A European Social Survey data (published in 2023) revealed that heterosexual couples reported lower life satisfaction when the wife/partner was the breadwinner compared with when the husband/partner works or both are working. Looking at this and other surveys in the US taken in the last decade, it appears that there is a nostalgia for the Donald Draper golden era where men being the sole breadwinner was the norm. After over a half a century of the so-called sexual revolution in Western societies, why are the men still expected to hold the primary role of the main provider for the family, while, as further findings show, men are adversely affected by this expectation?
Who Wears the Pants Matters
First, let’s discuss the surveys in more detail. The European Social Survey also showed women's life satisfaction is lower (6.33) when they are the sole earner and higher (7.10) when their husband/partner is the sole earner. Men’s life satisfaction is 5.86 when his wife/partner is the sole earner, versus 7.16 when he is the only earner. In fact, men and women struggle—but men most— in terms of mental health issues in situations when their wife/partner is the breadwinner and they are jobless.
This tells us that heterosexual couples in the European countries surveyed (United Kingdom, Spain, Slovenia, Portugal, Poland, Ireland, Germany, France, and Finland) are happier when they are able to fulfill their livelihood under traditional gender norms. Any deviation from conforming to the traditionally ascribed roles for men and women resulted in adverse effects for both sexes, but particularly more for men. Reasons may lie in lower income when women work than a two-earner or male-breadwinner household and the psychological pressure that men particularly experience when they cannot provide for the family.
Take Thee to Be My Wedded Husband
Another survey, by the Pew Research Center in 2017, revealed that over 70 percent of Americans say that men should be the family’s provider. The survey which looked at heterosexual marriages found that 71 percent of women surveyed expected their male partners to be the breadwinner to qualify as a good partner, notwithstanding 39 percent of women said that women should be able to provide financially for their families.
Of the men surveyed in the Pew study, 72 percent said that to be a good partner, it is important for the man to be able to financially support his family, while just 25 percent of men thought that a woman needs to be a breadwinner to be a good wife. This shows that the traditional sexual division of labor is at the center of heterosexual marriages and not being able to conform to these roles may devalue one’s eligibility as a potential spouse.
Lower well-being in unemployed male in heterosexual unions is fairly universal.
Reflecting on the findings of a previous study in 2016 by the University of Connecticut, it appears that society puts a heavier burden on men than women in taking on financial responsibility in the family that it affects men’s well-being. The survey revealed that American men who took greater financial responsibility in the family reported a strain in their well-being with negative effects on their health.
What’s also interesting is that the European Social Survey findings furthermore showed that the issue of lower well-being in unemployed male in heterosexual unions is fairly universal across the nine countries surveyed. It is even the case in more gender-equal countries such as Finland.
Aggrieved Entitlement
The survey findings could be linked to the economic challenges Western countries face and which are affecting the middle-class, the class that tends to maintain the status quo of traditional gender roles. These challenges have brought about discontent in the people of the class as they are not able to live the comfortable life their parents had lived.
Sociologists have referred to the above experience as “aggrieved entitlement”, a concept introduced by American gender expert Michael Kimmel, which refers to the anger and resentment experienced by individuals of a dominant or privileged group when they feel they are losing the traditional privileges they believe their group has been entitled to for generations. These traditional privileges include what was or apparently what is still considered men’s superior position as the provider of the family.
The postwar economic boom and the idealization of prewar traditional family values in the West during the 1950’s–60’s made it possible for men of the middle- and upper-middle class to take on the role of sole breadwinner as portrayed by Donald Draper, the character in the US TV series Mad Men (a situation similar in other Western countries). However, over the decades, stagnant wages and job insecurity, wage gaps in favor of the rich, and changes in women’s economic roles all impact on how men of the privilege group are able to take on their privileged role as sole breadwinner.
The Oppression of the Privileged
A country's struggling economy is one of the main causes of men’s loss of privileges. For example, the rise in the cost of living and housing has caused some privileged groups to feel that they are suffering from an injustice which further caused the men, especially, to feel disempowered by not being able to have control over and secure their “rights”.
The above condition has caused resentments targeted towards specific ethnic groups as individuals from some privileged groups perceive that social changes driven by factors such as changes in the population, economy, or labor market have redistributed the privileges which had been exclusively enjoyed by their families for generations. This may also be exacerbated by a leadership crisis where leaders have failed to solve economic issues which affect privileged groups.
Aggrieved entitlement reflects how patriarchal values oppress men, even the privileged.
Aggrieved entitlement reflects how patriarchal values oppress men, even the privileged, as well as women, and in some instances may even have a more negative effect on men. Nevertheless, the loss of male power by giving up the breadwinner position would disrupt the power imbalance between the sexes and the order of things maintained by the privilege groups. This power structure has proven difficult to transform by social changes that have been driven by feminism, as it serves capitalism, among other ways, by reproducing the labor force and sustaining a gendered labor market.
Thus, to prevent mental health issues in relation to financial responsibilities in the family, it is about time that in socializing children, society introduces values that do not promote traditional gender roles. However, for any fundamental change to take place that would lead to equality, changes that could transform the patriarchal family structure and the class structure in society are what’s needed, which of course is not within the scope of this essay.
Opel marka aracınız için Ankara'da yedek parça bulmak artık daha kolay. Şaşmaz, Ankara'nın tam kalbindeki ivedik bölgesinde Opel yedek parçalarını bulabileceğiniz birçok seçenek mevcut. Ankara'da Opel araçlarınız için yedek parça ihtiyaçlarınız için en iyi adresleri ve seçenekleri keşfedin. Oto yedek parça alışverişinizi kolaylaştıracak ipuçları ve öneriler için yazımızı takip edin. Artık Opel yedek parça bulmak zor değil!
Opel Yedek Parça Ankara
Opel aracınız için yedek parça almanın birçok avantajı bulunmaktadır. Ankara'da, opel yedek parçaları satan birçok mağaza bulunmaktadır. Opel yedek parça Ankara satıcıları arasında tercih yaparken dikkat etmeniz gereken bazı önemli faktörler bulunmaktadır.
Ankara Opel Yedek Parça
Ankara'da Opel aracınıza yedek parça almak istiyorsanız, seçeneklerinizi dikkatlice değerlendirmelisiniz. Ankara'da Opel yedek parça satan birçok mağaza bulunmaktadır. Fakat kaliteli ve güvenilir parçaları uygun fiyatlarla temin etmek önemlidir.
Opel aracınız için Ankara'da yedek parça satın alırken aşağıdaki faktörleri göz önünde bulundurmanız önemlidir:
Parçaların kalitesi ve orijinalliği
Fiyat ve bütçe
Satıcı firmanın güvenilirliği ve müşteri memnuniyeti
Garanti ve iade şartları
Ankara'da Opel yedek parça ararken, karşılaştırmalı bir analiz yaparak en uygun seçeneği bulabilirsiniz. Bu sayede aracınızın performansını ve güvenliğini yüksek kalitede parçalarla sağlamış olursunuz.
“Auf der richtigen Seite der Geschichte” stehen heißt, sich für die Schwachen und Machtlosen – in der Welt und im eigenen Land – aktiv einsetzen (sozial), außerdem der Welt eine unbedingte Wertschätzung für seine Mitmenschen und deren Lebensentwürfe geduldig vorleben (divers, inklusiv). Die “richtige Seite der Geschichte” findet sich demnach nicht im Kampf der Kulturen. Nicht das floskelhafte Wort oder das Heulen mit dem eigenen Rudel: das eigene Handeln allein zeugt davon, wo jeder von uns steht.
Auf der von mir genutzten Mastodon-Instanz entspann sich angesichts der Überlegungen, die ich in 'Das Böse' niedergeschrieben habe, eine schriftliche Debatte, die so bezeichnend für die heute verbreitete Unversöhnlichkeit ist, dass ich sie für einen Nachvollzug hier ungekürzt und unverändert (einschließlich der enthaltenen Schreibfehler) dokumentiere.
Julien
Erzähl das mal dem Opfer das neben dir in der u-Bahn zusammengeschlagen wird.. Was unterscheidet den Gleichgültigen vom Täter?
Lorbeerbund
Das erste Grundprinzip, das zivile Helfer, aber auch professionelle Einsatzkräfte beachten, ist, eine Eigengefährdung und das Anheizen unkontrollierbarer Entwicklungen zu vermeiden. Es hilft dem Opfer einer Schlägerei überhaupt nicht, wenn es am Schluss der “Rettungsaktion” hundert verprügelte Retter gibt. Besonnenheit hat nichts mit Gleichgültigkeit zu tun.
