavioural diversity. The introductory article examines how diversity has been viewed by the main sub-disciplines within the human evolutionary behavioural sciences, namely human behavioural ecology, evolutionary psychology and cultural evolution. In addition to differences in focus and methodology, these sub-disciplines have traditionally varied in the emphasis placed on human universals, ecological factors, and socially learned behaviour, and on how they have addressed the issue of genetic variation. The Issue contains articles by researchers who attempt to cross these traditional boundaries or who provide novel perspectives on human behaviour. Philosophers of science also evaluate the concept of innateness and examine how social institutions can be incorporated into the evolutionary analysis of human behaviour. An overarching theme is that the rigorous application of recent advances in evolutionary theory can help us to understand diversity in human behaviour, but that a satisfactory evolutionary framework requires greater integration between subdisciplines.
Evolution and human behavioural diversity
Gillilan R Brown
Evolution and human behavioural diversity
Gillilan R Brown
The Royal Society 2011 PDF 152 pages 4.3 MB
http://www.filesonic.com/file/91554572
http://www.filesonic.com/file/91554572
Reflexões sobre a interação mente-cérebro
Reflections on the interaction of the mind and brain
Benjamin Libet
Progress in Neurobiology 78 (2006) 322–326
Uma contribuição do leitor Vitor Moura. O abstract é meio grande, mas: introduz um "campo mental cerebral" (CMF - cerebral mental field) que seria produto da necessidade de uma teoria de campo adequada ao estudo da integração entre mente (que "representa a experiência subjetiva e portanto é um fenômeno não físico") e cérebro. Diz ainda Libet: "Por definição, o CMF é uma propriedade de sistema produzida pelas atividades apropriadas de bilhões de neurônios". E também que "Um teste experimental dessa teoria é possível, e apresenta-se um projeto (desse) teste". Antão vamos conferir...
Benjamin Libet
Progress in Neurobiology 78 (2006) 322–326
Uma contribuição do leitor Vitor Moura. O abstract é meio grande, mas: introduz um "campo mental cerebral" (CMF - cerebral mental field) que seria produto da necessidade de uma teoria de campo adequada ao estudo da integração entre mente (que "representa a experiência subjetiva e portanto é um fenômeno não físico") e cérebro. Diz ainda Libet: "Por definição, o CMF é uma propriedade de sistema produzida pelas atividades apropriadas de bilhões de neurônios". E também que "Um teste experimental dessa teoria é possível, e apresenta-se um projeto (desse) teste". Antão vamos conferir...
Middle Brother – Middle Brother
Middle Brother – Middle Brother (2011)
mp3 320 kbps 109 MB (5% recovery inf.) Release date: March 1st, 2011
Alternative/Indie Rock, Alternative Folk, Alt-Country, Indie Folk
After chance collaborations over the years, folk-rock supergroup Middle Brother, briefly known as MG&V, officially came together in 2009. A trio of frontmen consisting of Deer Tick’s John McCauley, Dawes’ Taylor Goldsmith, and Delta Spirit’s Matthew Vasquez, Middle Brother have a sound that's dreamy and plaintive, pulling together aspects of the bandmembers' other work to create a unified sonic vision. Once the three songwriters realized how much they enjoyed being pushed by each other, things came together quickly for Middle Brother. In early 2010, they went into the studio in Nashville to record their debut, and then made their first stage appearance at SXSW just a few months later. Middle Brother, their self-titled debut, was released in 2011 by Partisan Records. - AllMusicGuide
Tracks:
After chance collaborations over the years, folk-rock supergroup Middle Brother, briefly known as MG&V, officially came together in 2009. A trio of frontmen consisting of Deer Tick’s John McCauley, Dawes’ Taylor Goldsmith, and Delta Spirit’s Matthew Vasquez, Middle Brother have a sound that's dreamy and plaintive, pulling together aspects of the bandmembers' other work to create a unified sonic vision. Once the three songwriters realized how much they enjoyed being pushed by each other, things came together quickly for Middle Brother. In early 2010, they went into the studio in Nashville to record their debut, and then made their first stage appearance at SXSW just a few months later. Middle Brother, their self-titled debut, was released in 2011 by Partisan Records. - AllMusicGuide
Tracks:
01. Daydreaming (4:50)
02. Blue Eyes (4:05)
03. Thanks For Nothing (3:44)
04. Middle Brother (3:13)
05. Theatre (4:40)
06. Portland (5:06)
07. Wilderness (2:43)
08. Me, Me, Me (2:57)
09. Someday (3:40)
10. Blood And Guts (6:00)
11. Mom And Dad (4:02)
sábado, 19 de fevereiro de 2011
Como o cérebro escolhe os neurônios que vai usar?
How does the brain pick which neurons to use?
Jason Snyder 02/16/2011
Integrando (wiring). Esta é uma das respostas para essa pergunta. Nós sabemos isso a partir de mapas topográficos do tálamo e do neocórtex, onde as unidades básicas das informações sensoriais estão concisamente representadas em populações espacialmente arrumadas de neurônios - as diversas partes do corpo estão representadas em localizações específicas, assim como as diferentes frequências de som, as diferentes partes da retina e os diferentes odores e gostos. As informações sensoriais básicas têm que ser representadas (isto é, precisamos de uma representação fiel dos elementos visuais, precisamos ouvir as diversas frequências que formam a fala humana, etc.), então por que não neurointegrá-las (hardwire them) e tornar sua representação a mesma para todos nós?
O artigo não pára por aqui. Snyder prossegue perfilando hipóteses e novidades, até que escreve:
O outro estudo é bastante revolucionário, eu acho, e também tem a ver com padrões pré-determinados e neurointegrados da atividade neuronal. Um dos desenvolvimentos mais animadores dos últimos quinze anos foi a descoberta de que padrões de atividade neuronal são retomados durante o sono. Considera-se que esse "replay" é o correlato fisiológico da consolidação da memória, isto é, o ensaio de experiências recentes e a integração de novas informações no circuito cerebral. Agora, Dragoi & Tonegawa (ver detalhes no texto original) descobriram que os padrões de atividade neuronal, vistos enquanto um rato explora um ambiente novo, também podem ser vistos durante episódios de descanso/sono antes que o rato jamais esteja nesse ambiente. Essencialmente, eles descobriram que o cérebro criou uma representação (ou pelo menos uma fração) de uma experiência que ainda não aconteceu. Eles chamam o fenômeno de "preplay". (Negritos do original)
Não há nada de esotérico aqui. Alguns constructos de Edvard I. Moser, Emilio Kropff, e May-Britt Moser (aqui) podem ajudar a explicar o fenômeno, mas Snyder não cita esse estudo. Se essa for sua praia, não deixe de ler os artigos, que são muito interessantes.
