Fujitsu Primergy CX1000

THE cloud computing becomes mandatory requirement for companies that significant data growth. However, producers still rare server that offers device supporting high-performance, but low cost. Answering this market niche, offering the Fujitsu server to a cloud computing environment, Primergy Cloud extension (CX1000). This product offers a level of balance between performance and the optimal price, change the design, operational and economic calculations on the data center. Primergy CX1000 has claimed the highest level of scalability making it ideal for cloud computing environments.

“The server optimizes the operational cost component driving power, heat, and space, so a new milestone economic standard data center,” said Nuraini Kurnia, Regional Marketing Manager Marketing of PT Fujitsu Indonesia, recently.

According to a beautiful woman who was familiarly called Nia, Primergy design since the early CX1000 is designed to be able to provide computing power as possible per square meter, with the lowest possible price. Server, he said, to accommodate up to 38 server nodes in a rack so that the savings achieved at least 20 percent in the case and cooling costs compared to standard rack configuration.

“CX Primergy servers are a new class of complete line of Fujitsu x86: Primergy blade model (BX), Rack (RX), and the tower (TX). Along with PRIMERGY CX1000, Fujitsu introduced a new architecture, Best-Central, which could save the use of the room to eliminate hot aisle in a data center.

Hot aisle is the space behind the shelves where the hot air exhaust from the back of the server.

“CX1000 has his own hot flue channel hot air from the top shelf standard sizes. Without hot aisle, shelves can be arranged Primergy CX1000 backs to each other so that saves space by 40 percent,” said Nia.
Fujitsu is a revolutionary approach that leads to a reduction in carbon consumption central data.Fujitsu Group itself was incorporated in the Green ICT initiatives, the Green Policy Innovation which aims to help customers meet environmental commitments.

Meanwhile, the design ethos that brought back to basics in line with redundant system supports the needs, as well as components that can be dismantled without turning off the system pairs (hot pluggable). In a massive application and environment management systems tervisualisasi, service on the server that failed could be transferred to another server with the help of software. Built with standard components, simple design concepts to the CX1000 can Primergy servers to replace the individual nodes that the system failure occurred, and replace the failed components offline. Addition and subtraction nodes can be done quickly because the infrastructure is divided on Primergy CX1000.

“The need for cloud computing a trap for the operator of data centers into a vicious cycle between performance and cost,” said Head Regional Business Platform Fujitsu Motohiko Uno.

“Today is a vicious cycle that can be defeated by a balance between price and performance. CX1000 introduced the Primergy boundary solution scalability limitations, especially in the cloud computing environment,” he said.

Primergy systems using new generation CX1000 process Xeon 5600 series is capable of providing power terbesar.Director process Cloud Computing Marketing of Intel Corporation Raejeanne Skillern said, “Intel and Fujitsu already has a history of successful long partnership to provide a valuable combination of Intel-based Primergy servers. With the launch of Intel’s latest Xeon 5600 (code name Westmere-EP), welcomed the arrival of Intel’s new generation of servers from Fujitsu Primergy product line, “he said.

Further said, Primergy CX1000 available in Indonesia, Singapore, Malaysia, Thailand, the Philippines, and Vietnam from the end of March 2010.

Academy Awards night is one of the most glamorous of the year

Academy Awards night is one of the most glamorous of the year, but the ceremony does far more than offer up red carpet glitz and golden statuettes.Those three-plus hours of television also fund a year’s worth of philanthropic endeavors for the Academy of Motion Picture Arts and Sciences.

With the license fee somewhere north of $65 million that ABC pays for the rights to air the Oscars, the academy funds an entire year’s worth of projects that fulfill the organization’s original mission: to promote the art and science of filmmaking.

“The awards are one night; the place goes on for 364 more days,” says academy President Tom Sherak, pointing out that the nonprofit organization doesn’t fund-raise throughout the year. “That award night pays for the entire organization.”

A year’s worth of concerns for the group include preserving film history, screening films for the public, developing young talent and keeping up with the technologies of the future.

Sherak, whose four-year term started just last year, says that among his chief concerns for the industry are film preservation and the changeover to digital cinema. The organization, he points out, recently funded a study on digital storage that looks at the compatibility and reliability of the technology in terms of what issues might arise down the road.

“Decisions we make today are going to be the ones that are going to last for decades,” he says.While many eyes are on the future of the business, safeguarding the past is of equal importance. In addition to retaining prints of nearly every best picture Oscar winner since the ceremony started in 1929, the academy has literally millions of film-related items dating to the industry’s inception.

“The academy has 10 million photographs, 100 million press-clip files, 80,000 screenplays, 34,000 movie posters — stuff that never should be allowed to die,” Sherak says.

Stuff that should, in fact, probably be in a museum. Although in 2007 the organization consulted an architect and drew up plans for an 8-acre campus adjacent to the existing Pickford Center in Hollywood, the Museum of the Academy of Motion Picture Arts and Sciences has been put on indefinite hold, until the needed construction funds can be raised.

“You can’t have a future without a past or a present. You can’t forget the people that have come before you,” Sherak says. “The board believes that the history of our business is something that will interest people. We are going to build a museum, [but] right now it’s on hold.”In the meantime, the academy has plenty of philanthropic programs to keep its members busy, the most prestigious of which is the Don and Gee Nicholls Fellowships in Screenwriting. Offered to screenwriters who have earned less than $5,000 writing for film or TV, the Nicholls Fellowship gives $30,000 to five writers a year and counts Allison Anders (“Mi vida loca”)and “Erin Brockovich” screenwriter Susannah Grant among its previous recipients.

“I’ve been on the board for six years now, and I went to my first Nicholls award winners dinner this year. I listened to the stories about the adversities they went through and their passion for writing, and I realized just how much we do as an organization,” Sherak says.

The academy reaches out to the community at large as well, offering retrospectives, lectures and exhibitions to film enthusiasts (usually free or for a nominal fee).

For instance, the group premiered a restored print of “Citizen Kane” as part of a sold-out tribute to visual-effects pioneer Linwood Dunn. And with an eye toward the academy’s decision to have 10 best picture nominees this year, the Grand Lobby Gallery at academy headquarters is exhibiting posters from an eclectic mix of best picture nominees from 1936 through ’43, when the number of nominees was anywhere from three to 12.

Other public services include providing grants to film festivals and colleges, creating film-related internships for college students — such as this year’s position at Pixar Animation Studios — and reaching out to high schoolers to create a broader media literacy.

During past president Sid Ganis’ term, the outreach went worldwide, including sending members of different branches to learn about such far-flung film industries as those in Iran and Vietnam and inviting foreign filmmakers to the U.S. The Iranian exchange culminated in a five-night screening and discussion series.

“They’re not political, we’re not political, so it makes it really comfortable to express ideas about the movie business,” Sherak says. “It makes us whole; it makes us who we want to be.”