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La scrittura alfabetica emerse in Egitto circa 5. Gli antichi Egizi erano soliti scrivere scrivere sul papiro, una pianta coltivata lungo il fiume Nilo. Inizialmente i termini non erano separati l'uno dall'altro (scriptura continua) e non c'era punteggiatura. I testi venivano scritti da destra a sinistra, da sinistra a destra, e anche in modo che le linee alternate si leggessero in direzioni opposte. Il termine tecnico per questo tipo di scrittura, con un andamento che ricorda quello de solchi tracciati dall'aratro in un campo, . Furono infatti usate come mezzo di scrittura, specialmente per il cuneiforme, durante tutta l'Et. Servivano da materiale normale di scrittura nelle scuole, in contabilit. Avevano il vantaggio di essere riutilizzabili: la cera poteva essere fusa e riformare una . L'usanza di legare insieme diverse tavolette di cera (romano pugillares) . Erano utilizzate anche le cortecce di albero, come per esempio quelle della Tilia, e altri materiali consimili. La parola greca per papiro come materiale di scrittura (biblion) e libro (biblos) proviene dal porto fenicio di Biblo, da dove si esportava il papiro verso la Grecia. Tomus fu usato dai latini con lo stesso significato di volumen (vedi sotto anche la spiegazione di Isidoro di Siviglia). Che fossero fatti di papiro, pergamena o carta, i rotoli furono la forma libraria dominante della cultura ellenistica, romana, cinese ed ebraica. Il formato di codex si stabil. Viene chiamato codex per metafora di un tronco (codex) d'albero o di vite, come se fosse un ceppo di legno, poich. La prima menzione scritta del codice come forma di libro . Tuttavia, il codice non si guadagn. Gli autori cristiani potrebbero anche aver voluto distinguere i loro scritti dai testi pagani scritti su rotoli. La storia del libro continua a svilupparsi con la graduale transizione dal rotolo al codex, spostandosi dal Vicino Oriente del II- II millennio a. C. All'arrivo del Medioevo, circa mezzo millennio dopo, i codici - di foggia e costruzione in tutto simili al libro moderno - rimpiazzarono il rotolo e furono composti principalmente di pergamena. Il rotolo continu. Fu un cambiamento che influ. Quattro son troppi? Potrai pagarli due, e Trifone il libraio ci far. Haec tibi, multiplici quae structa est massa tabella, / Carmina Nasonis quinque decemque gerit. Questa mole composta da numerosi fogli contiene quindici libri poetici del Nasone »(Marziale XIV. Il libro antico. L'oggetto libro sub. Dal II secolo a. C. Nel mondo antico non godette di molta fortuna a causa del prezzo elevato rispetto a quello del papiro. Tuttavia aveva il vantaggio di una maggiore resistenza e la possibilit. Il libro in forma di rotolo consisteva in fogli preparati da fibre di papiro (phylire) disposte in uno strato orizzontale (lo strato che poi riceveva la scrittura) sovrapposto ad uno strato verticale (la faccia opposta). I fogli cos. La scrittura era effettuata su colonne, generalmente sul lato del papiro che presentava le fibre orizzontali. Non si hanno molte testimonianze sui rotoli di pergamena tuttavia la loro forma era simile a quella dei libri in papiro. Gli inchiostri neri utilizzati erano a base di nerofumo e gomma arabica. Dal II secolo d. C. La vecchia forma libraria a rotolo scompare in ambito librario. In forma notevolmente differente permane invece in ambito archivistico. Nel Medio Evo si fanno strada alcune innovazioni: nuovi inchiostri ferro gallici e, a partire dalla met. Il prezzo molto basso di questo materiale, ricavato da stracci e quindi pi. Ma bisogna aspettare la seconda met. Questo mezzo, permettendo l'accelerazione della produzione delle copie di testi contribuisce alla diffusione del libro e della cultura. La parola membranae, letteralmente . Altri suoi distici rivelano che tra i regali fatti da Marziale c'erano copie di Virgilio, di Cicerone e Livio. Le parole di Marziale danno la distinta impressione che tali edizioni fossero qualcosa di recentemente introdotto. Il codice si origin. Quando c'era bisogno di pi. Sono stati rinvenuti . Nel tempo, furono anche disponibili modelli di lusso fatti con tavolette di avorio invece che di legno. I romani chiamarono tali tavolette col nome di codex e solo molto pi. Ad un certo punto i romani inventarono un taccuino pi. Il passo fu breve dall'usare due o tre fogli come taccuino al legarne insieme una certa quantit. Il grande vantaggio che offrivano rispetto ai rolli era la capienza, vantaggio che sorgeva dal fatto che la facciata esterna del rotolo era lasciata in bianco, vuota. Il codice invece aveva scritte entrambe le facciate di ogni pagina, come in un libro moderno.