The possibility of a new state like community based on the internet 2

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Masaru Suzuqi -under review-
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Or rather, in human beings's history, I think that the most advanced most scientific technologies were always invented by the military. Still now too, not just Tor or something. Always idiots who do not know any ways of communication but getting into trouble have invented something most advanced technology to get others (especially popular women and men) into trouble (war).
Always those unpopular men have got into trouble with those advanced weapons to violate mainly popular women and men, under the name of God or the national security or something. (again)
Because there are only few beautiful women and that's the issue, if I borrow someone's words. The old man said the words with big laugh. But I think it is no laughing matter. I hope economic expansion/equality will solve this issue to some degree. I think this is true. Beautiful Japanese women increased with the economic expansion and I can see this in especially South East Asia now. They are getting beautiful. For West, I guess maybe Westerners' curious or normal pride as ruler made them (relatively) beautiful because there are many poor countries in West and America but they are relatively beautiful. I always wonder why most animals have no such difference in their appearance but our appearance such differs... I guess it comes from our ugly sly, wicked nature. See the way of those unpopular men trying to get a beautiful woman... that such a sneaking manner... no wonder they are unpopular... which animal can do such a sneaking courtship... (again) Just someone's stupid thought.

Masaru Suzuqi -under review-
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If I borrow another J.L.Godard's words, "How do they understand what I mean.". Ha.

andyprough
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I see that Godard is considered by many people to be the greatest filmmaker. I have never seen any of his work. Have you watched some of his films?

Masaru Suzuqi -under review-
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...Yes, I have. By the way, don't you think the below joke was awesome? You may laugh at it freely!

andyprough
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But it's not a joke. If I am the teacher, and I add nine students to my class, and then add 6 more students to my class, I have 16 total people in my class.

But yes - I did nearly die from laughing. I will send you my doctor's office bill for my injuries from laughing so hard.

Masaru Suzuqi -under review-
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You did not listen to it because you were too nervous, I suppose.

But FYI it seems that there are a lot of crazy (mostly impotent) doctors and nurses who never miss a chance to insert something long silicon stick or something into somewhere of their customers despite it obviously has nothing to do with the actual disease, especially who they are good looking and belong to a certain class, so you should refrain from visiting them so easily. Or at least you should prepare something for the possible treatment. You could be diagnosed as anything and they can make you sleep easily with the drug. In the USA or other countries, it might be already a common understanding, though.

