Kayanya seharian besok kita bertiga akan full dibandung, sudah terbayang muka cerah si Leni dan Ika karena mereka besok bisa pulang lebih awal atau paling tidak bisa pulang tepat waktu jam 5 sore. hehehehe...

Semoga First Project Activity ini akan menjadi awal yang baik bagi kelngsungan proyek gw...

Amien...

I haven't seen most of these guys for a looong time. So it was fun reliving the school moments. As for me, I was mostly silent having my mouth full with "Dahi Puris". Seriously, Adayar Ananda Bhavan in Tambaram makes a good bunch of them. Its an ecstatic experience, when the "puri" breaks in your mouth releasing dollops of fresh sweet yoghurt with an assortment of tingly sauces. Try it when you go there. Highly recommended.

It would have been awesome if the entire class turned up. (That way I could have eaten more ;) )

And special full credits to vidhya for bringing a camera that didn't have batteries. Now, we have to be satisfied with crappy pics taken from even crappier mobile phones.

Also, my mentor is happy with my GSoC performance, so looks like I will pass my mid-term evaluations. Yay! What a weekend...

Bao năm qua rồi, em vẫn đấy ư
Mùa thu xưa có lúc nào ngoảnh lại
Hà nội về đêm, vẫn mưa giăng tê tái
Ai chờ ai, cho ai nắm bàn tay

Thu lại về trong trong nắng ban mai
Vẫn chút xốn xang.. khẽ run khô lá
Vẫn vô tình.. gió đi ngang qua cửa
Sao thu vẫn lặng im..

Bao năm qua rồi, anh vẫn lặng im
Lắng nghe đêm thở dài trong em-im-lặng
Bản "Adieu Tristesse" vẫn có anh bên em-da-diết
Nghe thu vẫn lặng im..

-nsn-
31.08.2002.

NSN Reform The Telkomsel Network
PT Telkomsel chooses Nokia Siemens Network to modernize the network with implement the MSC Server Mobile Switch solution that is claimed as reform the biggest soft switch in Asia Pacific. In three years, NSN will upgrade Telkomsel network to release architecture 4 that is claimed as the modernization of the biggest soft switch network in Asia Pasific. That modernization covers network planning, implementation, the execution, consultation, system integration. ( Bisnis Indonesia-pgT8- 12 May 2008 )

Selama kontrak kerjasama selama tiga tahun, Nokia Siemens Networks akan mengembangkan generasi terbaru softswitch di seluruh Indonesia. Jaringan Telkomsel tersebut merupakan salah satu jaringan softswitch terbesar di kawasan Asia Pasifik. NSN akan mulai melakukan proyek solusi dan jasa di Telkomsel pada bulan Mei ini. Selain Telkomsel, saat ini ada 190 pelanggan yang menggunakan mobile softswitch di lebih dari 110 jaringan.

I agree : "The first step towards getting somewhere is to decide that you are not going to stay where you are. "

El suceso se produjo este domingo en el pueblo de Chandan Nukat, cuando una manada de unos 40 elefantes bebieron por error la cerveza de arroz que preparan las tribus locales de la región india de Meghalaya y comenzaron a correr por los arrozales.

"Uno de los elefantes trató de frotar su lomo contra un poste eléctrico, y este no pudo resistir su peso y cayó, con lo que el elefante sufrió un contacto directo con el cable de alta tensión", dijo el activista local Dipu Marak en declaraciones a la agencia india IANS.

Varios testigos y funcionarios dijeron haber visto al elefante, un macho adulto, retorcerse de dolor y barritando, lo cual atrajo a varios paquidermos más que acudieron al rescate y sufrieron su mismo destino.

"Era patético ver a un elefante tras otro electrocutándose ante nuestros ojos. Murieron seis en total, incluidas tres crías", dijo un anciano del pueblo, T. Sangma.

"Podría haber habido más muertos, pero algunos de los aldeanos lograron alejar a los demás elefantes del cable", añadió.

Los elefantes ebrios se enfurecen con facilidad y destruyen chozas y graneros, además de atacar a los habitantes de las aldeas.

Vía 20 minutos

Mirando entre las noticias que tengo desde hace la vida y borrando algunas he visto esta que es del 23 de octubre del 2007, pero de todas formas es una noticia que podría haber pasado hace 7 años y sería lo mismo, vamos a ver:

"Unos 40 elefantes bebieron por error la cerveza de arroz que preparan las tribus locales de la región india de Meghalaya."

