Archive for May 2013

Jacques Demy: I’ve always loved the history of Nantes (Fr), I liked its violence, its passion

May 29, 2013

“In Nantes, I have seen great changes. The war for example (…). Then after 16 years, I found love in Nantes. There I’ve also discovered cinema. There I have had the great impact that makes me love this city, and want to film in it. ”
Jacques Demy

Jacques Demy (1931, 1990) was born in Pontchâteau (near Nantes, Fr) and spent her childhood in Nantes.

Demy’s Home : 9 quai des tanneurs in Nantes

29 mai 2013
Jacques Demy’s father hold a garage and his parents’ apartment was just in front of the garage.

It was located on the ground floor in a small building with openings surrounded by brick. There was only a compound
dining kitchen and a bedroom. Not to mention the loft above, of which we still see the opening in which “Jacquot” rose with a ladder.

At the back of the court, was the garage with the pits for repairing cars and the fuel pump. The environment has not changed and the apartment of the family as the structure of garage, are still visible.

“Jacquot” spent much time in the attic to play and create cardboard characters that he filmed with his Pathé Baby camera.

Jacques went to Blum school on the other side of the avenue.

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The movie “Jacquot de Nantes” was made during the summer of 1990 by Agnès Varda, Demy’s wife.

Many scenes are shot in the garage. They show the daily Jacquot, his relationship with his parents, visiting family and the next-door girl of his dreams.

“There was a chance to turn the real garage of the family Demy, quai des Tanneurs, with the apartment in the open hallway as it was. We just needed to set a ladder to reach the true attic where Jacques did, when he was 12 or 14, its
first tests of puppets and cartoons. ” Agnes VARDA

The film also shows the way of life of Jacques’ family: the many times spent in the kitchen, around the mother and
the room where the four family members slept, the two brothers in the same bed. During the filming, the attic was cleared of all objects that were packed. Under a pile of rubbish, items belonging to the family were miraculously found: projectors which the young Jacques used to light up small puppets, one or two small cardboard figurines and pieces of tiny 9.5 mm films, more or less bent, almost broken.

in this attic Jacques spent all his time for two years at the age of 16 to make an animation movie called « Attaque Nocturne » (“Night Attack”).

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World War II started in 1939 and Nantes is not spared by the German occupation.

Men were mobilized as soldiers but also as laborers to participate in the war effort. Jacquot’s father was requisitioned to a Batignolles factory (Nantes) to make bombshells. He was forced to abandon the garage but returned home every night. The Demy family did not flee the city during the war years.

Life does not stop completely during the war. school goes on. The young Demy and his pals still continue to go to the movies.
From the courtyard of the garage, he will attend the German military parades.
Jacques Demy and his brother will go several times away from the city, their parents judging Nantes
too dangerous.

In particular, they leave Nantes for the summers of 1942 and 1943, and for a longer period after
the bombing, from September 1943 until the Liberation. They will be hosted by a couple of childless clog makers, in La Pierre-Percée near La Chapelle-Basse-Mer (15km from Nantes). This trip also inspired one of Demy’s early short films, a documentary made in 1955: Le sabotier du Val de Loire (the shoemaker of the Loire Valley).

From 27  July 1940 to 2 August 1944, Nantes suffered 28 air attacks. On 16 and 23 September 1943, Nantes got two particularly dramatic airstrikes by American units. The results of these two days was terrible: 1463 dead persons and 2500 wounded victims, 700 houses and buildings destroyed and nearly 3,000 uninhabitable. The number of bombs dropped is estimated between 1000 and 1500 of Nantes. Much of the city center and suburbs are to be rebuilt. Infrastructure port and industrial are heavily affected.
Jacques Demy lived bombing, hidden in an air-raid shelter. He was then 12 years old. this event marked in life, raising deep in his mind, the dream of an ideal life.

“I’ve always loved the history of Nantes, I liked its violence, its passion. And I experienced these when I was small, first in 1936 when I saw the first signs of the crowd against authority. Then it was the war and I think that, when I was 12, getting on the head the bombing of 16 September 1943, I had a as a warlike, dantesque and abominable vision of Nantes. And then it happened again in 1955. And it is in Nantes I lived the most extraordinary moments of my life, my whole family is there, I lived there deaths, marriages. All these essential things happened in Nantes, and this is what explains my film (Une Chambre en Ville), absolutely” Jacques Demy

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In 1853 the first bullfight took place in France

May 29, 2013

In 1853 the first bullfight took place in France.

A poet has made the report in a newspaper.