(LA). Quam brevis inmensum cepit membrana Maronem! Ipsius vultus prima tabella gerit. La prima pagina porta il volto del poeta. Ma copie erano anche fatte di fogli di papiro. In Egitto, dove cresceva la pianta del papiro ed era centro della sua manifattura per materiale scrittorio, il codex di tale materiale era naturalmente pi. Quando i greci ed i romani disponevano solo del rotolo per scrivere libri, si preferiva usare il papiro piuttosto che la pergamena. Fece la sua comparsa in Egitto non molto dopo il tempo di Marziale, nel II secolo d. C., o forse anche prima, alla fine del I secolo. Il suo debutto fu modesto. A tutt'oggi sono stati rinvenuti 1. Nel terzo secolo la percentuale aumenta dall'1,5% a circa il 1. Verso il 3. 00 d. C. Il rotolo comunque aveva ancora parecchi secoli davanti a s. In teoria, in Egitto, terra ricca di pianta di papiro, il codice papiraceo avrebbe dovuto regnar supremo, ma non fu cos. Sebbene gli undici codici della Bibbia datati in quel secolo fossero papiracei, esistono circa 1. Non ne scegliemmo alcuno, ma ne raccogliemmo altri otto per i quali gli diedi 1. Il codex tanto apprezzato da Marziale aveva quindi fatto molta strada da Roma. Nel terzo secolo, quando tali codici divennero alquanto diffusi, quelli di pergamena iniziarono ad essere popolari. Il numero totale di codici sopravvissuti correntemente ammontano a pi. Nel quarto secolo la percentuale si alza al 3. V secolo. In breve, anche in Egitto, la fonte mondiale del papiro, il codice di pergamena occupava una notevole quota di mercato. Sono tutti di pergamena, edizioni eleganti, scritti in elaborata calligrafia su sottili fogli di pergamena. Per tali edizioni di lusso il papiro era certamente inadatto. Titoli di compilazioni celebri, il Codice teodosiano promulgato nel 4. Codice giustinianeo promulgato nel 5. Dall'altro lato, basandoci sulle annotazioni di Libanio, intellettuale del IV secolo che nelle sue molteplici attivit. Le ragioni erano buone: la pergamena poteva resistere a maltrattamenti vari, il codice poteva venir consultato velocemente per riferimenti giuridici, sentenze e giudizi, e cos. La pergamena usata doveva certo essere di bassa qualit. Il peso era per. Il papiro divenne difficile da reperire a causa della mancanza di contatti con l'Antico Egitto e la pergamena, che era stata usata da secoli, divenne il materiale di scrittura principale. I monasteri continuarono la tradizione scritturale latina dell'Impero romano d'Occidente. Cassiodoro, nel Monastero di Vivario (fondato verso il 5. XLVIII), che riserva certi momenti alla lettura, influenz. La tradizione e lo stile dell'Impero romano predominava ancora, ma gradualmente emerse la cultura peculiare libro medievale. Prima dell'invenzione e adozione del torchio calcografico, quasi tutti i libri venivano copiati a mano, il che rendeva i libri costosi e relativamente rari. I piccoli monasteri di solito possedevano poche dozzine di libri, forse qualche centinaio quelli di medie dimensioni. Con il IX secolo, le pi! Alcuni di questi esemplari sono esposti nei musei. La luce artificiale era proibita per paura che potesse danneggiare i manoscritti. Esistevano cinque tipi di scribi. La pergamena doveva essere preparata, poi le pagine libere venivano pianificate e rigate con uno strumento appuntito o un piombo, dopo di che il testo era scritto dallo scriba, che di solito lasciava aree vuote a scopo illustrativo e rubricativo. Infine, il libro veniva rilegato dal rilegatore. Esistono testi scritti in rosso o addirittura in oro, e diversi colori venivano utilizzati per le miniature. A volte la pergamena era tutta di colore viola e il testo vi era scritto in oro o argento (per esempio, il Codex Argenteus). Tuttavia, l'uso di spazi tra le parole non divenne comune prima del XII secolo. Si sostiene che l'uso di spaziatura tra parole dimostra il passaggio dalla lettura semi- vocalizzata a quella silenziosa. Le copertine erano fatte di legno e ricoperte di cuoio. Durante il Tardo Medioevo, quando cominciarono a sorgere le biblioteche pubbliche, e fino al XVIII secolo, i libri venivano spesso incatenati ad una libreria o scrivania per impedirne il furto. Questi libri attaccati a catena sono chiamati libri catenati. Vedi illustrazione a margine. Dapprima, i libri erano copiati prevalentemente nei monasteri, uno alla volta. Con l'apparire delle universit. I libri furono divisi in fogli non legati (pecia), che furono distribuiti a differenti copisti e di conseguenza la velocit. Il sistema venne gestito da corporazioni secolari di cartolai, che produssero sia materiale religioso che laico. Secondo la tradizione ebraica, il rotolo della Torah posto nella sinagoga deve esser scritto a mano su pergamena e quindi un libro stampato non . Lo scriba ebraico (sofer) . 