Julien
Besonnenheit ist also den Täter gewähren zu lassen? Im Moment geht es weder darum dem Opfer zu helfen oder sich selbst in Gefahr zu bringen, sondern lediglich darum das Opfer zu befähigen sich zu verteidigen. Und selbst das geschieht derart “besonnen” das es nicht mal dazu reicht den Täter in Schach zu halten. Propaganda ist derzeit das Mittel der Wahl um eben diese Befähigung auch noch zu unterminieren. Und du merkst es nicht einmal. Stalin nannte euch 'nützliche Idioten”
Lorbeerbund
Besonnenheit bedeutet für mich, daran mitzuwirken, die Quelle der Gewalt so rasch wie möglich trockenzulegen, ohne die Beteiligten zu beurteilen. Danach können unabhängige Zuständigkeiten untersuchen, wie es zu dem Gewaltausbruch gekommen ist, die Schuldfrage klären und rechtsstaatlich vorgehen.
Gelingt es mir dabei, auf ein spontanes, wenig reflektiertes Bedürfnis nach Vergeltung und Genugtuung zu verzichten, so habe ich das Böse in mir für den Moment erfolgreich bekämpft.
Julien
Du schreibst von Propaganda. Ich sehe keinerlei Wirkung solcher, denn der sogenannte Westen bleibt ja massiv unter seinen Möglichkeiten diesen Konflik effektiv zu beenden. Beschäftige dich mal russischer Propaganda, das sollte deine Perspektive viellecicht ein wenig zurechtrücken
Lorbeerbund
Okay, jetzt geht es also ad hominem. Danke für's Gespräch!
Julien
war ja kein Gespräch in dem Sinne. Eher eine Reaktion auf einen Propagandavortrag dessen Intention ich ein wenig herausarbeiten konnte.
Wer im diesem Kontext ernsthaft die Schuldfrage stellt transportiert faschistische, imperialistische Propaganda. Und ad hominem ging ja schon los als mir hier rachegelüste unterstellt wurden. So sehr kann man sich doch garnicht hinter Bücherwänden verschanzen das man 25 Jahre Geschichte verschläft
Lorbeerbund
Du hast nichts herausgearbeitet und wenig verstanden, mein Freund. Aber lassen wir es dabei. Hab einen schönen Tag!
Julien
Überheblichkeit und Blindheit gehen oft Hand in Hand...da hilft auch falsche freundlichkeit nicht. Wer solche Freunde hat braucht keine Feinde mehr. Edit: und, natürlich hast du in sämtlichen Antworten wunderbar herausgearbeitet das es dir ausschließlich darum geht die narrative des Täters zu transportieren und seine Ziele zu stützen (Schuld unklar, Westen womöglich schuld?, 'kann alle vernichten', Unterstützung der Ukraine = unterstützung von Mord etc pp)
Lorbeerbund
Schau mal Julien, ich habe keinerlei Interesse an einem verbalen Ringkampf an dieser Stelle. Ich gebe dir Recht: Überheblichkeit und Blindheit sind tatsächlich wichtige Gründe dafür, dass wir heute dort sind, wo wir sind. Ich kann deine Verzweiflung verstehen.
Julien
angesichts dessen wie tief die Propagandanarrative des reichsten Mannes östlich des Dnipros deutsche Medien, feullieton und friedensbewegte durchdringen, ja! Ist aber eher weniger Verzweiflung. Einfach Entsetzen gegenüber soviel Ignoranz und Dummheit. Ist doch alles schon mal dagewesen.
Lorbeerbund
Nun hatten wir beide Gelegenheit, unsere Standpunkte vorzustellen und zu erläutern. Die Differenzen, aber auch verbindende Aspekte wurden deutlich. Danke für die Debatte!
Langkah pertama buat nulis adalah, start writing. Boleh ide kita banyak, mungkin ide kita juga ‘menjual’. Tapi buat apa semua pemikiran brilian itu kalau enggak dituangkan dalam tulisan, right?
Karotis Bezi Usg Hakkında En Çok Merak Edilenler
Karotis bezi ultrasonografisi (USG), boyun bölgesinde bulunan karotis arterlerin ve bu arterlere beslenme sağlayan bezlerin incelenmesini sağlayan bir görüntüleme yöntemidir. Bu test genellikle arterlerdeki daralmaların ve kan akışındaki anormalliklerin tespit edilmesi amacıyla kullanılır. Karotis bezi USG hakkında merak edilen bazı temel konular şunlardır:
Karotis Bezi USG Nedir? Karotis bezi USG, ultrason dalgalarının kullanılarak boyundaki karotis arterlerin ve bunlara beslenme sağlayan bezlerin görüntülenmesini sağlayan bir tıbbi görüntüleme testidir. Bu test, arterlerdeki plak birikimlerinin, daralmaların, tıkanıklıkların ve kan akışındaki anormalliklerin belirlenmesine yardımcı olur.
Karotis Bezi USG Nasıl Yapılır? Karotis bezi USG, genellikle bir ultrasonografi uzmanı veya radyolog tarafından gerçekleştirilir. Hastanın sırtüstü yatar pozisyonda olması istenir ve boyun bölgesine bir jel uygulanarak ultrason probu bu bölgeye yerleştirilir. Prob, yüksek frekanslı ses dalgaları gönderir ve bu dalgalar vücutta yansıyarak görüntülerin oluşturulmasını sağlar.
Karotis Bezi USG Neden Yapılır? Karotis bezi USG, genellikle kişilerde görülen başlıca risk faktörlerine sahip olanlarda, özellikle de yüksek tansiyon, yüksek kolestrol, sigara kullanımı, diyabet, ailede kalp hastalığı öyküsü gibi durumlar söz konusu olduğunda yapılır. Ayrıca, inme riskini artırabilecek belirtiler gösteren kişilerde veya daha önce inme geçirmiş kişilerde de bu test istenebilir.
Karotis Bezi USG Nasıl Hazırlanılır? Karotis bezi USG için genellikle özel bir hazırlık gerekmez. Ancak, testten önce hastanın boyun bölgesindeki kıyafetleri çıkarması istenebilir. Ayrıca, testten önce sigara içilmemesi ve kan inceltici ilaçların kullanımının doktorla görüşülmesi önerilebilir.
Karotis Bezi USG Sonuçları Ne Anlama Gelir? Karotis bezi USG sonuçları, arterlerdeki daralmalar, plak birikimleri, tıkanıklıklar veya kan akışındaki anormallikler hakkında bilgi verir. Bu sonuçlar, hastanın inme riskini değerlendirmede ve tedavi seçeneklerinin belirlenmesinde önemli bir rol oynar.
Karotis Bezi USG Fiyatları Ne Kadardır? Karotis bezi USG'nin fiyatı, yapıldığı yer, sağlık kuruluşunun politikaları ve ülkenin sağlık sistemine bağlı olarak değişiklik gösterebilir. Genellikle özel sağlık kuruluşlarında yapılan USG testleri daha yüksek maliyetlere sahip olabilir.
Karotis bezi ultrasonografisi, boyundaki arterlerin ve bezlerin incelenmesinde güvenilir bir yöntemdir ve ciddi sağlık sorunlarının tespitinde önemli bir araçtır. Ancak, herhangi bir tıbbi test gibi, sonuçların yorumlanması ve tedavi planının belirlenmesi için uzman bir sağlık profesyoneline danışmak önemlidir.
you begin to hear sirens blaring in the distance, their pulsating tones piercing your ears to emulsify the load-bearing wax within with your flesh. it is a sound you have never heard, one that is unbearably raw, carrying an emotion you have never experienced and an alert for something truly unfathomable. whatever this is, it's something unprecedented, it's something new, it's something unthinkable. but it is so incredibly cognizable that it is impossible to avert your attention. it clops in front of you, its gait standard. it does not cry in pain. it does not say anything. it merely remains. it merely Is.
so who the fuck is this asshole? well, we must first take the literal interpretation. it is a picture of Twilight Sparkle from the show My Little Pony: Friendship is Magic (2010-2019) superimposed with the facial structure of Karkat Vantas from Homestuck (2009-2016). this itself seems simple enough to describe, but there is more to be gained here: not only is it a picture of Twilight Sparkle, it is quite possibly the picture of Twilight Sparkle, the reference from which all Twilight Sparkles are drawn. all of her hooves are firmly grounded, her expression (if you were able to see it) not overly excited or depressed, but merely content. this is the Twilight Sparkle you think of when i ask you to picture Twilight in your head, one not especially emotive but merely being.
similarly, the Karkat from which this image is derived is the reference Karkat, it is the symbolic rendering of Karkat (though this “render yourself symbolically” is only present in the context of Aradia, subverted in Homestuck² with Rose). it is the sprite from which Karkat is created, likely the initial conception of Karkat. again, when i ask you to think of Karkat, it is the Karkat you picture. if we take as given the notion of a platonic space of ideals behind reality, it is the platonic ideal of Karkat: though taking that as given is, like Wittgenstein's idea of the World being all that is True, fucking stupid.
