Commit into repository
Maybe I want to use the Markdown files in ./_posts for use in another Static Site Generator.master
Tony Chen
commit
3cd581a697
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# Ignore docs files
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_gh_pages
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_site
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.ruby-version
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.sass-cache
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# Numerous always-ignore extensions
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*.diff
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*.err
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*.orig
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*.log
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*.rej
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*.swo
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*.swp
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*.zip
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*.vi
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*~
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# OS or Editor folders
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.DS_Store
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._*
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Thumbs.db
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.cache
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.project
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.settings
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.tmproj
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*.esproj
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nbproject
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*.sublime-project
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*.sublime-workspace
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.idea
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# Komodo
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*.komodoproject
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.komodotools
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# grunt-html-validation
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validation-status.json
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validation-report.json
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# Folders to ignore
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node_modules
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@ -0,0 +1,10 @@
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---
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||||||
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layout: default
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title: "404: Page not found"
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permalink: 404.html
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---
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<div class="page">
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<h1 class="page-title">404: Page not found</h1>
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<p class="lead">Sorry, we've misplaced that URL or it's pointing to something that doesn't exist. <a href="{{ site.baseurl }}/">Head back home</a> to try finding it again.</p>
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</div>
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# Released under MIT License
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Copyright (c) 2013 Mark Otto.
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Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the "Software"), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:
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The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.
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THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.
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# ~rogbeer
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The files from this repo come from the theme [Poole](https://github.com/poole/poole)
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and from running the following command(s):
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```
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#!/bin/bash
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JEKYLL_DEST="$HOME/public_html"
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jekyll build -d $JEKYLL_DEST
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```
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# Permalinks
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#
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# Use of `relative_permalinks` ensures post links from the index work properly.
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permalink: pretty
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# relative_permalinks: true
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# Setup
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title: What does ~rogbeer put here?
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tagline: That which probably doesn't fit anywhere else on the Internet
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url: http://tilde.town
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paginate: 1
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baseurl: "/~rogbeer"
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# Assets
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||||||
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#
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# We specify the directory for Jekyll so we can use @imports.
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sass:
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sass_dir: _sass
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style: :compressed
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# About/contact
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author:
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name: Tony Chen
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url: https://phtan.github.io/
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email: phtan90@gmail.com
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# Custom vars
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version: 2.0.0
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github:
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repo: https://github.com/poole/poole
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# deal with errors
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|
plugins:
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- jekyll-gist
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- jekyll-paginate
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# Add a navigational aid
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pages_list:
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Archive: '/archive'
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'RSS Feed': '/atom.xml'
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'What ~rogbeer is focused on at this point in his life': '/now'
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"What's with the name, ~rogbeer?": '/rogbeer'
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'What would people give, for a cassette tape?': '/swap'
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@ -0,0 +1,25 @@
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<head>
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<meta charset="UTF-8">
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<link href="http://gmpg.org/xfn/11" rel="profile">
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|
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<!-- Enable responsiveness on mobile devices-->
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<meta name="viewport" content="width=device-width, initial-scale=1.0">
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<title>
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{% if page.title == "Home" %}
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{{ site.title }} · {{ site.tagline }}
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{% else %}
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||||||
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{{ page.title }} · {{ site.title }}
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{% endif %}
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||||||
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</title>
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<!-- CSS -->
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<link rel="stylesheet" href="{{ site.baseurl }}/styles.css">
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<!-- Icons -->
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<link rel="apple-touch-icon-precomposed" sizes="144x144" href="{{ site.baseurl }}/public/apple-touch-icon-precomposed.png">
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<link rel="shortcut icon" href="{{ site.baseurl }}/public/favicon.ico">
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<!-- RSS -->
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<link rel="alternate" type="application/atom+xml" title="{{ site.title }}" href="{{ site.baseurl }}/atom.xml">
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</head>
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<!DOCTYPE html>
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<html lang="en">
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||||||
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{% include head.html %}
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||||||
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<body>
|
||||||
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|
||||||
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<div class="container content">
|
||||||
|
<header class="masthead">
|
||||||
|
<h3 class="masthead-title">
|
||||||
|
<a href="{{ site.baseurl }}/" title="Home">{{ site.title }}</a>
|
||||||
|
<small>{{ site.tagline }}</small>
|
||||||
|
</h3>
|
||||||
|
<br />
|
||||||
|
<blockquote>
|
||||||
|
<p>"Man makes a clever face and talks about being lord on Earth.
|
||||||
|
And at the same time he doesn’t even know where to begin with his own body:
|
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he watches
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sports on television and defends himself saying that everyone else does it too."
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||||||
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</p>
|
||||||
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<p>- <a href="http://antaiji.org/archives/eng/kodo-sawaki-to-you.shtml">Homeless Kodo
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||||||
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</a>
|
||||||
|
</p>
|
||||||
|
</blockquote>
|
||||||
|
<br />
|
||||||
|
{% for page in site.pages_list %}
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||||||
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|
||||||
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<small>| <a href="{{ page[1] | prepend:site.baseurl }}">{{ page[0] }}
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</a>
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||||||
|
</small>
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||||||
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<br />
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||||||
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{% endfor %}
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||||||
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</header>
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||||||
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||||||
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<main>
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||||||
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{{ content }}
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||||||
|
</main>
|
||||||
|
|
||||||
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<footer class="footer">
|
||||||
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<small>
|
||||||
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© <a href="{{ site.author.url }}">{{ site.author.name }}</a>, <time datetime="{{ site.time | date_to_xmlschema }}">{{ site.time | date: '%Y' }}</time>. All rights reserved.
|
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Built on <a href="https://jekyllrb.com/">Jekyll</a>, using the theme
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||||||
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<a href="http://getpoole.com/">Poole</a>.
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||||||
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Hosted on <a href="http://tilde.town/">tilde.town</a>
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||||||
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</small>
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</footer>
|
||||||
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</div>
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</body>
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</html>
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---
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||||||
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layout: default
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||||||
|
---
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||||||
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||||||
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<article class="page">
|
||||||
|
<h1 class="page-title">{{ page.title }}</h1>
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{{ content }}
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</article>
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||||||
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---
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||||||
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layout: default
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||||||
|
---
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||||||
|
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||||||
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<article class="post">
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||||||
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<h1 class="post-title">{{ page.title }}</h1>
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<time datetime="{{ page.date | date_to_xmlschema }}" class="post-date">{{ page.date | date_to_string }}</time>
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{{ content }}
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</article>
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||||||
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{% if site.related_posts != empty %}
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<aside class="related">
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<h2>Related Posts</h2>
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<ul class="related-posts">
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{% for post in site.related_posts limit:3 %}
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<li>
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|
<h3>
|
||||||
|
<a href="{{ site.baseurl }}{{ post.url }}">
|
||||||
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{{ post.title }}
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||||||
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<small><time datetime="{{ post.date | date_to_xmlschema }}">{{ post.date | date_to_string }}</time></small>
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||||||
|
</a>
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||||||
|
</h3>
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||||||
|
</li>
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||||||
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{% endfor %}
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||||||
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</ul>
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||||||
|
</aside>
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||||||
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{% endif %}
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|
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|
||||||
|
---
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||||||
|
layout: post
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||||||
|
title: "10th November 2016: Rainy"
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||||||
|
---
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||||||
|
I'm suffering. They are suffering.
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||||||
|
How to put an end to suffering? For myself.
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||||||
|
|
||||||
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Others can try out my methods if they want.
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||||||
|
|
||||||
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And of course they have to find out their own way.
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||||||
|
|
||||||
|
Kodo Suzuki Roshi said that adults have to become like children, and children have to become like adults,
|
||||||
|
for children to grow. Apparently, he said that.
|
||||||
|
|
||||||
|
If I were a foster parent of all these lovable children in the world, my impending death is something
|
||||||
|
I have to deal with. Preparations have to be made for other people to help all these children grow,
|
||||||
|
so that my death will not stop their growth.
|
||||||
|
|
||||||
|
Yes, as Jobs said, death means having to tell your children what you thought you would
|
||||||
|
have the rest of your life so tell.
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||||||
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|
||||||
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THere is a temple called Antaiji in Japan. The people there practice zazen that is good for nothing.
|
||||||
|
|
||||||
|
There is a person who is helping people to find a suitable livelihood. She also practises Zen. Her
|
||||||
|
book is a work-in-progress. It is predicted to be published in Fall 2017. Her name is Maia Duerr.
|
||||||
|
|
||||||
|
There are people who teach Zen in Singapore. Their names are Vivienne and Boey Wah Keong.
|
||||||
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|
||||||
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They will do what I amy not have the time to do. At least, they can do what I may run out of time to do.
|
||||||
|
|
||||||
|
Zazen is good for nothing. It is the way to liberate-save suffering people-human. Suzuki Roshi
|
||||||
|
said that.
|
||||||
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|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: "fifteenth of March 2018: Sunny"
|
||||||
|
---
|
||||||
|
|
@ -0,0 +1,20 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: "A new way? nineteenth of March 2018: Night"
|
||||||
|
---
|
||||||
|
When did it become an assumption that I have to have a password on the
|
||||||
|
Internet or even my desktop-computer? I was inspired to think if
|
||||||
|
something has gone wrong, in the design of Internet-and-computer
|
||||||
|
technologies, when I realised that an engineering problem - how to
|
||||||
|
display certain information on a web-site - could possibly be solved by
|
||||||
|
letting users run commands on the server (as opposed as viewing data on
|
||||||
|
a client) Passwords, levels of privilege, 'admininistrator-rights' -
|
||||||
|
don't all these scream 'I don't trust you. I don't trust others' Now is
|
||||||
|
that what I want in my life, I ask. Do I want to indirectly say 'I don't
|
||||||
|
trust others' every time I use a technology. Or do I want to spend time
|
||||||
|
building (trust in) relationships that arguably are made and broken by
|
||||||
|
(mutual) trust. Does using technology necessarily mean that I have to
|
||||||
|
give up on trust and/or trust-building. Is it possible we could find a
|
||||||
|
new way to use technology so that we find the satisfaction (and
|
||||||
|
intimacy) that comes from a rewarding relationship with a something. A
|
||||||
|
god. A business-partner. So on and so forth.
|
||||||
|
|
@ -0,0 +1,16 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: "Setting this up with Jekyll"
|
||||||
|
---
|
||||||
|
|
||||||
|
I thought I would post about the resources that I have had the privilege to
|
||||||
|
refer to, in trying out the static-site generator Jekyll and one of the themes
|
||||||
|
for it, Poole.
|
||||||
|
|
||||||
|
### Resources
|
||||||
|
|
||||||
|
In no particular order,
|
||||||
|
|
||||||
|
5. Lande, J. (2014). 'How I Created a Beautiful and Minimal Blog Using Jekyll, Github Pages, and poole'. URL: [http://joshualande.com/jekyll-github-pages-poole](http://joshualande.com/jekyll-github-pages-poole). Accessed URL on 4th Oct 2018.
|
||||||
|
5. [Resi](http://tilde.town/~resir014). (2016). 'Jekyll and tilde.town'. In *tilde.town* (Issue 2), pp. 5 to 9. URL: [https://github.com/tildetown/zine/blob/master/issue_2/zine.pdf](https://github.com/tildetown/zine/blob/master/issue_2/zine.pdf). Accessed URL on 4th OCt 2018.
|
||||||
|
5. Moore, P. (2014). 'Clearing Up Confusion Around baseurl -- Again'. URL: [https://byparker.com/blog/2014/clearing-up-confusion-around-baseurl/](https://byparker.com/blog/2014/clearing-up-confusion-around-baseurl/). Accessed URL on 4th Oct 2018.
|
||||||
|
|
@ -0,0 +1,16 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: 'A room-mate leaves'
|
||||||
|
---
|
||||||
|
|
||||||
|
One of my room-mates - who has just moved in, in the past two weeks or so -
|
||||||
|
said he is leaving tomorrow to reside at his new work-place, a 'vegetable farm'.
|
||||||
|
|
||||||
|
Yes, he said he would be staying on the farm.
|
||||||
|
|
||||||
|
And he says that 'in the beginning', he would have no pay/salary. Perhaps he
|
||||||
|
would have food and accommodation.
|
||||||
|
|
||||||
|
When I asked him for the name of the place, he said it is called 'Onesimus Garden',
|
||||||
|
which he claims is in the area of Lim Chu Kang (probably in the north-west region
|
||||||
|
of the island of Singapore).
|
||||||
|
|
@ -0,0 +1,33 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: "Places where I have used my laptop"
|
||||||
|
---
|
||||||
|
|
||||||
|
I have had the luxury and privilege of using my laptop at
|
||||||
|
the following places, where beverages are sold
|
||||||
|
|
||||||
|
(I am currently residing in Singapore - which is in South-east Asia, if you
|
||||||
|
are not familiar with her.)
|
||||||
|
|
||||||
|
1. 'Brunches'. URL: [https://www.facebook.com/BrunchesCafe/](https://www.facebook.com/BrunchesCafe/)
|
||||||
|
1. 'Enchanted'. Have charged my laptop at the power-sockets there. URL: [https://www.facebook.com/EnchantedCafeSg/](https://www.facebook.com/EnchantedCafeSg/)
|
||||||
|
1. 'Old Hen'. Have charged my laptop there. URL: [https://www.facebook.com/oldhencoffee/](https://www.facebook.com/oldhencoffee/)
|
||||||
|
1. 'Coffeesmith'. [https://www.facebook.com/CoffeesmithSG/](https://www.facebook.com/CoffeesmithSG/)
|
||||||
|
1. 'Kopi & Tarts', in the shopping mall City Square. Have charged my laptop there.
|
||||||
|
[https://kopiandtarts.com.sg/](https://kopiandtarts.com.sg/)
|
||||||
|
1. 'Real Food', in the shopping mall Orchard Central. [https://www.realfoodgrocer.com/](https://www.realfoodgrocer.com/)
|
||||||
|
|
||||||
|
I had the inspiration to post about this after visiting [Tania Rascia](https://www.taniarascia.com/)'s
|
||||||
|
record of cafes that she has visited: [https://taniarascia.github.io/coffee/](https://taniarascia.github.io/coffee/)
|
||||||
|
|
||||||
|
And of course I can only have such inspiration if [my god](http://phtan.github.io/religion.html)
|
||||||
|
gives it to me.
|
||||||
|
I thank Him for that.
|
||||||
|
|
||||||
|
#### An update on twenty-first of October, 2018 A.D.
|
||||||
|
|
||||||
|
2. 'Dimbulah Coffee'. [https://dimbulahcoffee.com/](https://dimbulahcoffee.com/)
|
||||||
|
2. 'Symmetry'. [http://www.symmetry.com.sg/](http://www.symmetry.com.sg/)
|
||||||
|
|
||||||
|
I have not used the power-sockets, at the above two places, to charge my
|
||||||
|
laptop, if indeed there are power-sockets available.
|
||||||
|
|
@ -0,0 +1,38 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: "Music-gigs I have watched 'live'"
|
||||||
|
---
|
||||||
|
|
||||||
|
The following are musicians/bands that I have had the luxury of watching in
|
||||||
|
person. I note the venues where I have caught their performances, in the
|
||||||
|
hopes that a new-comer to the scene may have an idea of where to check out.