This poet is Théophile Gautier.

this is what he saw:

“All the golden world of the bathing season was there. Bagneres Barrèges, Luchon, Eaux-Bonnes, Cauterets, Biarritz had provided their quota, the hotels were full, all the rooms were made available – a lot of people slept in their cars-other had stables for shelter or stables. -A young diplomat of our friends and gave us his address: First haystack fourth cow right. ”



building a unique programming language for online warfare, what HTML is to the web

May 28, 2013

Today, destructive cyberattacks — ones that cause servers to fry, radars to go dark, or centrifuges to spin out of control — have been assembled by relatively small teams of hackers. They’re ordered at the highest levels of government. They take months to plan. Their effects can be uncertain, despite all the preparation

the Pentagon’s top technologists have been working on a program that will make cyberwarfare relatively easy. It’s called Plan X

“Plan X is a program that is specifically working towards building the technology infrastructure that would allow cyber offense to move from the world we’re in today — where it’s a fine, handcrafted capability that requires exquisite authorities to do anything… to a future where cyber is a capability like other weapons,”

“A military operator can design and deploy a cyber effect, know what it’s going to accomplish… and take an appropriate level of action.”

In most video games, players amass bullets, gold or some other kind of resource that they then expend to help them advance through the adventure. The same principle applies to the numbers affixed to the weapons packages here. “Maybe some technologies were more expensive to develop. Maybe it’s more risky or controversial,” “Maybe we spent $5 million building X, and if we use it, there’s a 50% chance we might lose it.”  The numbers are meaningless for now; they’re just meant to convey that there’s some cost attached to every cyberattack. for example, a weapon package called Sonic Boom costs him 10 points.

every time a war plan is made in the human to machine interface, it’ll compile a custom-made software program. Then it will be error checked, and pronounced ready to deploy. Push-button cyberstrikes. The attack is planned, and ready to commence.

Portland, Oregon-based Galois, Inc. did some research into a unique programming language for online warfare — what HTML is to the web, this language might be to cyberattack.

The U.S. government, according to several published reports, is already the biggest buyer of malware that takes advantage of previously unknown computer vulnerabilities.






home sensors controlled by a free Web tool: IFTTT (“If This Then That”)

May 28, 2013

A techie’s San Francisco home has its own Twitter feed

in the corner of the (Coates’) living room you’ll notice something odd: a sensor, sticking out of the dirt, that’s connected to a little box. The sensor monitors a plant’s moisture, and the box transmits readings wirelessly to the Internet; it is just one of numerous Internet-connected devices in Coates’s home, which help keep an eye on everything from how warm it is to whether someone is currently in the living room.

Coates has programmed these sensor data to run the house’s very own Twitter feed. The house tweets things like “I just turned on the downstairs lights. It was getting a bit dark.” Or it might tweet “Someone just activated the Sitting Room Sensor so I’m pretty sure someone’s at home.”
As interest grows in the “Internet of things”—the idea of adding network connectivity to all sorts of normal objects—everything from desk lamps to ovens may soon come Internet-ready.

Coates relies heavily on a simple, free Web tool called IFTTT (“If This Then That”), which allows users to set automated online actions in response to specific triggers—such as sending an e-mail
IFTTT is used to turn the light on in Coates’s home office at sunset, and tweet about various goings-on
“It’s almost like the house has become a sort of pet I look after, and it expresses that being-looked-after-ness back to me,” he says. “It’s like a Tamagotchi or something.”


trading a famous painting through tax havens go-betweens may be expensive

May 27, 2013

Former director of the Pompidou National Museum of Modern Art – Centre (Paris), the historian Werner Spies, 76, is internationally recognized as an expert of the work of Max Ernst.

On may 2013, He was sentenced by a French courtship. He is alleged to have authenticated a painting by Ernst, Earthquake, which proved to be a fake.

The painting was sold on 22 September 2004 by Jacques La Béraudière, a French art dealer based in Geneva. The complainant, Louis Reijtenbagh  bought it via a cascade of companies: Lontel Trading SA, domiciled in Panama for the gallery, and Minneba Ltd. Cop , registered in the British Virgin Islands for the buyer. The latter had been renamed Monte Carlo Art SA, of which M.Reijtenbagh is the sole shareholder.

It is undoubtedly this confusion that led the court, which condemned “in solidum” Jacques La Béraudière and Werner Spies to pay 652,883 euros to the complainant.27 mai 2013

(Max Ernst; Le Tremblement de terre (Earthquake) from “Histoire Naturelle”; 1926)



Vivaldi, Venice, 1715, a sonata at the Pieta: in the first few bars, first Pelegrina comes in with the Oboe, then Prudenza and then Lucieta, they are all stars

May 26, 2013

In picture of the “Partenza del Bucintoro” by Antonio Stom, the Pietà of Venice is perfectly shown,
which is the large red building in the centre of the painting. The main door is that of the
church. Beside the Pietà to the left is a row of shops, among which is a chemist, a hat shop, a pork butcher, and a dry cleaner. This is the scene that Vivaldi was familiar with in his lifetime

26 mai 2013(ANTONIO STOM ; La partenza del Bucintoro; post 1729?; olio su tela, 132×265 cm)

What was the Pietà?