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THE FIRST INTEGRATED FLIGHT MANAGEMENT COMPUTERWhen Boeing began work on the 7. FMC) and the control display unit (CDU) (see fig. Boeing merged previous designs of the performance management computer and the navigation computer into a single FMC that integrated many functions beyond navigation and performance operations. The company used experience gained from Boeing’s other research projects to develop advanced implementations of performance manage. ![]() The new FMC system was envisioned as the heart of an airplane’s flight planning and navigation function. FMC CDU One of the first implementations of an FMC CDU was designed for the 7. While Boeing was continuing work on new commercial airplane navigation systems for the new “glass” flight decks, a debate was under way among the airlines about the need for a dedicated flight engineer crewmember. In July 1. 98. 1, an industry task force determined that two- crew operation was no less safe than three- crew operation. This decision would have a profound effect on the design of all Boeing commercial airplanes, including a short- notice imple. With one fewer crewmember, Boeing engineers focused on a flight deck design that would reduce crew workload, simplify older piloting functions, and enhance flight deck efficiencies. The early 7. 67 FMC provided airplane performance predictions using stored airframe/engine data and real- time inputs from other onboard systems, such as the air data computer and inertial reference system (IRS). This performance function replaced flight crew back- of- the- envelope- type estimates with relatively precise time and fuel predictions based upon actual airplane performance parameters, such as gross weight, speed, altitude, temperature, and winds. Then, as now, the navigation function was based on the IRS position and used ground- based navaids (e. DMEs, VORs, localizers) to refine the IRS position and correct for IRS drift. A navigation database (NDB) was included in the FMC’s memory and contained approximately 1. The NDB allowed flight crews to easily enter flight plans from takeoff to landing and make real- time route changes in response to air traffic control (ATC) clearances. The FMC also provided guidance to the flight plan route using the lateral navigation (LNAV) and vertical navigation (VNAV) functions. Initially, the FMC was equipped with LNAV only. VNAV was a new challenge and required a significant effort on the part. Boeing and Sperry (now Honeywell) engineers to make the vertical guidance component operational. After the development of the 7. Boeing also worked with Smiths Aerospace (now GE Aviation) to develop an FMC as part of a major update to the 7. The operation of the 7. FMC, the appearance of the CDU, and the CDU menu structure were designed to parallel those on the 7. The FMC became part of the design of the 7. Classic family, which included the 7. The 7. 37- 3. 00 was the first of the family to be certified in 1. Boeing offered the 7. Classic family with either single or dual FMCs and with either the traditional electro- mechanical attitude director indicator/horizontal situation indication flight instrument suite or the EADI/EHSI “glass” flight deck derived from the 7. For several years following the initial FMS certifications, minor changes were made to enhance the FMS operation, but no significant hardware or software changes were made until the early 1. DEVELOPING THE MODERN FMCIn the late 1. Modern FMS equipped with a multi- sensor navi. But oceanic operations and flight over remote areas — where multi- sensor updating of the FMC could not occur with accuracy better than the drift of IRS systems — made RNAV operations difficult. Operations in these areas of the world were increasing during the 1. As a result, the concept of a future air navigation system (FANS) was conceived in the early 1. AERO second- quarter 1. Subsequently, Boeing and Honeywell introduced the first FANS 1- capable FMC on the 7. At the heart of the system was a new, more capable FMC that. Airline operational communications — Digital communication of data (data link) such as flight plans, weather data, and text messaging directly from the airline operations facility to the FMC. Controller- pilot data