Faneca Brava (Edición Literaria - Narrativa E-Book) (Galician Edition)

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AmazonGlobal Ship Orders Internationally. Amazon Inspire Digital Educational Resources. Amazon Rapids Fun stories for kids on the go. Amazon Restaurants Food delivery from local restaurants. The remake was stuck in a bog of legal issues for years, but it does sound like things could actually be moving again now. Lord knows so far whether this one's going to be a reboot, a remake or a very belated sequel.

Yet Warner Bros has put a new The Fugitive film into development. Anne and Arnold Kopelson, who directed the first film, are overseeing the new one. Christina Hodson has been hired to write the script for it, and the aim is to have the new The Fugitive in production soon. Seth Rogen and Jay Chou attempted a comedy-action big screen reboot in And now, we'll get another remake. No cast attached yet. Warner Bros is coming around for a second go at bringing Green Lantern to the screen, following the underwhelming Martin Campbell-helmed venture.

Ryan Reynolds won't be returning to star. The new film, going by the title Green Lantern Corps , is part of the broader, all-singing DC movie universe. There's no release date set yet, and DC's slate seems to be all over the place at the moment, so we'll have to wait and see for this one. Of course, the bigger news is that it's still actually happening at all - since the project has been on and off pretty much since Gremlins 2 came out.

If we can believe him he also mentioned The Goonies 2 , which is even less likely to happen , it looks like conversations are still happening. As long as they don't CGI the gremlins, we'll be happy. Sam Raimi is to produce a new take on The Grudge , with another English language version on the way. Based on the book by Jo Nesbo, the Norwegian thriller Headhunters is an excellent piece of work, one that was quickly snapped up for the remake treatment. Whilst there's not been much noise about it since, we know that Sacha Gervasi who directed Anvil had been hired to write the script.

Mark Wahlberg had expressed interest in the project too. There's been no recent substantive progress though. Rebooting a film with a tagline 'there can be only one' positively invites the world to chortle when a fresh take on the material is announced. Ryan Reynolds, originally mooted as the new Connor MacLeod, is no longer on board, though. Production is expected to start soon. Joe Dante's werewolf movie was based on the novels by Gary Brandner, and the rights have now been picked up by Emaju Entertainment.

Emaju in turn is pursuing a remake, although no writer or director is thus far attached. It was loosely based on Lois Duncan's novel of the same name, and Flanagan will be going back to that for the screenplay of this new version. It's fair to say that neither Matthew Broderick nor Rupert Everett will be getting a phone call about it, though. Independent of the recent, well-received CG animated series, Lin now just needs to find a writer and director to bring Gadget back to the big screen.

Which we suspect he will. Johnson has had success writing The Conjuring 2 for the studio in the past. For a while, it looked like the producers behind the Divergent movies were developing a new movie take on H G Wells' The Invisible Man. However, things look to have changed. But since that all collapsed , who knows where The Invisible Man is now? Jeff Buhley and Sarah Thorp have worked on the script. Now here's a reboot we can get behind. Connery hasn't acted since, and Norrington hasn't directed. The new film is being produced by John Davis, and he's promises a more "female-centric" take on the material for the upcoming reboot.

No director has thus far been appointed, though, but it's very much an active project. The original film starred Corey Haim, Corey Feldman and Heather Graham, and followed a teen who failed his driving test. This time around, the two leads in the movie will be female, and the new script is being written by Alisha Brophy and Scott Miles. John Davis is producing the film, and no director has thus far been appointed.

Weirdly, the screenplay will be written by horror writer Mike Van Waes who wrote The Crooked Man , and there's a chance the film could be heading straight for Disney's new streaming platform. New songs are expected to mingle with the classics. No word yet on who's directing. Greg Berlanti is determined to remain the busiest man in Hollywood, it seems.

Sarah Schechter Supergirl is serving as executive producer. Here are just a few of the people who have been involved in the elongated attempt to remake Logan's Run. Meanwhile, at one stage, Ryan Gosling was all set to star as well. Joel Silver is also producing, but at this stage, there's no news on a director. We know a Hunger Games- style franchise is being plotted, though.

