I've been jumping onto IRC (thanks to Sean for giving me my IRC primer) and chatting it up with everyone who's actively working on the project.  I'm excited to be able to say that I've assisted with upcoming releases of cobbler!  This makes me want to get involved in some more projects.

http://cobbler.et.redhat.com

Too lazy to open the book and start on your own, but still dont want to join that 1 month long class series to learn it.

Welcome to  KickStart, we will give you just enough of a push for you to start learning something on your own.

Once a person has been thought the most basic things he can often take things in his hand and learn the rest.

Even though this can be done on your own you never end up doing it.

The idea is to have 1 or 2 day workshops to teach you a programming language, an instrument a sport, a subject, a dance or a language. Anything under the sun.

You come, you slog, you learn, you leave and continue on your own.

No need to commit yourself to 1 month classes and programs.

The idea is to offer an unconference style approach, people put post its of what they NEED to learn and other people join in. Once enough people have been brought an intensive 1 -2 day session teaches as much as possible and bang you did something productive on your weekend.

The teachers are professionals.

Now isn't that a really simple idea to start your own simple business.

Denne morgen er blevet kickstartet med en solid og effektiv omgang spinning hos fitness dk på Nygårdsvej på Østerbro. Dermed fik jeg sat rigtig godt gang i forbrændingen fra morgenstunden af. I hvert fald fortæller mit pulsur mig, at jeg fik brændt respektable 812 kcal af i løbet af lektionen :o)

Desværre blev det også en lidt dyr omgang spinning. Da jeg ned til min bil efter træning, sad der desværre en parkeringsbøde i forruden :o(

Men så kan jeg jo lære det!

Und des tolle war ja, dass sie eigentlich gar keinen richtigen Grund hatte, warum sie angeruft... Sie hat nur angerufen, damit sie dann mit mir telefoniert ...

Nach einem halbstündigen Gespräch, dass ich mehr oder minder im Halbschlaf geführt hab, bin ich dann so laaaaangsam wach geworden ... Ich hab gefrühstückt (2 halbe Tomaten-Mozarella-Semmeln um genau zu sein ) und anschließend n'bisschen ferngesehen ...

Dann gabts dann auch irgendwann auch mal  Mittagessen und dann gings (wieder) zum Efeuschneiden.  ^^

Nachdem ich gestern ja nur einen Teil getrimmt hab, folgte heute der 2. Teil.... Morgen geht's dann an das "Fine-Tuning" ... Nach dieser körperlichen und mentalen Herausforderung zog sich der Tag einfach so hin.. Nichts besonders im weiteren Verlauf des Nachmittags  ....

Am Abend war ich dann auf einen DVD-Abend bei da Slisli eingeladen! ---> Des seltsame war nur, dass wir den ganzen Abend lang keine DVD geschaut, sondern nur irgendwelche Spiele gespielt haben  ... !

Darum kommt der heutige Blogeintrag auch erst so spät ^^

guuut..... ich glaub das wars dann auch schon für den heutigen Tag....

fehlt nur noch eins......

Der Song of the Day !

Diesesmal gibts Gänsehautfeeling mit "Chicago" von clueso !

so long ... Jul

W takim przypadku rozwiązaniem jest mechanizm plików kickstart dostępny w systemie operacyjnym Red Hat. Zamiast siedzieć przed ekranem monitora i mozolnie odpowiadać na kolejne pytania instalatora, wystarczy przygotować tzw. plik kickstart, w którym należy w odpowiedni sposób, wpisać odpowiedzi na pytania zadawane przez instalator. Następnie na początku instalacji podać miejsce skąd plik kickstart ma być pobrany ... i problem z głowy. Jeśli wszystko dobrze skonfigurowaliśmy, system operacyjny Red Hat powinien "sam się zainstalować".

W tym artykule krok po kroku przedstawię jak to zrobić.

Tworzymy plik kickstart

Po zainstalowaniu systemu operacyjnego Red Hat w katalogu /root zawsze znajdziemy plik o nazwie anaconda-ks.cfg. Jest to nic innego jak plik zawierający listę odpowiedzi udzielonych na pytania instalatora. A więc tak naprawdę plik kickstart.