As for his works: With Godard, the 'unlinked' image (this was Artaud's term) becomes serial and atonal, in a precise sense []. The problem of the relation between images is no longer of knowing if it works or it does not work [si ça va ou si ça va pas], according to the requirements of the harmonics or of the resolved tunings, but of knowing How it's going [Comment ça va]. Like this or like that, 'how it's going' [comment ça va] is the constitution of series, of their irrational cuts, of their dissonant tunings, of their unlinked terms. Each series refers to a way of seeing or speaking, for its own purposes, a way which may be that of current opinion operating through slogans, but equally that of a class, a sort, a typical character operating through thesis, hypothesis, paradox or even pretended cleverness, abrupt change of subject. Each series will be the way in which the author expresses himself indirectly in a sequences of images attributed to another, or, conversely, the way in which something or someone is expressed indirectly in the vision of the author considered as other. In any case, there is no longer the unity of the author, the characters and the world such as was guaranteed by the internal monologue. There is a formation of 'free indirect narration', of a free indirect vision, which goes from one to the other, so that either the author expresses himself through the intercession of an autonomous independent character other than the author or any role fixed by the author, or the character acts and speaks himself as if his own gestures and his own words were already reported by a third party. The first case is that of the cinema incorrectly called 'direct', of Rouch and Perrault; the second, that of an atonal cinema, in Bresson, in Rohmer []. In short, Pasolini had a profound insight about modern cinema when he characterized it by a sliding of ground, breaking the uniformity of the internal monologue to replace it by the diversity, the deformity, the otherness of a free indirect narrative [].
Godard has used every method of free indirect vision. Not that he has limited himself to borrowing and renewing; on the contrary, he created the original method which allowed him to make a new synthesis, and in so doing to identify himself with modern cinema. If we are looking for the most general formula for the series in Godard, we should call every sequence of images in so far as it is reflected in a genre a series. An entire film may correspond to a dominant genre, as "Une femme est une femme" does to musical comedy, or 'Made in USA' does to the strip cartoon. But even in this case the film moves through sub-genres, and the general rule is that there are several genres, hence several series. The passage from one genre to another genre may be through obvious discontinuity, or equally in an imperceptible and continuous manner with 'intercalary genres', or again through recurrence or feedback, with electronic procedures (new possibilities are opening everywhere for montage). This reflective status of genre has important consequences: instead of genre subsuming images which naturally belong to it, it constitutes the limit of images which do not belong to it but are reflected in it []. Amengual rightly pointed this out for "Un femme est une femme": whilst dance, in a classical musical comedy, informs all the images, even preparatory or intercalary ones, it arises here, in cotrast, as a 'moment' in the behaviour of the heroes, as the limit towards which a sequence of images is moving, a limit which will be realized only by forming another sequence moving towards another limit []. This is the case of dance not only in "Une femme est une femme", but in the cafe scene in "Bande à part", or that of the pinewood in "Pierrot le Fou", a passage from the wander-genre (*balade) to the ballad-genre (*ballade). These are three great moments in Godard's work. Losing its capacities for subsuming or constituting in favour of a free power of reflection, genre may be said to be all the purer for marking the direction of pre-existing images (Amengual shows that the scenery of "Une femme est une femme", the great square pillar in the middle of the bedroom and the patch of white wall between two doors, contributes all the more to dance in that it 'demolishes what is danced', in a kind of pure and empty reflection which gives the virtual a specific reality: the virtualities of the heroin).
Godard's reflexive genres, in this scene, are genuine categories through which the film passes. And the table of montage is conceived as a table of categories. There is something Aristotelian in Godard. Godard's films are syllogisms, which simultaneously integrate degrees of probability and paradoxes of logic. It is not a matter of a cataloguing procedure or one of 'collage', as Aragon suggested but of a method of constitution series, each marked by a category (the types of series can be very varied). It is as if Godard were taking the reverse route to the one we followed earlier, and was finding 'theorems' at the edge of 'problems'. The mathematician Bouligand distinguished, as two inseparable instances, on the one hand problems impose conditions of series on unknown elements, overall synthesis fixes categories from where these elements are extracted (points, straight lines, curves, planes, spheres, etc. []). Godard is constantly creating categories: hence the very special role of discourse in in many of his films where, as Daney noted, one genre of discourse always leads to a discourse of a different genre. Godard goes from problems to categories, even if the categories end up presenting him with a problem again. For instance, the structure of "Sauve Qui Peut (la vie)": the four great categories, 'the Imaginary', 'Fear', 'Business', 'Music', lead to a new problem, 'What is emotion?', 'Emotion is not like this', which is to be the object of the next film.