This baseball comedy from is currently under discussion for a reboot. Morgan Creek Productions has held onto the rights to this one, despite looking to sell most of their other properties. It'll go back to the source material, to tell the story of a prosecutor framed for robbery and rape, who sets out to clear his name.

Woo has promised that the film goes back to his old style of filmmaking - hopefully something in the vein of Hard Target or The Killer - and Media Asia is backing the movie. The Maniac Cop remake was set to film this summer in Los Angeles, having got its financing together. Hyams has been attached to the film for ages. Sony has confirmed a release date for the movie, and we can expect it on December 18th First Class currently "in talks to write a treatment. Seemingly, the mighty Mr Nolan is not involved at all. It's fair to say that the groundswell of online commenters, when this news was announced, weren't very pleased.

Oren Uziel and Dave Callaham are working on the screenplay for the film. It's unclear if Kevin Tancharoen is still involved, though. He directed Glee 3D , but it's more the fact that he also made the popular Internet short Mortal Kombat: Rebirth that had once landed him the job. No timescales for this one yet, but Wan's involvement should get it moving quicker. Underrated movie, Mulan , one that's often overlooked when the Walt Disney Animation Studios output of the late s is quickly, and unfairly, written off.

A live action take on the film is in the cooker at Disney , with Liu Yifei starring and Niki Caro directing. And with apologies again for having to split this one up, we're now onto the final page of our remakes round-up. Hopefully, so far, you are fully assured that Hollywood posh people are bursting with ideas.

No word yet on when the film is going into production. Not soon seems to be the hope of many. Following the underwhelming version, which saw Jackie Earle Haley take over the role of Freddy Krueger from Robert Englund, New Line opted not to press ahead with a sequel. It'll be a "back to the drawing board" job too, with the aim being to come up with a remake that's "worthy of the original". Night Of The Comet. Headquartered in Tucson, AZ, we specialize in staffing in the areas of Despite mesmerising us with their characters, worlds, and lore in their own respective mediums, video games based on a pre-existing franchise have had a rocky history.

Yes, by this point there have almost certainly been more bad licensed games than there are good ones, but the tide is slowly turning, with developers nowadays given more time to channel our favourite fiction into an enjoyable interactive experience that perfectly encapsulates the source material.

We explore the best of them…. Isolation is a first-person horror that forces you to be calm, calculated, and patient. Kevin Conroy and Mark Hamill deliver outstanding performances as Batman and The Joker respectively — picking up where they both left off in the much-beloved Batman: And all this is layered on top of a counter-heavy combat system which has since gone on to influence most combat-driven Triple-A games today.

Sadly, no shark repellent though. This was the game that popularised the concept of split-screen local multiplayer on home consoles, taking a genre previously thought best suited to PC and bringing such high-stakes competition into the living room. LEGO Star Wars was the game that brought parent and child together through their shared love of the galaxy far, far away, and a whopping roster of 59 playable characters that were just waiting to be unlocked, then played with just like a real-life LEGO set. It gave you cause to find every collectable.

A licenced game plagued with numerous delays and an extremely problematic development cycle, imagine our surprise to find that South Park: The Stick Of Truth was actually quite brilliant when it released back in March of Pero lo que de verdad sucede es un encuentro multigeneracional en el que el talento senior abre los brazos a estas promesas que […]. Fortnite y Warframe entre otros. Algo bastante apropiado si queremos una experiencia completa. Esta es la lista de juegos confirmados incluyendo los free-to-play anteriores:.

Desafortunadamente, la lengua de Cervantes no la tiene dominada. Al menos, por ahora. Fortnite y Warframe entre los primeros juegos compatibles fue publicada originalmente en Vidaextra por Frankie MB. Time is the enemy of delivery productivity and the less loading, less unloading and less driving time spent, the more deliveries can be made.

While much emphasis has been spent on minimizing drive times—and more will be covered here—there are tremendous opportunities to minimize […]. Steel drums, king cobras, and Georges Bataille: No, this isn't a game of Clue ending with death by percussion, in a Caribbean zoo, by a French intellectual.

