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진주 isn't as hot as I expected.

so far so good.

:)

Buy a good bed. You gotta spend a third of the rest of your life in it, you wanna be comfortable.

Lorne Green

Manufacturing Consent: The Political Economy of Mass Media
by Edward S. Herman and Noam Chomsky 

"....Chomsky and Herman demonstrate that while we pride ourselves on a "free press," in truth we have a press that is actually quite self-censoring, and thus hardly free at all.

Most of the media, they explain, are big corporations subject to the same pressures of competition as other corporations, a hard economic fact that fatally undermines their ability either to report the news honestly or to comment on it fairly. Instead of aiming to tell the truth to the American people -- so that responsible democratic decisions can be made -- the big media are in business to sell audiences to advertisers and are far more concerned with pleasing their shareholders than with letting anything be said that may disrupt that process.

Although the First Amendment is on the books (and sadly, today it functions chiefly to be exploited by tabloid media), Chomsky, Herman, and many of the voices with dissenting views are never invited to appear on our TV screens, unless they can dance -- or swap wives. As a result, despite the sanctimonious and self-satisfied chest-thumping of pundits and politicians about the "free press," our press remains narrowly restricted.

You will not agree with either of them all the time (I don't), but even when you disagree, you will find both men challenging your preconceptions, making you think, and generally leaving you smarter and more compassionate than when you found them."

The classic Canadian documentary film based on the Noam Chomsky/Edward Herman's Manufacturing Consent. Explores the the propaganda model of the media.

URL: http://video.google.com/videoplay?docid=-5631882395226827730

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뚝뚝 끊어지는 가사들.
엑센트가 느껴지는 발음.
반복되는 리듬과 멜로디.

아이 라익. 

++
끄악0ㅁ0;;;;
이....이것이 원곡이었던거다.....;;;

#0
우히힉.
겨울 옷 정리하다가 코트 주머니에서 돈 발견+_+
엄마 아빠 코트까지 죄다 훑어서 얻은 수확이 자그마치 $64.33!
잇힝~
저금해야징~*

#0.5
옛날에 헝젼이가 자기는 항상 겨울 옷 정리할 때 코트 주머니에 지폐를 넣어 둔다고 했다 -- 천원짜리던가, 오천원짜리던가? 어렸을적이라 만원짜리는 아니었던거 같다.
다음 해 겨울쯤에는 자기가 돈을 넣어뒀다는걸 까먹기 때문에 그 돈을 발견했을 때 기분이 무지 좋다고 했다.
나도 뜻밖에 돈을 찾아 기분 좋았던 경험이 있긴하지만(이를테면 오늘처럼!) 
헝젼처럼 미리 계획했던적은 한 번도 없었는데..
앞날의 행복을 위해 준비하는 그녀의 모습을 본받아야겠다..........?

-_ -a

#1
나는 쫌 장난을 잘친다. 
왜?
장난치는게 좋으니까~
재밌잖아>,.<

장난 외에 돌발행동도 하고 돌발소리(아무 일 없는데 갑자기 '허억-'한다던가 '꺄악-'거린다던가)도 내고 뭐 그르타;;
오늘도 어김없이 촐싹대는데, 
싸미 曰:
"아~ 양수현, 갈수록 심해져~"

아니, 이눔이 어디 하늘같은 누나에게 감히 이런 멘트를 날려- _-
안되겠군. 오랜만에 X침 좀 날려줘야겠다.
흐흐흐.

침 놓을 생각에 들떠있는 Y양

#0
人間萬事塞翁之馬
당신이 앞으로 두 달밖에 살지 못할거라는 시한부 선고를 받았다면?

#1
방학이 반 땡!
지점을 살짝 지나가고 있다.
끝나갈 때가 되어가면 갈수록 시간은 더 빨리 간다. 
방학은 -- 인생은 -- 참 두루마리 휴지 같구나.

