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Lay your love on me

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Don't go wasting your emoooooooooooooootioooooooooooon...
Acordar com músicas na cabeça é do piorio.
--

I wasnt jealous before we met

Now every woman I see is a potential threat
And Im possessive, it isnt nice
Youve heard me saying that smoking was my only vice
But now it isnt true
Now everything is new
And all Ive learned has overturned
I beg of you......

Dont go wasting your emotion
Lay all your love on me

It was like shooting a sitting duck
A little smalltalk, a smile and baby I was stuck
I still dont know what youve done with me
A grown-up woman should never fall so easily
I feel a kind of fear
When I dont have you near
Unsatisfied, I skip my pride
I beg you dear......

Dont go wasting your emotion
Lay all your love on me
Dont go sharing your devotion
Lay all your love on me

Ive had a few little love affairs
They didnt last very long and theyve been pretty scarce
I used to think that was sensible
It makes the truth even more incomprehensible
cause everything is new
And everything is you
And all Ive learned has overturned
What can I do......

Dont go wasting your emotion
Lay all your love on me
Dont go sharing your devotion
Lay all your love on me


Abba - "Lay your love on me"

The true enemy

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Há uns posts atrás, a Wee colocou um poema que era basicamente uma descrição dos horrores da guerra. O poeta que o escreveu morreu precisamente na guerra que tentava descrever, daí ter uma visão tão exacta e visual do assunto.

Actualmente não só a guerra em si é horrível como também a perspectiva de que possa haver guerra. Assim como criámos condições para tornar a nossa vida mais confortável curando doenças, inventando melhores meios de transporte, também criámos modos de nos destruirmos cada vez mais terríveis. Tornando as consequências ainda piores do que eram há uns anos atrás.

O poema lembrou-me de um diálogo no filme de 1995, realizado por Tony Scott: Crimson Tide (Maré Vermelha). Também ele acerca de guerra claro...

Capt. Ramsey: At the Naval War College it was metallurgy and nuclear reactors, not 19th-century philosophy.
[Stifled laugh]
Capt. Ramsey: "War is a continuation of politics by other means." Von Clausewitz.
Hunter: I think, sir, that what he was actually trying to say was a little more...
Capt. Ramsey: Complicated?
[Men Laughing]
Hunter: Yes the purpose of war is to serve a political end but the true nature of war is to serve itself.
Capt. Ramsey: [laughing] I'm very impressed. In other words, the sailor most likely to win the war is the one most willing to part company with the politicians and ignore everything except the destruction of the enemy. You'd agree with that.
Hunter: I'd agree that, um, that's what Clausewitz was trying to say.
Capt. Ramsey: But you wouldn't agree with it?
Hunter: No, sir, I do not. No, I just think that in the nuclear world, true enemy can't be destroyed.
Capt. Ramsey: [chuckling, tapping glass] Attention on deck. Von Clausewitz will now tell us exactly who the real enemy is.
[laughing]
Capt. Ramsey: Von?
[Men Laughing]
Hunter: In my humble opinion, in the nuclear world, the true enemy is war itself

Como eu disse num comentário do post do poema: War must REALLY be hell!

Given To Fly

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Ora eu já sou uma pessoa muito Pearl Jammica (se ainda não sabiam pronto, ficam agora a saber), mas esta semana e a anterior tenho andado mais Pearl Jammico do que o costume. Assim, o que é que há a fazer? Isso mesmo! Chatear os outros e tentar faze-los ficar Pearl Jammicos também. Peço perdão mas tem de ser! :D




He could’ve tuned in, tuned in
But he tuned out
A bad time, nothing could save him
Alone in a corridor, waiting, locked out
He got up outta there, ran for hundreds of miles
He made it to the ocean, had a smoke in a tree
The wind rose up, set him down on his knee

A wave came crashing like a fist to the jaw
Delivered him wings, "Hey, look at him now"
Arms wide open with the sea as his floor
Oh, power, oh

He's.. flying
Whole…
High.. wide, oh

He floated back down 'cause he wanted to share
His key to the locks on the chains he saw everywhere
But first he was stripped and then he was stabbed
By faceless men, well, fuckers
He still stands

And he still gives his love, he just gives it away
The love he receives is the love that is saved
And sometimes is seen a strange spot in the sky
A human being that was given to fly

High.. flying
Oh, oh
High.. flying
Oh, oh
He’s…flying
Oh, oh

- Pearl Jam - Yield


fixed-width vs fluid-width websites

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Why I Design Fixed-Width Websites

February 17, 2009 by chicgeek
Filed under Design Stuff

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"It has to be said. The role of a website designer is intrinsically that of an employee. Every design is heavily influenced by others’ opinions, whether these opinions belong to a specific client or to the general public. Essentially, it is for the whim of others that a designer works. Despite this, every good web master (or mistress) skillfully imposes their own personal style on their work. Designers develop individual preferences and predilections based on their experiences both as a coder and a viewer. It is through considerations of both of these roles, consumer and creator, that a final design is determined.

