jamesear

> I’ve written this. My goal of 2024 is to remove all emails, alerts, notifications that don’t truly deserve my attention.

Me too. Even "We updated our T&Cs" is too many.

I went on an account deleting spree:

* accounts where guest checkouts are an option: eBay, Mouser, bandcamp, booking.com

* accounts of once-used online stores

* old email accounts

* Amazon, Airtasker, Uber, frequent flyer, ...

I'm down to ~100 passwords in my password manager which is still too many, but good enough.

Cloudflare work on some cool stuff! It's a shame they don't hire for software engineer positions in Australia.

> I feel like it would be a lot more straightforward if people just came out and said that they think piracy should be legal.

I don't think Yuzu advocates are actually advocating piracy.

I think they think an illegal use of a tool should not mean the tool is banned.

"Emulators don't pirate games, pirates do."

I think our echo chamber will surface views amenable to this viewpoint. Emulation news is quite literally hacker news.

But we deceive ourselves with such a bubble, when the outside world doesn't lean our way. Downplaying piracy usage doesn't do us any favours when trying to build an accurate model.

I understand your argument, and perhaps a similar one will be made to the courts.

For some people, if a tool has a single legitimate user, and otherwise haa illegitimate users, then the tool should be allowed.

For others, if the tool is mostly used for illegitimate means, then the tool should be banned.

Where the law lands in this case will be partly based on these values, and the benefits/harms to all parties.

I don't know enough about the case, but I don't think it's as clear cut as a hammer.

I think MyFedora is suggesting that even if Yuzu's primary usecase is piracy, that's because it's so difficult to use Yuzu in the legit manner (due to Nintendo's DRM on the console/game you own).

The only comment of someone saying they had used Yuzu for piracy has been flagged, and is no longer visible.

This might HN readers a skewed perspective on how much Yuzu is used for piracy.

I have many acquaintances/friends in different circles, with the means to pay, who use Yuzu for piracy.

There are dedicated forums of people who coordinate on how to do this.

Emulation is great as a means to study or play backups, but its also fair that Nintendo has legitimate business interest in curtailing this.

IANAL, and have no idea how their case against Yuzu developers will go.

I like the signal-to-noise ratio of interested commenters searching for related posts.

I fear something automated would be too spammy for most posts.

Excuse my ignorance, I'm about to ask stupid questions.

* What type of person uses this? I guess the intersection of people interested in composing and people able to typeset? I would have thought it wasn't that popular, but it has the polish of a popular tool. What am I missing?

* Do people typically use this to compose their own music, or are they recreating music they know?

* How similar is sheet music to source code? Does any software interpret it to output audio?

* Are there any open git repos where people collaborate on an open collection of sheet music?

* How expressive is sheet music? How constrained do you feel trying to convey your idea onto this format? Does it support abstraction, or making your own abstractions?

The "different files" you refer to are likely just different distros ways of configuring scripts that use netlink/ip. Each distro will do something differ, or use something like systemd-networkd/networkmanager. There's no one way.

netlink is the API, and `ip` is the canonical CLI tool for interacting with the tool.

I know this isn't a practical option for many, but there are still many simple audio players for self managed music collections.

I use VLC on Android, and Amberol on Linux. They're both folder oriented, and stay out of the way.

The post notes that Spotify pays $0.003-$0.005 per stream, and compares that to the average exec making $200k/year.

If Spotify diverted all that exec money to artists, I wonder whether the $0.003-$0.005 figure would change, or if that would be too only amount to <$0.0005 difference.

It might be fair to criticize Spotify's deal with rights holders of music, but the above line of critique doesn't hold so strong to me.

As it happens, $200k/year for an exec seems low?

Disclaimer: I don't use Spotify and instead manage my own collection.