Referencia:
Weather Geekery
30 agosto 2005
29 agosto 2005
28 agosto 2005
27 agosto 2005
Bob Dylan - It ain't me babe
Go away from
my window,
leave at your own chosen speed.
I'm not the
one you want, babe,
I'm not the one you need.
You say you're looking for someone
who's never weak but always strong,
to protect you and defend you
whether you are
right or wrong,
someone to open each and every door,
but it ain't me, babe,
no, no, no, it ain't me, babe,
nt ain't me you're lookin' for, babe.
Go lightly
from the ledge, babe,
go lightly on the ground.
I'm not the
one you want, babe,
I will only let you down.
You say you're looking for someone
who will promise never to part,
someone to close his eyes for you,
someone to close his heart,
someone who will die for you an' more,
but it ain't me, babe,
no, no, no, it ain't me, babe,
it ain't me you're lookin' for, babe.
Go melt back
in the night.
Everything inside is made of stone.
There's nothing
in here moving.
And anyway I'm not alone.
You say you're looking for someone
who'll pick you up each time you fall,
to gather flowers constantly
and to come each time you call,
a lover for your life and nothing more,
but it ain't me, babe,
no, no, no, it ain't me, babe,
it ain't me you're lookin' for, babe.
my window,
leave at your own chosen speed.
I'm not the
one you want, babe,
I'm not the one you need.
You say you're looking for someone
who's never weak but always strong,
to protect you and defend you
whether you are
right or wrong,
someone to open each and every door,
but it ain't me, babe,
no, no, no, it ain't me, babe,
nt ain't me you're lookin' for, babe.
Go lightly
from the ledge, babe,
go lightly on the ground.
I'm not the
one you want, babe,
I will only let you down.
You say you're looking for someone
who will promise never to part,
someone to close his eyes for you,
someone to close his heart,
someone who will die for you an' more,
but it ain't me, babe,
no, no, no, it ain't me, babe,
it ain't me you're lookin' for, babe.
Go melt back
in the night.
Everything inside is made of stone.
There's nothing
in here moving.
And anyway I'm not alone.
You say you're looking for someone
who'll pick you up each time you fall,
to gather flowers constantly
and to come each time you call,
a lover for your life and nothing more,
but it ain't me, babe,
no, no, no, it ain't me, babe,
it ain't me you're lookin' for, babe.
Labels:
FLOR Y CANTO
24 agosto 2005
Respuesta a mi queridísma Cess
Gracias Cess por tus siempre-bien-recibidas palabras. Parece que el anónimo, por cierto, no captó la sutileza de la ironía. Pero no hay que desesperarnos, Cess. Conforme el anonimo vaya conociendo más gente y leyendo más libros reconocerá que no hay un porqué-esconderse.
23 agosto 2005
Salí del closet
Hoy, por primera y única vez salí del closet y ya afuera me siento mejor, me siento... yo. Se lo dije a mi mamá en el coche rumbo a la casa. Ví en su cara decepción.
"Bueno mijo," me dijo "como tu te sientas mejor, pero no uses esa palabra porque me imagino cosas feas." Y le dije a mi mamá que sí claro, como ella quiera, pero por eso será ella represora. Pero un poco nada más porque es mi mamá. Y todavía tengo que ver qué palabra usar para describirme cuando estoy con ella, pero por lo menos estoy afuera.
Mis amigos, incluso los de México siempre lo sabían. Nunca les tuve que decir nada porque salía en la manera en que hablaba y en que actuaba. Por varios años traté de escapar mi identidad. Me daba pena. Pero ahora en este país, los Estados Unidos de América, me siento libre y aceptado por la persona que soy.
Sé que en México no se tiene tanta aceptación de personas como yo. Por eso, les pido a mis amigos que traten de entender que el proceso por el cual pasé fue uno muy duro y difícil. Hago un llamado a la conciencia para que se me acepte por ser quien soy y no tanto por mi identidad recién identificada. Son muchos como yo. No estoy solo, pero no por eso merezco el abandono de ustedes.
En fin, me siento más seguro y voy conociendo gente nueva como yo. En fin, quería decirles a todos ustedes que, con orgullo, soy y me identifico como Chicano.
"Bueno mijo," me dijo "como tu te sientas mejor, pero no uses esa palabra porque me imagino cosas feas." Y le dije a mi mamá que sí claro, como ella quiera, pero por eso será ella represora. Pero un poco nada más porque es mi mamá. Y todavía tengo que ver qué palabra usar para describirme cuando estoy con ella, pero por lo menos estoy afuera.
Mis amigos, incluso los de México siempre lo sabían. Nunca les tuve que decir nada porque salía en la manera en que hablaba y en que actuaba. Por varios años traté de escapar mi identidad. Me daba pena. Pero ahora en este país, los Estados Unidos de América, me siento libre y aceptado por la persona que soy.
Sé que en México no se tiene tanta aceptación de personas como yo. Por eso, les pido a mis amigos que traten de entender que el proceso por el cual pasé fue uno muy duro y difícil. Hago un llamado a la conciencia para que se me acepte por ser quien soy y no tanto por mi identidad recién identificada. Son muchos como yo. No estoy solo, pero no por eso merezco el abandono de ustedes.
En fin, me siento más seguro y voy conociendo gente nueva como yo. En fin, quería decirles a todos ustedes que, con orgullo, soy y me identifico como Chicano.
21 agosto 2005
Del sutra del diamante
"Dime Subhuti, ¿se dirá un Buddha a sí mismo, 'he alcanzado la Iluminación Perfecta.'?"
