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11/28/2007 Digg - Current plans for Ubuntu 8.04
Compared to Feisty, Gusty's like a dumb blonde... pretty but also bitchy sometimes. Now i understand why some guys are so commitment phobic when it comes to linux. 11/27/2007 Spontaneous loveThe girl I once loved said that my love (romantic love) is totally spontaneous. Given right conditions, the one I love could be female or male, lolita or witch, human or animal, graphics or audio, solid object or abstract idea. It was a joke. But as I observe my emotional activities and its effects on my overall performance, under the assumption that love in general makes one happier, I guess what she said is quite true. Anything that leads me to an out-loud "无敌了" involves certain amount of love. I have come to the senses that love as a concept is sth that helps release energy, not refrain it. So I'm more and more convinced that love means assertive communications under minimized necessary rephrasing, as opposed to the idea that love is tolerance and suffer. We have suffered from infinite tolerance in our daily life and there is really no point to attach all the same behavior to another time/energy consuming luxury. This in general is not restricted by the type of object in contact. 兔八爱 also told me that true love would be pretty relaxed. This spontaneousness is attached to anything in your life. The meaning is all self-created as long as you remain active in the course. During the first few years I spent in the engineering discipines, my head was filled with technology-deterministic ideas and top-down became the guide-line to everything. Now it looks all clear that those are just handles and switches. The spontaneousness and the clear/active mindset are the consistent elements in all this. Things as "tolerance" are also top-down attempts that try to play with the stock market right, while there isn't much signal but full of noise. So again, spontaneous love is the truest. It does involve certain compution on the fly. Love is also ultra-hi-speed computation beyond consciousness, which is often more global and comprehensive. All the directd pre-calculations about how it's gonna be in the future, however, would be local and more often than not a waste of time and brain-cycles. BGM - (Student's Remixes Graded and Selected by Kakyo)
Comments 202 第6周作业是重新混音ccmixer上DJ Vadim的一首reggae风的"Watch that Sound". 除了要求完全使用原作的多轨素材, 不得借用其他内容之外, 没有任何限制, 当然, 结果不得有技术失真等毛病. 学生们于是22仙过海各显神通, 我从中选了8首拿来广播一下, 因为只有一周多的时间, 这些东西显然只能算demo, 我也给曲子随便起了些副标题以示区别. 这些东西只会留到下周, 呵呵. 排列方面也是由简到繁, 第一首是原作, 最后两首是改得比较面目全非的. 其实学生也都给了混音的完整文档, 但鉴于篇幅就不在此登出了. 改完后选出的Top Mix得主是这个单子上的最后两位.
The Assignment #6 for 202 was making remixes for DJ Vadim's "Watch that Sound" published on ccmixer, in the reggae flavor. Other than using exclusively the original multi-track material, there was no restriction as to the style. Of course, no technical problems are preferred. People chose their own characters and did a fantastic job. I felt quite accomplished grading their homework. It is much more fun than grading assignments in, say, compuster science. One week work can only be counted as demo, apparently. The subtitles were also made off the top of my head. The list goes with an increasing complexity, with the #1 being the original mix and the last the most unrecognizable. Students gave their full documentations but it won't fit in such a small space. The winners of the Top Mixes are the last two pieces. ALL THESE ARE GOING TO BE REMOVED A WEEK LATER.
202 第6週間の宿題は再びccmixerの上で混じる音DJ Vadimの1首のreggaeの風"Watch that Sound"です. 完全に原作の多いレールの素材を使うことを求めますを除いて、 その他の内容の外を借りてはならなくて、 いかなる制限がありません. 学生達はそこで22仙人は海を渡ってそれぞれ腕前が現れて、 私は中から8首が持って来て少し放送することを選んで、 1回りの多い時間だけあるため、 これらのものは明らかにdemoを計算することしかできなくて、 私も歌に気軽に違いを示しますいくらかのサブタイトルが起きました. これらのものは来週まで残すことができるだけ、 ほほほ. 順列の方面も簡単なから着くのが繁雑で、 第1首は原作で、 最後の2首は直すのが比較的にめちゃくちゃになったのです. 実は学生もすべて混じる音の完備しているファイルをあげて、 しかし紙面にかんがみてここで載せませんでした. 直し終わった後に選出するTop Mix獲得者はこの単子の上の最後の2位です.