Każdy plik kickstart składa się z kilku sekcji:

• sekcji poleceń zawierającej opcje z jakimi należy zainstalować system. Wymagane opcje to:
  • auth - podajemy sposób autentykacji
  • bootloader - określamy sposób instalacji boot loadera
  • keyboard - wybieramy ustawienia klawiatury
  • lang - określamy język instalacji i język, który będzie domyślny w systemie
  • part - tworzy partycje w systemie
  • rootpw - ustawiamy hasło administratora
  • timezone - ustawiamy strefę czasową
• sekcji %packages pakietów, w której podajemy jakie pakiety chcemy zainstalować,
• sekcji %pre i %post , w których podajemy listę poleceń do wykonania przed rozpoczęciem procesu instalacji (sekcja %pre) i listę poleceń po zakończeniu procesu instalacji (sekcja %post)

Przykładowy plik kickstart może wyglądać następująco:

install
cdrom
lang pl_PL.UTF-8
keyboard pl2
xconfig --startxonboot
network --device eth0 --bootproto static --ip 10.0.0.2 --netmask 255.255.255.0 \
--gateway 10.0.0.1 --nameserver 10.0.0.100
rootpw --iscrypted $1$Ewq.vplh$c8nygDCsu3yJOCMan4ucN0
firewall --enabled --port=22:tcp
authconfig --enableshadow --enablemd5
selinux --enforcing
timezone --utc Europe/Warsaw
bootloader --location=mbr --driveorder=hda --append="rhgb quiet"
# The following is the partition information you requested
# Note that any partitions you deleted are not expressed
# here so unless you clear all partitions first, this is
# not guaranteed to work
clearpart --all --drives=hda
part /boot --fstype ext3 --size=100 --ondisk=hda
part /usr --fstype ext3 --size=3072 --ondisk=hda
part / --fstype ext3 --size=3072 --ondisk=hda
part swap --size=2048 --ondisk=hda
part /var --fstype ext3 --size=2048 --ondisk=hda
part /home --fstype ext3 --size=256 --ondisk=hda
part /tmp --fstype ext3 --size=99 --grow --ondisk=hda
%packages
@development-libs
@editors
@system-tools
@text-internet
@gnome-desktop
@core
@base
@network-server
@java
@base-x
@mail-server
@server-cfg
@admin-tools
@polish-support
@development-tools
@graphical-internet
mrtg
net-snmp-utils
mc
sysstat
iptraf
-gnome-audio
-desktop-printing

W powyższym pliku warto zwrócić uwagę na:

• polecenie install cdrom które oznacza, że instalacja systemu operacyjnego Red Hat będzie odbywać się z płyt CD. Można też podać inne parametry polecenia install:
  • nfs - instaluje system operacyjny z serwera NFS
  • harddrive - instaluje system operacyjny z lokalnego dysku (uwaga: drzewo instalacyjne musi znajdować się na partycji ext2 lub vfat)
  • url - instaluje system operacyjny z podanego adresu url (FTP lub HTTP)
• polecenie network - konfigurujące interfejsy sieciowe (oddzielnie dla każdego interfejsu sieciowego eth0 )
• polecenie part tworzące partycje w systemie, w tym przypadku na dysku IDE (ondisk=hda). W przypadku dysków SCSI oczywiście należy podać odpowiednie nazwy dysków. Za pomocą tego polecenia możemy już w trakcie instalacji systemu tworzyć bardziej zaawansowane konfiguracje dyskowe, na przykład softwarowego raida:

clearpart --drives=hda,hdc --initlabel
# Raid 1 IDE config
part raid.11    --size 5000     --asprimary     --ondrive=hda
part raid.12    --size 1000     --asprimary     --ondrive=hda
part raid.13    --size 1 --grow                 --ondrive=hda
part raid.21    --size 5000     --asprimary     --ondrive=hdc
part raid.22    --size 1000     --asprimary     --ondrive=hdc
part raid.23    --size 1 --grow                 --ondrive=hdc  

# You can add --spares=x
raid /          --fstype ext3 --device md0 --level=RAID1 raid.11 raid.21
raid /safe      --fstype ext3 --device md1 --level=RAID1 raid.12 raid.22
raid swap       --fstype swap --device md2 --level=RAID1 raid.13 raid.23

• pakiety w sekcji %packages można wybierać grupowo lub indywidualnie. Grupę pakietów do zainstalowania zaznaczamy znakiem "@". Program instalacyjny definiuje kilkanaście grup pakietów, które można znalaźć na płytach instalacyjnych systemu Red Hat w plikach: repodata/comps-*.xml. Możemy także zainstalować pojedyncze pakiety, które wypisujemy po grupach pakietów do zainstalowania (w powyższym przykładzie są to pakiety mrtg, mc, net-snmp-utils, sysstat, iptraf). Jeśli nie chcemy zainstalować pakietu, który znajduje się w grupie pakietów do zainstalowania możemy go nie instalować poprzedzając jego nazwę znakiem "-" (w przykładzie pakiety gnome-audio i gnome-desktop).

