I try to have some guests every now and then to my Operating Systems class. The class is not as practical/interactive as I'd like, and having some people show the students how the subjects I teach are reflected in the real world is, I feel, very useful for them to understand the topics' importance.
The past semester (the first one for me) I had three guests: Chema Serralde, talking about process scheduling and in particular on the importance of real time, from his perspective as a musician, Rolando Cedillo, talking about the early stages of the boot process, and César Yáñez, giving a review of file systems. This semester, there have been two guests so far: Felipe Esquivel, who spoke about parallelism, and used renders with Blender to illustrate the speed gains and limitations (i.e. Amdahl's law), and this last Thursday, I invited again César Yáñez. César spoke about process scheduling, first giving a quite thorough review of what had taken me at least three sessions to go through, and second, giving some in-depth review based on his experience with Haiku OS.
What else was different this time? I told our coordinator in the faculty, and she invited the other teachers of the subject (and attended herself). So, instead of the usual ~25 students, we have ~40 people in the classroom. And one of them, Adolfo, recorded most of César's explanation. Yay!
Of course, I asked Adolfo for a copy of his recording, and recoded it in a format more suitable for Web viewing. Here it is (almost 300MB, Ogg Video, ~95 minutes). I still have the original video file given to me, in an Apple-generated badly-compressed .mov, but at over 1.5GB, it's too much for a Web download. I will try to record future sessions, as they will surely be useful!
This week's lesson on the «Arte y cultura en circulación: crear y compartir en tiempos digitales» course talks about piracy and the circulation of culture, a topic that over time has been debated over and over. And a topic, yes, that can always lead to interesting discussions.
This time, we are requested to choose one among ten ideas among the media groups' discourse on what piracy is and means for the "cultural industry". There are tons of material written already on several of those ten lines (i.e. piracy disincentivates creativity, or two that can be seen as two faces of the same argument, If a consumer can have free access to cultural products, he will stop spending his money on them and Every time a consumer has access to an illegal copy, the industry loses a sale), and some are quite obvious (i.e. Piracy makes job positions be lost... Just look at the amount of people the unauthorized distribution industry feeds! Or possibly, Piracy is a prosper industry that gives money to people distributing illegal products — Of course, that is true. The problem is, what causes said products to be illegal to begin with? Should they be so?). Some other ideas talk about harsher penalties and ways to punish illegal copying in order to drive actors out of that sector (and into the... void?)
So, I chose item #4: Cultural products have a high cost because their production is complex (and a tag could be made, linking complex with expensive). I think this item can lead to a long discussion as to what does this complexity and cost mean.
Some cultural products do require quite a bit of investment, yes. Others don't. How do content producers make the jump to produce expensive works?
If I am a new programmer/artist/writer/screenplayer/whatever, most likely, my products will be not very complex or expensive. I will start small. And if I excel at my work, somebody will look at me and, in some way, become my patron, my sponsor. Being a sponsor might mean that, based on the results of my good work, I could get hired as a software developer at a large company, or an editorial company would buy the patrimonial rights of my book/music (be it for a fixed fee or for a percentage of sales), or whatever. But the leap is not made quantically — A newcomer to the cultural scene will at first, most likely, have a hard time selling his products.
At first, it takes convincing just getting people to take a shot at looking at your work («Hey, please take a look at my program and tell me what you think about it!», «Would you be interested in listening to my latest song?» — And those two are by far ahead of the first attempts where the interactions would more likely be «Turn off that $#^#!^ computer, it's well past bedtime» or «stop murdering that guitar, I'm having a headache»). Maybe the toughest part is to get people to agree to read/hear your work. And there, you start into a continuum — Selling your CDs while performing on the street, then getting to play to a bar, then getting somebody to want to produce (maybe even "discover"!) you. Publish some short stories in your school magazine, then in a "From our audience" section in a larger magazine, then a collective book, your self-published book, yet-unwritten books by contract... The same story over and over again, in each different field.