TA (1) - 标题艺术有人抱怨说看不到中文, 我就偶尔开开荤吧. 如果这辈子只做一回TA的话, 到Music Tech来做实在是不二选择. 一方面和作曲专业那边相比这边本科课程对学生相对宽松, 允许他们瞎搞; 另一方面学生的创造力直让人血脉贲张, 睡意全消, 改他们remix作业的结果就是这两周累计5天没有回家, 拿来了全部洗漱用具换洗衣服, 在实验室改得如火如荼. 这个是本学期的小高潮, 留待下篇再书. 这里先说说第八周学生在夹缝中施展创造力的小故事: 这周内容是很弱智的Finale 2008制乐谱, Finale的难用简直是年年有余, 2008版把2007版里面层叠加粘贴功能去掉了, 害得学生只能手动编辑单staff里的多声部. 故事大概就从这里开始, 这周的作业就是把四个MIDI文件, 来自Bach的一首四部合唱用Finale制成两个版本的谱子, 版本一是标准四部和声, 版本二是钢琴谱, 将Soprano和Alto转抄到右手, Tenor和Bass转抄到左手. 执教的Cory要求学生把作曲写成Cory自己, 但允许学生给谱子随便起标题. 这下可好, 学生在这个相对乏味的作业里见缝插针, 产生了以下结果(四部和声标题; 钢琴谱标题):
我看了忍俊不禁, 总结了一下发给全班以求一笑. (我最喜欢的是"Insert Title Here"那个) If only one piece of TA experience were desired, doing it at Music Tech would be second to none. On one hand, the course scheme relatively tolerates prank-happy students; On the other hand, they are just bloody brilliant. Reviewing their homework results in my self-volunteered lab-jail for up to 5 days in last two weeks, with all my living necessities prepared. Well, I'm gonna leave this for the sequel. Let's talk about the anecdote of the assignment of Week #8, which is about score-editing with the idiot Finale 2008. Finale's user-unfriendliness rockets up annually. This time Ver. 2008 killed the "pasting multi-parts over layers" that was avaiable in Ver.2007, leaving the students no choice but to edit manually. The assignment was asking the student to import four seperate MIDI files from a 4-part chorale from Bach into Finale, edit them so that two versions of it are avialable as the results: one is the standard SATB and the other is a piano adaptation, with the soprano and alto recombined into the right hand, and the tenor and bass left hand. The instructor Cory required students to name him as the composer on the score, yet allowed them to come up with their own score titles. There it went, people seized the opportunity and created a list of titles as follows:
Cracked up as I was, I summed them up and sent them back to the class, just for fun. (My favorite is the "Insert Title Here") この生涯はただ1回のTAもしだけならばをして、 Music Techまで(へ)しにくるのは本当に2選択でないです. 一方では作曲する専門とあちらの比較するこちら(側)の本科の課程は学生に対して比較的ゆったりして、 彼らがでたらめにやることを許します; 一方の学生の創造力はずっと人の血管の賁と張を譲って、 眠気の全消、 彼らのremix宿題の結果を直すのはこの周が5日累計して家に帰っていないので、 すべて洗面する用具の取り替えて洗う服を持って来て、 実験室で直すのが勢いが激しいです. これはこの学期の小さい高潮で、 下編の更に本を後回しにします. ここは先に第8週間の学生がすきまの中で創造力の小さいストーリを発揮すると言います: この内容はとても低い知力Finale です2008は譜をつくって、 Finaleのはまったくですで毎年蓄えがありにくくて、 2008版は2007版の中の階のスーパーインポーズを機能に貼って取り除いて、 学生を得て手動が単にstaffの中の多い声部を編集することしかできないことを害します. ストーリの大概はここから、 この宿題は4つのMIDIのファイルをで、 Bachからの1首の4冊の合唱はFinaleで２つのバージョンの楽譜を製造して、 バージョン1つは標準の4冊の和声、 バージョンの2は鋼の楽譜で、 SopranoとAltoを回転して右手まで(へ)書き写して、 TenorとBassは回転して左手まで(へ)書き写します. 教鞭を執るCoryは学生に作曲することをCory自分に書くように求めて、 しかし学生が楽譜に気軽に見出しが起きることを許します. 今回折よく、 学生はこの比較的味気ない宿題の中であらゆる可能性を利用して、 以下の結果(4冊の和声の見出し; 鋼の楽譜の見出し)を生みました:
私はこらえきれずに笑うことを見て、 総括して全体のクラスを交付します笑うこととをねらいます. (わたしはその"Insert Title Here"が大好きです!) 11/26/2007 无远见的文化
11/25/2007 Time: Your Most Valuable CommodityTime: Your Most Valuable Commodity Regardless of our company, product, or services, what we are really selling is our time when we are in free enterprise. Most people don’t have a true concept of money, and they don’t realize that time is money, and so almost everyone gives their time away. As I stated earlier, most people don’t have a concept of time or money. Mention money and people become very uncomfortable. Mention time management and you get similar responses. When it comes to time, the average person equates time with work and that they have to “work hard.” In free enterprise, we don’t get paid for time. “Trading time for dollars,” is what most Americans do over and over, which is called a job, and jobs usually keep people broke because they are paid what the job is worth. The average person then brings a $10 - $15 an hour job mentality to their enterprise and is under the