|
||||||
|
|
||||||
|
I record in the format of *Name of musician(s). Name of performance-venue.
|
||||||
|
Country where I caught their gig(s).*
|
||||||
|
|
||||||
|
In no particular order,
|
||||||
|
|
||||||
|
* [Survive said the prophet](http://survivesaidtheprophet.com/).
|
||||||
|
[Esplanade](https://www.esplanade.com/).
|
||||||
|
Singapore.
|
||||||
|
* [The xx](https://en.wikipedia.org/wiki/The_xx).
|
||||||
|
[The Star Performing Arts Centre](http://www.thestar.sg/).
|
||||||
|
Singapore.
|
||||||
|
* [88 Balaz](https://www.facebook.com/88balaz/).
|
||||||
|
[Revolver](https://www.facebook.com/RevolverTW/).
|
||||||
|
Taiwan, in the city of Taipei.
|
||||||
|
* [Rangka](https://rangkaisdead.bandcamp.com/releases).
|
||||||
|
[Lithe House](https://www.facebook.com/litheparalogue/).
|
||||||
|
Singapore.
|
||||||
|
* [Ralegh Long](https://www.raleghlong.com/).
|
||||||
|
[Artistry](https://www.yelp.com.sg/biz/artistry-singapore-2).
|
||||||
|
Singapore.
|
||||||
|
|
||||||
|
---
|
||||||
|
|
||||||
|
On a related note, for listings of music-events, or so-called 'gig guides',
|
||||||
|
the following may be helpful for a new-comer to a city - they certainly were
|
||||||
|
for me:
|
||||||
|
|
||||||
|
* Singapore: [http://singaporegigs.com/](http://singaporegigs.com/)
|
||||||
|
* Taipei: [http://www.gigguide.tw/](http://www.gigguide.tw/)
|
||||||
|
|
@ -0,0 +1,16 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: "Charlie's suggestions for music"
|
||||||
|
---
|
||||||
|
|
||||||
|
Charlie was a visitor whom I met in Singapore (in the past couple of weeks
|
||||||
|
or so). He's from Melbourne and he
|
||||||
|
wore boots from the brand Blundstone. He was born in the year 1996 A.D.
|
||||||
|
|
||||||
|
He suggested that I listen to the following musicians:
|
||||||
|
|
||||||
|
1. [Skip skip ben ben](https://skipskipbenben.bandcamp.com/)
|
||||||
|
1. [Boyz & Girl](https://tenzenmen.bandcamp.com/album/boyz-girl)
|
||||||
|
3. [Snail
|
||||||
|
Mail](https://www.bandwagon.asia/articles/snail-mail-announces-southeast-asia-tour-singapore-jakarta-bangkok-more-confirmed)
|
||||||
|
4. [La Luz](https://www.facebook.com/laluzusa)
|
||||||
|
|
@ -0,0 +1,35 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: '~cel and SecureScuttleButt (SSB)'
|
||||||
|
---
|
||||||
|
|
||||||
|
My fellow townie [~cel](http://tilde.town/~cel),
|
||||||
|
whom [~vilmibm](https://twitter.com/nate_smith)
|
||||||
|
has organised [a fund-raiser](https://www.gofundme.com/pitch-in-for-a-townie)
|
||||||
|
for - that was
|
||||||
|
about eight months ago - has now seemed to jump onto the proverbial
|
||||||
|
bandwagon of Scuttlebutt. I had that impression after visiting the
|
||||||
|
web-page
|
||||||
|
[https://git-ssb.celehner.com/@f/6sQ6d2CMxRUhLpspgGIulDxDCwYD7DzFzPNr7u5AU=.ed25519](https://git-ssb.celehner.com/@f/6sQ6d2CMxRUhLpspgGIulDxDCwYD7DzFzPNr7u5AU=.ed25519)
|
||||||
|
|
||||||
|
I had to do a little reading to get a better idea of what he was up to, though.
|
||||||
|
|
||||||
|
Perhaps the following reading material may help a new-comer to Scuttlebutt:
|
||||||
|
|
||||||
|
* [Bogost, I](https://twitter.com/ibogost). (2017). 'The Nomad Who’s
|
||||||
|
Exploding the Internet Into Pieces:
|
||||||
|
Could decentralizing online life make it more compatible with human life?'.
|
||||||
|
In *The Atlantic*.
|
||||||
|
URL: [https://www.theatlantic.com/technology/archive/2017/05/meet-the-counterantidisintermediationists/527553/](https://www.theatlantic.com/technology/archive/2017/05/meet-the-counterantidisintermediationists/527553/).
|
||||||
|
Accessed URL on 12th Oct 2018.
|
||||||
|
* 'What Is the Difference Between Patchwork and Scuttlebutt?'. In
|
||||||
|
*Scuttlebutt: a decent(ralised) secure gossip platform*.
|
||||||
|
URL: [https://www.scuttlebutt.nz/faq/basics/patchwork-vs-scuttlebutt](https://www.scuttlebutt.nz/faq/basics/patchwork-vs-scuttlebutt)
|
||||||
|
Accessed URL on 12th October 2018.
|
||||||
|
* 'git ssb'.
|
||||||
|
URL: [https://git.scuttlebot.io/%25n92DiQh7ietE%2BR%2BX%2FI403LQoyf2DtR3WQfCkDKlheQU%3D.sha256](https://git.scuttlebot.io/%25n92DiQh7ietE%2BR%2BX%2FI403LQoyf2DtR3WQfCkDKlheQU%3D.sha256)
|
||||||
|
Accessed URL on 12th Oct 2018.
|
||||||
|
* 'Scuttlebutt Protocol Guide:
|
||||||
|
How Scuttlebutt peers find and talk to each other'.
|
||||||
|
URL: [https://ssbc.github.io/scuttlebutt-protocol-guide/](https://ssbc.github.io/scuttlebutt-protocol-guide/)
|
||||||
|
Accessed URL on 12th Oct 2018.
|
||||||
|
|
@ -0,0 +1,22 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: "choice of espresso"
|
||||||
|
---
|
||||||
|
|
||||||
|
If there were a situation in which I had to spend money on an espresso,
|
||||||
|
and I had SGD$6 - which could only be spent on espresso - and a choice of
|
||||||
|
espresso from any coffee-shop
|
||||||
|
in Singapore, I would go to
|
||||||
|
[La Ristrettos](https://www.facebook.com/LaRistrettos/)
|
||||||
|
and get theirs, which is sold at $3.
|
||||||
|
|
||||||
|
When I was there once, a member of the staff told me
|
||||||
|
he had served me espresso that was single-origin (probably he was referring
|
||||||
|
to the coffee beans - which, on that day, he might have said was from
|
||||||
|
Ethiopia).
|
||||||
|
|
||||||
|
The other $3? If I could, I would go back there another day to spend it.
|
||||||
|
|
||||||
|
Reviews of that coffee-shop can be found
|
||||||
|
[here](https://www.burpple.com/la-ristrettos).
|
||||||
|
|
||||||
|
|
@ -0,0 +1,47 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: 'spaces of art-exhibitions that I have been to in Singapore'
|
||||||
|
---
|
||||||
|
|
||||||
|
### Preface
|
||||||
|
|
||||||
|
I was a little reluctant to share the locations of these places - since
|
||||||
|
I have begun to regard them as little treasures for me to view quietly -
|
||||||
|
but I am instructed by the teacher Christ Jesus to not stock up on treasures
|
||||||
|
of this world.
|
||||||
|
|
||||||
|
In Matthew 6:19-20, he tells us:
|
||||||
|
|
||||||
|
> Do not store up for yourselves treasures on earth, where moth and rust
|
||||||
|
destroy, and where thieves break in and steal.
|
||||||
|
But store up for yourselves treasures in heaven,
|
||||||
|
where moth and rust do not destroy, and where thieves do
|
||||||
|
not break in and steal. For where your treasure is, there
|
||||||
|
your heart will be also.
|
||||||
|
|
||||||
|
And again, in Luke 12:32-34:
|
||||||
|
|
||||||
|
> Do not be afraid, little flock, for your Father is pleased to give you the
|
||||||
|
kingdom. Sell your possessions and give to the poor.
|
||||||
|
Provide yourselves with purses that will not wear out, an
|
||||||
|
inexhaustible treasure in heaven, where no thief approaches and
|
||||||
|
no moth destroys. For where your treasure is, there your heart will be also.
|
||||||
|
|
||||||
|
### The spaces (that, by the way, seem a little less touristy to me)
|
||||||
|
|
||||||
|
So, in the hopes that my god is pleased, I list a number of art-galleries below:
|
||||||
|
|
||||||
|
1. Cape of Good Hope Art Gallery.
|
||||||
|
Address: 231 Bain Street, Bras Basah Complex, #03-17, Singapore 180231.
|
||||||
|
1. DLR Gallery.
|
||||||
|
Address: 22 Marshall Road,
|
||||||
|
Singapore 424858. *To visit, please call +65 9772 7852 - look for
|
||||||
|
Mister [Teo Eng Seng](https://www.goodreads.com/book/show/34095087-teo-eng-seng) -
|
||||||
|
or +65 9296 0031.*
|
||||||
|
1. Parkview Museum. Address: 600 North Bridge Road,
|
||||||
|
Parkview Square, Level 3, Singapore 188778.
|
||||||
|
1. The Private Museum. Address: 51 Waterloo Street, #02-06,
|
||||||
|
Singapore 187969.
|
||||||
|
|
||||||
|
A quick search on an online search-engine would, if G!d is willing, reveal the
|
||||||
|
contact-numbers of these spaces and/or further information.
|
||||||
|
|
@ -0,0 +1,25 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: "choice of hot chocolate"
|
||||||
|
---
|
||||||
|
|
||||||
|
If I had to spend money on hot chocolate, and I had SGD$20 to do so - and if
|
||||||
|
the money can only be used
|
||||||
|
on hot chocolate - and if I had access to any seller of hot chocolate
|
||||||
|
in Singapore, I would go to
|
||||||
|
[Laurent Bernard Chocolatier](https://www.facebook.com/Laurentbernardchocolatier/).
|
||||||
|
|
||||||
|
(Hot chocolate, there, starts at $10 approximately.)
|
||||||
|
|
||||||
|
Its brick-and-mortar address is as follows:
|
||||||
|
|
||||||
|
> 80 Mohamed Sultan Road, #01-11, Singapore 239013
|
||||||
|
|
||||||
|
And the telephone-number:
|
||||||
|
|
||||||
|
> +65 6235 9007
|
||||||
|
|
||||||
|
And of course it is thanks to my god that I had the luxury to imbibe the
|
||||||
|
hot chocolate there.
|
||||||
|
|
||||||
|
Even making this post is a luxury my god affords me. So grateful.
|
||||||
|
|
@ -0,0 +1,19 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: "Smaller book-stores that I have been to in Singapore"
|
||||||
|
---
|
||||||
|
|
||||||
|
By 'smaller bookstores' I mean bookstores that, in a sense, aren't like Kinokuniya,
|
||||||
|
Times, Popular and so on.
|
||||||
|
|
||||||
|
I list the bookstores with their brick-and-mortar addresses as well as their
|
||||||
|
web-addresses.
|
||||||
|
|
||||||
|
1. 'The Moon'. 37 Mosque Street. [https://www.facebook.com/themoonsg](https://www.facebook.com/themoonsg)
|
||||||
|
1. 'BooksActually'. 9 Yong Siak Street, Singapore 168645. [https://www.booksactuallyshop.com/pages/about](https://www.booksactuallyshop.com/pages/about)
|
||||||
|
1. 'City Book Room'. 420 North Bridge Road, #03-10, North Bridge Centre,
|
||||||
|
Singapore 188727. [https://www.facebook.com/citybookroomsingapore/](https://www.facebook.com/citybookroomsingapore/)
|
||||||
|
|
||||||
|
Not forgetting a travelling bookstore owned by Anthony:
|
||||||
|
|
||||||
|
* 'Booktique'. [https://www.facebook.com/WriterBooktique/](https://www.facebook.com/WriterBooktique/)
|
||||||
|
|
@ -0,0 +1,14 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: "want to eat somewhere cheap in Orchard Road?"
|
||||||
|
---
|
||||||
|
|
||||||
|
I list a couple of places where the prices of (cooked) food are cheaper
|
||||||
|
compared to the rest of the eateries that can be found in the area known
|
||||||
|
as Orchard Road (of Singapore).
|
||||||
|
|
||||||
|
1. In the lower floors of the shopping mall Lucky Plaza.
|
||||||
|
3. Somewhere near the building Midpoint Orchard, on the side of the road opposite
|
||||||
|
the shopping mall Orchard Central. One level down from street level.
|
||||||
|
|
||||||
|
By 'cheap' I mean that one perhaps could get something to eat for SGD$3.
|
||||||
|
|
@ -0,0 +1,20 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: "A bibliography of sorts, about open-source software (engineers)"
|
||||||
|
---
|
||||||
|
|
||||||
|
In no particuar order,
|
||||||
|
|
||||||
|
1. strk. (2016). 'Wecome to Gitea'.
|
||||||
|
URL: [https://blog.gitea.io/2016/12/welcome-to-gitea/](https://blog.gitea.io/2016/12/welcome-to-gitea/).
|
||||||
|
Accessed URL on 22nd Oct 2018.
|
||||||
|
1. Lawson, N. (2017). 'What it feels like to be an open-source maintainer'.
|
||||||
|
URL: [https://nolanlawson.com/2017/03/05/what-it-feels-like-to-be-an-open-source-maintainer/](https://nolanlawson.com/2017/03/05/what-it-feels-like-to-be-an-open-source-maintainer/)
|
||||||
|
Accessed URL on 22nd Oct 2018.
|
||||||
|
1. Raymond, E. S. (2000). 'Homesteading the Noosphere'.
|
||||||
|
URL: [http://www.catb.org/~esr/writings/cathedral-bazaar/homesteading/index.html](http://www.catb.org/~esr/writings/cathedral-bazaar/homesteading/index.html)
|
||||||
|
Accessed URL on 22nd Oct 2018.
|
||||||
|
1. Eghbal, N. (2016). 'Roads and bridges: the unseen labor behind our
|
||||||
|
digital infrastructure'.
|
||||||
|
URL: [https://www.fordfoundation.org/about/library/reports-and-studies/roads-and-bridges-the-unseen-labor-behind-our-digital-infrastructure](https://www.fordfoundation.org/about/library/reports-and-studies/roads-and-bridges-the-unseen-labor-behind-our-digital-infrastructure).
|
||||||
|
Accessed URL on 22nd Oct 2018.
|
||||||
|
|
@ -0,0 +1,29 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: "What I learnt in Computer Science"
|
||||||
|
---
|
||||||
|
|
||||||
|
I dropped out from an undergraduate course in Computer Science (CS, for short).
|
||||||
|
|
||||||
|
While I was attending CS courses, however, I learnt how to detach myself, or abstract
|
||||||
|
myself, from technological tools, which, as a so-called 'digital native' may
|
||||||
|
know, changes ever so frequently.