Jason Snyder 02/16/2011
Integrando (wiring). Esta é uma das respostas para essa pergunta. Nós sabemos isso a partir de mapas topográficos do tálamo e do neocórtex, onde as unidades básicas das informações sensoriais estão concisamente representadas em populações espacialmente arrumadas de neurônios - as diversas partes do corpo estão representadas em localizações específicas, assim como as diferentes frequências de som, as diferentes partes da retina e os diferentes odores e gostos. As informações sensoriais básicas têm que ser representadas (isto é, precisamos de uma representação fiel dos elementos visuais, precisamos ouvir as diversas frequências que formam a fala humana, etc.), então por que não neurointegrá-las (hardwire them) e tornar sua representação a mesma para todos nós?
O artigo não pára por aqui. Snyder prossegue perfilando hipóteses e novidades, até que escreve:
O outro estudo é bastante revolucionário, eu acho, e também tem a ver com padrões pré-determinados e neurointegrados da atividade neuronal. Um dos desenvolvimentos mais animadores dos últimos quinze anos foi a descoberta de que padrões de atividade neuronal são retomados durante o sono. Considera-se que esse "replay" é o correlato fisiológico da consolidação da memória, isto é, o ensaio de experiências recentes e a integração de novas informações no circuito cerebral. Agora, Dragoi & Tonegawa (ver detalhes no texto original) descobriram que os padrões de atividade neuronal, vistos enquanto um rato explora um ambiente novo, também podem ser vistos durante episódios de descanso/sono antes que o rato jamais esteja nesse ambiente. Essencialmente, eles descobriram que o cérebro criou uma representação (ou pelo menos uma fração) de uma experiência que ainda não aconteceu. Eles chamam o fenômeno de "preplay". (Negritos do original)
Não há nada de esotérico aqui. Alguns constructos de Edvard I. Moser, Emilio Kropff, e May-Britt Moser (aqui) podem ajudar a explicar o fenômeno, mas Snyder não cita esse estudo. Se essa for sua praia, não deixe de ler os artigos, que são muito interessantes.
Steven Pinker fala sobre linguagem
Uma palestra de pouco mais de uma hora do grande Steven Pinker. Como dizem os comentaristas de música: Imperdível!
The Stuff of Thought: Language as a window into human nature
A origem do vídeo: For over 250 years the Royal Society for the encouragement of Arts, Manufactures and Commerce (RSA) has been a cradle of enlightenment thinking and a force for social progress. Our approach is multi-disciplinary, politically independent and combines cutting edge research and policy development with practical action.
Lezzles, que participa do Metafilter, dá a dica de um vídeo animado (de pouco mais de 10 minutos) do YouTube sobre essa mesma palestra, a ser visto em:
http://www.youtube.com/watch?v=3-son3EJTrU
The Stuff of Thought: Language as a window into human nature
A origem do vídeo: For over 250 years the Royal Society for the encouragement of Arts, Manufactures and Commerce (RSA) has been a cradle of enlightenment thinking and a force for social progress. Our approach is multi-disciplinary, politically independent and combines cutting edge research and policy development with practical action.
Lezzles, que participa do Metafilter, dá a dica de um vídeo animado (de pouco mais de 10 minutos) do YouTube sobre essa mesma palestra, a ser visto em:
http://www.youtube.com/watch?v=3-son3EJTrU
Folk Rock, Urban Folk, Acoustic, Alternative/Indie Rock
Freeman Dre & the Kitchen Party - Red Door, Second Floor (2010)
mp3 CBR 320 kbps 104 MB
Folk Rock, Urban Folk, Acoustic, Alternative/Indie Rock
As their promotional material so readily acknowledges, the work of Bob Dylan and Tom Waits represents Freeman Dre & the Kitchen Party's presiding influence.The structure of a song such as 'Went To Town' cannot fail to recall Dylan's 'She Belongs To Me', whilst 'Let's Take the Show On the Road' and 'Do Widzenia' could happily sit alongside tracks from 'Rain Dogs' without anyone batting an eyelid. Dre's gravelly, weathered vocals also make these comparisons inevitable. However, whilst this album may not innovate, it handles its influences so confidently that it's impossible not to take notice.Freeman Dre's lyrics are a significant factor in this success. Full of vivid wordplay and rhapsodic rhyme schemes they immediately command attention, whilst the laconic vocal delivery imbues them with a sense of nonchalant style. Yet for all this detachment, you never doubt the sincerity of their content. Often they provide a magnificently scathing comment on the increasing hollowness of Western civilisation, perhaps best evinced on 'It's Good To Have Faith In the Lord', which nicely skewers the hypocrisy of the religious right.Dre's songwriting talent is also ably supported by his backing band. It's a classic string-band sound, with guitar, mandolin and double-bass at its core, warmly embellished throughout by harmonica, accordion, piano and such like. The arrangements and instrumental interplay are exemplary throughout. There's an occasional lack of dynamics, but on the whole, it provides an elegant underpinning to proceedings. In combination with the songwriting, it ensures that whilst 'Red Door, 2nd Floor' doesn't do anything that hasn't been heard before, it does it with sufficient verve to prove its worth and establish a legitimate place in the musical landscape. - Americana, UK
Tracks:
As their promotional material so readily acknowledges, the work of Bob Dylan and Tom Waits represents Freeman Dre & the Kitchen Party's presiding influence.The structure of a song such as 'Went To Town' cannot fail to recall Dylan's 'She Belongs To Me', whilst 'Let's Take the Show On the Road' and 'Do Widzenia' could happily sit alongside tracks from 'Rain Dogs' without anyone batting an eyelid. Dre's gravelly, weathered vocals also make these comparisons inevitable. However, whilst this album may not innovate, it handles its influences so confidently that it's impossible not to take notice.Freeman Dre's lyrics are a significant factor in this success. Full of vivid wordplay and rhapsodic rhyme schemes they immediately command attention, whilst the laconic vocal delivery imbues them with a sense of nonchalant style. Yet for all this detachment, you never doubt the sincerity of their content. Often they provide a magnificently scathing comment on the increasing hollowness of Western civilisation, perhaps best evinced on 'It's Good To Have Faith In the Lord', which nicely skewers the hypocrisy of the religious right.Dre's songwriting talent is also ably supported by his backing band. It's a classic string-band sound, with guitar, mandolin and double-bass at its core, warmly embellished throughout by harmonica, accordion, piano and such like. The arrangements and instrumental interplay are exemplary throughout. There's an occasional lack of dynamics, but on the whole, it provides an elegant underpinning to proceedings. In combination with the songwriting, it ensures that whilst 'Red Door, 2nd Floor' doesn't do anything that hasn't been heard before, it does it with sufficient verve to prove its worth and establish a legitimate place in the musical landscape. - Americana, UK
Tracks:
1.Six Hundred Feet 04:15
2.Babylon 02:51
3.Oak Tree 03:09
4.Let's Take The Show On The Road 04:42
5.Went To Town 03:27
6.Saturday Night in Parkdale 04:17
7.These Walls (They Listen) 02:52
8.Needle In Your Eye 04:46
9.It's Good To Have Faith In The Lord 03:42
10.Magdalena 03:26
11.Funny Situation 03:32
Canções do Romantismo Alemão
The collection brings together over 400 songs and song cycles (in original keys) by four major composers from the Classical and Romantic eras: Wolfgang Amadeus Mozart, Ludwig van Beethoven, Felix Mendelssohn and Robert Schumann.