Ok, yes, but... This logic succession still leaves space for the Important Producers with the Mighty Big Pockets for the most wanted/largest productions, right? And were unauthorized distribution (piracy) to be the norm (as it currently is, dare I say), wouldn't they stop producing an important portion of cultural works?
I'd be tempted to say so. However, a different actor comes into play. When Mighty Big Pockets comes into play, they no longer worry only about getting money from each cultural creation, but from all derived uses of it. And the cultural creation industry (when seen as an industry) goes very much hand in hand with the advertising, marketing industries — They end up blending with each other.
So, the biggest best sellers will most likely have a hit from illegal copiers. Books are still a great business, but hey — An even better business is (usually) movie making. And when you make a movie out of a great story, you will surely link some advertising into it (or at the very least, push advertising/product pushing campaigns to go after it). And there, illegal distribution actually helps the money circle to grow stronger. In the early 1990s, the link between dinosaurs and carbonated drinks was a top seller (because Pepsi™ was a Jurassic Park® sponsor). Although I have always loathed the madness around the World Cups (and basically anything that involves football of any kind), I can perfectly remember several of the theme songs for most of the world cups played during my lifetime.
So, in short... No. Illegal distribution does marginally little harm to the money income to the cultural business, at any level. And where it does get some direct harm, it increases the money flux given the auxiliary channels.
Just saw this ad today at my Institute's door. Rough translation:
Interim programmer sought
- High school
- One year of experience
- Theorical and practical exams on the area
- Familiarity handling electronic equipment, such as computers, perforators/punchers, terminals and similar.
[Yes, this is a joke post. I don't know how anybody is using such an obsolete job description. A job description at least three decades out of date]
[Well, yes, I understand it, because I knowhow that particular union works. But I cannot accept it is for real]
[...And no, please don't apply for the job. You will be miserable in the unlikely event you are chosen]
The third lesson of the «Arte y cultura en circulación: crear y compartir en tiempos digitales» course was quite easy, at least for me, as it's one of the topics I've been involved with for a long time: Authors' rights and ways to exercise them.
This lesson starts by talking about the paradoxes created in the reality beneath copyright mostly due to the zero-cost-for-perfect-copy reality we live in today, and then goes on to introduce the most widely spread licensing schemes for cultural works nowadays: The Creative Commons licensing schemes.
What I felt very interesting is that the lesson tackles the most common issues raised by authors choosing CC licensing: The Non-Commercial and Non-Derivatives restrictions. While authors are usually not very hard to convince about the virtues (and their personal benefit) in CC licensing, it's usually hard for authors to accept and relinquish the "locks" on non-derivability and non-commercial-use.
Now, as to the homework: This time, I have to admit it was a no-brainer to me. The homework was to take part of a "Licenciatón": Publish some work under a open or free license (a work of any kind; it can be text, photo, video, etc.; it can be a new or a pre-existing work) and argue as to why did you choose said license.
Even the act of writing this blog post means I'm releasing some work. The bottom of my blog reads, «All the material found at this site is freely available, and you can use it as you wish, except when the document mentions explicitly different conditions.» Yes, this is not a widely known, preexisting licensing scheme, and more or less goes along the lines of CC0 — There are some good things I have posted in this blog, some things I am proud about. This post goes more towards the average quality: Not adding anything of great value to the world, just reiterating/reposting what is already said. But I know this blog is syndicated over several different places, and its content might be copied over to other places. I don't need to know or be notified about it. I just care for people to be able to reach back if they want to do it.
But, of course, if I'm asked to do a homework, I prefer not to have it so self-referential. What else to license?
We are over halfway across the Wiki Loves Monuments contest for 2013. This year I am clearly not as active on it as I was last year, but yesterday I uploaded about 60 photos from our recent trips, from historical monuments in some towns/cities within ~150Km of Mexico City: Puebla, Tlaxcala, Cacaxtla, Toluca, Santiago Tianguistenco. I intend to upload more. Those photos are licensed CC-BY-SA. Why? Mainly, because it is the defaul for the contest. One of the lessons learned working on Debian is that the less the license I choose deviates from what the upstream authors of a larger project prefer, the more useful my work will be. And being Wikimedia a host of many related projects, I prefer to completely abide by their recommendations unless there is a real, strong reason not to do so.
