Noticias em eLiteracias

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✇ Visão

O "exonerador implacável": efeitos de um ano de João Lourenço no poder em Angola

25 de Setembro de 2018, 09:51
O Presidente angolano afastou pelo menos 230 governantes, administradores de empresas públicas e altas chefias militares no primeiro ano de mandato

✇ Visão

Fundadores do Instagram vão deixar rede social

25 de Setembro de 2018, 09:40
Os fundadores da rede social Instagram, Kevin Systrom e Mike Krieger, anunciaram que vão deixar a empresa adquirida pelo Facebook em 2012, para "construir coisas novas" e "explorar novamente" a sua "criatividade e curiosidade".

✇ Visão

Um terço dos trabalhadores está em risco de 'burnout'

25 de Setembro de 2018, 09:34
Um terço dos trabalhadores que participaram no estudo da Deco estão em risco de esgotamento profissional e cerca de metade queixa-se da falta de apoio dos supervisores em situações de maior stress

✇ Open Culture

A Brief History of Guitar Distortion: From Early Experiments to Happy Accidents to Classic Effects Pedals

Por Josh Jones — 25 de Setembro de 2018, 09:00

The sound of rock and roll is the sound of a distorted guitar, but the history of that sound predates the genre by a few years. It started out with blues and Western swing guitarists, searching “for a dirtier sound,” writes Noisey in a brief history, “a sound that reflected the grittiness of their music.” That sound was pioneered by a guitarist named Junior Barnard, who played with Bob Wills and his Texas Playboys and designed his own humbucking pickups to produce a fatter, louder tone and push his small amp into overdrive. As the Polyphonic video above notes, Barnard was an aggressive player who needed aggressive tones, and so, as guitarists have always done, he invented the means himself.

Other forerunners achieved distorted tones by cranking early amps like the 18-watt Fender Super, first introduced in 1947, all the way up, until the vacuum tubes clipped the signal to keep from breaking. Goree Carter, sometimes credited with recording the first rock and roll song, “Rock A While,” pushed the overdriven sound in a heavier direction than Barnard, playing dirty Chuck Berry-like licks in 1949 before Chuck Berry's first hit. Distortion, a sound audio engineers struggled mightily to avoid in live sound and recording, gave blues-based guitarists exactly what they needed for the loud, lewd postwar sounds of rock.

The distorted tones of the 40s came from a deliberate desire for grit. Later, even dirtier, guitar tones were the result of happy accidents. Another contender for the first rock and roll recording—Ike Turner & His Kings of Rhythm’s 1951 “Rocket 88”—contains some very distorted rhythms from guitarist Willie Kizart, who, legend has it, dropped his tweed Fender amp before the session. Sam Phillips “leaned into” the sound, notes Polyphonic, immediately hearing its serendipitous potential.

Seven years later, the evil overdrive of Link Wray’s instrumental “Rumble"—so sinister it was once banned from radio—came from an intentional equipment failure. Wray repeatedly stabbed the speaker cone of his amp with a pencil.

Do-it-yourself distortion continued into the sixties. Following Wray’s lead, the Kinks’ Dave Davies slashed his amp’s speaker with a razor blade for the fuzzed-out attack of “You Really Got Me” in 1965. But a few years earlier, “fuzz” had already been codified in an effects pedal: Gibson’s 1962 Maestro FZ-1 Fuzz-Tone, partly inspired by another accident, a faulty mixing board connection that distorted Grady Martin’s bass solo in the Marty Robbins’ 1961 country tune “Don’t Worry” (below, at 1:25). The Fuzz-Tone most famously drove Keith Richards’ riff in “Satisfaction,” but it didn't sell well. Other, more popular fuzz boxes followed, like the Arbiter Fuzz Face, Jimi Hendrix’s choice for his distorted tones.

Hendrix brilliantly innovated new guitar effects, and the powerful Marshall amps he played through also drove the distorted sounds of Clapton, Townshend, Page, Blackmore, etc., who competed for grittier and heavier tones and in the process more or less invented metal guitar. In the seventies and eighties, distorted tones took on some standardized forms, thanks to transistors and classic effects pedals like the Ibanez Tube Screamer, ProCo Rat, and Boss DS-1. Distinctions between overdrive, distortion, and fuzz effects can get technical, but in the early days of rock and roll, distorted guitar tones came from whatever worked, and it’s that wild early sound of gear pushed to its limits and beyond that every modern distortion effect attempts to replicate.