#2
한국
갈 날짜가 코 앞이네.
이것 저것 준비하고 정리해야할 것들이 한두가지가 아니네.

#2.5
날짜가 안 맞아서 못가겠군 하고 아쉬워했던 콘써트들이
알고보니 티켓 가격이 거의 십만원에 육박.
캭.
시간이 됐어도 비싸서 못/안갔다- _-
영화나 많이 보고 와야징.
이히힛.

#3
인생
은 긴 마라톤임과 동시에 수십개의 100m 달리기의 연속이다. 
결승선에 다다르고 보면 그것은 끝이 아닌 또 다른 시작이기 때문이다.
일등을 할 때도 있고, 꼴등을 할 때도 있고, 넘어져서 다칠 때도 있고.. 
중요한건 포기하지 않고 뛰는 것이다. 

#3.5
살아 있으면서 될 수 있으면 다양한 일들을 해보고 싶었는데,
이런 기회가 나에게 왔다는 것에 참 감사하다.
아주 좋은 경험이 될 것 같다.
생각만으로 기쁘다.

#4
바램
그 어떤 것에도 굴하지 않는 용기.
자기 자신만이 아니라 다른 사람을 생각하고 배풀 줄 아는,
남을 위해 뜨거운 눈물을 흘릴 수 있는 마음.

맨발로 풀밭을 뛰어다니며 놀 수 있도록.
가끔은 숟가락 젓가락 대신 손 끝으로 따뜻한 밥알의 감촉을 느낄 수 있도록.
실패를 두려워하지 않고 항상 새로운 것에 도전하도록.

아름답고 자유로운 영혼이어라.

#5
人香
 "책에서 봤는데 사람마다 조금씩 다른 인향이란 게 있대요. 인공적인 냄새나 꾸밈 보다 저절로 채워지는 인향을 만들고 싶어요."

#6
http://www.marketwatch.com/news/story/story.aspx?guid=%7BB92DE381%2D5C0A%2D45CD%2DBEAD%2DDD81B8A6CFA4%7D&siteid=rss

ㅋㅋㅋ 어머 어쩜 좋아.
Professor Lockhart가 생각나. 푸흐흐.
나 해리포터 영향 제대로 받았다+_+;;;

#7
정말이라구.
술 알레르기가 있다구.

내가 이렇게 말하면 믿지 않는 사람들이 많은데
(많은게 아니라 거의 다가 믿지 않는 분위기- _-)
정말 그렇다니까니.

"간에 알콜 분해효소가 적을 경우 분해가 안된 독성물질인 아세트 알데히드가 몸에 알레르기 반응을 일으킨다."

그 반응 = 인간 토마토가 되는 것;;
얼굴, 귀, 목 심지어는 몸통까지 빨개진다.
조금만 마셔도 머리가 아프고 몸이 간지럽다.

에잇..
난 술이 세고 싶은뎅.

엄훠나.
브라보>_<! 

http://www.newsen.com/news_view.php?uid=200807080732341010

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유튭엔 없는게 없는줄 알았는데.
뭐야. 내가 좋아하는 '누구도 일러주지 않았네'는 없잖아.
췟.
++
꿩대신 닭이라고.
'빠이빠이 베스파'라도 올려야 기분이 풀리겠당.

William Butler Yeats,
Death

Nor dread nor hope attend
A dying animal;
A man awaits his end
Dreading and hoping all;
Many times he died,
Many tims rose again.
A great man in his pride
Confronting murderous men
Casts derision upon
Suppression of breath;
He knows death to the bone --
Man has created death.

