Belladonna, Adult Film

ART in WALLS ...

"Busco en la lejanía del tiempo, el arte de aquellos que me impresionan...He traído un espectador y juntos, acariciamos las texturas húmedas de los muros, con la fascinación de contemplar un milagro de formas y colores..."

(CRIS ACQUA Artista)

www.crisacqua.com

ART in the WALLS…

" I look for in the distance of the time, the art of which they make an impression to me… I have brought a spectator and together, we caressed the humid textures of the walls, with the fascination and to contemplate to a miracle of forms and colors… "

(CRIS ACQUA Artist)

Soap Dish Stick On Montreal

La colonna maledetta

That 's a very serious experiment in applied sociology. Purpose: To find differences between similar cultures, the way in which 'treated the woman, the way in which you try to sell the information. Technique: web browsing (English by the seller) at the sites of major newspapers in the country analysis.

A single criterion: the pagina principale del giornale cercare la o le foto che ritraggono donne; nude, seminude, in posizioni ammiccanti, pornografiche, sexy, che rimadano in qualche modo al sesso; in mancanza di donne, uomini in simili atteggiamenti; immagini in cui il sesso sia esplicito, altrimenti implicito ma presente; il cui messaggio sia comunque legato al sesso, anche di striscio; in mancanza di tali immagini, prendere immagini di donne in cui la superficie di pelle esposta alla foto sia maggiore...

Insomma, cercare il pornografico nella pagina principale del giornale; in mancanza di pornografia, scendere di aspettative fino a prendere il massimo di carnazza esposta, anche only a bare neck, an ankle, a finger.

Take at least one photo for the newspaper. If there is' more ', take more'. And see the result. Newspapers selected: LeMonde.fr, NyTimes.com, and especially ElPais.es Repubblica.it.

Score: Repubblica.it beats the rest of the world by several orders of magnitude. The exposed flesh, and messages emanating from the accursed column to the right of the news has no equal. Course director and a taste of the samples' available around here.

Note the interest in the buttocks shown in many poses, the use of the female body and to bring the beast 'in the male reader tired to hear that the workers die at work and that Roma camps were burned. Buttocks and nipples are there 'for readers, next to Bush orders a war, the bag collapses, the pope on Sunday, nothing matters, there are only those beautiful little bodies to distract the eye and tickle the groin. Worthy of attention are the titles that accompany these graphics. "The lady Briatore on the cover, the magazine is full of sales", "Eleanor and Barbara Berlusconi dips sisters are a cult," "Comes Jenna zombie stripper." Dificult to lose.

We come to the answer instead of the foreign press to the algorithm used to select pictures (again, on the home page). Here are the results on foreign newspapers. It seems ridiculous comparison, almost teenageriale, but this'. Sometimes the only carnal temptation turns into a cartoon, or a tennis hero. Density 'nipples undetectable.

Conclusion: the foreign papers seem to indicate that to sell a newspaper (online means that make them desirable for subsequent visits) is not necessary exposure of the naked body in images that recall the sex or not commonly . Republic (but also corriere.it) that do not. In Italy the serious information of this newspaper goes hand in hand with the buttocks of the Navy. What disturbs and 'that Repubblica.it forget one important thing: the Internet and you' free to choose. Going on a national news site (in which items are processed and serious), the player is choosing not to consume the product that goes under the name of child, no matter if the word is not 'the correct one. It 'free to do so by simply choosing another address, such that it addresses and' the full network.

Do not misunderstand this experiment, it is not bacchettonaggine. It 's not the point here pornography. And 'the strategy of the paper, and' the seriousness' of the paper, which reflects the end of the country. It 'a showcase for all of us. They are not asses the problem, but the ass in that position, close to the prime minister, close to the pope, near a war, a important comment. Why 'are there? 'Cause that window? And 'the Italian who buy more' if there are tits to the wind or do they change us from genetically? Really need? But there playboy.com! the Latin '? And then in Spain, where the most erotic and 'the sweat of Nadal? I miss you can 'give, at least directly, blame Berlusconi this time, being an opposition newspaper, not Panorama.

