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También se llama "libro" a una obra de gran extensión publicada en varias unidades independientes, llamados "tomos" o "volúmenes". Otras veces se llama también "libro" a cada una de las partes de una obra, aunque físicamente se publiquen todas en un mismo volumen (ejemplo: Libros de la Biblia). Hoy en día, no obstante, esta definición no queda circunscrita al mundo impreso o de los soportes físicos, dada la aparición y auge de los nuevos formatos documentales y especialmente de la World Wide Web. El libro digital o libro electrónico, conocido como e- book, está viendo incrementado su uso en el mundo del libro y en la práctica profesional bibliotecaria y documental. Además, el libro también puede encontrarse en formato audio, en cuyo caso se denomina audiolibro. Desde los orígenes, la humanidad ha tenido que hacer frente a una cuestión fundamental: la forma de preservar y transmitir su cultura, es decir, sus creencias y conocimientos, tanto en el espacio como en el tiempo. El planteamiento de esta cuestión supone: por un lado, determinar la forma de garantizar la integridad intelectual del contenido de la obra y la conservación del soporte en el que fue plasmada, y por otro, encontrar el medio por el cual se mantendrá inalterada la intención o finalidad para la cual se concibió. Los orígenes de la historia del libro se remontan a las primeras manifestaciones pictóricas de nuestros antepasados, la pintura rupestre del hombre del paleolítico. Con un simbolismo, posiblemente cargado de significados mágicos, estas pinturas muestran animales, cacerías y otras escenas cotidianas del entorno natural del hombre antiguo, que trataba de dominar las fuerzas adversas de la naturaleza capturando su esencia mediante su representación. Son el más antiguo precedente de los primeros documentos impresos de que se tiene memoria. Comunicación oral y formas rudimentarias[editar]Las señales gestuales fueron la primera forma de expresar y transmitir mensajes. La palabra hablada es la manera más antigua de contar historias. Mediante fórmulas de valor mnemotécnico[2] se estructuraban narraciones, que pasaban de generación en generación como valiosa herencia cultural de los más diversos grupos humanos. Dichas reglas mnemotécnicas ayudaban tanto a la memorización como a la difusión de los relatos. Es el caso de los poemas homéricos, que han merecido valiosos estudios sobre el particular. Posiblemente, gran parte de las tradiciones y leyendas han tenido semejante inicio. Un libro è un insieme di fogli, stampati oppure manoscritti, delle stesse dimensioni, rilegati insieme in un certo ordine e racchiusi da una copertina. Esta transmisión oral tenía el inconveniente de los «ruidos» que deformaban el mensaje. La mayoría de las veces era el narrador (rapsoda, aeda, juglar) quien en función de sus intereses la deformaba de una u otra forma. La escritura[editar]Cuando los sistemas de escritura fueron inventados en las antiguas civilizaciones, el hombre utilizó diversos soportes de escritura: tablillas de arcilla, ostracon, placas de hueso o marfil, tablas de madera, papiros, tablillas enceradas, planchas de plomo, pieles curtidas, etc. La escritura fue el resultado de un proceso lento de evolución con diversos pasos: imágenes que reproducían objetos cotidianos (pictografía); representación mediante símbolos (ideografía); y la reproducción de sílabas y letras. Los más antiguos vestigios de escritura se encuentran, hacia finales del IV milenio a. C., en el Antiguo Egipto, con jeroglíficos, y la antigua Mesopotamia, mediante signos cuneiformes (escritura cuneiforme; utilizaban una varilla con sección triangular, que al hendir en placas de arcilla, dejaba una marca en forma de cuña). La usaron los sumerios, acadios, asirios, hititas, persas, babilonios etc. La escritura egipcia, que perduró más de tres milenios, mediante jeroglíficos, representaba ideas abstractas, objetos, palabras, sílabas, letras y números. Evolucionó en las escrituras hierática y demótica. Otros pueblos, como los hititas y los aztecas también tuvieron tipos propios de escritura. La escritura china más antigua que se conoce son 5. C. en el yacimiento de Xiaotun, en la provincia de Henan. Pero los primeros libros reconocibles de China corresponden al siglo VI a. C., los jiance o jiandu, rollos de finas tiras de bambú o madera grabados con tinta indeleble y atados con cordel. Estos textos servían principalmente a causas institucionales , era la obra de funcionarios civiles o militares.[3]Desde Confucio en adelante (5. C.) los libros se convirtieron en importantes instrumentos de aprendizaje, se escribieron tratados de filosofía, medicina, astronomía y cartografía. En el período de los reinos combatientes (4. C.) La seda se usó mucho como soporte para escribir.
