Those networks that are mac-only are likely small and running on a shoestring budget.
We're not Mac-only (the AutoCAD-using departments require a fair number of Windows boxes), but my college uses ARD with a network of a few hundred Macs, which we spent more than a few shoestrings on. ARD is invaluable, easily worth the price. Heck, it even saved us the cost of a KVM switch (and KVM) for our rack of Xserves.
As an example of how it's more than just a VNC or Windows Remote analog, we recently encountered a bug in the Adobe Creative Suite 2 installer that left all of our student accounts without access to certain features in Adobe Bridge (which were "critical" for one instructor's classes). The fix was to issue some shell commands... which I did to every Mac on our network in a couple minutes, all from my office. The alternative would have been to spend a weekend walking from computer to computer, opening up the Terminal app and typing sudo chmod -R o+rx/Library/Application\ Support/Adobe* and sudo chmod -R o+rx/Applications/Adobe* over and over.
At least they're doing better than the guy I just bought a used Mac Mini from on eBay. A few hours ago, I unpacked it, attached my display/keyboard/mouse, powered it up, and found a PDF of his 1040A and supporting schedules for 2005 sitting on the Desktop. I opened it to confirm it was really what the filename said it wasm, and sure enough: there was his income, the whole family's social security numbers....
For the record, the next thing I did was to shut it down, reboot from the setup DVD, and perform a wipe-and-reload on the hard drive.
1) It's a great fun to be able to get down and dirty with real materials.
charcoal, pencils, ink, etc.
This was one of the things I found most challenging - and ultimately refreshing - when I went back to school to get a BFA. I drew with crayons and pencils and markers when I was a kid, but I'd been a bit-twiddler for ages (going back to MicroGrafx Draw, Mac Paint, and the like). JPEG made me cringe because it was lossy.
But when I started art school, they made me work with vine charcoal. And watercolors. Using real water. And oil paint. While I admittedly never truly got the hang of these media (my oil-painting instructor lamented that I never made much of a mess), it got me to loosen up a lot, and even my digital-media work has gotten more dynamic and expressive as a result.
I'm a former illustration student and current tech support geek for a college of art & design. For our foundation/intro-level courses, computers are deliberately left out of the course work. Drawing I & II, Intro to Graphic Design, Color Theory, etc. are all traditional-media classes, because it trains students to focus on getting ideas out of their heads and into a tangible medium, rather than just twiddling knobs and seeing what the computer does, or (worse) going directly from vague concept to digitally-precise "finished" image without the doodling and sketching phase. Computers can be useful tools for serendipitous exploration and experimentation (the ability to play "what if" without having to redraw everything by hand is invaluable), but they're best used by people who've previously learned to do that sort of thing non-virtually.
I just tried this. Using bzip2 and gzip, the file [of random bytes] ends up bigger when compressed. Any file with enough entropy ends up bigger than the original file.
You've just demonstrated one of the principles of lossless data compression: in the set of all possible files, for every one that get smaller with a given algorithm, there's another that gets bigger. The algorithms we use are those that result in typical files getting smaller, and not bloody likely files getting bigger.
I just fed Diligent Technology some bogus personal data and downloaded their brochure, and as far as I can tell from a quick gleaning, they achieve these impossible compression ratios across multiple versions of the same data set. So your initial full backup will be compressed at mathematically-possible-in-this-universe ratios, and your subsequent incremental backups - which only store the changes compared to the previous backup - will (with typical data scenarios) be much smaller. It's incremental backups on the byte level, basically.
So they're not exactly lying about the compression ratios, they're just redefining the term to describe compression not of data-sets but of data-sets-over-time.
Sure, steps 1-3 are cop-outs, putting it all on someone/something else. That's how they get people to sign up, by giving them a chance to coast through the denial a while longer. The later steps get into requiring the person to take charge of their own life, with some put-it-all-back-on-God steps along the way, to make relapses like that part of the program instead of failures. It's like I've always said about diets: the only ones you'll ever keep are the ones that allow you cheat.
What does it say about our society that I initially parsed "stem cell trial" in the headline as "a court case alleging illegal use of stem cells in research"?
The problem is they charge the same amount for the PDF version. I guess it's not to canabalize sales of the paper versions but $50 for a pdf is stupid.
It's because with low-volume publications like we're talking about, the per-unit cost of printing isn't really the biggest expense. What's expensive are the fixed costs, such as actually researching and writing the book, or marketing it, which have to be spread out over a small number of units. Those apply whether the book is delivered via tree corpses or wave/particles.