Early Romantic German Lieder
Early Romantic German Lieder
CD Sheet Music German 2006 1100 pages PDF 72 MB
http://hotfile.com/dl/105490285/c2a4389/Romantic.German.Lieder.rar.html
http://hotfile.com/dl/105490285/c2a4389/Romantic.German.Lieder.rar.html
Algumas Músicas
Danny Schmidt - Firestorm
Many thanks to the great Songs Illinois
http://www.songsillinois.net/music/Firestorm.mp3
Ray Charles & Elton John - Sorry Seems To Be The Hardest Word
http://www.johnsalbum.com/LBVISION/audio/sorryseemstobethehardestword.mp3
The Corrs - Everybody Hurts
http://zenezene01.freeblog.hu/files/EH.mp3
Many thanks to the great Songs Illinois
http://www.songsillinois.net/music/Firestorm.mp3
Ray Charles & Elton John - Sorry Seems To Be The Hardest Word
http://www.johnsalbum.com/LBVISION/audio/sorryseemstobethehardestword.mp3
The Corrs - Everybody Hurts
http://zenezene01.freeblog.hu/files/EH.mp3
Fatos novos sobre comunicação entre os neurônios
Rewrite the textbooks:
Findings challenge conventional wisdom of how neurons operate
February 17, 2011
(PhysOrg.com) - Os neurônios são complicados, mas o conceito funcional básico é que as sinapses transmitem sinais elétricos para os dendritos e o corpo celular (input) e os axônios transportam sinais para fora (output). Em um de muitos achados surpreendentes, cientistas da Northwestern University descobriram que os axônios podem operar ao contrário: eles também poem enviar sinais para o corpo celular.
Não posso traduzir essa postagem do PhysOrg toda, mas aqui vai mais uma partezinha importante:
Seus estudos de neurônios individuais (do hipocampo e do neocórtex de ratos) levou a experimentos com múltiplos neurônios, o que resultou talvez na maior surpresa de todas. Os pesquisadores descobriram que um axônio fala com outro. Eles estimularam um neurônio, e detectaram disparos persistentes em outro neurônio que não havia sido estimulado. Nenhum dendrito ou corpo celular esteve envolvido nessa comunicação.
"Os axônios falam uns com os outros, mas como isso funciona é um mistério completo", disse Spruston. "A próxima pergunta importante é: até onde está disseminado esse comportamento? Este é um fato isolado ou acontece com muitos neurônios? Não achamos que seja raro, e por isso é importante que compreendamos sob que condições isto ocorre e como ocorre".
Leia também:
http://www.northwestern.edu/newscenter/stories/2011/02/neurons-signals-axons.html
E por falar em refazer os manuais de estudo:
The brain as a 'task machine'
February 17, 2011
PhysOrg - A porção do cérebro responsável pela leitura visual não exige a visão, de acordo com um novo estudo publicado online em 17 de fevereiro na revista Current Biology. Estudos de imagem cerebral de pessoas cegas enquanto lêem palavras em braille mostram atividade precisamente na mesma parte do cérebro que se ilumina quando a litura é realizada por leitores com visão. Esses achados contestam a noção encontrada em manuais de que o cérebro é dividido em regiões que são especializadas para processar informações que são absorvidas através de um ou de outro sentido, dizem os pesquisadores.
Findings challenge conventional wisdom of how neurons operate
February 17, 2011
(PhysOrg.com) - Os neurônios são complicados, mas o conceito funcional básico é que as sinapses transmitem sinais elétricos para os dendritos e o corpo celular (input) e os axônios transportam sinais para fora (output). Em um de muitos achados surpreendentes, cientistas da Northwestern University descobriram que os axônios podem operar ao contrário: eles também poem enviar sinais para o corpo celular.
Não posso traduzir essa postagem do PhysOrg toda, mas aqui vai mais uma partezinha importante:
Seus estudos de neurônios individuais (do hipocampo e do neocórtex de ratos) levou a experimentos com múltiplos neurônios, o que resultou talvez na maior surpresa de todas. Os pesquisadores descobriram que um axônio fala com outro. Eles estimularam um neurônio, e detectaram disparos persistentes em outro neurônio que não havia sido estimulado. Nenhum dendrito ou corpo celular esteve envolvido nessa comunicação.
"Os axônios falam uns com os outros, mas como isso funciona é um mistério completo", disse Spruston. "A próxima pergunta importante é: até onde está disseminado esse comportamento? Este é um fato isolado ou acontece com muitos neurônios? Não achamos que seja raro, e por isso é importante que compreendamos sob que condições isto ocorre e como ocorre".
Leia também:
http://www.northwestern.edu/newscenter/stories/2011/02/neurons-signals-axons.html
E por falar em refazer os manuais de estudo:
The brain as a 'task machine'
February 17, 2011
PhysOrg - A porção do cérebro responsável pela leitura visual não exige a visão, de acordo com um novo estudo publicado online em 17 de fevereiro na revista Current Biology. Estudos de imagem cerebral de pessoas cegas enquanto lêem palavras em braille mostram atividade precisamente na mesma parte do cérebro que se ilumina quando a litura é realizada por leitores com visão. Esses achados contestam a noção encontrada em manuais de que o cérebro é dividido em regiões que são especializadas para processar informações que são absorvidas através de um ou de outro sentido, dizem os pesquisadores.
Depoimento
Não estou nem aí pros Istates. Por que estaria? O império americano já está dando sinais convincentes de que está pifando, e tendo passado incontáveis décadas metendo-se onde não era chamado despertou o desprezo global que desfruta hoje. Quem está razoavelmente informado conhece a síndrome, ainda que não sejam conhecidos todos os fatores que a compõem. Daí, fiquei impressionado com esse depoimento de um militar americano (com legendas em português) que expõe todos os itens mais importantes, mas sem entrar nos detalhes técnicos e sórdidos de cada um deles. Guardadas as proporções e diferenças de contexto, lembrei-me imediatamente do Decline and Fall of the Roman Empire, de Gibbon. A agonia dos impérios é triste de se ver - o custo humano é tremendo, as repercussões dolorosíssimas. Mas vejam o depoimento.