misconception that if they ‘work real hard’ they will get rich. Occasionally this philosophy works, but not very often. To be successful in free enterprise, our thoughts about time and time management must change. We get paid for ‘results’, not ‘time,’ and if we want to make more money here we have to become more ‘valuable’. How valuable we become through the service we perform is a real key issue. The key question we should be asking ourselves is, “How do I turn time into money?” How we manage our time effectively is going to have a direct reflection on our overall long-term results. I have found through my numerous years as an entrepreneur that there are four phases of the way people manage or mismanage their time: 1. spare time, 2. part-time, 3. full-time, and 4. all-the-time. Unfortunately, most people confuse themselves and think they are doing one of these last three phases when really they are spare time because that is the kind of effort they are devoting to their freedom.
A big mistake I see people making is trying to make better use of their time by trying to do what they are currently doing more efficiently. It is a good idea, but the wrong starting point. It doesn’t matter how efficiently we manage our time if we aren’t spending it pursuing the results we desire. Our most effective use of time is the action part of the process, and 80% of our time should be spent prospecting and attracting new accounts, not shuffling papers, reading books, listening to tapes, gossiping, procrastinating, getting ready to get ready, and a multitude of other excuses people use to divert their attention from the very physical activity that will pay them. Do the right tasks inefficiently and our businesses will survive. Do the wrong tasks efficiently and we will go broke. Take the right action efficiently and someday we will be set for life. Efficiency is only valuable when it contributes to effectiveness. Do what is urgent first, not what is important. Becoming successful requires a mindset that creates urgency in numbers, in action, in task, in leadership, and in all areas. Successful people get tasks done now – that is self-motivation. Average people don’t take on this sense of urgency; they ‘get to it’ when it is important, and usually too late; the train has left; they procrastinate. The ability to distinguish between urgency and importance is crucial to creating and living successfully because the inability to distinguish between them gets many people in trouble and ultimately results in broken dreams and shattered lives. Every day we have situations that arise – situations happen, and we have things to do. Some are urgent and some are important, some are both, and some are neither. We have to understand that urgent situations are seldom important and important situations are seldom urgent. Most people spend 80% of their lives responding to the urgent as if everything that is urgent is important. You have to learn to separate the two. It is important that you take the proper action with a sense of urgency but not with a panicked or fear-stricken mindset. For instance, closing a sale or enrolling a client to use your product is urgent, but developing a flourishing organization is more important. Having a new car and wardrobe is urgent for a lot of people, but saving, investing, and developing a prosperity consciousness is much more important to becoming financially independent. If we spend our time overreacting to the tyranny of the urgent, our lives will be far less successful than they could be. This is the very reason so many people today are working harder, living poorer, and feeling more time starved. They allow urgent situations to dictate how their time is spent and important situations go neglected. I am sure you can imagine what happens