La pequeña cantidad de unos 40 elefantes que apenas se ven y se oyen bebieron por error cerveza que digo yo que ¿cuánta cerveza hace falta para emborrachar a 40 elefantes? Que según he visto pueden llegar a comer 150 kg al día y además siempre se está comparando con ellos en cuanto a resistencia, "con esto hay suficiente como para matar a tantos elefantes" o cosas similares.

El problema vino cuando a uno le entró un picor de esos jodíos que te tienes que rascar y cuando lo haces da un gustirrinín que no puedes parar, bueno pues le entró uno de esos por la espalda y se rascó con lo primero que vio con la mala suerte de ser un palo de alta tensión y ahí fue donde la cosa se torció, el palo y la situación al caerle encima un cable y electrocutar al pobre elefante y después a los demás que como iban ciegos no veían el peligro al intentar ayudarle.

Pero esto si leemos la noticia en el ABC:

"Unos tragos de más a unos toneles de cerveza de arroz olvidados por algún lugareño en el remoto pueblo de Chandan Nukat (India) provocó el pasado viernes una estampida de seis elefantes de más de 40 toneladas."

La cosa cambia y es muy bueno porque los 40 elefantes se ve que se fusionan o algo así formando 6 elefantes de más de 40 toneladas, cuando un elefante puede llegar a las 5 toneladas, es decir, 8 veces más que un elefante de los que no pasa hambre. Alguien podría decir que lo mismo se refiere que entre los 6 suman 40 toneladas, que yo creo que no, pero de todas formas dice más de 40 toneladas y tendrían que ser el doble de grandes.

Además de esto, también comentan que la gente espantó a los elefantes y en su huida fue cuando derribaron un poste de alta tensión y ahí murieron, en fin, que esto es como las manifestaciones cada uno dice lo que quiere, aunque lo de los elefantes de 40 toneladas me ha gustado.

Pero en lo que coinciden todos es que esto es debido a los efectos perjudiciales del alcohol que también hace que los elefantes se comporten de forma extraña y similar a la de los humanos.

Con los primeros tientos a la cerveza empiezan a animarse y a bailar unos con otros y se empieza a calentar la cosa.

Se empieza que si bailando, que si le sigues pegando al anhidro (seguir bebiendo), que si arrimándose unos a otros y haciendo el tonto, pero esto si no se frena puede llegar a más y exaltar la amistad hasta un punto en el que en un estado sobrio no se llegaría y luego llegan los arrepentimientos y los chotos muertos (viene a significar malos rollos). En fin que esto si sigue así puede llegar hasta el límite:

Ya van trompa y al día siguiente vendrán las malas caras, no se acordarán de lo que han hecho y tal y cual.

Pero puede que en vez de animarse y bailar, se vuelvan agresivos y arremetan contra todo, que esto también puede pasar a los elefantes que se dan cuenta con quien estuvieron cuando pillaron la melopea.

Este estado agresivo es el más común en los elefantes cuando consumen alcohol.

Por cierto, que curioso que buscando fotos de elefantes borrachos, buscas en google "elefantes borrachos" y en las imágenes salen más fotos de Paris Hilton que de elefantes.

Si es que los elefantes son capaces de lo mejor, como de darnos esa gran materia prima como es su mierda para fabricar papel y de lo peor como es esto.

A todo esto ¿os acordáis de la historia del mamut? Madre mía la tabarra que dio, estuvo meses por internet mareando. Y hablando de este famoso mamut, el elefante más conocido es Dumbo, un pequeño elefante con una minúsculas orejas, que por cierto yo creo que en el colegio, en todas las clases siempre hay un pobre niño que le llaman Dumbo, si en la tuya no había... es sospechoso, mírate al espejo. Es el mismo niño que hacían el chiste de ... ¿qué es el viento? las orejas del niño apodado Dumbo en movimiento. En fin que tampoco hay que ser cruel que cada uno tiene lo que tiene.

Y bueno para finalizar este post y que más que nada es por lo que he escogido este tema de elefantes es para recordar el gran programa No Somos Nadie cuando lo conducía Pablo Motos, os dejo un audio donde llama un hombre a los pensamientos paralelos que iban de historias de elefantes, da la casualidad que ese día estaba yo allí en el estudio:

[audio http://www.goear.com/files/sst4/45b28fd830a1df95665773bf1e73c9cd.mp3|text=0x000000|slider=0xFFD700|leftbg=0x00008B|lefticon=0x32CD32|rightbg=0x00008B|righticon=0x32CD32|bg=0x8B0000]

Saludos!