http://www.youtube.com/watch?v=JFOmnAjk1EQ&feature=email
http://www.youtube.com/watch?v=JFOmnAjk1EQ&feature=email
The Low Anthem
The Low Anthem – Smart Flesh (2011)
mp3 320 kbps Release date: February 22, 2011
Americana, Neo-Traditional Folk, Indie Folk
With its dreamy, rustic take on the idea of Americana, the Low Anthem's 'Smart Flesh' builds on the promise of the group's universally praised 2008 Nonesuch Records debut, 'Oh My God, Charlie Darwin.' As the Washington Post has put it, 'The Low Anthem isn't the first bunch of indie rockers to experiment with older string-band instruments and echoes of the songs of pre-1940 rural America. But no one has done it better than this Rhode Island trio... That's because very few bands have paid so much attention to detail, or to beauty.'To record Charlie Darwin, the three original band members- Jocie Adams, Ben Knox Miller, and Jeff Prystowsky took over a Block Island cabin in the dead of winter. To record 'Smart Flesh,' the group now expanded to a quartet with the addition of drummer Mat Davidson - found a former pasta factory in Central Falls, Rhode Island, a cavernous loft space that became crucial to the shape of the album. Says vocalist Miller, 'We knew right away when we stepped into the factory that the space was really the main instrument for the whole record. The resonance was chilling. We were able to experiment with new recording techniques to capture the sound at different distances. Mics 100-200 feet away caught the sound barreling across the room.' Additional tracks were recorded in a garage that had previously been home to a reptile breeder, another unconventional studio space that the quartet dubbed 'the gator pit.'The group self-produced 'Smart Flesh,' bringing in Mike Mogis (Bright Eyes, Monsters of Folk, M. Ward) to mix the Pasta Sauce sessions and Jesse Lauter (Elvis Perkins, April Smith) to engineer. Instrumentation included jaw harp, musical saw, stylophone, oversized drum kits, and three antique pump organs that the band had found and restored. The exquisitely crafted, achingly spare arrangements at times recall the early recordings of Leonard Cohen, and Miller's voice, on a track like 'Burn,' displays a similarly gruff yet plaintive timbre. The deeply melancholic mood the group favors, starting with a spellbindingly slow-motion rendering of George Carter's 1920's era 'Ghost Woman Blues,' will appeal to fans of the backwoods musings of Bon Iver or the lovelorn southern balladry of the Avett Brothers, with whom The Low Anthem has toured.
Tracks:
With its dreamy, rustic take on the idea of Americana, the Low Anthem's 'Smart Flesh' builds on the promise of the group's universally praised 2008 Nonesuch Records debut, 'Oh My God, Charlie Darwin.' As the Washington Post has put it, 'The Low Anthem isn't the first bunch of indie rockers to experiment with older string-band instruments and echoes of the songs of pre-1940 rural America. But no one has done it better than this Rhode Island trio... That's because very few bands have paid so much attention to detail, or to beauty.'To record Charlie Darwin, the three original band members- Jocie Adams, Ben Knox Miller, and Jeff Prystowsky took over a Block Island cabin in the dead of winter. To record 'Smart Flesh,' the group now expanded to a quartet with the addition of drummer Mat Davidson - found a former pasta factory in Central Falls, Rhode Island, a cavernous loft space that became crucial to the shape of the album. Says vocalist Miller, 'We knew right away when we stepped into the factory that the space was really the main instrument for the whole record. The resonance was chilling. We were able to experiment with new recording techniques to capture the sound at different distances. Mics 100-200 feet away caught the sound barreling across the room.' Additional tracks were recorded in a garage that had previously been home to a reptile breeder, another unconventional studio space that the quartet dubbed 'the gator pit.'The group self-produced 'Smart Flesh,' bringing in Mike Mogis (Bright Eyes, Monsters of Folk, M. Ward) to mix the Pasta Sauce sessions and Jesse Lauter (Elvis Perkins, April Smith) to engineer. Instrumentation included jaw harp, musical saw, stylophone, oversized drum kits, and three antique pump organs that the band had found and restored. The exquisitely crafted, achingly spare arrangements at times recall the early recordings of Leonard Cohen, and Miller's voice, on a track like 'Burn,' displays a similarly gruff yet plaintive timbre. The deeply melancholic mood the group favors, starting with a spellbindingly slow-motion rendering of George Carter's 1920's era 'Ghost Woman Blues,' will appeal to fans of the backwoods musings of Bon Iver or the lovelorn southern balladry of the Avett Brothers, with whom The Low Anthem has toured.
Tracks:
1. Ghost Woman Blues
2. Apothecary Love
3. Boeing 737
4. Love And Altar
5. Matter Of Time
6. Wire
7. Burn
8. Hey, All You Hippies!
9. I'll Take Out Your Ashes
10. Golden Cattle
História da Filosofia do Século 18
More than thirty eminent scholars from nine different countries have contributed to The Cambridge History of Eighteenth-Century Philosophy - the most comprehensive and up-to-date history of the subject available in English. For the eighteenth century the dominant concept in philosophy was human nature and so it is around this concept that the work is centered. This allows the contributors to offer both detailed explorations of the epistemological, metaphysical and ethical themes that continue to stand at the forefront of philosophy, and to voice a critical attitude to the historiography behind this emphasis in philosophical thought. At the same time there is due sensitivity to historical context with particular emphasis on the connections between philosophy, science, and theology. This judiciously balanced, systematic, and comprehensive account of the whole of Western philosophy in the period will be an invaluable resource for philosophers, intellectual historians, theologians, political theorists, historians of science and literary scholars.
Cambridge History of Eighteenth-Century Philosophy
Knud Haakonssen
Cambridge History of Eighteenth-Century Philosophy
Knud Haakonssen
Cambridge University Press 2006 1424 pages PDF 6,6 MB http://www.filesonic.com/file/91680302/0521418542Philosophy.rar
sexta-feira, 18 de fevereiro de 2011
Algumas Músicas - Teddy Thompson
Teddy Thompson - In My Arms
http://shorefire.com/media/In_My_Arms_20080605_141112.mp3
Teddy Thompson - Down Low
http://c.ilike.com/d/0000/081/0000081015.mp3?fn=Teddy_Thompson-Down_Low.mp3
Teddy Thompson - Shine So Bright
http://ivanheneghan.com/getyourmelancholyon/audio/teddythompson_shinesobright.mp3
http://shorefire.com/media/In_My_Arms_20080605_141112.mp3
Teddy Thompson - Down Low
http://c.ilike.com/d/0000/081/0000081015.mp3?fn=Teddy_Thompson-Down_Low.mp3
Teddy Thompson - Shine So Bright
http://ivanheneghan.com/getyourmelancholyon/audio/teddythompson_shinesobright.mp3
Palestra TED de Patricia Kuhl
Sensacional palestra de Kuhl: The linguistic genius of babies. E dá para entender tudo o que ela diz. Anyways, andei procurando a transcrição da palestra, mas parece que ainda não fizeram. Se o leitor souber de alguma fonte...
http://www.ted.com/talks/patricia_kuhl_the_linguistic_genius_of_babies.html
Patricia Kuhl is co-director of the Institute for Brain and Learning Sciences at the University of Washington. She's internationally recognized for her research on early language and brain development, and studies that show how young children learn. Kuhl’s work has played a major role in demonstrating how early exposure to language alters the brain. It has implications for critical periods in development, for bilingual education and reading readiness, for developmental disabilities involving language, and for research on computer understanding of speech.