Wszystkie polecenia, które można wykorzystać w pliku kickstart opisane są w dokumentacji Red Hat Enterprise Linux Installation Guide w rozdziale 28.4 Kickstart Options.

Udostępniamy plik kickstart

Po stworzeniu pliku kickstart należy umieścić go na odpowiednim medium, aby mógł być on wykorzystany w trakcie instalacji. Plik kickstart może być umieszczony między innymi na:

• bootowalnej płycie CD
• bootowalnym pen drive
• dyskietce
• serwerze NFS, FTP, HTTP

W dwóch pierwszych przypadkach plikkickstart powinien zostać dodany w trakcie tworzenia bootowalnej płyty lub pen drive'a.  Aby instalacja systemu z bootowalnego medium zawierającego plik kickstart zadziałała, musi on mieć nazwę ks.cfg  i należy zlokalizować go w głównym katalogu płyty CD lub pen drive'a. Ten sposób instalacji z wykorzystaniem mechanizmu kickstart jest mało wygodny, gdyż dla każdego nowego pliku kickstart konieczne jest tworzenie nowej bootowalnej płyty lub pen drive'a. Wygodniejszym rozwiązaniem jest umieszczenie pliku kickstart na dyskietce lub w sieci - na serwerze NFS, FTP czy HTTP. W takim przypadku instalację systemu Red Hat wykonujemy z płyty bootowalnej CD, a w linii poleceń ( gdy pojawi się boot:) wpisujemy:

• linux ks=floppy (plik ks.cfg powinien zostać umieszczony na dyskietce w systemie plików ext2 lub vfat)
• linuks ks=nfs:<server>/<path> dla pliku kickstart umieszczonego na serwerze NFS
• linux ks=http://<server>/<path> dla pliku kickstart umieszczonego na serwerze HTTP
• linux ks=ftp://<server>/<path> dla pliku kickstart umieszczonego na serwerze FTP

Warto pamiętać, że instalacja z pliku kickstart znajdującego się w sieci, wymaga od nas skonfigurowania sieci na instalowanym systemie. Można ją skonfigurować ręcznie lub wykorzystać do tego serwer DHCP.

Jeśli plik kickstart jest zbudowany prawidłowo i zawiera wszystkie wymagane polecenia, instalacja będzie przebiegać bez żadnych problemów. W przeciwnym razie zatrzyma się w tym miejscu, w którym brakuje wymaganej dyrektywy.

-John

-John

In addition to these two phones, RIM is also planning a flip phone called 'Kickstart', which will be a follow-up to the Blackberry Pearl and will get some features from the BlackBerry Curve. This phone, targeted to the consumer market, will have 3G capabilities either at launch or soon after.

The fourth entry in RIM portfolio will be the 'Javalin' which will be targeted to the lower-end of the consumer market. Details are bit sketchy at this point but it is expected to be out by year end too.

Statistics Canada's Youth in Transition Project has been tracking a group of young canadians since 2000 (the year the three of us entered university). That research has been brought together in a paper by StatsCan's Theresa Qiu and University of Ottawa economist Ross Finnie which will be officially released later in the month.

It's findings:

- Roughly one quarter of college students take time off, take more than five years to graduate, or change their minds about their school or area of study.

- About 10% leave school without graduating.

- 2.8% are moving from university to college (not shocking at all - in fact, we assumed this might be higher)

- 1.4% do the opposite and switch from college to university.

Before anyone starts freaking out and pointing at today's commitment-phobic, chronically ADD "Twixters" who have been spoiled to the point that they'll never know what they want, let's slow down a second.

Young people have always been restless. That's what they do. And though their parents weren't necessarily as prone to bounce and stop and ponder and bounce again, there's a good reason why. Not to sound whiny, but we've grown up watching our parents and friend's parents divorce, suffer mid-life breakdowns, and look back on past mistakes with great regret. As we approach an uncertain future, the way of life that so many have taken for granted for so long suddenly seems in dire need of an overhaul (remember that boomers?), but few have put forward viable new paradigms for living in the 21st century.

Furthermore, the education system we've emerged from subscribes to an antiquated 19th model that has refused to adapt to the rate and nature of societal change. One of the most pressing but least discussed issues facing Canadian society today is how to adapt our education system to new ways of working and living. We need to abandon the industrial model and develop something more participatory that encourages free-thinking and innovation. This new model must help the students passing through it test their interests and desires against the realities of the world into which they'll soon be living.

The Bachelors degree has become today's high school. That needs to be reversed.

And yes, of course, the phenomenon noted in the research has to do with the students themselves as well. We are a bit coddled (in general). We are hyper-programmed, to the point where few high school students Paul has taught are really capable of discussing what it is that theylike or think.

