Eduar

[Daniel Mayakovski @DaniMayakovski]

Un 23 de julio de 1967, tuvo lugar en Detroit uno de los mayores disturbios en la historia de Estados Unidos, luego de que la policía racista estadounidense invadiera y perpetrara una masacre en un bar en un barrio pobre afroamericano.

Mas de 10.000 tropas fueron desplegadas por el estado policial de EEUU en los disturbios, donde los sicarios policiales asesinaron a 43 afroamericanos y dejaron mas de 1500 heridos, en respuesta a la brutal represion, la rabia popular prendió fuego a 2000 edificios de la ciudad.

Tras estas protestas y lucha encarnizada en las calles de los guettos negros, nacio la Liga de Trabajadores Negros Revolucionarios en Detroit, donde los trabajadores negros se unieron sindicalmente.

[Classical Music and Movies @Axaxiaa]

Mozart - Piano Concerto No.21, K.467 / Yeol Eum Son

[Regalitos Digitales @regalitosw]

Nunca te imaginaste que los tiempos verbales se explicarían de esta forma.

[Darina Martykánová @DarinaMarty]

¿Porqué el sistema nos parece lento, excesivamente burocrático y atascado? No es "comunismo", es un proceso transnacional característico de esta época. Recomiendo este libro:

[iPaul @iPaulCanada]

2026世界人工智能大会，某科技公司展示的跨时代教具--AI黑板

[Classical Music and Movies @Axaxiaa]

Rachmaninoff Prelude Op. 23 No. 5.

[Regalitos Digitales @regalitosw]

Nadie te dice esto: con solo 600 palabras dominas el 90% del inglés diario

Guarda esto antes de que lo borre 🔖

[⚖️ Moisés Molina @MoisesMolina]

Para que una tesis (sobre todo doctoral) se justifique debe satisfacer al menos uno de estos 5 requisitos.

[Classical Dance,Ballet & Music @JungKook941892]

🍁💦Discover the extraordinary talent of Yuja Wang, one of the world's most celebrated pianists, renowned for her breathtaking speed, flawless technique, and electrifying stage presence. In this video, witness her astonishing virtuosity as she performs some of the most technically demanding passages with incredible precision and effortless elegance. Whether you're a classical music enthusiast or simply amazed by exceptional musical ability, this performance is sure to leave you inspired.
@sheiscallednv
#pianist #steinway #symphony #musician #virtuoso #solos

[Eduar @eduzzcom]

@rtorres11 @DIRECTV los prefiero a los pelafustanes arrodillados de rcn y caracol

[EL PAÍS América @elpais_america]

Los libros son valiosos para las tecnológicas: contienen conocimiento más elaborado, editado y estructurado que gran parte del contenido de internet. Libreros han detectado compras masivas de libros descatalogados por parte de estas empresas para entrenar sus modelos de IA https://t.co/lZTq5cSwOB

[Eduar @eduzzcom]

@chibcholandia qué pereza esa señora. Llego a los programas deportivos a distraerel trabajo periodistico por la vanidad, el chisme y lo superfluo.

[𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀 @Old_But_Gold50s]

Mozart's Piano Sonata No. 11 in A Major, K.331: A Dance Between Light, Shadow and Perfect Balance

To appreciate the singular character of Wolfgang Amadeus Mozart's Piano Sonata No. 11 in A major, K.331, it is helpful to imagine the entire work as a court dancer moving gracefully across a vast stage. Yet this is no dance defined solely by elegance and refinement.

Within every movement lies a delicate equilibrium: between the stability of Classical convention and moments that quietly defy expectation; between the luminous clarity of the major mode and the fleeting shadows of the minor; between the courtly poise of the opening movements and the vibrant vitality of the finale.

The sonata derives its lasting power from the way Mozart constructs a unified musical architecture, in which every movement, every variation, and every subtle gesture is bound together by principles of remarkable structural coherence.

A Sonata That Begins Where No One Expects

From its opening bars, Mozart leads K.331 along a path quite unlike that of most Classical sonatas.

A conventional piano sonata almost invariably opens with a brisk movement in Sonata-Allegro form, comprising three principal sections: Exposition, Development and Recapitulation. By the latter half of the eighteenth century, this had become the defining model of the genre.

K.331, however, begins with an Andante grazioso cast as a Theme and Variations.

This is not merely a change of tempo or expressive character.