Leia também:
Neural Substrates of Language Acquisition
Patricia Kuhl and Maritza Rivera-Gaxiola 2008
Brain Mechanisms in Early Language Acquisition
Patricia K. Kuhl 2010
The Scientist in the Crib: What Early Learning Tells Us About the Mind
Alison Gopnik, Andrew N. Meltzoff & Patricia Kuhl
Harper Paperbacks 2000 304 pages PDF 1 MB
http://uploading.com/files/7T151UMI/Scientist_in_Crib.rar.html ou
http://rapidshare.com/files/211800216/Scientist_in_Crib.rar
http://uploading.com/files/7T151UMI/Scientist_in_Crib.rar.html ou
http://rapidshare.com/files/211800216/Scientist_in_Crib.rar
A trio of nationally respected childhood-development scientists hailing from Berkeley and the University of Washington has authored The Scientist in the Crib to correct a disparity: while popular books about science speak to intelligent, perceptive adults who simply want to learn, books about babies typically just give advice, heavy on the how-to and light on the why. The authors write, "It's as if the only place you could read about evolution was in dog-breeding manuals, not in Stephen Jay Gould; as if, lacking Stephen Hawking's insights, the layman's knowledge of the cosmos was reduced to 'How to find the constellations.'"The Scientist in the Crib changes that. Standing on the relatively recent achievements of the young field of cognitive science (pointing out that not so long ago, babies were considered only slightly animate vegetables--"carrots that could cry"), the authors succinctly and articulately sum up the state of what's now known about children's minds and how they learn. Using language that's both friendly and smart (and using equally accessible metaphors, everything from Scooby-Doo to The Third Man), The Scientist in the Crib explores how babies recognize and understand their fellow humans, interpret sensory input, absorb language, learn and devise theories, and take part in building their own brains.Such science makes for great reading, but will likely prove even more useful to readers with a scientist in their own crib, acting as tonic to pseudoscientific how-to baby books that recommend everything "from flash cards, to Mozart tapes, to Better Baby Institutes." As the authors put it, "We want to understand children, not renovate them."
Muitos artigos, capítulos de livros, etc. de Kuhl e colegas:
Marissa Nadler
Marissa Nadler - Ballads Of Living And Dying (2004)
Mp3 320kbps ~ 87 Mb (incl 5%) No scans
Genre: Folk rock, Alternative folk Label: Eclipse Records Time: 00:36:44
Over the past couple of centuries, the definition of "ballad" has been stretched to include virtually any slow-tempo sentimental song, even on those occasions when it merely means Tommy Lee is coming out from behind his kit to play the piano. But once upon a time the word indicated a more specific, codified form of verse. In the days before widespread literacy, a ballad was a dramatic (frequently tragic) story-poem that functioned as something of an oral newspaper, constructed simply with recurring rhymes so that it could be easily remembered and repeated. And on her captivating debut album, Ballads of Living and Dying, Marissa Nadler does her small part to return balladry to its vivid and illustrious past.On the surface this might not sound like a compelling proposition, but fortunately Nadler has the sort of voice that you'd follow straight to Hades. Her luxurious, resonant soprano is immediately transfixing, and throughout these songs it envelops the listener like a dense fog rolling in off the moors. Nadler's vocals are highly reminiscent of Hope Sandoval's-- with perhaps the faintest glimmer of the languid phrasing of cabaret chanteuse Marlene Dietrich-- and her unadorned arrangements recall the rain-weary solitude of early Leonard Cohen met with Mazzy Star or Opal at their most hazily narcotic.Nadler is clearly savvy enough in her material to know that a true collection of ballads must include a body count, and the most obviously successful auld school example here is her arrangement of Edgar Allen Poe's poem "Annabelle Lee". As you might recall from junior high English, this is a classic tale of ill-starred love with a stretched-by-your-grave finale that fits the ballad form to perfection, and Nadler's melodic rendition here is flawless. And poor Annabelle Lee is not this album's only casualty; there's also "Virginia", which respectfully chronicles the death of Virginia Woolf, as well as dreamier, more ambiguous songs like "Undertaker" and "Box of Cedar" which certainly contain whispers of foreboding for their subjects.Each song on the album comes lightly-dressed, usually borne along by little more than Nadler's voice, her fingerpicked guitars, and ornamental flourishes from the occasional accordion, autoharp, or blurry wisp of feedback. On "Hay Tantos Muertos", one the album's loveliest tracks, Nadler branches out from the strict balladic format, quoting lines from Pablo Neruda's haunting "No Hay Olvido" ("There Is No Forgetting") in a manner resembling a traditional Portuguese fado, and on "Days of Rum" she busts out a banjo and takes an enchanting turn at a Dock Boggs-style country blues.It's worth noting that, aside from the Poe and Neruda quotes, all of these songs are original compositions rather than the traditional works they appear. Throughout the album Nadler writes and performs with a weathered maturity that belies her young age. In fact, several tracks ("Mayflower May", "Days of Rum", "Fifty-Five Falls") seem to be narrated from the perspective of older women looking back upon the adventures and mistakes of their youth. Also an accomplished visual artist, Nadler's lyrics showcase a perceptive eye and a genuine empathy for her creations; and when coupled with that intoxicating voice the resulting landscape is one you may want to get lost in for a century or two.
Review by Matthew Murphy, Pitchfork.com
Tracklist:
Over the past couple of centuries, the definition of "ballad" has been stretched to include virtually any slow-tempo sentimental song, even on those occasions when it merely means Tommy Lee is coming out from behind his kit to play the piano. But once upon a time the word indicated a more specific, codified form of verse. In the days before widespread literacy, a ballad was a dramatic (frequently tragic) story-poem that functioned as something of an oral newspaper, constructed simply with recurring rhymes so that it could be easily remembered and repeated. And on her captivating debut album, Ballads of Living and Dying, Marissa Nadler does her small part to return balladry to its vivid and illustrious past.On the surface this might not sound like a compelling proposition, but fortunately Nadler has the sort of voice that you'd follow straight to Hades. Her luxurious, resonant soprano is immediately transfixing, and throughout these songs it envelops the listener like a dense fog rolling in off the moors. Nadler's vocals are highly reminiscent of Hope Sandoval's-- with perhaps the faintest glimmer of the languid phrasing of cabaret chanteuse Marlene Dietrich-- and her unadorned arrangements recall the rain-weary solitude of early Leonard Cohen met with Mazzy Star or Opal at their most hazily narcotic.Nadler is clearly savvy enough in her material to know that a true collection of ballads must include a body count, and the most obviously successful auld school example here is her arrangement of Edgar Allen Poe's poem "Annabelle Lee". As you might recall from junior high English, this is a classic tale of ill-starred love with a stretched-by-your-grave finale that fits the ballad form to perfection, and Nadler's melodic rendition here is flawless. And poor Annabelle Lee is not this album's only casualty; there's also "Virginia", which respectfully chronicles the death of Virginia Woolf, as well as dreamier, more ambiguous songs like "Undertaker" and "Box of Cedar" which certainly contain whispers of foreboding for their subjects.Each song on the album comes lightly-dressed, usually borne along by little more than Nadler's voice, her fingerpicked guitars, and ornamental flourishes from the occasional accordion, autoharp, or blurry wisp of feedback. On "Hay Tantos Muertos", one the album's loveliest tracks, Nadler branches out from the strict balladic format, quoting lines from Pablo Neruda's haunting "No Hay Olvido" ("There Is No Forgetting") in a manner resembling a traditional Portuguese fado, and on "Days of Rum" she busts out a banjo and takes an enchanting turn at a Dock Boggs-style country blues.It's worth noting that, aside from the Poe and Neruda quotes, all of these songs are original compositions rather than the traditional works they appear. Throughout the album Nadler writes and performs with a weathered maturity that belies her young age. In fact, several tracks ("Mayflower May", "Days of Rum", "Fifty-Five Falls") seem to be narrated from the perspective of older women looking back upon the adventures and mistakes of their youth. Also an accomplished visual artist, Nadler's lyrics showcase a perceptive eye and a genuine empathy for her creations; and when coupled with that intoxicating voice the resulting landscape is one you may want to get lost in for a century or two.