La tela era ligera, resistente al clima húmedo, absorbía bien la tinta y proporcionaba al texto un fondo blanco, sin embargo era mucho más cara que el bambú, es por esto que en ocasiones se hacía una copia en bambú antes de grabarse en seda los textos importantes. La invención del papel según la tradición china, se atribuye a un eunuco de la corte imperial llamado Cai Lin en el 1. C. Usando nuevos ingredientes (trapos viejos, cáñamo, corteza de árbol y redes de pescar) creó un método de fabricación de papel muy similar al que se usa hoy en día. Pero el papel tardó cientos de años en reemplazar al bambú y la seda, fue hasta finales del siglo II d. C. que la corte imperial lo usó en cantidades importantes. Esta innovación no se propagó fuera de China hasta el 6. C. aproximadamente, y alcanzó Europa a través de España hasta el siglo XII. A mediados del siglo VIII los chinos inventaron la impresión xilográfica, o el grabado en madera, y la necesidad de reproducir un gran número de textos e imágenes budistas, calendarios, manuales de adivinación y diccionarios promovió una rápida y temprana propagación de la xilografía. El primer libro impreso chino que se ha encontrado es el Sutra del diamante del 8. C. Los impresores chinos crearon los tipos móviles hacia el siglo XI, el escritor chino Ch'en Kua (1. Mengshi Pitan), según el escritor el herrero Jen. Tsung de la dinastía de los Song del norte entre 1. También se le atribuye la creación de una mesa giratoria para guardar los caracteres, esta técnica se llamaba tipografía tablearia. Hacia el 1. 30. 0 Wang- Tcheng, un técnico agrónomo, emplazó la arcilla por madera de azufaifo, que era mucho más dura. Pero este avance no revolucionó la imprenta hasta el punto que lo hizo Gutenberg en Europa 4. A diferencia de las lenguas europeas, el chino escrito requiere miles de caracteres únicos, lo que hace mucho más eficaz los bloques de madera individuales que los enormes conjuntos de tipos reutilizables. En contraste con el declive de las artes de los escribas en occidente en los siglos que siguieron a la creación de la imprenta de tipos móviles, la caligrafía china conservó su prestigio, era un arte. No obstante, a finales del siglo XV, China había producido más libros que el resto del mundo junto. Los árabes aprendieron la técnica para fabricar papel de sus contactos con China en el siglo VIII, y este se introdujo en Europa en el siglo XII a través de la España musulmana.[3]La obra xilográfica más antigua encontrada hasta nuestros días es el Dharani Sutra de Corea, datado en el 7. C., aunque no se sabe quién fue el inventor de la xilografía los chinos y coreanos fueron los que impulsaron la impresión xilográfica, principalmente para editar textos religiosos. El budismo chino y coreano fue el vehículo que trasmitió la xilografía a Japón. Pero Corea realizó muchos otros avances que revolucionaron la manera de imprimir y en consecuencia el libro. Entre 1. 23. 4 y 1. Gwanghwa, debido a la invasión mongol, no disponían de madera dura fue entonces que imprimieron 2. Go geum sang jeong ye mun con caracteres móviles metálicos. La obra del año 1. Más tarde el rey Taejong puso en funcionamiento un taller que contribuía a la difusión de la escritura y en 1. Jujaso, donde se fabricaban caracteres móviles de imprenta, realizó la primera fundición de tipos móviles en bronce. Westfield Comics - premier new comic book mail order source for Marvel Comics, DC Comics, Dark Horse and more comic books. Marvel Vision Fine Art Statue - Kotobukiya - Avengers - Statues - Vision joins Kotobukiya's stunning Fine Art lineup! Measuring just over 16-inches tall, Vision is. Winston is named for the narrator of Aram Sarkisian’s short, a desperate man dashing off a fevered letter that reads like a crazed diary entry. “I’m not losing. Disney's Blizzard Beach is a water theme park located at the Walt Disney World Resort in Orlando, Florida. All water areas are heated (at approximately 80 °F or 27. StarCraft®: Remastered upgrades the essential sci-fi strategy experience from beginning to end. Welcome back to the original game and its award-winning expansion.Leroy Anderson > Official Biography > American Composer and Conductor of Light Concert Music. Swedish Parents. Leroy Anderson was born on June 2. Cambridge, Massachusetts. His parents were Swedish immigrants who had come to the United States as children.