|
||||||
|
|
||||||
|
I learnt that if I have a fundamental skill, or what
|
||||||
|
[(one of)](https://www.comp.nus.edu.sg/~bleong/)
|
||||||
|
my lecturer(s)
|
||||||
|
called 'first principles', I can solve a given problem, regardless of how
|
||||||
|
seemingly foreign the problem may be.
|
||||||
|
|
||||||
|
Applying this concept in another context, it could be said that if I know
|
||||||
|
the fundamental skills in social dealings, then regardless of which country,
|
||||||
|
or culture, I find myself in, I can thrive (and not merely survive - but
|
||||||
|
that's a topic for another time, perhaps).
|
||||||
|
|
||||||
|
That's powerful. That's empowering. (As the saying goes, "Give a man a fish,
|
||||||
|
and you feed him once. Teach a man to fish, and you feed him for a life-time.")
|
||||||
|
And it gives one confidence. It
|
||||||
|
certainly gives me confidence.
|
||||||
|
|
||||||
|
But of course I credit all these lessons and benefits, or perks, to
|
||||||
|
[my god](http://phtan.github.io/religion.html) and his kindness and goodness.
|
||||||
|
|
@ -0,0 +1,46 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: "Quotes I found on the web-site/blog of an artist"
|
||||||
|
---
|
||||||
|
|
||||||
|
I reproduce a few quotes that I found on the web-site 'Slow Muse:
|
||||||
|
By Deborah Barlow' ([http://www.slowmuse.com/](http://www.slowmuse.com/)).
|
||||||
|
|
||||||
|
> What we need more of is slow art: art that holds time as a vase holds
|
||||||
|
> water: art that grows out of modes of perception and making whose
|
||||||
|
> skill and doggedness make you think and feel; art that isn’t merely
|
||||||
|
> sensational, that doesn’t get its message across in ten seconds, that
|
||||||
|
> isn’t falsely iconic, that hooks onto something deep-running in our
|
||||||
|
> natures. In a word, art that is the very opposite of mass media.
|
||||||
|
|
||||||
|
–- Robert Hughes
|
||||||
|
|
||||||
|
> How to live? A life in the world or a world in the head? To be seen
|
||||||
|
> and recognized outside, or to hide and think inside? Actor or hermit?
|
||||||
|
> Which is it? She wanted both—to be inside and outside, to ponder and
|
||||||
|
> to leap.
|
||||||
|
|
||||||
|
-- Siri Hustvedt, in the book 'The Blazing World'
|
||||||
|
|
||||||
|
> In order to sell art, you had to “create desire,” and “desire,” he said,
|
||||||
|
> “cannot be satisfied because then it’s no longer desire.” The thing
|
||||||
|
> that is truly wanted must always be missing. “Art dealers have
|
||||||
|
> to be magicians of hunger.”
|
||||||
|
|
||||||
|
-- Siri Hustvedt, in the book 'The Blazing World'
|
||||||
|
|
||||||
|
> Artists are people driven by the tension between the desire to communicate
|
||||||
|
> and the desire to hide.
|
||||||
|
|
||||||
|
-- the writer and psychoanalyst D. W. Winnicott
|
||||||
|
|
||||||
|
> For most of life on the planet, being hidden is the default condition...
|
||||||
|
> visibility is a luxury. Rarely are earth-colored tones the symbols of
|
||||||
|
> opulence and royal blood. We are most comfortable being hidden
|
||||||
|
> but we yearn to be seen.
|
||||||
|
|
||||||
|
-- Jane Hirschfield, in the book 'Hiddenness, Uncertainty, Surprise: Three Generative Energies of Poetry'
|
||||||
|
|
||||||
|
> Many friends have asked me when I will start writing on Slow Muse again. I am not sure how to answer that question. Between intention and action there is an indeterminate gap. Whatever it was that inspired my writing here for 12 years is now going through a transmutation of its own. I have had to be in surrender and to patiently wait for the what and the when to manifest.
|
||||||
|
|
||||||
|
-- Deborah Barlow, in [the blog-post 'Yet to come'](http://www.slowmuse.com/2018/10/11/yet-to-come/)
|
||||||
|
|
@ -0,0 +1,18 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: "Places, in Singapore, where I have had wine for about SGD$10"
|
||||||
|
---
|
||||||
|
|
||||||
|
From what I remember, a can of beer, bought from a convenience store, costs
|
||||||
|
more in Singapore than in Taipei, the capital-city of Taiwan, so maybe
|
||||||
|
the price of a glass of wine is more expensive in Singapore than in Taipei, too,
|
||||||
|
if not elsewhere.
|
||||||
|
|
||||||
|
Having said that, I have somewhat frequented the following establishments,
|
||||||
|
during so-called 'happy hours'; the price comes up to SGD$10 to SGD$11 for a
|
||||||
|
glass, at the most. I list the price of a glass of wine, whether it be red or white:
|
||||||
|
|
||||||
|
0. [Bruno's Bistrot/Pizzaria & Grill](https://www.hungrygowhere.com/singapore/bruno-s-pizzeria-grill/). $7.50, exclusive of a 'service charge' of 10%. All operation-hours are 'happy hour', I've heard. A plus maybe: bottles of wine are stored openly (that is, visibly) in a chiller for that purpose. *544 Serangoon Road, Singapore 218166*
|
||||||
|
0. [Hej Kitchen & Bar](https://www.hejthere.com). 'Happy hours': 12 PM to 7 PM - it's not clear to me whether these are for weekdays, weekends, or both. $8, exclusive of service charge (10%) and GST (7%). *180 Orchard Road, Singapore 238846*. 
|
||||||
|
0. [The Boiler (at the structure Esplanade)](https://www.theboiler.com.sg/contact-us). 'Happy hours': 5.30 PM to 8.30 PM, daily maybe. $8.50, exclusive of Service Charge and GST. *8 Raffles Ave, #01-13A, Esplanade Mall, Singapore 039802.* 
|
||||||
|
0. [Steakout](https://www.tripadvisor.com.sg/Restaurant_Review-g294265-d2538704-Reviews-Steakout-Singapore.html). 'Happy hours': Sunday to Thursday, excluding public holidays and their eves. $2 off the regular price of wine - this works out to be approximately $10. *89 Victoria Street, #01-01, Victoria Hotel, Singapore 188017*. 
|
||||||
|
|
@ -0,0 +1,21 @@
|
||||||
|
---
|
||||||
|
layout: post
|
||||||
|
title: 'description of a certain kind of coffee in Singapore'
|
||||||
|
---
|
||||||
|
|
||||||
|
A certain kind of coffee in Singapore has been described as 'too bitter and
|
||||||
|
too sweet at the same time', if I am not mistaken in my recollection.
|
||||||
|
|
||||||
|
> "When we tail ministers or members of parliaments in their tours of
|
||||||
|
the orderly housing estates, I buy them [the camera crew] little plastic bags of milky tea
|
||||||
|
or coffee. These brews are always too sweet and too bitter at the same
|
||||||
|
time..." - Joanne Leow, 2016.
|
||||||
|
["Journalism and Jiujitsu: The gentle arts of a dictatorship"](https://catapult.co/stories/journalism-and-jiujitsu).
|
||||||
|
|
||||||
|
|
||||||
|
Coffee, when bought in Singapore, is not necessarily in the style of an
|
||||||
|
Americano, espresso, Long Black and the like. In my experience, the ones that
|
||||||
|
cost SGD$0.70 to $1.50 tend to not be espresso-like or even latte-like - the latter
|
||||||
|
cost, maybe, upwards of SGD$3.
|
||||||
|
|
||||||
|
This might be an alert to seekers of coffee who are new in Singapore.
|
||||||
|
|
@ -0,0 +1,24 @@
|
||||||
|
---
|
||||||
|
title: "Expensive F&B in Singapore if you want"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
The following are eateries/shops where the offerings have been thought of as
|
||||||
|
'expensive' by others or myself. I list them with an example of the prices (in
|
||||||
|
SGD),
|
||||||
|
which I myself have paid while I was there.
|
||||||
|
|
||||||
|
1. A chicken thigh with rice cost $6.80, at Lam's.
|
||||||
|
[https://www.lamskitchen.com/outlets](https://www.lamskitchen.com/outlets)
|
||||||
|
1. A cup of hot chocolate cost $10.67, at Laurent Bernard Chocolatier.
|
||||||
|
[https://www.facebook.com/Laurentbernardchocolatier/](https://www.facebook.com/Laurentbernardchocolatier/)
|
||||||
|
1. A serving (one glass, not a bottle) of whisky cost close to $30, at
|
||||||
|
Quaich. [https://www.quaichbar.com.sg/contact-us](https://www.quaichbar.com.sg/contact-us)
|
||||||
|
1. A stick of baguette cost $4, at Slow Bakes.
|
||||||
|
[https://www.happycow.net/reviews/slow-bakes-central-singapore-118886](https://www.happycow.net/reviews/slow-bakes-central-singapore-118886)
|
||||||
|
1. A plate of sliced beef, done Korean-style, cost $10, at Kim Dae Mun.
|
||||||
|
[https://www.facebook.com/KimDaeMun/](https://www.facebook.com/KimDaeMun/)
|
||||||
|
1. A burger cost approximately $40, after a discount, at Morton's.
|
||||||
|
[https://www.mortons.com/singapore/](https://www.mortons.com/singapore/)
|
||||||
|
1. A four-course meat-free meal cost between $20 to $30, if I am not mistaken,
|
||||||
|
at Sufood. [https://sufood.com.sg/contact-us/](https://sufood.com.sg/contact-us/)
|
||||||
|
|
@ -0,0 +1,142 @@
|
||||||
|
---
|
||||||
|
title: "Singaporean artists I 'know'"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
I've met a Teo Eng Seng (Mister) recently - yesterday afternoon - and when
|
||||||
|
he asked me, "how many Singaporean artists do you know", with 'Singaporean'
|
||||||
|
defined as 'working in Singapore', I realised I was stumped for an answer
|
||||||
|
beyond a handful of names (not much more than a couple of them); more names
|
||||||
|
came to me after the moment of interrogation had passed. Well, for the benefit
|
||||||
|
of whoever's interested, I make a table below, in response to Mr. Teo Eng Seng's
|
||||||
|
question.
|
||||||
|
|
||||||
|
<table>
|
||||||
|
<tr>
|
||||||
|
<th>Artist
|
||||||
|
</th>
|
||||||
|
<th>Website
|
||||||
|
</th>
|
||||||
|
<th>Have I met that artist in person?
|
||||||
|
</th>
|
||||||
|
</tr>
|
||||||
|
<tr>
|
||||||
|
<td>Cheong Soo Pieng
|
||||||
|
</td>
|
||||||
|
<td>don't know
|
||||||
|
</td>
|
||||||
|
<td>He was dead, reportedly, by the time I heard of him. So, no, I haven't.
|
||||||
|
</td>
|
||||||
|
</tr>
|
||||||
|
<tr>
|
||||||
|
<td>Ng Eng Teng
|
||||||
|
</td>
|
||||||
|
<td>idk
|
||||||
|
</td>
|
||||||
|
<td>No
|
||||||
|
</td>
|
||||||
|
</tr>
|
||||||
|
<tr>
|
||||||
|
<td>Amanda Heng
|
||||||
|
</td>
|
||||||
|
<td>idk
|
||||||
|
</td>
|
||||||
|
<td>A handful of years ago, at NUS Museum, where she was present
|
||||||
|
at the venue of her artwork, during which strangers had tea, <strike>dismembered</strike>
|
||||||
|
trimmed bean-sprouts and chatted.
|
||||||
|
</td>
|
||||||
|
</tr>
|
||||||
|
|
||||||
|
<tr>
|
||||||
|
<td>Max Kong
|
||||||
|
</td>
|
||||||
|
<td>http://maxkong.com
|
||||||
|
</td>
|
||||||
|
<td>
|
||||||
|
In the year 2018, during
|
||||||
|
<a href="https://www.facebook.com/events/720402234973729/">
|
||||||
|
'ArtWalk@Wessex'
|
||||||
|
</a>
|
||||||
|
</td>
|
||||||
|
</tr>
|
||||||
|
|
||||||
|
<tr>
|
||||||
|
<td>Frances Alleblas
|
||||||
|
</td>
|
||||||
|
<td>https://www.francesalleblas.com/
|
||||||
|
</td>
|
||||||
|
<td>As with Mr. Max Kong
|
||||||
|
</td>
|
||||||
|
</tr>
|
||||||
|
<tr>
|
||||||
|
<td>
|
||||||
|
Lin Hsin Hsin
|
||||||
|
</td>
|
||||||
|
<td>http://lhham.com.sg/
|
||||||
|
</td>
|
||||||
|
<td>Met at a
|
||||||
|
<a href="https://www.eventbrite.sg/e/curator-dialog-with-digital-media-pioneer-speed-of-thought-tickets-31115269609#">
|
||||||
|
'curator dialog'
|
||||||
|
</a>
|
||||||
|
, which took
|
||||||
|
place in the year 2017 A.D., at a co-working
|
||||||
|
space in Singapore.
|
||||||
|
</td>
|
||||||
|
</tr>
|
||||||
|
<tr>
|
||||||
|
<td>Mira
|
||||||
|
</td>
|
||||||
|
<td>http://mira-yoon.format.com
|
||||||
|
</td>
|
||||||
|
<td>I have had the luxury of her services as an art-therapist.
|
||||||
|
</td>
|
||||||
|
</tr>
|
||||||
|
<tr>
|
||||||
|
<td>Of course, Teo Eng Seng
|
||||||
|
</td>
|
||||||
|
<td>idk
|
||||||
|
</td>
|
||||||
|
<td>Met him at his
|
||||||
|
<a href="http://www.dlrgallery.com/">
|
||||||
|
gallery
|
||||||
|
</a>
|
||||||
|
at 22 Marshall Road, Singapore
|
||||||
|
</td>
|
||||||
|
</tr>
|
||||||
|
<tr>
|
||||||
|
<td>Ng Joon Kiat
|
||||||
|
</td>
|
||||||
|
<td>http://ngjoonkiat.com/
|
||||||
|
</td>
|
||||||
|
<td>I've met him at events associated with other artists. Most recently,
|
||||||
|
I've met him at the opening reception of an exhibition at
|
||||||
|
<a href="http://theprivatemuseum.org/">
|
||||||
|
The Private Museum
|
||||||
|
</a>
|
||||||
|
</td>
|
||||||
|
</tr>
|
||||||
|
<tr>
|
||||||
|
<td>Yeo Siak Goon
|
||||||
|
</td>
|
||||||
|
<td>idk
|
||||||
|
</td>
|
||||||
|
<td>Met him at
|
||||||
|
an exhibition of his works
|
||||||
|
, in the year 2018 A.D., at
|
||||||
|
<a href="https://www.facebook.com/articulture.sg/">
|
||||||
|
Articulture
|
||||||
|
</a>
|
||||||
|
</td>
|
||||||
|
</tr>
|
||||||
|
|
||||||
|
<tr>
|
||||||
|
<td>Ben Puah
|
||||||
|
</td>
|
||||||
|
<td>idk
|
||||||
|
</td>
|
||||||
|
<td>First met him maybe in the year 2018 A.D., at 22 Marshall Road.
|
||||||
|
By the time I arrived there, he was already with Mr. Teo Eng Seng.