when important situations are neglected. Sooner or later they become urgent and important. They end up becoming crisis, i.e. money crisis, health crisis, enterprise crisis, family crisis, etc. Most would be preventable if we chose to spend our time doing what is important instead of overreacting to what is urgent. We have to learn that we are the sum of our choices and decisions. One of the most important choices we can make is to decide what is important, then commit ourselves to spending your time achieving important results, rather than responding to urgent and unimportant distractions. Procrastinating and getting ready to get ready is the main thief of the dreams of the average entrepreneur. 11/22/2007 Formula to my musical homesickSince I left China, music has been my only homesick inducer. First Ennio Morricone's stuff. Then 孟庭苇. Then 新居昭乃. Now 王菲... But I finally got the formula to all these. All the cases share the following patterns
Finally, I was able to completely decode this and the key is not just Ennio Morricone as I had been thinking since 3 years ago. 11/21/2007 Venetian Snares "Winnipeg is a frozen shithole"Catchy and crazy IDM. Some parts are almost death/black metal ... all by drum machines. 心碎教会人去爱Came across a statement: Every instance of heartbreak can teach us powerful lessons about creating the kind of love we really want. This is actually a typical Western product rooted in Christianity. The modern Chinese philosophy that addresses the similar area tends to be: Every instance of heartbreak can teach us to become more powerful ourselves. The latter focuses on natural selection and the animal side of human beings. The subliminal message it conveys is sth like "Be strong and kick those motherfxxkers' asses next time" or at least "Defence ourselves more ruthlessly from now on", which is good in that it gives an effective painkiller, by saying a firm 'No" to the depression during the aftermath of a heartbreak..... That is equal to consuming the negative energy yourself. Swallow in sth spicy and hardcore and cook it inside of you, a pressure cooker. The former urges an alternative approach of recycling your negative energy into a positive one to the external world. Modern Chinese have no true religion but the aforementioned belief, educated animals as they are. The culture is cultivating a flavor of 六亲不认. I would say that the "survival" that never leaves today's dinner tables is in a sense an excuse. Never has anyone stopped to ask "Are we really facing our doom?" The truth is that utilitarianism is the most probable outcome of an aimless "becoming more powerful ourselves", especially when the "power" was interpreted into one of "money" or "status". It's virtually condescending from a human's position to that of an inferior creature. A long term practice of this has led to lots of commonly-seen monsters, such as FQ. And one hearbreak leads to another via either a powerful attack or a powerful defence. It is contagious. It was questioned before that why the old generation of contemporary Chinese musicians (mainland) seem unable to make relaxed music or at least make music while remaining relaxed themselves. I think that is also rooted in the causes above. Ok, the former approach goes back to the old metaphore about water, which simply flows, soaks, gets around obstacles as if they didn't even exist, and recycles through its interaction with the external world. Its own quality remains constant no matter what state / situation it is at. A peaceful personality it possesses. Even a devastating waterfall is just a relaxed freefall of itself over the edge, never out of an intentional force. 11/17/2007 Windows Live Writer cannot post to Live SpaceThis is sth like the "Apple forgot to put the telephone function into iPhone"...