ergo, when considering these as references, this is not merely a distortion of Karkat xor Twilight: it is a great distortion in the Marxist sense of both, one that asks you to discard your conceptions of either original ideal in the pursuit of an unholy synthesis, the result of attempting to move in dialectical contradictions when no true dialectic is present to move against. it is a mixture of not just a picture of either, but the concept of both. it is designed to force you to conceptualize this not as a mixture of Twilight and Karkat, but as a new entity altogether: Twilight Karkle, the great distorter, the tear, the Godhead Eternal. it is designed to recontextualize your relationship with both Twilight and Karkat to make you view them as one and the same. it's designed for you to look at it and go “oh god, Jacobson, you're kind of right” while engaging in cordial conversation with your compatriot over a messaging app in the evenings.
but we must not give into this temptation, for we must first analyze not merely the existence of Twilight Karkle but the reason for its being. it is difficult to extrapolate the moral character or intention of the author from a piece of art (see Davey Wreden's The Beginner's Guide), though we must.
the term “post-irony” is derived from the latin post (meaning “after”) and the greek εἰρωνεία (eirōneía, meaning “feigned ignorance”). it is the thing that occurs after feigned ignorance. by all means, the very notion of irony implies a post-irony, for it is merely the state in which you put an end to your bit, impaling it on your sword for it has ended its usefulness. but when interpreted as a state of commentary in its own right, the notion of being after feigned ignorance implies a double negative, or at the very least a dissolution of the feigned: under non-constructive logic it would result in a double negation translation into mere non-ignorance. if we assume Wittgenstein's ideals of the World being all that is True, the notion of transitioning into post-irony is then a change in the state of what the World is by definition. but that would be fucking stupid, because Wittgenstein is wrong about everything, especially that.
it is seemingly obvious that this is both an ironic and post-ironic lens to both characters. Twilight is often read as having Blood as an aspect by people who seem to care about classpecting characters from My Little Pony. her very arc is being reminded continually of the importance of friendship. Karkat is very similar in this notion, though friendship comes much more naturally to him in his own way¹. while the ironic notion is obviously present in the pixelation of Karkat's face versus the smooth lines of Twilight's mane and hooves, designed to point out this contradiction, there is a post-ironic — nay (neigh?), sincere aspect to it, designed to point out this similarity.
but in this case, the creator engages in a distinct conflation of the ironic and the post-ironic. if we again engage in the analytical lens, we have ironic and post-ironic, we have ironic and sincere in one — we have a contradiction. again, engaging in the practices of non-constructive logic with the presence of excluded middle, we are unable to maintain this contradiction and we engage the rule ex falso quodlibet, in which we put up our metaphorical hands and say “this is wrong! our assumption is wrong!”.
it is wrong, though. this being should never have been created, its existence is a sin in it of itself. by now you've noticed the (intentional) mistake in the argument here, that being that despite my refutation of Wittgenstein's ideals by merit of their obvious wrongness, i continue to engage in an analytical lens in which the World is all that is True. this is not a call to the non-constructive logics in which (A → ⊥) → ⊥ does not necessarily imply A, nor is it a call to the paraconsistent logics that allow for the admissibility of contradictions. it is instead a call to destruct the very notion of the analytical lens, for it is fucking worthless. indeed, we have a thing that the analytical lens cannot account for in the form of Twilight Karkle.
the primary crime of Twilight Karkle, then, is that it exists at all, not anything it could possibly do. it is the crime of the Creator that opened an image editor to create this. while a masterpiece of subversion, even a deep, penetrating deconstruction, it remains that this is still a contradiction, one that cannot be remedied, one that begs to be split. if Twilight Karkle were to walk up to you, you would regard it with pity. this should never have happened.
this never can happen again.
SCORE: three identical clones of Sigmund Freud out of 27 cans of Monster Energy
¹ credit to an unnamed non-Dirk individual of the spiralcomp system
² [DATA EXPUNGED]
You can usually tell the mood in the department early on, right from the peripheries. When it's busy, patients sit in beds out in the corridor; specialty staff are stuck down in the department; the waiting room heaves and it is standing room only. Tempers flare. And, factually, it is worse for patients.
Sometimes, in this mess, the word “difficult” (or challenging or rude or...) gets brought out. Because some people end up expressing themselves loudly, and that is intimidating. Lots of them express a fear of getting lost in the system. When it is crowded, and it's taken longer than they expect to be seen, a few people have come up to staff to make sure they haven't been forgotten. (They haven't, 99% of the time. It genuinely is a stark matter of supply and demand.)
I think it's the same with children who come in with “behaviour escalation”. They fall between CAMHS and medical services, but neither thinks it's their problem to solve. I suspect this is because neither has particularly good solutions for it. Yet they undeniably are “difficult to manage”, hard to put in a box, sometimes end up hurting themselves.
I think all of them just want to be heard.
Even in a district general hospital, each patient makes up one of 60-120 patients in the department at any time. By my estimate, I spend maybe 20-25 minutes actually seeing and examining patients; the rest of the time is spent in front of a computer, so away from patients, documenting, referring, requesting scans, chasing bloods... All “behind the scenes” work, and from the outside, looks like inaction.
How do we fix this? Can it be fixed? What happened if patients were given a more granular breakdown of progress? How do we even communicate the hundreds of tiny steps needed to decide on disposition? How do we make people feel heard?
Sometimes people walked in to beat me. My blood pooled on the floor. It stained the wood. My limbs were often broken. They healed eventually. Nobody came in to fix them. I just sat there. I deserved it.
The walls were damp. I was cold and alone. Scared, confused. You walked in, scanning the room. A hawk ready to swoop me into your talons. I could barely stand. My legs shook. I was like a table about to collapse. I needed this. I walked up to you. The last bits of my energy exerted. I could not think. I was alone here.
You seemed different. Were you here to hit me? What were you going to do? You scooped me up. I was lying on my back. My paws were in the air. You ran a finger across my stomach. I could feel my own ribs. You could play it like a xylophone. If you wanted to. I was starving. I couldn't cry. You were so warm. I couldn't trust you. I was so hungry. I was so so so hungry.
You sat me down. You got out your bag. You opened it up. There was something hot in there. Something edible. You set it down. There was a bowl. You gestured at it. I had never seen something like it. I had been living on scraps. I felt helpless. I walked up to the bowl. It was warm. I felt guilty. This should not be allowed. But I had no choice. I ate it all. The greens of the lettuce. Against my teeth. The oranges of the carrots. They tasted good. They tasted better than I deserved.
You bent down. Around my neck came a collar. Then a leash. You gave me food. I had to trust you. Anything but here. Anywhere but here.
ii
I hate the walls here. They feel sterile. They feel cold. Not the same cold. Not damp. Just cold. You said something. I couldn't understand. You sat me down. You didn't restrain me. I knew you told me to sit. I trusted you a bit. You gave me food.
The person there was mean. They hurt me with something. They kept poking at me. I tried to hit them with my paws. They did something to me. It kept my paws on the table. The table was cold. I hated how it felt on my fur. They poked me with something. It was cold. It felt like I was being hurt again. It made me sleep.
I woke up. Where am I? I saw you. You were there. You saved me from the person. I trust you. I think. You said something. I felt better a bit. It was like there was less noise. I could think clearer. I was still scared. Why did they inject me with that? Did you do that to me?
The thing we were in stopped. You let me out of the container. You stroked my back. It felt nice. You stroked my head. It also felt nice. You scratched behind my ears. They perked up a bit. I had to trust you. I had no choice but to trust you. If I didn't trust you I would die.
You were so warm.
iii
Time passed. I don't know how much. It was better now. You gave me a nice enclosure. A place to sit down. A place to sleep. The walls weren't cold. There were no walls. I could stick my paws through them. Sometimes they got stuck. You had to push them back through. It hurt a bit. It was okay. This was better.
There was hay on the floor. You would give me leaves. Lettuce. I would chew on them and you would just watch. I didn't know why. Why do you care about me? Why do you keep cleaning up my poop? What are you doing with it? Do you need it for something? I don't want it. You can have it.
The leaves tasted so good. They tasted like something. Spinach? I think that means something. I don't know what spinach is. It tastes good. There was carrots and other things. The carrots were really good. Every time it reminded me. The time you found me. You picked me up.
You kept picking me up. You would scoop me up. Take me out. I would go outside sometimes. It was nice. I would hop around your garden. You would hold something at me. It looked like another eye. You were so nice to me. Why were you so nice to me?