These are, however, telling clues behind Iku Sakan's hypnotic electronic music full of percolating beats through glassy modulations. Before developing his dreamy carbonated sound, Sakan spent his formative years performing as a DJ in Osaka and Kyoto, Japan, wandering the shadows of the city's nightlife. As an outsider among outsiders, Sakan wanted a music community which could both challenge and support his music passion; he found it in , moving to Berlin, Germany, to pursue his craft. Gradually progressing from dance music to acoustic improvisations, he immersed himself in Berlin's avant-garde music scene for nearly a decade.

Sakan eventually returned to Osaka in May But his travels are far from over as he already plans on traveling back to Berlin soon. Although Osakan artists often lack the attention or the funds enjoyed by artists in Tokyo or Berlin, Osaka's music scene remains resilient and diverse, ranging from harsh noise to ambient electronica, from psychedelic rock to outright pop. Navigating somewhere through these contrasting sound worlds, Sakan has already had the good fortune of collaborating with some notable musicians within the international scene, including Muneomi Senju from deep space voyagers Boredoms, Damo Suzuki from krautrock mavericks Can, and Tori Kudo from wabi-sabi ensemble Maher Shalal Hash Baz.

Sakan's extensive background of performing and DJing, while touring and collaborating, eventually led to a crystalline sound that is one-part club-ready beat and two-parts inflammable trance: His creative process is equally freewheeling, playing analogue and digital devices alongside pre-recorded materials, then merging the signals through mixers and FX pedals. Preferring the freedom of long-form recordings, Sakan teases out fleeting nuances in rhythm, melody, and timbre. Soothing as a winding creek, loops into fizzing patterns, dizzyingly dense, yet crystal clear.

The first release in his trilogy, Cepheidian stands as a club-ready homage to Sakan's DJ background. The record models diverging visions of electronic music, pairing remixes from colleagues alongside two original tracks. E-Oma layers gaudy synths atop his remix of "Fibernation Pt. E-Oma's remix of "Sol Cry" floats in ethereal synths and hazy samples while Konokov's toys with ticking hi-hats and restless kick drum. In contrast, Sakan's own mixes sound even more alien when stripped of accents, left spinning like kinetic sculptures. Sakan's mature debut album, Human Wave Music perks past the pulse of Krautrock gone electronic within the depths of dub.

Micro rhythms percolate, ebbing through oscillating harmonics which slowly accrete into stalactites dripping from cave ceilings. Drum machines maneuver melodies fusing an electronic palette to human instinct—synapse and circuit board mutually wooed. The effect is mesmerizing, like skating through an ice castle at dawn: The atmosphere sounds like an arctic landscape one should tread carefully with snowshoes. And yet, it feels warm as a summer breeze feathering the nape of the neck, triggering a dopamine rush in repeating waves.

The drum loops ripple through a subtropical haze, humming with caffeinated highs. Electronic melodies throb blissfully, playfully nudged into baffling patterns. Thick with humidity, one expects a waiter to approach with a silver tray, offering Tiki drinks in half-shelled coconuts. Lost inside a postcard fantasy, swaying beneath palm trees on a beach, it's a view best seen with one's eyes closed: Surging with lysergic urgency, Sakan's colorful summer release, Bloom Strings , belongs on blotter paper.

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The cover art hints at the music within: Sibilant treble writhes above tectonic bass. Deliriously psychedelic, flanging waves ripple alongside clicking percussion, sweetly scented and lightly venomous. The brain is a complex instrument. Each day, a single person's central nervous system processes more information than all of the world's Wall Street stockbrokers combined—accomplished without a license or trading desk; not a single conscious thought; and no evidence of overtime.

Spanning the cleft between clefs, Iku Sakan makes soundtracks for neurotransmitters leaping across chasms. Whether DJing in late-night clubs, busking in parks with steel drums, or improvising electronic beats in a bedroom, his music is instinctual and true. It's a sound that he's grown into; a sound that will keep on growing. You recently spent nearly a decade living in Germany. What were you doing in Berlin, of all places? Did you move just to make music in an arts-oriented city? Yes, it was like a hop on a completely different timeline. It was actually a very natural move.