"No, Señor. No hay una Iluminación Perfecta que alcanzar. Señor, si un Buddha Perfectamente Iluminado se dijera, 'así soy yo', estaría admitiendo una identidad individual, un yo y una personalidad independientes, y en tal caso no sería un Buddha Perfectamente Iluminado."
Referencia: Buda: Sus enseñanzas en español
El diamante más grande que se conoce
El diamante más grande que se conoce radica en la constelación del Centauro. El núcleo de una estrella enana blanca, este diamante pesa diez mil millones de billones de billones de quilates, dato que sirve solamente para cuantificar ya que no creo que haya mente que pueda concebir esta magnitud si no fuera por los números. Los astrónomos estadunidenses pudieron encontrar al diamante con apodo de "Lucy"- por Lucy in the Sky with Diamonds (LSD, chavos)- por medio de "cantos" emitidos por el carbón cristalizado. Se piensa que este es el final del ciclo de vida de estas estrellas.
Ahora, cuando miro al cielo en la noche sé que lo que veo son las joyas de Dios. ¡Con qué amor están ahí puestas!
Referencia: Colegio Oficial de Físicos (España)
Lista de reproducción
Quiero encuentrar un host que me permite subir mis mp3s para los que escuchen. Hasta entonces... les pongo mi orden preferido de escuchar las rolas de Café Tacuba (y unas de Caifanes también).
1. Chilanga banda
2. No controles
3. Alármala de tos
4. Perfidia
5. Ojalá que llueva café
6. Cómo te extraño mi amor
7. La ingrata
8. El ciclón
9. El aparato
10. Esa noche
11. 24 horas
12. El fin de la infancia
13. El tlatoani del barrio
14. El puñal y el corazón
15. Pez
16. Verde
17. Madrugal
18. La negrita
19. La pinta
20. Ixtepec
21. Tropico de Cáncer
22. El metro
23. El balcón
24. El baile y el salón
25. Metamorfosis
26. No me comprendes
27. Las flores
28. Afuera
29. Miedo
30. Aquí no es así
31. Aviéntame
1. Chilanga banda
2. No controles
3. Alármala de tos
4. Perfidia
5. Ojalá que llueva café
6. Cómo te extraño mi amor
7. La ingrata
8. El ciclón
9. El aparato
10. Esa noche
11. 24 horas
12. El fin de la infancia
13. El tlatoani del barrio
14. El puñal y el corazón
15. Pez
16. Verde
17. Madrugal
18. La negrita
19. La pinta
20. Ixtepec
21. Tropico de Cáncer
22. El metro
23. El balcón
24. El baile y el salón
25. Metamorfosis
26. No me comprendes
27. Las flores
28. Afuera
29. Miedo
30. Aquí no es así
31. Aviéntame
16 agosto 2005
Bueno pues...
¿Por qué no les cuento una experiencia?
En mi casa fue donde Rafa fumó mota por primera vez. Éramos Sergio, Rafa y yo ahí en la azotea, hasta arriba, donde se llegaba a ver el Popo, Civac y el sudeste de la ciudad. Era ena vista maravillosa, de veras y ahí arriba estábamos los tres fumando mota, bueno, Sergio y yo iniciando al Rafa por primera vez. Le explicábamos cómo hacerlo:
-- Ok, entonces tomas le jalas y lo aguantas lo más que puedas -- y le daba un tirón. Mientras empezaba a marearme le decía -- y lo aguantas lo mas que puedes.-- y le sacaba todo el aire.
No me acuerdo qué dijo Sergio entonces. Si el tiene su historia, que la publique en su blog o si no en este.
Bueno, entonces el Rafa le agarró y ¡pas! Le dio. Creo que dijo -ole sí está chido- y de ahí sabemos lo demás.
Lo divertido ese día fue que mi vecino de a lado tenía un jardín lleno de estátuas y entraba mucha gente ahí.
-Nombre, esa estatua es de Calígula-
-Sí no mames ahí están entrando a la pura esclavitud sexual-
Y el Sergio decía: -mira mira, fíjense, que entran pero no salen-
-Uno tomó una escoba-
-Qué estarán haciendo con ella-
Y ahí namás veíamos como entraba la gente al abarrotes de mi vecino a corromperse el alma.
En mi casa fue donde Rafa fumó mota por primera vez. Éramos Sergio, Rafa y yo ahí en la azotea, hasta arriba, donde se llegaba a ver el Popo, Civac y el sudeste de la ciudad. Era ena vista maravillosa, de veras y ahí arriba estábamos los tres fumando mota, bueno, Sergio y yo iniciando al Rafa por primera vez. Le explicábamos cómo hacerlo:
-- Ok, entonces tomas le jalas y lo aguantas lo más que puedas -- y le daba un tirón. Mientras empezaba a marearme le decía -- y lo aguantas lo mas que puedes.-- y le sacaba todo el aire.
No me acuerdo qué dijo Sergio entonces. Si el tiene su historia, que la publique en su blog o si no en este.
Bueno, entonces el Rafa le agarró y ¡pas! Le dio. Creo que dijo -ole sí está chido- y de ahí sabemos lo demás.
Lo divertido ese día fue que mi vecino de a lado tenía un jardín lleno de estátuas y entraba mucha gente ahí.
-Nombre, esa estatua es de Calígula-
-Sí no mames ahí están entrando a la pura esclavitud sexual-
Y el Sergio decía: -mira mira, fíjense, que entran pero no salen-
-Uno tomó una escoba-
-Qué estarán haciendo con ella-
Y ahí namás veíamos como entraba la gente al abarrotes de mi vecino a corromperse el alma.