|
||||||
|
</td>
|
||||||
|
</tr>
|
||||||
|
|
||||||
|
</table>
|
||||||
|
|
@ -0,0 +1,83 @@
|
||||||
|
---
|
||||||
|
title: "Artists whom I've met in person and, in my impression, aren't based in Singapore"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
The title of this post is self-explanatory.
|
||||||
|
|
||||||
|
<table>
|
||||||
|
<tr>
|
||||||
|
<th>
|
||||||
|
Name
|
||||||
|
</th>
|
||||||
|
<th>
|
||||||
|
Web-site
|
||||||
|
</th>
|
||||||
|
<th>
|
||||||
|
Details of my meeting with that artist, if any
|
||||||
|
</th>
|
||||||
|
</tr>
|
||||||
|
|
||||||
|
<tr>
|
||||||
|
<td>
|
||||||
|
Sophie Kao
|
||||||
|
</td>
|
||||||
|
<td>
|
||||||
|
<a href="http://www.sophie-kao.com">
|
||||||
|
http://www.sophie-kao.com
|
||||||
|
</a>
|
||||||
|
</td>
|
||||||
|
<td>
|
||||||
|
I met her at
|
||||||
|
<a href="http://www.instinc.com/global/index.php/exhibit/item/316-the-rhizome-city">
|
||||||
|
an exhibition of her works
|
||||||
|
</a>
|
||||||
|
at
|
||||||
|
<a href="http://www.instinc.com/global/index.php/about-instinc">
|
||||||
|
Instinc
|
||||||
|
</a>
|
||||||
|
, in the year 2019 A.D.
|
||||||
|
</td>
|
||||||
|
</tr>
|
||||||
|
|
||||||
|
<tr>
|
||||||
|
<td>
|
||||||
|
Levan Songulashvili
|
||||||
|
</td>
|
||||||
|
<td>
|
||||||
|
<a href="http://www.levan.gallery">
|
||||||
|
http://www.levan.gallery
|
||||||
|
</a>
|
||||||
|
</td>
|
||||||
|
<td>
|
||||||
|
At an exhibition of his, which was held at <a href="https://www.objectifs.com.sg/">
|
||||||
|
Objectifs: Centre for Photography and Film
|
||||||
|
</a>
|
||||||
|
</td>
|
||||||
|
</tr>
|
||||||
|
<tr>
|
||||||
|
<td>
|
||||||
|
Kuros Nekouian
|
||||||
|
</td>
|
||||||
|
<td>
|
||||||
|
<ul>
|
||||||
|
<li>
|
||||||
|
<a href="https://www.instagram.com/kuros_nekouian/">
|
||||||
|
https://www.instagram.com/kuros_nekouian/
|
||||||
|
</a>
|
||||||
|
</li>
|
||||||
|
<li>
|
||||||
|
<a href="http://www.kuros.de">
|
||||||
|
http://www.kuros.de
|
||||||
|
</a>
|
||||||
|
</li>
|
||||||
|
</ul>
|
||||||
|
</td>
|
||||||
|
<td>
|
||||||
|
First met him on 15th Feb 2019 A.D., at Instinc. Later, saw him at
|
||||||
|
Levan's exhibition at Objectifs (see above, please).
|
||||||
|
</td>
|
||||||
|
</tr>
|
||||||
|
</table>
|
||||||
|
|
||||||
|
*This page was updated 22nd Apr 2019.*
|
||||||
|
|
@ -0,0 +1,19 @@
|
||||||
|
---
|
||||||
|
title: "A DJ said he had a focus on songs from Southeast Asia and Japan"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
Yesterday, I caught a set by the DJ
|
||||||
|
<a href="https://www.facebook.com/itchirology/">
|
||||||
|
Itch
|
||||||
|
</a>
|
||||||
|
, at
|
||||||
|
<a href="https://www.facebook.com/pg/kultkafe/">
|
||||||
|
Kult Kafé
|
||||||
|
</a>
|
||||||
|
, Singapore. I heard songs
|
||||||
|
with lyrics that sounded like they were in the language Mandarin Chinese,
|
||||||
|
those with Japanese-like lyrics, and (at least) one that Itch said was from Indonesia,
|
||||||
|
when I asked him where that song was from.
|
||||||
|
|
||||||
|
Maybe he - and the other DJs who spun - was playing vinyls yesterday.
|
||||||
|
|
@ -0,0 +1,30 @@
|
||||||
|
---
|
||||||
|
title: "'They have certificates, but no flower!'"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
The exclamation in the title of this post came from a street-busker I have met,
|
||||||
|
a number of years ago. He was commenting on the quality of music-playing
|
||||||
|
that came from young musicians nowadays.
|
||||||
|
|
||||||
|
"What is 'flower'?" I asked him.
|
||||||
|
|
||||||
|
"Flower? Flower is this!" he replied, before launching into a song, on his
|
||||||
|
guitar, which I couldn't help but dance to.
|
||||||
|
|
||||||
|
So what is flower? I couldn't help but to want to have a more theoretical,
|
||||||
|
or even academic, perspective on the terminology of this street-busker.
|
||||||
|
|
||||||
|
Finally, years later, with glory to my god - and thanks to Him, of course - I found a mention
|
||||||
|
in a book called "Nine gates: Entering the mind of poetry" by Jane Hirshfield.
|
||||||
|
|
||||||
|
Hirshfield mentioned the concept of *hana* in a form of
|
||||||
|
Japanese theatre called Nō. Supposedly, *hana* - which, interestingly enough,
|
||||||
|
means 'flower' in the Japanese language - is the quality by which an actor
|
||||||
|
can move the audience, despite being hidden behind a mask and standing motionless
|
||||||
|
on stage. Supposedly (according to the claims of Hirshfield, who in turn
|
||||||
|
was quoting a practitioner or observer of Nō), *hana* can be accessed
|
||||||
|
sometimes in youth, but in maturity, *hana*... - oh, I forget what Hirshfield
|
||||||
|
wrote.
|
||||||
|
|
||||||
|
Perhaps this might be interesting enough for me to investigate further.
|
||||||
|
|
@ -0,0 +1,25 @@
|
||||||
|
---
|
||||||
|
title: "Purchases, approximately at the time of Chinese New Year"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
By no design of my own, both last year (2018 A.D.) and this (2019 A.D.)
|
||||||
|
, I've made purchases
|
||||||
|
that are somewhat associated with Indonesia - and specifically, batik -
|
||||||
|
approximately
|
||||||
|
at the time of the respective year's Chinese New Year.
|
||||||
|
|
||||||
|
Last year, it was a button-down shirt from Kiah's Gallery
|
||||||
|
<a href="https://www.facebook.com/Kiahb4tik/">
|
||||||
|
(https://www.facebook.com/Kiahb4tik/)
|
||||||
|
</a> - where the seller told me, "Batik is a dying art." (she also effectively
|
||||||
|
said, if I'm not mistaken, something like, "The batik-shirt
|
||||||
|
chooses its owner.") -
|
||||||
|
and this year, a coin-pouch, from The Green Collective SG
|
||||||
|
<a href="https://www.facebook.com/thegreencollectivesg">
|
||||||
|
(https://www.facebook.com/thegreencollectivesg)
|
||||||
|
</a> - maybe the designer, or maker, of the coin-pouch is from Indonesia.
|
||||||
|
|
||||||
|
Now, what do I say about Indonesia? Or about batik?
|
||||||
|
|
||||||
|
I just thank my god that I have the luxury of the experience of buying batik,
|
||||||
|
while on the island of Singapore.
|
||||||
|
|
@ -0,0 +1,33 @@
|
||||||
|
---
|
||||||
|
title: 'Eateries in Singapore that are not "chains", as far as I am aware'
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
The title of this post seems self-explanatory to me. The list below
|
||||||
|
includes eateries that have branches overseas but not in Singapore.
|
||||||
|
|
||||||
|
This post was inspired by a question that a member of the Meetup-group
|
||||||
|
<a href="https://www.meetup.com/en-AU/returnedsingaporeans/">
|
||||||
|
'Returned Overseas Singaporeans in Singapore (R.O.S.S.)'
|
||||||
|
</a>
|
||||||
|
has asked. That member said that she found herself eating at the same places,
|
||||||
|
implying that she wanted a change of eateries, hence her question, which
|
||||||
|
was somewhat similar to the title of this post.
|
||||||
|
|
||||||
|
I list:
|
||||||
|
|
||||||
|
0. Morton's Steakhouse
|
||||||
|
0. Slow Bakes (which is supposedly under the same umbrella-organisation
|
||||||
|
as the chain of meat-free restaurants, 'Real Food')
|
||||||
|
0. La Ristrettos
|
||||||
|
0. Brunches Cafe
|
||||||
|
1. Tong Fong Fatt Hainanese Boneless Chicken Rice
|
||||||
|
0. Mahota Commune
|
||||||
|
0. Il Den
|
||||||
|
0. Kemono Healthy Japanese Roast Chicken (it seems delivery-only)
|
||||||
|
1. Tolido's Espresso Nook
|
||||||
|
0. MTR Restaurant
|
||||||
|
0. Podi & Poriyal
|
||||||
|
0. Hj Maimunah
|
||||||
|
|
||||||
|
This post was updated on 14th March 2019.
|
||||||
|
|
@ -0,0 +1,56 @@
|
||||||
|
---
|
||||||
|
title: "My Lineage of Inspiration"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
I'm working on a career-development course right now, titled 'Work That
|
||||||
|
Matters'. It's by Maia Duerr, and in this blog post, I am going to
|
||||||
|
make what Maia calls a Lineage of Inspiration.
|
||||||
|
|
||||||
|
Maia herself elaborates on her Lineage of Inspiration at the Internet-address
|
||||||
|
[http://maiaduerr.com/lineage-and-liberation-2/](http://maiaduerr.com/lineage-and-liberation-2/).
|
||||||
|
|
||||||
|
She writes:
|
||||||
|
|
||||||
|
> So as way of creating my own personal lineage chart, I want to name some of those people who made a huge impact on me and to whom I feel enormous gratitude. I’m sharing this list as a way for you to get to know me better and it’s also an invitation for you to do the same. It’s a huge gift to realize that our lineage is linked to our liberation. We don’t have to do it alone. There is no way we possibly could do it on our own.
|
||||||
|
|
||||||
|
The following is the prompt I am working with, which I reproduce from the afore-mentioned
|
||||||
|
Internet address. 'Who’s in your personal lineage? Who are the people who have guided you to more freedom in your life, and what gifts have you received from them?'
|
||||||
|
|
||||||
|
0. **Masafumi Itokazu ("Matchi")**.
|
||||||
|
Matchi has [a profile on Couchsurfing.com](https://www.couchsurfing.com/people/masafumi-matchi-itokazu?action=show&controller=user_profiles).
|
||||||
|
He was my room-mate in the autumn of the year 2013 A.D.,
|
||||||
|
at a dormitory on the campus of National Taiwan University, until he left
|
||||||
|
our shared room -
|
||||||
|
rather abruptly, I thought - some-time during the wet winter of the same year.
|
||||||
|
He was a sharp dresser, I think. I've received the gift of encouragement,
|
||||||
|
unspoken or otherwise, to dress myself as boldly as I would like. A gift
|
||||||
|
of confidence, in other words - perhaps. Now I dress as I dare
|
||||||
|
(or so I would like to think).
|
||||||
|
0. **Chris Jensen**.
|
||||||
|
Chris has [a profile on LinkedIn](https://www.linkedin.com/in/christopherjamesjensen/).
|
||||||
|
Chris was my supervisor during my internship at his (now-defunct, I guess)
|
||||||
|
start-up Good For Us. At the point in time that I met him,
|
||||||
|
I was somewhat in the earlier part of what could be
|
||||||
|
conventionally called
|
||||||
|
College Education. I had little to no awareness of inner life or spiritual life,
|
||||||
|
I think, at that time. Chris did not seem afraid to mandate a practice
|
||||||
|
of recalling A Few Things That You're Grateful For, during lunches together.
|
||||||
|
Chris also extended an invitation for me to visit him during
|
||||||
|
his work at the non-profit organisation [Ground-up Initative (G.U.I.)](https://www.facebook.com/groundupinitiative/).
|
||||||
|
Exposure to Nature that seemed a little less domesticated (at G.U.I.),
|
||||||
|
and the beginnings
|
||||||
|
of a practice of gratitude - I've received these gifts.
|
||||||
|
0. **Emily Dickinson**.
|
||||||
|
I read that she withdrew from society, famously becoming recluse-like,
|
||||||
|
and developed a kind of language of her own, which can, maybe, be seen in
|
||||||
|
her now-renown poems. I've received encouragement to pursue a path into poetry,
|
||||||
|
regardless of how unconventional a life I may seem to lead.
|
||||||
|
0. A manager at my kitchen-workplace, by the name of **Lily** (transliterated name).
|
||||||
|
I met her while I was a part-time cook at a budget restaurant of sorts. (I still am, for now.)
|
||||||
|
She seemed sensitive enough to refill any sauces (or ingredients) that I've
|
||||||
|
run out of, at a time when I was too busy or pre-occupied to refill those myself.
|
||||||
|
I've received the gift of an example of service towards my co-workers, or perhaps
|
||||||
|
even humankind. I can strive to emulate her sensitivity to others, I think,
|
||||||
|
if nothing else.
|
||||||
|
|
||||||
|
|
@ -0,0 +1,12 @@
|
||||||
|
---
|
||||||
|
title: "want to feel (even more) cramped (in a cheek-to-jowl way) on the island of Singapore? A few places to check out "
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
The title of this post is self-explanatory, I believe. If you're so inclined,
|
||||||
|
check out:
|
||||||
|
|
||||||
|
0. In the day-time, for instance, around noon on a Sunday: **"Mother Dough"**, in the area of Sultan Mosque.
|
||||||
|
[https://www.motherdough.com.sg/](https://www.motherdough.com.sg/)
|
||||||
|
0. In clubbing (as in night-life) hours, say, at 1 AM on a Sunday: **"Headquarters"**, in the area of Boat Quay.
|
||||||
|
[https://www.facebook.com/headquarters.sg/](https://www.facebook.com/headquarters.sg/)
|
||||||
|
|
@ -0,0 +1,12 @@
|
||||||
|
---
|
||||||
|
title: 'A few print-making techniques, and possibly goodbye'
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
Recently, at an Open House at [STPI](https://www.stpi.com.sg/), I learnt -
|
||||||
|
or rather, watched, if not tried my hand at it myself, in some stage of the
|
||||||
|
respective process - the print-making techniques/processes of Intaglio, Linocut and
|
||||||
|
Relief-printing.
|
||||||
|
|
||||||
|
By the way, owing to various circumstances, this may or may not be my final
|
||||||
|
post on this blog.
|
||||||
|
|
@ -0,0 +1,21 @@
|
||||||
|
---
|
||||||
|
layout: page
|
||||||
|
title: "Recipe for a (Milo-based) cocktail"
|
||||||
|
---
|
||||||
|
|
||||||
|
I got this recipe from a bartender at [Bar Stories](https://www.facebook.com/pg/barstories.sg/)
|
||||||
|
, located on the island of
|
||||||
|
Singapore.
|
||||||
|
|
||||||
|
It is based on Milo, a non-alcoholic beverage which is kinda based on malt.