It alters the very foundations upon which the work is built.

Among Mozart's piano sonatas, K.331 occupies a unique place in that none of its movements employs the traditional Sonata-Allegro form.

Rather than allowing the music to unfold through the dramatic opposition of contrasting themes, Mozart adopts an entirely different approach. He presents a single theme and proceeds to explore, with extraordinary imagination, the many expressive possibilities concealed within it.

If we continue our image of the sonata as a courtly dance, Mozart does not allow his dancer to stride confidently onto the stage with the energetic gestures characteristic of an Allegro.

Instead, the performance begins with a dance of quiet elegance, measured poise and perfect control. From this single dance, Mozart gradually fashions an astonishing variety of shapes, colours and rhythmic characters throughout the journey that follows.

This bold decision establishes the artistic world in which the entire sonata unfolds.

The Bridge of Eighteen Steps: Mozart Expands the Balance of Classical Form

A Classical musical theme generally strives for clear symmetry.

Listeners become accustomed to phrases built from balanced units, most commonly an opening eight bars followed by another eight, together forming the familiar sixteen-bar structure that typifies Classical proportion.

Yet from the very first phrases of Piano Sonata No. 11 in A major, K.331, Mozart introduces a subtle departure from convention.

The theme of the opening movement (Andante grazioso) does not conclude after the expected sixteen bars.

Instead, it extends to eighteen.

Technically speaking, the first eight bars establish a satisfying sense of completeness. They seem to arrive naturally at a point of repose.

Yet Mozart refuses to close the phrase there.

He extends it by a further ten bars, allowing the musical line to continue unfolding before finally returning to equilibrium.

Those final two bars are far from superfluous.

They create an exquisitely subtle sense of suspension, rather like a court dancer who has completed the principal gesture of a dance, yet lingers for one final graceful movement before coming to rest.

If we imagine this theme as a bridge, it is not the familiar sixteen-step bridge of Classical convention.

It possesses eighteen steps.

The opening eight provide stability and familiarity.

Those that follow broaden the landscape, allowing the listener to experience a movement that remains graceful yet never entirely predictable.

Even more remarkable is the fact that Mozart employs this design not merely once.

All six subsequent variations preserve the original eighteen-bar framework. Although tempo, rhythm and ornamentation continually evolve, the underlying architecture remains intact.

The union of rigorous structure with endless variety demonstrates Mozart's remarkable ability to expand Classical form without disturbing its essential balance.

He does not reject established rules.

He simply reveals how flexible they can become.

A Journey Between Light and Shadow: The Dancer Moves Between A Major and A Minor

If the eighteen-bar structure provides the inner architecture of the first movement, the continual dialogue between A major and A minor shapes the changing landscape through which the dancer moves during the course of the sonata.

In Mozart's musical language, major and minor keys are never merely contrasting harmonic colours.

They resemble two different qualities of light illuminating the same stage.

A major is a world of brightness, balance and elegance, where every movement of the dancer appears clear, poised and effortlessly graceful.

A minor, by contrast, softens the light. Its outlines become deeper and more contemplative, allowing the audience to perceive hidden emotional dimensions within the very same figure.

What makes K.331 so remarkable is that Mozart never creates two entirely separate worlds.

Instead, he allows the dancer to pass continuously from one illumination into another, so that identical movements acquire entirely different emotional meanings.

The first movement opens in the radiant world of A major.

The Andante grazioso theme resembles the moment when the dancer first appears beneath the clear light of a courtly stage. Every gesture possesses order, elegance and perfect composure.

Yet as the subsequent variations venture into the darker colours of A minor, the very same dance acquires an unexpected depth.

The dancer remains unchanged.

Each movement still grows from the original theme.

Only the light has altered, revealing emotional shades that previously remained unseen.

This dialogue between brightness and shadow continues into the second movement, the Menuetto.

Here Mozart restores the dancer to the familiar elegance of A major, preserving the balance and refinement that characterise the dance. Yet the Trio, moving into D major, opens an entirely new space, as though the stage itself briefly expands into another landscape before the dancer quietly returns to the original centre.

By the time we reach the third movement, Rondo alla Turca, the contrast between A minor and A major has become far more dramatic.

The dancer no longer possesses the gentle grace of the opening movement.

The finale begins in A minor, creating a world of heightened energy, where every step becomes firmer, more decisive and charged with vitality.

