Manuel Reis

Os 30 mil funcionários do Estado com que Passos e Gaspar querem correr já têm destino.

Happy Endings isn’t dead yet. But ABC might as well have dipped it in antelope blood, rolled it around in

iWatch?

E Maio chegou. Maio, um dos meses cruciais em termos televisivos. E já há séries a acabar desde Abril. Por isso, decidimos desafiar as hipóteses e tentar falar de 10 séries em menos de uma hora. Conseguimos? Descubram após este parágrafo de entrada.

Não.

Mas também não foi muito grande, como os últimos dois. Foram só quase seis minutos a mais. Comparando com as últimas duas semanas, é uma melhoria.

ALINHAMENTO

• 00:00:00 – 00:00:41 — Introdução
• 00:00:41 – 00:08:37 — Estreias
  • 00:00:41 – 00:05:40  — Da Vinci’s Demons
  • 00:05:40 – 00:08:55 — Defiance
• 00:08:55 – 00:00:00 — Balanços de Temporada
  • 00:08:55 – 00:12:24 — The New Normal
  • 00:12:24 – 00:18:32 — Go On
  • 00:18:32 – 00:27:17 — Suburgatory
  • 00:27:17 – 00:39:15 — The Good Wife
  • 00:39:15 – 00:43:28 — The Following
  • 00:43:28 – 00:52:00 — Vikings
  • 00:52:00 – 00:56:20 — Shameless
• 00:56:20 – 01:02:30 — O Adeus a Spartacus: O Vítor presta o seu último tributo a uma das séries que mais elogiou nos anos mais recentes.
• 01:02:30 – 01:03:45 — Breves análises a Whitney e Bones
• 01:03:45 – 01:05:00 — Despedidas e uma confusão de caraças com datas de finais!

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Daqui a duas semanas voltamos com um novo episódio!

Is Microsoft Breaking The Promise Of Windows 8?:

Austin Carr:

Adding the Start button back to Windows would be another example in a long line of half-measures. According to early reports, a reintroduced Start button wouldn’t even function the traditional way. Instead of showing you a Start menu when the button is clicked, Windows would supposedly just kick you back to the tile interface, a user experience not likely to quiet dissatisfied users. It’s another instance of Microsoft’s unwillingness to fully commit to the redesign of Windows 8—or a full retreat back to the old design.

No compro… ah, forget it.

Fewer viewers are going to the movies each year, and more of what they're seeing is from big-budget studios. But at the same time, an increasingly vast majority of what's being made is independent and — not surprisingly — struggling to be seen. Filmmaker Steven Soderbergh, who has successfully navigated the industry with both studio hits, such as Ocean's Eleven, and acclaimed independent releases, such as Sex, Lies, and Videotape, spoke at length about the state of the filmmaking industry during a keynote at the San Francisco International Film Festival on Saturday. These days, Soderbergh said, having an independent film reach an audience is like "trying to hit a thrown baseball with another thrown baseball."

The crux of the director's talk was about what he considers the distinction between cinema and movies, and how he believes that studios are keeping real pieces of art out of theaters because it might hurt the bottom line. "The idea of cinema as I’m defining it is not on the radar of the studios," Soderbergh said. "It’s not a word you would ever want to use in a meeting." Deadline has a full transcript of the speech, which draws a sorry picture for the state of art within the studio system.

Do Ross and Chandler have psychic powers? In 2003, a year before Mark Zuckerberg created The Facebook, the show "Friends" had Ross and Chandler using a site just like it. As redditors have pointed out, Myspace and Friendster were both popular at the time, but "Friends" specifically talks about a social networking site revolving around college alumni. The episode, called "The One With The Memorial Service" is from season 9. It opens with Ross on his laptop, saying to Chandler: "Have you seen this? It's our new alumni website for college. It's cool! You can post messages for people, let everyone know what you're up to.." To which Chandler sarcastically replies: "Oh great, a faster way to tell people that I'm unemployed and childless". Little did "Friends" writers know that so many of us were going to deal with that online sharing dilemma just a few years later.