link communica. RNP defined the confines of the lateral route, and the FMC provided guidance to reliably remain on the route centerline. The FMC’s RNP function also provided alerting to the flight crew when this containment might not be assured. GPS was originally a military navigation sensor that was allowed for commercial use with some limitations. Integrated as the primary FMC position update sensor, GPS provided exceptionally precise position accuracy compared to ground- based sensors and enabled the FMC’s capability for precise navigation and path tracking. GPS remains the primary sensor for the current gener. Data link provided a reliable method of digital communication between the airplane and the air traffic controller. A comprehensive list of preformatted messages was imple. Concurrent with the FANS 1 FMC, Alaska Airlines teamed with Boeing, Smiths Aerospace (now GE Aviation), and the FAA to develop procedures that would provide reliable access to airports that. By virtue of the surrounding rough terrain, the Juneau, Alaska, airport became the prime candidate for the certification effort. Because the approach to runway (RW) 2. Juneau, it was selected as the most rigorous test to prove the real performance capability of RNP (see fig. In 1. 99. 5, Alaska Airlines successfully demonstrated its ability to safely fly airplanes to RW 2. RNP and soon began commercial operations using RNP, which was a first for commercial aviation. RNP: ENABLER OF PBNThe concept of a reliable and repeatable defined path with containment limits was not new. Early conceptual work was done at the Massachusetts Institute of Technology in the 1. FMC, with its position accuracy and guidance algorithms, made reliable path maintenance practical. The first demonstration of the FMC’s terminal area precision came at Eagle, Colorado, in the mid- 1. Following simulator trials, the procedures were successfully flown into Eagle and subsequently approved by the FAA. The result: reliable approach and departure procedures that provide improved access to Eagle. Although Eagle demonstrated the FMC’s capability to execute precisely designed terminal area procedures, in the mid- 1. 7/17/2017 0 Comments Summicron 50Mm F2 Serial NumbersThe LEICA 50mm f/2 SUMMICRON with Near-Focusing Range is the greatest lens ever made by LEICA. This is LEICA's greatest 50mm lens ever, and 50mm is the most important. Voigtlander serial numbers have been published for many years. However, as more and more contemporary sources are located it has become apparent that many published. Selling your Leica M equipment. At Aperture we are always keen to acquire your quality Leica equipment. Either as a straight sale or as part of your next equipment. Next in line is the subject of this review, the Leica 50 Summicron. It is not an Aspherical lens and it is a classic design dating back to 1953. ![]() Leica 50mm Noctilux-M ASPH f/1.2 Leica 50mm Noctilux-M ASPH f/1.0 Leica 50mm Noctilux-M ASPH f/0.95. It has a magic attraction to it, like a large diamond. The Leica 5. 0 Summicron Lens Review – Steve Huff Photo. Leica 5. 0 Summicron Lens Review. The 5. 0mm focal length comes in many flavors in the world of Leica. The 5. 0 Summicron, Summilux, Summarit. So many 5. 0’s but luckily I have had a lot of time : ) It has been a long journey fore me trying to find a set of lenses that I could be happy with on my Leica M9 that fit within my budget. I just do not have the funds to buy a full set of Summilux glass, and even if I did I would probably feel bad about spending all of that money on lenses! It’s a slippery slope really. On on hand Leica M owners can go out and buy something like a Voigtlander 5. ![]() Alpa Prisma Reflex + Angenieux 50mm f2.9 Alpar. Condition 5/G (slow speeds & rangefinder faulty). Rare - only 935 manufactured. Nokton 1. 5 and get amazing results. This lens is inexpensive and seems to deliver superb image quality from what I have seen (there will be a guest article/review of that lens coming this week) but for those of us who really want a “Leica” lens on their Leica camera, a Voigtlander, no matter how capable, is not going to cut it so we look for a Leica to attach to our beloved camera. I have shot with Voigtlander, Zeiss and Leica on my M cameras and something about the Leica lenses keep me coming back to them. Wether it is their build, their style or their unique color signature I am pretty much hooked on Leica. New listing .Introduction Sony A7s with Jupiter-3 50mm 1.5 and VM-E close focus adapter (Helicoid) The Jupiter-3 50mm 1.5 is actually a copy of the Zeiss Sonnar 50mm 1.5 and was. The Canon 50mm f/1.4 LTM caught my attention by accident, whilst researching the 50 Lux I stumbled upon references to a lens known as the Japanese Summilux. But do not take that as a negative or a “stab” at Voigtlander and Zeiss. Both companies make some great little lenses for the Leica M mount and the Zeiss ZM range is considered by many as a true alternative to Leica. Today I am here to talk about Leica and one of the classical focal lengths for 3. The ever so popular 5. So if you shoot an M mount camera and are looking for a nice Leica 5. Your Leica 5. 