I realize this is an alien concept to modr3n warez-traderz, but it's mostly the content you're paying for, not the thing.
The collateral damage of this is frustrating as well. For example, the DNS for Wikitravel.org is hosted by Joker, which frequently made it difficult to access and update the site last week.
The obvious explanation is that the homeless Martians who've been walking up and cleaning off Spirit's solar panels when he stops at intersections have gotten pissed off that he keeps refusing to pay them, so they've started stealing his tires. NASA forgot the first rule of traveling in the developing world: always bring pocket money for tips, bribes, etc.
I don't sell MP3 because I don't sell data, I sell product.
Try substituting "my music" for "MP3" in that sentence.
It's your choice, of course, what you want to sell: products or content. But it sounds like you're suffering from the age-old problem of not selling what your (potential) customers want.
Coincidentally, the late 90s is when my CD purchasing levels sank like a stone, from a high of a several every month to a couple every year or two. It wasn't because I was downloading unlicensed tunez; I went through that juvenile gimme-shit-for-free phase back during the LP-and-cassette era, and had long since outgrown it. In my case it had more to do with a lack of money and a general withdrawl from the world, so I really can't even blame it on the mainstream music industry sucking. (Which of course it does, but it also sucked in 1979.)
The point is that lately I've been buying more music again (maybe ten albums in the past year)... but none of it's been on CD; it's all been online. Now, I'm a technological adept, but I'm also an old fart who learned to dance from a black Michael Jackson and still has 5 shelf-feet of LPs, which I kept buying after CDs came out because I liked the big covers. If I've given up on physical CDs now, I can't imagine the next generation of teenagers buying them at all. As surely as the wax cylinder, the 78, the reel-to-reel, the 8-track, the LP, and the cassette before them, CDs are heading for the scrap heap of history.
Anyway, what's "liberal" about wanting to move copyright law closer to what it was in the Nixon administration?
Nixon went to China!! He created the EPA and OSHA! He supported affirmative action! He was a freakin' pinko!!
What I want is for users who don't sit next to each other to stop assuming that someone else has told me (or will tell me) about whatever problems they encounter. If I had a dollar for every time someone as bitched that "_____ hasn't worked for a week", when no one bothered to tell me about it, I would be able to retire much earlier.
Don't you people realize that this so-called "settlement" is just a trick to enable the courts to collect the names and addresses of people who listen to creatively bland corporate musick?!
Like any tool, the fault isn't the tool but the people using it. I've worked in (and helped design) some "cubicles" that were closer to Propst's vision... less a cubicle farm than a garden. They beat working in a doored, fully-walled office, and definitely were better than what used to come before them (rows and columns of desks, one-room-schoolhouse style).
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We're not Mac-only (the AutoCAD-using departments require a fair number of Windows boxes), but my college uses ARD with a network of a few hundred Macs, which we spent more than a few shoestrings on. ARD is invaluable, easily worth the price. Heck, it even saved us the cost of a KVM switch (and KVM) for our rack of Xserves.
As an example of how it's more than just a VNC or Windows Remote analog, we recently encountered a bug in the Adobe Creative Suite 2 installer that left all of our student accounts without access to certain features in Adobe Bridge (which were "critical" for one instructor's classes). The fix was to issue some shell commands... which I did to every Mac on our network in a couple minutes, all from my office. The alternative would have been to spend a weekend walking from computer to computer, opening up the Terminal app and typing sudo chmod -R o+rx /Library/Application\ Support/Adobe* and sudo chmod -R o+rx /Applications/Adobe* over and over.
Couldn't we argue over something relevant - such as "WOHZ-nee-ak" vs. "WAHZ-nee-ak" - instead?
That's because it's 0, a prerequisite to make 1-9 possible in the long run.
Sure, as soon as Disney gets Plutoland built.
For the record, the next thing I did was to shut it down, reboot from the setup DVD, and perform a wipe-and-reload on the hard drive.
This was one of the things I found most challenging - and ultimately refreshing - when I went back to school to get a BFA. I drew with crayons and pencils and markers when I was a kid, but I'd been a bit-twiddler for ages (going back to MicroGrafx Draw, Mac Paint, and the like). JPEG made me cringe because it was lossy.