In brief, according to Godard, categories are not fixed once and for all. They are redistributed, reshaped, and reinvented for each film. A montage of categories, which is new each time, corresponds to a cutting f categories. The categories must, each time, surprise us, and yet not be arbitrary, must be well-founded, and must have strong, indirect relations between themselves: they must not be derived from each other, so that their relation is of the 'And...' type, this 'and' must achieve necessity. It is often the case that the written word indicates the category, while the visual images constitute the series: hence the very special primacy of the word over the image and the presentation of the screen as blackboard. And, in the written phrase, the conjunction 'and (et)' can assume an isolated and magnified value (Ici et ailleurs). This re-creation of the interstice does not necessarily mark a discontinuity between the series of images: we can pass without break from one series to another, at the same time as the relation of one category to the next becomes unlocalizable, as we pass from the wondering to the ballad in "Pierrot le fou", or from daily life to the theatre in "Une femme est une femme", or from the housework scene to the epic in "Le Mépris". Or again, the written word can be the object of an electronic processing introducing mutation, recurrence and retroaction (as already on the notebook in "Pierrot le fou", "la...rt" is changed into "la mort". []). Categories, then, are never final answers but categories of problems which introduce reflection into the image itself. They are problematic or propositional functions. Henceforth, the question for each of Godard's films is: what performs the functions of categories or of reflexive genres? In the simplest case, it can be aesthetic genres, the epic, theatre, the novel, dance, cinema itself. It is characteristic of cinema to reflect itself, and reflect the other genres, without the visual images referring to a pre-established dance, novel, theatre, or film, but themselves setting our to 'do' cinema, to do dance, to do novel, to do theatre, throughout a series, for an episode []. The categories of genres can also be psychic faculties (imagination, memory, forgetting...). But sometimes the category or genre assumes much more unusual aspects, for example in the well-known interventions of reflexive types, that is, original individuals who exhibit for what it is, in its singularity, the limit towards which a given series of visual images was moving and would move in the future: these are philosophers, like Jean-Pierre Melville in "À bout de souffle", Brice Parain in "Vivre sa vie", Jeanson in "La Chinoise"; they are burlesque like Devos or the queen of the Lebanon in "Pierrot le fou"; they are examples like the extras in "Two or Three Things I Know About Her" (my name is this, I do this, I like that...). They are all interceders who function as a category, by giving it a complete individuation: the most moving example is perhaps the intervention of Brice Parain who exhibits and individuates the category of language, as the limit towards which the heroine was moving, with all her energy, through the series of images (the problem of Nana).
In short, the categories can be words, things, acts, people. "Les carabiniers" is not another film about war, to glorify or attack it. It films the categories of war, which is something quite different. Now, as Godard says, these can be specific things, armies of sea, earth and air, or 'specific ideas', occupation, countryside, resistance, or 'specific feelings', violence, rout, absence of passion, derision, disorder, surprise, void, or 'specific phenomena', noise, silence []. It will be noted that colors themselves can fulfil the function of categories. Not only do they affect things and people, and even written words; but they form categories in themselves: red is one in "Weekend". If Godard is a great colorist, it is because he uses colours as great, individuated genres in which the image is reflected. This is Godard's consistent method in the films in color (unless there is rather reflection in music, or in both at once). The "Letter to Freddy Buache" releases the chromatic procedure in the pure state: there is the high and the low, the blue, celestial Lausanne, and then green, terrestrial and aquatic Lausanne. Two curves or peripheries, and, between the two, there is grey, the centre, the straight lines. The colours have become almost mathematical categories in which the town reflects its images and makes a problem out of them. Three series, three states of matter, the problem of Lausanne. All the technical aspects of the film, its high-angle shots, low-angle shots, halts on the image, are at the service of this reflection. He will be criticized for not having fulfilled the brief of a film 'about' Lausanne and the colours; he has made Lausanne pass into the colors as on a table of categories which was, however, applicable only to Lausanne. This is definitely constructivism: he has reconstructed Lausanne with coloursm the discourse of Lausanne, its indirect vision.
Cinema ceases to be narrative, but it is with Godard that it becomes the most 'novelesque'. As "Pierrot le fou" puts it, "Next chapter. Despair. Next chapter. Freedom. Bitterness.'. Bakhtine defined the novel, in contrast to the epic or tragedy, as no longer having the collective or distributive unity through which the characters still spoke one and the same language. On the contrary, the novel necessarily borrows sometimes the everyday anonymous language, sometimes the language of a class, a group, a profession, sometimes the particular language of a character. To the extent that the characters, classes and genres from the free indirect narration of the author, as much as the author forms their free indirect vision (what they see, what they know or do not know). Or rather the characters express themselves freely in the author's discourse-vision, and the author, indirectly, in that of the characters. In short, it is reflection in genres, anonymous or personified, which constitutes the novel, its 'plurilingualism, its speech and its vision []. Godard gives cinema the particular powers of the novel. He provides himself with the reflexive types as so many interceders through whom I is always another. It is a broken line, a zig-zag line, which brings together the author, his characters and the world, and which passes between them. Thus modern cinema develops new relations with thought from three points of vies: the obliteration of a whole or of a totalization of images, in favour of an outside which is inserted between them; the erasure of the internal monologue as whole of the film, in favour of a free indirect narration and vision; the erasure of the unity of man and the world, in favour of a break which now leaves us with only a belief in this world.