This weekend saw the election of the first Pirate Members of Parliament to a national-level, proportional parliament. (Pirates have previously been elected into the European Parliament, the Czech Senate, multiple state-level parliaments, and many local councils.)

The most fascinating thing about that election wasn’t that it happened a mere seven years after the movement’s founding, but that it happened in another country than where it was founded.

They say that each generation must reconquer democracy. In practice, there seems to be a little more time between each major wave of new political values. Universal suffrage and liberalism gained ground about 120 years ago, the labor movement gained ground about 80 years ago, and the environmental movement gained ground about 40 years ago. But still.

These movements took decades from their inception to their first successful elections. Decades! In contrast, the Pirate Party’s first election success was in 2009, a mere three and a half years after the movement was founded. Today, there are Pirate parties in 70 countries – arguably in varying stages of development – and support is growing pretty much everywhere, slowly but measurably.

Some would say that the Pirate Party movement is “just a protest party”, as if that were something bad. Such parties are part of a functioning democracy. We call them “opposition”. If you’re not content with the way things are run, then by definition, you are dissenting against the incumbent administration.

All major movements have followed the same pattern. They started out as a protest against what they saw as unfair, solidified that protest into a narrow set of policy changes, and ran for office. Then, they deepened into an ideology that could be applied across all of society.

The labor movement protested exploitation of workers, solidified that into a narrow policy that would legalize and strengthen labor unions, and then deepened into an ideology of solidarity. The green movement protested pollution, crafted a narrow policy that would regulate industries, then deepened that into an ideology of sustainability.

The Pirate Party movement is in the middle of this deepening and broadening process. I find it fascinating that whenever I speak to self-identified pirates no matter where in the world, we seem to be in agreement on the most minute of policy details far outside the cores of sharing, transparency, and accountability, as well as how we arrived at that conclusion. It’s true that we started out protesting that some businesses’ neophobia (fear of the new) were allowed to supersede civil liberties online, but we’ve come a long way since.

It’s like the understanding of society spread by osmosis through the Internet. Perhaps the Pirate Parties really are the political arm of the Internet, as some have called the movement.

Anyway, with this election, the movement is officially out of the starter blocks.

The election of Pirate MPs on Iceland is an exciting beginning. My congratulations to Birgitta, Jon-Thor and Helgi on your new jobs.

Source: Reflections on Iceland’s Election of Pirate MPs

Bringing back a show from the dead is no easy task. Especially when that show is Arrested Development. The highly

After Lauryn Hill kept silent during a court appearance in her tax evasion case this week the singer posted a note on Tumblr last night saying she's signed a new record deal and explaining some of her side of the story in what she called a "10+ year battle for...

Há muito tempo que se vem a tentar resolver um grande problema que afecta a maioria das imagens digitais: os pixeis. O pixel é elemento fundamental de uma imagem, a sua unidade mais básica e irredutível, e que serve de "escala" para todo o tipo de coisas, da resolução das fotos tiradas em câmaras fotográficas, aos monitores de computadores, aos ecrãs Full HD e Ultra HD.

O problema é que a evolução da tecnologia dos ecrãs vai fazendo com que estes pixeis aumentem sem parar. Das resoluções que dantes pareciam excelentes, nos filmes em DVD, para as resoluções FullHD nos Bluray, e agora... já falamos de vídeos em resolução 4K (ou até superior)! Haverá forma de escaparmos a esta "prisão" que são os pixeis? Na verdade... há.

Os gráficos vectoriais não são nada de novo, e ecrãs vectoriais existiam já antes das primeiras televisões. A sua vantagem é que não dependem da resolução do ecrã para serem apresentados. Se eu especificar que quero desenhar um triângulo, sei que é um triângulo, quer seja desenhado num ecrã de um telemóvel com 128x128 pixeis, ou num ecrã Ultra HD com 4K de resolução - e em ambos os casos ele dará uso a todos os pixeis que estiverem disponíveis.

Mas se as imagens vectoriais até são comuns para icons, cliparts, e outro tipo de gráficos... não o são para algo como vídeo. No entanto, há quem esteja a trabalhar nessa área e que diz que daqui por alguns anos poderemos ter codecs de vídeo vectorial.