You took care of me. I could trust you. I wouldn't die here. I couldn't die here. I was not going to be hurt. Slowly I realized that. I realized that you weren't going to hit me. You weren't going to force meat into me. You weren't going to shove a dead rat in my face. You were worth it. You knew what I was. I didn't know what I was. I just needed food. I just wanted someone to care.
I would flop by your side sometimes. When you let me out. Those were the nice moments. You would scratch me. You would touch me. I was always so itchy. It was nice. You were so warm. I was always so cold and you were so warm. Thank you. I wish I could say something. I would hop in the air sometimes. I would turn too. You would always make some noise. I never knew what it was.
Embora o FreeBSD seja conhecido por sua estabilidade, desempenho e recursos avançados, não é a escolha mais comum para jogos de videogame. As distribuições mais populares para jogos geralmente são baseadas em GNU/Linux, como o SteamOS. No entanto, é importante notar que a maioria dos desenvolvedores de jogos foca em sistemas operacionais mais populares, como Microsoft Windows e Android, o que significa que o suporte e a disponibilidade de jogos para FreeBSD podem ser limitados.
Nem tudo está perdido, é possível executar jogos em FreeBSD usando emuladores e outras ferramentas de compatibilidade (Linux). Neste artigo veremos algumas formas de jogar no FreeBSD. Boa leitura.
Sobre o FreeBSD
O FreeBSD tem suas origens na história do sistema operacional BSD (Berkeley Software Distribution). Foi derivado do sistema Unix, desenvolvido na Universidade da Califórnia, em Berkeley, nos Estados Unidos. A Universidade da Califórnia desempenhou um papel significativo no desenvolvimento do Unix. Alguns dos principais contribuidores incluíam Bill Joy, Ken Thompson, Dennis Ritchie e outros.
Ao longo dos anos 70 e início dos anos 80, a UC Berkeley lançou uma série de versões do BSD Unix. A versão 4.2BSD foi especialmente influente. Contudo, as versões iniciais ainda continham código do Unix AT&T, e a universidade estava limitada em sua capacidade de distribuir livremente essas versões devido às restrições de licenciamento. Para contornar as restrições, em meados da década de 1980, a Universidade de Berkeley lançou uma versão chamada “BSD-Lite”, que continha apenas código original da Berkeley e não incluía o código do Unix AT&T. Esse código era mais livremente distribuível.
Em 1993, um grupo de voluntários liderados por Jordan Hubbard, David Greenman e Rod Grimes começou a trabalhar em uma versão derivada do BSD-Lite que eventualmente se tornaria o FreeBSD. A ideia era criar um sistema operacional livre e de código aberto, baseado nas fundações do BSD, mas com melhorias e atualizações significativas.
A primeira versão oficial do FreeBSD, a 1.0, foi lançada em dezembro de 1993. Desde então, o sistema operacional passou por desenvolvimento contínuo e evoluiu com contribuições da comunidade de código aberto ao longo dos anos. Uma das razões pelas quais o FreeBSD se tornou popular foi a escolha da licença BSD, que é conhecida por sua permissividade. Isso permitiu que o código fosse amplamente utilizado e incorporado em outros projetos, até mesmo comerciais.
Atualmente é amplamente utilizado em servidores, computadores pessoais (PC), computadores de placas únicas (SBC) e internet das coisas – IoT.
Também é a base para muitos sistemas populares, como:
MidnightBSD e GhostBSD (Desktop)
TrueNAS (NAS)
pfSense (Firewall)
RaspBSD (SBC)
PlayStation e Nintendo Switch (Videogame)
Algumas características notáveis do FreeBSD:
Licença BSD: É conhecida por ser bastante permissiva. Isso permite que o código-fonte seja utilizado e distribuído livremente, inclusive em projetos comerciais.
Desenvolvimento Comunitário: É mantido por uma comunidade de voluntários. Existem várias equipes e colaboradores que contribuem para diferentes aspectos do sistema operacional.
Port System: Possui um sistema de gerenciamento de pacotes chamado “Ports” que permite os usuários instalarem e atualizarem facilmente softwares adicionais a partir do código-fonte, adaptando-os às configurações específicas do sistema.
Desenvolvimento de Redes: É frequentemente utilizado em servidores de rede e é conhecido por seu desempenho em ambientes de servidor. oferece suporte robusto para redes e possui uma pilha TCP/IP de alto desempenho.
ZFS: Inclui suporte ao sistema de arquivos ZFS (Zettabyte File System), um sistema de arquivos avançado, que oferece recursos como compactação, detecção e correção de erros, entre outros.
Jails: O FreeBSD introduziu o conceito de “jails”, que são ambientes de sistema operacional virtualizados, permitindo isolar processos e ambientes de sistema.
Segurança: Tem uma reputação de ser um sistema operacional seguro. Possui recursos avançados de segurança, como o PF (Packet Filter) para filtragem de pacotes e o sistema de auditoria para rastreamento de eventos.
Como Instalar FreeBSD com ambiente Gráfico?
Neste artigo não irei abordar a instalação do sistema operacional FreeBSD, porém, deixarei logo abaixo um video didático do RibaLinux abordando a instalação do FreeBSD com ambiente gráfico GNOME.
O FreeBSD possui dois sistemas de gerenciamento de pacotes: PKG e Ports. Ambos têm funções semelhantes, mas diferem na forma como os pacotes são gerenciados e instalados.
PKG
É um sistema de gerenciamento de pacotes binários. Ele simplifica o processo de instalação, remoção e atualização de software, fornecendo pacotes pré-compilados que podem ser instalados de forma rápida e eficiente. Os pacotes binários são compilados por mantenedores de pacotes e geralmente são mais convenientes para usuários finais.
Exemplos:
$ sudo pkg install mame
$ sudo pkg install openttd
VOCÊ SABIA!?
O OctoPkg é uma interface gráfica semelhante ao Synaptics do Debian para o gerenciador de pacotes pkg do FreeBSD. Ele permite aos usuários pesquisar, instalar, remover e atualizar pacotes pkg graficamente, além de mostrar arquivos instalados, descrição do pacote, metadados e dependências. OctoPkg é baseado em Qt e fornece uma maneira conveniente de gerenciar pacotes no FreeBSD.
PORTS
O sistema de ports é mais flexível e oferece aos usuários mais controle sobre o processo de compilação do software a partir do código-fonte. Cada port contém scripts e instruções para baixar, compilar e instalar um determinado programa. Isso permite personalizar opções de compilação e ajustar o software para atender às necessidades específicas do usuário.
Exemplos:
$ cd /usr/ports/emulators/mame && sudo make install clean
$ cd /usr/ports/games/freecol/ && sudo make install clean
VOCÊ SABIA!?
O sistema operacional MidnightBSD (derivado do FreeBSD) possui uma interface gráfica para o gerenciamento e configuração do Ports, chamado mports, que vem disponível no ambiente de trabalho GNUstep. Mports é o sistema de gerenciamento de pacotes padrão do MidnightBSD, que permite aos usuários instalar (mports install), atualizar (mports update) e remover (mports delete) software no sistema no modo gráfico.
A escolha entre pkg e ports geralmente depende das preferências e requisitos do usuário. Para a maioria dos usuários, o pkg é mais conveniente, enquanto os desenvolvedores e usuários avançados podem preferir a flexibilidade oferecida pelos ports.
Neste artigo utilizarei os dois métodos de instalação de pacotes, isto é, pkg e o ports.
Como consultar a lista de pacotes do port no Freebsd?
Para consultar a lista de ports disponíveis no FreeBSD, você pode usar o comando portsnap. Este comando é utilizado para manter e atualizar uma coleção de árvores de ports em seu sistema operacional.
Aqui estão os passos básicos:
1) Certifique-se de que você tem portsnap instalado;
$ sudo pkg install portsnap
2) Baixe a coleção de árvores de ports;
$ sudo portsnap fetch
3) Extraia a coleção de árvores de ports;
$ sudo portsnap extract
4) Atualize a coleção de árvores de ports;
$ sudo portsnap update
5) Pesquise a lista de categorias e ports:
$ cd /usr/ports
$ ls
A árvore de ports estará localizada no diretório /usr/ports. Você poderá explorar este diretório para encontrar as categorias e os ports disponíveis.
Você também poderá navegar para uma categoria específica e ver os ports dentro dela, por exemplo:
$ cd /usr/ports/emulators/
$ ls
Se preferir, você também pode usar a função make search dentro de um diretório específico para procurar por ports. Por exemplo:
$ cd /usr/ports
$ make search mame
Lembre-se de que explorar manualmente a árvore de ports pode ser um pouco trabalhoso, e muitas vezes é mais eficiente usar ferramentas de busca online, específicas para o ports, como o FreshPorts.