Also, I know that at least most the photos I am uploading are not of contest quality (although some are quite nice, but we don't take that long to take a shot, and our camera is probably too basic to get a quality shot, if not by mere chance). I am using the WLM contest as an excuse to categorize and upload my pictures — Of course, I'm not including personal photos, but... If I found a building, place or landscape interesting enough to take a photo of, why not make said photo available for whoever needs it, in a canonical, easy to reach media repository (as Wikimedia Commons) is)?
And finally, I think it's time to start getting more open and forward-going with a project that I have been giving a lot of work during the past year, a project that has been even eating quite a bit of my Debian time: My upcoming book. While this book is not yet freely licensed (it is freely distributed online, but does not yet have an explicit license, and I mention it on my teaching/project page. Why? Because it still has some figures and data which are not mine, and which I have to re-elaborate to be able to legally license it.
But anyway — I am writing a book on the subject of Operating Systems, and am basing my teaching on it. The first semester was basically hell for me, as I was working almost full time on it, and needed to allocate some time as well to the rest of my formal work. This second semester has been quite smoother. And there is a very important (to me) initiative to which I (or should I now start saying, we) submitted this work: The LATIn Project: An initiative to collaboratively create quality, freely redistributable text books for the university level, natively in Spanish, for their use in Latin American countries.
I was not able to propose this book due to some formalities — Projects have to be proposed by professors in participant universities, and UNAM is not one of them. However, I offered this work to people in the Universidad Nacional de Rosario, Argentina, and they managed to push the project forward. Together with people from Universidad Autónoma de Aguascalientes (México) and Universidad del Cauca (Colombia), the project was approved by LATIn.
And this LATIn project can also be seen as a why do you agree to license your work this way? candidate: I have already written most of what I'd be happy to call a full book. Of course, I do expect my colleagues to chime in with more content, and I expect us to produce a true collaborative project. But as I am not part of the member universities, they will get paid for their contribution — And not me. What do I have to gain from this?
More than anything else, the circulation of my work. I'm sure that, were I to publish from UNAM, I would have a good projection. I was (am!) thinking of looking for opportunities to present the book to teachers on the subject, as well as to computing engineering/science students, but the most attractive part (for me) for LATIn is that part of the prize will be that the book will be used to base work on for teaching at least during 2014 in the three said universities — And of course, my/our work will only start then, as we will have to further circulate the work.
Anyway... I expected this post to be small. But as you can see, I am happy with important work perspectives :-)
It seems I'm catching up with the pace of this course I'm following and that is compelling me to go back to posting on my blog, «Arte y cultura en circulación: crear y compartir en tiempos digitales».
This week's lesson is (again, in Spanish) «Las fronteras del remix» (the boundaries of remixes). An interesting text, open to everybody (regardless of whether you are signed up for the course or, I hope, whether time has passed since the course took place).
And this week's homework is to find "our favorite" non-original work (I picked one among my favorite works — And, yes, this is partly because I am part of the "club" of deniers of true originality: We cannot create anything without being part of a surrounding culture, without a common heritage and language with which we speak to our audience) and to find something about it, anything considered important or significative as to its antecedents. What do I like about this work, what grabs my attention. Do I consider it to be a true new creative work? Why?
I am taking as an example Leo Masliah, an Uruguayan writer and musician (writer and interpreter). I have followed and enjoyed Masliah's work since 1996, and although by far I'm most familiar with his musical works, I have two books (a novel and a series of short stories). Among his facets, I most enjoy the acid, nihilistic/dadaistic streaks. I chose three of his songs to talk about — I am linking to anonline resource where possible, but uploading the three songs to this blog to make his work better known, so that people understand what I talk about, and with my best intentions. Of course, if there is any request to remove the material, I will do it right away. I hope this can be seen as fair/academic use, although this blog is somewhat widely read.