A grande vantagem deste sistema é que, tal como num icon vectorial, também o vídeo passaria a ser independente da resolução do ecrã onde fosse exibido, tirando o máximo partido de toda a resolução disponível, e com uma grande vantagem: a codificação do video passaria a ser feita de forma mais eficiente, ocupando menos espaço, e tornando obsoleta a classificação de que se trataria de um vídeo em resolução DVD, FullHD, ou UltraHD! O vídeo ocuparia o mesmo espaço.


Em tempos, os gráficos vectoriais recebiam fortes críticas devido à baixa resolução dos ecrãs, que fazia com que gráficos "desenhados à mão" e estudados para esconder as limitações dos poucos pixeis existentes oferecessem qualidade superior. Mas numa altura em que nos equipamentos mobile temos ecrãs com densidades de pixeis superiores à de páginas impressas em papel, e que na nossas salas já se contempla a passagem de FullHD para UltraHD... penso que poderemos estar numa altura propícia para que os elementos vectoriais possam regressar e libertar-nos da espiral insustentável de criar imagens/vídeos específicos para cada resolução.

Paulo Macedo decidiu que as consultas nos Centros de Saúde estarão disponíveis até às 22h00, algo que irritou profundamente o guru do empreendedorismo, Miguel Gonçalves.

Date: April 25, 2013

My first encounter with Ella Fitzgerald’s music happened when I was about 12.  My parents were hosting a party, and my dad had charged me with the task of burning a CD of jazzy music, suggesting songs by the Queen of Jazz herself.  Having only heard her name through word-of-mouth, I sharpied the title “Elephants Gerald” onto the disc.  Let’s just say my innocent mistake earned me a few embarrassing laughs.

Despite my early misunderstanding of Ella’s name, I have grown to adore her music.  This is why I jumped at the chance to create today’s doodle!

Ms. Fitzgerald’s songs are soulful, jazzy, and create a very particular mood when played.  I wanted to make sure that my doodle captured that essence.  I chose to create the doodle out of cut paper because I knew that I could use this technique to imitate real stage-lighting and theatricality.

This was the first time I had ever attempted papercraft illustration, so it was a bit scary for me.  I first sketched the entire scene in Photoshop.  I wanted to make sure I knew exactly where and what to cut beforehand! 



Once I had a tight sketch, I began to cut out pieces of paper.  I printed several copies of my digital sketch and used it as a pattern.  My desk became a huge mess very quickly!



(this was only the beginning...it got way messier!)



I had a lot of fun depicting the lighting with simple, geometric shapes.  In some cases, such as with Ella, I added detail with colored pencils.  It really helped bring her to life!



The final doodle was coming together...

I did a few test photo shoots, but it still felt like it was missing something!  The colors weren’t nearly as vibrant and blues-y as the photographs I had found of Ms. Fitzgerald singing.  I could have altered them in Photoshop, but I felt like that would have defeated the purpose of using traditional media.




It wasn’t until I started to experiment with colored LED lights that I felt like the piece came together.  This really helped the illustration feel like it was a lit stage!



I am so honored and humbled to have had the opportunity to pay tribute to one of the greatest (and one of my favorite) singers of all time.  Happy 96th, Ella!

Posted by Betsy Bauer, Doodler.


***


Some words from the Ella Fitzgerald Charitable Foundation's Executive Director

Never in my wildest, most fantastic dreams did I ever believe that I would work for Ella Fitzgerald. Me, working for the great First Lady of Song? Been doing it since Ella 1996.

How did I end up here?  My husband Rich and I have been married since 1980.  He’s a lawyer, and when we got married he was practicing business law for a small entertainment firm in L.A.  One of the clients was Ella. The first time Rich took me back stage (at the Hollywood Bowl no less) to meet her, I thought I would just keel over and pass out but she was as nice, gracious and warm as my favorite aunt. If you walked into her lovely Beverly Hills home, you were greeted with a huge smile, a big hug and a sandwich.  