Review by Matthew Murphy, Pitchfork.com
Tracklist:
1. "Fifty Five Falls" – 5:01
2. "Hay Tantos Muertos" – 2:51 (Nadler, Pablo Neruda)
3. "Stallions" – 3:11
4. "Undertaker" – 2:17
5. "Box of Cedar" – 4:39
6. "Bird Song" – 3:07
7. "Mayflower May" – 3:21
8. "Days of Rum" – 4:20
9. "Virginia" – 2:39
10. "Annabelle Lee" – 5:15 (Nadler, Edgar Allan Poe)
Personnel:
Marissa Nadler — Vocals, acoustic guitar, keyboards
Myles Baer — Accordion, backing vocals, E-Bowe, electric guitar
Kendra Flowers — Harmony vocals ("Box of Cedar")
http://www.filesonic.com/file/84238171/MarisNadB0LAD_mp32O.rar ou
http://www.fileserve.com/file/CbSKS3R/MarisNadB0LAD_mp32O.rar
http://www.filesonic.com/file/84238171/MarisNadB0LAD_mp32O.rar ou
http://www.fileserve.com/file/CbSKS3R/MarisNadB0LAD_mp32O.rar
A vida interior dos animais
Do baboons have a sense of right and wrong? Do cats and dogs have their feelings hurt? Animal behavior expert Jonathan Balcombe, Ph.D., makes the case that animals, once viewed only as mindless automatons, actually have rich sensory experiences and emotional complexity. Drawing on new research, observational studies, and personal anecdotes to reveal the full spectrum of animal experience, Balcombe paints a new picture of the inner lives of animals that diverges from the 'fight or die' image often presented in the popular media. He challenges traditional views of animals and makes the case for why the human-animal relationship needs a complete overhaul.
Second Nature: The Inner Lives of Animals
Jonathan Balcombe
Second Nature: The Inner Lives of Animals
Jonathan Balcombe
Palgrave Macmillan 2011 256 pages PDF 1,7 MB http://www.filesonic.com/file/89690961/0230107818Animals.rar
Reavaliando a Renascença
The last two decades have transformed the field of Renaissance studies, and Reconceiving the Renaissance: A Critical Reader maps this difficult terrain. Attending to the breadth of fresh approaches, the volume offers a theoretical overview of current thinking about the period. Collecting in one volume the classic and cutting-edge statements which define early modern scholarship as it is now practiced, this book is a one-stop indispensable resource for undergraduates and beginning postgraduates alike. Through a rich array of arguments by the world's leading experts, the Renaissance emerges wonderfully invigorated, while the suggestive shorter extracts, boxed questions and engaged editorial introductions give students the wherewithal and encouragement to do some reconceiving themselves.
Reconceiving the Renaissance
Ewan Fernie, Ramona Wray, Mark Thornton Burnett & Clare McManus (editors)
Reconceiving the Renaissance
Ewan Fernie, Ramona Wray, Mark Thornton Burnett & Clare McManus (editors)
Oxford University Press 2005 448 pages PDF 1.3 MB http://www.filesonic.com/file/84573505/0199265577.rar
Canções Francesas - letra e música
A très magnifique collection of 70 songs from and about France: April in Paris * Autumn Leaves * Beyond the Sea * Can Can * C'est Magnifique * Comme Ci, Comme Ca * I Dreamed a Dream * I Love Paris * Je Ne Sais Pas (To You, My Love) * La Marseillaise * Let It Be Me (Je T'appartiens) * A Man and a Woman (Un Homme Et Une Femme) * My Man (Mon Homme) * Non, Je Ne Regrette Rien * The Poor People of Paris (Jean's Song) * Sand and Sea * Un Grand Amour (More, More and More) * Where Is Your Heart * and more.
The Big Book of French Songs: Popular Songs, Movie Hits, Musical Theatre Songs, Folksongs (Piano/Vocal/Guitar Songbook)
The Big Book of French Songs: Popular Songs, Movie Hits, Musical Theatre Songs, Folksongs (Piano/Vocal/Guitar Songbook)
Hal Leonard Corporation English 2007 PDF 296 pages 42.09 mb
http://hotfile.com/dl/105349524/f989089/The_Big_Book_of_French_Songs.pdf.html
http://hotfile.com/dl/105349524/f989089/The_Big_Book_of_French_Songs.pdf.html
quinta-feira, 17 de fevereiro de 2011
Algumas Músicas - The Wailin' Jennys
The Wailin' Jennys - Old Man
http://coverlaydown.com/tunes/oman.mp3
The Wailin' Jennys - Beautiful Dawn
http://blogability.edublogs.org/files/2007/03/beautiful-dawn.mp3
The Wailin' Jennys - Deeper Well
http://slowcoustic.com/wp-content/uploads/2009/07/Deeper-Well.mp3
The Wailin' Jennys - Trick Rider
http://coverlaydown.com/tunes/trider.mp3
http://coverlaydown.com/tunes/oman.mp3
The Wailin' Jennys - Beautiful Dawn
http://blogability.edublogs.org/files/2007/03/beautiful-dawn.mp3
The Wailin' Jennys - Deeper Well
http://slowcoustic.com/wp-content/uploads/2009/07/Deeper-Well.mp3
The Wailin' Jennys - Trick Rider
http://coverlaydown.com/tunes/trider.mp3
A vida dupla das mulheres
The Double Life of Women
By Annie Murphy Paul
Published on November 01, 2010 - Psychology Today
Tradução: Pedro Lourenço Gomes
https://docs.google.com/document/d/1DGGOuL_MTPpJ1nJybFSy3XRa6oy00DEMkRdD0Z35NM0/edit?hl=en
Entre em qualquer bar, qualquer festa, e você não vai demorar em identificá-la. Ela é a mulher com a risada sonora, as roupas ousadas, a atração magnética que reuniu um círculo de admiradores à sua volta. Se o salão fosse um sistema solar, ela seria o sol - e nos cantos, você vai notar, estão sentadas anoninamente diversas outras mulheres à sua sombra.