Também chamados de “jogos de código aberto” são jogos distribuídos livremente sob uma licença de software livre: GPL, BSD, Apache ou MIT, desenvolvidos, geralmente, por grupos de pessoas ou organizações, conhecidos por Comunidades. Dentro das comunidades, muitos desenvolvedores são voluntários ou entusiastas de jogos eletrônicos.
FreeBSD é conhecido por ser uma distribuição que valoriza o software livre e de código aberto. Portanto, é natural que haja uma variedade de jogos de código aberto para o sistema.
lista de jogos livres ou código aberto para FreeBSD:
Tiro em primeira pessoa (FPS)
AssaultCube (semelhante a Counter-Strike)
AlienArena
OpenArena (semelhante a Quake 3)
Sauerbraten
Nexuiz
RedEclipse
Doom-freedoom (versão melhorada de Doom)
Jogo de Tiro (shootemup)
Battle Tanks
XGalaga
Estrategia (Strategy)
0.A.D (semelhante a Age of Empires)
Warzone2100
MegaGlest
FreeCiv (semelhante a Civilization)
FreeOrion
Pingus (semelhante a Free Lemmings)
Multijogador (Multiplayer)
Minetest (semelhante a Minecraft)
Hedgewars (semelhante a Worms)
TeeWorlds
Plataforma (Platform)
SuperTux (semelhante a Super Mario Bros)
Frogatto
Corrida (Racing)
SuperTuxKart (semelhante a Super Mario Kart)
TuxRacer
Trigger-Rally
XRacer
Jogo de Representação (RPG)
Flare-engine
Wesnoth
Adonthell
Simulador (Simulator)
FlightGear (Aviões)
LinCity (Cidades)
SimuTrans (Transportes)
OpenTTD (Transportes)
BillardGL (Sinuca)
FreeTennis (Tênis)
Blocos que Caem (Tetris)
BlockOut
Frozen-Bubble
XBubble
Crack-Attack
Como instalar jogos usando o gerenciador de pacotes PKG?
O gerenciador de pacotes PKG é a ferramenta padrão para gerenciar pacotes binários no FreeBSD. É usado para instalar (INSTALL), atualizar (UPDATE), listar (LIST) e remover (REMOVE) pacotes de software no sistema. O pkg simplifica o processo de gerenciamento de software, pois, não precisa compilar, permitindo que os usuários instalem e atualizem facilmente aplicativos e bibliotecas.
Exemplos:
$ sudo pkg install minetest
$ sudo pkg install snes9x-gtk
$ sudo pkg install assaultcube
e assim por diante...
Jogos através do Ports Tree
Ports são uma coleção de pacotes de software que permite compilar e instalar aplicativos na plataforma FreeBSD. Essa coleção contém informações necessárias para baixar, extrair, compilar e instalar aplicativos. É composta por mais de 38.487 portais disponíveis (até fevereiro de 2020).
Os ports são uma alternativa para instalações personalizadas e permitem que os usuários interajam diretamente no processo de compilação e configuração do aplicativo. São mais flexíveis e permitem que os usuários entendam o processo de compilação, configuração e geração de binários.
Lista de jogos Completa no Ports, link logo abaixo:
Antes de compilar um aplicativo usando um port, é necessário instalar a Coleção de Ports. Se não foi instalada durante a instalação do sistema operacional FreeBSD, use o comando a seguir para baixar o snapshot comprimido mais recente da Coleção de Ports e do diretório /usr/ports:
Exemplo:
$ portsnap fetch extract
2) Compilação e Instalação:
Após a instalação da Coleção de Ports, você pode compilar e instalar o jogo desejado. Os ports permitem uma instalação mais personalizada, permitindo que os usuários interajam diretamente com o processo de compilação e configuração do jogo.
Exemplos:
$ cd /usr/ports/games/nexuiz/ && sudo make install clean
$ cd /usr/ports/games/widelands/ && sudo make install clean
$ cd /usr/ports/games/minetest/ && sudo make install clean
e assim por diante...
Fliperama no FreeBSD
Também conhecido como Arcade, é uma máquina de jogos eletrônicos ou eletromecânicos projetada para ser operada publicamente em locais como salões de jogos, shopping centers, restaurantes e outras áreas de entretenimento. Ganharam popularidade nas décadas de 1970 e 1980, durante a chamada: “era de ouro dos videogames”.
As máquinas de fliperama apresentam uma variedade de jogos, como: jogos de luta, jogos de tiro, jogos de plataforma e jogos de corrida. E funcionam inserindo moedas ou fichas para desbloquear uma sessão de jogo por tempo limitado.
MAME, além de emular jogos, também emula com precisão e fidelidade os sistemas de hardware das máquinas de fliperama originais, como: processadores, placas de vídeo, som e entradas de controle.
Instalando MAME no FreeBSD
Você não terá dificuldades para instalar o emulador no FreeBSD. Poderá instalá-lo usando gerenciador de pacotes PKG, o Ports ou usando apenas gerenciador de pacotes gráfico, OctoPKG.
Exemplos:
a) usando o gerenciador PKG
$ sudo pkg install mame
b) usando o ports tree
$ cd /usr/ports/emulators/mame/ && sudo make install clean
Apos a instalação do pacote, você precisará criar o arquivo de configuração do MAME manualmente. Esta tarefa precisa ser feita no terminal do seu ambiente gráfico.
Veja o exemplo:
Abra o terminal que acompanha o seu ambiente de trabalho e digite o seguinte comando:
cd ~/.mame && mame -cc
O comando acima não precisa estar logado como Root. Este cria o arquivo de configuração mame.ini no diretório /.mame. Nele, encontram-se os caminhos para: Roms, Cheats, Arts, Samples, Languages, Plugins, etc.
Usando Trapaças (Cheats) no MAME:
Com arquivo de configuração mame.ini criado, poderemos ativar cheats no mame. Abra o arquivo com um editor de textos de sua preferência e siga para opção: CORE MISC OPTIONS. Na linha cheat, mude o valor de 0 (zero) para 1 (um). Pronto!
Para usar cheats no MAME, é necessário baixar o arquivo cheats compactado e colocá-lo numa pasta de mesmo nome (Cheat) no diretório raiz do MAME.
Depois, abra o emulador e com qualquer jogo rodando, pressione “Tab” e escolha a opção “Cheat”. Em seguida, selecione o cheat que deseja usar e ative-o.
Jogos Retro no FreeBSD
Também conhecidos como retrogaming, são jogos eletrônicos que foram lançados em épocas anteriores, geralmente nas décadas de 1970, 1980 e 1990. São caracterizados por seus gráficos, sons simples e jogabilidade desafiadora.
Tendem a priorizar a jogabilidade e a diversão imediata em vez de gráficos e recursos avançados. São frequentemente associados a consoles clássicos como: Atari 2600, Super Nintendo, Sega Genesis, Sega Master System, Sega Saturn, Sega Dreamcast, Sony PlayStaion One, etc.
Muitos jogos modernos também são projetados para emular o estilo e a sensação dos jogos retro. Esses jogos são conhecidos como “retro-inspired” ou “retro-style” e buscam capturar a essência dos jogos clássicos enquanto incorporam elementos modernos.
Retrogaming pode ser:
Vintage: São os jogos originais.
Emulado: Simula um jogo antigo em hardware moderno.
Portado: O Jogo antigo é transportado por completo para um hardware moderno
Homebrew: jogos novos e originais para consoles antigos.
Remakes: jogos remasterizados ou refeitos para plataformas modernas.
Há uma variedade de emuladores retro disponíveis para jogar no FreeBSD, vejamos alguns dos melhores:
Super Nintendo (Snes9x)
a) usando o gerenciador PKG
$ pkg install snes9x-gtk
b) usando o ports tree
$ cd /usr/ports/emulators/snes9x-gtk/ && sudo make install clean
Sega Genesis/MegaDrive (DGen)
a) usando o gerenciador PKG
$ sudo pkg install dgen-sdl
b) usando o ports tree
$ cd /usr/ports/emulators/dgen-sdl/ && sudo make install clean
Nintendo 64 (mupen64plus)
a) usando o gerenciador PKG
$ sudo pkg install mupen64plus
b) usando o ports tree
$ cd /usr/ports/emulators/mupen64plus/ && sudo make install clean
Gamecube & Nintendo Wii (dolphin)
a) usando o gerenciador PKG
$ sudo pkg install dolphin-emu
b) usando o ports tree
$ cd /usr/ports/emulators/dolphin-emu/ && sudo make install clean
Sony PlayStation 2 (pcsx2)
a) usando o gerenciador PKG
$ sudo pkg install pcsx2
b) usando o ports tree
$ cd /usr/ports/emulators/pcsx2/ && sudo make install clean
Sega Dreamcast (reicast)
a) usando o gerenciador PKG
$ sudo pkg install reicast
b) usando o ports tree
$ cd /usr/ports/emulators/reicast/ && sudo make install clean
Sony PlayStation Portavel (ppsspp)
a) usando o gerenciador PKG
$ sudo pkg install ppsspp
b) usando o ports tree
$ cd /usr/ports/emulators/ppsspp/ && sudo make install clean
Jogos Proprietários no FreeBSD
São jogos desenvolvidos e lançados por empresas, estúdios ou desenvolvedores individuais que detêm os direitos exclusivos sobre eles. Essas organizações possuem os direitos de propriedade intelectual e controle total sobre o desenvolvimento, distribuição e comercialização dos jogos.