Hello. My name is Clark Battle. Like many musicians, I have accepted, but never been entirely comfortable with the complexities of the standard western music notation system. Western Standard Music Notation has always seemed way too complicated for what it was trying to communicate. Since the need to know standard music notation is important to be able to read almost any western historical music, like everyone else, I struggled to learn it.

History

Western Standard Music Notation evolved over hundreds of years from a time when music generally did not deviate far from a single tonality. As a result it made sense to use a key signature to establish the harmonic rules for determining the value of all subsequent notes on the staff. Once the rules are established writing music becomes as easy as placing dots and lines on the paper. Any "accidental" deviations to the harmonic rules carry forward through the measure.

Given the simple needs of music notation at the time, this system was intuitive and effective at communicating the composer's idea. The composer could quickly scribble down the idea and send the score to a copyist to render it in a form more friendly to the reader. Printed music is little more than a pretty version of the scribbled shorthand composers used to quickly notate music. Presently most music, like most creative text, is written on a computer. Modern digital composers should have no need to adhere to a notation whose main value is that it can be quickly written with a pen. What is needed is a notation that is consistent, uniform, and simple but as expressive as Western Standard Music Notation.

Parallels

It is no surprise that we can see parallels to music composition in the advent of computer word processing. Originally, text formatting was notated by entering control characters within the text to indicate margins, fonts, spacing, etc. If you wanted some text in italics you would have to enter a formatting code before and after the text that indicated such. Due to the limitations of display technology at the time, the text was not actually shown in italics on the screen. This process reflected the way that printing needed to be specified before the advent of computers. The editor would specify the set of rules that modified the content (italics, bold, paragraphs, etc) as instructions to the printer.

HTML and CSS currently uses this approach to lay out web pages. While this approach has advantages for content intended to be parsed by a web browser it is not so good for content intended to be read by a human. In word processing, this all changed with the advent of WYSIWYG. Finally computers could display the text on the screen as it would appear at the printer. No longer did readers have to refer to a set of rules that had been previously established in order to imagine how the text would be formatted. They could see it as it was intended to look.

While most people today take for granted the benefits of WYSIWYG word processing, standard music notation never really evolved to this stage. In music, the reader must still refer to a set of markup notation (clefs, key signatures and accidental precedents) in order to determine the value of any note on the staff. Like text markup languages, this system introduces a lot of clutter that demands a lot of the reader to interpret. Professional musicians take years of intense study to be comfortable with all of this. And once they are comfortable with it they often forget what a struggle it was to get to that point. And thus, composers happily perpetuate the system that they once struggled to learn. For them there is little incentive to change. However, Western Standard Music Notation continues to present a steep learning curve to the novice and intermediate musician.

The Present

It is now the 21st century. Since most modern composers use computer software to write music there is little need to adhere to a single system that was designed to make music easier to write with a pencil and paper. Technology allows us to evolve music notation to incorporate a more WYSIWYG style of communication. The advent of chromatic notation systems attempts to capitalize on this opportunity by notating music orthogonally and chromatically. This removes the need for almost all of the cumbersome mechanisms of Western Standard Music Notation. Although many chromatic notation paradigms have some very attractive features they lack one feature that is the most important and powerful... familiarity.

Chromatic notation systems have gained little popular foothold largely because they do not leverage the historic familiarity of Western Standard Music Notation in order to gain acceptance by current musicians. Like all human language, music notation must improve through evolution, not revolution. Chromatic notation systems seek to re-invent the wheel rather than simply make it rounder. A music notation system needs to be expressive, familiar and compatible with Western Standard Music Notation.

Espressive

It is very important that any new notation system not be less communicative than Western Standard Music Notation. Chromatic notation systems tend to begin with the assumption that composers only need twelve symbols per octave to determine any given diatonic note. While this may be technically true, in practice it cripples the composer's ability to communicate subtle harmonic interpretation information through the choice of enharmonic equivalents. Sometimes, C# is not the same as Db!

Familliar

Despite its complexity, Western Standard Music Notation (WSMN) is really quite elegant. However, this elegance is often obscured by a lot of unnecessary clutter. New Standard Music Notation (NSMN) elegantly simplifies Standard Music Notation minimally but effectively. Anyone who can read Standard Bass Clef will find New Standard Music Notation almost immediately intuitive. It accomplishes this by:

• Eliminating multiple clefs so that note positions on the staff always have the same value,
• Making the staff octave-transposable allowing full range notation with minimal ledger lines,
• Replacing # & b symbol clutter with note head "colors" that resemble the piano keyboard,
• Eliminating key signatures and accidental "carry overs" that obscure the name of a note,
• Replacing the Western Standard Music Notation key signature with a simple key indicator, and
• Using stems without heads to indicate rests.