Por que esta mulher chama tanto a atenção? Psicólogos, especialistas em imagem e conselheiros sentimentais propõem uma multidão de explicações: é sua personalidade extrovertida, seu olhar chamativo, sua persona aberta. Mas um biólogo evolucionista, obervando a cena, ofereceria uma interpretação mais surpreendente que pode ajudar a explicar a dinâmica daquele barzinho e ainda muito mais: É seu tempo 'real' do mês. A bela do barzinho, provavelmente, está chegando ao ponto máximo de fertilidade, enquanto que suas companheiras mais modestas estão passando por uma fase infértil.
Não muito tempo atrás, esta explicação teria sido uma heresia intelectual. Por certo os biólogos podem adivinhar quando os chimpanzés estão prontos para se acasalar: uma vez a cada 28 dias, a genitália das fêmeas incha e adquire um dramático tom rosado. E o estro, como é conhecido o estado de receptividade sexual, também fica logo aparente em animais menos exóticos - como alguém que já viu um gato caseiro no cio pode atestar. Todas as fêmeas de mamíferos da Terra, acreditava-se, propagandeiam seu período de maior fertilidade - exceto a fêmea humana. Na mulher, o estro se "perdeu" em algum ponto dos longos meandros evolutivos. "Esta é a visão tradicional, convencional, do estro humano", diz Randy Thornhill, professor de biologia da University of New Mexico. "Mas acontece que ela está errada".
Esse artigo não é uma maravilha, e tem algumas mancadas solenes, mas cá está porque reúne muita coisa interessante debaixo de um só teto. Leia minha tradução no docs.google ou o original no primeiro link.
By Annie Murphy Paul
Published on November 01, 2010 - Psychology Today
Tradução: Pedro Lourenço Gomes
https://docs.google.com/document/d/1DGGOuL_MTPpJ1nJybFSy3XRa6oy00DEMkRdD0Z35NM0/edit?hl=en
Entre em qualquer bar, qualquer festa, e você não vai demorar em identificá-la. Ela é a mulher com a risada sonora, as roupas ousadas, a atração magnética que reuniu um círculo de admiradores à sua volta. Se o salão fosse um sistema solar, ela seria o sol - e nos cantos, você vai notar, estão sentadas anoninamente diversas outras mulheres à sua sombra.
Por que esta mulher chama tanto a atenção? Psicólogos, especialistas em imagem e conselheiros sentimentais propõem uma multidão de explicações: é sua personalidade extrovertida, seu olhar chamativo, sua persona aberta. Mas um biólogo evolucionista, obervando a cena, ofereceria uma interpretação mais surpreendente que pode ajudar a explicar a dinâmica daquele barzinho e ainda muito mais: É seu tempo 'real' do mês. A bela do barzinho, provavelmente, está chegando ao ponto máximo de fertilidade, enquanto que suas companheiras mais modestas estão passando por uma fase infértil.
Não muito tempo atrás, esta explicação teria sido uma heresia intelectual. Por certo os biólogos podem adivinhar quando os chimpanzés estão prontos para se acasalar: uma vez a cada 28 dias, a genitália das fêmeas incha e adquire um dramático tom rosado. E o estro, como é conhecido o estado de receptividade sexual, também fica logo aparente em animais menos exóticos - como alguém que já viu um gato caseiro no cio pode atestar. Todas as fêmeas de mamíferos da Terra, acreditava-se, propagandeiam seu período de maior fertilidade - exceto a fêmea humana. Na mulher, o estro se "perdeu" em algum ponto dos longos meandros evolutivos. "Esta é a visão tradicional, convencional, do estro humano", diz Randy Thornhill, professor de biologia da University of New Mexico. "Mas acontece que ela está errada".
Esse artigo não é uma maravilha, e tem algumas mancadas solenes, mas cá está porque reúne muita coisa interessante debaixo de um só teto. Leia minha tradução no docs.google ou o original no primeiro link.
Cérebro e Genética
"The Imprinted Brain" sets out a radical new theory of the mind and mental illness based on the recent discovery of genomic imprinting. Imprinted genes are those from one parent that, in that parent's interest, are expressed in an offspring rather than the diametrically opposed genes from the other parent. For example, a higher birth weight may represent the dominance of the father's genes in leading to a healthy child, whereas a lower birth weight is beneficial to the mother's immediate wellbeing, and the imprint of the mother's genes will result in a smaller baby.
The Imprinted Brain: How Genes Set the Balance of the Mind Between Autism and Psychosis
Christopher Badcock
The Imprinted Brain: How Genes Set the Balance of the Mind Between Autism and Psychosis
Christopher Badcock
Jessica Kingsley Pub. 2009 PDF 240 pages 1,2 mb
http://www.filesonic.com/file/84642110/The_Imprinted_Brain.pdf
http://www.filesonic.com/file/84642110/The_Imprinted_Brain.pdf
Little River Band
Little River Band - Little River Band (1975)
MP3 CBR 320 kbps - 97 MB Covers - 14 MB
Genre: Rock RAR 3% Rec. Label: EMI Australia (432016-2)
Little River Band is the eponymous debut album by Australian rock group Little River Band which was released by EMI in November 1975. It peaked at No. 12 on the Australian Kent Music Report Albums Chart.
Tracklist:
Little River Band is the eponymous debut album by Australian rock group Little River Band which was released by EMI in November 1975. It peaked at No. 12 on the Australian Kent Music Report Albums Chart.
Tracklist:
01. It's a Long Way There
02. Curiosity (Killed the Cat)
03. Meanwhile...
04. My Lady and Me
05. I'll Always Call Your Name
06. Emma
07. The Man in Black
08. Statue of Liberty
09. I Know It
Para entender e modelar a função cerebral
A guide to two types of transcendence of academic borders necessary to the understanding and modeling of brain function: Technical transcendence needed to make intelligent machines, and transcendence of cross-disciplinary boundaries to incorporate less technical and more abstract, cognitive aspects of brain function into modeling.
What Should be Computed to Understand and Model Brain Function?
Tadashi Kitamura (editor)
What Should be Computed to Understand and Model Brain Function?