0mm Options. For those who want to stick with Leica for their 5. The least expensive is the 5. Summarit. At $1. 39. Leica lens. At the time of this writing I have not shot with the 5. I can not comment on the quality of the lens but if it is anything like the rest in the summarit line, I am guessing it is really really good. The summarit is small and has an F2. AND IT DOES NOT come with a hood. That is an extra. Next in line is the subject of this review, the Leica 5. Summicron. It is not an Aspherical lens and it is a classic design dating back to 1. Over the years it has morphed into what it is today, a simple, small, well built heck of a 5. I love the design of this lens with it’s pull out hood and small size. This lens ups the ante a bit with a buy in price of $1. Leica leather pouch and as mentioned, the built in hood : )The third 5. Leica line up is the 5. Summilux ASPH and this is the mother of all 5. Its fast 1. 4 aperture is it’s main draw and its price is nearing the “I must be insane to but this thing” territory. At $3. 79. 5 (Feb 2. Finally, you have the worlds fastest most exotic and fastest lens for 3. Leica Noctilux F0. At $1. 0,4. 95 it is just way out there as far as pricing goes but man oh man is it beautiful. If I had the means to do so I would own one. The drawbacks with this lens is its size and weight. But that $1. 0k buys you a world class “stupid fast” lens as well as a lethal weapon in case anyone ever tries to rob you. I used to own the 5. Summilux ASPH and I remember buying one NEW at B& H Photo for around $2. Prices have since gone up (about 4 times) and these days it is getting harder and harder for me to justify Leica purchases. This is why I decided I had to finally settle on a three lens kit for my M9 and STICK TO THEM! Buying another 5. Lux was out for me because if I did that, well, I would not be able to buy a 3. My lens budget consisted of about $4. My search for a 5. Summicron. Enter the 5. Summicron. My first experience with the 5. When I bought a Leica M7 years ago it came with a 5. I shot that combo every day. Man, that was a beautiful combo. Talk about classic. I was soon tempted by the beautiful all black Leica MP and sold my M7 but I kept the 5. It never failed me, never let me down, and never ruined an image due to flare (many say this lens flares bad, but I have yet to see it in ANY of my shots. I do!). I must have taken 2- 3,0. MP. Never an issue with anything! Here is an image I shot years ago with the M7 and 5. Summicron. Leica M7 with 5. Summicron at F2 and Fuji Reala film scanned on a Nikon Coolscan VThat’s The Look I’m After! When Leica released the M8 I sold the MP to fund one. I mean, finally there was a digital M and of course I succumbed to my desires. Yep, I had to have one. I also sold the 5. Summicron because I decided I was going to go for a 5. Summilux for the M8 and I was silly like that. I wanted the best and that is what I bought. I remember people saying how much better the lux was over the cron so I never even thought to try it on the M8 (which was probably a mistake). Anyway, to make a long story short once I bought the M9 I tried a bevy of 5. Summilux, 5. 0 Noctilux F1, 5. Noctilux 0. 9. 5 and even the Zeiss 5. Planar (ALL reviewed on this website BTW in the Leica section). When I say I “tried” them what I mean is they were sent to me for review. I did not buy them all! After loving and shooting with a 5. Noctilux F1 for a while I decided I really needed a 3. I had Leica dealer Ken Hansen send me a 3. Summarit, 5. 0 Summicron and 9. Elmarit, all three new in box. The first lens I tried out of the three was the 5. Ahhhhhh. The lens seemed to have it all. It was small, well built, coded, not insanely priced and with its slide out hood made for a perfect 5. M9. Here is a youtube video I made to show you how big the lens is as well as how nice it looks in real- life- video. BTW, the video was shot with the Olympus E- P2 and Panasonic 2. The 5. 