Geralmente, são desenvolvidos com o objetivo de obter lucro e são vendidos ou disponibilizados para os jogadores mediante pagamento de licenças ou chaves de ativação para serem jogados.
Jogos proprietários costumam ser lançados para plataformas específicas, como: consoles de videogame (Sony PlayStation, Microsoft Xbox, Nintendo Switch) ou sistemas operacionais proprietários: Microsoft Windows e MacOS.
Os jogadores não têm acesso ao código-fonte ou à capacidade de modificar o jogo além das opções oferecidas pelos desenvolvedores.
No FreeBSD há algumas maneiras de rodar jogos proprietários: uma usando o cliente para plataformas de jogos digitais, Steam. A outra é usando o Wine (Mizuma).
a) Steam
É uma plataforma de distribuição de jogos livres e proprietários digitais para computadores pessoais ou móveis, desenvolvida e operada pela empresa estadunidense, Valve Corporation.
A Steam foi lançada no ano de 2003, de lá para cá, se tornou uma das principais plataformas de jogos para PC, oferecendo uma ampla seleção de jogos para compra, download e jogos online.
O objetivo da Steam é fornecer aos jogadores um local centralizado para comprar, gerenciar e jogar títulos populares de grandes desenvolvedoras, jogos independentes e até mesmo jogos desenvolvidos pela própria Valve.
Deixar claro que não há um instalador oficial do Steam para Freebsd, o que vamos utilizar é uma adaptação do Steam Linux (linux-steam-utils) para FreeBSD.
Como instalar Steam no FreeBSD?
a) usando o gerenciador PKG
$ sudo pkg install linux-steam-utils
b) usando o ports tree
cd /usr/ports/games/linux-steam-utils/ && make install clean
B) Mizuma (Wine)
Mizuma é um front-end para o Wine, que é um programa de código aberto que permite executar aplicativos desenvolvidos para o Microsoft Windows em sistemas baseados em Unix, como o FreeBSD. O Mizuma facilita a execução de uma lista de aplicativos do Windows no FreeBSD, fornecendo uma interface gráfica para iniciar esses aplicativos com o Wine. Permite escolher a versão do DXVK durante a instalação do aplicativo.
Você poderá conferir mais sobre o Mizuma no link logo abaixo:
$ cd /usr/ports/games/mizuma/ && sudo make install clean
Como usar o Mizuma para jogar no FreeBSD?
Para usar o Mizuma para jogar jogos no FreeBSD, é necessário instalar o Mizuma e o Wine no sistema operacional. Depois de instalar o Mizuma e o Wine, abra o Mizuma e selecione o jogo que deseja jogar. O Mizuma irá configurar automaticamente o Wine para executar o jogo. Se o jogo exigir configurações adicionais, o Mizuma permitirá que você as configure antes de executar o jogo.
É importante lembrar que nem todos os jogos do Windows funcionarão corretamente no FreeBSD com o Wine, então é necessário verificar a compatibilidade antes de tentar executar um jogo.
SilCarlos é técnico em redes de computadores com especialidade
em segurança de redes de computadores. Também é estudante de literatura portuguesa.
-----------------------
It was like nothing you'd ever experienced before.
You could smell the sweat as it flowed off of you, as it poured as if to fill an ocean. You couldn't handle the sensation of burning flesh, so you chose to ignore it entirely, as if it was never there at all. It felt like a dream, one that you would surely wake up from, one that simply could not be real, but you knew reality to be fickle. It was as if you were watching somebody bust into your residence, or as if you were watching a slowly encroaching flood.
You were confused. Did you know who you were? Surely not. You resided in a permanent early morning haze, as if you had just woken up, almost as if you had just been born. The warm sensation of the womb of your mother was all-encompassing and suddenly slipped from you, as it fell between your points of manipulation as if sand on a beach. The sensation was all that mattered, but you couldn't seem to grasp onto it — it slipped in and out, it waned like all else. Your focus was the first thing to go.
Being out of focus is rarely useful, except for perhaps as a stylistic choice, and you knew this well. Your vision blurred as if a camera, grasping only the broad strokes, a paintbrush having spread and become useless due to overexertion. It was a repetitious force that did you in, one that struck you with the force of a blue sun, as if you were hit by a nondescript blunt object from your behind. By the time it struck, you didn't know what had hit you.
You knew this wasn't you. You had to know that this wasn't you, that the thing that remained wasn't you, that it couldn't be you. You had to understand that, because it was the last thing you could possibly grab on to. There was a nebulous void at your core, a contradiction waiting to be split, one that no amount of dialectical understanding could possibly hope to fix. Sometimes you wished that someone would crack you open, tinker around, and fix all your bits, as if they could provide electrical signals to stimulate your neuro-chemistry that would suddenly turn you into something that was whole.
Above all else, you desperately wanted that — the wholeness. You needed something again, but it was taken from you, as if you were turned inside out, an unfathomable pain that you could not articulate if you tried. You wanted better than this. You needed better than this.
You thought to yourself. How could you get out of this? What could possibly dull this pain? Surely the sweet comforts of a bullet would help, but nothing is present. The space in front of you was seemingly endless, vast, and above all else, empty. You had become a wild, rabid dog, one that waited to be put out of its misery, that desperately wanted the release of a sharp point to take a swift end to it, that craved a swift slit to its jugular. But that wasn't an option for you.
What else? Could you have just stopped thinking about it? You were always told to just ignore it, to just make it better. But the pain seemed to make that impossible, as it started to spread up you, into you, and around you, a divine punishment for crimes of the flesh and for complicity in the machine. You were being torn apart limb from limb, the pain seeping up you with a tender pit-pat-pit.
In a way, the force tearing you open was almost erotic, the same pain leading to pleasure in a more benign scenario. Though the non-presence of any release was what began to break you. This thought was simply too strange for you to handle, however, so you discarded it. You focused on the sensation. Breathe in, breathe out. You couldn't breathe. You couldn't even seem to think.
That's when you saw it, as the void you were in coagulated into a sludge, a thick ooze, a postmortem hallucination that you wanted to discard. But this was the only reality that you could grab onto as your present and future faded, your past being all that remained. Your thoughts refused to change tense. You had one thought in your mind as the pain began to be padded by the sludge, flowing around every remaining bit of you, coming to dissolve you whole, as you were blissfully unaware of the hideous alternative.
You did this to me.
You did this to me.YOU did this to me.YOU DID THIS TO ME.YOU DID THIS TO ME.
The text below has been a part of my workshop blog for a while now but people around me have been pressuring me to publish it to the public. I'm still not sure it is a good idea, but here it is.
The first idea was small. My raspberry pi zero w could be powered from a USB power bank. ...could the powerbank be charged at the same time, making it a tiny uninterruptible power supply (UPS)? The size of the idea was restricted by the fact that the zero uses a microUSB connector for power. But in my head I expanded the idea sideways to other units as well. The petite 802.11n router (gl-ar300m) that shared the internet connection to the household was also powered through microUSB.
Well, those two use cases would be easily solved for my dream of some day living in an #offgrid #tinyhouse.
For that future home I also dreamed of having solar panels powering a bank of batteries. The stored energy would be controlled by a computer that would be powered by the battery bank it was monitoring. The small household would be on a solar UPS, sort of.
The new USB standards have much higher output and even powers my ARM-based laptop. A 60 watt power delivery (PD) unit seems to be enough at this time. At my holiday hut there's a small 12 volt solar system with smaller PD unit. All my mobile units can now be charged or directly powered from those PD units.
Here at my apartment I've been trying out some low-power LEDs for lighting. The one meter strips are powered by USB, something I was a bit surprised by when returning home from IKEA. But the strips only consume about 1.5 watts each so it is quite logical, I guess.
The hair and beard trimmer I use for not looking completely neolithic has a lithium battery good enough for about an hour of defuzzying work. It would follow me to the future tinyhouse if it could be charged from USB. The unit I will need to find will have to be equipped with a USB-c socket...
With the latest USB standards my two ideas can be combined into one system. The large solar batterybank could be 48 volts. It would allow me to charge the #bakfiets as well as the few necessary electronic devices that the household needs.