Its insistent rhythms, powerful bass writing and weighty chords transform the dance into something altogether different—bolder, more vigorous, yet always governed by an underlying architectural order.

Only after this remarkable journey does the sonata finally return to A major.

This is more than a simple harmonic resolution.

It resembles the moment when the dancer, having passed through many contrasting states of movement, returns to the centre of the stage transformed.

The performer retains the same essential balance, yet now possesses greater richness, maturity and emotional depth.

Mozart never employs A major and A minor as opposing forces locked in conflict.

Instead, he allows them to complement one another, just as light and shadow together reveal the true form of a dancer upon the stage.

It is this continual process of transformation that makes K.331 far more than a sonata of memorable melodies.

It becomes a musical journey in which beauty arises from the perfect balance between seemingly opposing states.

When Time Appears to Stand Still: Variation V (Adagio) and the Song Within the Dance

After the continual transformations of the earlier variations, Mozart leads the listener into an entirely different world with Variation V (Adagio).

The first striking change lies in the metre.

Leaving behind the gentle 6/8 of the original theme, Mozart adopts 2/4, immediately creating the impression that musical time has slowed and become more intensely focused.

At this moment, the dancer no longer traverses the stage with broad, clearly defined steps.

Every gesture becomes smaller, more intimate and more refined, as though the dance has merged imperceptibly with song itself.

The right hand unfolds exquisitely ornamented melodic lines whose graceful embellishments resemble a singer delicately shaping every phrase.

Meanwhile, the left hand becomes markedly more restrained, providing a spacious harmonic foundation that allows the upper voice to breathe with remarkable freedom.

This contrast gives the impression that time itself has slowed.

The notes no longer exist simply to propel movement forward.

They become expressions of the music's inner life.

Most importantly, Mozart never employs ornamentation merely to display the virtuosity of the performer.

Instead, he uses it to expand the expressive possibilities of the piano itself, enabling the instrument to approach the warmth, flexibility and emotional subtlety of the human voice.

After this moment of profound stillness, Variation VI (Allegro) arrives like a sudden release of restrained energy.

The contrast reveals one of Mozart's greatest gifts as a composer.

He does not merely create differences between fast and slow.

He shapes our perception of musical time itself, allowing us to experience not simply changes of tempo, but changes within the very character of each passing moment.

Rondo alla Turca: When the Court Dancer Gives Way to a Dance of Vigorous Stamping

After the stillness and refinement of Variation V, Mozart leads the entire sonata into an altogether different world in its concluding movement: Rondo alla Turca (Allegretto).

If the opening movement resembles an elegant court dance, characterised by graceful, measured steps and impeccable poise, the finale introduces a far more vigorous mode of movement. The dancer no longer glides effortlessly across the stage with restrained elegance, but embraces a dance of unmistakable rhythm and decisive energy, where every step radiates vitality and purpose.

What is particularly remarkable is Mozart's ability to evoke the impression of an entire ensemble through the resources of a single piano.

Rather than imitating the sound of an Ottoman military band directly, he transforms its most distinctive qualities into the expressive language of the keyboard.

The most significant technical feature lies in his treatment of the left hand.

Instead of employing the familiar Alberti bass accompaniment found throughout much Classical repertoire, Mozart constructs powerful gestures in the lower register through octave chords preceded by brief ornamental notes.

These sonorities suggest the firm, rhythmic impact of feet striking the ground.

Each resonant bass chord serves not merely a harmonic function, but also provides rhythmic propulsion, much as a drum sustains the pulse of an entire dance.

Meanwhile, the right hand creates a more agile and animated layer of movement.

Its rapid passagework, flowing thirds and brightly contoured melodies resemble the graceful motions of the dancer's arms and upper body—constantly shifting, yet always retaining absolute precision.

These two layers of movement complement one another perfectly.

The left hand provides weight, stability and momentum.

The right hand supplies flexibility, brilliance and lightness.

Together they allow the piano to transcend the limitations of a solo instrument, creating the illusion of multiple musical voices inhabiting the same acoustic space.

If we continue to imagine the finale as a dance, this is the moment when the court dancer adopts an entirely new physical language.

The octave chords in the bass resemble forceful stamps upon the floor.

The swift figurations of the right hand suggest agile turns and flowing gestures.

Yet beneath all this exuberant energy lies the firm discipline of the Rondo form.

