Eisenfresser

Eisenfresser
Die jährliche Hungersnot zwingt die Bauern, ihre Heimat im Norden Bangladeschs zu verlassen, um als Saisonarbeiter auf den Schiffsabwrack-Werften im Süden des Landes anzuheuern. An den Stränden von Chittagong zerlegen sie von Hand ausgemusterte Tanker und Containerschiffe aus den Industrieländern.

Regisseur Shaheen Dill-Riaz konfrontiert uns in seinem Dokumentarfilm mit einem ausgeklügelten System von Ausbeutung und Abhängigkeit. Gerade diejenigen, die die gefährlichsten und härtesten Arbeiten erledigen, geraten in eine ausweglose Schuldenfalle, der nur die wenigsten entkommen können.

Alfredo Zitarrosa: Milonga triste

Alfredo Zitarrosa: Milonga triste
Llegabas por el senderodelantal y trenzas sueltas,

brillaban tus ojos negros,*

claridad de luna llena.

Mis labios te hicieron daño

al besar tu boca fresca.

Castigo me dio tu mano,

pero más golpeó tu ausencia.¡Ay!…

Volví por caminos blancos,

volví sin poder llegar.

Grité con mi grito largo,

canté sin saber cantar.

Cerraste los ojos negros,

se volvió tu cara blanca

y llevamos tu silencio

al sonar de las campanas.

La luna cayó en el agua,

el dolor golpeó mi pecho,

con cuerdas de cien guitarras

me trencé remordimientos. ¡Ay!…

Volví por caminos viejos,

volví sin poder llegar.

Grité con tu nombre muerto,

recé sin saber rezar.

Tristeza de haber querido

tu rubor en un sendero;

tristeza de los caminos

que después ya no te vieron.

Silencio del camposanto,

soledad de las estrellas;**

recuerdos que duelen tanto,

delantal y trenzas negras. ¡Ay!…

Volví por caminos muertos,

volví sin poder llegar.

Grité con tu nombre bueno,

lloré sin saber llorar.

Yo sé quién soy (Alfredo Zitarrosa)

Yo sé quién soy (Alfredo Zitarrosa)
1.La canción del cantor (Alfredo Zitarrosa)2.Doña Soledad (Alfredo Zitarrosa)

3.Yo sé quién soy (Eliseo Salvador Porta – Alfredo Zitarrosa)

4.Milonga triste (Homero Manzi – Sebastián Piana)

5.A José Artigas (Carlos Bonavita – Alfredo Zitarrosa)

6.Coplas de “El Paraguay” (Popular uruguaya) *con Gualberto López

7.Milonga pájaro (Alfredo Zitarrosa)

8.Décimas a Jacinto Luna (Osiris Rodríguez Castillos)

9.Gato del perro (Alfredo Zitarrosa)

10.Yaraví (Miguel Ángel Camino – Agustín Irusta)

11.Qué pena (Alfredo Zitarrosa)

12.En blanco y negro (Fernán Silva Valdés – Néstor Feria Acosta)

Canta Zitarrosa (Alfredo Zitarrosa)

Canta Zitarrosa (Alfredo Zitarrosa)
1.Milonga de ojos dorados (Alfredo Zitarrosa)2.La coyunda (Alfredo Zitarrosa)

3.Coplas al compadre Juan Miguel (Yamandú Palacios – Óscar del Monte)

4.De no olvidar (Lucio Muniz – Alfredo Zitarrosa)

5.Milonga para una niña (Alfredo Zitarrosa)

6.Por Prudencio Correa (Rubén Lena)

7.Milonga del que se ausenta o [Del que se ausenta] (Popular argentina)

8.La vuelta de Obligado (Miguel Brascó)

9.Recordándote (Alfredo Zitarrosa)

10.Si te vas (Alfredo Zitarrosa)

11.No me esperes (Alfredo Zitarrosa)

12.Zamba por vos (Alfredo Zitarrosa)

13.Cueca del regreso (Alfredo Zitarrosa)

14.Gato de las cuchillas (Alfredo Zitarrosa)

Optimizing the marriage market through the reallocation of partners : an application of the linear assignment model

Optimizing the Marriage Market Through the Reallocation of Partners: An Application of the Linear Assignment Model

Optimizing the marriage market through the reallocation of partners : an application of the linear assignment model NGUYEN, Vi Cao , FRAGNIERE, Emmanuel, GAUTHIER, Jacques-Antoine, SAPIN, Marlène, WIDMER, Eric. Genève : Haute école de gestion de Genève, 2008. 25 p. Cahier de recherche no HES-SO/HEG-GE/C–08/3/1–CH Texte intégral Optimizing the marriage market through the reallocation of partners : an application of the linear assignment model CAO, Vi Nguyen, FRAGNIERE, Emmanuel, GAUTHIER, Jacques-Antoine, SAPIN, Marlène, WIDMER, Eric. European journal of operational research, 2010, vol. 202, no. 2, p. 547-553. Texte intégral

The AIkon project : the Artistic/Automated Ikonograph

The AIkon project : the Artistic/Automated Ikonograph
The AikonI project was concerned with implementing a system able to mimic strategies deployed by an artist to represent faces with a line.Artistic drawing, is the human activity we investigate in the AIKON project. It has been practiced in every civilisation for at least the last 30,000 years. The project will be using computational and robotic technologies to explore the drawing activity. In particular the research focuses on face sketching. What can explain that for a non-draughtsman it proves so difficult to draw what they perceive so clearly, while an artist is able to do so sometimes just with a few lines, in a few seconds? Furthermore, how can an artist draw with an immediately recognisable style/manner? How can a few lines thrown spontaneously on paper be aesthetically pleasing? Art historians, psychologists, neuroscientists — such as Arnheim, Fry, Gombrich, Leyton, Ramachandran, Ruskin, Willats, Zeki — have argued that artists perceive the world differently.

Papers – COOTS ’97 Gilles Muller, Bárbara Moura, Fabrice Bellard, Charles Consel : Harissa: a Flexible and Efficient Java Environment Mixing Bytecode and Compiled Code

Papers – COOTS ’97 Gilles Muller, Bárbara Moura, Fabrice Bellard, Charles Consel : Harissa: a Flexible and Efficient Java Environment Mixing Bytecode and Compiled Code
The Java language provides a promising solution to the design of safe programs, with an application spectrum ranging from Web services to operating system components. The well-known tradeoff of Java’s portability is the inefficiency of its basic execution model, which relies on the interpretation of an object-based virtual machine. Many solutions have been proposed to overcome this problem, such as JIT and off-line bytecode compilers. Harissa. Harissa permits the mixing of compiled and interpreted methods. Harissa’s compiler translates Java bytecode to C, incorporating aggressive optimizations such as virtual-method call optimization based on the Class Hierarchy Analysis. The C code produced by Harissa’s compiler is more efficient than all other alternative ways of executing Java programs (that were available to us): it is up to 140 times faster than the JDK interpreter, up to 13 times faster than the Softway Guava JIT, and 30% faster than the Toba bytecode to C compiler.