0 Summicron Bokeh. Cool video eh? I really fell in love with the lens and also the 3. I finally found my three lens kit but the 5. I started shooting with it and really liked the results. Not only is it bitingly sharp at F2, it has a really great signature as well as nice bokeh. Some say the bokeh of the 5. I disagree somewhat. To me, it has that Leica look and feel. This lens also happens to be a Mandler design so enough said : ) It may not have that perfect smooth modern bokeh of the 5. Lux ASPH but really, the bokeh of the summicron is just fine and will not make someone look at your image and say “Ewwww, look at that bokeh!”. The truth is, only us photo geeks stress over such things. But perfection is overrated these days and I started to realize this fact when I hit 4. Seeing all of my own imperfections made me ask myself why I used to be so obsessed with finding “perfect” lenses. A lens will not make or break a photo unless it is pure crap, and there really are no “crap” Leica lenses! Basically, it’s all about speed and speed is expensive in Leica world. At about $1. 80. 0 cheaper than the Summilux, the 5. As I have said, the Summilux is probably the ultimate all around 5. ANY 3. 5mm system. It beats the pants off of any Nikon or Canon 5. Canon 5. 0L which I owned for a while. If you have the funds, a summilux would be well, perfect! But if you want a tad but more of a classic rendering and do not mind a “slower” F2 design, the Summicron has its own kind of magic. Basically with Leica lenses you just pick your “flavor” and price range. I shot one paid job as well as my usual family and dumb animal photos. I even took it to St. Louis, MO and shot some old abandoned factories in mid day sun, again with no flare issues at all. The lens performed amazingly well for me. Never once did I say “Damn, I wish I had this lens or that lens”. I was amazingly 1. M9! Here are a few shots from my visit to St. Louis and the old factories, all of them with the 5. Summicron. Keep in mind these have been “processed” and are my final images. I did post an out of camera image in the “sharpness” section below with a 1. BTW, my “processing” of these files only consisted of using the “Ink” filter in Nik’s excellent Color Efex Pro filters. Sharpness & Detail. As I have stated, this lens is SHARP! Even at F2 you will not be able to complain about the sharpness of this lens, unless you have a bad copy or an out of alignment rangefinder in your camera. My M9 was recently calibrated to perfection and I can safely say that the combo of the 5. Cron and M9 ROCKS. It rocks HARD. Here are a couple of samples with 1. Be sure and click on the image to get the larger version and to see the 1. I think these tell you all you need to know about sharpness so newspaper text or wall clocks should not be necessary : )So not only do you get amazingly sharp detail even wide open at F2, you get the Leica buttery smooth Bokeh and color. I converted all of the images from DNG/RAW using ACR 5. The 2nd shot of the old Brick Warehouse is pretty impressive when viewing the full size file. You can click HERE to download it if you wish : )CA/SENSOR BLOOM/PURPLE CRUDIn some of my shots with the 5. I did see some CA/SENSOR BLOOM/PURPLE CRUD. I list all three because back a few years ago it was always refereed to as CA (chromatic aberrations) and generally popped up during high contrast situations. People always blamed the lens even though it never showed up on film images. Then, more recently the “sensor bloom” term came into play. Now we blame the digital sensors. The fact is that almost ANY lens will exhibit this “purple crud” (my name for it) on any digital camera but many digital cameras today fix this issue with in- camera software and processing so you never even see it. The M9 does NOT correct for this so if you shoot in a situation with high contrast like tree branches against a bright white sky and the exposure if not quite right, then you may see some of this “purple crud”. I have seen it the M9, D7. Canon 7. D, 5. D, etc. I have also seen it with just about every Leica lens, Zeiss lens, and Voigtlander lens (except the Noctilux F1. Here is a sample with some CA/SB/PC: This can be corrected in Photoshop or your image editor of choice so to me it is not a big deal and is something that comes along with digital. Get Into Action With Android Apps, iOS Games and More. Download free Android apps to explore new ways to do things or addicting games for Android to keep yourself. Welcome to CNET Download.com! 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