The principal theme continually returns, establishing a stable centre amidst the movement's ever-changing colours and textures.

Here we encounter one of Mozart's most distinctive artistic qualities.

His music may overflow with vitality without ever surrendering its sense of order.

It may convey an impression of complete freedom while remaining securely governed by a lucid and perfectly balanced structure.

For this reason, Rondo alla Turca is celebrated not merely for its instantly recognisable melody or its infectious brilliance.

Its deeper significance lies in Mozart's ability to transform an irresistibly engaging musical idea into a fully integrated architectural design, in which rhythm, colour and form merge into a single, continuous current of movement.

Perfect Balance: The Enduring Essence of Piano Sonata No. 11, K.331

Looking back upon the journey of K.331 as a whole, it becomes clear that the work's greatness does not reside in any single moment.

Not solely in the theme and variations with their remarkable eighteen-bar design.

Not solely in the lyrical stillness of Variation V.

Nor solely in the radiant vitality of Rondo alla Turca.

The sonata's enduring value lies in Mozart's extraordinary ability to unite elements that might otherwise appear irreconcilable within a single, harmonious whole.

A theme that extends beyond established convention while preserving perfect balance.

A musical journey that passes from the brightness of A major into the deeper colours of A minor without ever creating a sense of rupture.

A moment in which time itself appears to slow, allowing the piano to sing.

A finale overflowing with vigour while never abandoning the elegance of Classical form.

Mozart does not create beauty by eliminating contrasts.

He creates beauty by placing each contrast precisely where it belongs within a perfectly ordered design.

This, indeed, is the principle that permeates Piano Sonata No. 11 in A major, K.331.

Balance is not a condition of immobility.

It is the capacity to allow contrasting forms of movement to coexist within a unified whole.

In K.331, Mozart transforms that principle into the very language of music.

A court dancer may pass from grace to strength, from light into shadow, from quiet contemplation to exuberant brilliance; yet in every moment, every step remains part of the same dance.

[EL PAÍS América Colombia @ElPaisAmericaCo]

El ruidoso silencio de Abelardo de la Espriella por la muerte de Johan Sebastian Durán Guerrero

Tanto el presidente electo como una delegación de visita en Washington ignoran el caso del migrante colombiano de 26 años baleado por el ICE https://t.co/xDTqVWyqLH

[Orpheus @OrpheusL]

Happy birthday to Bach "Es ist das Heil uns kommen her", Cantata BWV 9!

[Regalitos Digitales @regalitosw]

Nadie te enseñó esto en el colegio… y por eso sigues confundiendo los tiempos verbales.

Aquí los 16, explicados como debieron hacerlo siempre 👇

(Guarda esto 🔖)

[/kill C3O_404 @C3O_WAS_HERE]

@UltimaHoraCR @JLQUERUBIN Increible como petro lo hizo de nuevo

[Lorena @Zyberia]

Este restaurante es el único en la vida al que le he hecho fila, el único al que activamente he recomendado a quienes vienen a Colombia o pasan a España desde Suecia, siempre explicaba su trato a sus trabajadoras, todas mujeres cabeza de hogar. Es más, en China, uno de los profesores que está planeando hacer un evento en Colombia me preguntó por un lugar donde invitar a los conferencistas y yo le dije que ahí explicando sobretodo el compromiso social y la política de contratación. Quedó maravillado. Hoy veo esto y de verdad que decepción, ojalá salgan a dar claridad sobre este caso, ojalá sea solo un mando medio déspota y no la política de la empresa, de no ser así, nunca más vuelvo. Que jodido es encontrar lugares seguros para los trabajadores en Colombia, se salvan muy pocos.

[Accountable @Accountable2019]

Juan Carlos:
"Recibo de su excelencia el jefe de Estado el generalísimo Franco la legitimidad política surgida el 18 de julio de 1936"

Se cumplen 90 años.
El origen del Régimen actual

[Sergio Parra @SergioParra_]

Asociar comunicación con inteligencia es una intuición pobre. Porque los humanos no solo nos comunicamos con palabras o frases gramaticalmente correctas, tal y como lo hace ChatGPT, sino con una red de significados. Intercambiamos intenciones, expectativas, emociones, conocimientos compartidos, referencias culturales, relaciones de poder y un contexto que rara vez necesita explicitarse.