A fixed-width design (top) and a fluid-width design (bottom)

A fixed-width design (top) and a fluid-width design (bottom)

A designer makes many decisions when creating a website: navigation, colour palette, font, and use of graphics, to name a few. But none of these choices have as great an impact as that which determines the overall layout. That is, whether a website will use a fixed-width or fluid-width (”liquid”) design.

To begin with, let’s look at the trends of some of the major sites on the internet today. I would dare to say that the majority of sites produced recently, both professional and amateur, use fixed-width designs. These sites include the micro-blogging service Twitter, photo sharing site Flickr, and social networking giant Facebook. Each of these sites chooses a different standard width within which to present their content; Facebook uses a hefty 964 pixel girth, Twitter opts for a slim 763 pixels, while Flickr’s width lies somewhere in between.

Meanwhile in the fluid realm, sites such as the Wikipedia encyclopaedia, Amazon marketplace, and a-tool-for-everything Google flaunt full-page designs. In general, whether in article, catalogue, or list form, these sites have much more content than their fixed-width counterparts, with text or graphics covering every inch of available real estate. Despite being the default display (see W3C’s archive of the world’s first website), fluid-width websites are becoming a less common choice for major sites.

What influences the choice between fixed- and fluid-width layouts? Let’s consider the role of the creator (coder) and consumer (viewer).

Ultimately, a coder has no control over the resolution and browser type that a visitor uses, and thus must do his or her best to present a webpage that will show well over many display possibilities. A designer must aim for some degree of global compatibility. From a coder’s perspective, it is more difficult to produce a good fluid-width site than any fixed-width site. Hundreds, if not thousands, of coders have fallen by the wayside trying to code a perfect fluid-width sites with all the extras. (If this sounds like you, find salvation with Alistapart’s Holy Grail.) An additional challenge lies in developing a fluid webpage that remains usable and visually pleasing at any width or resolution. Meanwhile, fixed-width sites are far more predictable. For the most part, a well-coded fixed-width site is consistent across many browsers and resolutions, allowing the coder to delegate the content to be presented “just-so”.

A viewer’s perspective of fixed- and fluid-width designs depends almost entirely on the size of their display. There is no question that a fluid layout easily makes better use of any visible real estate - there is no concern over the blank spaces. More control is granted to the viewer, who can skew a fluid site to their own preference by changing the size of their browser window. However, this can result in content that is squished or stretched, making the text more difficult to read. Using fixed-width designs ensures that the content always remains as the coder intended it to be viewed - one would hope in easily-read columns. A fixed-width design is not without its visual flaws, though. Many viewers find that blank margins seen in higher resolutions are a waste of space and prove to be a distraction. In left-aligned fixed-width sites, this margin is exaggerated on widescreen displays.

What is my preference? If the title didn’t give you a clear indication, then perhaps my somewhat-biased profile of fluid- and fixed-width gave you a clue. I think the likes of Twitter, Flickr, and Facebook have it right. These days I almost exclusively design with a centered fixed-width design, unless a client requests otherwise. Being a control freak, I love having the complete jurisdiction over the final look of a site: providing easily-consumable columns of text in set widths, creating custom headers and graphics to fit perfectly together on any platform, and knowing that my viewers can see the site just as it was mean to be seen. Even as a site viewer, I prefer being able to scope the contents of a page in one glance instead of having to scan my eyes from one side to the other. As for filling up my restricted real estate, I abide to the policy “less is more”. For the sites I design, I prefer pagination over scrolling and opt to allow the reader a bit of elbow room using generous margins and line spacing. But in general, the sites I design aren’t content-heavy anyway.

So what am I saying? I’m saying it’s up to you and what you are designing for. Wikipedia and Amazon have mountains and mountains of content to present, and - as far as I’m concerned - they have done well to utilise a fluid-width design in which to contain it all. The strategic use of columns on Wikipedia’s main page helps break up potentially long lines of text. Amazon uses all horizontal and vertical space for its catalogue in an elastic tabular set up. Google, however, sacrifices some style in favour of branding. With perhaps millions of pages under their umbrella, the amount of content on each page varies from very little to vast quantities. Taking this into consideration, I can’t help but think “it’ll do”, but still leaves me wanting more.

Wikipedia and Amazon use a divide-and-conquer approach to fluid-width design

Wikipedia and Amazon use a divide-and-conquer approach to fluid-width design.

But I hear those of you fluid-width fans out there - “there must be something better!” Sure there is. With some fancy coding an a little patience you can achieve a design that will fill any standard screen, though is immune to any extreme squishing or stretching imposed upon it. Take a look at Chris Coyier’s “The Perfect Fluid Width Layout”. He uses the word “accommodates” no less than three times in that article, and that’s possibly a good thing, but the adjustable width and changeable text still lacks the possibility for control that I prefer in my designs. Sure it’s labelled “perfect”, but to me it’s still just a fluid layout.