Quite a bit long but I think this Deleuze's writing is suitable with, especially, young ambitious people in this forum now. As there are kids who have the philosophical sense to understand what Deleuze says easily while perhaps most judges of Festivals de Cannes completely do not understand. We should confirm that in the future.

andyprough
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Yes, I see this kind of jumping around of viewpoint and of symbolism and character in the movies of people like Quinton Tarrintino. I do not watch movies often, so I am not a good judge of them. But I noticed, such as the movie "Reservoir Dogs" by Tarrintino, who is the "good guy" and who is the "bad guy" changes in the different scenes, depending on who has the important point of view.

Masaru Suzuqi -under review-
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That is the impossibility of decision which is one of the futures of modern cinema. I really think "Eyes Wide Shut" great. The characters are always in the impossibility of decision and duality of reality. I found some typos but you were quick.

Masaru Suzuqi -under review-
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According to a recent thread, it would be supposed as one of the officious interferences but if someone has not watched "Une femme est une femme" and will have an opportunity to watch it in the future, I should tell you that, but note that this could be supposed as kind of a spoiler, I believe it is not though, that Godard and Karina had just got married when it was filmed, a bit like Kidman and Cruise. That was the movie filmed when maybe Godard had never been happier in his life. In 1962 France, maybe most people knew they were married. Karina got elder... she was beautiful. One of my English tutor looked like Karina and I told her that. She did not know Karina then searched the internet for her pictures and sent me this picture. I was shocked. Seems this picture is copyrighted, if it is a problem, please tell me. I will delete it soon. Maybe this is not on business so it would be OK but I am not familiar with that.

edit: typo

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andyprough
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Here they are in the early 60s. Public domain photo by the New York Times. He was a lucky fellow.

05KARINAJP-SUB-master675.jpg
Masaru Suzuqi -under review-
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What a beautiful photo it is. They could seem to expect the temporality of their love. But s/he seems to be enjoying the temporality, as if she wants to say that is exactly the beauty of life. As if she wants to say if there is no parting, life cannot be bright, this love cannot be bright, most important of all, we are young. It must have led him to isola di Capri.
My favorite movie is 8 1/2 and Le Mépris. If we did not soil our soul in this life, we might be able to meet again, as a woman and a man.

edit: typo

Masaru Suzuqi -under review-
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You said that nine plus six was sixteen!

Masaru Suzuqi -under review-
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I want to paint, do surfing, chat, with a girl. Privately. May I?

Connochaetes
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If it gets boring, try to do all at the same time.

Masaru Suzuqi -under review-
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I have been painting for more than 30 years, surfing for more than 20 years, not always though. I would not get boring with them. Surely, it took a half year to be able to do takeoff. Until that, surfing was totally boring. I wonder whether I would love computing. It is discipline right now.

Masaru Suzuqi -under review-
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Here is a script that is intended to generate a series of IPv4 addresses in CIDR/16 address space:

!/bin/bash

retnuoc=1

counter=1

for (( retnuoc ; retnuoc < 3 ; retnuoc++ )); do

for (( counter ; counter < 41 ; counter++ )); do # xiferp=(`expr tail -n+$retnuoc SS.IPv4-NLU-January2020-26Prefixes.txt | head -n1`)

prefix=185.45; dd if=/dev/urandom bs=2 count=1 2>/dev/null | od -An -tu1 | tr -s ' ' . | sed s/^/$prefix/ >> Temp41922A.txt

done

done

The script produces a list of 4,096 IPv4 addresses, each of which starts with 185.180, in about
ten seconds. It works OK in the Mate terminal, but not when I invoke bash (/bin/sh), which doesn't
like counter++ and fails to stop generating IPv4 addresses as a result.

The following code is an effort to expand the scope of the task to encompass an entire list of
differently prefixed addresses:

retnuoc=0Here is a script that is intended to generate a series of IPv4 addresses in CIDR/16 address space:

counter=1

while [ $counter -le 4096 ]

do prefix=185.180; dd if=/dev/urandom bs=2 count=1 2>/dev/null | od -An -tu1 | tr -s ' ' . | sed s/^/$prefix/ >> Temp42120Works.txt

((counter++))

done

The script produces a list of 4,096 IPv4 addresses, each of which starts with 185.180, in about
ten seconds. It works OK in the Mate terminal, but not when I invoke bash (/bin/sh), which doesn't
like counter++ and fails to stop generating IPv4 addresses as a result.

The following code is an effort to expand the scope of the task to encompass an entire list of
differently prefixed addresses:

retnuoc=0

while [ "retnuoc" -le 26 ]

do NUM=$(`expr $retnuoc + 1`)

counter=1

while [ "$counter" -le 4 ]

prefix=`expr tail -n+$NUM SS.IPv4-NLU-January2020-26Prefixes.txt | head -n1`;

dd if=/dev/urandom bs=2 count=1 2>/dev/null | od -An -tu1 | tr -s ' ' . | sed s/^/$prefix/ >> Temp41921F13.txt

counter=$(`expr $counter + 1`)

done

retnuoc=$(`expr $retnuocm+ 1`)

done

The first two octets are contained in the file SS.IPv4-NLU-January2020-26Prefixes.txt (attached)
and extracted with the expression
tail -n+NUM SS.IPv4-NLU-January2020-26Prefixes.txt | head -n1

which works OK when NUM is replaced by a number between 1 and 26 (in the present example).