Cuando digo que alguien es un genio o un idiota, las palabras por sí solas apenas contienen información. Puedo estar elogiando, insultando, ironizando, bromeando o incluso expresando admiración afectuosa. El significado no reside en la secuencia de sonidos, sino en la intención del hablante y en la capacidad del oyente para reconstruirla.

Por esa razón, vigilar únicamente las palabras resulta una estrategia extraordinariamente limitada. Dos frases idénticas pueden constituir una amenaza, una declaración de amor o una broma privada dependiendo de quién las pronuncie, cuándo lo haga y ante quién. La comunicación humana nunca ha consistido en transportar significados de una cabeza a otra como si fueran paquetes perfectamente etiquetados. Consiste en generar suficientes pistas para que otra mente reconstruya, mediante inferencias, aquello que pretendíamos comunicar.

Somos tan extraordinariamente buenos realizando este proceso que apenas somos conscientes de él. Tenemos la impresión de que el significado viaja adherido a las palabras, como si estuviera impreso sobre ellas. Pero es una ilusión cognitiva. El significado no está contenido en las palabras de la misma manera que el agua está contenida en una botella. Surge durante la interacción entre dos mentes que comparten una enorme cantidad de conocimientos implícitos sobre el mundo.

Esta diferencia resulta decisiva para comprender tanto el lenguaje humano como las limitaciones actuales de la inteligencia artificial. Un LLM puede aprender extraordinariamente bien las regularidades estadísticas de millones de conversaciones. Puede producir respuestas impecables desde el punto de vista sintáctico e incluso pragmático. Pero eso no significa que participe en el mismo proceso comunicativo que nosotros. Lo que hace es aproximarse a la distribución estadística de las respuestas que los humanos solemos producir en contextos parecidos. La comprensión que percibimos emerge, en gran medida, de nuestro propio esfuerzo interpretativo.

En este sentido, Ludwig Wittgenstein anticipó hace décadas una intuición sorprendentemente moderna. El significado de una palabra, sostenía, no puede separarse de la forma en que la utilizamos. Hablar es participar en un juego de lenguaje, y cada juego posee sus propias reglas, objetivos y formas de interpretación.
Pensemos en una única palabra, «martillo». Pronunciada en un taller puede significar «pásame el martillo». En una obra puede ser una advertencia porque una herramienta está cayendo desde un andamio. Durante una compra puede recordar que aún falta adquirir uno. En un entrenamiento deportivo puede indicar un tipo concreto de ejercicio. Incluso aquello que cuenta como un martillo depende de la actividad que estemos realizando. Para montar una tienda de campaña quizá baste una piedra. Para fabricar joyas necesitaremos un pequeño martillo de precisión. No existe un significado universal de «martillo» separado de las prácticas humanas en las que esa palabra cobra sentido.

El lenguaje se parece mucho más a una partida interminable de charadas que a un diccionario. Cada conversación modifica ligeramente las reglas del juego. Los participantes improvisan, insinúan, omiten información, aprovechan experiencias compartidas y adaptan continuamente el significado a las circunstancias. Nunca jugamos exactamente la misma partida dos veces.

Y aquí aparece una diferencia fundamental con los grandes modelos de lenguaje. ChatGPT puede reproducir con enorme fidelidad los movimientos visibles del juego. Puede elegir las palabras adecuadas, respetar convenciones sociales e incluso simular ironía o empatía. Pero no participa realmente en el juego humano que da origen a esos significados. No posee objetivos propios, experiencias compartidas, relaciones personales, un cuerpo situado en el mundo ni una historia vital que otorgue sentido a sus enunciados. En cierto modo, representa uno de los papeles mientras nosotros ponemos el escenario, las reglas y la interpretación.

Por eso conversar con un modelo de lenguaje produce una sensación tan extraña. La conversación parece auténtica porque la mitad del fenómeno comunicativo la aportamos nosotros. Igual que vemos rostros en las nubes o emociones en personajes de ficción, completamos espontáneamente aquello que falta. La inteligencia artificial no necesita comprender plenamente el significado para parecer que comprende. Le basta con generar las pistas adecuadas para que sea nuestra propia inteligencia social la que termine el trabajo. Esa capacidad para inducir interpretación quizá sea una de las demostraciones más sofisticadas de la IA actual. Pero también una de las fuentes más persistentes de confusión sobre lo que significa, realmente, comunicarse.