Related Content:

Hear the Only Instrumental Ever Banned from the Radio: Link Wray’s Seductive, Raunchy Song, “Rumble” (1958)

Two Guitar Effects That Revolutionized Rock: The Invention of the Wah-Wah & Fuzz Pedals

How a Recording Studio Mishap Created the Famous Drum Sound That Defined 80s Music & Beyond

Hear the Only Instrumental Ever Banned from the Radio: Link Wray’s Seductive, Raunchy Song, “Rumble” (1958)

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

A Brief History of Guitar Distortion: From Early Experiments to Happy Accidents to Classic Effects Pedals is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

✇ Genbeta

Los fundadores de Instagram, Kevin Systrom y Mike Krieger, abandonan Facebook por supuesta falta de independencia

Por Santi Araújo — 25 de Setembro de 2018, 09:00

Los fundadores de Instagram, Kevin Systrom y Mike Krieger, abandonan Facebook por supuesta falta de independencia

Kevin Systrom y Mike Krieger son los responsables de una de las redes sociales más importantes de la historia: Instagram. Hace ocho años dieron vida a este servicio, y hoy conocemos que llega el momento de abandonarlo.

La primera información al respecto llegó de manos del New York Times, pero el propio Systrom se ha encargado de confirmarlo a través de un comunicado en el blog de Instagram.

@mikeyk and I are grateful for the last eight years at Instagram and six years with the Facebook team. Weve grown from 13 people on the team to over a thousand with offices around the world, all while building products used and loved by a community of over one billion. Weve loved learning to scale a company and nurture an enormous global community. And we couldnt have done it without our amazing Instagram team, and the support of @zuck, @sherylsandberg, @schrep, and @chriscox at Facebook - weve learned so much from all of you. Now, were ready for our next chapter. Were planning on taking some time off to explore our curiosity and creativity again. Building new things requires that we step back, understand what inspires us and match that with what the world needs; thats what we plan to do. We remain excited for the future of Instagram and Facebook in the coming years as we transition from leaders to just two users in a billion. Thank you for being part of Instagrams community. Its been (and will continue to be) an honor

De nuevo en busca de "la creatividad"

En dicho comunicado reinan las palabras de agradecimiento a Facebook y achacan su salida a una intención de "explorar su curiosidad y creatividad de nuevo. Crear nuevas cosas requiere un paso atrás, entender qué nos inspira y combinar eso con lo que el mundo necesita".

"Mike y yo estamos agradecidos por los últimos ocho años en Instagram y los seis años con el equipo de Facebook. Hemos crecido de un equipo de 13 personas a casi 1.000 empleados repartidos en oficinas de todo el mundo. Ahora estamos listos para el próximo capítulo".

Como vemos, en el comunicado de despedida no hay ningún tipo de recriminación o desengaño hacia la compañía de Mark Zuckerberg, pero Bloomberg asegura que entre los fundadores de ambas compañías existían diferentes visiones sobre cómo debería ser el futuro de Instagram.

Además, supuestamente ellos se opusieron a la decisión de Facebook de copiar las Historias de Snapchat. Esto tiene bastante sentido si volvemos a leer el comunicado oficial de Systrom, que ahora busca centrarse "de nuevo en la creatividad".

No es la única baja importante que Facebook ha tenido en los últimos meses. Parece que la compañía es capaz de comprar grandes servicios pero no consigue retener a sus creadores.

En el mes de mayo Jan Koum, fundador y CEO de WhatsApp, abandonó la compañía y los rumores hablaban de un fuerte enfrentamiento con Zuckerberg por querer debilitar el cifrado del servicio y utilizar los datos de los usuarios para fines comerciales.

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La noticia Los fundadores de Instagram, Kevin Systrom y Mike Krieger, abandonan Facebook por supuesta falta de independencia fue publicada originalmente en Genbeta por Santi Araújo .

✇ Techlearning RSS Feed

Why Student Creation is the Hardest/Best Form of Assessment

Por Kerry Gallagher — 25 de Setembro de 2018, 09:00

The goal of assessment has traditionally been to measure student mastery. With that mindset, some students measure high while others do not measure up. While that seems pretty cut and dry, it can be problematic. The students who measure high tend to always measure high. And the students who don't measure up tend to experience disappointment over and over. For students who experience continued success, the consequence is that they believe in their abilities and continue to challenge themselves to achieve more. For students who don't measure up, the consequence is that they learn not to trust their own work and fall into a cycle of self-doubt. They tend to avoid challenging tasks and always take the easiest path to completion.