They lived at 2. 69 Norfolk Street in Cambridge. His father, Bror Anton Anderson (B. A. Anderson), came from Övarp, Norra Strö, near Kristianstad in the province of Skåne. Bror worked as a postal clerk at the Central Square post office in Cambridge and played the mandolin. He changed the spelling of his first name to Brewer, the pronunciation of which was similar to his Swedish name - Bror. Leroy's mother, Anna Margareta (Jönsson) Anderson, came from Stockholm. Anna was an organist at the Swedish Mission Church in Cambridge. Brewer Anderson and Anna Jönsson (now Johnson) met at the Swedish Mission Church and were married there in 1. Leroy was born in 1. Brewer and Anna Anderson moved from Norfolk Street to 1. Chatham Street when Leroy was one year old. A another son, Russell Brewer Anderson, was born in 1. Cambridge would continue to be the center of Leroy Anderson's world for the next three decades. 4988017635469 I'm Not Dead, Pink 9789686842623 9686842624 La Constitucion, Trinidad Camacho, Christian Cymet 9780744119435 074411943X Making it Connect: Spring. Official biography of Leroy Anderson, American composer and conductor. Leroy Anderson lived at 1. Chatham Street with his parents and brother Russell from 1. New York City. "We were a musical family," Leroy said. My father played the mandolin, mother played the guitar and I accompanied them on the piano. Those were happy evenings doing Gilbert and Sullivan, 'Drink to Me Only with Thine Eyes' and all the other songs in 'The Golden Songbook.' Radio was in the earphone stage then and we had to make our own entertainment."The Anderson family attended the Swedish Mission Church in Cambridge which Anna Anderson's father Bengt Johnson had helped to establish. Brewer Anderson and his brother Nils Olof Anderson (N. O. Anderson) had built the three- story home at 1. Chatham Street where Bror and Anna lived with their children Leroy and Russell. N. O. Anderson went on to create a successful business building homes in Belmont, Watertown and Lexington, Massachusetts. Leroy's grandfather Bengt Johnson had built fine furniture in Stockholm before emigrating to Massachusetts. In Cambridge Bengt worked for the Ivers and Pond Company building piano cases decorated with detailed carvings. With a grandfather who made fine furniture and an uncle who built houses, it is no wonder that later in life Leroy Anderson enjoyed woodworking as a hobby. Leroy built his own desk, wood working bench, cabinets and numerous custom projects for his children. Leroy often returned to 1. Chatham Street where his parents continued to live. It was at this house that he arranged many Broadway show tunes for Arthur Fiedler and the Boston Pops Orchestra, and where he composed his Irish Suite in eleven days. Leroy's mother Anna gave Leroy his first piano lessons starting at age five, "as soon as his feet could reach the pedals." One day Anna and Brewer heard Leroy playing a song on the piano quite well. However it was a song that Anna had not taught her son to play. When asked how he knew this song, Leroy replied "it's just something I heard." Brewer and Anna Anderson discussed their son's increasingly apparent musical talent and decided that Leroy should have professional music lessons. Floyd Bigelow Dean of the New England Conservatory of Music was engaged to give Leroy private piano lessons in 1. Leroy was 1. 1 years old."My first composition was a minuet for string Quartet which I wrote at the age of 1. I showed it to my piano teacher at the New England Conservatory of Music, Floyd Bigelow Dean, and he took it to George W. Chadwick, who was then the director of the Conservatory. As a result I received a year's scholarship to study music harmony with Mr. Dean."Leroy said that he received all his education on one street - Broadway, Cambridge. He attended Harvard Grammar School, at the corner of Harvard Street and Broadway. In 1. 92. 