The second pair of octets is randomly generated with this expression wherein $NUM is replaced by an
exemplar octet pair:
prefix=185.39; dd if=/dev/urandom bs=2 count=1 2>/dev/null | od -An -tu1 | tr -s ' ' . | sed s/^/$prefix/

Alas, progress has stalled now that the script no longer produces complaints of syntax errors.
If it were to work, 104 IPv4 addresses would be forthcoming, four for each of the twenty six
octet pairs.

while [ "retnuoc" -le 26 ]

do NUM=$(`expr $retnuoc + 1`)

counter=1

while [ "$counter" -le 4 ]

prefix=`expr tail -n+$NUM SS.IPv4-NLU-January2020-26Prefixes.txt | head -n1`;

dd if=/dev/urandom bs=2 count=1 2>/dev/null | od -An -tu1 | tr -s ' ' . | sed s/^/$prefix/ >> Temp41921F13.txt

counter=$(`expr $counter + 1`)

done

retnuoc=$(`expr $retnuocm+ 1`)

done

Indeed, ‘tr’ translates, squeezes, and/or delete *characters*. sed's s command substitutes strings. To substitute a sequence of literal "\n" and/or "\t" with one single tabulation:
$ sed 's/\\[nt]\(\\[nt]\)*/\t/g'

Is this what you want? If you want to substitute every "\n" or "\t" (even when in sequence):
$ sed 's/\\[nt]/\t/g'

The first two octets are contained in the file SS.IPv4-NLU-January2020-26Prefixes.txt (attached)
and extracted with the expression
tail -n+NUM SS.IPv4-NLU-January2020-26Prefixes.txt | head -n1

which works OK when NUM is replaced by a number between 1 and 26 (in the present example).

The second pair of octets is randomly generated with this expression wherein $NUM is replaced by an
exemplar octet pair:
prefix=185.39; dd if=/dev/urandom bs=2 count=1 2>/dev/null | od -An -tu1 | tr -s ' ' . | sed s/^/$prefix/

Alas, progress has stalled now that the script no longer produces complaints of syntax errors.
If it were to work, 104 IPv4 addresses would be forthcoming, four for each of the twenty six
octet pairs.

/bin/sh is not bash

Masaru Suzuqi

1J9faKZZB7R4fJ4nqnYZX2PEgEr8wjMH8B

Masaru Suzuqi -under review-
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I cannot do that. You can do that. So I have to do that. You know that.

andyprough
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There's always gonna be another mountain
I'm always gonna wanna make it move
Always gonna be an uphill battle
Sometimes I'm gonna have to lose
Ain't about how fast I get there
Ain't about what's waiting on the other side
It's the climb
(Hannah Montana, 2009)

Masaru Suzuqi -under review-
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I have worked at more than 30 working places and seen a lot of educators.
By the way, at the car shop, I learned things normally. They always required perfect, but in a normal reasonable way.

itwillbenefityou.jpg itwillbenefityou2.jpg
Masaru Suzuqi -under review-
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I have been checking websites which about "Ubuntu apache". My impression still has not changed at all since 2 years ago. Frankly, this world is the worst in the sense.

Masaru Suzuqi -under review-
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Sorry I was feeling bad, so it might have been a bit too straight. I believe that of course you would agree to some degree that this kind of resistance of so-called average computer users to so-called "Linux" might have been formed by that kind of something by people of this world, as the result of the share. Or it could be a clever tactics as the result of why there are only few users, or why people show such degree of rejection of Linux. As a consequence, it might have formed some kind of rebellious spirit of people against Linux. It might have formed with kind of group consciousness which leads to Windows and, its share. I mean, people of this world might have made the empire of proprietary things to secure themselves a place for living. That might mean, "make an enemy, to live, like the system". I too know the feeling, I have really minded to open the information about Kensho, and other information too. I would lose some advantage. But I have enough. I consoled myself with mainly my skills. Again, obviously Japanese English teachers seem to have the ugly feeling that "If everyone can speak English, I would lose my job.". On-line English tutors seemed not to have the feeling. Maybe it comes from kind of the conspiracy, that Japanese school teachers can collaborate not to increase English speakers, and an sufficient demand. If human beings can survive the pollution issue, maybe someday every human would speak English. But until the day, the tutor would be able to find his customers. If we have technology that many people can live in space, we probably can stop pollution, since the extensiveness. We would not be able to contaminate the whole space. But to live in space, we would have to solve the pollution issue first. It is as if kind of an elaborated challenge of so-called intelligence high class life have got some degree of accuracy, whether we can travel to space, without frozen, or not. I mean, how ridiculous it is, from the beginning. But surely, I hope we can find a seed of laugh everywhere regardless how it is crucial, even in Auschwitz. The conspiracy, make an enemy, to keep bananas...