When Ella died, Rich needed to hire an archivist, and I was the only one he knew. There we were, sitting around telling stories while surrounded by Grammy Awards, Gold Records, Downbeat Awards, Presidential medals and all the tangible items of a life well-sung.  I pinched myself a lot.  

The summer of  1996 was not an easy one.  Ella had just passed away from complications of diabetes and my own mother was ill as well. I would spend mornings at Ella’s, doing archival work, and the afternoons down the street with my Mom.  I swear she could hear me scream  all the way down the road the day I discovered an original Picasso drawing that Ella had stuck in her bureau drawer.  The treasures continued to emerge as I found Ella’s invitation to John F. Kennedy’s inauguration (she performed along with Frank Sinatra among other), a personalized Dodger’s jacket, her director’s chair from the Carol Burnett Show, and the gorgeous red suit and pill box hat she wore for her famous American Express ad (thanks, Annie Leibovitz). History in my hands. These items and more are now shared with the world as her archives now live at the Smithsonian National Museum of American History in Washington DC. 

So here I am, all these years later, still working for Ella running the Charitable Foundation that she started.  And having WAY too much fun.

Fran Morris Rosman, Executive Director, The Ella Fitzgerald Charitable Foundation

Location: Global

Tags: singer, bass, lights, Ella, Jazz, Fitzgerald, microphone, band, music, drums, saxophone, trumpet, stage

Betaworks, the company that rescued the faltering Digg, has now acquired Instapaper, says a report in TechCrunch. The news originated from an email sent by Betaworks founder and CEO John Borthwick and was confirmed by Instapaper founder Marco Arment. Arment writes on his blog,

I'm happy to announce that I've sold a majority stake in Instapaper to Betaworks. We've structured the deal with Instapaper's health and longevity as the top priority, with incentives to keep it going well into the future. I will continue advising the project indefinitely, while Betaworks will take over its operations, expand its staff and develop it further.

Borthwick says that Instapaper is a "perfect fit" with Digg and the company's upcoming Digg Reader. He also confirms that Betaworks plans to expand the staff working on Instapaper and develop it further.

[Via TechCrunch]

Digg owner Betaworks acquires Instapaper originally appeared on TUAW - The Unofficial Apple Weblog on Thu, 25 Apr 2013 19:15:00 EST. Please see our terms for use of feeds.

Source | Permalink | Email this | Comments

The Internet company signed a deal for exclusive streaming rights to past episodes of “Saturday Night Live” to gain an edge in a small market for digital video advertising.

Nuno Crato resolveu acabar com as calculadoras na disciplina de Matemática até ao 8º ano, para obrigar os alunos a fazer contas de cabeça.

O Benfica disponibiliza a partir de agora, uma linha telefónica , com informações acerca do clube, para adeptos benfiquistas surdos .

NBC this fall will be mounting one of the most ambitious unscripted efforts ever attempted. The network has ordered The Million Second Quiz, a new live competition that combines trivia knowledge and endurance. The contest, where time equals money, will last 1,000,000 seconds or 12 days (11.57 days to be precise.) It comes from All3Media America (formerly Studio Lambert USA), the company behind CBS’ Undercover Boss, and Universal TV. Created by Stephen Lambert, The Million Second Quiz will air live in primetime and on NBCUniversal’s digital platforms the rest of the time in a type of coverage reserved for major sporting events like the Olympics. The Million Second Quiz will originate from a gigantic hourglass-shaped structure built in the heart of Manhattan. Its walls will be made out of glass so the contestants and the game play is visible from the street, somewhat in the vein of David Blaine’s stunts.

The four players who have remained in the game the longest at any time serve as reigning champions and get to live in the hourglass. To avoid being unseated in the primetime show where one of the reigning champions gets challenged, the four must continue to play 24 hours a day, taking strategic breaks to rest and sleep.