15 agosto 2005
14 agosto 2005
Cafe Tacuba - El aparato
Que hombre que maneja el aparato
Cuando volteé lo tenía arriba
Es una luz
Algun tiempo me dejo inmovil
Sólo me quedo el zumbido de la luz
Lo escuchaba en mi cabeza
En lengua extraña me hablaba pero entendí
Lo juro que no habia tomado, sólo estaba encandilado
La hora perdí
Yo se que vendrá por mi
Y me llevara a un jardín
Cuando me encontre con Pablo, fue el que me conto esta historia, no le creí
Eso fue algunos meses
Desde entonces que no lo vemos más por aqui
Ya no se ni que pensar desde que llegó una carta del hospital
Pablo tiene quemaduras y ceguera permanente
No quiere hablar
Yo sé que vendra por mi
Y me llevara a un jardín
Labels:
FLOR Y CANTO
13 agosto 2005
Hearing aids
The tiny impact each key makes on my computer keyboard creates a sound wave that travels through the air to my ear canal where it is channeled through my inner ear and turned into chemical reaction so my brain can interpret the tapping as a sound. That's the ideal situation. In the real world, I wear hearing aids to offset the hearing impairment that I acquired after a bad reaction to medication. Without hearing aids, I can't hear a normal conversation, much less the rythmic patter of my fingers as they type a word.
I never considered myself to be disabled as a child -- the hearing aids were something else I put on every morning. I just used them to hear better. That changed when I visited San Francisco in the summer between 10th and 11th grade. I can pinpoint the place where I was standing on Market Street when, for the first time I felt insecure about my hearing. I can remember those thoughts: You're not normal. The hearing aids look ugly. The girls won't like you. You're not as good as everyone else. That moment of self-consciousness was overwhelming and I surrendered to it. And there I was, 17, in downtown San Francisco, shamefully putting my hearing aids in my pocket for the first time.
Then I went to a Burger King to eat.
"Do you want fries with that?" sure feels different when there's no sound coming out of the server's mouth. I couldn't catch a clue, so I acted bored and uninterested and I ignored the server. Deep down, though, I knew that the charade could only last for so long.
After graduation, I moved out to San Francisco on my own. Once settled, I met some nice people who asked to pray for my hearing. It was then that I realized that my disability wasn't going away any time soon. My friends told me that what I lacked in hearing I made up for in intelligence, so using my analytical mind I thought: if my disability was permanent, a constant, then my attitude, a variable, would have to work for, and not against that constant. I had to help myself out, basically. I couldn't just let life pass me by because I was insecure about my hearing. I became more assertive in asking questions. Now, when I don't understand something, I make sure I get it right. But every once in a while, I'll let something slip, sometimes on purpose. Life is more fun and random when people misunderstand the little things. Honestly, I never would have imagined that I would have a better life because of my disability.
I know that maybe one day I'll wake up without hearing a sound. I sincerely hope this doesn't happen, but I have to prepare. Until then, I'll be happy just listening to music, to the sound of people's voices and to the tap-tap-tap of the keys on my computer keyboard as I type a word.
I never considered myself to be disabled as a child -- the hearing aids were something else I put on every morning. I just used them to hear better. That changed when I visited San Francisco in the summer between 10th and 11th grade. I can pinpoint the place where I was standing on Market Street when, for the first time I felt insecure about my hearing. I can remember those thoughts: You're not normal. The hearing aids look ugly. The girls won't like you. You're not as good as everyone else. That moment of self-consciousness was overwhelming and I surrendered to it. And there I was, 17, in downtown San Francisco, shamefully putting my hearing aids in my pocket for the first time.
Then I went to a Burger King to eat.
"Do you want fries with that?" sure feels different when there's no sound coming out of the server's mouth. I couldn't catch a clue, so I acted bored and uninterested and I ignored the server. Deep down, though, I knew that the charade could only last for so long.
After graduation, I moved out to San Francisco on my own. Once settled, I met some nice people who asked to pray for my hearing. It was then that I realized that my disability wasn't going away any time soon. My friends told me that what I lacked in hearing I made up for in intelligence, so using my analytical mind I thought: if my disability was permanent, a constant, then my attitude, a variable, would have to work for, and not against that constant. I had to help myself out, basically. I couldn't just let life pass me by because I was insecure about my hearing. I became more assertive in asking questions. Now, when I don't understand something, I make sure I get it right. But every once in a while, I'll let something slip, sometimes on purpose. Life is more fun and random when people misunderstand the little things. Honestly, I never would have imagined that I would have a better life because of my disability.
I know that maybe one day I'll wake up without hearing a sound. I sincerely hope this doesn't happen, but I have to prepare. Until then, I'll be happy just listening to music, to the sound of people's voices and to the tap-tap-tap of the keys on my computer keyboard as I type a word.
12 agosto 2005
Cafe Tacuba - El metro
Me metí en un vagón de metro y no he podido salir de ahí
Llevo más de tres o cuatro meses viviendo acá en el subsuelo
En el metro
Zócalo, Hidalgo y Chabacano he cruzado un millón de veces
He querido salir por la puerta pero siempre hay alguien que empuja
Para adentro
Y cuando en las noches pienso yo en tí
Sé qué tu te acuerdas de mí
Pero aquí atrapado en esté vagón
No sé si volveré a salir
Como pastillas, paletones, chocolates, chicles y salvavidas
Tengo ya seis juegos de agujas, ocho cuters y encendedores de sobra
Creo que me ha crecido ya el pelo con la barba y las arrugas
No sé cuando es de día ni de noche, no sé si llevo cien años
Aqui adentro
Y cuando en las noches pienso yo en tí
Sé que tu te acuerdas de mi,
Pero aqui atrapado en este vagon
No se si volver a salir.