|
||||||
|
(I am aware, from anecdotal evidence, that Milo is popular, if not well-known,
|
||||||
|
in at least the South-east Asian countries of Malaysia and Singapore).
|
||||||
|
|
||||||
|
I didn't manage to get the name for this cocktail. Nonetheless, the ingredients:
|
||||||
|
|
||||||
|
0. Egg white x 1
|
||||||
|
2. Milo, as in the drink, not the powder x 2 oz
|
||||||
|
3. Butter-scotch, the liqueur x 0.25 oz
|
||||||
|
4. Dark-chocolate liqueur x 0.5 oz
|
||||||
|
5. Dark-chocolate bitters x 3 dashes
|
||||||
|
6. Black Cow vodka (for a creamy taste) x 1.5 oz
|
||||||
|
|
@ -0,0 +1,47 @@
|
||||||
|
---
|
||||||
|
title: A chat about ethics and technology, with Mr. Sebastian Müeller
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
On 12 December 2019, during the afternoon, Sebastian and I met at the
|
||||||
|
Singapore office of Minglabs, an organisation in which Sebastian is
|
||||||
|
Co-founder and COO. Let me briefly recall the approximately
|
||||||
|
one-hour-long chat, using a format of
|
||||||
|
Question-and-Answer (Q&A) below - I asked most of the questions, as I recall.
|
||||||
|
|
||||||
|
_Q: “Why are you interested in ethics?”_
|
||||||
|
|
||||||
|
A: “I do not have [an academic] background in ethics or philosophy. I studied Computer Science in Germany. My thinking changed after I had a son - he is three years old now - and I have done much more reading since.”
|
||||||
|
|
||||||
|
_Q: “I don’t mean to offend you personally, but if we talk about ethics, there is the danger of being a hypocrite, that is, saying one thing and doing another. How do you ensure you are not a hypocrite?”_
|
||||||
|
|
||||||
|
A: “Humans are fallible. If someone says something, and does what he says - if he walks the talk - he is an angel. [Having said that,] I try to be better today than I was yesterday.”
|
||||||
|
|
||||||
|
_Q: “About Andrew Yang… [in the U.S., who proposed a Department of the Attention Economy]”_
|
||||||
|
|
||||||
|
A: “Algorithm Oversight. Right now, there is a gap: the regulation-authorities have to figure out what is happening in these algorithms. It takes time to come up with regulations, and meanwhile, technology keeps moving on and on and on. They have to be paid well, because they are the best of the best of the best [that is, those who are, or might be, recruited, into The Government, to regulate algorithms that are used in software]. This is one area that I think Singapore does well in: the ministers are well-paid. In the U.S. or in Europe, working in The Government means taking a pay-cut.”
|
||||||
|
|
||||||
|
_Q: "You mentioned reading. What are some of those books?"_
|
||||||
|
|
||||||
|
A: "I'll email you after our chat." [Later, Sebastian emails hyperlinks:]
|
||||||
|
|
||||||
|
0. Cathy O'Neil. (2016). "Weapons of Math Destruction: How Big Data increases inequality and threatens democracy".
|
||||||
|
[https://www.goodreads.com/book/show/28186015-weapons-of-math-destruction](https://www.goodreads.com/book/show/28186015-weapons-of-math-destruction)
|
||||||
|
0. Brad Smith. (2019). "Tools and weapons: The promise and the peril of the Digital Age".
|
||||||
|
[https://www.goodreads.com/book/show/44334073-tools-and-weapons](https://www.goodreads.com/book/show/44334073-tools-and-weapons)
|
||||||
|
0. Yancey Strickler. (2019). "This could be our future: A manifesto for a more generous world".
|
||||||
|
[https://www.goodreads.com/book/show/44525559-this-could-be-our-future](https://www.goodreads.com/book/show/44525559-this-could-be-our-future)
|
||||||
|
0. Tim O'Reilly. (2017). "WTF?: What's The Future and why it's up to us" .
|
||||||
|
[https://www.goodreads.com/book/show/34017076-wtf](https://www.goodreads.com/book/show/34017076-wtf)
|
||||||
|
|
||||||
|
The Q&A above represents only a portion of the entirety of my chat with Sebastian, which concluded with agreeing that (the application of) ethics in technology meant co-operation/collaboration of (highly skilled) people across various fields of expertise, or disciplines. As Sebastian puts it, "I observe; I act within my sphere of influence… [but] I cannot solve the problem on my own."
|
||||||
|
|
||||||
|
However, Sebastian seems optimistic, if not hopeful: "[if I] keep repeating a message [about ethics, to the audience of my various talks], maybe the message will get in."
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
@ -0,0 +1,39 @@
|
||||||
|
---
|
||||||
|
title: "how to say 'good'"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
A certain Homeless Kodo has said, "we only say something is good when
|
||||||
|
it goes our way", or something to that effect. I quote,
|
||||||
|
|
||||||
|
> Sooner or later everyone starts thinking of nothing besides themselves. You say, “That was good!” But what was good? It was only good for you personally, that’s all.
|
||||||
|
|
||||||
|
Source: [https://antaiji.org/en/services/kodo-to-you/](https://antaiji.org/en/services/kodo-to-you/)
|
||||||
|
|
||||||
|
Be that as it may, I take pleasure and interest in the different ways I can say
|
||||||
|
something is good, whether it is good for me, or for someone else, or whatever.
|
||||||
|
|
||||||
|
So, I make the following list, based on words currently in my vocabulary:
|
||||||
|
|
||||||
|
0. excellent
|
||||||
|
0. nice
|
||||||
|
0. super
|
||||||
|
0. amazing
|
||||||
|
0. awesome
|
||||||
|
0. great
|
||||||
|
0. perfect
|
||||||
|
0. 棒(a Chinese word)
|
||||||
|
0. _baik_ (a word in Bahasa Indonesia and Bahasa Melayu, pronouced like baa-eggk)
|
||||||
|
0. _pona_ (a word in the constructed language Toki Pona, which has no native speakers)
|
||||||
|
0. pleasant
|
||||||
|
0. 赞(a word that seemed to have been used in Taiwan in the modern past
|
||||||
|
(about 1.5 decades ago?); maybe it isn't used
|
||||||
|
so much nowadays anymore?)
|
||||||
|
0. miraculous
|
||||||
|
0. fabulous
|
||||||
|
0. nice - oops, I mentioned "nice" already.
|
||||||
|
0. fun - I seldom use this word, but I've heard others use them within my ear-shot
|
||||||
|
0. majestic - usually I use this word to describe God and God's works
|
||||||
|
|
||||||
|
That's it. I've heard a Spanish version of "miraculous" and "fabulous" before, but
|
||||||
|
because I seldom use those Spanish words, I omit it from my above list.
|
||||||
|
|
@ -0,0 +1,46 @@
|
||||||
|
---
|
||||||
|
title: "A story I wanted to share on the web-site LinkedIn"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
Years ago, I read a book by [Steven D'Souza](https://www.linkedin.com/in/steven-d-souza-5351712/)
|
||||||
|
and [Diana Renner](https://www.linkedin.com/in/diana-renner-24895232/), titled
|
||||||
|
"Not knowing: The art of turning uncertainty into opportunity".
|
||||||
|
|
||||||
|
If you want to know more about that book, you can check out its page on
|
||||||
|
Goodreads.com (because the rest of this post is not going to talk much about that book) :
|
||||||
|
|
||||||
|
[https://www.goodreads.com/book/show/18210266-not-knowing](https://www.goodreads.com/book/show/18210266-not-knowing)
|
||||||
|
|
||||||
|
After reading the book, I was inspired to write a blog-post, which, generally speaking,
|
||||||
|
was about the impact that the book had on me.
|
||||||
|
|
||||||
|
So, fast-forward three years: Steven, who, as you recall, is co-author of the above-mentioned book,
|
||||||
|
leaves a comment on my blog:
|
||||||
|
|
||||||
|
> Thank you for sharing the impact of our book on you Pheng Heong.
|
||||||
|
Your writing is honest and eloquent. Steven
|
||||||
|
|
||||||
|
And I probably have a fan-boy moment: who is Steven in the world, and I - who am I kidding - who am I
|
||||||
|
in the world? *that* Steven is talking to *this* me?
|
||||||
|
|
||||||
|
But if I view Steven and I as fellow travellers into the unknown, maybe he and I are
|
||||||
|
not that different from each other. Steven (and Diana, his co-author) may have more experience
|
||||||
|
in life than me, but they highlight, in their book, that they do not want to be seen
|
||||||
|
as experts about the unknown - if anything, they encourage one to explore the unknown for oneself.
|
||||||
|
My role, then, is clear: if Steven and Diana are offering wisdom about such an adventure,
|
||||||
|
so to speak, then I can be, and I am, happy to receive that wisdom. (despite the discomfort,
|
||||||
|
and even dread, that encountering the unknown often engenders in me).
|
||||||
|
|
||||||
|
It may be that I have my individual, unique, experience of the unknown to undergo,
|
||||||
|
but I am happy to have the wisdom that Steven and Diana have distilled, via their book,
|
||||||
|
to bear in mind, all the while.
|
||||||
|
|
||||||
|
You can view my above-mentioned blog-post here:
|
||||||
|
|
||||||
|
[http://phtan.github.io/blog/post/2016-05-06-not-knowing/](http://phtan.github.io/blog/post/2016-05-06-not-knowing/)
|
||||||
|
|
||||||
|
*This post was originally intended for publication on the social-media web-site LinkedIn,
|
||||||
|
but what I've prepared for that web-site was somehow lost. Now I type a new draft,
|
||||||
|
and post it first on this current Internet-address, with plans to subsequently post, or syndicate,
|
||||||
|
it (back) to LinkedIn.*
|
||||||
|
|
@ -0,0 +1,20 @@
|
||||||
|
---
|
||||||
|
title: Just watched a recording of Tim Brown 's TED talk, "Tales of creativity and play"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
|
||||||
|
I was at a screening that is open to the public, at the co-working space The Hive (Facebook: https://facebook.com/thehivecarpenter/ )
|
||||||
|
|
||||||
|
In his talk, Mr. Brown highlighted a number of exercises/techniques, that designers use, and which are modelled on, or inspired by, how little children play:
|
||||||
|
|
||||||
|
1. The technique called "thinking with your hands". Its analogue among children is so-called "construction play", such as building towers from little blocks, knocking the towers down, and building them again, over and over. An example of this technique, among designers, is building prototypes of an idea quickly, even if the prototype looks like a crude hotch-potch of everyday objects: plasticine, small bottles of deodorant, and so on.
|
||||||
|
2. Role play. How children role-play need not be elaborated, I believe: playing House, playing Tea-time, and so on. From what Mr. Brown says, designers can use role play to switch perspective(s) from the designer (of a service) to the user (of that service).
|
||||||
|
|
||||||
|
It seems worth mentioning that Mr. Brown said that play is not anarchy. Play has rules. For example, if little children play Cops & Robbers, they are acting out a socially agreed script.
|
||||||
|
|
||||||
|
Definitely interesting to think about - for me, at least. I hope it's interesting for you, too.
|
||||||
|
|
||||||
|
I link to the TED talk:
|
||||||
|
[https://www.ted.com/talks/tim_brown_tales_of_creativity_and_play?language=en](https://www.ted.com/talks/tim_brown_tales_of_creativity_and_play?language=en)
|
||||||
|
|
||||||
|
|
@ -0,0 +1,21 @@
|
||||||
|
---
|
||||||
|
title: "Pay-off(s) of my little investment of sorts: attending a talk"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
I feel rewarded for getting up earlier than usual today -
|
||||||
|
[Helena Wasserman Eriksson](https://www.hnworth.com/article/truths/life/why-i-started-stage-6-a-conscious-co-living-space/)
|
||||||
|
's talk was scheduled for 8.30 AM.
|
||||||
|
|
||||||
|
[Her talk](https://creativemornings.com/talks/helena-wasserman-eriksson-on-invest),
|
||||||
|
on the topic "Invest", began with questions for the audience. Then: "I want you to think how you have invested in yourself, and the great feeling you had when you did that. Then take 5 minutes to share it with your neighbour."
|
||||||
|
|
||||||
|
If I think about it now, attending her talk was an investment in myself, too. And I think this investment has paid off already - at the talk's venue, I met people, who not only seemed to share similar interests with me, but also seem to be better than myself at it. For example,
|
||||||
|
|
||||||
|
- [Eugene Cheng](https://www.linkedin.com/in/eugeneseancheng/) has done photography at weddings, something I haven't done (yet), but it's something which Eugene asserts will provide lots of opportunities to develop photographic skills
|
||||||
|
- Tsuyumi Miwa 's name-cards feature her paintings on the reverse side - an idea I can consider if I do start making name-cards for my artistic practice. (Tsuyumi-san's website: http://heymiwa.com/ )
|
||||||
|
- I met someone who talked about one's posture, in relation to pain in one's knees, while running. Now I am thinking about whether my posture, while I use my laptop, is the best for my body.
|
||||||
|
|
||||||
|
Lots of food for thought, to say the least!
|
||||||
|
|
||||||
|
*This post has appeared in a slightly altered form,
|
||||||
|
[on LinkedIn](https://www.linkedin.com/feed/update/urn:li:activity:6639002362029666304/)*
|
||||||
|
|
@ -0,0 +1,22 @@
|
||||||
|
---
|
||||||
|
title: "recent Art News: artists selling art without dealers"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
Just to share, I've recently heard of at least two artists who make their works accessible to the public without involving a gallery or a dealer.
|
||||||
|
|
||||||
|
1. William Powhida invites the public to be his Friend; the perks of being such a Friend include free (as in gratis) ownership of his artwork, if you have taken care of it (at your place) for five years.
|
||||||
|
Source: Taylor Dafoe 's article on the web-site Artnet, published on 28th Feb 2020:
|
||||||
|
"Artist William Powhida Doesn’t Have Room to Store All His Work—So He Wants You to Borrow It, For Free". URL:
|
||||||
|
https://lnkd.in/fcyYJRe
|
||||||
|
|
||||||
|
2. Tsuyumi Miwa is having an exhibition at Maduro Jazz Club, Singapore ( http://www.maduro.sg/ ) . Tsuyumi says her paintings will be on sale, at a lower price than usual, because there is no "gallery commission fee".
|
||||||
|
|
||||||
|
- Time: 6.30 PM onwards , on 24th April
|
||||||
|
- Price of a ticket: SGD$25
|
||||||
|
- Tsuyumi is contactable at her web-site,
|
||||||
|
( http://www.heymiwa.com/ )
|
||||||
|
|
||||||
|
What's in the price of a ticket? Her friend, the composer-singer-actor James Flynn ( http://www.flynnjazz.com/ ) has composed songs that interpret Tsuyumi's paintings , which he is scheduled to perform, with his trio, on the evening of Tsuyumi's exhibition.
|
||||||
|
Source: my recent chat(s) with Tsuyumi
|
||||||
|
|
||||||
|
|
@ -0,0 +1,16 @@
|
||||||
|
---
|
||||||
|
title: reading a book on photography
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
Reading a book by David Ulrich, "Zen camera: creative awakening with a daily practice in photography".