Why Students Prefer Creative Assessments

When students are able to go through a creative process (rather than taking a traditional test or quiz) to demonstrate their learning, the process includes benchmarks at which students receive feedback from their peers and their teacher. Feedback in this instance is not in the form of a score or a grade, so it feels less like a rating and more like an opportunity to improve for many students. While traditional tests and quizzes are intended by educators as an opportunity for students to improve, that is usually not how it feels from their perspective.

The final product that results from a creative assessment is a unique expression of each students thinking and learning. Because it is unique, students are often proud and empowered to share that work with an audience beyond their teacher or classmates. These creative projects tend to be the ones students choose to share via digital portfolios or as part of applications to internships or even college. If the students are younger, these are the projects that are put on display at parent nights or open houses.

Why Creative Assessments Are a Challenge for Educators

In traditional tests and quizzes, answers tend to be correct or incorrect. Grading is measurable, simple, and usually efficient. Putting a number or value on student work in the form of a creative artifact is more challenging. Sometimes teachers meet this challenge by creating instructions and rubrics that resemble step-by-step recipes. Their students follow the recipe and create a product that looks just like their classmates' products. This is actually not a creative assessment at all. It is an exercise in ensuring students can comply with instructions.

Another question from educators: How do we come up with these creative assessments? For many of us, both our experience as students and training as teachers comprised of readings, lectures, note-taking, studying, and test-taking for scores and certifications. The answer is that educators need both training in project-based learning (Ross Cooper and Erin Murphy's Hacking PBL is a great place to start) and opportunities to observe teacher leader colleagues who are successfully implementing that model in a tech-rich purpose-filled way. At St. John's Prep, a group of teachers who have excelled at this implementation and who want their colleagues to experience the same challenge and joy with their students banded together to create this video:

Wait... No More Tests and Quizzes? Ever?

That's not what I'm saying. Not even remotely. Short quizzes and summative tests have their place in every learner's academic experience. There are regulated, standardized, and necessary. They help colleges and professional organizations determine the readiness of their applicants. They have their place. At the same time, every learner deserves to experience an iterative creative process filled with plans, mistakes, feedback, and micro-successes along the way. In the course of day-to-day work for most professionals, this is the process:

  1. We pose a question or are challenged with a task by a supervisor.
  2. We do some research. Usually this includes reaching out to our networks, crunching numbers and data, and consulting academic/scholarly suggestions.
  3. Based on the unique question/challenge and what we've learned, we come up with a solution.
  4. We ask for informal feedback from colleagues and friends we trust.
  5. We use that feedback to edit and revamp our work.
  6. The first, and still somewhat rough, draft of our idea is proposed to a supervisor.
  7. More feedback.
  8. More editing and revamping.
  9. Rinse. Repeat. You get the idea.... It's a process.

If the purpose of school is to prepare our students for the experiences that await...
If the purpose of school is to prepare them for the challenges and successes they will encounter...
If the purpose of school it to help learners build the skills they need for success in the modern professional world...

It is worth noting:

If creativity is the "premier skill", then schools should focus their work on building creativity into lessons for their students. Student creation activities open the door to meaningful feedback, more honest relationships among learners and educators, and an environment that build the characteristics of creativity.

Encouraging student creation is hard, but it is also what is best for our students.

cross posted at www.KerryHawk02.com

Kerry Gallagher is the Assistant Principal for Teaching and Learning at St. John’s Prep in Danvers, Massachusetts. She’s also the Director of K-12 Education for ConnectSafely.org – internet safety non-profit in Palo Alto, California – a FutureReady Instructional Coach, ASCD Emerging Leader, and EdSurge Columnist. She served as a middle & high school teacher and digital learning specialist for over 15 years, and her passions include digital citizenship and effective integration of curriculum, pedagogy, and edtech. Kerry is a TEDx & keynote speaker and a lawyer by training. She is on social media @KerryHawk02 and her website is www.KerryHawk02.com

✇ Techlearning RSS Feed

Google Adds New Classroom Features. Use Them Responsibly.

Por Glenn Wiebe — 25 de Setembro de 2018, 09:00

“With great power comes great responsibility.”

All the MCU fans out there know that this phrase was first used in the 1962 Amazing Fantasy #15 issue and then later by Uncle Ben in the 2002 Spiderman movie.