1 he entered Cambridge High and Latin School (now Cambridge Rindge and Latin School) as a Freshmen. The Latin School (once also called the Cambridge Classical School) was located at the corner of Broadway and Trowbridge Streets. During his years in the Cambridge Latin School (administered jointly with the Cambridge High School beginning in February 1. Leroy Anderson followed "a course of study that had been created for the express purpose of meeting the admission requirements of Harvard University." Leroy was an honors student. While Leroy had learned to speak Swedish at home as a young boy, at CHLS he studied and mastered Latin under his teacher Cecil Thayer Derry and French, becoming president of the French Club. Leroy was at CHLS when his father Brewer Anderson bought him a trombone so that Leroy would have to play in the front row of the Harvard University Band. B. A. Anderson wanted to be sure that his son Leroy would be easy to see while he marched in the band at Harvard football games. Leroy studied music at CHLS under John A. Whoriskey. Leroy belonged to the Glee Club, the Mandolin Club and played trombone in the school orchestra. Whoriskey needed a double- bass player and convinced Leroy to take the instrument home for the weekend to practice. When Anderson returned to school on the following Monday, he played the double bass so well that one would have thought he had practiced all year. At Whoriskey's suggestion Leroy wrote a song for the graduating class of 1. Whoriskey appointed Anderson as leader of the school orchestra that year. Anderson composed a different song for the graduating class in 1. He conducted the school orchestra himself each time. Harvard Years. At Harvard Leroy studied musical harmony with Walter Spalding, counterpoint with Edward Ballantine, canon and fugue with William C. Heilman, and orchestration with Edward B. Hill and Walter Piston. Leroy received a B. A., Magna cum laude in 1. Phi Beta Kappa. He earned an M. A., Music in 1. 93. In Harvard University Graduate School, he studied composition with Walter Piston and Georges Enesco; organ with Henry Gideon and double bass with Gaston Dufresne of the Boston Symphony Orchestra. He continued his studies at Harvard through the early 1. Ph. D in German and Scandinavian languages (Swedish, Danish, Norwegian, Icelandic and Old Norse), while working as a music tutor at Radcliffe College. A gifted linguist, Leroy eventually mastered Danish, Norwegian, Icelandic, German, French, Italian, and Portuguese in addition to the English and Swedish of his upbringing. Not thinking that a career in music held much promise, Anderson intended to become a language teacher. He applied for and was offered a position at a private school in Pennsylvania. At the last moment he decided to give music a final try and sent his regrets to the school in Pennsylvania. This turned out to be a pivotal decision for him. Boston Pops Orchestra arranger. As a graduate student Leroy became Director of the Harvard University Band and wrote numerous clever arrangements for the band that brought him to the attention of Arthur Fiedler, Director of the Boston Pops Orchestra. His first arrangement for Fiedler in 1. Harvard songs - Harvard Fantasy. In 1. 93. 8 the Boston Pops performed his first composition, Jazz Pizzicato. It was an immediate hit. Fiedler encouraged him to write original compositions for the orchestra. Leroy wrote Jazz Legato in 1. This was followed by a succession of his now famous delightful miniatures. Arthur Fiedler and the Boston Pops Orchestra were the first to perform and record many of these compositions. During these years Leroy also performed along with his brother Russell in various popular dance orchestras. They also played on cruise ships of the Norwegian Line crossing between New York and Scandinavia."While taking graduate courses in German and the Scandinavian languages preparatory to a career teaching languages, I was playing in and conducting orchestras part time in and around Boston. One Spring after a performance of the Hasty Pudding Show which I had conducted, Mr. George Judd, the manager of the Boston Symphony Orchestra, came up to speak to me. He said he had heard my arrangements played by the Harvard Band at the Stadium football games and asked me to make a symphonic setting of Harvard songs for the 2. Pops. Thus I met Mr. Fiedler, who conducted the concert except for the "Harvard Fantasy", to which he listened off- stage. After the concert I went to the librarian's office and found Mr. Fiedler examining my score intently "This is very good", he said. Download - Update. 