|
||||||
|
|
||||||
|
Found words (or the vocabulary) to describe what I spend a significant amount of energy on nowadays: creating the necessary conditions for "the arrival of the muse... - what artists call inspiration and many call the 'aha' moment [...] the creative intelligence occurring when the artist or seeker is open, taking place through the cracks of the ordinary, rational brain". (Page 94).
|
||||||
|
|
||||||
|
Here I share a photo (I have) taken on 26th December, around the time of a supposed eclipse. It draws me somehow... I stay open to where it calls me.
|
||||||
|
|
||||||
|
As Ulrich says (on Page 88), the famous figure in spirituality, Rumi, has a quote/poem:
|
||||||
|
|
||||||
|
> "Let yourself be silently drawn by the strange pull of what you really love. It will not lead you astray "
|
||||||
|
|
||||||
|
|
||||||
|
|
@ -0,0 +1,12 @@
|
||||||
|
---
|
||||||
|
title: A selection of five photos I've taken, in the past two years
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
It didn't seem fun to have to meet the requirements
|
||||||
|
(of
|
||||||
|
[Singapore International Photography Festival](http://sipf.sg/)
|
||||||
|
2020) to have
|
||||||
|
seven photos in my submission. So,
|
||||||
|
[on Tumblr](https://alls-futility.tumblr.com/post/611746367108448256/creative-commons-attribution-40-international),
|
||||||
|
I present five photos that I do have, instead; they were taken in the past two years (all on the island of Singapore ); I hope you enjoy them.
|
||||||
|
|
@ -0,0 +1,25 @@
|
||||||
|
---
|
||||||
|
title: An opera; International Women's Day
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
Somewhat belatedly, on the occasion of Women's Day - it is refreshing for me to encounter, in literature, a wife saving her husband in distress (instead of the other way round).
|
||||||
|
|
||||||
|
I'm referring to Beethoven's only completed opera, "Fidelio".
|
||||||
|
|
||||||
|
Fidelio is the alias of a character named Leonore, who gets employed by the jailer, Rocco - and even cross-dresses as a man - so that she can gain access to the inner-most section of the jail; she wants to see if her husband, Florestan, is indeed imprisoned there.
|
||||||
|
|
||||||
|
I think I've revealed enough about the plot, so I'll stop relating the details here.
|
||||||
|
|
||||||
|
Let me end with the (German) words from the finale of the opera:
|
||||||
|
|
||||||
|
> "Nie wird es zu hoch besungen, Retterin des Gatten sein." (Never can we over-praise a wife who saves her husband.) Translator: Lionel Salter.
|
||||||
|
|
||||||
|
Details for lovers of classical music: I listened to a 1995 recording, featuring Nikolaus Harnoncourt as conductor, and Chamber Orchestra of Europe.
|
||||||
|
|
||||||
|
I believe well-deserved honour goes to National Library Board (of Singapore)
|
||||||
|
for stocking both CD and CD-player at the public library known as
|
||||||
|
Library@Esplanade .
|
||||||
|
|
||||||
|
*this post first appeared in its original form,
|
||||||
|
[on LinkedIn](https://www.linkedin.com/posts/phengheong_iwd-activity-6642767605172133888-1vS8)*
|
||||||
|
|
@ -0,0 +1,19 @@
|
||||||
|
---
|
||||||
|
title: "A brief analysis of the artistic merit of videos made by Peeping Toms/voyeurs"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
Maybe in the past it was more artistic (and consensual between
|
||||||
|
photographer/cameraman and subject)
|
||||||
|
|
||||||
|
I refer to Brassaï 's 1931 photo, "A suit for two in the magic city", which
|
||||||
|
features some extent of (the suggestion of) male nudity.
|
||||||
|
in it,
|
||||||
|
clearly there are homosexual themes
|
||||||
|
and there is some expression of
|
||||||
|
intimacy as well
|
||||||
|
|
||||||
|
Nowadays, if I were to
|
||||||
|
use a popular expression, people are "going from bad to worse"
|
||||||
|
|
||||||
|
And Peeping Toms/voyeurs who arrive later in history, in their "artistic work" - if it could be so termed - seem to demonstrate a clear lack of what the writer Edgar Allan Poe calls the Poetic Principle: their works do not "elevate the soul", as a poetic work should
|
||||||
|
|
@ -0,0 +1,44 @@
|
||||||
|
---
|
||||||
|
title: A challenge I face in pursuing excellence
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
A challenge I face in pursuing excellence is... *[drum roll]*... finding others who pursue excellence.
|
||||||
|
|
||||||
|
Okay, maybe that wasn't such a surprising revelation. As the saying goes, "As iron sharpens iron, so one man another".
|
||||||
|
|
||||||
|
For me, it is not satisfactory enough to look to my contemporaries - I have looked centuries back, hoping to appreciate greatness.
|
||||||
|
|
||||||
|
Without further ado, I share a list - off the top of my head - of works I look up to:
|
||||||
|
|
||||||
|
In Classical Music,
|
||||||
|
|
||||||
|
- Beethoven's Cello Sonata, Op. 102
|
||||||
|
- Schubert's Winterreise
|
||||||
|
|
||||||
|
In opera,
|
||||||
|
|
||||||
|
- Bartók's "Duke Bluebeard's Castle"
|
||||||
|
|
||||||
|
In Russian literature,
|
||||||
|
|
||||||
|
- Alexander Pushkin's novel in verse, "Eugene Onegin"
|
||||||
|
|
||||||
|
In children's literature,
|
||||||
|
|
||||||
|
- Tolkien's "The Hobbit"
|
||||||
|
|
||||||
|
Others:
|
||||||
|
|
||||||
|
- a fairly modern film, Wong Kar-Wai's "In the mood for love"
|
||||||
|
- A song by The Beatles, "Come together"
|
||||||
|
|
||||||
|
In concluding, I note that if I have a small, puny mind, the world I see is a small, puny world. I wish for a mind that can see greatness in even the smallest thing - eyes that can see beauty and wonder.
|
||||||
|
|
||||||
|
For example, can I learn, from a dog, how to be happy, while being held on a leash? Or, from a cat, how to meditate?
|
||||||
|
|
||||||
|
I close with a quote from the classic tale, "The little prince":
|
||||||
|
|
||||||
|
> “It is only with the heart that one can see rightly; what is essential is invisible to the eye.”
|
||||||
|
|
||||||
|
*This post first appeared [on LinkedIn](https://www.linkedin.com/feed/update/urn:li:activity:6648108747728216064/).*
|
||||||
|
|
@ -0,0 +1,40 @@
|
||||||
|
---
|
||||||
|
title: "Q&A for me"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
I love reading interviews. Whether it is an interview of Kevin Ma, founder
|
||||||
|
of the magazine known as Hypebeast, or [an interview of Derek Sivers](https://sivers.org/2015-12-ferriss), entrepreneur
|
||||||
|
who reportedly said No to selling his business for millions of dollars,
|
||||||
|
I get to find out a bit more about these people.
|
||||||
|
|
||||||
|
So, one day, I thought, how about I interview myself? Then others can find
|
||||||
|
out more about me. [chuckles].
|
||||||
|
|
||||||
|
But... what would I ever ask myself?
|
||||||
|
|
||||||
|
Thankfully, I found some questions that were addressed to the public, on
|
||||||
|
the social-network web-site known as LinkedIn, and guess what, I answered them!
|
||||||
|
|
||||||
|
And now, I collect my answers to those questions, in this blog-post! Ta-dah!
|
||||||
|
I have an interview... of myself! (Although others asked those questions).
|
||||||
|
|
||||||
|
[clears throat]. Let's start the interview!
|
||||||
|
|
||||||
|
**How are you challenging yourself in 2020? - Elisha**
|
||||||
|
|
||||||
|
My challenge for myself so far, in 2020, is to balance my time on social media - or, more broadly speaking, my time on an electronic computing device - with my time off the Internet. It would be interesting to see how I can do this in the light of a trend towards webinar(s) and work-from-home, set against a background of virus-news, virus-concerns, virus-fretting, virus-worrying and virus-scares.
|
||||||
|
|
||||||
|
**What has been one project or assignment in which you broke the rules and had fun in the creative process? - Joseph**
|
||||||
|
|
||||||
|
I once took an undergraduate-course on Composing Music in the Classical Style (for example, in the style of Mozart). For an assignment in that course, I wrote a musical work that appears to be thoroughly twentieth-century, instead of looking eighteenth-century. My course-instructor did not accept my work, but I still had fun. (I’ve realised the importance of surrounding myself with people who value creativity and innovation - which is not everyone, and I certainly don’t really appreciate flattery and/or smooth talk, either).
|
||||||
|
|
||||||
|
**Tell me what is your oops-boo-hoo moment this week, and what you learnt from it. - Phing**
|
||||||
|
|
||||||
|
An “oops-boo-hoo” of mine, as you call it? I run a blog where I post photos from my trips to art-galleries in Sg. Art-hunting, if you will. But I got a
|
||||||
|
little lost; something didn’t feel right (about such blogging) anymore. I
|
||||||
|
asked the person known, on LinkedIn.com , as Alin Sneha Abraham, for her perspective on the matter; I said I wasn’t sure if my blogging was adding value to the world. Alin said something to the effect that it is more important that I enjoy myself; that way, at least one person benefits. So my oops-boo-hoo was to overlook my own enjoyment of the activity in question. I concluded that I liked visiting galleries, but posting photos on social media? Not so much.
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
@ -0,0 +1,14 @@
|
||||||
|
---
|
||||||
|
title: "updates, quickly"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
Not much time on my hands (to make this post).
|
||||||
|
|
||||||
|
- Started a journal that I'm publishing on Github, intentionally challenging
|
||||||
|
my audience, if any, to be familiar with Git and Github-like websites.
|
||||||
|
[https://github.com/phtan/technologist-journal](https://github.com/phtan/technologist-journal)
|
||||||
|
- Experienced, and still experiencing, challenges with connecting to tilde.town.
|
||||||
|
Firewalls and what-not. VPN doesn't seem to be an option (yet).
|
||||||
|
|
||||||
|
Gotta go.
|
||||||
|
|
@ -0,0 +1,19 @@
|
||||||
|
---
|
||||||
|
title: "using Jekyll on tilde.town, circa 7th July 2020"
|
||||||
|
layout: post
|
||||||
|
---
|
||||||
|
|
||||||
|
Running *jekyll -v*, on the command line, resulted in the following
|
||||||
|
message:
|
||||||
|
|
||||||
|
> -bash: /usr/local/bin/jekyll: /usr/bin/ruby2.5: bad interpreter: No such file or directory
|
||||||
|
|
||||||
|
After some research, I found that I could run the following command:
|
||||||
|
|
||||||
|
*/usr/bin/jekyll -v*
|
||||||
|
|
||||||
|
which resulted in the following message:
|
||||||
|
|
||||||
|
> jekyll 3.8.6
|
||||||
|
|
||||||
|
I hope this post saves someone else some time.
|
||||||
|
|
@ -0,0 +1,78 @@
|
||||||
|
// Body resets
|
||||||
|
//
|
||||||
|
// Update the foundational and global aspects of the page.
|
||||||
|
|
||||||
|
* {
|
||||||
|
-webkit-box-sizing: border-box;
|
||||||
|
-moz-box-sizing: border-box;
|
||||||
|
box-sizing: border-box;
|
||||||
|
}
|
||||||
|
|
||||||
|
html,
|
||||||
|
body {
|
||||||
|
margin: 0;
|
||||||
|
padding: 0;
|
||||||
|
}
|
||||||
|
|
||||||
|
html {
|
||||||
|
font-family: "Helvetica Neue", Helvetica, Arial, sans-serif;
|
||||||
|
font-size: 16px;
|
||||||
|
line-height: 1.5;
|
||||||
|
|
||||||
|
@media (min-width: 38em) {
|
||||||
|
font-size: 18px;
|
||||||
|
}
|
||||||
|
}
|
||||||
|
|
||||||
|
body {
|
||||||
|
color: #515151;
|
||||||
|
background-color: #fff;
|
||||||
|
-webkit-text-size-adjust: 100%;
|
||||||
|
-ms-text-size-adjust: 100%;
|
||||||
|
}
|
||||||
|
|
||||||
|
// No `:visited` state is required by default (browsers will use `a`)
|
||||||
|
a {
|
||||||
|
color: #268bd2;
|
||||||
|
text-decoration: none;
|
||||||
|
|
||||||
|
// `:focus` is linked to `:hover` for basic accessibility
|
||||||
|
&:hover,
|
||||||
|
&:focus {
|
||||||
|
text-decoration: underline;
|
||||||
|
}
|
||||||
|
|
||||||
|
strong {
|
||||||
|
color: inherit;
|
||||||
|
}
|
||||||
|
}
|
||||||
|
|
||||||
|
img {
|
||||||
|
display: block;
|
||||||
|
max-width: 100%;
|
||||||
|
margin: 0 0 1rem;
|
||||||
|
border-radius: 5px;
|
||||||
|
}
|
||||||
|
|
||||||
|
table {
|
||||||
|
margin-bottom: 1rem;
|
||||||
|
width: 100%;
|
||||||
|
font-size: 85%;
|
||||||
|
border: 1px solid #e5e5e5;
|
||||||
|
border-collapse: collapse;
|
||||||
|
}
|
||||||
|
|
||||||
|
td,
|
||||||
|
th {
|
||||||
|
padding: .25rem .5rem;
|
||||||
|
border: 1px solid #e5e5e5;
|
||||||
|
}
|
||||||
|
|
||||||
|
th {
|
||||||
|
text-align: left;
|
||||||
|
}
|
||||||
|
|
||||||
|
tbody tr:nth-child(odd) td,
|
||||||
|
tbody tr:nth-child(odd) th {
|
||||||
|
background-color: #f9f9f9;
|
||||||
|
}
|
||||||
|
|
@ -0,0 +1,78 @@
|
||||||
|
// Code
|
||||||
|
//
|
||||||
|
// Inline and block-level code snippets. Includes tweaks to syntax highlighted
|
||||||
|
// snippets from Pygments/Rouge and Gist embeds.