Masaru Suzuqi -under review-
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from Wikipedia https://en.wikipedia.org/wiki/Proprietary_software

"In India, one and a half million laptops were pre-loaded with screen savers of political minister Mulayam Singh Yadav. The author of software developed for these laptops included a malicious feature that would "crash" the device if the laptop's owner attempted to change, remove, or modify this feature.[61]"

Is this a joke? I hope so, though. To maintain kind of my motivation. If this is not a joke, is there some group which have neutralized this feature? Are they punished? I did not know India was such a democratically undeveloped country.

Masaru Suzuqi -under review-
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In short, our purpose of this fight is to get time and freedom.
That means a very simple thing.
You work 5 hours a day and 3-4 days a week, then you can travel abroad 3-4 times a year. If we gain it from those idiots.
The idiots would try to resist us until the end. Because there is no medicine for idiots.
We have the internet. As I wrote, it is our strongest weapon and it seems that, now, already, it is possible enough if we could use the weapon effectively.
That is very simple. You can travel. And you would be able to fight if you desire it. "Everyone" on this planet has the right inherently. Let's regain it from them, to go anywhere on the earth, freely. We believe it is not so difficult in this era. Why not? Are you an idiot? or an enemy? We have the internet.

Masaru Suzuqi -under review-
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Anyway I wanna make troubles no matter what!! I'm against lockdown!!

edit: typo

Masaru Suzuqi -under review-
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Anyway I wanna shoot and arrest no matter what!! Make troubles!!
Supply and demand... unfortunate one.

Masaru Suzuqi -under review-
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You are unique, but too unique. You will not be a professor. You would be a master at best.

Masaru Suzuqi -under review-
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Why I am not interested in (Western) classical music despite classical musicians generally seem to be skilled is that it is simply boring first. I cannot dance to classical music. Everyone in full dress, and sitting in good manners, those incomprehensible religious themes, it seems that classical music is for basically so-called the upper classes. On the really contrary, Cuban music is for the people on the upper gallery. Again, Cuban musician have horrible technique. And they use the skill for the masses.
They respect ensemble. No one enjoy someone's self-concious solo... The leader of an orchesta seems to make them start again from the beginning in practice if someone made an error in a semitone.
I guess Cuban musicians would perform classical music without problem but classical musicians would have difficulty to perform salsa. I even guess it would be almost impossible. Because they deform time, as I wrote.
A Cuban musician who was a member of Charanga Habanera said in the movie "Popular" that like "Popularity is the best reward. "Famed" sounds too serious, right? On the street, everyone looks at me and says "Hey, there is Charanga." I feel as happy as can be.".
After a classical concert, I guess there would be some people who are talking about today's quality of performance or something with a knowing look.
After a salsa event, I am exhausted because I danced too hard and it is comfortable. Their lyrics seem to be almost jokes rather than lyrics so people can understand Spanish would have laughed, too.
Their music is basically for the masses, not the "particular refined upper class audiences". They use their world-class skill to make people laugh.
Another Cuban musician said that like "One day, a teacher said that "You have to blow with putting more sadness into this part.", but I did not understand what she was talking about. Because playing music is very fun.".
As I wrote, the teacher must have been a first-class classical music player who was invited from Europe.
I love salsa. Sometimes I feel I want to listen to classical music but I know I will get tired of it soon.

Masaru Suzuqi -under review-
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How you can dance with such kind of dualistic too simple melody old-school boring music which even high school students can perform??
I am sure no one would be able to karaoke their complicated songs that like ignore time or laugh at Bach, except "professional" singers...(so they should be called professional) They instrumentalists are all skillful but especially vocalists are great, I agree with their voice is one of instruments, if you can sing a song in such a way, in my humble opinion.

https://www.invideo.us/watch?v=79geSY9jQLQ
or
https://youtube.com/watch?v=79geSY9jQLQ

https://www.invideo.us/watch?v=XfqQqjpeY90
or
https://youtube.com/watch?v=XfqQqjpeY90

Invideo.us still does not work with Trisquel laptops.

BTW I know a good dancer, he is nameless, no education in dance, a normal person. But he is better than Sylvie Guillem in a certain sense. Of course she is a better dancer than him with an overall evaluation but he deforms time in his body. Sylvie Guillem would not be able to do that. Maybe that is because she can dance possibly anything which she was told to dance in the way. I am interested in seeing her "private' dance with salsa. I am going to post a movie of his dance in the future but I do not know how to post a movie. He is a genius dancer.

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I don't like this kind of music.
That's good. Women should be the majority in the salsa world. No angry men please. Thanks.