But when I started art school, they made me work with vine charcoal. And watercolors. Using real water. And oil paint. While I admittedly never truly got the hang of these media (my oil-painting instructor lamented that I never made much of a mess), it got me to loosen up a lot, and even my digital-media work has gotten more dynamic and expressive as a result.
I'm a former illustration student and current tech support geek for a college of art & design. For our foundation/intro-level courses, computers are deliberately left out of the course work. Drawing I & II, Intro to Graphic Design, Color Theory, etc. are all traditional-media classes, because it trains students to focus on getting ideas out of their heads and into a tangible medium, rather than just twiddling knobs and seeing what the computer does, or (worse) going directly from vague concept to digitally-precise "finished" image without the doodling and sketching phase. Computers can be useful tools for serendipitous exploration and experimentation (the ability to play "what if" without having to redraw everything by hand is invaluable), but they're best used by people who've previously learned to do that sort of thing non-virtually.
Nice try, but that's not a compression algorithm. It's a wrapper for deciding whether to apply a compression algorithm.
You've just demonstrated one of the principles of lossless data compression: in the set of all possible files, for every one that get smaller with a given algorithm, there's another that gets bigger. The algorithms we use are those that result in typical files getting smaller, and not bloody likely files getting bigger.
So they're not exactly lying about the compression ratios, they're just redefining the term to describe compression not of data-sets but of data-sets-over-time.
Actually it was, "All these world are belong to you except Europa. Attempt no set you down there."
A Windows mail client. Very cutting-edge. For 1990.
(Mod parent interesting, please.)
Sure, steps 1-3 are cop-outs, putting it all on someone/something else. That's how they get people to sign up, by giving them a chance to coast through the denial a while longer. The later steps get into requiring the person to take charge of their own life, with some put-it-all-back-on-God steps along the way, to make relapses like that part of the program instead of failures. It's like I've always said about diets: the only ones you'll ever keep are the ones that allow you cheat.
What does it say about our society that I initially parsed "stem cell trial" in the headline as "a court case alleging illegal use of stem cells in research"?
It's because with low-volume publications like we're talking about, the per-unit cost of printing isn't really the biggest expense. What's expensive are the fixed costs, such as actually researching and writing the book, or marketing it, which have to be spread out over a small number of units. Those apply whether the book is delivered via tree corpses or wave/particles.
I realize this is an alien concept to modr3n warez-traderz, but it's mostly the content you're paying for, not the thing.
The collateral damage of this is frustrating as well. For example, the DNS for Wikitravel.org is hosted by Joker, which frequently made it difficult to access and update the site last week.
The obvious explanation is that the homeless Martians who've been walking up and cleaning off Spirit's solar panels when he stops at intersections have gotten pissed off that he keeps refusing to pay them, so they've started stealing his tires. NASA forgot the first rule of traveling in the developing world: always bring pocket money for tips, bribes, etc.
Try substituting "my music" for "MP3" in that sentence.
It's your choice, of course, what you want to sell: products or content. But it sounds like you're suffering from the age-old problem of not selling what your (potential) customers want.
The point is that lately I've been buying more music again (maybe ten albums in the past year)... but none of it's been on CD; it's all been online. Now, I'm a technological adept, but I'm also an old fart who learned to dance from a black Michael Jackson and still has 5 shelf-feet of LPs, which I kept buying after CDs came out because I liked the big covers. If I've given up on physical CDs now, I can't imagine the next generation of teenagers buying them at all. As surely as the wax cylinder, the 78, the reel-to-reel, the 8-track, the LP, and the cassette before them, CDs are heading for the scrap heap of history.
Anyway, what's "liberal" about wanting to move copyright law closer to what it was in the Nixon administration? Nixon went to China!! He created the EPA and OSHA! He supported affirmative action! He was a freakin' pinko!!
What I want is for users who don't sit next to each other to stop assuming that someone else has told me (or will tell me) about whatever problems they encounter. If I had a dollar for every time someone as bitched that "_____ hasn't worked for a week", when no one bothered to tell me about it, I would be able to retire much earlier.
Mod parent up: Informative. This is correct info.
Don't you people realize that this so-called "settlement" is just a trick to enable the courts to collect the names and addresses of people who listen to creatively bland corporate musick?!
Like any tool, the fault isn't the tool but the people using it. I've worked in (and helped design) some "cubicles" that were closer to Propst's vision... less a cubicle farm than a garden. They beat working in a doored, fully-walled office, and definitely were better than what used to come before them (rows and columns of desks, one-room-schoolhouse style).