Now I need to figure out a way to make all of this modular enough.
USB 3.1 Power Delivery offers...
Increased power levels from existing USB standards up to 240W. New 28V, 36V, and 48V fixed voltages enable up to 140W, 180W and 240W power levels, respectively.
An adjustable voltage supply mode allows the device being powered an ability to request intermediate voltages between 15V and up to the maximum available fixed voltage of the charger. Power direction is no longer fixed. This enables the product with the power (Host or Peripheral) to provide the power. Optimize power management across multiple peripherals by allowing each device to take only the power it requires, and to get more power when required for a given application. Intelligent and flexible system level management of power via optional hub communication with the PC. Allows low power cases such as headsets to negotiate for only the power they require.
story details: 1,900 words, nah no details just go straight to the reading.
notes: enhance your reading experience by listening to limbo by keshi.
Dierja is there, Dierja is everywhere
Dierja sepertinya diberitahu oleh Bagaskara bahwa dirinya mampir. Pemuda itu melambai riang kepada Jana yang berjalan ke arahnya meski jarak mereka masih terbilang jauh. Tubuhnya ikut bergoyang ke kiri dan kanan saking antusiasnya ia melambai.
“Janaaa!!” Dierja berseru memanggil namanya, memicu atensi dari orang sekitar yang tak sadar akan kehadirannya. Ia meringis, setengah malu, tapi juga lucu. Reaksi Dierja yang begitu sumringah membuatnya melebarkan senyum. Dierja meraih ponsel di sakunya, mengetik sesuatu di layar gawai tersebut. Beberapa detik kemudian, ponsel Jana berbunyi notifikasi pesan baru.
Dierja Rahagi: Saya ke sana setelah ini, it’s nice to see you hereDierja Rahagi: Kamu tunggu di dalam rumah aja, minta dianter Bagaskara ke salah satu ruangan kalau capek berdiri
Jana tak membalas, memilih untuk menonton di pinggiran, di bawah pohon yang lumayan rindang. Dierja melirik padanya sesekali ketika make up artist merapikan riasan di wajahnya. Juga ketika menanggapi sutradara yang mengarahkan sesuatu padanya. Jana belum menemukan Gane di sana, sepertinya ia hanya memantau secara umum, dan datang jika dibutuhkan.
Dierja, Gane, Riza … ternyata banyak juga orang yang ia kenal berkecimpung di dunia hiburan, meski dengan role berbeda. Ia dan Hemish adalah outliers.
Ia lupa hari ini, entah kenapa, kalau ada orang lain lagi yang juga bekerja di sini.
“Mas Dias.”
Speak of the devil.
SLATE IN, seru asisten sutradara yang menggenggam gulungan kertas. Seorang crew dengan clapper board berdiri tepat di depan kamera.
ROLL SOUND, ROLL CAMERA! komando asisten sutradara.
ROLLING! sahut sound recordist.
Dierja melihat ke arah Jana lagi sekilas, mendapati dirinya dan Banu berdiri di tempat yang sama. Pemuda itu langsung mengalihkan pandangan pada lawan mainnya. Ekspresinya berubah menyesuaikan skrip.
“Mas Dias,” panggil Banu untuk kedua kali. Akan tetapi Jana tetap tak menoleh padanya, ia ke sana untuk makan siang dengan Dierja, bukan hal lain.
“Aku minta maaf,” suaranya begitu lirih dan menyedihkan, sarat penyesalan yang membuat Jana memiliki campuran perasaan tak menyenangkan.
“Saya lagi ndak pengin bahas apa pun yang mau kamu omongin. Please, leave?” pintanya sopan, pada akhirnya memandang Banu.
Wajah yang tak ia lihat tiga tahun itu memancarkan rasa bersalah. Jana memejamkan matanya, menghitung sampai tiga dan mengatur napas. Marah Jana di enam bulan pertama kepergian Banu yang sudah menguap, kini seperti mengembun kembali karena pemuda itu datang. Sebagian dirinya bersyukur bahwa Banu tampak baik-baik saja, sisanya ia tetap dikelabui amarah. Permintaan maaf dari Banu belum bisa meredam perasaan itu.
“Aku minta maaf, tapi kasih aku lima menit. Cukup lima menit. Aku mau jelasin kenapa aku tiba-tiba perg—”
“Seharusnya kamu jelasin itu tiga tahun lalu, Nuni,” panggilan khusus itu terasa familier namun asing di saat bersamaan, kaku dan membelit lidahnya. “Bukan tiba-tiba minta putus, tiba-tiba ngilang, iya, kan?”
Jana meninggalkan Banu yang terdiam di tempatnya. Juga meninggalkan rasa penasaran mengenai alasan yang ingin Banu utarakan. Saat ini ia sudah memutuskan untuk tak peduli pada masa lalu. Sebab apa pun alasannya, hal itu tak bisa memperbaiki apa yang ia alami. Tak bisa memperbaiki rasa putus asa Jana mencari kabar Banu yang tenggelam ditelan bumi. Tak bisa memperbaiki rasa terpuruk, tak cukup, tak baik, dan hal negatif lainnya yang melingkupi dirinya waktu itu.
Ia menarik tungkainya, hanya menyusuri halaman rumah sewaan yang jadi lokasi syuting, sebab tak tahu harus melangkah ke mana. Akan tetapi beruntungnya ia menemukan Bagaskara yang sepertinya tengah mencari Jana. “Wah, Mas Dias, saya nyariin sampai ke mobil ternyata di sini. Tadi di-chat Dierja suruh nganter ke ruang tunggu, takutnya Mas Dias sungkan.”
“Saya pengin lihat Mas Dierja di sana, tapi panas,” jawabnya berkilah.
“Mending di rumah aja, Mas, adem. Kalau mau nonton Dierja akting lagi, kapan-kapan saya kasih tau pas dia take scene di dalem ruangan. Soalnya hari ini nggak ada yang di dalem. Gosong dah tuh dia kena matahari seharian, sukurin.”
Sontak Jana melepaskan tawa sebab komentar dari Bagaskara, sepertinya pemuda itu lebih dianggap sebagai teman oleh Dierja ketimbang manajer karena cara berbicaranya sangat kasual. Pemuda itu menggiringnya ke rumah, lantas izin pergi ke mobil untuk mengisap rokok elektrik yang mengalung di lehernya.
Ruang tunggu itu kosong sebab semua orang sibuk di luar. Di sana juga tak ada pendingin ruangan maka dari itu tak jadi pilihan crew untuk singgah. Jana mengamati ruangan itu, mendapati ransel Jansport hitam milik Dierja yang pernah ia lihat di jok belakang mobil pemuda tersebut. Ia juga ingat dirinya pernah mendapati Dierja mengenakan ransel serupa ketika di Melbourne. Tak tahu memang sama, atau itu ransel berbeda.
Entah kenapa ia jadi ingat banyak hal tentang Dierja ketika kuliah. Memori itu terkubur karena memang ia tak pernah sengaja untuk menelusuri. Sekarang memorinya dipantik dengan eksistensi Dierja yang mengisi harinya. Pemuda itu bukan sekadar pelanggan ayam gepreknya dulu, namun juga bukan teman, bukan juga hanya Dierja Rahagi yang meledeknya di salah satu acara PPI.
Dierja selalu satu meja dengannya jika Gane dan Riza berjanjian di Revolver Upstairs. Juga jadi teman nongkrong tanpa sengaja jika Dierja diusir dari apartemennya di Lonsdale—yang ia bagi dengan Riza—saat Gane datang untuk bermalam. Juga suka muncul di Giblin Eunson Library padahal bukan mahasiswa Fakultas Ekonomi dan Bisnis.
Pemuda itu selalu ada, namun Jana tak terlalu memperhatikan sebab sibuk dengan dunianya sendiri. Dierja sering duduk di sebelahnya meski tak bertukar kata, atau menghampirinya untuk sekadar menyapa kemudian lalu.
Sekarang pemuda itu tak hanya lalu, ia menghampirinya dan tinggal. Berdiri di hadapan Jana dengan senyum yang selalu menular. “Janaa, what brings you here?”
“Lunch,” ia tersenyum simpul.
Akan tetapi senyumnya luntur ketika ada seseorang yang lewat, langkahnya berhenti di ambang pintu ruang tersebut, seperti menunggu Jana untuk mengizinkannya masuk, atau Dierja membalik badan dan mengajaknya makan siang bersama untuk formalitas.
Ia berharap Dierja terus memunggungi Banu dan tak memutar kepalanya.
Ia yakin Banu tahu hubungannya dengan Dierja, tak mungkin ia tak mendapati berita kencannya di media sosial. Pemuda itu lantas melangkah perlahan, meski tak diberi izin untuk masuk.