But history nerds know that different versions of the phrase have been around for much longer. Winston Churchill. Teddy Roosevelt. And this guy – Henry W. Haynes from the public library of Boston in 1879:

The possession of great powers and capacity for good implies equally great responsibilities in their employment. Where so much has been given much is required.

So.

Yes. Google has added some new features to Classroom. And yes. There may be a need for them. But . . . we need to use these new features responsibly. Yes. These features will make life easier for teachers. But here’s the problem.

Like any edtech tool or feature, these new Classroom additions can be abused, focusing not on historical thinking skills but low level learning. Focusing on teacher centered, standardized learning rather than student centered, authentic learning.

Especially the one feature that has most caught the attention of teachers.

Locked quizzes.

Soon you’ll be able to keep your students focused by creating locked quizzes using Google Forms while in Classroom. Meaning once started in the Form, kids will not be able to leave the tab or open other windows. (Right now, this new lock mode only applies to “managed” Chromebooks that your school has full control over.)

Yeah, I get it. It’s fairly easy for kids to “cheat” while asking them to complete online Google Forms and other types of digital assessments. Kids open another tab or browser. Do a quick Google search. Find the answer. Check the box. Copy and paste. Ace the quiz. And tick you off in the process.

[7 Free Edtech Things. Cause Free Edtech Things are Always a Good Thing]

So Google finding a way to lock down a Google Form quiz delivered in a Google Classroom course seems super handy. And it is.

But think about it for just a minute or two.

What kinds of questions are most used in a Google Form assessment? Yup. Multiple choice. True or false. Fill in the blank. Basic low level kinds of questions.

So if all we’re doing with the new and improved locked quiz feature is to make it easier for us to create and assess a low level test of multiple choice questions, well then . . . what’s the point? If all we’re doing is creating learning and assessment opportunities that are not high level and authentic, then maybe we’re all in the wrong business.

Marco Torres once asked a room full of social studies teachers to describe their curriculum and instruction. After hearing long lists of dates and places and people and events, he came back with another question:

If I can Google everything you just said, what value are you adding to the learning that takes place in your classroom?

At the 2013 ISTE conference, Will Richardson asked a similar question:

If we’re asking questions kids can answer on their phones, why are we asking the questions?

So . . . take full advantage of the new locked Google Forms option that’s rolling out thus summer. But be careful how you use it. What can that look like?

Easy answer?

Yes. Use it to measure basic understanding of content knowledge. It’s up to you to decide whether to actually record that data as a grade. My suggestion? Don’t. Use it for formative assessments, not summative. Low level questions mean low level impact on actual grades. So use the Form as a way to help kids see gaps in their knowledge base not as a way to add data points to your grade book.

Harder answer?

Think about SAMR and historical thinking opportunities. I’m guessing you know about SAMR – using edtech tools as Substitution, Augmentation, Modification, and Redefinition. I love Sylvia Duckworth‘s version:

Using a locked Google Form to measure foundational content knowledge is simply substituting an online Form for a paper and pencil MC test. Move along the SAMR continuum – use the Google Form to modify and redefine how kids use and share information. Make it more interactive. More authentic. More student driven.

So try some of these ideas:

  • Primary Sources evaluation / Argumentative writing
    Create a Form with primary sources embedded. Ask kids to use their historical thinking skills to evaluate the sources and create an argument using evidence found in the sources. Your documents can be typical kinds of things such as diaries and speeches. But don’t be afraid to have kids look at
  • Media Based Questions
    I love the idea of embedding multimedia such as photos and videos into a Google Form. Not sure what MBQ is? This older post can help.
  • Writing prompts
    Create less complicated prompts in your Form. It could be an exit card. A response to a class conversation or. It could even be a response based on small group discussions.
  • Text-Based Interactive Fiction / Non-Fiction
    Using Google Forms, you and your kids can create simple versions of interactive fiction / non-fiction without any coding skills at all. Check out a quick Gettysburg example and one on the Oregon Trail. Then head over to a tutorial for creating your own.
  • Explorable Explanations
    Bret Victor calls Explorable Explanations an umbrella project for ideas that enable and encourage truly active reading. His goal is to change people’s relationship with text. People currently think of text as information to be consumed. Bret wants text to be used as an environment to think in.

You’re getting the point. Don’t let the ease of use with a locked Google Form move you away from doing what’s best for kids. Great power = great responsibility.