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When you sign (or click) the EULA while installing Windows 7, and when your copy of Windows 7 is activated online, a snapshot of your computer system is made (no personal data is recorded, Microsoft claims) and sent to Microsoft to identify your system, matching it with the unique serial number encoded in that particular copy of the software. By submitting your personal information, you agree that Tech. Target and its partners may contact you regarding relevant content, products and special offers. You also agree that your personal information may be transferred and processed in the United States, and that you have read and agree to the Terms of Use and the Privacy Policy. Code internal to Windows 7 that you never see unless there is trouble, called Software Protection Platform (SPP), checks your system for authenticity of Microsoft software and alerts Microsoft if it finds inauthentic (pirated) software.
SPP's purpose is to help Microsoft crack down on software privacy, and (they say) to help protect you by ensuring that your Microsoft product is authentic. SPP can get upset and nag you if it detects pirated software or other EULA infractions. In Vista, this capability was branded Windows Genuine Advantage (WGA). In Windows 7 this facility is renamed Windows Activation Technology (WAT). Whereas the first major version of Vista (before Service Pack 1 was released) could actually cripple the OS if it wasn't activated or if indications of piracy were found, subsequent versions of WGA lost this capability, and replaced it with a "nag facility" that sets your screen background to black and nags you to get right with Microsoft, and does so every hour on the hour until you fix the problem (which usually means supplying a valid license key obtained from Microsoft in some form or fashion). The upshot of WAT (and the WGA technology that remains in synch with that from Vista SP1) is exactly this: If you buy a PC with Windows 7 already installed, you have fewer rights of reinstallation. You are not supposed to move Windows over to another machine, and it would be difficult to do so because you typically don't have an install DVD anyway. Retail copies of Windows cost much more than OEM copies, for a reasoon. You can move them around between computers as you upgrade to better machines. If you buy a full retail version, you can put it on another computer and reactivate the new one. Keep in mind, however, that this is legal only if you uninstall it from the previous computer. You are supposed to format the system hard disk in the old computer. Microsoft should give you an uninstall utility so you don't have to wipe the hard disk, but they don't. Personally, I think this is because they don't really expect the average small business or home user to do this. Microsoft is simply trying to prevent a PC clone manufacturer from duplicating one copy of Windows on hundreds or thousands of PCs. Upgrading hardware in the same box and complying with EULABecause this chapter deals with upgrading hardware rather than complete computer replacement, the real question is: How do EULA and SPP rules apply to upgrades? How much hardware can you upgrade before SPP starts nagging you through the WAT facility? In the original version of Windows Vista, SPP worked this way: The hardware in your system was recorded when you activated Windows, as already mentioned. If you changed too many items (most notably, your motherboard and hard disk drive), system functionality was slowly reduced. Over time, portions of the OS were crippled and you'd be running in Reduced Functionality Mode (RFM). At first, there would only be subtle events, such as updates or Aero not working, but eventually the desktop would go black, Windows Explorer wouldn't work, and all you could do is browse the Internet. Thankfully, this is no longer the case. Because of WAT and a kinder, gentler approach to dealing with activation or potential piracy, you'll simply have to put up with hourly nag sessions and a black desktop background. What triggers the need to reactivate Windows? As intended, each hardware