- La recuperación del unicornio
- This song was in the first Masliah cassette I came across, Although musically it is an original work, the lyrics are a clear, almost line-by-line reply to the ever-repeated Unicornio song, by Silvio Rodríguez. This song (which I'm sure that every Spanish speaker reading this lines knows, like it or not — It defines for me a good deal of Rodríguez hyper-sweetness and clicheness) has been analyzed over and over looking for a meaning. Silvio recorded this song in 1981, and by 1987 Masliah published this answer, mocking each of the lines.
So, this song can be seen as an original creation, as it contains no literal copy neither of the music nor of the lyrics of the original, but it cannot be understood without being familiar with Silvio's lost unicornio. It would just be an almost-dadaistic rant. But every person that has tasted Silvio Rodríguez cloying song will surely laugh with this one.
- No necesitamos otro héroe – Balderrama
- I find this to be a very unique piece. It bonds together Argentinian folklore and USA pop.
Masliah sings the famous Argentinian song Zamba de Balderrama, (Castilla / Leguizamón), a song lamenting that the very popular bar and artist stage Balderrama, in Salta (North-Western corner of Argentina), seemed to be on the brink of closing. Of course, when Martín, Constanza, Regina and me went to Balderrama in July 2010, the danger of closing this place had long been averted. And basically every Argentinian knows this song by heart.
The interesting part is that Masliah sings this song (as he presents it as the closing piece for one of his concerts) being short on time, and decides to present two acts together: Zamba de Balderrama and We don't need another hero, by Tina Turner, from the Mad Max soundtrack. So, of course, even if it's obvious that Masliah had to stretch bits to make them fit together, he achieved a very funny, interesting and unique blend of two completely unrelated works. He derives from one as well as from the other, but creates something unique and new.
- Donna Lee
- I was thinking what to write for this assignment , and had already chosen the two other songs. Yesterday, we were visiting our friends Octavio and Claudia, in Guanajuato, and I heard for the first time the original(?) version of Donna Lee, by Miles Davis (although often credited to Charlie Parker). That led me to remember Masliah's interpretation, in his Clásicos album. This album is basically made up with similar excercises: Taking an instrumental piece, with Masliah singing over it. Some of the lyrics follow the story (i.e. the children stories), others just talk nonsense to illustrate a point (i.e. "La voz del medio", "the middle voice") follows the non-protagonist score trying not to grab much attention to the lyrics but to highlight the often ignored melody)... Donna Lee is just a fun excercise on following the melody asking what was in the head of the author that led him to invent such a strange, hard music.
Masliah is a great music performer, although often it seems he tries to hide it (i.e. by abusing the dissonances, ex-profeso singing off-key, etc), and a very funny and crazy author. Most of his works have a deep satirical tone, and it's common to find either simple winks or complete "borrowings" in a clear remix fashion, but nobody will doubt on the originality of his works.
I signed up to take part of an online, massive course — «Arte y cultura en circulación: crear y compartir en tiempos digitales» (The circulation of arts and culture: Creating and sharing in digital times). As the activities of us the attendees are to be published by each on their personal blog/space, I will be publishing them here. I hope they are interesting to some of my other regular readers.
I am late in joining, and I should already be posting the second activity. Anyway, this text goes towards the first week's lesson: Qué es un autor: la (de)construcción histórica del concepto de autoría (What is an author? Historic (de)construction of the concept of authorship). Our homework is to find an example of a current discussion where the notion of authorship is discussed, and share it this way.
And I'm somewhat in a hurry right now, so this will be hasty. But I didn't want to delay my (late) submission anymore!
In the Debian Ruby mailing list, Hleb Valoshka asks basically how deep should copyright recognition be. Because, yes, while copyright attribution is simple (simpler, at least) in literary / artistic works, computer programs (and even more those developed following the Free Software distributed fashion) are harder to properly attribute.
Is a two-line patch to a tens-of-thousands-of-lines project enough to warrant mention in the copyright file? Most of us would agree it is not. Few would contend this were the amount of changes to make up, say, even 1% of that scale of project.
