I've never really liked it when people use the word "ye" to mean "you"... it means "the".
Yes and no. "Ye" was a second person pronoun for quite a long time in English besides being sloppy typography for "the". The King James Bible seems to use "ye" in both ways.
That said, I don't _plan_ messages or obfuscate them, so "overflow" might
well be part of the message just because it simply describes the fix. So
I'm not claiming that the messages can never help somebody pinpoint
interesting commits to look at, I'm just also not at all interested in
doing so reliably.
He doesn't believe in obfuscating changelogs, just not filling them with security information making it easy to find vulnerable kernels.
The GP is serious. As of KDE 3.5, KPDF has a GUI option to disable DRM. Before that, DRM was only a compile-time option ("--enable-kpdf-drm", on by default). The documentation even notes that the option to enable DRM "is not available" "in some configurations of KPDF".
The distinction here is that UQM is a former commercial product. The original developer and publisher neither support UQM nor make any money from it. Even if Star Control II was a commercial game, The Ur-Quan Masters is not, even though UQM is a port of the 3DO version of SC2.
Re:Anything else out there?
on
The State of X.Org
·
· Score: 3, Informative
Yes and no. Most of the core technology is GPL, but the front-end stuff, and therefore the actual client and server packages, are freeware or commercial. FreeNX is a fully-GPL fork.
If you can get SSH running, you can (with all SSH clients I'm aware of) tunnel a lot of other useful stuff through it. X is the easiest to set up (-X to OpenSSH sets it up transparently), but others are not much harder (e.g. -R :: makes on the local machine behave like on as seen from the remote machine (e.g. your VNC or other remote access server, HTTP proxy; make sure that the password for these services can't be used from "outside"). The local machine can still read your traffic (it goes unencrypted through the loopback interface), but if they can do that, they can probably do screen grabs and suchlike anyway to see what you're doing. However, this should be enough to get a graphical login without divulging (useful) login information.
I guess back in the early nineties most people didn't play music on the PC, but you have to admit that 64KB is pretty darn short. "Music" usually meant FM back then, not PCM, at least on the Sound Blaster. 64 kB is a lot if you only have 640 kB of RAM, so this was only really a problem for Soundtracker-like (.MOD) music formats where the player generated a long PCM stream on the fly from a few brief samples.
I do actually have a reference for the 12-Bit thing. Let me dig it up. Ahh, here it is: http://www.crossfire-designs.de/index.php?lang=en&what=articles&name=showarticle.htm&article=soundcards&page=10 It's a good article about early sound cards. Take particular note to "the ADC could dissolve only 12 bits! Many users could prove this doubt-freely in their attempts, however this has never been officially confirmed." That's the ADC, not the DAC; they're talking about recording, not playback.
While Creative's cards sucked in many ways, they weren't quite that bad.
The original SoundBlaster was basically a copy of the Adlib (a soundcard by a small American company) with digital output tacked on. Problem was the implementation was so broken it was impossible to play back audio without crackles and pops. True. Clarification: the Sound Blaster 1.0 required a new DMA transfer to be started every 64 KB, causing an audible pop while the next transfer was set up. Playing only short sound effects avoided this, and the Sound Blaster 2.0 added support for automatic DMA restarting. Note also that the original Sound Blaster had major problems with DMA sampling rate precision (for example, 22050 Hz came out as 22222 Hz).
The fact that the follow up - the Sound Blaster 16 - was NOT Sound Blaster Pro compatible is a clear indication how murky the SB Pro's underpinnings actually were. Not really true. Although there were the occasional problems, the SB16 was mostly SB Pro compatible in my experience (as in supporting stereo PCM and OPL3 FM synthesis).
Despite what you may believe the SB16 is NOT a 16-Bit soundcard. It can indeed play back 16-Bit samples, but the drivers simply down converts them to 12-bits. Not really. None of the SB16 programming references I can find support this, nor any documentation. That said, with the signal-to-noise ratio on some earlier models, telling the difference could be hard.
that is not mentioning the rather dishonest 64 simultaneous channels claim their marketing department threw about. True, for the AWE64 (an AWE32 with a 32-channel software synth to double the channels). Also, the FM synth was hooked up to two of those 32 channels, leaving you 30 to work with.
The SoundBlaster Live! was not PCI 2.1 complainant. If you somehow didn't know that you had to turn off PCI delayed transactions in the BIOS you would get blue screens every now and then. It also caused disk corruption on Via chipsets. Fun fun fun. Also, the Windows drivers were horribly broken in many ways in my experience. The only way I ever got crackle-free recording in Windows was with the kX Project drivers.
Oddly, the term originated in the name of a porn movie starring Linda Lovelace, and the very first computer programmer was Ada Lovelace, who wrote programs for Charles Babbage's Anylitical Engine, the world's first programmable computer that wasn't actually built until late in the 20th century. Also, both Ada and Linda have programming languages named after them (for a sufficiently broad definition of "programming language").