component gets a relative weight, and from that WGA determines whether your copy of Windows 7 needs reactivation. The weight and the number of changes is apparently a guarded secret. If you upgrade too much at once, WAT decides that your PC is new, and things can get messy. The actual algorithm that Microsoft uses is not disclosed, but we do know the weighting of components is as follows, from highest to lowest: Motherboard (and CPU)Hard drive. Network interface card (NIC)Graphics card. RAMIf you just add a new hard disk or add new RAM, there is no issue. If you create an image of your Windows 7 installation on another hard disk and swap that hard disk into the system and boot from it, or if you replace all your RAM and reboot, WAT gets triggered and checks to see whether you must reactivate Windows 7. In theory, chances that you'll get stung by any of this are not great. Requirements Windows 32-bit: Minimum hardware configuration is Intel Pentium III class CPU with 1 GB of RAM and 400 MB of free disk space. It was widely expected that the only users who'd need to worry about reactivation would be users who'd buy a preinstalled system, image the hard disk or try to move the hard disk to a newer, faster computer, or perform a motherboard upgrade using a preinstalled copy of Windows 7. Unfortunately, in practice users have been forced to reactivate after relatively modest hardware changes. In one Vista example, a user who changed from a Direct. X 9 - - to a Direct. X 1. 0 - - compatible graphics card had to reactivate his installation. But wait, it got worse: Another Vista user had to reactivate Windows after upgrading to a newer version of the Intel Matrix Storage driver for his motherboard. Essentially, WGA mistook a driver upgrade for a significant hardware upgrade. Users who missed the three- day reactivation window (it's easy to do) found themselves needing to make a phone call to reactivate. Users who were hearing- impaired found that difficult to do. Meanwhile, users of bogus Windows 7 and Vista copies have used activation bypasses such as the Grace Timer or OEM BIOS exploits to run Windows without interference from WAT (WGA in Vista). Essentially, in the original version of Windows Vista, Windows made it way too difficult for legitimate users to cope with systems that could not be activated normally or needed to be reactivated. This led to the proliferation of usable (but illegal) workarounds. Install Windows 7 On Pentium Iii LogosThankfully, WAT brings those days to an end, as SP1 did for Vista. Upgrading and optimizing your computer. Here are several tips I've learned over the years that can help save you hours of hardware headaches. Keep an eye on hardware compatibility. If you've been accustomed to thumbing your nose at Microsoft's Hardware Compatibility List (HCL) - - renamed Windows Logo'd Products List for Windows 7 - - because you've been using Windows 9x, it's time to reform your behavior. In a pinch, Windows 9x could use older Windows drivers and could even load MS- DOS device drivers to make older hardware work correctly. Windows 7, like other NT- based versions of Windows, has done away with AUTOEXEC. BAT and CONFIG. SYS, so you can't use DOS- based drivers anymore. And, although Windows 7 can use some Windows 2. XP drivers in an emergency, you're much better off with drivers made especially for Windows 7 or Vista. You can view the online version of the Windows Logo'd Products List by visiting the Microsoft website. Sleuthing out conflicts. When you're hunting down potential IRQ, memory, and I/O conflicts, use the Device Manager to help out. Yes, Computer Management, System Information, Hardware Resources, and Conflicts Sharing can show you potential conflicts, so those are good places to look, too. But let me share a trick that you can use with the Device Manager that isn't readily apparent. Normally, the class of devices called Hidden Devices isn't shown. To show them, open the Device Manager (either via Control Panel, System, or from Computer Management). Then, on the View menu, click Show Hidden Devices. A checkmark next to Show Hidden Devices indicates that hidden devices are showing. Click it again to clear the checkmark. Hidden devices include non- Pn. P devices (devices with older Windows 2. Optimizing your computer for Windows 7. 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