|
||||||
|
|
||||||
|
code,
|
||||||
|
pre {
|
||||||
|
font-family: Menlo, Monaco, "Courier New", monospace;
|
||||||
|
}
|
||||||
|
|
||||||
|
code {
|
||||||
|
padding: .25em .5em;
|
||||||
|
font-size: 85%;
|
||||||
|
color: #bf616a;
|
||||||
|
background-color: #f9f9f9;
|
||||||
|
border-radius: 3px;
|
||||||
|
}
|
||||||
|
|
||||||
|
pre {
|
||||||
|
margin-top: 0;
|
||||||
|
margin-bottom: 1rem;
|
||||||
|
}
|
||||||
|
|
||||||
|
pre code {
|
||||||
|
padding: 0;
|
||||||
|
font-size: 100%;
|
||||||
|
color: inherit;
|
||||||
|
background-color: transparent;
|
||||||
|
}
|
||||||
|
|
||||||
|
// Pygments via Jekyll
|
||||||
|
.highlight {
|
||||||
|
padding: 1rem;
|
||||||
|
margin-bottom: 1rem;
|
||||||
|
font-size: .8rem;
|
||||||
|
line-height: 1.4;
|
||||||
|
background-color: #f9f9f9;
|
||||||
|
border-radius: .25rem;
|
||||||
|
|
||||||
|
pre {
|
||||||
|
margin-bottom: 0;
|
||||||
|
overflow-x: auto;
|
||||||
|
}
|
||||||
|
|
||||||
|
.lineno {
|
||||||
|
display: inline-block; // Ensures the null space also isn't selectable
|
||||||
|
padding-right: .75rem;
|
||||||
|
padding-left: .25rem;
|
||||||
|
color: #999;
|
||||||
|
// Make sure numbers aren't selectable
|
||||||
|
-webkit-user-select: none;
|
||||||
|
-moz-user-select: none;
|
||||||
|
user-select: none;
|
||||||
|
}
|
||||||
|
}
|
||||||
|
|
||||||
|
|
||||||
|
// Gist via GitHub Pages
|
||||||
|
// .gist .gist-file {
|
||||||
|
// font-family: Menlo, Monaco, "Courier New", monospace !important;
|
||||||
|
// }
|
||||||
|
// .gist .markdown-body {
|
||||||
|
// padding: 15px;
|
||||||
|
// }
|
||||||
|
// .gist pre {
|
||||||
|
// padding: 0;
|
||||||
|
// background-color: transparent;
|
||||||
|
// }
|
||||||
|
// .gist .gist-file .gist-data {
|
||||||
|
// font-size: .8rem !important;
|
||||||
|
// line-height: 1.4;
|
||||||
|
// }
|
||||||
|
// .gist code {
|
||||||
|
// padding: 0;
|
||||||
|
// color: inherit;
|
||||||
|
// background-color: transparent;
|
||||||
|
// border-radius: 0;
|
||||||
|
// }
|
||||||
|
|
@ -0,0 +1,15 @@
|
||||||
|
// Layout
|
||||||
|
//
|
||||||
|
// Styles for managing the structural hierarchy of the site.
|
||||||
|
|
||||||
|
.container {
|
||||||
|
max-width: 38rem;
|
||||||
|
padding-left: 1.5rem;
|
||||||
|
padding-right: 1.5rem;
|
||||||
|
margin-left: auto;
|
||||||
|
margin-right: auto;
|
||||||
|
}
|
||||||
|
|
||||||
|
footer {
|
||||||
|
margin-bottom: 2rem;
|
||||||
|
}
|
||||||
|
|
@ -0,0 +1,26 @@
|
||||||
|
// Masthead
|
||||||
|
//
|
||||||
|
// Super small header above the content for site name and short description.
|
||||||
|
|
||||||
|
.masthead {
|
||||||
|
padding-top: 1rem;
|
||||||
|
padding-bottom: 1rem;
|
||||||
|
margin-bottom: 3rem;
|
||||||
|
}
|
||||||
|
|
||||||
|
.masthead-title {
|
||||||
|
margin-top: 0;
|
||||||
|
margin-bottom: 0;
|
||||||
|
color: #505050;
|
||||||
|
|
||||||
|
a {
|
||||||
|
color: #505050;
|
||||||
|
}
|
||||||
|
|
||||||
|
small {
|
||||||
|
font-size: 75%;
|
||||||
|
font-weight: 400;
|
||||||
|
color: #c0c0c0;
|
||||||
|
letter-spacing: 0;
|
||||||
|
}
|
||||||
|
}
|
||||||
|
|
@ -0,0 +1,11 @@
|
||||||
|
// Messages
|
||||||
|
//
|
||||||
|
// Show alert messages to users. You may add it to single elements like a `<p>`,
|
||||||
|
// or to a parent if there are multiple elements to show.
|
||||||
|
|
||||||
|
.message {
|
||||||
|
margin-bottom: 1rem;
|
||||||
|
padding: 1rem;
|
||||||
|
color: #717171;
|
||||||
|
background-color: #f9f9f9;
|
||||||
|
}
|
||||||
|
|
@ -0,0 +1,52 @@
|
||||||
|
// Pagination
|
||||||
|
//
|
||||||
|
// Super lightweight (HTML-wise) blog pagination. `span`s are provide for when
|
||||||
|
// there are no more previous or next posts to show.
|
||||||
|
|
||||||
|
.pagination {
|
||||||
|
overflow: hidden; // clearfix
|
||||||
|
margin: 0 -1.5rem 1rem;
|
||||||
|
font-family: "PT Sans", Helvetica, Arial, sans-serif;
|
||||||
|
color: #ccc;
|
||||||
|
text-align: center;
|
||||||
|
}
|
||||||
|
|
||||||
|
// Pagination items can be `span`s or `a`s
|
||||||
|
.pagination-item {
|
||||||
|
display: block;
|
||||||
|
padding: 1rem;
|
||||||
|
border: solid #eee;
|
||||||
|
border-width: 1px 0;
|
||||||
|
|
||||||
|
&:first-child {
|
||||||
|
margin-bottom: -1px;
|
||||||
|
}
|
||||||
|
}
|
||||||
|
|
||||||
|
// Only provide a hover state for linked pagination items
|
||||||
|
a.pagination-item:hover {
|
||||||
|
background-color: #f5f5f5;
|
||||||
|
}
|
||||||
|
|
||||||
|
@media (min-width: 30em) {
|
||||||
|
.pagination {
|
||||||
|
margin: 3rem 0;
|
||||||
|
}
|
||||||
|
|
||||||
|
.pagination-item {
|
||||||
|
float: left;
|
||||||
|
width: 50%;
|
||||||
|
border-width: 1px;
|
||||||
|
|
||||||
|
&:first-child {
|
||||||
|
margin-bottom: 0;
|
||||||
|
border-top-left-radius: 4px;
|
||||||
|
border-bottom-left-radius: 4px;
|
||||||
|
}
|
||||||
|
&:last-child {
|
||||||
|
margin-left: -1px;
|
||||||
|
border-top-right-radius: 4px;
|
||||||
|
border-bottom-right-radius: 4px;
|
||||||
|
}
|
||||||
|
}
|
||||||
|
}
|
||||||
|
|
@ -0,0 +1,61 @@
|
||||||
|
// Posts and pages
|
||||||
|
//
|
||||||
|
// Each post is wrapped in `.post` and is used on default and post layouts. Each
|
||||||
|
// page is wrapped in `.page` and is only used on the page layout.
|
||||||
|
|
||||||
|
.page,
|
||||||
|
.post {
|
||||||
|
margin-bottom: 4em;
|
||||||
|
}
|
||||||
|
|
||||||
|
// Blog post or page title
|
||||||
|
.page-title,
|
||||||
|
.post-title,
|
||||||
|
.post-title a {
|
||||||
|
color: #303030;
|
||||||
|
}
|
||||||
|
.page-title,
|
||||||
|
.post-title {
|
||||||
|
margin-top: 0;
|
||||||
|
}
|
||||||
|
|
||||||
|
// Meta data line below post title
|
||||||
|
.post-date {
|
||||||
|
display: block;
|
||||||
|
margin-top: -.5rem;
|
||||||
|
margin-bottom: 1rem;
|
||||||
|
color: #9a9a9a;
|
||||||
|
}
|
||||||
|
|
||||||
|
|
||||||
|
// Related posts
|
||||||
|
.related {
|
||||||
|
padding-top: 2rem;
|
||||||
|
padding-bottom: 2rem;
|
||||||
|
border-top: 1px solid #eee;
|
||||||
|
}
|
||||||
|
|
||||||
|
.related-posts {
|
||||||
|
padding-left: 0;
|
||||||
|
list-style: none;
|
||||||
|
|
||||||
|
h3 {
|
||||||
|
margin-top: 0;
|
||||||
|
}
|
||||||
|
|
||||||
|
li {
|
||||||
|
small {
|
||||||
|
font-size: 75%;
|
||||||
|
color: #999;
|
||||||
|
}
|
||||||
|
|
||||||
|
a:hover {
|
||||||
|
color: #268bd2;
|
||||||
|
text-decoration: none;
|
||||||
|
|
||||||
|
small {
|
||||||
|
color: inherit;
|
||||||
|
}
|
||||||
|
}
|
||||||
|
}
|
||||||
|
}
|
||||||
|
|
@ -0,0 +1,65 @@
|
||||||
|
.highlight .hll { background-color: #ffc; }
|
||||||
|
.highlight .c { color: #999; } /* Comment */
|
||||||
|
.highlight .err { color: #a00; background-color: #faa } /* Error */
|
||||||
|
.highlight .k { color: #069; } /* Keyword */
|
||||||
|
.highlight .o { color: #555 } /* Operator */
|
||||||
|
.highlight .cm { color: #09f; font-style: italic } /* Comment.Multiline */
|
||||||
|
.highlight .cp { color: #099 } /* Comment.Preproc */
|
||||||
|
.highlight .c1 { color: #999; } /* Comment.Single */
|
||||||
|
.highlight .cs { color: #999; } /* Comment.Special */
|
||||||
|
.highlight .gd { background-color: #fcc; border: 1px solid #c00 } /* Generic.Deleted */
|
||||||
|
.highlight .ge { font-style: italic } /* Generic.Emph */
|
||||||
|
.highlight .gr { color: #f00 } /* Generic.Error */
|
||||||
|
.highlight .gh { color: #030; } /* Generic.Heading */
|
||||||
|
.highlight .gi { background-color: #cfc; border: 1px solid #0c0 } /* Generic.Inserted */
|
||||||
|
.highlight .go { color: #aaa } /* Generic.Output */
|
||||||
|
.highlight .gp { color: #009; } /* Generic.Prompt */
|
||||||
|
.highlight .gs { } /* Generic.Strong */
|
||||||
|
.highlight .gu { color: #030; } /* Generic.Subheading */
|
||||||
|
.highlight .gt { color: #9c6 } /* Generic.Traceback */
|
||||||
|
.highlight .kc { color: #069; } /* Keyword.Constant */
|
||||||
|
.highlight .kd { color: #069; } /* Keyword.Declaration */
|
||||||
|
.highlight .kn { color: #069; } /* Keyword.Namespace */
|
||||||
|
.highlight .kp { color: #069 } /* Keyword.Pseudo */
|
||||||
|
.highlight .kr { color: #069; } /* Keyword.Reserved */
|
||||||
|
.highlight .kt { color: #078; } /* Keyword.Type */
|
||||||
|
.highlight .m { color: #f60 } /* Literal.Number */
|
||||||
|
.highlight .s { color: #d44950 } /* Literal.String */
|
||||||
|
.highlight .na { color: #4f9fcf } /* Name.Attribute */
|
||||||
|
.highlight .nb { color: #366 } /* Name.Builtin */
|
||||||
|
.highlight .nc { color: #0a8; } /* Name.Class */
|
||||||
|
.highlight .no { color: #360 } /* Name.Constant */
|
||||||
|
.highlight .nd { color: #99f } /* Name.Decorator */
|
||||||
|
.highlight .ni { color: #999; } /* Name.Entity */
|
||||||
|
.highlight .ne { color: #c00; } /* Name.Exception */
|
||||||
|
.highlight .nf { color: #c0f } /* Name.Function */
|
||||||
|
.highlight .nl { color: #99f } /* Name.Label */
|
||||||
|
.highlight .nn { color: #0cf; } /* Name.Namespace */
|
||||||
|
.highlight .nt { color: #2f6f9f; } /* Name.Tag */
|
||||||
|
.highlight .nv { color: #033 } /* Name.Variable */
|
||||||
|
.highlight .ow { color: #000; } /* Operator.Word */
|
||||||
|
.highlight .w { color: #bbb } /* Text.Whitespace */
|
||||||
|
.highlight .mf { color: #f60 } /* Literal.Number.Float */
|
||||||
|
.highlight .mh { color: #f60 } /* Literal.Number.Hex */
|
||||||
|
.highlight .mi { color: #f60 } /* Literal.Number.Integer */
|
||||||
|
.highlight .mo { color: #f60 } /* Literal.Number.Oct */
|
||||||
|
.highlight .sb { color: #c30 } /* Literal.String.Backtick */
|
||||||
|
.highlight .sc { color: #c30 } /* Literal.String.Char */
|
||||||
|
.highlight .sd { color: #c30; font-style: italic } /* Literal.String.Doc */
|
||||||
|
.highlight .s2 { color: #c30 } /* Literal.String.Double */
|
||||||
|
.highlight .se { color: #c30; } /* Literal.String.Escape */
|
||||||
|
.highlight .sh { color: #c30 } /* Literal.String.Heredoc */
|
||||||
|
.highlight .si { color: #a00 } /* Literal.String.Interpol */
|
||||||
|
.highlight .sx { color: #c30 } /* Literal.String.Other */
|
||||||
|
.highlight .sr { color: #3aa } /* Literal.String.Regex */
|
||||||
|
.highlight .s1 { color: #c30 } /* Literal.String.Single */
|
||||||
|
.highlight .ss { color: #fc3 } /* Literal.String.Symbol */
|
||||||
|
.highlight .bp { color: #366 } /* Name.Builtin.Pseudo */
|
||||||
|
.highlight .vc { color: #033 } /* Name.Variable.Class */
|
||||||
|
.highlight .vg { color: #033 } /* Name.Variable.Global */
|
||||||
|
.highlight .vi { color: #033 } /* Name.Variable.Instance */
|
||||||
|
.highlight .il { color: #f60 } /* Literal.Number.Integer.Long */
|
||||||
|
|
||||||
|
.css .o,
|
||||||
|
.css .o + .nt,
|
||||||
|
.css .nt + .nt { color: #999; }
|
||||||
|
|
@ -0,0 +1,117 @@
|
||||||
|
// Typography
|
||||||
|
//
|
||||||
|
// Headings, body text, lists, and other misc typographic elements.