Further, our consumer society has had a huge spill-over effect on the educational sphere, making it yet another mall, where we can shop for a future. "Do I like environmental science? Hmm. I'll try it on. Do I look fat in this? Maybe. Yeah, I think my butt looked better in business."

In the end though, all this shopping isn't such a bad thing. As we discovered while putting together Kickstart, some of the most successful people in the country did their share of shopping too.

Margot Franssen, the head of Accessorize Canada and former head of Body Shop Canada, tried out business at university, got bored, switched to philosophy, graduated with a "worthless" degree, and still managed to set up a hugely successful company.

Syndicated cartoonist Lynn Johnston, designer Bruce Mau, and artist Christopher Pratt all dropped out of art school or switched schools.

Jim Pattison left university to sell cars. His boss let him finish up his courses at night, but that meant he took longer than necessary.

Edward Burtynsky took a year off from Ryerson in order to get work experience and earn extra money.

Shopping around and taking time to think about what you want and need from a career is not a bad thing, provided that your shopping is active rather than idle.

Dignitas International's James Orbinski bounced around quite a bit as a young man. Her left CEGEP twice, took time to figure out his university major, thought he might want to be a psychologist, and then changed his mind. Throughout, though, he says he was "searching with intent," actively looking for what sparked his particular passion.

In tough economic times, there is no doubt more pressure on young people to pick a career path and power through post-secondary education. Fair enough. It costs a lot of money to hang around into your fifth or sixth year of a university program or take time off to clear your head.

That said, parents, educators, and politicians should be aware that, for many, the search is essential. If they're not able to engage in it in high school, then they'll need to do it at university. And if not there, then at some time thereafter.

If we're going to freak out. Let's at least freak out in the right direction - a constructive one.

The Oscar-nominated director of Water is set to tackle the shameful Komagata Maru incident - one of Canada's major moral oops moments, when, in 1914, the government turned away 397 Indians (most of whom were Sikh) who attempted to land and establish themselves in Vancouver. Due out sometime in 2009, the film will hopefully force North Americans to take a hard look at the exclusion laws that ounce served to keep the continent "untainted" by "coloured" immigrants.

Deepa grew up in the shadow of the Indian Partition of 1947. She also grew up with movies. Mehta’s father was a film distributor who owned a number of theatres in Amritsar, near the Pakistan border. She fell in love with the romance of Hindu cinema, as well as the Hitchcock movies her father would show on Sunday mornings. After seeing how the pursuit of weekly grosses had worn her father down, though, Mehta’s love for commercial cinema slowly faded. When it came time to go to university, the bookish teen chose to study Philosophy at the University of New Delhi.

As is true of so many graduates of liberal arts programs, though, Mehta emerged with few answers where questions of career were concerned.

"By the end of university, the only thing I knew about my future was that I needed some time off," she remembers. "I needed time to decide if I wanted to study further. A part of me definitely wanted to, but I needed to decipher what I really wanted from what others thought I should do. Luckily, my parents never pushed me. They never expected me to be a lawyer or a doctor or anything."

During what she identifies as her "awkward period," Deepa met Anil, the owner of Cinema Workshop, a company that made documentary films for the Indian government.

"He said, “While you’re deciding what you want to do, why not work for me?,” Mehta recalls with a smile. "I couldn’t see why not, so I agreed."

"Cinema Workshop was a wonderfully interesting place. There was a five-person team: Anil, who was the administrator, his wife, the creative brains behind it, a writer, an editor, and a camera person. They were this tight-knit group of creative people, all of whom loved what they were doing. I was only hired as a gopher for a few months, but they realised early on that I wasn’t going to be very useful in that regard. I couldn’t type. Even the coffee I made was horrible."

Mehta loved to watch Joya, the editor, work on her Moviola machine. She had read about editing in books, but the process she witnessed in Cinema Workshop was magical. Since she was of little use in other areas, Mehta was allowed to help Joya. She learned to edit, then she picked up sound engineering, and finally began playing around with a camera and writing scripts. Though the films she helped to pen were two-minute educational pieces like "How to Grow Wheat," Mehta loved that she was learning.

Soon after, Deepa set out to make a half-hour, black and white documentary on her own. Her first film was called Vimla. It was a simple story about a maid servant’s daughter who, at the age of fourteen, was getting married. The film documented Vimla's excitement and examined what the concept of marriage meant to her.

Lightning Strikes

"By this point, I was hooked on directing," Mehta says. "All of my reservations about working in the film industry went out the window. The documentary seemed like a completely different animal from the film world I’d experienced growing up. As a child, when a new film was released, the stars would come to my father’s movie halls. They’d even eat lunch at our house. I saw them up close and, as a result, the cinema world lost its lustre. But documentary was different. It was real and had the power to be very meaningful."