In the coding projects where I am the main author (which, yes, are usually very small — I cannot recognize myself as a good programmer, and the size of my successful works proves me), I try to take care to mention explicitly each of the contributors, even if their contribution is quite small. But were I to lead a larger development work, with enough following to generate on the order of one submitted patch a day, would it make sense for me to follow up with such detail the authorship information?
And as a minor side note: How much does the law require me? A very small patch can fix important functionality issues (think security or performance). If somebody sends a very small patch fixing an intellectually hard to grasp problem... I am sure it should be properly acknowledged!
Anyway, I have to flee now. I am just dropping some ideas on the table. Of course, if anybody is willing to discuss them further, I'm interested in any debate that springs off it!
(Meanwhile... I expect to spam you with this topic a couple of times. But it should not bug you much, as it's one of my usual blog topics!)
As I slowly read my good friends wishing each other a good trip, telling they got home safely, and the IRC channels form thick drops of a bitter-sweet etheral substance, I cannot help feeling DebConf13 is over — For me as well, from the distance. Many friends gave me warm greetings, and without being there, gave me that beautiful feeling of real community that Debian has given me for ten years already, since I met in real-life many of its developers at DebConf3 in Oslo. And –yes, I have stated this far too many times– I have attended every DebConf since (and worked organizing most of them). This year, over 300 people were gathered in Switzerland to enjoy the always most intense weeks of the year.
This year, I was unable to attend due to calendar clashes. Even so, without the stress that organizers have, and thanks to the great work of the always-loved Video Team, I think I was able to be present at more sessions than at in any of the last few years. Oh, and for the readers of this blog who were not there — Do you want to follow what was presented? You can download already the videos for all of the recorded presentations (that were, due to the planned coverage and the manageable size of the Video Team, about ⅔ of the total scheduled sessions). And, as always, I was able to follow many very interesting talks and take part of a couple interesting meetings/BoF sessions. I still have a bit of catchup, partly due to the timezone difference (I was only at one of the sessions during the Swiss morning, at 02:30 local time, the pkg-ruby-extras team BoF).
Anyway... Not being there, I surely was an avid consumer of the photos posted in the DebConf13 gallery, and will surely follow it for some more time as some of you upload your pending material. It was clear from the beginning that, no matter what your definition of consensus is, the chosen venue was beautiful. A beautiful place between the lake and the mountains where our sportiest guys had a very good share of morning runs, cycling sessions, competition sports of different types, outright plain fun for attendees of all sizes and all species...
But, hey, wait! During a chat in the course of DebConf, a friend told me a bit worried that all this beauty and fun might make our dear and very important sponsors they are paying for a geek vacation, is it so? No, not at all. Not by a long stretch. And just looking at those same galleries makes it clear and obvious. After all, it's widely known that Debian is the operating system for the gurus. Simple: It's impossible to have all those geeks without getting amazing work done, in ways that even seem clichés (this last photo had Joey Hess explaining dpkg format version 3.0 (git) ideas, sketched after waking up at 3AM on the first sketching surface available to him). After all, Debian people are famous for their inclination to use any excuse to open their computers and hack away. We can find Debianers hacking in small spaces and also hacking out in the fields. But this time, people were able to hack indoors while enjoying the nature and hack outdoors under a tree. And, yes, one of the things that makes organizing DebConf worth it is, after ≈eleven months having low-bandwidth meetings over IRC, having the opportunity to plan for the next days face to face, in a relaxed but work-full environment.
Anyway, here at home I didn't sit idly just longing over them. How could I? We are just celebrating the Debian Project's 20th anniversary!
http://gwolf.org/content/jonathan-host-and-organizer-rancho-electr-nico">Jonathan, a Debian enthusiast, student at my university, and collaborator for several free software-related collectives in Mexico City, invited me to the celebration at Rancho Electrónico (which I recently mentioned in this same blog). While I was unable to stay for the whole celebration, we had a very good time; I talked about some ways on how to contribute to Debian. Although I didn't have much of a presentation prepared for it, I feel it was successful and interesting for the attendees — I just hope to start seeing some of them get into any of the ways for helping Debian soon. I also stayed as a listener and ocassional commenter for a talk on the Debian Project's history and goals, and to a presentation on a nifty electronic music programming tool called Supercollider (of course, available in Debian).