And if you’re curious, there are a few other new additions to Google Classroom. These are a lot harder to screw up:

  • Create and reuse assignments and questions in one location. Organize the assignments and questions by grouping them into modules and units. Teachers can plan their curriculum for the semester by reordering work to match their class sequence.
  • Google introduced a new collapsed view of classwork items so teachers and students can see more content on a page. This will help the Stream become the conversational hub of Classroom between students and teachers.
  • View all teachers, students, and guardians on the new People page. Teachers can view, add, and remove students, co-teachers, and guardians in one handy place.
  • Control general Classroom settings in one place. Teachers can edit the class description, change the course code, manage Guardian summaries, and set the class location. They can also control how students post and comment on the Stream page.

cross posted at glennwiebe.org

Glenn Wiebe is an education and technology consultant with 15 years' experience teaching history and social studies. He is a curriculum consultant for ESSDACK, an educational service center in Hutchinson, Kansas, blogs frequently at History Tech and maintains Social Studies Central, a repository of resources targeted at K-12 educators. Visit
glennwiebe.org to learn more about his speaking and presentation on education technology, innovative instruction and social studies. 

✇ Visão

No Ilegal, no Porto, serve-se comida gulosa e divertida

25 de Setembro de 2018, 07:05
À mesa do novo restaurante da Rua da Picaria, no Porto, partilha-se comida de rua com inspiração nos quatro cantos do mundo

✇ Visão

Bertha: A alma da casa

25 de Setembro de 2018, 07:01
A roupa de cama e os bordados doutros tempos reinventados em peças para guardar para sempre, num projeto da designer Joana Figueirôa

✇ Educação - Google News

Educação 360: Professores pedem projetos sociais na favela e ...

25 de Setembro de 2018, 00:08
  1. Educação 360: Professores pedem projetos sociais na favela e ...  Jornal Extra
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✇ Portada de Cultura | EL PAÍS

“Ha sido complicado llegar a la Luna; déjame saborearlo”

Por Gregorio Belinchón — 25 de Setembro de 2018, 00:02

A Ryan Gosling (Ontario, 1980) la ciudad de San Sebastián le ha recibido como a las grandes estrellas: con gritos, cariño, muchas fotos y fans sufriendo una hora de espera hasta su llegada el domingo por la noche, cuando bajó de un coche que le trajo desde el aeropuerto de Bilbao.

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✇ Educação - Google News

Educação 360: a política de cotas em debate

24 de Setembro de 2018, 23:43
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✇ Exposições - Google News

Nuit Blanche Toronto leva arte às ruas da maior cidade do Canadá

24 de Setembro de 2018, 23:37
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✇ Artes - Google News

Saúde da mulher é foco de atividades no Centro de Artes e ...

24 de Setembro de 2018, 23:20
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✇ Portada de EL PAÍS

¿Para quién es ‘cool’ Lavapiés?

Por Pablo León — 24 de Setembro de 2018, 23:09

Hoteles, restaurantes, bares, salas de teatro, huertos urbanos, efervescentes centros culturales… Esta es una de las caras de Lavapiés (en el barrio de Embajadores, distrito Centro). Y es poderosa: la zona acaba de ser escogida como el barrio más cool del mundo. Cool entendido como molón, guay. Lo ha dicho la publicación Time Out, especializada en ocio urbano. Para sacar esa conclusión, ha realizado una encuesta (con más de 15.000 entrevistados). Pero esa faceta tan molona y brillante convive con otras imágenes del barrio más complejas: gentrificación, botellón, empobrecimiento, plagas de chinches o un draconiano mercado de la vivienda. Dos cifras ejemplifican la disparidad de Embajadores: es una de las zonas donde más ha subido el precio de la vivienda (más del 21% interanual en todo el distrito Centro) y a la vez es el barrio con menor renta por hogar de toda la almendra central (poco más de 23.800 euros anuales, según datos del Ayuntamiento).

