Глава Сбербанка описал портрет современного российского инвестора: он ориентируется в инструментах, не путает терминологию и уверенно пользуется технологиями искусственного интеллекта
Юлиан Семенов (как и Евгений Евтушенко) - яркий образец т.н. "агента влияния". Формально стукачом он не был (на эту роль и без него было много охотников), но - продвигал нужные КГБ темы.
Но с другой стороны - и он их использовал для достижения своих целей.
"...когда председателем Комитета стал Андропов. Юрий Владимирович был либералом и сразу сказал папе: «Мне нравится то, что вы пишете. И я вижу в ваших книгах наши „уши“, абзацы, искромсанные нашими костоломами…»
Мы не дружили семьями, о чём я сожалею: Андропов был закрытым человеком. Но папа звонил ему, когда хотел, и довольно часто встречался. Андропов пытался притянуть на свою сторону интеллигенцию". дочь Юлиана Семёнова
8 октября 1931 г - родился Юлиан Семёнов (ум. 1993), советский журналист и писатель, автор политических детективов.
"Раз уж я вспомнил Юлиана Семенова, скажу о нем пару слов. Он, принадлежа к большому клану Михалковых, был, по-моему, добрым и достойным человеком. В нем не было той пошлости и низости, что прорывается у молодых Михалковых – Никиты и Андрона" Сергей Георгиевич Кара-Мурза
Looks good! Good find. Now I wonder if I shall return the favour of his gift box some time ago - hometown stickers, postcards, a small guidebook and local beer. That'll be a shoebox or more, why not! :D
The donuts can even work with a generic German bank transfer thing by me, and you might chip in via PayPal.
I do not remember any specific preference for fillings, or nut allergies. Do you? Quite a range available from that shop. I'd guess box of 4 or 8 is good, half of it with filling.
Next thing, there needs to be a pick-up date specified. Did he plan any holiday that you know of?
(found a sneaky place to ask) Thank you for offering to help with the logistics! I was originally looking at Etsy, because I can buy things anywhere in the world from Australia, and have them delivered where I want without all the loopholes.
You know that next week I am hosting CheckIn. CheckIn topic: What is your favourite donut flavour? Do you have any allergies that narrow your choices? hehehe!
There really is only one mention of "invisible hand" in Adam Smiths Wealth of Nations and it reads like opposition to multinational "Free Trade"...
By preferring the support of domestic to that of foreign industry, he intends only his own security; and by directing that industry in such a manner as its produce may be of the greatest value, he intends only his own gain; and he is in this, as in many other cases, led by an invisible hand to promote an end which was no part of his intention. Nor is it always the worse for the society that it was no part of it. By pursuing his own interest, he frequently promotes that of the society more effectually than when he really intends to promote it. I have never known much good done by those who affected to trade for the public good. It is an affectation, indeed, not very common among merchants, and very few words need be employed in dissuading them from it. gutenberg.org/cache/epub/3300/…
... Winner wasn't even predicting the future. He was just describing what was already happening and noting where it would obviously lead. He saw the media mergers and asked the question nobody in the industry wanted to answer: what happened to the predicted collapse of large centralized structures in the age of electronic media? Where, exactly, did the decentralization go? He saw that the cyberlibertarians were going to deliver the opposite of everything they promised, and that they were going to keep getting paid to promise it anyway.
Llega una nueva propuesta de Silent Hill, el mítico juego de Konami. Por si no lo conoces este es una franquicia de videojuegos de terror y supervivencia creada por Keiichiro Toyama. Los primeros cuatro títulos de la serie, Silent Hill, 2, 3 y 4: The Room, fueron desarrollados por Team Silent, grupo interno perteneciente a KCET. Las obras posteriores fueron creadas o desarrolladas por grupos no relacionados con el equipo original.
La serie está fuertemente influenciada por el terror psicológico y presenta a protagonistas sin cualidades o destrezas físicas fuera de lo normal; en contraste con otros títulos de terror y supervivencia. Las mecánicas de juego giran en torno a resolver acertijos, explorar el mapa en busca de objetos interesantes y combatir monstruos. Veinte años después de su creación, roocker666 encontró monstruos inéditos que Konami había mantenido dormidos en los ficheros del primer Silent Hill de 1999, plataforma PlayStation.
Una muestra de estos en video: mpv https://www.youtube.com/watch?v=lkuSjZNiABw&t=136s
Luego de todo este prologo te aviso que ya esta casi entre nosotros Silent Hill: Town Fall, con disponibilidad en plataformas PC via steam y PlayStation 5 , el youtuber Menos Trece, nos lo muestra antes de su lanzamiento oficial en su canal:
1er capitulo: mpv https://www.youtube.com/watch?v=ELIiA2Xdrrc La serie la seguirá en su canal secundario youtube.com/@MasMenosTrece
Por si tienes algún inconveniente al reproducir con mpv, lo mas seguro es que este desactualizado yt-dlp (principalmente en Debian, sucede esto). Espécificamente este error.