Y hay veces que te empiezo a extrañar
Y me dan ganas de llorar,
Pues tu cara no puedo recordar
Y no se si te vuelva a besar.
Llevo más de tres o cuatro meses viviendo acá en el subsuelo
En el metro
Zócalo, Hidalgo y Chabacano he cruzado un millón de veces
He querido salir por la puerta pero siempre hay alguien que empuja
Para adentro
Y cuando en las noches pienso yo en tí
Sé qué tu te acuerdas de mí
Pero aquí atrapado en esté vagón
No sé si volveré a salir
Como pastillas, paletones, chocolates, chicles y salvavidas
Tengo ya seis juegos de agujas, ocho cuters y encendedores de sobra
Creo que me ha crecido ya el pelo con la barba y las arrugas
No sé cuando es de día ni de noche, no sé si llevo cien años
Aqui adentro
Y cuando en las noches pienso yo en tí
Sé que tu te acuerdas de mi,
Pero aqui atrapado en este vagon
No se si volver a salir.
Y hay veces que te empiezo a extrañar
Y me dan ganas de llorar,
Pues tu cara no puedo recordar
Y no se si te vuelva a besar.
Labels:
FLOR Y CANTO
Tres carrazos
Enzo Ferrari
Maserati MC12 (75° aniversario)
Pagani RoadsterMi hermana, conocida como la Chona de las Chonny's Angels, vio el Roadster en Modena, Italia.
11 agosto 2005
Noticias personales
Con disculpas a todos aquellos que pensaban que iba para periodismo, me alentaron mis consejeros para que fuera hacia el campo de lingüistica.
...les voy a preparar unos tacos de lengua bien sabrosos, pues.
...les voy a preparar unos tacos de lengua bien sabrosos, pues.
09 agosto 2005
Disculpas
Mis disculpas por tanto posteo en inglés. Me metía al statcounter (ven, son los numeritos que aparecen abajo del los archivos a mano derecha) y me enteré que el 69% del tráfico viene de México.
Y yo poniéndoles cosas en inglés y portugués.
Bueno, tampoco los quiero tratar como si fueran ignorantes. Y además empezé este blog como proyecto personal difundido al mundo. Pero tendré que reconciliar la barrera del idioma... ¡Ya sé cómo! Les recomiendo que aprovechen unas excelentísimas clases en el CELE en pleno centro de Cuernavaca. Yo tomé dos niveles de francés y miren, ya se me olvido todo.
Relájense, tómanse un tesito y les voy a dar un empujón con comentarios propios. Si nadie comenta en mi blog, si estoy como tonto hablando al aire libre, por lo menos me haré buena compañía.
Y yo poniéndoles cosas en inglés y portugués.
Bueno, tampoco los quiero tratar como si fueran ignorantes. Y además empezé este blog como proyecto personal difundido al mundo. Pero tendré que reconciliar la barrera del idioma... ¡Ya sé cómo! Les recomiendo que aprovechen unas excelentísimas clases en el CELE en pleno centro de Cuernavaca. Yo tomé dos niveles de francés y miren, ya se me olvido todo.
Relájense, tómanse un tesito y les voy a dar un empujón con comentarios propios. Si nadie comenta en mi blog, si estoy como tonto hablando al aire libre, por lo menos me haré buena compañía.
Jacques Derrida - from The Law of Genre
Ne pas mêler les genres.
Je ne pas mêler les genres.
Je repit: ne pas mêler les genres. Je ne les mêlerai pas.
As soon as the word genre is sounded, as soon as it is heard, as soon as one attempts to conceive it, a limit is drawn. And when a limit is established, norms and interdictions are not far behind: "Do," "Do not," says "genre," the word genre, the figure, the voice or the law of genre. And this can be said of all genres of genre, be it a question of a generic or a general determination of what one calls "nature" or phusis (for example a biological genre, or the human genre, a genre of all that is in general), or be it a question of a typology, designated as non-natural and depending on laws or orders which were once held to be opposed to phusis according to those values associated with technē, thesis, nomos (for example, an artistic, poetic or literary genre)*. But the whole enigma of genre springs perhaps most closely from within this limit between the two genres of genre which, neither separable nor inseparable, form an odd couple of one without the other in which each evenly serves the other a citation to appear in the figure of the other, simultaneously and indiscernibly saying "I" and "we," me the genre, we genres, without it being possible to think that the "I" is a species of the genre "we." For who would have us believe that we, we two for example, would form a genre or belong to one? Thus, as soon as genre announces itself, one must respect a norm, one must not cross a line of demarcation, one must not risk impurity, anomaly or monstrosity.
* Genre in French carries the general sense of "genus," "kind," or "type," (le genre humain means "the human race"); the sense of artistic or literary genre; and the sense of "gender," especially grammatical gender.
Je ne pas mêler les genres.
Je repit: ne pas mêler les genres. Je ne les mêlerai pas.