Now, "regular" life should continue. For some value of "regular".
So... Well, contrary to the popular sentiment in Planet Debian, this year I'm very sorry to inform that...
This is the first DebConf I miss in ten years, so... Yes, it's a big bummer for me. I'm not attending because this year, DebC(amp|onf) coincide with the two first weeks of classes at my university — And as a new teacher, I cannot afford to miss it!
Anyway, but that should not stand in the way to attend a nice Debian 20th anniversary party!
Parties will be held around the world. (Didn't find your city? Plan something and add it *now!*). In Mexico City, the nice guys at the very interesting Rancho Electrónico hackerspace took the lead, and organized the following activities:
Don't you yet know the hackerspace? You should go there! It's in a very centric location, just two blocks West from Metro San Antonio Abad (Juan Lucas Lassaga 114, col. Obrera). And the only two times I have been there, it has been good fun. Surely this Saturday we can have a nice party as well!
The planned activities are from 13:30 to 20:30. See you there!
For all Spanish-speakers that read my blog, specially for the cyclists among you, and most specially for those that dwell in Mexico City's streets: I was recently pointed to a project started inside the Faceboook labrynth by Sandro Cohen, writer and academic: El zen del ciclista urbano.
I met Sandro around twenty years ago. He writes in a very good, simple style. What I didn't know until now is that he has also become an urban cyclism promotor, just as me and many of my friends. In this page he started, he posts snippets on the topic of being an urban cyclist: As of today, he has 44 meditations, each of them a joy to read — And very instructive as well.
Thanks, Sandro, for the great resource!
[update] I always find it... almost funny to read comments by so many people saying they'd rather have a lobotomy than to cycle in Mexico City. Hey! Mexico City is among the best places for cycling! Yes, we have to keep our eyes open and our instincts awake, but... Most of the city's area is flat. Many avenues have wide lanes and span a long distance. And yes, although there are some careless or aggressive drivers, after six years with the joy between my legs I can just say that... things are not as bad as you might imagine. I have very few (thankfully!) bad experiences, and so, so many good ones!
I just came back home from the «Open Repositories 2013» conference, in Charlottetown, Prince Edward Island, Canada; a conference on Open Access publishing, digital repositories, preservation strategies...
It was quite an interesting conference, and gave me the opportunity to meet several interesting people. Mostly worthy of note, I spent some good time with the team behind the EPrints software, which powers my institute's repository, and with whom I expect to do some work trying to get EPrints more in shape to be considered as uploadable to Debian.
I presented a (very non-technical) talk titled RAD-UNAM: Genesis and evolution of a repository administrators group, describing the experiences we have had at our group in UNAM setting up a federated repository (link to the talk in the OR2013 site).
It was a very good experience as well as a nice trip. Oh — And if you come over to my blog, you will see here the photos I took during the week of a very nice, little Canadian city.
I found the following news item; if you can read Spanish, you will most probably prefer the original version in the Proceso magazine's site. The subject? The federal police (PGR) and army arrest 17 artisans for «making money out of» Spiderman.
The following translation is mine. Done past midnight, and being quite tired, and translated so this news item can reach a broader audience. All errors are mine (except those carried out by the security forces, that is).
June 13, 2013
Cuernavaca, Morelos. Policement from the General Republic Attorney (Procuraduría General de la República, PGR) and the Army entered and searched the "3 de mayo" neighbourhood, in the municipality of Emiliano Zapata, detaining 17 ceramist artisans that sold candies, dolls and piñatas shaped like Spiderman.
This search was done on the evening of last Wednesday, around 16:00. Federal ministerial policement and army soldiers closed a street with several informal stores and detained workers taht were selling this Marvel Comics character, following said company's denounce.
As a result for this operation, 17 artisants were detained, although the same day five of them were freed. The policemen also seized 12 bags of candies, piñatas, ceramics and wooden figures of the superhero.