I can tell you that we laugh at the foreigners I knew seeing the home page, and simply do not understand how a tissue can become Minister of Equal Opportunities'. But women who think? It 's not that they would like more' real men in that column?

Shawn Michaels In Bubble Letter

The ¹² √ 2 well tempered.

Playing the guitar can 'rise to the question (or not?) Because of' the frets are arranged in a way that not even on the neck. The frets are the metal arms that are perpendicular to the strings on the neck and demarcate "notes" of the guitar (as in instruments such as violins, violas and basses do not exist).

And then I wondered why ' their distance decreases in the guitar, and especially as decreases, because' I knew something interesting. And indeed it and '(or not?). And it goes far away, the trees of Western music as we know it. Despite being a total ignorant of music history, I venture to an account that will be 'full of historical errors (I hope not mathematicians).

Before Bach would make it officially recognized, the music (or rather the way of playing and writing) was different. The reason was its fundamental building blocks, notes. The notes were not those that we know. Every note and 'in truth' a frequency of an acoustic wave, then the frequencies used, say in the Middle Ages, were not those who use Max Pezzali nowadays (which begs the question whether there has been a real evolution).

The reason for this difference lies in the scales used. Before Bach (which I use as a reference I do not know how well) crazy Pythagorean scale or a relative call Natural , while Bach and Max Pezzali decided that this did not go too well together and coined the so-called Temperate . Then Bach wrote The Well-Tempered Clavier and Max Pezzali Myth . Both were quite successful, demonstrating the fact that the ear of the people is not 'out of tune and too sensitive to small deviations in frequency. Problems

Pythagoreans

Why 'discordant notes were there. For 883 and 'easy to imagine, but also for Bach non ci si puo' esimere dalla constatazione. Perche' stonature? La scala Pitagorica e' naturale in quanto si basa su un principio immediato: la divisione in due di un intervallo o di una corda di chitarra. Dividendo a meta' una corda (sempre alla stessa tensione) si ottiene il doppio della sua frequenza. Dal principio della divisione a meta' si possono generare tutte le note. E all'orecchio umano questo piace, l'armonia tra le frequenze generate pare naturale . Ma esistono problemi, legate alle terribili quinte del diavolo e al loro famigerato Circolo delle quinte , che mai puo' essere chiuso.

La quinta e' la nota che si ottiene moltiplicando una frequenza f _o per 1.5, cioe' 3/2 (cioe' aggiungendole meta' di se stessa, cosa che Pitagora ama fare sempre). La quinta di Do e' Sol per esempio, ovvero f _sol = 1.5 f _do . Il problema con Pitagora e la sua scala e' che se parto da Do e salgo in frequenza sempre di quinta in quinta, prima o poi vorrei tornare a un Do . Di qualche ottava sopra, ma sempre un Do vorrei. E invece no.

Per ottenere la stessa nota ma all'ottava superiore devo raddoppiare la sua frequenza. I chitarristi sanno che bisogna dividere a meta' una corda per salire an octave, reduce it to one quarter to go up yet another octave, etc.. So if I start with a frequency f or, in the second octave avro ' 2f or, in the third octave frequency will' 4f _or and so 'on. At n-th octave the frequency will be 'in general 2 n f or . So Pythagoras

with its scale that would, rising fifth in the fifth , a frequency f or we can get to some of the eighth f _or . Go up fifth in the fifth by f _or , say a number of times m, mean change from frequency f _or frequency 1.5 m or f (following the same reasoning above for the "passing of eighth in eighth, but with 1.5 instead of 2). And here's the problem. Pythagoras then that would be true for some n eighth and fifth some m that 1.5 m or f n = 2 f _or , or that 1.5 m n = 2 . But it is not 'possible' cause no two numbers n, m that makes this expression true. So

. Well 'the problem with the Pythagorean scale was therefore moving away from the initial note is not returned to precisely the same after a few octaves (n = 7 should be ). The thing that made it difficult to write and play music, especially when composers began to not just the usual few eighth in their compositions. It 's like saying that the Do the right of the keyboard of a piano was out of tune with what the left. Bach as unacceptable for Max Pezzali (even using him more than three notes, that was a matter of principle).