As soon as the word genre is sounded, as soon as it is heard, as soon as one attempts to conceive it, a limit is drawn. And when a limit is established, norms and interdictions are not far behind: "Do," "Do not," says "genre," the word genre, the figure, the voice or the law of genre. And this can be said of all genres of genre, be it a question of a generic or a general determination of what one calls "nature" or phusis (for example a biological genre, or the human genre, a genre of all that is in general), or be it a question of a typology, designated as non-natural and depending on laws or orders which were once held to be opposed to phusis according to those values associated with technē, thesis, nomos (for example, an artistic, poetic or literary genre)*. But the whole enigma of genre springs perhaps most closely from within this limit between the two genres of genre which, neither separable nor inseparable, form an odd couple of one without the other in which each evenly serves the other a citation to appear in the figure of the other, simultaneously and indiscernibly saying "I" and "we," me the genre, we genres, without it being possible to think that the "I" is a species of the genre "we." For who would have us believe that we, we two for example, would form a genre or belong to one? Thus, as soon as genre announces itself, one must respect a norm, one must not cross a line of demarcation, one must not risk impurity, anomaly or monstrosity.
* Genre in French carries the general sense of "genus," "kind," or "type," (le genre humain means "the human race"); the sense of artistic or literary genre; and the sense of "gender," especially grammatical gender.
Labels:
vox populi
Psalm/Psalmo 23
The LORD is my shepherd; I shall not want.
He maketh me to lie down in green pastures: he leadeth me beside the still waters.
He restoreth my soul: he leads me in the paths of righteousness for his name's sake.
Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me.
Thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over.
Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the LORD for ever.
***
JEHOVA es mi pastor; nada me faltará.
En lugares de delicados pastos me hará yacer: Junto á aguas de reposo me pastoreará.
Confortará mi alma; Guiárame por sendas de justicia por amor de su nombre.
Aunque ande en valle de sombra de muerte, No temeré mal alguno; porque tú estarás conmigo: Tu vara y tu cayado me infundirán aliento.
Aderezarás mesa delante de mí, en presencia de mis angustiadores: Ungiste mi cabeza con aceite: mi copa está rebosando.
Ciertamente el bien y la misericordia me seguirán todos los días de mi vida: Y en la casa de Jehová moraré por largos días.
He maketh me to lie down in green pastures: he leadeth me beside the still waters.
He restoreth my soul: he leads me in the paths of righteousness for his name's sake.
Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me.
Thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over.
Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the LORD for ever.
***
JEHOVA es mi pastor; nada me faltará.
En lugares de delicados pastos me hará yacer: Junto á aguas de reposo me pastoreará.
Confortará mi alma; Guiárame por sendas de justicia por amor de su nombre.
Aunque ande en valle de sombra de muerte, No temeré mal alguno; porque tú estarás conmigo: Tu vara y tu cayado me infundirán aliento.
Aderezarás mesa delante de mí, en presencia de mis angustiadores: Ungiste mi cabeza con aceite: mi copa está rebosando.
Ciertamente el bien y la misericordia me seguirán todos los días de mi vida: Y en la casa de Jehová moraré por largos días.
Labels:
logos
Author unknown - Cable 23
The TV is my shepherd, I shall want.
It makes me lie down on the sofa.
It leads me away from the Scriptures.
It destroys my soul.
It leads me in the path of sex and violence, for the sponsor's sake.
Yea, though I walk in the shadow of my Christian responsibilities.
There will be no interruption, For the TV is with me.
It's cable and remote, they control me.
It prepares a commercial before me
In the presence of worldliness;
It anoints my head with Humanism,
My coveting runneth over.
Surely laziness and ignorance shall
Follow me all
days of my life:
And I shall dwell in the house watching TV forever.
It makes me lie down on the sofa.
It leads me away from the Scriptures.
It destroys my soul.
It leads me in the path of sex and violence, for the sponsor's sake.
Yea, though I walk in the shadow of my Christian responsibilities.
There will be no interruption, For the TV is with me.
It's cable and remote, they control me.
It prepares a commercial before me
In the presence of worldliness;
It anoints my head with Humanism,
My coveting runneth over.
Surely laziness and ignorance shall
Follow me all
days of my life:
And I shall dwell in the house watching TV forever.
How to enact informal legislation
1) Position ideologues in non-official institutions (NOIs) such as businesses or charities.
2) Within those institutions, lower-ranking ideologues propose rules.
2a) Proposals from like-minded ideologues can come from outside entities. This forms an alliance.
3) Higher-ranking ideologues enact rules as policy.
4) NOIs are free to act in the world according to their own, self-justified rules within certain parameters.
4a) The parameters are set by outside institutions that are not exempt from 1).
5) Government legislation (meaning, ideally, the will of the people) is bypassed.
2) Within those institutions, lower-ranking ideologues propose rules.
2a) Proposals from like-minded ideologues can come from outside entities. This forms an alliance.
3) Higher-ranking ideologues enact rules as policy.
4) NOIs are free to act in the world according to their own, self-justified rules within certain parameters.
4a) The parameters are set by outside institutions that are not exempt from 1).
5) Government legislation (meaning, ideally, the will of the people) is bypassed.
06 agosto 2005
No longer a pirate, not yet a merry man
The Slashdot discussion regarding the Wired News article, "The Shadow Internet," produced interesting comments regarding the whole "piracy" metaphor.
From Slashdotter JeffTL:
From Slashdotter JeffTL:
As Stallman (Free Software, Free Society; pp. 190-191) said, calling it piracy implies that unauthorized copying is tantamount to armed robbery, kidnap, and murder on the high seas. They both involve theft of a sort -- but are vastly different. Copyright infringement generally involves cheating someone out of their rightful royalties; piracy involves depriving sailors and their employers of life, liberty, or property (maybe all three!) without due process of law. I'd say that copyright infringement is not morally tantamount to this.From ultranova:
For those who can't tell the difference between real criminal conspiracies and copyright infringers:If we go by the nature of the crime, the entire "pirate" metaphor is off, at least in the digital domain. It seems like "Robin Hood" is more accurate. Steal from the rich to give to the poor. One Slashdotter, some guy i know, disagrees:
* Real criminal conspiracies rob, extort and kill, which directly harms real human beings.