As a coder, I embrace my inner control freak. As a viewer, I enjoy not having to carriage return my head after every line. A well-coded picture-perfect fixed design is far more appealing to me than being granted the chance to resize my window or eliminate side margins. That being said, options are there for a reason. There are occasions for either choice, but as a coder you must be willing to accept or even embrace the shortcomings of your decision. Just remember, while ultimately your designs are created for the consumption of others, with this decision you can put your stamp on any design."

It is sweet and right to die for your country

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Dulce et Decorum Est Pro Patria Mori

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs,
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots,
But limped on, blood-shod. All went lame, all blind;
Drunk with fatigue; deaf even to the hoots
Of gas-shells dropping softly behind.

Gas! GAS! Quick, boys! — An ecstasy of fumbling
Fitting the clumsy helmets just in time,
But someone still was yelling out and stumbling
And flound'ring like a man in fire or lime.—
Dim through the misty panes and thick green light,
As under a green sea, I saw him drowning.
In all my dreams before my helpless sight
He plunges at me, guttering, choking, drowning.

If in some smothering dreams, you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin,
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs
Bitter as the cud
Of vile, incurable sores on innocent tongues, —
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.


Wilfred Owen
(baseado no original de Horácio)

Cookie...

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...Monster

Windows Vista and DNN

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I here declare that I officially hate Windows Vista and Dot Net Nuke.

Can you shake him down?

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Stay lover, stay
don't just leave me this way,
With nothing left to go on with.
Is there nothing you could say, before you turn and walk away,
I can't believe your heart, there's something wrong with it
Whatever happened to you?

She said whatever has to change
It could easily be rearranged.
This sort of thing that's not new to me
But now when I'm looking at your face,
there is hardly any traces
of this sort of love that’s so good to me
And I must sing this from the heart
about our sudden love gone wrong
right from the start.
Whatever happened to you? (x2)
Tell me now, you tell me now

You run, lover, run.
I have cared for you all along.
Ever since I first fell for you.
It's still a very special song
and now it's made it's all begone
But you know it always did work so well for you (??)
And I must sing this from the heart,
about our sudden love gone wrong
right from the start.
Whatever happened to you (X2)

Oh, you're cold, lover, cold
living alone in those days of old.
You can only love a shadow and a memory
For all those wicked lies you told
For your life that has yet to unfold
I swear before the end that you will remember me.
Whatever happened to you (X4)
Tell me now, tell me now.


Madrugada - "Whatever happened to you"

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P.S. - Aproximação de apresentação de mestrado a grande velocidade e o Twitter em baixo. Acham bem? Eu é mais bolos e tenho dito. E a frase do título é da "The hour of the wolf". Fabulosa.

Depois disto...

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...não há mais nada a dizer.

Potencial

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Hoje usei a minha assinatura andante quase no seu potencial total. Andei de bus, metro e comboio. Se tivesse de comprar uma assinatura para cada um dos transportes ficar-me-ia caríssimo! Agora, se todos os meus dias fossem como este, acho que era o mais bem gasto dinheiro que alguma vez eu gastaria.

Pode ter muitos problemas e não funcionar sempre bem, mas 3 em 1?! Parece-me muito bem.

Protestos contra portugueses

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Ontem, milhares de trabalhadores Britânicos da indústria do gasóleo sairam do seu trabalho, numa sequência de manifestações que se têm vindo a realizar desde a passada quarta-feira, em protesto contra a contratação de cidadãos Portugueses e Italianos para essa indústria.

Os protestos e greve em várias refinarias ao longo do país foram provocados pela decisão da empresa de construção Italiana IREM SpA que iria utilizar nomeadamente empregados de origem Italiana e Portuguesa num projecto de £200milhões a tomar lugar na refinaria da Gasolineira Total em Lindsey, no Nordeste de Inglaterra.

Estes protestos parecem ser influenciados pelo aumento de desemprego significativo no Reino Unido ao longo dos últimos meses que agora se encontra a 6.1% e pelo medo de que a tendência seja para esta situação piorar.

O sindicato representante destes trabalhadores afirma que este protesto não é directamente contra os trabalhadores estrangeiros mas sim contra as empresas estrangeiras a operar no Reino Unido por não utilizarem a força de trabalho local.

Quando li sobre esta situação tenho que admitir que ao princípio fiquei um bocado chocada e descontente, mas depois, pensando melhor, acho que não os posso condenar por tal protesto porque afinal já ouvi muitas vezes os Portugueses queixarem-se exactamente pelas mesmas razões relativamente aos trabalhadores provenientes de países da Europa do Leste ou de outras origens que imigraram para Portugal.


Em Tuga em Londres