Compatible

New Standard Music Notation (NSMN) can comfortably coexist as a supplement to Western Standard Music Notation rather than a replacement for it. It can even be used interchangeably on the same staff if desired. Composers may choose to notate tonic sections in WSMN and atonal sections that would otherwise require a lot of extraneous symbols in NSMN. The two can live together side-by-side without incident.

.

Transforming Western Standard Music Notation to New Standard Music Notation

New Standard Music Notation is arrived at by starting with standard bass clef and applying the following five transformations:

1. Half notes use a double stem and whole notes use no stem rather than hollow heads.
2. White (hollow) head notes are always the white keys on the piano. Black and stripe note heads are the black keys. The new "Variant Clef" (sharp or flat) indicates how the non-white notes vary from natural. Black notes are modified along the variant clef while vertical stripe notes are modified oppositely.
3. The octave is indicated by a roman number at the C space on the staff. Middle C is IV.
4. (optional) The key is indicated by a single black or white right-pointing triangle between the clef and the octave number. The mode can also be indicated with a single left-pointing triangle that indicates the starting note of the mode. Neither of these triangles need be used at all.
5. (optional) Notating rests with headless stems eliminates duplicate symbols for rests and notes.

Thats it! Diverging New Standard Music Notation any further from Western Standard Music Notation would diminish its greatest strength... familiarity with existing musicians. By introducing a few simple changes, New Standard Music Notation reveals the elegance of standard music notation without sacrificing its flexibility.

Notes regarding the four transformations:

Bass clef was chosen as the basis simply because D (along with G#) is a point of symmetry on the chromatic scale. With D on the center line the half steps between B&C and E&F both lie symmetrically on the second and fourth lines. Of the four WSMN clefs it is the most naturally symmetrical. Reducing the staff to only one clef allows us to standardize what each line and space represents across the full range of every instrument.

Doubtlessly there are those who would rather NSMN be based on treble clef due to familiarity. I would urge you to resist doing that. New Standard Music Notation is an attempt to standardize a simplified Music Notation without losing any expressive power. If everyone used their favorite WSMN clef as the basis for NSMN then we would eventually be stuck with yet another unnecessary vestige of WSMN. Please do no write NSMN music based on anything but Bass clef. NSMN looses its value if it is not kept as simple as possible... forever.

1. Releasing Note Head Color - One problem with Western Standard Music Notation is that rhythm is determined by the junction of flags, dots and note head color. This overly complicated rhythmic representation wastes the extremely valuable mechanism of note head color simply to distinguish half and whole notes. The fact is that whole notes, having no stem, do not also need to be hollow in order to indicate their rhythmic value. Neither do half notes.

• In New Standard Music Notation any note head without a stem is a whole note.
  
• Half notes are represented by a double stem, one in the standard place and another next to it more toward the center of the note head.

By simply releasing the note head color from the half note we can use color in a more useful way, to indicate pitch and eliminate all accidental symbols.

2. Using Note Head Color - New Standard Music Notation uses three note head colors to represent pitch: white, black and stripe. Black and white note heads look identical to the black and white (hollow) note heads in WSMN. Stripe notes are the same as white notes with a vertical stripe dividing the hollow. On first inspection it might seem intuitive to simply use these three note head colors to represent natural, flat and sharp. There are reasons why the method outlined here is superior.

The "Variant Clef" is a large # or b symbol that occupies the entire staff in the same way that a WSMN clef does. The Variant Clef indicates what the black notes are and what the stripe notes are not. The rule to remember is simple:

• If the Variant Clef is a sharp symbol (#) then all of the black notes are sharp and all of the stripe notes are flat.
  
• If the Variant Clef is a flat symbol (b) then all of the black notes are flat and all of the stripe notes are sharp.

In tonal music most notes will be either black or white. The further the key is from C major the blacker the music will be. Using color in this way almost eliminates the need for accidentals in NSMN entirely (*).

Stripe notes are typically reserved for those "accidental" notes that need to be sharped when the variant indicator is flat or flatted when the variant indicator is sharp. They are used simply as a way to break out of the mold of the key when necessary. Stripe notes allow composers to indicate the subtle yet important difference between enharmonic equivalents, as is possible in Western Standard Music Notation.