I was working at the headquarters of a local supermarket for several years prior to my moving. All in all, it was an amazing environment and experience in my life, I had great colleagues and bosses, too, but since music been always my secret lover, I knew I have to find the loophole to get out and switch lanes. My main aim was start creating my own music in a totally different environment. I knew I already had some great musical references but had no idea how to use or combine them to create my own musical niche. I basically just rolled the dice, and it went well.

When I moved to Berlin in , I had some savings from my former job in Osaka, plus, luckily, and gratefully, all of my past apartments in Berlin were not that expensive. Living was kind of easy. Also, I knew a handful of DJ bars I could play at, on a semi-regular basis. The money wasn't that good, normally, but at least it helped me get by.

I've moved here and there inside of the cities. I played a lot both solo and in live collaboration with others. I met so many people while hanging out at DIY venues and organizing events and concerts. But I'm still in touch with some of them. We are like classmates from the same school. If we see each other, it's all love. What did you learn from that experience, both musically and personally, about life and art? My experience in Berlin has made me a more mature person at a human level.

This whole Berlin experience also helped me grow into a musically creative person. But the thing is, I never made it by myself. There were always some good friends encouraging me to push my envelope. By the way, my name, "Iku", means "grow" in Kanji. So, I keep growing, just as my dad named me when I was born.

I cannot say much about life and art. But I think I became more dedicated when it came to my own craft.

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And since I started taking my own music more seriously, I also started to think about how long I can keep reinventing myself as a creator of this musical niche. I never know how much time is left for me, but humans are mortal anyway. With the limited time we're given, we take some and leave some. Some stuff we leave here might inspire someone in the world to create something completely new and different.

I cannot really tell. Besides a few good friends here, I've been pretty much disconnected from the local scene in Osaka. But it might be that there's no actual scene that exists anymore. As far as I know, it's very low key these days, and nowhere near to the crazy melting pot that the city once had in the '90s—back when the vintage Boredoms were popping, when both the live house and club scene were hot.

But I'm from that era, so I might be biased. Obviously both Tokyo and Berlin are super international cities. There's so many layers when it comes to the music scene, too. Both the musicians and audiences are very diverse. But Osaka is not so diverse. To me, it's more like a village. And this is meant neither as an insult, nor a compliment. Just objectively speaking, it has a strong communal vibe. Of course, there's always some nice people doing their thing. And some followers, too. But I don't know. It might need someone to take a stand and push the culture.

Absolutely none—as far as I know. But it might be that the wind of change has started blowing just recently. It needs further research. Musically, and perhaps also in some ways culturally, Japan can appear to a foreigner as a country of dynamic contrasts. On one side of its music spectrum is the syrupy sweetness of J-pop; on the other side of the spectrum is the noisy onslaughts of Keiji Haino. Although you exist as a musical outcast within the Osakan community, how has your outlook been informed, for better or for worse, by your environment?

Creating music in any niche outside of mainstream pop music is still risky in Japanese society. Japanese people don't normally perceive you as a musician or as a productive member of society. As a result, it's only natural that the underground music communities became a sort of safety net for social outcasts. And even in those communities, I felt that some of us were deceived by others' narrow minded, overly polite mentalities.

So, I was like, "I don't really care, I don't want to try to fit in to be cool. After years of being stuck in my situation, I felt that I had to cut myself from my country for a while. So, I moved to Germany. I had to stay away for years to distance myself from this love-hate relationship with my culture.

I think it was necessary in order to mature as a human being, because I was so oppressed back in my 20s. I was fortunate enough to get through all of this, though, and succeeded in re-inventing myself as a musically creative person. Now I have finally started to rediscover my love for Osaka's local music community.

Yeah, I'm a slow tortoise. I'm thinking of how I can give back to the music community here. They helped make me this way. Where do you find comfort, joy, and excitement within Japan's eclectic cultural rainbow? I never learned any instruments until I started to play steel drum in a Berlin park.

The steel drum is my first instrument. Or maybe the Vestax turntable was my actual first instrument—I learned how to play records in wrong speeds to discover different dimensions in sound. But it was all self-taught, of course. I always loved listening to percussive elements in almost any sort of music I've listened to. Having a percussive drive in my electronic music is very natural. It just makes me feel good. I can vibe to it. And it doesn't necessarily need to have huge pumping bass drum or anything.