|
||||||
|
|
||||||
|
h1, h2, h3, h4, h5, h6 {
|
||||||
|
margin-bottom: .5rem;
|
||||||
|
font-weight: bold;
|
||||||
|
line-height: 1.25;
|
||||||
|
color: #313131;
|
||||||
|
text-rendering: optimizeLegibility;
|
||||||
|
}
|
||||||
|
|
||||||
|
h1 {
|
||||||
|
font-size: 2rem;
|
||||||
|
}
|
||||||
|
|
||||||
|
h2 {
|
||||||
|
margin-top: 1rem;
|
||||||
|
font-size: 1.5rem;
|
||||||
|
}
|
||||||
|
|
||||||
|
h3 {
|
||||||
|
margin-top: 1.5rem;
|
||||||
|
font-size: 1.25rem;
|
||||||
|
}
|
||||||
|
|
||||||
|
h4, h5, h6 {
|
||||||
|
margin-top: 1rem;
|
||||||
|
font-size: 1rem;
|
||||||
|
}
|
||||||
|
|
||||||
|
p {
|
||||||
|
margin-top: 0;
|
||||||
|
margin-bottom: 1rem;
|
||||||
|
}
|
||||||
|
|
||||||
|
strong {
|
||||||
|
color: #303030;
|
||||||
|
}
|
||||||
|
|
||||||
|
ul, ol, dl {
|
||||||
|
margin-top: 0;
|
||||||
|
margin-bottom: 1rem;
|
||||||
|
}
|
||||||
|
|
||||||
|
dt {
|
||||||
|
font-weight: bold;
|
||||||
|
}
|
||||||
|
|
||||||
|
dd {
|
||||||
|
margin-bottom: .5rem;
|
||||||
|
}
|
||||||
|
|
||||||
|
hr {
|
||||||
|
position: relative;
|
||||||
|
margin: 1.5rem 0;
|
||||||
|
border: 0;
|
||||||
|
border-top: 1px solid #eee;
|
||||||
|
border-bottom: 1px solid #fff;
|
||||||
|
}
|
||||||
|
|
||||||
|
abbr {
|
||||||
|
font-size: 85%;
|
||||||
|
font-weight: bold;
|
||||||
|
color: #555;
|
||||||
|
text-transform: uppercase;
|
||||||
|
|
||||||
|
&[title] {
|
||||||
|
cursor: help;
|
||||||
|
border-bottom: 1px dotted #e5e5e5;
|
||||||
|
}
|
||||||
|
}
|
||||||
|
|
||||||
|
blockquote {
|
||||||
|
padding: .5rem 1rem;
|
||||||
|
margin: .8rem 0;
|
||||||
|
color: #7a7a7a;
|
||||||
|
border-left: .25rem solid #e5e5e5;
|
||||||
|
|
||||||
|
p:last-child {
|
||||||
|
margin-bottom: 0;
|
||||||
|
}
|
||||||
|
|
||||||
|
@media (min-width: 30em) {
|
||||||
|
padding-right: 5rem;
|
||||||
|
padding-left: 1.25rem;
|
||||||
|
}
|
||||||
|
}
|
||||||
|
|
||||||
|
|
||||||
|
// Markdown footnotes
|
||||||
|
//
|
||||||
|
// See the example content post for an example.
|
||||||
|
|
||||||
|
// Footnote number within body text
|
||||||
|
a[href^="#fn:"],
|
||||||
|
// Back to footnote link
|
||||||
|
a[href^="#fnref:"] {
|
||||||
|
display: inline-block;
|
||||||
|
margin-left: .1rem;
|
||||||
|
font-weight: bold;
|
||||||
|
}
|
||||||
|
|
||||||
|
// List of footnotes
|
||||||
|
.footnotes {
|
||||||
|
margin-top: 2rem;
|
||||||
|
font-size: 85%;
|
||||||
|
}
|
||||||
|
|
||||||
|
// Custom type
|
||||||
|
//
|
||||||
|
// Extend paragraphs with `.lead` for larger introductory text.
|
||||||
|
|
||||||
|
.lead {
|
||||||
|
font-size: 1.25rem;
|
||||||
|
font-weight: 300;
|
||||||
|
}
|
||||||
|
|
@ -0,0 +1,17 @@
|
||||||
|
---
|
||||||
|
layout: page
|
||||||
|
title: Archive
|
||||||
|
---
|
||||||
|
|
||||||
|
## Posts in my blog on tilde.town
|
||||||
|
|
||||||
|
<ol reversed>
|
||||||
|
{% for post in site.posts %}
|
||||||
|
<li>
|
||||||
|
{{ post.date | date_to_string }} » <a href="{{ post.url | prepend:site.baseurl }}">
|
||||||
|
|
||||||
|
{{ post.title }}
|
||||||
|
</a>
|
||||||
|
</li>
|
||||||
|
{% endfor %}
|
||||||
|
</ol>
|
||||||
|
|
@ -0,0 +1,28 @@
|
||||||
|
---
|
||||||
|
layout: null
|
||||||
|
---
|
||||||
|
|
||||||
|
<?xml version="1.0" encoding="utf-8"?>
|
||||||
|
<feed xmlns="http://www.w3.org/2005/Atom">
|
||||||
|
|
||||||
|
<title>{{ site.title }}</title>
|
||||||
|
<link href="{{ site.url }}{{ site.baseurl }}/atom.xml" rel="self"/>
|
||||||
|
<link href="{{ site.url }}{{ site.baseurl }}/"/>
|
||||||
|
<updated>{{ site.time | date_to_xmlschema }}</updated>
|
||||||
|
<id>{{ site.url }}</id>
|
||||||
|
<author>
|
||||||
|
<name>{{ site.author.name }}</name>
|
||||||
|
<email>{{ site.author.email }}</email>
|
||||||
|
</author>
|
||||||
|
|
||||||
|
{% for post in site.posts %}
|
||||||
|
<entry>
|
||||||
|
<title>{{ post.title }}</title>
|
||||||
|
<link href="{{ site.url }}{{ site.baseurl }}{{ post.url }}"/>
|
||||||
|
<updated>{{ post.date | date_to_xmlschema }}</updated>
|
||||||
|
<id>{{ site.url }}{{ post.id }}</id>
|
||||||
|
<content type="html">{{ post.content | xml_escape }}</content>
|
||||||
|
</entry>
|
||||||
|
{% endfor %}
|
||||||
|
|
||||||
|
</feed>
|
||||||
|
|
@ -0,0 +1,33 @@
|
||||||
|
---
|
||||||
|
layout: default
|
||||||
|
title: Home
|
||||||
|
---
|
||||||
|
|
||||||
|
<div class="posts">
|
||||||
|
{% for post in paginator.posts %}
|
||||||
|
<article class="post">
|
||||||
|
<h1 class="post-title">
|
||||||
|
<a href="{{ site.baseurl }}{{ post.url }}">
|
||||||
|
{{ post.title }}
|
||||||
|
</a>
|
||||||
|
</h1>
|
||||||
|
|
||||||
|
<time datetime="{{ post.date | date_to_xmlschema }}" class="post-date">{{ post.date | date_to_string }}</time>
|
||||||
|
|
||||||
|
{{ post.content }}
|
||||||
|
</article>
|
||||||
|
{% endfor %}
|
||||||
|
</div>
|
||||||
|
|
||||||
|
<div class="pagination">
|
||||||
|
{% if paginator.next_page %}
|
||||||
|
<a class="pagination-item older" href="{{ paginator.next_page_path | prepend: site.baseurl }}">Older</a>
|
||||||
|
{% else %}
|
||||||
|
<span class="pagination-item older">Older</span>
|
||||||
|
{% endif %}
|
||||||
|
{% if paginator.previous_page %}
|
||||||
|
<a class="pagination-item newer" href="{{ paginator.previous_page_path | prepend: site.baseurl }}">Newer</a>
|
||||||
|
{% else %}
|
||||||
|
<span class="pagination-item newer">Newer</span>
|
||||||
|
{% endif %}
|
||||||
|
</div>
|
||||||
|
|
@ -0,0 +1,19 @@
|
||||||
|
---
|
||||||
|
layout: page
|
||||||
|
title: what I'm up to now
|
||||||
|
---
|
||||||
|
|
||||||
|
I'm pursuing these, just to list a few (in no particular order):
|
||||||
|
|
||||||
|
1. Waiting for the results of my submission, of
|
||||||
|
[seven photos](https://alls-futility.tumblr.com/post/614080452947591168/a-series-of-seven-photos-as-yet-untitled-the),
|
||||||
|
to [Singapore
|
||||||
|
International Photography Festival](http://sipf.sg).
|
||||||
|
2. Getting re-acquainted with the ground, as a way to have fun and delight.
|
||||||
|
I got a reminder about that, from Vaishali Iyer's [blog-post](https://thestillspace.org/2020/03/22/ode-to-the-ground/).
|
||||||
|
3. Determining if [a writers' group](https://www.meetup.com/Writers-Collective/) is helpful for me.
|
||||||
|
4. a pleasure for me: staying in touch with friends. This includes chatting over software like WhatsApp.
|
||||||
|
5. keeping my time free to do whatever I may become excited about.
|
||||||
|
|
||||||
|
This has been a [Now-page](https://nownownow.com/about), written on 31st March
|
||||||
|
2020.
|
||||||
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|
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|
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|
|
@ -0,0 +1,27 @@
|
||||||
|
---
|
||||||
|
layout: page
|
||||||
|
title: "What's with the name, ~rogbeer?"
|
||||||
|
---
|
||||||
|
|
||||||
|
[Mr. Rogbeer](https://www.linkedin.com/in/chetan-rogbeer-03a65b68/)
|
||||||
|
was my colleague in
|
||||||
|
[a organisation](https://smart.mit.edu/about-smart/about-smart) where
|
||||||
|
I worked on a couple of
|
||||||
|
projects that involved programming.
|
||||||
|
|
||||||
|
It was around that time that I registered myself on [tilde.town](http://tilde.town),
|
||||||
|
and I was stumped for a username; I looked up from my laptop and saw his name-tag
|
||||||
|
on display near his desk; I thought that was an interesting name.
|
||||||
|
|
||||||
|
No, I did not get his permission to snatch his surname (on tilde.town).
|
||||||
|
|
||||||
|
### Bobs and pieces
|
||||||
|
|
||||||
|
* Mr. Rogbeer says he is from Mauritius
|
||||||
|
* As of 8th October 2018, I have only met two people who said they were from
|
||||||
|
Mauritius
|
||||||
|
* The language Creole is spoken in Mauritius, so I'm told.
|
||||||
|
* The other person from Mauritius (that is, not Mr. Rogbeer) looked like
|
||||||
|
she was from East Asia. If I am not mistaken, she told me that Mauritians don't
|
||||||
|
have any one look; there are a variety of ethnicities in Mauritius: she belongs
|
||||||
|
to a minority there.
|
||||||
|
|
@ -0,0 +1,28 @@
|
||||||
|
---
|
||||||
|
# Use a comment to ensure Jekyll reads the file to be transformed into CSS later
|
||||||
|
# only main files contain this front matter, not partials.
|
||||||
|
---
|
||||||
|
|
||||||
|
//
|
||||||
|
// ___
|
||||||
|
// /\_ \
|
||||||
|
// _____ ___ ___\//\ \ __
|
||||||
|
// /\ '__`\ / __`\ / __`\\ \ \ /'__`\
|
||||||
|
// \ \ \_\ \/\ \_\ \/\ \_\ \\_\ \_/\ __/
|
||||||
|
// \ \ ,__/\ \____/\ \____//\____\ \____\
|
||||||
|
// \ \ \/ \/___/ \/___/ \/____/\/____/
|
||||||
|
// \ \_\
|
||||||
|
// \/_/
|
||||||
|
//
|
||||||
|
// Designed, built, and released under MIT license by @mdo. Learn more at
|
||||||
|
// https://github.com/poole/poole.
|
||||||
|
|
||||||
|
@import "base";
|
||||||
|
@import "type";
|
||||||
|
@import "syntax";
|
||||||
|
@import "code";
|
||||||
|
@import "layout";
|
||||||
|
@import "masthead";
|
||||||
|
@import "posts";
|
||||||
|
@import "pagination";
|
||||||
|
@import "message";
|
||||||
|
|
@ -0,0 +1,77 @@
|
||||||
|
---
|
||||||
|
layout: page
|
||||||
|
title: "What would people give, for a cassette tape?"
|
||||||
|
---
|
||||||
|
### A story
|
||||||
|
|
||||||
|
|
||||||
|
On the <a href="http://youtu.be/Boc7GZ86Qag">28th of October, 2016 A.D.</a>,
|
||||||
|
I bought <a href="http://litherecords.bandcamp.com/album/lithe001-qu-sub-shaman-ilm-split-ep">a cassette tape</a>
|
||||||
|
at <a href="http://www.facebook.com/litheparalogue">Lithe House</a>.
|
||||||
|
|
||||||
|
<p>
|
||||||
|
On the evening of the same day, as I distractedly looked at the cassette
|
||||||
|
tape, on the bus home, wondering if the cassette deck at my house was still
|
||||||
|
functional, I looked up to see a stranger smiling at me.
|
||||||
|
</p>
|
||||||
|
<p>
|
||||||
|
He and I exchanged a few glances. Later, he invited me to his house.
|
||||||
|
</p>
|
||||||
|
<p>
|
||||||
|
Another evening, at his house, he passed a few more cassette tapes to me.
|
||||||
|
</p>
|
||||||
|
<p>
|
||||||
|
Will someone value the cassette tapes more than I do?
|
||||||
|
</p>
|
||||||
|
<p>
|
||||||
|
Out of curiosity, I am experimenting with a swap to see what value cassette tapes
|
||||||
|
have in a world where technology changes. There will be no money involved.
|
||||||
|
What would people offer in exchange for these tapes?
|
||||||
|
</p>
|
||||||
|
<p>
|
||||||
|
I didn't want to swap, until the cassette tapes started to gather dust
|
||||||
|
at my father's house. Will there be a better use for them?
|
||||||
|
</p>
|
||||||
|
<p>
|
||||||
|
This effort will last for forty-five days, beginning from 9th November,
|
||||||
|
2016 A.D.
|
||||||
|
</p>
|
||||||
|
### A few cassette tapes
|
||||||
|
<p>
|
||||||
|
Details of the cassette tapes are available at
|
||||||
|
<a href="http://carousell.com/phtan90">a shop at Carousell</a>
|
||||||
|
</p>
|
||||||
|
|
||||||
|
<p>
|
||||||
|
An attempt to catalogue cassette tapes, that are located in Singapore,
|
||||||
|
is viewable at
|
||||||
|
<a href="http://en.sgtapes.shoutwiki.com/wiki/Main_Page">a wiki</a>
|
||||||
|
</p>
|
||||||
|
|
||||||
|
### Results of the experiment
|
||||||
|
|
||||||
|
As of 7th October 2018 A.D., I have sold zero of the cassette tapes from
|
||||||
|
the experimental swap.
|
||||||
|
|
||||||
|
I note the following that occurred during the experiment:
|
||||||
|
|
||||||
|
* Approached more than five sellers - if I recall correctly - to see if
|
||||||
|
they wanted to sell their tapes through the [wiki](http://en.sgtapes.shoutwiki.com/wiki/Main_Page)
|
||||||
|
that I had set up. Those sellers had been selling through an e-commerce platform.
|
||||||
|
* Agreed to help one seller list his tape on the wiki; he claims he did not know how to use that wiki. He is the only seller on that wiki, other than me, as it turns out (as of 7th October 2018 A.D.)
|
||||||
|
* Got banned from logging into my account on the afore-mentioned e-commerce platform; its staff claim I was "touting" and they do not allow touting.
|
||||||
|
On Nov 10, 2016 11:56 AM, "Carousell Support" (listings@thecarousell.com) wrote:
|
||||||
|
|
||||||
|
> Hi there,
|
||||||
|
|
||||||
|
> Our content moderation team has noticed that you have sent out multiple repeated messages to users to persuade them to use an external platform, and that constitutes the act of touting on our marketplace.
|
||||||
|
|
||||||
|
> If you would kindly take a look at the Carousell community guidelines, touting is not allowed on our platform as it adversely affects the experience for other users.
|
||||||
|
|
||||||
|
> Unfortunately, we have temporarily restricted your selling rights pending an acknowledgement from you to refrain from the act of touting again.
|
||||||
|
|
||||||
|
> Please note that a repeated incident may result in the permanent suspension of your account.
|
||||||
|
|
||||||
|
> Thank you for your cooperation in keeping our marketplace pleasant :)
|
||||||
|
|
||||||
|
> Carousell Marketplace Quality
|
||||||
Loading…
Reference in New Issue