It was an institution for unwanted and abandoned children. Known as “Ospedale della Pietà”. “Ospedale” in this sense is Hospice, and not “Hospital”. In Venice at the time of  Vivaldi were four main “Ospedali”:

– the Mendicanti, being the biggest which was for the poor, war wounded, the homeless, and the nobility who had fallen on hard times,

– the “Ospedaletto” for orphans,

– the “Incurabile” for those with incurable diseases

– the Pietà.

Babies would be put in a niche in the wall called the “Scaffetta” by the mother,  relative, parish priest who had found a baby left on the roadside. The child was sent either into the country or in Venice, to be brought up by the whet nurses that the Pietà employed, and then returned to Venice after several years, to start life at the Pietà.

The boys were separated from the girls, and then left at the age of 16, having been trained in skills such as stone–cutting, cotton–beating and weaving, in preparation for a job in later life.

The women had three options, to become nuns, but few entered into convents,  marriage, or to live at the Pietà all their lives. The majority, stayed.

They were well looked after, had food and a roof over their heads, but they were put to work.

Inside the Institution, the woman were in two categories:

– the musicians, known as the “Figlie di Coro”,

– and the non–musicians, the “Figlie di Comun”, who would do the sewing, embroidery, silk and cotton weaving, and take care of various tasks in the institution, they would then sell the work they produced.

The musicians were the elite of the Pietà. In Vivaldi’s day there were 60 or 70 in the  Coro. They however also worked and earned their living always within the Institution, they had their own separate rooms and apartments. On of the most lucrative sources of revenue, was to have a “Figlia in Educazione”. The Rich and noble families of Venice and Italy would send their daughters to been educated, at the Pietà, and whom ever received these Children had the title of “Una Figlie Priviligiata”. There were only 14 from the Coro, and ten from the Figlie di Comun who were allowed this privilege.

The head of the household was the Priora, who was in charge of everything that happened in the Institution. The next senior posts were the two Maestre di Coro, and then the two “Scrivane”, whose responsibility it was to look after all the babies who entered the Pietà, they over saw the whet nurses, both in house, Venice and in the country, paid their
salaries, and were present in any disputes there might have been with parents. A mother or the family could claim their child back at any time.

The Pietà was overall governed by about thirty noble and wealthy Venetians

The Music Room into the Pieta:

in this room Vivaldi gave his music lessons, the Figlie di Coro practiced, and Concerts were given to visiting nobles and Royalty from Italy and Europe. It would have been in this room where the famous Gloria of Vivaldi would have been first heard in practice form by the neighbours. Before finally been performed as part of the Mass in the Chapel. Th eMusic Room was a very large room, with a fireplace, the roof was that of wooden beams, the walls were plain, and at the far
end were 13 wooden steps, restored later into stone, leading to an upper part where the Figlie performed, behind an iron grille, as they did in Church.

Vivaldi first went to the Pietà as Maestro di Violin in 1703. He had a 38 year association with this Ospedale. He had been ordained to the Priesthood in March of the same year, and was given what is known as a “Mansionaria”, which is the duty of saying a specified number of Masses for the soul of a woman named Lugrezia Molin Memo, who in her will, stated that she left 2500 ducets for Masses to be said at the “Altare Privileggiato” of the Church of the Pietà. For this he was paid 20 ducats every few months

One of Vivaldi’s pupils playing his work for violin:

Anna Maria is the Figlia for whom he wrote 37 violin concertos, and two for Viola d’Amore, she was an
exceptional musician, and already when she was 16 he could see her exceptional talent.

The relationship between Vivaldi and some of Pieta women (specially Pelegrina, oboe player and Prudenza, violinist ), was very special.

there was an energy between them that was electric, they recognised in him a musician and composer
of exceptional quality, and he saw the same in them. But it is his sensitivity that is remarkable, which show in his writing for them. They all had the same beginnings, they were all unwanted and abandoned, which in a situation such as this, made them more emotionally vulnerable and sensitive, and Vivaldi had understood this, and adapted his
music accordingly.

Playing the sonata that Vivaldi writes for Oboe, Violin, Organ and Salmoè (a small reed instrument,resembling a small clarinet):

in the first few bars, first Pelegrina comes in with the Oboe, then Prudenza and then Lucieta, but they are given equal importance and time. This shows also in his Concertos for Molti Strumenti, they are all stars.


a dead SSD is a dead SSD

May 25, 2013

“I’ve encountered a few failed (or failing) hard drives in my day, but all of them were traditional, mechanical models. In most cases I was able to rescue my data using various conventional methods: booting from a Linux flash drive, pulling the drive and connecting it to another PC, and so on.

“But for the most part, a dead SSD is a dead SSD. If you’ve ever had a flash drive go bad on you, you get the idea. It’s not just corrupted data, which is often recoverable; it’s simply a hardware failure. And unless you’re willing to pay for a professional data-recovery service , you’re outta luck.”

“That’s why I make this recommendation to anyone using an SSD for the first time: Make regular backups. Keep an external hard drive on hand for local archiving, and take advantage of cloud services for secondary protection”