Just adding a circular rhythmic feel creates a subtle uplifting mood. Then you can feel the vibe even if you put the music in the background at a lower volume. Where did your interest in circular rhythms come from: Virtually every record I've listened to and collected: But as long as we live in this modern day and age, I think these circular, or repetitive, rhythmic patterns are inescapable. It's literally everywhere in the world including the Internet.

It's even in our DNA. It's just a matter of how you utilize it as a part of the sound function. I created my version by referencing all the great records I've been listening to all of my life. Melody and rhythm embrace each other and merge into one. My music is like an amalgam of these two. When I'm recording my music, sometimes I picture an extend improvisation on an imaginary melodic percussive instrument. I totally get why people hear gamelan, steel drum, kalimba, etc. Also, melody and rhythm define musical substances to me.

How you utilize these two elements within the texture can result in musical cohesion. Cohesion makes it more musical. And more than just a sound. That's been very important to me recently. Although only a single recording of yours has featured steel drum, Live U-MAN , the tone and texture of your electronic music seem to echo that of the steel drum, glowing with bright overtones, yet thick as a tropical breeze.

When did you first start playing this instrument? I started to play steel drum back in June At first sight it was just instinctual—a rather casual affair. I had already bought the instrument from a local store, and it was a perfect sunny day. I wanted to go outside and try something new.

Since my apartment back then was on the ground floor, at first, I played just around the corner. Like a baby step, I was still too shy. Then the guy upstairs said to me, "You should play in the park, because it sounds beautiful. Or maybe he just got annoyed and wanted me to go away. Anyway, that was the start. By the way, it wasn't a real chromatic scale steel drum.

It was more like a detuned steel drum with a flat shape. It only played a few notes.

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It was very easy to play while still sounding good musically. A percussion store in X-berg, called "Pulse-Percussions," was occasionally selling steel drums which were made by a German guy, who, unfortunately, I never got to meet in person. All of them had a uniquely detuned pseudo gamelan-esque sound. I just basically rolled with it as I kept playing, starting to get into the local and international improvisation and experimental music scene. It might be that playing steel drums in the past few years has affected my basic sound preferences almost at a deep unconscious level.

Looking back, it was a special instrument because it was my starting point in Berlin. At the very beginning, I just loved the sound of these uniquely detuned steel drums simply from the listener's perspective. I was basically playing around with it. That was everything I could do back then. But some people liked how I made different sounds from my pan and it made me motivated to explore more diverse sounds from an instrument. Then it started escalating. I started using two Beurer mini-electronic massagers to vibrate the whole pan, creating huge scraping sounds which reminded me of David Jackman's Organum, or the loudest part of Iannis Xenakis' "Persepolis" LP.

Then I added AKG stereo contact mics to amplify the sound of pan noise. After that, my music style became more electronic. You credit discovering the steel drums with helping to guide your current sound. But is there a certain moment in your mind that triggered a focus on circular rhythms? Ever since my teens, I've collected many different sound sources: I guess that was the start. I added a Roland MC to create a circular rhythmic feel. It was almost like a miracle. I had no idea why no one had ever tried the combo yet.

During your music career, you've wandered adventurously through genres. The effect is abstract and disorientating. Do you think of these two styles as distinctly separate? But at the same time, it was a natural transition. That was between It was great practice, but after that, I slowly started getting bored.

All of sudden it became super predictable. While starting to experiment with different combinations of gear and gadgets, one day I found the set-up which I now work with as a system. Then I started recording a lot of music between which resulted in my three recent releases. Anders was a different type of musician and composer than most of the people I knew in Berlin, yet he was funny and super open minded.

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We started exchanging music and hanging out in Berlin. He kind of inspired me to shift my musical style, too. How do you balance noise with beats, abstract improvisation with electronic compositions? I never think about it. I've been listening to tons of music since my teenage years, so it's just natural, and all of these musical references are still in me. I've been really into this clear kaleidoscopic sound scheme for a while now. I might go back to making noisier music sometime in the future. Can you speak a little more about your transition from a noise aesthetic to a more dance-oriented electronic sound?