Centuries of your own culture's actions suggest otherwise, sweetie. Depicting Muhammad seems to be controversial within Islam (with Iranians mostly being laid-back about it). The people complaining are only speaking for their particular brand of Islam, not all Muslims.
I'm still a while away from setting up Dosbox or whatever (not sure if it would even work) but would love to see it on Youtube. Trying it out on DOSBox 0.72, it seems the VGA emulation doesn't handle some of the creative hacking in the sine-scroller near the beginning, and the colour plasma later on; this results in a corrupt display throughout these effects. Otherwise, Panic seems to work fine.
I want to quote this Mihály Csíkszentmihályi person....... but it would be a hell of a lot easier if I had the faintest idea how to pronounce his/her name....
A CD is any plastic disc with pits on a reflective layer physically organized in a manner conforming to the requirements set forth by Philips and Sony. If I buy Britney's latest "CD" at the store, guess what. It really is a CD.
Actually, there is no separate standard for CDs themselves; IEC 908 (Red Book or the revised IEC 60908) specifies the whole thing from physical layer to data format. Similarly, ISO/IEC 10149 (Yellow Book, ECMA-130) specifies CD-ROM, referencing Red Book for audio tracks.
This raises the question of whether the term "compact disc" can be used to describe something that only adheres to part of IEC 908. I think not.
But how do you even get to the <?xml version="1.0" encoding="UTF-8"?> unless you know what encoding you're working with?
Most of the time, the encoding is either ASCII-compatible enough to assume ASCII until you've read the declaration (ASCII, UTF-8, ISO8859-*, and most others), or guess from the fact that non-UTF-8/16 stuff has to start with "<?xml". See Appendix E to the XML 1.1 standard on detecting encoding for details.
Audacious conveniently plays a large amount of console formats out of the box (i.e. with the default plugin set), including NSF/NSFE. While Audio Overload does support a few really obscure formats (WonderSwan!) that can't really be played on anything else on Linux, Audacious supports many more console and old-school computer formats, including SID (Commodore 64), a ridiculous amount of Amiga formats (using UADE) and lots of Adlib formats (e.g. CMF). Audacious also has the advantage of having a large amount of input and output plugins, including I/O of WAV, MP3, Ogg Vorbis and FLAC. Generating an MP3 (or a large bunch of MP3s!) of an NSF is therefore a simple matter of switching the output plugin to FileWriter, telling it to output an MP3 (CBR, VBR, ABR; take your pick) and feeding Audacious the NSF file(s). Feed it properly tagged NSFE files and you get even get properly tagged MP3 files.
While it is true that digital TV cuts out more suddenly, my experience (DVB-T in Finland compared to the old PAL-B/G) is the reverse; where I previously had major problems with ghosting even on the channels that were otherwise OK (and some channels that lost colour and sound quite often, especially in bad weather), the switch to digital left me with more channels and essentially perfect reception (many hours of viewing between brief bursts of distortion). While this could be ascribed to bad analogue receiving equipment, I have heard few complaints here about the signal stability of digital TV.
Now, if Yleisradio (public TV) and the set-top boxes at home could agree on how to handle subtitles (and, generally speaking, the STB manufacturers could get the bugs out of their software) things would be pretty good. In Finland, foreign TV programmes and films are generally shown with subtitles in Finnish (or, in a few cases, Swedish). Lack of or corruption of subtitles seems to be the main complaint about digital TV around here, judging from various discussions and newspaper articles. The (freely available) commercial channels invariably transmit Finnish subtitles as part of the main video stream (like they did with analogue TV) to avoid this problem; Yleisradio is introducing an additional channel that mirrors Yle TV1 but with subtitles as part of the main video (replacing Yle Extra which was an even worse waste of bandwidth due to lack of decent content).
Of course, from an American perspective, I guess subtitles are much less relevant (except for the hard of hearing).
According to the US Copyright Office, "You are not permitted under section 117 to make a backup copy of other material on a computer's hard drive, such as other copyrighted works that have been downloaded (e.g., music, films).". Hmmm. That pretty much blows my argument out of the water entirely as far as the US is concerned. Section 107 could be relevant (especially if you believe the EFF), but the wording is ridiculously vague.
I'm going to shut up now, and I'd like someone who actually know about this to explain to what extent US copyright law allows copying for personal use without authorisation.
Reading up on US law, it seems that I mean US Copyright Law, Section 1008, although I'm starting to doubt whether it actually means what I think it does.
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goto is a reserved keyword in Java, but it is not used in the language. In fact, one of the reasons for it to be reserved is to tell programmers who use goto to stop doing it!
I wasn't even born in the 70s, you insensitive clod!
Yes and no. "Ye" was a second person pronoun for quite a long time in English besides being sloppy typography for "the". The King James Bible seems to use "ye" in both ways.