But it just happened. With Firefox, the button "Publish entry" is greyed out...
What?? 11/13/2007 80's NostalgiaBeen re-visiting 王菲's discography today. Uncovered some forgotten treasure from her 王靖雯-era. Damn, quite a few decent compositions! And my 80's nostalgia just kept coming back. I'm in deep love with the bassline from the 80's. The zero bass boost in EQ, the laid-back plucking style and the occasional slaps were perfect for background sonic stream. Asian recordings have been criticized by north-American engineers for their poor spectral emphases and aimless usages of reverb, all of which are actually parts of my auditory memories. So it's quite difficult for me to resist such "distorted" aesthetics. Some of my Korean engineer friends have been converted to the American acoustic religions. I don't know what if I were also convinced that the Britney Spears' recordings are classic. Oh, crap. I so love songs like "情敌" from 王靖雯. 今日、王菲のディスコグラフィーを再訪問します。彼女の王靖雯-時代から覆いのない少し忘れられた宝。畜生、相当な数の適切な作品！そして、私の80年代のノスタルジアは、ちょうど戻り続けました。私は、80年代からbasslineに対する心からの大好きでいます。EQ、気楽な引き抜いているスタイルと時折の平手打ちの0低音後押しは、バック音のストリームに絶好でした。アジアの記録は北のアメリカのエンジニアによって彼らの貧しい幻のような強調と残響の目的のない使用法の理由で批判されました。そして、その全ては実は私の聴覚記憶の部分です。それで、私がそのような「ゆがめられた」美学に抵抗することは、全く難しいです。私の韓国のエンジニア友人の何人かは、アメリカの音響の宗教に変わりました。私がブリトニースピアーズの記録が古典的であることをも確信していたとしたら、私は知りません。 ああ、クソをしてください。私は、王靖雯の「情敵」のような歌が好きです。 11/11/2007 Answer(s) , 解答"There is only one answer." "No, there are multiple answers." "No, there is still only one." I used to think that there should be only one answer to each question. Later on, I was first confused then relieved by the fact that there are more. Finally I still ended up with only one answer, but different from the initial one. ... Perhaps:
Same thing for relationships and marriages.
「1つの答えだけがあります。」 「いいえ、複数の答えがあります。」 「いいえ、確かに1つの答えだけがあります。」 私は、各々の質問に対する1つの答えだけがなければならないと思ったものです。 後ほど、私はより多くがあるという事実によって楽にされて、それから最初に混乱しました。 ついに、私はまだ1つの答え（最初のものと異なるもの以外の）だけで終わりました。 ... おそらく：
恋愛関係と結婚のための同じものです。 11/10/2007 Last FM Open Mind IndexLast.FM user Tomektore designed a tool for calculating the breath of your musical taste. The current arithmetic mean is 94.5. Dear Last.FMists, check it out if you are curious~
11/5/2007 「地獄少女」中的似曾相識 - 知日部屋 - 哈日反日不如知日
Novel engineering: Co-authoring a novel?As far as I know, there were very few cases (zero?) of collaborative composition in the territory of novels. Was it due to the possible conflicts between styles if a style largely refers to wording/dictioning for certain subjects, the conflicts between narrative systems, the more profound philosophical standpoints, or all of them? We can't say 高鹗 did a perfect job for 曹雪芹 in a speical case of co-authoring, but at least the result was accepted by the world. There is, however, a crucial characterisitc of novel writing in that it is an evolving process that can hardly be fully systemized beforehand. The characters live on their own once they were born and nurtured with sufficient baby care. Software development, in this sense, bears much resemblance to novel writing: somewhat clear end-goal, hard to be fully planned, and the resistance to coding style incompatibility. Yet certain remedy, i.e., software engineering, proves to be effective in preventing the chaos and ensures a relatively foreseealbe evolution. I wonder whether novel engineering can ever be realized, so that novel writing can stop being a fairly long-term commitment for a loner and start getting insights and implementations from multiple hosts based on a common thematic / spiritual pursuit. Of course, unlike software engineering, the "coding" style in novel engineering would be far from a standardized one. Different styles could, however, function better than a single narrative flow in novels that involve multiple space-time settings. Also, it is obvious that multi-authoring has the advantages in dialogue design, where a variety of personalities are meant to be present. Another argument for multi-authoring in novel lies in the fact that the billions of wasted bits in meanless blogging everyday on the internet could actually be utilized for creative purposes. Most of these socially-less-meanful