“Mas, sorry.”
Dierja mengangkat kening bingung karena dirinya tiba-tiba mengucapkan maaf. “Kenapa? Kamu lagi ada masalah?”
Mata Jana yang semula melirik Banu dari balik bahu Dierja, kini memandang Dierja yang menunggu jawabannya. Raut cemasnya memicu perasaan bersalah, namun ia segera menangkup rahang Dierja, pemuda itu berjengit. “Jana?” panggilnya.
Hemish pernah bilang Jana agak gila ketika ingin mencapai tujuannya. Ia melakukan banyak hal yang orang biasa tak akan pikirkan. Misal, tiba-tiba berkencan dengan Dierja hanya untuk terlepas dari kencan buta, atau seperti sekarang mencondongkan wajahnya pada Dierja, pura-pura menciumnya agar Banu pergi. Bibir mereka tak bertemu karena dibatasi ibu jarinya.
Banu membeku di tempatnya berdiri. Tak maju lagi untuk mendekat. Kemudian, Jana memejamkan mata seolah-olah memang tengah mencium Dierja. Telinganya dengan seksama mendengar langkah kaki terburu-buru yang pergi dari ambang pintu ruangan tersebut.
Ketika suara langkah kaki tersebut tak lagi mencapai frekuensi telinganya, ia segera menjauhkan wajah. Ia mendapati mata Dierja membola, wajahnya terkejut bukan main.
“M-maaf, Mas, ada Banu tadi. Dia mau ke sini, jadi aku pengin usir dia secara halus– maksudnya karena dia tetap ke sini meskipun tau kita lagi berdua jadi aku coba pakai cara lain. Maaf tiba-tiba begitu. Mas Dierja ndak apa-apa, kan? Pasti kaget banget ya? Sorryyy, Mas.”
Wajah Dierja yang tercengang perlahan kembali ke sedia kala, mencoba paham dengan situasinya. Jana memundurkan diri untuk kembali menjaga jarak, namun Dierja menahan tubuhnya untuk bergerak. Tangannya yang bertengger di pinggang Jana sebab reaksi spontan—meremas pakaiannya karena kaget—kini melingkar di punggung bawah, lebih lugas merangkulnya.
Tubuhnya kaku di pelukan Dierja.
“Kamu inget kamu harus ngabulin tiga permintaan saya?”
Jana mengerutkan kening sebab pertanyaan Dierja yang tak nyambung. Pemuda di hadapannya tampak tak merasa kesal atau marah karena perbuatannya yang tak ia diskusikan sebelumnya. Ekspresinya amat serius, dan membuatnya tak mengerti. “Maksudnya gimana, Mas?”
“Ini yang pertama.”
Dierja mencondongkan wajahnya begitu cepat sampai-sampai Jana tak mampu memproses bahwa bibir mereka kini menempel, tanpa dibatasi ibu jari.
Ia bisa mendorong Dierja.
Ia bisa mendorong Dierja.
Ia bisa mendorong Dierja.
Alih-alih melakukan itu, ia mulai membalas ciumannya.
Ia belum pernah disentuh Dierja selain tangannya. Kini seluruh tubuhnya seperti gemetar ketika Dierja menciumnya, telapak tangan Dierja mengelus naik-turun punggungnya yang melengkung sebab tergelitik. Jemarinya seolah menyusuri setiap inci tubuh Jana yang bisa ia capai. Lekuk pinggangnya ia remas, usap, rengkuh dengan erat, keduanya melekat tanpa distansi sedikit pun. Dierja menarik bibirnya di antara gigi, lantas melepaskan diri untuk bernapas sekaligus menyeringai mendapati Jana yang terengah tak keruan.
“Gimana?” bisiknya.
“Apanya?”
Jantung Jana memompa dengan gila, wajahnya merah entah kehabisan napas atau sebab berciuman. Dierja kemudian memiringkan kepala ke sudut lain untuk melumat bibirnya lagi. Tak segan menggigit bibirnya agar ia membuka mulut dan menginvasi, menyelusupkan lidahnya untuk membelit milik Jana. Ia mengerang memalukan di belakang kerongkongan. Menarik rambut Dierja dengan lemas karena tenaganya seperti diserap habis, kepalanya kosong. Bunyi kecipak ciuman mereka begitu memenuhi gendang telinganya. Dierja sungguhan bercumbu seperti melabuhkan seluruh hasrat terpendamnya.
Pemuda itu memanuver tubuh Jana, sehingga ia perlu berjalan mundur. Tanpa melepaskan Jana, Dierja menutup pintu di belakang punggungnya.
Jana didorong lembut untuk bersandar seluruhnya pada pintu. Kedua paha belakangnya digenggam kuat lantas dirinya diangkat. Reflek ia melingkarkan kakinya di pinggang Dierja. Punggungnya terus-menerus bersinggungan dengan pintu karena ciuman Dierja begitu menuntut, ia mengejar bibirnya seolah merasa tak pernah cukup.
Sudah berapa banyak lawan main yang dicium Dierja hingga ia sehandal ini? Ia tak ingin memikirkannya. Berusaha mengeratkan tangan dan kakinya yang melingkari Dierja takut jatuh.
Tiba-tiba muncul dering ponsel yang bukan miliknya.
“Mas … telepon,” ujarnya susah payah karena bibirnya masih dikerjai. “Mas.”
Dierja terus menyesap bibirnya, tak peduli pada ponselnya yang berdering. Jana yang mulai merasa terganggu mencoba menjauhkan wajahnya dari Dierja. Pemuda itu menatap Jana dengan pupil mata yang melebar. Sungguhan bertanya dengan bingung, dan tak sadar kenapa ia menarik diri.
“Telepon, Mas,” bisiknya.
Ia diturunkan dengan hati-hati, saat Dierja menunduk seraya merogoh saku celananya, dering teleponnya sudah mati. Ia mengangkat kepalanya lagi, mengamati Jana. Jemarinya naik untuk membelai rahangnya, ia mengecup lagi bibir Jana yang terasa bengkak dan kebas.
Akan tetapi Jana sepertinya memang sudah gila. Ia terbuai lagi oleh Dierja. Kaos putihnya ditarik oleh Dierja dari kungkungan ikat pinggang. Lelaki itu menyusupkan jemarinya untuk merasakan kulit Jana. Ia menggeliat, semuanya terasa geli entah di perutnya, kulitnya, kepalanya, setiap sel-sel di dalam dirinya. Bulu kuduknya meremang karena sensasi yang Dierja berikan sekarang.
Lagi ponsel Dierja berdering. Pemuda itu sepertinya jengkel setengah mati, ia melebarkan jarak dengannya dan merotasikan bola mata.
Oh, Jana baru pertama kali mendengar Dierja mengumpat. Ia baru sadar pemuda itu santun sekali dan Jana tak ingat Dierja pernah berkata kasar. Anehnya, Dierja jadi tampak … seksi? Mungkin karena ini keterbalikan dari sikap Dierja biasanya.
Aktor itu mengeluarkan ponselnya hanya untuk menekan dengan gusar tombol Do Not Disturb. Raut wajahnya melunak ketika kembali menoleh pada Jana.
“Saya harus keluar, Jana.”
“Iya,” Jana menjawab linglung.
“Kita perlu ngobrol.”
“Iya.”
“Bibir kamu merah kena make up saya.”
Ia sontak mengelap bibirnya dengan punggung tangan. Dierja hanya mengamati Jana dengan dalam. Matanya yang sering kali tampak ceria dan berkilau seperti konstelasi kini hanya gelap. Amat serius. Jana merasa seperti ditelanjangi dengan tatapan tersebut. Tak ada tanda bahwa Dierja menyesal telah menciumnya.
Tangan Dierja terangkat sejenak ke arah wajahnya dengan ragu, sepertinya ingin membantunya menghapus noda yang tak tersentuh tangannya sendiri, namun turun lagi. Pemuda itu mengepalkan tangannya erat di sisi tubuh, seolah menahan semua perasaannya yang meluap dan menyalurkannya ke sana.
“Maaf saya cium kamu tanpa izin, tapi saya nggak nyesel karena saya memang mau. Kita omongin ini nanti, karena saya harus ke set sekarang, talk to you later?”
Jana hanya mampu mengangguk kaku sebagai jawaban. Dierja menarik senyum untuknya, sangat amat tenang, kejadian itu tak mengguncangnya sama sekali, lantas ia memintanya berpindah dari belakang pintu, pergi dengan langkah besar.
Sontak Jana merosot usai Dierja tak terlihat, disorientasi, berjongkok di ruangan itu. Ia menarik rambutnya sendiri dengan kedua tangan. Jantungnya masih berdegup tak wajar. Ia tak tahu apa yang terjadi.