But when Cinema Workshop closed down, Deepa needed to look elsewhere. She took a job working for the youth section of a newspaper while she was searching for more film experience. At one point, she was assigned to write about the Canadian High Commissioner's daughter. While working on the story, she met Paul Saltzman, a filmmaker from the CBC who was in Delhi shooting a documentary about the High Commissioner.

Lightning struck and the next thing she knew, Deepa's life had changed.

"He was incredibly knowledgeable and I was keen to see how other people made documentary films," Mehta recalls. "We fell in love, were married six months later and we moved to Toronto."

Deepa had never planned to move away. She had visited Europe and North America, but she always assumed she would stay in India.

"At the time, though, leaving was easy, because I didn’t think it would be forever," Mehta says. When you’re young, nothing seems permanent. It doesn’t feel like you’re making life-altering decisions, even when you are. Even though we were married, I felt like I was “trying out” Canada."

In the beginning, Deepa was shocked that filmmakers could access government money to make their movies. That hadn't been the case in India, and she found the entire concept very "luxurious." She also discovered types of cinema she's never encountered before: everything from Buñuel (who remains her hero) and Kurosawa to the French New Wave masters and the great Bengali filmmaker Satyajit Ray.

Soon after her arrival, she, her husband, and her brother Dilip set up Sunrise Pictures on the third floor of a house in the Toronto's Annex neighbourhood. They didn't really know why. It just seemed like the right thing to do.

"Paul had made a number of films and I had worked on my own documentary," Mehta says, "so we just decided to make a go of it together. Everyone did everything. I did sound, I thought up projects and I wrote them. We didn’t really think about where it was going. We were simply working on a project-to-project basis, and dealing with a deteriorating marriage."

At 99

After arriving in Canada, Mehta had been fascinated by the way North Americans treated the elderly. As soon as parents got old, they were shipped off to special care facilities. In India no one sent older people away. They were seen as occupying a vital role in the home.

One day, she ran across an article in the Toronto Star about a 99 year-old woman who practiced yoga. Her name was Louise Tandy Murch, and Deepa instantly knew she had to meet her.

"I just knocked on her door and said, “I’d really like to talk to you” " Mehta recalls. "We became friends right away. I never planned to make a documentary about her, but the notion gradually dawned on me and she accepted. I got a grant from the Canada Council and made the film for $5,000. Paul was working at Global at the time and a friend of his shot and produced the film."

That film was a short called At 99: A Portrait of Louise Tandy Murch. After stepping away from the world of film for two years following the birth of her daughter, Devyani, Mehta slowly phased herself back into the world of Sunrise, working on Spread your Wings, a documentary series about traditional crafts, and Travelling Light, an "artist at work" documentary about her brother Dilip. Later, she produced and co-directed Martha, Ruth and Edie, her first foray into fiction: a film based on works by Alice Munro, Cynthia Flood and Betty Lambert. When it screened at Cannes and won some awards, Mehta felt she had begun to find her feet and was perhaps ready to take on a feature.

Sam and Me

She thought she wanted to make a film about an Indian immigrant coming to Canada and living amongst Jewish people. She was still mulling it over when an old friend from India told her that her son, Rajit Chowdry, was moving to Toronto. Mehta knew that Rajit had written scripts for Indian TV and thought that they might be able to help each other out.

"One day, the doorbell rang and I found Ranjit shivering in his sneakers, " Mehta recalls. "It was 20 below zero. He looked wild and fun and when I invited him in, we started to talk about the film I wanted to do. Ranjit said he would write it and he set to work right away."

That movie ended up being Sam and Me - a film about the friendship between a young Indian man named Nikhil, who comes to Canada to stay with his uncle, and Sam, an ageing Jewish man who yearns to return to Israel.

Getting money was virtually impossible. The funding bodies were nervous about giving money to a recent immigrant. But they persevered, got it made (with Ranjit playing Nikhil and Mehta behind the camera), and went back to Cannes and won a Honourable Mention in the Camera D’or category.

The next thing she knew, Mehta went from being someone who had to struggle to fund projects to being courted by Hollywood. Though making films would continue to be a grind - especially as her subject matter became more engaged, Deepa Mehta had emerged onto the world stage.

"Through my twenties," she says, "I never worried about the direction of my career. I only concerned myself with being able to make my next project. I still function the same way today. To a filmmaker, “success” is when you don’t have to suffer the pain of running around to raise money. When and if that moment ever comes, you are successful. Otherwise, you just worry about getting the next film made."

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