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✇ Portada de Cultura | EL PAÍS

Las Ciudades Patrimonio se quejan de asfixia por falta de ingresos

Por Vicente G. Olaya — 24 de Setembro de 2018, 23:08

Hace poco más de un año, un camión se llevó por delante una de las barandillas de la Bajada de la Misericordia, entre el Templo de Augusto y el Circo Romano, en Tarragona. El Ayuntamiento aún no la ha repuesto, no por falta de ganas, sino porque debe realizar antes un “proyecto específico” para restaurarla si quiere mantener su categoría como Ciudad de Patrimonio de la Humanidad, galardón concedido por la Unesco en noviembre de 2000. En Úbeda, las calles del casco urbano se barren a mano y en San Cristóbal de La Laguna carecen de suficientes repetidores de telefonía para no dañar la imagen impoluta de la ciudad. Todos los alcaldes consultados del grupo que conforman 15 localidades españolas —y que este mes han cumplido su 25º aniversario como entidad— se quejan de lo mismo. “La distinción multiplica los gastos, pero no los ingresos municipales. Estamos muy orgullosos de formar parte del grupo de elegidos”, dice el munícipe de Alcalá de Henares, Javier Rodríguez Palacios, “pero necesitamos ayuda del Estado”. Reclaman en subvenciones y exenciones.

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✇ Portada de Cultura | EL PAÍS

Peregrinación a uno mismo

Por Francisco Calvo Serraller — 24 de Setembro de 2018, 23:08

Entre dos aguas se puede decir que la poeta canadiense Anne Carson flanqueó la experiencia de su Camino de Santiago: un 20 de junio, en Saint Jean Pied de Port, donde asistió en el fondo de una cascada el cadáver de un perro muerto, y un 26 de julio del mismo año innominado, cuando se enfrentó con el ancho océano que se contempla desde los acantilados de Finisterre, invitando al observador a arrojarse en sus aguas y perecer ahogado. Nos lo cuenta en el libro titulado, en versión castellana, Tipos de agua. El Camino de Santiago (Vaso Roto), en el que su autora desgrana las peculiaridades de esta mítica ruta, aunque, sin detrimento de una aguda descripción de las muy variadas características físicas de este viaje, lo que aletea en el fondo de su relato es una peregrinación más honda hacia el fondo de sí misma.

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✇ Portada de Cultura | EL PAÍS

‘Vivir sin permiso’, de narcos y familias

Por Natalia Marcos — 24 de Setembro de 2018, 23:08

Telecinco sabe lo que le funciona y lo que quiere su público. No se prodigan mucho en el campo de la ficción, pero tienen claro cuál es la fórmula que encaja con ellos. Dejando a un lado La que se avecina, que les sigue funcionando como un tiro, El Príncipe fue su último gran éxito en cuanto a audiencias. Por eso es lógico que hayan confiado en Aitor Gabilondo, uno de los creadores de aquella, para su nueva gran apuesta de ficción, Vivir sin permiso. Eso detrás de las cámaras. Delante también repiten los dos protagonistas, Jose Coronado y Álex González.

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✇ Portada de Cultura | EL PAÍS

¿Qué ver hoy en TV? | Martes 25 de septiembre de 2018

Por Fernando Morales — 24 de Setembro de 2018, 23:08

22.00 / beIN LaLiga

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✇ Educación

“La pobreza no se erradica con dinero”

Por Victoria Subirana — 24 de Setembro de 2018, 23:03
Victoria Subirana lleva 30 años trabajando como maestra en Katmandú, donde pone la pedagogía al servicio de los más necesitados

✇ Artes - Google News

Escola de Circo da Vila das Artes lança oficinas gratuitas

24 de Setembro de 2018, 20:55
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✇ Educação - Google News

Educação 360: a universidade e o ensino técnico são antagonistas?

24 de Setembro de 2018, 19:32
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✇ Artes - Google News

Cervejaria de Mogi Mirim, Sauber Beer tem primeira feira de artes

24 de Setembro de 2018, 17:55
  1. Cervejaria de Mogi Mirim, Sauber Beer tem primeira feira de artes  O Popular Digital
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✇ Artes - Google News

Cidade das Artes na Barra recebe Ballet do Municipal

24 de Setembro de 2018, 17:54
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✇ Portada de EL PAÍS

Google enfada a los usuarios de Chrome con su nueva versión

Por José Mendiola Zuriarrain — 24 de Setembro de 2018, 17:37

La sensibilidad de los usuarios de la red en lo relativo a su privacidad está a flor de piel, y por este motivo, cualquier paso que se dé en aspectos relacionados con la misma debe ser medido milimétricamente. Esto lo ha descubierto esta semana Google tras moverse en un un terreno en el que la confusión, más que la amenaza real, ha sido un combustible incendiario en una polémica no buscada. ¿Los responsables? El gigante de Mountain View y su última versión del navegador Chrome, la 69.

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