* Copyright infringers distribute music, movies and programs without permission from copyright holders, which may or may not affect the financial bottom line of big media corporations, and might or might not cause their stockholders to not get as much profit as they would otherwise, for an undeterminable amount.
If you think that you are comparing these "pirates" (i.e., massive copyright violators) with Robin Hood, then you're wrong.But most of the time music labels, not artists, own the copyrights to many songs. They, not artists, are profiting of the musical enterprise. If anything, "merry men," as I'll refer to "pirates" from now on, fight against unfair enforcement of copyright laws. To further the Robin Hood metaphor, illegal music distributors take from the "haves" and give to the "have nots," in this case, the good in question is music, whereas in the Robin Hood mythos, the good was money.
Robin Hood didn't take from the rich and give to the poor; he took from the tax collectors and gave to the taxed.
Now, it turns out that most of the taxed were poor and most of the tax collectors were rich (or those working for the rich), but Robin Hood did not steal from, say, merchants and traders, who were better-off than average, nor did he give to beggars, who were worse-off than average.
Robin Hood should be romanticized because he fought against unfair taxation, not because of the rich-to-poor myth.
Fighting thoughtcrime
Demand for asset-based bonds depend on projected future profits. The idea listed under the Shadow Internet post could bring the market more down to earth, where there is a limitless supply of mp3 and the actual number of downloads reflect the actual demand there is for a song. The problem I see is that software could be automated to download songs so as to improve figures. This kind of software could be outlawed because other than downloading mass quantities of anything, it has no practical, economical or legal use.
The shadow internet
A Wired News article gives us a glimpse into the Internet underground. I think that an underground for content distribution is really the result of a consumer-driven demand for cultural content.
It's interesting to see what motivates pirates. Surprisingly it isn't money. In Mexico, pirates live off of their trade, because they have no other means of support. Not so the case in the United States. One insider mentions in the article that it is true that no one gets paid for their efforts. It's piracy for piracy's sake driven by American work ethic.
Excerpted from the article:
1. Come up with software that seeds the P2P networks. Steps 3 and 4 can be eliminated with a little know-how. The topsites exist only as the gateway to the networks, while the couriers do their share to distribute. Reading the article, the courier's job was described as mostly cutting and pasting. That sounds like something software can do.
2. Music distributors could set up a centralized page or service (like Napster or iTunes) where the number of movie or music downloads can be counted, and that number is put into an index, which is updated every second of every day. If the stock market and the Billboard charts got together in the back of a '64 Chevy, that index would be the result. With this index, people could pay and invest in artists and labels the same way they do with stocks and bonds. Anyone can be a patron of the arts.
2a. I'm sure labels, even the small ones, have figures like projected sales where you can compare the number of downloads to the projections. This could determine the success of a particular artist. It wouldn't be fair to hold a commercial artist, like Britney Spears, to the same sales expectations as an independent artist like Cat Power, so you hold them to their relative projections.
Conclusion
The American thing to do is to see media pirates as friendly competitors rather than adversaries. The RIAA can't afford to look upon copyright violators as enemies in a war, because once they take that stance, they will find they are deep in a guerilla war with an enemy that has already won the hearts of the people. A blow against the guerillas is a blow against the people, as the copyright lawsuits seem to indicate. The first thing the RIAA should do is to calm down and use the pirate's weapons for their own benefit without harming the people they are trying to win over.
If Apple could implement a new distribution scheme, that means that new ideas are possible. Unless, of course the RIAA isn't willing to change its ways, which the past has shown. Then what we'll have is something out of a science fiction novel... the self-perpetuating pre-potent content distributors who, allied with a government, persecute cultural Prometheuses and the race of men enslaved by darkness.
Link
It's interesting to see what motivates pirates. Surprisingly it isn't money. In Mexico, pirates live off of their trade, because they have no other means of support. Not so the case in the United States. One insider mentions in the article that it is true that no one gets paid for their efforts. It's piracy for piracy's sake driven by American work ethic.
Excerpted from the article:
1. THE INSIDERIdeas for the future
Industry and theater employees run their own straight-to-video operations. Hackers looking for prerelease videogames target company servers. And before that long-awaited CD hits Amazon.com, moles inside disc-stamping plants have already got a copy.
2. THE PACKAGER
The pirated goods are passed on to a release group. These groups take multi-gigabyte movie files and squeeze them down for easy online trading.
3. THE DISTRIBUTOR
Release groups are known to have exclusive relationships with certain so-called topsites. These are the highly secretive sites at the top of the distribution pyramid. When a topsite operator drops a file, the avalanche begins.
4. THE COURIERS
Alerted by release groups, worker bees spring into action, copying and transferring files from the topsites to lower-level dump sites, and then from there to P2P networks like Kazaa and Morpheus. For the couriers, the payoff is props from their peers and credits redeemable for goods on upper levels of the pyramid.
5. THE PUBLIC
After the file is copied thousands of times the P2P networks saturate, allowing casual file-traders easy access to the newest movies, music, and videogames.
1. Come up with software that seeds the P2P networks. Steps 3 and 4 can be eliminated with a little know-how. The topsites exist only as the gateway to the networks, while the couriers do their share to distribute. Reading the article, the courier's job was described as mostly cutting and pasting. That sounds like something software can do.
2. Music distributors could set up a centralized page or service (like Napster or iTunes) where the number of movie or music downloads can be counted, and that number is put into an index, which is updated every second of every day. If the stock market and the Billboard charts got together in the back of a '64 Chevy, that index would be the result. With this index, people could pay and invest in artists and labels the same way they do with stocks and bonds. Anyone can be a patron of the arts.