PGR closed down 11 stores where ceramics with this same figure was being sold, accusing the detainees of plagiarizing Spiderman's image, protected under the copyright law.
The 12 that remained under detention were put at the Federal Justice's disposal, which prompted that this Thursday, around 10AM, hundreds of sellers of "3 de mayo" went out to PGR's building to demand their friends' freedom, who are facing a bail of up to 200,000 pesos (~USD$18,000).
Outraged because –they said– they were treated as if they were part of a drug ring, hundreds of artisans closed intermitently Avenida Cuauhnáhuac, where the PGR representation in Morelos state is located.
The artisans' pressure helped for the amount of the bail to be lowered from MX$200,000 to MX$16,000, and so they were set free.
Francisco Fernández Flores, president of the Ceramists Association, criticized the operation because, he said, it was as strong as if they were "drug dealers".
The artisans explained that they don't even make the Spiderman figures, they are made by the interns of the Centro Estatal de Reinserción Social de Atlacholoaya (prision), located in the Xochitepec municipality, who offered them to the ceramists so they could be sold.
"The Atlacholoaya inmates do them, we buy them to support them, and turns out we are the delinquents now", said Miriam Monroy, sister of one of the detainees.
This information was contradicted by Jesús Valencia Valencia, responsible for Morelos' state prision system, who assured that in said prision no ceramics are done.
Fernández Flores insisted though that from within the prision they are being offered piñatas, candies and "piggy banks" with Spiderman's shape.
José Luis Pozo, vicepresident of the Ceramists Union, said that to avoid more such federal operations for copyright breaches, they have committed not to produce or commercialize Marvel superhero figures, and any other characters the authority demands.
"We do commit to, from now on, those products singled out to us will not be commercialized", he said.
Pozo said that the PGR operation caused losses not just to the detained producers and salesmen, but to over 200 ceramists that had to close their stores in solidarity with their friends.
Acording to the artisans, the products were a success until the PGR came, seized the products and detained the salesmen.
And yes, the copyright insanity does not stop. Spiderman is by today a clear part of popular culture. Marvel brilliantly succeeded in creating such a popular icon that everybody recognizes, that everybody identifies with — And that everybody should be able to recreate.
We are not talking about brand protection. Marvel does not, and will never, commercialize piñatas, ceramics or wooden toys. And even if they were plastic-cast — While Spiderman is still under the protection of copyright, as the Berne Convention defines it (and of course, as the much stricter Mexican laws agree), that does not mean that any and every product resembling a Spiderman should be protected. Many ceramists and piñata makers will create unique pieces of art — Ok, handicraft. But reading the copyright law more strictly, Spiderman is more treated as a trademark than as a copyright. And it is a trademark that should be declared as having passed on to the public domain.
I like Drupal. It's a very, very flexible CMS that evolved into a full-fledged Web development framework. Mind you, it's written in PHP, and that makes it a nightmare to develop for (in ~6 years I have used it for all of my important websites I have only got around to develop a set of related modules for it once).
PHP programming sucks and makes my eyes and fingers bleed, but happily there are people who disagree with me — And they tend to write code. All the better!
Minor upgrades with Drupal are quite easy to handle. Not as easy as I'd like (i.e. whenever I upgrade the core system or a module, I have to log in as
root^W admin^WUser #1 to ~15 different sites and run http://someurl/update.php — It very seldom causes any pain.
The updates that have to be run via this URL are usually on the database's structures, so I understand they have to be started (and watched) by a human. And yes, I know I could do that with Drush, the Drupal shell, but it is not very friendly to Debian-packaged Drupal... But easy enoguh.
But major updates are a royal pain, and they usually amount to quite a bit. First, disable all of the modules and revert to a known-safe theme. Ok, it makes sense. Second, check whether the modules exist for the newer version (as they won't work — Drupal changes enough between major versions that not only it's API-incompatible, I'd classify it as API-unrecognizable). Ok, all set? Now for the live migration itself... It has to be triggered from the browser.
