あゆむ

還暦マン.ベースマン.weekend trackmaker. Youtubeチャンネルつくりました.

[あゆむ @ayumusic]

Have you heard ‘ayumusic playlist’ by @ayumusic on #SoundCloud? #np https://t.co/rbEu6op2wJ

[あゆむ @ayumusic]

VIVANTとかコナンとか東野圭吾とか、殺人や暴力をテーマにした���ィクションがどうしても楽しめない。周りにこれを告白することもできない。自分が変わってるのだろう。

[あゆむ @ayumusic]

素晴らしい😀

[Happytogether @ChonlozB]

Paris, 1962 — Five timeless icons at one imagined café table: Sophia Loren, Audrey Hepburn, Brigitte Bardot, Grace Kelly and Elizabeth Taylor. ✨ Five legends, five styles, one unforgettable Golden Age of Hollywood moment.

[あゆむ @ayumusic]

勝間さんが何かのYouTubeで言ってたこと参考になる。スマートウォッチは右手にはめるとか商談や打合せは許可なんかなくていいからボイスメモから即文字起こしとか。

[あゆむ @ayumusic]

診断士試験3回目行ってきます！

[UNIVERSAL MUSIC JAZZ @UNIVERSAL_JAZZ]

【ドミ＆JD・ベック】
✍️Everything Jazz
コラム：沈黙を破り届けられた、ドミ＆JD・ベックの予測不可能な傑作『Who Asked?』
https://t.co/hhOJgc4XqX
#DOMiAndJDBECK

[Camus @newstart_2024]

79 years old today. “If you rest, you rust.”

Arnold Schwarzenegger says retirement is when body and mind start heading south. The real danger as you age is sitting still. Work forces the opposite, early call times, rehearsals, fight scenes, long days on set. You finish exhausted, sleep, and do it again the next morning.

The brain needs the same treatment. Memorizing pages of dialogue, playing chess between takes, constant challenge so nothing slips. Keep moving. Keep pushing yourself. That’s the whole game.

Happy birthday to a man still proving it.

[あゆむ @ayumusic]

もうどうなってもいい

[あゆむ @ayumusic]

コンタクトをネットで買って便利だけど、たまには眼科検診に行こうと思って予約しようとしたら理由なく断られた。眼科とレンズメーカーの癒着の闇を見たかな。

[あゆむ @ayumusic]

ドミ&JDベックの新譜聴いた(とりあえず配信)
壮大なオペラみたい。アルバム全体が一つの塊になって迫ってくる感じ。これだけ歌って演奏してライブで再現出来るのだろうか。管楽器の温かい音が全体に流れていて心地よい。ゲストに頼らず本気だね。スピーカーから聴きましょう♪

[a_KatzeMeister @KatzeATL900]

音楽をやる人ですか？ごめん…この方が誰だが知らないで言います。

少し落ち着いて考えて欲しい。

音楽に政治を持ち込むのと、社会問題を取り込むのと、その2つは違うと思います。昔から社会問題に語りかける歌はあります。それは人の苦しみであったり、人に訴えたい事があるから出てくるのです。共感を得る為に。でも政治や政治家に対してそれをやれば必ず反対する人が現れる。その政治を支援してる人もいるのですから。

トランプ大統領へのヘイトソングを歌う人と、生活が苦しくて…というのを歌う人、これは全く毛���が違うと思います。

「音楽に政治を持ち込むな」は、政治を音楽に持ち込んだアーティストがいたからそんな発言が出て来るのでしょ？その逆は無いかと。

だからあなたの言ってるの事は単なる屁理屈だと思う。

それから政治と宗教の話は知らない人の前で��しない…はマストのマナーですよ。

何故ならその二つは常に戦争を招く要素なのだから。

[西牟田靖@国境の両側を歩いた保守現実派 @nishimuta62]

今年のフジロックを覆った「FREE PALESTINE」の合唱と国旗の波。私がそこに強烈な不快感を覚えるのは、それが平和への祈りではなく、グロテスクな「うわつらな正義」の消費に過ぎないからだ。
​もちろん、戦禍で犠牲となるパレスチナの人々への深い同情はあるし、この凄惨な戦争が一刻も早く終わってほしいと願う気持ちは私にもある。パレスチナの旗を���ることイコール、ハマス支持だと単純化して叩くつもりもない。
​しかし、モグワイがステージに国旗を掲げ、マッシブ・アタックが監視社会を批判し、ニーキャップがテロを想起させる目出し帽姿で煽動する。彼ら海外アーティストが持ち込んだ政治的な踏み絵を、観客は無邪気に有難がってい���。
​だが、今回の戦争の引き金がイスラエルの「音楽フェス」でのハマスによる無差別虐殺であるという事実から目を背けてはならない。フェスでの惨劇を完全に黙殺し、同じエンタメ空間で当事者側の旗を振りかざす想像力の欠如はあまりにも異様だ。
​マッシブ・アタックが批判するインフラの恩恵や、日本の「安全なぬるま湯」にタダ乗りしながら、遠くの紛争を「反体制の小道具」として消費する。この軽薄な「平和ボケ」こそ、真の平和や当事者のリアルな痛みから最も遠い残酷な現実を示している。