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Because this mismatch between the unfashonable set and strangely Americanized clothes, performance which like 30 years old TV show or disco and the most advanced music which, if I borrow RMs's words again, like the latest Formular 1 car was... kind of surrealizm (light one). There are a lot of the opposites, though. 50 years old skill which like old American rock and the most advanced CG or something.

https://invidious.snopyta.org/watch?v=40XPBZ5KfBY

David Calzado y su Charanga Habanera

andyprough
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Wow, you've got the snopyta instance working again! Downloads are back in style!!!!

Masaru Suzuqi -under review-
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What is the snopyta? and what is an instance?

andyprough
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snopyta is the invidio.us instance that's hosted in Finland or Sweden or somewhere, and it still allows us to download videos. https://invidious.snopyta.org

The main invidio.us server does not allow us to download videos, hasn't allowed it for months and months. This is really incredible that you found it working again, thanks very much Masaru! I had given up on it previously.

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I think one of our motivations is a thought that we do not like to be forced something lacks persuasion, conviction, reasonableness, etc. So for those kind of men who can do that, I am going to force something equally, with a little bit of interest. If we are equal. Am I wrong? or rather, am not I reasonable? Hey, downvoters, why don't you talk to me face to face directly if you have something to say right now?

andyprough
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Sorry, had to downvote you on that one.

Masaru Suzuqi -under review-
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The arms industry...

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Abrowser...

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There is a picture book, the title is "What were we able to buy with the money?: Bubble Fantasy". (1999 Ryu Murakami)
I am not an economist. It it that I have merely few economic books. But I think that I understand the current of money roughly, dialectically.

From Wikipedia (https://en.wikipedia.org/wiki/Japanese_asset_price_bubble#Government_spending):

"The Japanese asset price bubble (バブル景気, baburu keiki, "bubble economy") was an economic bubble in Japan from 1986 to 1991 in which real estate and stock market prices were greatly inflated.[1] In early 1992, this price bubble burst and Japan's economy stagnated. The bubble was characterized by rapid acceleration of asset prices and overheated economic activity, as well as an uncontrolled money supply and credit expansion.[2] More specifically, over-confidence and speculation regarding asset and stock prices were closely associated with excessive monetary easing policy at the time.[3]"

From the author's preface:

"This picture book is for knowing. How much is a billion yen worth of money? What can you buy if you have a billion yen? What if it was 10 billion yen, 100 billion yen, 1 trillion yen, 10 trillion yen, and 100 trillion yen? This picture book was created with the aim of giving you a realistic image of those numbers that you read in newspapers every day and read along the news."

Several trillion or several dozens of trillion yen of public funds were put in to rescue financial institutions with bad bonds. The amount of the public funds that have put in to banks to rescue them seems to be more than ten trillion yen at 2003.
The book was sold a million. The content was not good. I was not able to get the realistic image. But I could understand that there were/are idiots and I was straightening out their financial mess and mistakes. And still most of those idiots would be living comfort, or luxury, unlike me. Here is the source of my rage. Why are not they working as blue-collar workers? Why can they still wear the white-collar? They borrowed my money. I do not know if I have received repayment, even interest. If they have not repaid the money, why do not they repay it before buying the Mercedes?

OK, if you say if we did not lend the money, yen might lose its competetitiveness, I might lend the money, or rather, labour power. But you would have to repay the money and you would have to quit the job and you should live with minimum standard of living modestly, for your stupidness and as normal responsibility. I feel it is common sense, needless to say.
The banks which were saved by our money still would demand interest from you shamelessly if you borrow money from them as if they want to say it is common sense. Do not we have the right to demand interest from those banks? I don't understand.
I think we ought to establish an international online bank. Again, if the banks did not hold surplus value, I think the currency of money would become very clean, and natural. Especially banks should not hold it, and should not take interest, and should just rotate money, from the nature functions of banks, I feel, I don't know. Is that a stupid idea? Please someone break up if it is a non-professional stupid idea, especially if you are a banker, I would appreciate it. I have a lot of those stupid questions I want to ask you.

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An investor investing in, for example, a young, unnamed screenwriter, can be understood and respected for me. Especially if he does not demand interest. He will have a good relationship with the screenwriter.
I don't like individual investors like who write in their blogs that like "I can make money just by investing in euro right now" as if they want to say investors do not invest in euro right now are all idiots. I don't like those who invest in anything that makes money. Looks like there is no thought. You may call it philosophy.
Whether they are weapons or narcotics, they think of only their own risk and appear to have no interest or responsibility for the social and solid risks and losses of investing in it.
Investment banks appear to be their representatives. Am I wrong? I don't understand what kind of philosophy they investors have.