blogs nevertheless contain useful material not just for information seekers but for millions of novel addicts around the world, once they are orgainzed into a consistent storyline with certain philosophical backup. The amateur writers are less trained in showing a stable performance in their idea/material development through long-chaperted text. A collaborative input, similar to current fag in the music 2.0 domain, is well worth encouring in this kind of artistic text weaving. I know that casual sequeling has been one of the first monsters that network gave birth to. But it's highly random and the low threshold of entry has made it more of a game and less of a serious publication methodology. To make novel engineering possible, I think certain academic agenda should be established in order to fully understand the collaborative creative process in areas other than novel writing, such as academic book writing, music (both score-based and improvisational collaborations) and movie, where even though the screenplay tends to be one-man-work, the entire "composition" of the final publication is completed by a gigantic legion. It may not be totally relevant , but... Modern life is doubtlessly poisonous to our creative thinking. Yet, with zero professional training, music, painting, dancing, and other arts are usually technically intensive that our graffities in any of these fields have difficulty in touching a broader range of audience or in even fully expressing / satisfying ourselves. Compared to those, writing is appratenly the first aid to the mental weariness. The everyday blogging, unlike personal diaries, is a more serious channel of self-expression to the world, yet 90% of the blogs, which are not intended towards knowledge sharing, turn out to be not only superficial in sharpening the subjects' own thinking, but also hopeless in gaining readers, and still violently swallowing the storage of the international computer servers. After all, people gain insights and even practical knowledge in text other than academic publications and science oriented readings. Novels usually serve the dinner for average people. Given so overwhelming a source from the internet, I don't think we lack material for a magnificent novel or a hundred. Look at all the travel experiences, random conversations, adult jokes, dreams, psych-tests, and ... of course, all the whines, they are either ignored or mentally erased after first glimpses, largely because they are all isolated information. But I believe that once organized into a storyline, all the wits in these pieces can be amplified to become an attention magnet. Stories help learning and re-thinking and that's how movie and TV work. That's also how text can work better as we've seen in the difference between a naughty tutorial and a pedagogic textbook. I believe collaborative story writing, with the reinforcement of engineering, is helpful in attacking the dilemma. At the very least, this is something that we haven't try enough to say no to. --kakyo 11/3/2007 A highly usable audio metadata tagging library (for Python)It supports ASF, FLAC, M4A, Monkey's Audio, MP3, Musepack, Ogg FLAC, Ogg Speex, Ogg Theora, Ogg Vorbis, True Audio, WavPack and OptimFROG audio files, with well designed and the most friendly APIs among all the existing. You only need the API class EasyID3 for your MP3's. 11/1/2007 J's recordingsCame across several decent Japanese semi-pro singers that J produced, each of who beats lots of mainstream J-idols in the vocal expressiveness, such as a girl called Kana Sanefuji. Ich's gonna go crazy about them... Abandonment Is Tremendous
Sometimes I'm asked if I ever get discouraged, and I reply, "yes, often.” But I never let anyone know about it, because if I allow you to know how discouraged I am, you'll become discouraged, you'll discourage me more than I am, and I can't hardly stand how much I have now. From the Masters: Abandonment Is Tremendous So what is the difference between whining and showing discouragement? I think the key is how you present the difficulty:
Overnight session
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