Tira de los trixie-backports: sudo tu_editor /etc/apt/sources.list.d/debian.sources (O en /etc/apt/sources.list, dependiendo de cómo tengas configurado tu Debian) sudo apt update sudo apt install -t trixie-backports yt-dlp Si tras actualizar, mpv sigue fallando, instala Node.js. sudo apt install nodejs En las versiones recientes de yt-dlp, YouTube requiere un motor de JavaScript externo en tu sistema para poder descifrar correctamente ciertas firmas de los videos. Una mierda, pero es lo que toca. En Arch btw!, no me pasa.
... and 3,500 US diplomatic personnel were either deployed elsewhere or given permission to flee for their lives. Other sources put diplomatic evacuees at up to 4,000. The State Department helped another 9,000 American civilians flee the region. This statistic shows an incredible exodus of American diplomats, businessmen and others from a region dominated and sometimes occupied by the US in recent decades. One State Department observer called it “unprecedented.” Even in the last days of the US presence in South Vietnam as the latter was falling, less than a thousand US diplomats were spirited out of the country.
Und wir sollten das beste und ehrlichste soziale Netzwerk nicht vergessen: Den #Amateurfunk #Hamradio. Einfach Gerät einschalten und CQ rufen auf unseren Frequenzen. Ach ja, und Antworten nicht vergessen.
Seit einigen Tagen arbeite ich intensiv mit der App OSMand auf dem iPhone zur Navigation mit dem Fahrrad. Die Erfahrungen sind sehr positiv, allerdings muss man sich zunächst mal mit dem Tool beschäftigen und es kennen lernen. OSMand ist sehr mächtig und das kann verwirren. Was schätze ich besonders im Vergleich zu Komoot: Komplette Offline Navigation, sehr schnelles Re-Routing wenn man von der Strecke abkommt, vielseitiges Kartenmaterial, transparentes Preismodell und dann keine elende Werbung mehr, Verzicht auf die "Community".
I don’t live in an ivory tower. More like a badly constructed tree fort. That’s where the music comes from — not from polish or privilege, but from weather, memory,…
Du meinst, wie Du bilder aus deiner Fotosammlung auf dem Handy hochladen kannst? Ich fuerchte, das ist recht speziell. Aber allgemein wuerde ich sagen, dass Du dafuer eine entsprechende App fuer Friendica brauchst, eventuell funktioniert auch eine Mastodon App mit Friendica, und dann muss die App die Berechtigung fuer deine Fotos haben...
But the planter class kept too much land. The traitor elite kept too much dignity. The Lost Cause kept too much cultural power. White terror kept too much room to organise. The courts gave Jim Crow too much legal cover. And the federal government abandoned Black Reconstruction too soon. That is the Confederate afterlife. See less
The panic is not that people have stopped loving music.
The panic is that people have started doing maths.
They are looking at rent, food, transport, debt, wages, childcare, medicine, exhaustion — and then looking at a concert ticket swollen with dynamic pricing, service fees, parking fees, VIP tiers, merch markups, drink prices, and miserable stadium seats — and saying:
**No. This is not worth my survival.**
And now the industry acts wounded.
“Why are young people killing concerts?”
They are not killing concerts.
They are refusing to bankrupt themselves for joy that has been fenced off, branded, tiered, algorithmically hyped, and sold back to them at landlord prices.
Music did not become unaffordable by accident. It was made that way by the same forces that make housing unaffordable, healthcare terrifying, food expensive, transport unreliable, and rest feel like a luxury. The worker produces the wealth, builds the venues, staffs the bars, drives the trucks, cleans the floors, streams the songs, buys the shirts — and then cannot afford the civilisation built out of their own labour.
That is the obscenity.
They rob people of leisure, then scold them for not participating in culture. They drain people’s lives of joy, then call them boring. They turn every human need into a payment plan, then act shocked when the public begins choosing groceries over spectacle.
People still want music.
They want dance, sweat, sound, communion, romance, rebellion, bass in the ribs, strangers singing the same chorus, the holy little madness of being alive in a room full of noise.
What they do not want is to be treated as wallets with legs.
And here is the great lie cracking open: **the industry is not music.**
The ticket platform is not music. The promoter is not music. The stadium is not music. The brand campaign is not music. The “cultural moment” manufactured by managers, bots, playlists, and corporate partnerships is not music.
Music is older than markets.
Music survives in small venues, basements, house shows, local festivals, workers’ choirs, queer dance nights, punk rooms, street corners, community halls, bedrooms, garages, churches, warehouses, and friends making strange beautiful noise because they have to.
The collapse of the overfed concert machine would not be the death of music.
It would be the choking of a parasite that mistook itself for the host.
So when they ask why the blue dots are multiplying, why the seats are empty, why the tours are cancelled, why the public is no longer rushing to save the luxury spectacle, the answer is brutally simple:
**You cannot underpay people, overcharge them for survival, and then demand they keep every entertainment empire alive.**
People want lives.
They want beauty.
They want leisure.
They want experiences.
They want music.