There are rare times when it is necessary to use a double flat or double sharp to imply a chordal structure within a heavily flatted or sharped key. In these cases the double accidental is notated with a hollow note head containing an X.

• The X head shifts the note twice in the direction of the Variant Clef.

For example, an X note in the B position of a flat Variant Clef would be B double flat. The choice of whether or not to use double accidentals at all is up to the composer. He or she will need to decide whether it is more important to make the music easy read, or easy to analyze.

Using this simple coloring paradigm we notice that note color aligns well with piano key color. White notes are always white keys, while black and stripe notes are always black keys.

• New Standard Music Notation closely resembles the piano keyboard and makes it possible to read piano music almost like tablature.

Additionally, for non-keyboard instruments NSMN makes it more obvious to the novice which notes on their instrument are natural and which notes are not. This is a powerful aid to learning the logic of the instrument.

In Western Standard Music Notation in order to know the name of any note you need to remember the clef, the key signature and all of the accidental symbols that may have appeared (and disappeared) earlier in the measure. As a result, a note head at any one position on the staff may have twelve different values (four clefs x three accidental states) and the musician needs to maintain a running memory of the accidental state of all twelve notes for every measure! In New Standard Music Notation all that is needed to know the value of any note is to relate its color to the simple Variant Clef. There is nothing else altering the value of what the note is actually depicting.

3. Octave-Shifting the Staff - This mechanism is way overdue. It is something that, by all rights, should have been a feature of Western Standard Music Notation long ago. By using a roman number to indicate what octave the staff is in it is possible to limit ledger lines to a reasonable two at the most. Excess ledger lines intrude upon other staves and are hard to count past two very quickly.

• Octave shifting the staff removes the confusion of dealing with a system where the any one position on the staff has potentially twelve different meanings (four clefs x three accidental states)!

The octave number appears on the C space by convention. It usually appears at the beginning of the music but can also appear anywhere else. By convention it is preferable to place it to the right of a bar line rather than in the middle of a bar. It typically ranges from I for the lowest piano octave to VIII for the highest. If there is no octave number then the default is IV (middle C).

Since note names are more consistent with their positions readers can more easily recognize the octave relationships in music. So when those notes high up on the violin are notated in a familiar place on the staff they become less intimidating for novice musicians to learn. Music is easier to sight read when you don't have to count lines and memorize what note is on the 5th ledger line of each clef.

4. Key & Mode Indicators (optional) - Because New Standard Music Notation uses a WYSIWYG paradigm it is not necessary to notate any key signature. All of the pitch information is revealed by the note head and the variant clef. However, it may be useful to to readers to know what key they are playing in without having to analyze the music.

• Although it is still important for any musician to know what notes are flat and sharp in every key, the ability to read NSMN is not dependent on this knowledge.

Rather than memorizing which key has how many variants, NSMN simply tells the reader what key the music is in with a right-pointing triangular note head at the scale's root note on the staff. This provides a stronger indication of the root of the key than a bunch of flats and sharps. The key indicator note head is triangular in order to distinguish it from notes that are played. The value of the key indicator is determined in the same manner as other notes and may appear anywhere a WSMN key signature may appear.

It is possible to optionally indicate the mode with a second black or white left-pointing triangular note head to the right of the key indicator. This mode indicator is relative to the key indicator. For example, if the key indicator is a C and the mode indicator is A then it indicates that the key is A minor.

• The optional right pointing triangle head indicates the key.
  
• The optional left pointing triangle head indicates the root note of the mode.

Key and mode indication in New Standard Music Notation is totally optional. If your music does not readily fall into any key then you don't need to have a key indicator at all. Nor do you need to have dozens of accidental symbols cluttering your music.

5. Single Notation Paradigm for Rests (optional) - Another needless complication of Western Standard Music Notation is that rests have a completely different notation than notes. In essence, readers must understand two different systems: one for note rhythm and another for rest rhythm. This is unnecessary. NSMN uses the same notation for rests as played notes. The only difference is that rests have no note head. This is possible because note heads are not used to determine rhythm the way they are in WSMN. The only element of WSMN rest notation that is retained is the whole note rest.

The time signature appears after the octave number just before the music begins. It may also be advisable to make the time signature more complete by adding the BPM over it. However, that is left as a composer preference.

Coming soon...
In the next post I will trans-notate a complex but short modern piece and post it here to show the difference. Meanwhile, stay tuned...