[石戸諭『「嫌われ者」の正体』発売中！ @satoruishido]

辺野古転覆事故が大きく動いた。難しいかもしれないけど捜査はしたほうがいい→ https://t.co/9Rge0sAbIA

[あゆむ @ayumusic]

マッシブ・アタック、90年代から聴いてるけど、彼らの政治的メッセージは自分たちの音楽の興奮度を最大にするために発してるだけで、世���を変えようなんて全く考えてないと思うけどね。

[あゆむ @ayumusic]

@threenotes_jp パクチースープの素

[あゆむ @ayumusic]

@nikutaberuru 発電できるよ

[あゆむ @ayumusic]

ロン・ウッド���キース・リチャーズのカットギターがリアルに聴こえてきて、やっぱ贅沢なやあー

[あゆむ @ayumusic]

中森明菜、今からでも幸せになってほしい、本物の歌姫❤️

[Millie Marconi @MillieMarconnni]

A Japanese engineer invented the QR code for one job, tracking car parts on a Toyota line, then his company chose to give the patent away for free, which is the only reason it ended up on every restaurant table on Earth.

His name is Masahiro Hara. The company was Denso Wave, a parts supplier owned by Toyota.

In 1992 the problem landed on his desk, and it was not glamorous. Workers on the factory floor were drowning.

Every car part had a barcode, but a barcode can only hold about twenty characters, so to track one component they had to stick five or ten barcodes on it.

A worker would stand there scanning a single part ten times in a row. Some of them were scanning close to a thousand barcodes a day. The job had stopped being about building cars and turned into pointing a scanner at stickers all day long.

And there was a second problem nobody upstairs cared about. This was a factory. Oil got on everything. A smudge of grease across a barcode and the whole thing became unreadable, and the line stopped.

Hara was asked to make the scanner faster. He looked at it for a while and realized the scanner was not the problem. The barcode itself was the ceiling. A line of black bars can only hold information going one direction, left to right.

He decided to build something that held information in two directions, up and down as well as across, so it could store hundreds of times more in the same little square.

Then came the part that sounds made up but is not.

Hara played Go on his lunch breaks, the old board game with black and white stones sitting on a grid. He was staring at the board one day and it clicked.

The grid of black and white stones was already a way to store information in two directions. That was the shape of his code.

But building the code was the easy half. The hard problem was speed, because the whole point was to be fast, and a scanner wastes most of its time just trying to figure out where the code is and which way it is turned.

The fix came to him on a train. He was looking out the window at buildings, and one building stood out from all the others because of its shape against the sky. That was the idea.

He put three little square targets in three corners of the code. The moment a scanner sees those three squares, it knows instantly where the code is and how it is rotated, even upside down, even at an angle.

Now here is the detail that shows how far he was willing to go. Those three corner squares only work if nothing else on the page looks like them.

If a magazine ad or a cardboard box happened to have the same black and white pattern nearby, the scanner would get confused and grab the wrong thing.

So Hara and his tiny two-person team went and surveyed printed material. Magazines. Flyers. Cardboard boxes. Piles of it, for days, reducing every picture down to its ratio of black to white area, hunting for the one ratio that almost never shows up in print anywhere. They found it. One to one to three to one to one.

That exact rhythm of black and white is baked into every corner square of every QR code on Earth, and it is there because it is the pattern the printed world almost never produces by accident.

Then he solved the oil.

He built the code so it carries a backup of its own information, spread mathematically across the whole square. You can tear off, smudge, or scratch out up to thirty percent of a QR code and it still scans perfectly, because the code rebuilds the missing piece from the copy it kept of itself.

A worker could get grease on a third of the label and the line would keep moving. This is the same math that lets a scratched CD still play and lets a spacecraft send data back across the solar system without asking to repeat itself.

He finished in 1994. He named it Quick Response, after what it does for the person using it, not after what it is.

And then Denso made the decision that actually mattered.

They held the patent. They could have charged a fee on every single scan, and given how many billions happen now, that would have made someone unimaginably rich.

Instead they announced they would not enforce their rights to collect royalties, and they published the specification openly so anyone could use it. Hara later said it was not even a big argument inside the company.

That one choice is the whole story. A code that costs nothing to use is a code everyone builds on. Airlines put it on tickets. Phone makers built readers into cameras.

Then a pandemic hit and the world needed a way to hand someone information without touching anything, and the free little square that a Toyota engineer built for greasy factory workers was suddenly on every menu, every payment, every door.

Hara still works there. He has said, more than once, that he never imagined it would spread this far, and that the part he is proudest of is that it got used to keep people safe.

The man built it to survive oil on a factory floor. It ended up surviving everything else too.

You have scanned his work a hundred times this year. Now you know whose it was.

[あゆむ @ayumusic]

神話の掟──ザ・ローリング・ストーンズ「Foreign Tongues」批評｜みの @lucaspoulshock https://t.co/TmkHv4VE0F

[あゆむ @ayumusic]

ストーンズの新譜、むちゃいいじゃん。勇気100倍💯