2a. I'm sure labels, even the small ones, have figures like projected sales where you can compare the number of downloads to the projections. This could determine the success of a particular artist. It wouldn't be fair to hold a commercial artist, like Britney Spears, to the same sales expectations as an independent artist like Cat Power, so you hold them to their relative projections.
Conclusion
The American thing to do is to see media pirates as friendly competitors rather than adversaries. The RIAA can't afford to look upon copyright violators as enemies in a war, because once they take that stance, they will find they are deep in a guerilla war with an enemy that has already won the hearts of the people. A blow against the guerillas is a blow against the people, as the copyright lawsuits seem to indicate. The first thing the RIAA should do is to calm down and use the pirate's weapons for their own benefit without harming the people they are trying to win over.
If Apple could implement a new distribution scheme, that means that new ideas are possible. Unless, of course the RIAA isn't willing to change its ways, which the past has shown. Then what we'll have is something out of a science fiction novel... the self-perpetuating pre-potent content distributors who, allied with a government, persecute cultural Prometheuses and the race of men enslaved by darkness.
Link
¿Quién la trabaja?
Emiliano Zapata dijo que la tierra es de quien la trabaja y los caciques de hoy son nuestros campesinos. Que quede claro, es un trabajo árduo que se lleva a cabo a pesar del frío del aire acondicionado y del parpareo constante de lámparas fluorescentes. La tierra labrada con plumas es como su dueño: Primero, se aniquila lo sublime. Después se transforma en algo estéril. Finalmente, se pone a generar cifras y cifras.
Postishead - Over
I can't hold this day anymore
understand me anymore
To tread this fantasy openly
what have I done?
This uncertainty is taking me over
I can't mould this stage anymore
recognise me anymore
To tread this fantasy openly
what have I done?
This uncertainty is taking me over.
understand me anymore
To tread this fantasy openly
what have I done?
This uncertainty is taking me over
I can't mould this stage anymore
recognise me anymore
To tread this fantasy openly
what have I done?
This uncertainty is taking me over.
Labels:
FLOR Y CANTO
Desde Verborrea
"El escritor quiere a veces romper la aparente monotonía de su expresión propia citando expresiones de otros escritores, pero en las citas está él. Se puede escribir una obra originalísima nada más con citas ajenas."
- Miguel de Unamuno
- Miguel de Unamuno
05 agosto 2005
Green Day - She
She, she screams in silence
A sullen riot penetrating through her mind
Wait-
ing for a sign
To smash the silence with the brick of self-control
A sullen riot penetrating through her mind
Wait-
ing for a sign
To smash the silence with the brick of self-control
Are you locked up in a world that's been planned out for you?
Are you feeling like a social tool without a use?
Scream at me until my ears bleed
I'm taking heed just for you
Are you feeling like a social tool without a use?
Scream at me until my ears bleed
I'm taking heed just for you
She, she's figured out
All her doubts were someone else's point of view
Wake-
ing up this time
To smash the silence with the brick of self-control
All her doubts were someone else's point of view
Wake-
ing up this time
To smash the silence with the brick of self-control
Labels:
FLOR Y CANTO
Reel Big Fish - Beer
She called me late last night to say she loved me so,
it didn't matter anymore.
I said she never cared and that she never will.
I'd do it all again
I guess I'll have to wait until then.
it didn't matter anymore.
I said she never cared and that she never will.
I'd do it all again
I guess I'll have to wait until then.
And if I get drunk well I'll pass out on the floor now baby,
you won't bother me no more.
And if you're drinkin' well you know that you're my friend and I say
I think I'll have myself a beer.
She called me late last night to say she loved me so
But I guess he changed her mind.
Well I should have known it wouldn't be all right
But I guess he changed her mind.
Well I should have known it wouldn't be all right
But I can't live without her so I won't even try.
Maybe some day
I'll think of what to say,
Maybe next time I'll remember what to do
She looks like heaven
maybe this is hell
Said she'd do it all again
She'd promise not to tell
If I get drunk well I'll pass out on the floor now baby,
you won't bother me no more.
And she said it's ok boy 'cause
you know we'll be good friends and I say
I think I'll have myself a beer
Labels:
FLOR Y CANTO
Madonna - Paradise (not for me)
I can't remember
When I was young
I can't explain
If it was wrong
My life goes on
But not the same
Into your eyes
My face remains
When I was young
I can't explain
If it was wrong
My life goes on
But not the same
Into your eyes
My face remains
I've been so high
I've been so down
Up to the skies
Down to the ground
I was so blind
I could not see
Your paradise
Is not for me
I could not see
Your paradise
Is not for me
Autour de moi
Je ne vois pas
Qui sont des anges
Surement pas moi
Je ne vois pas
Qui sont des anges
Surement pas moi
Encore une fois
Je suis cassee
Encore une fois
Je n'y crois pas
There is a light
Above my head
Into your eyes
My face remains
Labels:
FLOR Y CANTO
Green Day - F.O.D
Something's on my mind
It's been for quite some time
This time I'm on to you
It's been for quite some time
This time I'm on to you
So where's the other face
The face I heard before
Your head trip's boring me
Let's nuke the bridge we torched 2,000 times before
This time we'll blast it all to hell
I've had this burning in my guts now for so long
My belly's aching now to say
Stuck down in a rut
of dislogic and smut
A side of you well hid
When it's all said and done
it's real and it's been fun
But was it all real fun
Let's nuke the bridge we torched 2,000 times before
This time we'll blast it all to hell
I've had this burning in my guts now for so long
My belly's aching now to say
You're just
a fuck
I can't explain it 'cause I think you suck.