Tadashi Kitamura (editor)
World Scientific Publishing Company 2001 PDF 323 pages 11,4 mb http://www.filesonic.com/file/86214662/7803.rar
quarta-feira, 16 de fevereiro de 2011
Algumas Músicas
Chris Bathgate - Yes I'm Cold
http://slowcoustic.com/wp-content/uploads/2008/12/yes-im-cold.mp3
Gomez - See the World
http://tridity.org/~achernak/Music/Gomez/How We Operate/Gomez - 02 - See the World.mp3
Mumford And Sons - White Blank Page
http://fuelfriendsmp3.com/listenup/Mumford BBC/White Blank Page (BBC Radio 1 Sessio.mp3
Okkervil River - Kansas City
http://www.epitonic.com/files/reg/songs/mp3/Okkervil_River-Kansas_City.mp3
http://slowcoustic.com/wp-content/uploads/2008/12/yes-im-cold.mp3
Gomez - See the World
http://tridity.org/~achernak/Music/Gomez/How We Operate/Gomez - 02 - See the World.mp3
Mumford And Sons - White Blank Page
http://fuelfriendsmp3.com/listenup/Mumford BBC/White Blank Page (BBC Radio 1 Sessio.mp3
Okkervil River - Kansas City
http://www.epitonic.com/files/reg/songs/mp3/Okkervil_River-Kansas_City.mp3
Esse é o cara!
Joe Cocker - The Very Best (2011)
MP3 320 Kbps 179 Mb
Genre: Rock, Blues Rock
After starting out as an unsuccessful pop singer (working under the name Vance Arnold), Joe Cocker found his niche singing rock and soul in the pubs of England with his superb backing group, the Grease Band. He hit number one in the U.K. in November 1968 with his version of the Beatles' "A Little Help from My Friends." His career really took off after he sang that song at the Woodstock festival in August 1969. A second British hit came with a version of Leon Russell's "Delta Lady" in the fall of 1969 (by then, Russell was Cocker's musical director) and both of his albums, With a Little Help from My Friends (April 1969) and Joe Cocker! (November 1969), went gold in America.In 1970, his cover of the Box Tops hit "The Letter" became his first U.S. Top Ten. Cocker's first peak of success came when Russell organized the "Mad Dogs & Englishmen" tour of 1970, featuring Cocker and over 40 others and resulting in a third gold album and a concert film. Subsequent efforts were less popular, and problems with alcohol (both on- and off-stage) reduced Cocker's once-powerful voice to a croaking rasp. But he returned to the U.S. Top Ten with the romantic ballad "You Are So Beautiful" in 1975 and topped the charts in a duet with Jennifer Warnes on "Up Where We Belong," the theme from the 1982 film An Officer and a Gentleman. He still charted during the '90s, albeit with less frequency than he did in the '70s and '80s, and has also continued to work throughout the new millennium. Across from Midnight arrived in 1997, followed by No Ordinary World two years later. Respect Yourself appeared in 2002, and the covers album Heart & Soul followed in 2004. The European release Hymn for My Soul, which features cover versions of songs by Stevie Wonder, George Harrison, Bob Dylan, and John Fogerty, was issued on Parlophone in 2007. His complete Live at Woodstock performance was released on CD in 2009. In 2010, Hard Knocks his first studio album in three years was released in Europe.
Tracks:
After starting out as an unsuccessful pop singer (working under the name Vance Arnold), Joe Cocker found his niche singing rock and soul in the pubs of England with his superb backing group, the Grease Band. He hit number one in the U.K. in November 1968 with his version of the Beatles' "A Little Help from My Friends." His career really took off after he sang that song at the Woodstock festival in August 1969. A second British hit came with a version of Leon Russell's "Delta Lady" in the fall of 1969 (by then, Russell was Cocker's musical director) and both of his albums, With a Little Help from My Friends (April 1969) and Joe Cocker! (November 1969), went gold in America.In 1970, his cover of the Box Tops hit "The Letter" became his first U.S. Top Ten. Cocker's first peak of success came when Russell organized the "Mad Dogs & Englishmen" tour of 1970, featuring Cocker and over 40 others and resulting in a third gold album and a concert film. Subsequent efforts were less popular, and problems with alcohol (both on- and off-stage) reduced Cocker's once-powerful voice to a croaking rasp. But he returned to the U.S. Top Ten with the romantic ballad "You Are So Beautiful" in 1975 and topped the charts in a duet with Jennifer Warnes on "Up Where We Belong," the theme from the 1982 film An Officer and a Gentleman. He still charted during the '90s, albeit with less frequency than he did in the '70s and '80s, and has also continued to work throughout the new millennium. Across from Midnight arrived in 1997, followed by No Ordinary World two years later. Respect Yourself appeared in 2002, and the covers album Heart & Soul followed in 2004. The European release Hymn for My Soul, which features cover versions of songs by Stevie Wonder, George Harrison, Bob Dylan, and John Fogerty, was issued on Parlophone in 2007. His complete Live at Woodstock performance was released on CD in 2009. In 2010, Hard Knocks his first studio album in three years was released in Europe.
Tracks:
01. First We Take Manhattan (3:47)
02. Hard Knocks (3:25)
03. Unchain My Heart (90's version) (5:09)
04. You Haven't Done Nothin' (3:52)
05. Unforgiven (4:15)
06. Chain Of Fools (3:47)
07. My Father's Son (4:32)
08. Don't Give Up On Me (4:08)
09. I Who Have Nothing (4:03)
10. Now That the Magic Has Gone (4:42)
11. Don't You Love Me Anymore (4:13)
12. I Keep Forgetting (3:36)
13. I Put A Spell On You (4:34)
14. Sorry Seems to Be the Hardest Word (4:02)
15. Hymn 4 My Soul (3:56)
16. Naked Without You (4:34)
17. Jealous Guy (4:09)
18. Night Calls (3:31)
Construindo o Significado
Diz a autora na Introdução:
At the source of this book lies an idea which is as old as my academic life. As a graduate in Philosophy, interested in both the conceptual background of human language and the linguistic framing of thought, I was reading Chomsky with Husserlian glasses when I came across the question of conflictual complex meanings. Beyond such artificial examples as Colorless green ideas sleep furiously, I immediately thought of the documents of conceptual creativity offered by real texts: The silver moonbeam pours her ray (Shelley), The green woods laugh with the voice of joy (Blake), And Winter pours its grief in snow (E. Brontë), Shadows – hold their breath (Dickinson). What irresistibly attracted me, however, was not so much the aesthetic appeal of conflicts as the occasion they offer to take apart the competing factors governing the connection of complex meanings, that is, formal syntactic constructions and shared, longlasting conceptual architectures. My first course in General Linguistics, held in Geneva in 1980, was about the construction of conceptual conflicts through linguistic forms. During my teaching on the shores of Lac Léman, I wrote Sémantique du contresens (1987), where conflictual meanings, discarded by both philosophers and linguists as pseudo-sentences, are systematically explored as “a privileged point of observation upon the inner framing of complex meanings”. This book takes a further step along the same path.
The Building Blocks Of Meaning
Michele Prandi
The Building Blocks Of Meaning
Michele Prandi
John Benjamins Publishing Co 2004 520 pages PDF 2.2 Mb
http://www.duckload.com/download/2900821/1588115267.pdf
http://www.duckload.com/download/2900821/1588115267.pdf
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