So yes, I am now staring at a window making clever AJAX status updates. I am sitting at 46 of 199, but following the lovely ways of programmers, it's impossible to forsee whether update #47 will just be an UPDATE foo SET bar=0 WHERE bar IS NULL or a full-scale conversion between unspeakable serialized binary structures while rearranging the whole database structure.
And yes, while the meter progresses I stand in fear that update #n+1 will bomb giving me an ugly red error. I must keep the magic AJAX running, or the update might be botched.
And, of course, the update has sat at #69 all while I wrote the last two paragraphs. Sometimes the updates can progress after an interruption... And it seems I have no choice but to interrupt it.
/me crosses fingers...
[update] Wow... I am happy I got bored of looking at the meter and decided to write this blog post: After several minutes, and just as I was about to launch a second update session (130 updates to go), the meter advanced! I'm now sitting watching it at #75. Will it ever reach 199?
[update] And so it had to be... At around 115, I now got:
*sigh* The update process was aborted prematurely while running update #7000 in biblio.module...
Wouter still does not like the 3.0 (quilt) packaging format. And as he writes on his blog, I shall answer on mine.
And what if one of the blogs becomes unreachable with time? Aha! That's one of the weaknesses, Wouter, on yuor closing comment:
I have all my packages stored in git with a proper Vcs-Git: header; if people really want to look at individual patches, they can just use debcheckout, kthxbye.
I am aware this would not be so much of an argument, or so much of a change. But the way I view a shipped package is that it should, by itself, be as a snapshot with its whole, full description. Say that three years from now Apple has scrubbed your brain and you went to work with them. And you decided to pull all of your non-iOS repositories. They have convinced you working for Debian is bad for mankind. So you erase all of your Git repos, including those in Alioth or whatever.
But Debian Wheezy has some of your packages. And three years from now, I decided to be the maintainer.
So, having fully commented and individually marked patches is a sort-of-way to avoid a situation akin to the tentacles of evil.
Now, it's not that I'm criticizing your workflow. I have sen many ways to manage patches in quite a natural way, and I undestand it might be way easier when dealing with complex packages (FWIW I usually deal with very little complexity). Still, it is an argument.
Some weeks ago, I contacted Rosa Martínez, a tech journalist with some questions regarding what I regarded as a trick interview with an e-voting salesman. Well, not only she offered me to publish an answer to that interview, but she also offered me to write another article on a second site she also works with.
So, I accepted. Being quite time-deprived, although I managed to send her the first answer quickly, by April 22, I only sent the second article yesterday night.
Anyway, the links. The texts are published in Spanish:
- Lo que muchos no saben del voto electrónico — The interview intervened :-) Published in Oh My Geek!, a Chile-based technology news site. Local copy of the same article in my blog also available.
I answer to the same questions that were presented to Edgardo Torres, General Manager for Scytl Latin America, basically explaining why the arguments the voting machines sellers are pushing are flawed.
- Voto electrónico: Es cuestión de confianza was published in MoofMonster; I understand MoofMonster is based in Costa Rica, and is also a technology blog. The content is –again– copied over and posted again locally at my blog. This is more of a free-form article, where I compare two elections that were very close calls (Mexico and Venezuela), one with paper-based voting, the other with electronic voting, pointing to the fact that having a set of computers totalizing the votes does not gain any confidence from the voters (nor should it).
Last Saturday, I was invited to talk about Debian to Hackerspace DF, a group that is starting to work at a very nice place together with other collectives, in a quite centric place (Colonia Obrera). I know several of the people in the group (visited them a couple of times in the space's previous incarnation), and wish them great luck in this new hackerspace!
Anyway — I was invited to give an informal talk about Debian. And of course, I was there. And so was Alfredo, who recorded (most of) it.
So, in case you want to see me talking about how Debian works, mostly on a social organization level (but also regarding some technical details). Of course, given the talk was completely informal (it started by me standing there, asking, "OK, any questions?"), I managed to mix up some names and stuff... But I hope that, in the end, the participants understood better what Debian means than when we started.
Oh, and by the end of the talk, we were all much happier. Not only because I was about to shut up, but because during my talk, we got notice that Debian 7.0 "Wheezy" was released.