But they are tired. They are priced out. They are insulted. And increasingly, they are refusing to confuse participation with submission.
Pay for what genuinely delights you. Support the artists and spaces that treat people like human beings. Let the bloated machine tremble.
## **Blue Dot Fever: The Worker’s Purse and the Death of the Stadium God**
The panic is not that people have stopped loving music.
The panic is that people have started doing maths.
They are looking at rent, food, transport, debt, wages, childcare, medicine, exhaustion — and then looking at a concert ticket swollen with dynamic pricing, service fees, parking fees, VIP tiers, merch markups, drink prices, and miserable stadium seats — and saying:
**No. This is not worth my survival.**
And now the industry acts wounded.
“Why are young people killing concerts?”
They are not killing concerts.
They are refusing to bankrupt themselves for joy that has been fenced off, branded, tiered, algorithmically hyped, and sold back to them at landlord prices.
Music did not become unaffordable by accident. It was made that way by the same forces that make housing unaffordable, healthcare terrifying, food expensive, transport unreliable, and rest feel like a luxury. The worker produces the wealth, builds the venues, staffs the bars, drives the trucks, cleans the floors, streams the songs, buys the shirts — and then cannot afford the civilisation built out of their own labour.
That is the obscenity.
They rob people of leisure, then scold them for not participating in culture. They drain people’s lives of joy, then call them boring. They turn every human need into a payment plan, then act shocked when the public begins choosing groceries over spectacle.
People still want music.
They want dance, sweat, sound, communion, romance, rebellion, bass in the ribs, strangers singing the same chorus, the holy little madness of being alive in a room full of noise.
What they do not want is to be treated as wallets with legs.
And here is the great lie cracking open: **the industry is not music.**
The ticket platform is not music. The promoter is not music. The stadium is not music. The brand campaign is not music. The “cultural moment” manufactured by managers, bots, playlists, and corporate partnerships is not music.
Music is older than markets.
Music survives in small venues, basements, house shows, local festivals, workers’ choirs, queer dance nights, punk rooms, street corners, community halls, bedrooms, garages, churches, warehouses, and friends making strange beautiful noise because they have to.
The collapse of the overfed concert machine would not be the death of music.
It would be the choking of a parasite that mistook itself for the host.
So when they ask why the blue dots are multiplying, why the seats are empty, why the tours are cancelled, why the public is no longer rushing to save the luxury spectacle, the answer is brutally simple:
**You cannot underpay people, overcharge them for survival, and then demand they keep every entertainment empire alive.**
People want lives.
They want beauty.
They want leisure.
They want experiences.
They want music.
But they are tired. They are priced out. They are insulted. And increasingly, they are refusing to confuse participation with submission.
Pay for what genuinely delights you. Support the artists and spaces that treat people like human beings. Let the bloated machine tremble.
Plötzlich Facebook-Lobbyistin: Irlands einst höchste Datenschützerin wechselt die Seite
Jahrelang stand Helen Dixon in der Kritik, weil sie als irische Datenschutzbeauftragte zu nachsichtig mit Tech-Konzernen gewesen sei. Jetzt arbeitet sie für eine Anwaltskanzlei, die Meta in Verfahren gegen ihre Behörde vertreten hat. Für Datenschützende kommt das nur wenig überraschend.
As of today, during the night, the backlog of >5 Mio. worker queue items has been resolved and new posts are delivered on time again.
Hopefully it stays that way.
Counter measures were: - increasing count of CPU cores from 8 to 24 vCPUs - increasing memory size from 20GB to 65GB - redundant setup of Friendica behind a load balancer, so that two virtual servers can work on the backlog
Whileas CPU and RAM are back to their old settings, the redundant setup will stay and maybe extended to a third virtual machine.
Ah, and Nerdica.net now runs redundant on two VMs behind a load balancer. Sadly, sometimes both backends are offline, but in general it got a little better...
While the nation continues to process the shock and grief caused by the murder of far right activist Charlie Kirk, vile and thoughtless MAGA partisans are feverishly endeavoring to politicize the crime, blaming Democrats and liberals for allegedly...
Wenn ich mich bei Hubzilla einloggen will, erhalte ich folgende Meldung: Apologies but this site is unavailable at the moment. Please try again later. Zum Glück hab ich auf Nerdica dieses Profil wieder eingerichtet. Eigentlich nur für den Notfall. Aber der ist jetzt da.
Jetzt hab ich die Meldung: Gateway Timeout The gateway did not receive a timely response from the upstream server or application. Apache Server at hub.netzgemeinde.eu Port 443
Today I deleted my Facebook account, so here is a quick update on other ways to find me. * Fediverse: @Nekodojo * Bluesky: @g.nekodojo.org * Discord: nekodojo * Linked in: linkedin.com/in/nekodojo (no posts but DM works)
Leonid Vaynerman
in reply to Сергей Петров (Sergey Petrov) • • •Не стучал - и на том спасибо.
Хотя книги его - так себе. Пару фильмов - очень хороши. Но это больше заслуга режиссеров