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I got to know a little about money laundering in the old days. However, of course there would be some people still have the proceeds from crime that need money laundering. What is the modern money laundering method like? Also, I think that institutions such as FBI and CIA of course understand the method, but how is it handled by them? When the CIA got the SWIFT information in "the fight against terrorism", I think a lot of people would have thinned their hair in order to balance American criminals. Does the CIA still obtain all SWIFT remittance information?

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It obviously seems not to be laundering. Is not it money contaminating. Freud said money is poo. Surely it has literal poo on it.

andyprough
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Doesn't everything touched by humans or animals have poo on it? Aren't we all just basically walking poo factories? Unless you are Gandhi and never eat.

Masaru Suzuqi -under review-
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Yeah... perhaps we human beings shouldn't eat anything to reduce poop even a little.

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I have written about how Ryu Murakami studies before he write a book.

https://trisquel.info/en/forum/possibility-new-statelike-community-based-internet#comment-144570

"RMs reads enormous amount of books that concerns with the subjects of his books before he starts to write a book. Until he understands the subjects dialectically, bla, bla, bla..."

Before he wrote the book "Hyuga Virus", he studied molecular biology.
He talked about useful and unhelpful books in a dialogue with Dr. Okumura.
He bought several books about molecular biology. All books are thick. He starts to read one of the books. In the foreward, it is written like "This book is written for students who has not studied about molecular biology. I considered so that even beginners can easily and happily understand the basic of molecular biology bla bla bla..." He was touched by the foreword. Then he starts reading chapter 1. A large number of chemical formulas are written on that page. "I was eager to study. I had to study. But I stopped reading the book". Maybe this book discourages every student from studying molecular biology...
He started to read another book. That was written by an American professor or something for American students studying molecular biology.
That book was fun, and useful. First, you become a virus, then invade a human body. You come across a variety of things, in this way, you learn the basis of immune system. He read the thick book at a breath.
I have been searching for this kind of writing to make a simple website.
I have been searching for something like "how to open a website which is written only hello world". Then next, how to show a picture...
Maybe it is just I am lazy or unfortunate but I have not found it yet.
All those instructions were kind of the former boring type, at least in Japan. (and some English sites)
This is not a complaint. I know such a thing is useless. Who regrets or can write such a funny instruction. I just think if I write something, I would like to write something like the latter.

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June...

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After I started digital painting, I feel I got used to compromise on some things. But I'm sorry time is prior now.

cheaks.jpg
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Some people impose a very high level on themself when they do almost anything, so they often hate themselves. A sane critic said so.
So maybe it is a matter of guts rather than talent. There are malicious people who show the talent for sly tricks. Sometimes I am surprised at their skillful tricks. I wonder if they could use the sense for something harmless.

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There are some great artists, critics, philosophers, scientists, they have created great movies, novels, musics, paintings, etc., but what they have achieved? If democracy has not been achieved yet, such all of those works are still merely rubbish after all. Are not they rubbish?
If I died now, I would regret that I could not achieve a democratic society.
I would be satisfied with what I have done the least I could do, but that means that I pass the dream/problem to next generation. They have to solve it before, especially, idiots destroy this planet.

Most of those great artists would have big house, good car, they would have traveled a lot of countries. Maybe I just envy it, but such a democratic country is still not achieved. Then they pass it to us? They regret that they could not make it but they say that they have done as much as possible so they are satisfied with what they have done to some degree, then they pass it to us?

Isn't it something wrong? If they survived the world warⅠorⅡ, I would not say such a thing to them because they must have experienced something I might not be able to stand. Recently I sometimes feel disgust at reading or hearing something those great people say from the sky high.
OK, I agree that you made great works, I learned a lot of things from your works but there is still no such a democratic society at least in Japan. Why can you criticize politicians or whatever for laughing in this social situations while you are laughing despite you have not achieved the democratic society? Is that modest? If I was able to live a little bit more comfortably, I would try to achieve the dream at all costs. If I missed it, if I have not achieved it yet, I would not be able to talk big unlike you do. What you did? Are you that great? You have not even achieved it. We still lack people. It would be the most difficult task, at least than educating only 10 conscious elites with your modest philosophy. Why can you act very important? I cannot afford to do such a thing, so I can say, but again, if I could have such comfort, I would be able to do more. At least I would try to achieve it at all costs. At all costs! but you would say something from the sky high again. That might be right, at least you would have reduced victims very much... I don't know.

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I wanna eat a burger right now.