Viewers will be able to play along at home in real time and sync to the live primetime broadcast in what NBC calls “the first fully convergent television experience.” Viewers playing from home who win will be flown to New York to appear on the show in primetime. When the million seconds draw to a close, the champions will battle it out and the ultimate winner could claim a cash prize of up to $10 million, a record for a reality/game show. “The Million Second Quiz is a genre-redefining spectacle,” said NBC’s head of alternative Paul Telegdy. “It is a game, a social experiment, and a live interactive event all wrapped into a uniquely sticky entertainment experience. What is exceptional about The Million Second Quiz is that it embraces technology’s ability to allow everyone in America to actively participate and compete in a way that has never been done.” The Million Second Quiz is executive produced by Stephen Lambert, Eli Holzman and David Hurwitz.

HBO isn’t ready to back down in the legal case against Luck. Barbara Casey, the former American Humane Association employee

O PCP denunciou a intenção da administração dos CTT de fechar 200 estações dos correios.

Netflix Surpasses HBO in U.S. Subscribers:

Andrew Wallenstein for Variety:

Netflix reported 29.17 million domestic subscribers in the first quarter of 2013, surpassing HBO for the first time.

You see that fire? That’s all of our collective money burning holes in our pockets just waiting for HBO to unleash Go without a goddamn cable subscription.

Dracarys!

Mark Burnett is far from done with the The Bible. The producer revealed to reporters Monday at an NBCUniversal event that he’s

priceonomics:

By Dan Abramson. Please HBO, let us buy an online suscription to access your content. We’re begging you!

Saiu João Proença, entra Carlos Silva.

Em 2009 digitalizei toda a minha música (auto-link).

 

Ficou na altura a promessa de digitalizar os meus DVDs. Ainda não foi desta.

 

Nos últimos tempos tenho-me dedicado a digitalizar todas as minhas cassetes de vídeo. E não, não me refiro às VHS com vídeos gravados da televisão. Refiro-me mesmo a todos os filmes que gravei com a câmara de vídeo.

 

Há uns mais difíceis que outros, do ponto de vista do conteúdos. Vídeos com os meus avós, com os meus cães, enfim.

 

Mas, tecnicamente, há uns, verdadeiramente mais difíceis que outros..... nem sempre as K7 ficaram guardadas e resguardadas, e muitas ganharam bolor ou lá o que raio aquilo é. Resultado, a fita parte, e cola e o raio que a parta, que parte.

 

Resultado..... abrir as K7, colar o bocado onde partiu e depois disso, descolar, milímetro a milímetro, com um palito e com uma pinça, metros e metros de fita, com muito cuidado, para não voltar a partir. Saio disto com um curso de restauro de filmes, de certeza.

 

Na semana passada gastei 3 dias a desenrolar metade de uma K7. Este fim-de-semana, mais uma (que ainda não consegui terminar).

Tenho mais 10 nas mesmas circunstâncias.

 

No final, vai ser preciso ordenar tudo, cronologicamente, e meter num MEO Kanal (privado, evidentemente), para partilhar com a família.

 

Feelings agridoces. É muito bom, mas alguns são muito difíceis.

 

E os putos crescem demasiado depressa.

 

Ainda não contabilizei a quantidade de espaço que vou ocupar, no final faço as contas e vejo quanto é que esta produção própria de conteúdos reverteria em direitos de autor para a AGECOP, em dupla tributação porque já paguei pelas K7, se a porcaria da revisão da lei da cópia privada

tivesse entrado em vigor.

Vinte e quatro mil trezentos e cinquenta e um euros e noventa e nove cêntimos. Cum camandro! Eis quanto me custou, até ao momento, a minha colecção de DVDS. Depois de anos e anos de intenções, finalmente tirei uns dias para catalogar tudo o que está lá em cima no sótão, com um programa fantástico que recomendo vivamente: Invelos DVD Profiler. Não é caro, funciona por sincronização em múltiplas plataformas (PC, iPad, iPhone etc. etc.) e faz o trabalhinho quase todo por nós. Entre etiquetas ainda presentes em caixas por abrir e PVPs que o programa vai buscar automaticamente a portais de venda online, os 1423 filmes e séries de televisão cá de casa já me custaram um Audi A4 descapotável em segunda mão. Não sei se hei-de ficar contente ou deprimido. Apenas sei que a minha mulher não pode descobrir este valor; senão, lá vou ter que lhe oferecer o Audi como recompensa.