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Homepage: http://advogato.org/person/sye/diary/357.html
Notes: cofounded AllThings.Go (tm) "Go isn't everything. Go is the only thing - zhuge" with Master badvogato a while back. The only project comes to fruit at the moment is nunzilla
contact: nunia at freeshell dot org
"Christian tradition has never upheld this right ( on ownership, on the right to private property) as absolute and untouchable, on the contrary, has always understood this right within the broader context of the right common to all to use the goods of the whole of creation: the right to private property is subordinatd to the right to common use, to the fact that goods are meant for everyone."
- Laborem Exercens, His Holiness Pope John Paul II
"We imagine that there is a gap between the world of our private fantasies & the possibilities of meaningful action & so it becomes easy to talk & talk on what is lacking, to discourse on the end, & yet feel impotent. "What's to do." But this gap is a measure not so much of desires or depression or impotence but of ourselves. It has been the continual failure of Marxist aesthetics to insist that this gap is simply another illusory part of our commodity lives It is at the root of our collectivity."
- Charles Bernstein "Three or Four things I Know about Him"
so it becomes easy to code & code on what is lacking, to CVS on the end, & yet feel impotent. "what's to make money or what's to make a better world" But this gap is a measure not so much of "which language is better or which OS is better or which chip is cheaper and better" or depression or impotence but of ourselves. It has been the continual failure of GNU/Linux aesthetics to insist that this gap is simply Free or Proprietary of our commodity code, it is at the root of our collectivity, namely, programmers spent 90% of their hours coding and 10% of their hours thinking that other segments of industry and our society at large have to adopt programmer's methodology through their programs.
free software movement must extend its creativity and channel its exuberant energy into changing social and economic landscape. "Immense development of technological means is an advatageous and positive phenomenon, on condition that the objective dimension of work does not gain the upper hand over the subjective dimension, depriving man of his dignity and inalienable rights or reducing them."
11 Nov 2007 (updated 11 Nov 2007 at 20:27 UTC) »
This worth a try:
dd if=/dev/sda1 of=/data/sda1.bak.dd
mke2fs -S /dev/sda1
reading RedHat ext3 mailing list archive
also how to make customized bootable CD from running system?
16 Aug 2007 (updated 12 Sep 2007 at 11:54 UTC) »
http://xiaoxi.fyfz.cn/blog/xiaoxi/index.aspx?blogid=185735
29 Jun 2007 (updated 1 Jul 2007 at 04:08 UTC) »
http://sial.org/howto/osx/automount/
13 Jun 2007 (updated 20 Jun 2007 at 16:26 UTC) »
La vie en rose - NPR film reviews
fabric printing
installed Zope 3.3.1. following Quick_Start... take a much easier route:
Plone version overview Plone 2.5.3-final, CMF-1.6.4, Zope (Zope 2.9.7-final, python 2.4.4, darwin), Five 1.3.8, Python 2.4.4 (#1, May 3 2007, 12:46:12) [GCC 4.0.1 (Apple Computer, Inc. build 5341)], PIL 1.1.6
All Things Considered, June 9, 2007 · I remember my mom playing Edith Piaf records when I was a kid — these soaring anthems, vibrant and full of life, in a language I didn’t understand, but powerful anyway.
As powerful as that voice was an image my mom gave me. She told me that Piaf had terrible arthritis, that toward the end of her life, she could barely walk, so at concerts they’d place her at the microphone, and then open the curtain. And she’d stand there in a black dress that covered everything but her face and hands. And as that thrilling voice filled the concert hall, those r’s rolling in regiments off her tongue, she’d stand rigid and unmoving, and would slowly, painfully, close her hands, and then open them again.
There’s no moment quite that dire in La Vie en Rose, but the blend of power and pain my mother was conjuring is everywhere in the film. Piaf’s story includes all the usual elements of a singer-biography — and I do mean all of them. She was abandoned by her mother, raised in her grandmother’s brothel by whores who adored her, then ripped from their care by a father who didn’t. She ended up singing for centimes on the street, which is where she was discovered by a passer-by who owned a cabaret.
There followed all sorts of trials — a baby who died, romances that failed, arthritis that twisted her body, and morphine that twisted her life when she tried to dull the pain. Not to mention musical traumas. Turning a street urchin into a little sparrow takes discipline, and Piaf always resisted discipline.
Turning the gorgeous, willowy French actress Marion Cotillard into homely, tiny Edith Piaf must also have been a struggle. This has to be the most striking uglification of an actress since Charlize Theron in Monster. But it pays off in an entirely persuasive performance. Cotillard makes the screen Piaf coarse, tormented, hollow-eyed, and vibrant, while Olivier Dahan’s color-saturated film leaps around in time in ways that are thoroughly disorienting. But sequence somehow seems less and less important as the actress lip-syncs to vintage Piaf recordings, becoming the little sparrow —idolized but unloved, addicted to morphine, and desperately ill — la vie tres tragique, en rose.
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