He doesn't believe in obfuscating changelogs, just not filling them with security information making it easy to find vulnerable kernels.
The GP is serious. As of KDE 3.5, KPDF has a GUI option to disable DRM. Before that, DRM was only a compile-time option ("--enable-kpdf-drm", on by default). The documentation even notes that the option to enable DRM "is not available" "in some configurations of KPDF".
The distinction here is that UQM is a former commercial product. The original developer and publisher neither support UQM nor make any money from it. Even if Star Control II was a commercial game, The Ur-Quan Masters is not, even though UQM is a port of the 3DO version of SC2.
Yes and no. Most of the core technology is GPL, but the front-end stuff, and therefore the actual client and server packages, are freeware or commercial. FreeNX is a fully-GPL fork.
That would still be an improvement over a sequel to this.
If you can get SSH running, you can (with all SSH clients I'm aware of) tunnel a lot of other useful stuff through it. X is the easiest to set up (-X to OpenSSH sets it up transparently), but others are not much harder (e.g. -R :: makes on the local machine behave like on as seen from the remote machine (e.g. your VNC or other remote access server, HTTP proxy; make sure that the password for these services can't be used from "outside"). The local machine can still read your traffic (it goes unencrypted through the loopback interface), but if they can do that, they can probably do screen grabs and suchlike anyway to see what you're doing. However, this should be enough to get a graphical login without divulging (useful) login information.
It's a good article about early sound cards. Take particular note to "the ADC could dissolve only 12 bits! Many users could prove this doubt-freely in their attempts, however this has never been officially confirmed." That's the ADC, not the DAC; they're talking about recording, not playback.
The Linux kernel already has support for adding new executable formats, see e.g. Linux.com: How to launch Windows binaries on Linux directly.
Actually, there is no separate standard for CDs themselves; IEC 908 (Red Book or the revised IEC 60908) specifies the whole thing from physical layer to data format. Similarly, ISO/IEC 10149 (Yellow Book, ECMA-130) specifies CD-ROM, referencing Red Book for audio tracks.
This raises the question of whether the term "compact disc" can be used to describe something that only adheres to part of IEC 908. I think not.
Audacious conveniently plays a large amount of console formats out of the box (i.e. with the default plugin set), including NSF/NSFE. While Audio Overload does support a few really obscure formats (WonderSwan!) that can't really be played on anything else on Linux, Audacious supports many more console and old-school computer formats, including SID (Commodore 64), a ridiculous amount of Amiga formats (using UADE) and lots of Adlib formats (e.g. CMF). Audacious also has the advantage of having a large amount of input and output plugins, including I/O of WAV, MP3, Ogg Vorbis and FLAC. Generating an MP3 (or a large bunch of MP3s!) of an NSF is therefore a simple matter of switching the output plugin to FileWriter, telling it to output an MP3 (CBR, VBR, ABR; take your pick) and feeding Audacious the NSF file(s). Feed it properly tagged NSFE files and you get even get properly tagged MP3 files.
While it is true that digital TV cuts out more suddenly, my experience (DVB-T in Finland compared to the old PAL-B/G) is the reverse; where I previously had major problems with ghosting even on the channels that were otherwise OK (and some channels that lost colour and sound quite often, especially in bad weather), the switch to digital left me with more channels and essentially perfect reception (many hours of viewing between brief bursts of distortion). While this could be ascribed to bad analogue receiving equipment, I have heard few complaints here about the signal stability of digital TV.
Now, if Yleisradio (public TV) and the set-top boxes at home could agree on how to handle subtitles (and, generally speaking, the STB manufacturers could get the bugs out of their software) things would be pretty good. In Finland, foreign TV programmes and films are generally shown with subtitles in Finnish (or, in a few cases, Swedish). Lack of or corruption of subtitles seems to be the main complaint about digital TV around here, judging from various discussions and newspaper articles. The (freely available) commercial channels invariably transmit Finnish subtitles as part of the main video stream (like they did with analogue TV) to avoid this problem; Yleisradio is introducing an additional channel that mirrors Yle TV1 but with subtitles as part of the main video (replacing Yle Extra which was an even worse waste of bandwidth due to lack of decent content).
Of course, from an American perspective, I guess subtitles are much less relevant (except for the hard of hearing).
According to the US Copyright Office, "You are not permitted under section 117 to make a backup copy of other material on a computer's hard drive, such as other copyrighted works that have been downloaded (e.g., music, films).". Hmmm. That pretty much blows my argument out of the water entirely as far as the US is concerned. Section 107 could be relevant (especially if you believe the EFF), but the wording is ridiculously vague.
I'm going to shut up now, and I'd like someone who actually know about this to explain to what extent US copyright law allows copying for personal use without authorisation.
Reading up on US law, it seems that I mean US Copyright Law, Section 1008, although I'm starting to doubt whether it actually means what I think it does.