Дворики такого типа встречались в непарадной части старой Москвы до второй половины 2000-х гг. Потом рост благосостояния в "тучные годы" очень быстро их благоустроил (и выселил старых их обитателей).
«На службе подобные происшествия время от времени случаются, – рассказал о случившемся отец Филимон.
– Ситуация штатная, мы действовали согласно расписанию на такой случай, чтобы не лишать граждан даров святого духа. С товарищем депутатом будет проведена разъяснительная работа, но это уже там, наверху разберутся.
Прихожане главного православного собора России были вынуждены 30 минут ожидать начала таинства причастия из-за инцидента, устроенного депутатом Государственной ...
> That processes like cultural diffusion and change are too rarely seen in terms of programming is largely the fault of cybernetics, the formal study of control that has unfortunately concentrated almost exclusively on behavior, The example cyberneticists cite most frequently, for example, is the behavior of a simple thermostat, one that can turn a furnace on and off and thereby control temperature by means of feedback from the environment heated. The major shortcoming of such examples is that they draw attention to the control behavior itself especially to feedback-—and therefore away from the more fundamental aspect of control, namely programming. As Ernst Mayr put it:
> It is not the thermostat that determines the temperature of a house, but the person who sets the thermostat .. . Negative feedbacks improve the precision of goal seeking, but they do not determine it. Feedback devices are only executive mechanisms that operate during the translation of a program. Therefore, it places the emphasis on the wrong point to define teleonomic processes in terms of the presence of feedback devices. They are mediators of the program, hut as far as the basic principle of goal achievement is concerned, they are of minor consequence. (1976, p. 391)
> Overemphasis on control behavior and feedback may be even more misleading than Mayr suggests. By concentrating on behavior per se, cyberneticists tend to overlook two other aspects of control perhaps most obvious in genetic programming but which must prevail in any control system. At a more fundamental level than behavior itself is maintenance of the mechanism on which control depends: at a higher Existence or being, the problem of maintaining organization—even in the absence of external change—counter to entropy
> Experience or behaving, the problem of adapting goal-directed processes to variation and cbange in external conditions
> Evolution or becoming, the problem of reprogramming less successful goals and procedures while at the same time preserving more successful ones...
> A few years ago, one of the great figures of contemporary biology, Ernst Mayr, published some reflections on the likelihood of success in the search for extraterrestrial intelligence.^1 He considered the prospects very low. His reasoning had to do with the adaptive value of what we call “higher intelligence,” meaning the particular human form of intellectual organization. Mayr estimated the number of species since the origin of life at about fifty billion, only one of which “achieved the kind of intelligence needed to establish a civilization.” It did so very recently, perhaps 100,000 years ago. It is generally assumed that only one small breeding group survived, of which we are all descendants. > Mayr speculated that the human form of intellectual organization may not be favored by selection. The history of life on Earth, he wrote, refutes the claim that “it is better to be smart than to be stupid,” at least judging by biological success: beetles and bacteria, for example, are vastly more successful than humans in terms of survival. He also made the rather somber observation that “the average life expectancy of a species is about 100,000 years.” > We are entering a period of human history that may provide an answer to the question of whether it is better to be smart than stupid. The most hopeful prospect is that the question will not be answered: if it receives a definite answer, that answer can only be that humans were a kind of “biological error,” using their allotted 100,000 years to destroy themselves and, in the process, much else. > The species has surely developed the capacity to do just that, and a hypothetical extraterrestrial observer might well conclude that humans have demonstrated that capacity throughout their history, dramatically in the past few hundred years, with an assault on the environment that sustains life, on the diversity of more complex organisms, and with cold and calculated savagery, on each other as well.
> TWO SUPERPOWERS > The year 2003 opened with many indications that concerns about human survival are all too realistic. To mention just a few examples..
> In some ways, computer standardization is akin to the selective breeding of agricultural products, such as potatoes.... The breeding of a single genetic strain of potato in Ireland in the 19th Century led to the potato famine of 1845. Because every potato in Ireland had exactly the same genetic material, every potato was susceptible to the same bacterial infection.... Computers are just as susceptible to infection as plants are.... In biology, successful species evolution preserves diversity and variation.... So, in computer systems, variation must be preserved.... The need for variation and diversity exists in computer systems just as it exists in nature. —
> Benjamin Zorn, "In Computers, as in Nature, Variety Is Desirable," New York Times, Nov. 27, 1988.
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.
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) • • •