I'm take-
ing pride
in telling you to fuck off and die.
I've felt this burning in my guts now for so long
My belly's aching now to say
I'm taking pleasure in the doubts I've passed to you
So listen up as you bite this.
You're just
a fuck,
I can't explain it 'cause I think you suck.
I'm take-
ing pride
in telling you to fuck off and die.
Good night
dedicado a Trisha
dedicado a Trisha
Labels:
FLOR Y CANTO
03 agosto 2005
Language
One week later, President Bush said no, we are in a "war on terror," not a "global struggle against violent extremism."
Link
Link
Desde Verborrea
"¡Cuántas personas utilizan lo abstracto para parecer profundas! La mayor parte de los términos abstractos son sombras que ocultan vacíos."
- Chamfort
- Chamfort
Juan José Arreola - Variaciones sintácticas
De un viajero
En el vientre de la ballena, Jonás encuentra a un desconocido y le pregunta:
-- Perdone usted, ¿por dónde está la salida?
-- Es depende... ¿A donde va usted?
Jonás volvió a dudar entre las dos ciudades y supo qué responder.
-- Mucho me temo que ha tomado usted la ballena equivocada...
Y sonriendo con dulzura, el desconocido se disió blandamente hacia el abismo intestinal.
Vomitado poco después como un proyectil desde la costa, Jonás fue a estrellarse directamente contra los muros de Nínive. Pudo ser identificado porque entre sus papeles proféticos llevaba un pasaporte en regla para dirigirse a Tartessos.
En el vientre de la ballena, Jonás encuentra a un desconocido y le pregunta:
-- Perdone usted, ¿por dónde está la salida?
-- Es depende... ¿A donde va usted?
Jonás volvió a dudar entre las dos ciudades y supo qué responder.
-- Mucho me temo que ha tomado usted la ballena equivocada...
Y sonriendo con dulzura, el desconocido se disió blandamente hacia el abismo intestinal.
Vomitado poco después como un proyectil desde la costa, Jonás fue a estrellarse directamente contra los muros de Nínive. Pudo ser identificado porque entre sus papeles proféticos llevaba un pasaporte en regla para dirigirse a Tartessos.
Labels:
FLOR Y CANTO
Juan José Arreola - Cantos de mal dolor
El encuentro
Dos puntos que se atraen, no tienen por qué elegir forzosamente la recta. Claro que es el procedimiento más corto. Pero hay quienes prefieren el infinito.
Las gentes caen unas en brazos de otras sin detallar la aventura. Cuando mucho, avanzan en zigzag. Pero una vez en la meta corrigen la desviación y se acoplan. Tan brusco amor es un choque, y los que así se afrontaron son devueltos al punto de partida por un efecto de culata. Demasiados proyectiles, su camino al revés los incrusta de nuevo, repasando el cañon, en un cartucho sin pólvora.
De vez en cuando, una pareja se aparta de esta regla invariable. Su propósito es francamente lineal, y no carece de rectitud. Misteriosamente, optan por el laberinto. No pueden vivir separados. Ésta es su única certeza, y van a perderla buscándose. Cuando uno de ellos comete un error y provoca el encuentro, el otro finge no darse cuenta y pasa sin saludar.
Dos puntos que se atraen, no tienen por qué elegir forzosamente la recta. Claro que es el procedimiento más corto. Pero hay quienes prefieren el infinito.
Las gentes caen unas en brazos de otras sin detallar la aventura. Cuando mucho, avanzan en zigzag. Pero una vez en la meta corrigen la desviación y se acoplan. Tan brusco amor es un choque, y los que así se afrontaron son devueltos al punto de partida por un efecto de culata. Demasiados proyectiles, su camino al revés los incrusta de nuevo, repasando el cañon, en un cartucho sin pólvora.
De vez en cuando, una pareja se aparta de esta regla invariable. Su propósito es francamente lineal, y no carece de rectitud. Misteriosamente, optan por el laberinto. No pueden vivir separados. Ésta es su única certeza, y van a perderla buscándose. Cuando uno de ellos comete un error y provoca el encuentro, el otro finge no darse cuenta y pasa sin saludar.
Labels:
FLOR Y CANTO
Juan José Arreola - Cantos de mal dolor
Cláusulas
I. Las mujeres toman siempre la forma del sueño que las contiene.
II. Cada vez que el hombre y la mujer tratan de reconstruir el Arquetipo, componen un ser monstruoso: la pareja.
III. Soy un Adán que sueña en el paraíso, pero siempre despierto con las costillas intactas.
IV. Boletín de última hora: En la lucha con el ángel, he perdido por indecisión.
V. Toda belleza es formal.
I. Las mujeres toman siempre la forma del sueño que las contiene.
II. Cada vez que el hombre y la mujer tratan de reconstruir el Arquetipo, componen un ser monstruoso: la pareja.
III. Soy un Adán que sueña en el paraíso, pero siempre despierto con las costillas intactas.
IV. Boletín de última hora: En la lucha con el ángel, he perdido por indecisión.
V. Toda belleza es formal.
Labels:
FLOR Y CANTO
Disculpas
He estado metido en un rollo filosófico del cual aún no he logrado una conclusión práctica. El rollo involucra al posmodernismo y la legitimidad de la misma filosofía y también al Cristianismo. En cuando explote mi cabeza, postearé lo que quedaron de mis sesos en esta página. Y para que se mantengan entretenidos un rato... Juan José Arreola.
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