Mix via the linearity '

So how? On the one hand, the Pythagorean Scale was naturally harmonious because of divisions in the middle ', the other could not close the circle of fifths evil. The solution was to let small imperfections and approximate frequency to get a piano and a guitar can be tuned and played. Bach heads 'that was more' important to have the same Do across the keyboard of his piano, rather than preserve the harmony of course "linear". On the other hand, had to think, who in future would have appreciated those little imperfections Max Pezzali Pythagorean case would not have done too. And Myth pote' librarsi in cielo, e il Karaoke vedere la luce del giorno quando l'umanita' fu finalmente pronta.

Il problema era riuscire a dividere l'intervallo di un'ottava (cioe' da f _o a 2f _o ) in 12 parti (perche' compresi i # le note sono 12) in maniera speciale. Cioe' in maniera che le frequenze di due note successive stessero sempre nello stesso rapporto . Vediamo come e poi il perche' si capira'.

Se parto dalla frequenza f _o , voglio che dopo 12 di questi intervalli la nota sia la stessa ma un'ottava sopra, cioe' 2f _o .
Diciamo che f ₁ and 'the frequency of the note next to f _or in this new scale, and f the next 2 to 1 f , etc.. (So \u200b\u200bit would be for example, or f = Do , _{f 1 = C #} , _{f 2 = Re} , etc.).. Then we said that we should have the twelfth note of the scale equal to the first but an octave higher, ie 'f 12 = 2f _or .

addition, however, 'we want two successive notes are always in the same report. We call this relationship x, and the problem becomes find it. So that has to happen: 1

f = f x _{or
f 2 = f} x 1 = f or x 2
_{f 3 = f 2} x = f x _or ³
(...)
₁₁ f = f x = f _{10 or} x 11
₁₂ f = f ₁₁ x = f _or ^{x 12 = 2f} _or

And finally comes the last report find that the relationship between two successive frequencies that would solve all the problems and 'x = ¹² √ 2 ( = 1.0594 ..., irrational number, and that 'an opinion on him but indicates that it is not' a number expressed by a fraction). Pezzali cheers, his records are safe. To pass from one note f n the next _{f n +1} we need to multiply the frequency of the first to x = 12 √ 2 . Here invented semitone. Indeed

see what happens with the fifth (the 'cause of this choice.) A fifth interval (to to Do Sol for example) contains 7 semitones, then the fifth or f and 'f

f = 7 _or ( ¹² √ 2) 7

ie 'the fifth report and' ₇ f / f or = ( ¹² √ 2 ) 7 = 1.4983 ... , instead of the Pythagorean 1.5. Minimum difference, the ear does not notice. In addition 'the important thing' that if by hours or f climb to fifth with 12 intervals (ie 12 times 7 semitones) you get:

_{f (7 x 12) = f} or [(12 √ 2) 7] = f ¹² 2 or 7 ,

which means that after 12 fifths ( _{f (7 x 12)} ) finally ritroviamo perfettamente un'ottava (la 7 ^ma ottava) della nota di partenza f _o (cioe' f _o 2 ⁷ ). Il circolo delle quinte e' finalmente chiuso.

Capotasti

Tornando ai capotasti della chitarra, da cui tutto e' nato, la cosa e' esattamente la stessa, tranne per il fatto di ricordarsi che la frequenza di una corda e' inversamente proporzionale alla sua lunghezza l . La nota f _o viene dalla corda intera l _o , la nota al primo capotasto f ₁ viene dalla lunghezza della corda l 1 , ... . Then the lengths of the rope to the various notes of the scale should be (it is always x = 12 √ 2): 1

the _or = l / x
the _{2 or} = l / 2 x
(...)
the n = l or / x n

If we are to what the frets spaced together, the length of the keyboard between two frets higher (nth and (N +1)-th ) will '

c n = l n - l n +1 the _or = (1 / x n-1 - 1 / x ⁿ )

So 'the first nut and' along the 5.61% of the _or , the second 5.29%, 5.00% the third, ... The twelfth 2.80%. Anyways, 'who wants can' build a guitar now. Leave you a comment myth will 'appreciated but does not hold.