First off, these two elements and influences were always in me. I started collecting records in at a time when I frequently went to Namba Bears, a live-house venue in Osaka [which is operated by Seiichi Yamamoto, a former member of the Japanese band, Boredoms] that has been known as a mecca of underground music since the s, and at the same time hanging out at the drum 'n' bass party. I was a curious teen trying to explore as much music as possible.

But when I look back at my younger days, even before I started making my own music, I think that somewhere in my mind I was thinking, "I'm digging into this music not for random reasons, but for music I'll be creating in the future—the music only Iku Sakan can create. Although I was always interested in the noise aesthetic, I never intended to become a creator of "noise music" at all.

It was just a practice. And I don't mean any disrespect to the creators of said genre. Since I started in the Berlin park as a non-trained improviser, I just had to go through the route without skipping any steps—going from completely acoustic to partially electronic to completely electronic. When first starting to play my steel drum eight years ago, I did whatever I could with my instruments and devices, and the international audiences of the Berlin scene seemed to appreciate what I was doing and I appreciated them back, too.

I guess that it was just a matter of time, my music was destined to progress. The more I played, I began realizing that there's not much left to do in the noise aesthetic, especially with the wall of sound type of production. And I don't want to feel bored when I'm making music. What were you experiencing at the time which guided your transition from highly textural, sparse, and sometimes abrasive, free improvisation to smooth and crystal clear, bubbling electronic music? Back in March , when I got back from my first tour in Asia, I already felt the need to find a new sound scheme in order to keep myself motivated.

During that time, I had a personal revelation, of sorts, which left me with a funny image in my mind about what else I could do with my music, "What would it sound like to make harsh noise by using only hi-fi and crystal clear, diamond-like sounds, instead of lo-fi sounds which had been the genre's method for ages? Then I met Anders, and, at the same time, my dance music references slowly came back. I knew I had to move forward. And I can't forget about my early influence from the vintage Ricardo Villalobos productions.

I cannot really say I'm a big fan of his current releases, but I was a huge fan of his music circa including his remix works. His production skill was undeniable. He had a Midas touch back then. It was super hi-fi almost cubic , yet so organic without losing the physical functions of modern dance music.

The man sampled Christian Vander and turned it into some transcending minimal music. That's the art of reference to me. As a DJ, you have had an opportunity to revise the work of others.

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Unfortunately, people can sometimes regard DJing as a lesser form of art, not understanding its possibilities. What are some of the rewards and challenges of Djing? As a music person who already has a mental musical database or brain Discogs , when I find an unexpected combination of two records, it actually wakes me up in public situations. That's a rewarding moment for me. It's like a "chance meeting".

Two records coming from different times and spaces, from different historical contexts and cultural backgrounds, surprisingly complimenting each other. It's always challenging when playing in public situations; you have to see the vibe, improvise with the vibe. It's a form of communication. You cannot be super indulgent. DJing and record collecting definitely influenced what I'm doing now. I always use three to four different sound sources when making music.

And since my music is all about mixing and merging different sound sources and signals, the whole aesthetic of DJing has been my main inspiration. What interest do you have in Stockhausen's work? My main interest in his music is his electronic pieces. Hymnen and Telemusik are always my favorite listening experiences from his vast discography.

Also, as a curious youngin' during the '90s in Osaka, I was exploring contemporary music, noise, techno, and house music, all at the same time. If there were no ancestors like Stockhausen, there would be no techno or noise music. Listening to Stockhausen's work—especially his electronic compositions—in my 20s helped me to realize there's so much more to be explored in the realm of the sound sphere. I don't really think he actually gave a listen to our super primitive, sonic child play.

I was just a fan boy. I remember, after I handed him a CD-R, Stockhausen looked me in my eyes and said "I strongly recommend that you study composition. What are some of the surprises that you experienced while working with your collaborators? Technically, according to the musical experience, the Sun Araw Midi Octet that I participated in a few years ago at Copenhagen Jazz Festival was full of surprise. The outcome was a very unique electronic amalgam created by the live musicians. Popularity Popularity Featured Price: Low to High Price: High to Low Avg.

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