An informal guide to writing nonfiction

[Part 1]
1. The Transaction

• For ultimately the product that any writer has to sell is not his subject, but who he is.
• Personal Transaction = the heart of good nonfiction writing
• Most important qualities = humanity and warmth

2. Simplicity

• Our national tendency is to inflate and thereby sound important.
• But the secret of good writing is to strip every sentence to its cleanest components.
• "I love to be alone. I never found the companion that was so companionable as solitude. We are for the most part more lonely when we go abroad among men than when we stay in our chambers. A man thinking or working is always alone, let him be where he will. Solitude is not measured by the miles of space that intervene between a man and his fellows. The really diligent student in one of the crowded hives of Cambridge College is as solitary as a dervish in the desert."
  - Thoreau's Walden
• Clear thinking becomes clear writing.
• Tighter, stronger and more precise.
• What am I trying to say, Have I said it?
• Select from the surfeit of words the few that most precisely fit what they want to say. Choose one.
• Take superfluous words away, leaving what is organic and strong.

3. Clutter

• Clutter is the laborious phrase which has pushed out the short word that means the same thing.
• "In our time, political speech and writing are largely the defense of the indefensible....Thus political language has to consist largely of euphemism, question-begging and sheer cloudy vagueness."
  - George Orwell's Politics and the English Language

4. Style

• Do not garnish your prose -- you'll lose whatever it is that makes you unique.
• Be yourself.
• A writer is obviously at his most natural and relaxed when he writes in the first person. Writing is, after all, a personal transaction between two people, even if it is conducted on paper, and the transaction will go well to the extent that it retains its humanity. Therefore I almost always urge people to write in the first person -- to use "I" and "me" and "we" and "us."
• Good writers are always visible just behind their words.
• Believe in your own identity and your own opinions.
• Proceed with confidence, generating it, if necessary, by pure willpower. Writing is an act of ego and your might as well admit it. Use its energy to keep yourself going.

5. The Audience

• Who am I writing for? It is a fundamental question and it has a fundamental answer: you are writing for yourself.
• Don't try to visualize the great mass audience. There is no such audience -- every reader is a different person.
• Don't worry about whether the reader will "get it" if you indulge a sudden impulse for humor or nonsense. If it amuses you in the act of writing, put it in.
• How can you think carefully about not losing the reader and still be so carefree about his opinion that you will be yourself?
  1) work hard to master the tools.
  2) Just as it takes time to find yourself as a person, it takes time to find yourself as a stylist, and even then, inevitably, your style will change as your grow older.
  
• Whatever your age, be yourself when your write.

6. Words

• Cheap words, made-up words and cliches
• Develop a respect for words and a curiosity about their shades of meaning.
• Readers reads with their eyes. But actually they hear what they are reading -- in their inner ear.
• Consider sound and rhythm -- reverse the order of sentence, substitute a word for freshness.
• An occasional short sentence can carry a tremendous punch.

7. Usage

• Words need to express what they express.
  *to help the language grow by welcoming any immigrant that will bring strength or color.

[Part 2]

8. Unity

• You learn to write by writing.
• Before you struggle with the lead you make certain decisions about what tone you want to adopt. Get your unities straight.
  1) Unity of pronoun
  2) Unity of tense
  3) Unity of mood
• Writer must control the material (material shouldn't control the writer).
• Some basic questions you must ask before you start:
  1) In what capacity am I going to address the reader? (Reporter? Provider of info? Average man or woman?)
  2) What pronoun and tense am I going to use?
  3) What style? (Impersonal reportorial? Personal but formal? Personal and casual?)
  4) What attitude am I going to take toward the material? (Involved? Detached? Judgmental? Ironic? Amused?)
  5) How much do I want to cover?
  6) What one point do I really want to make? (Every successful piece of nonfiction should leave the reader with one provocative thought that he didn't have before)
• Trust your material if it is taking you into terrain that you didn't intend to enter but where the vibrations are good. Adjust your style and your mood accordingly and proceed to whatever destination you reach. Don't ever become the prisoner of a preconceived plan. Writing is no respecter of blueprints -- it is too subjective a process, too full of surprises.

9. The Lead

• Progression of sentences, each tugging the reader forward until he is safely hooked.
• Take special care with the last sentence of each paragraph -- it is the crucial springboard to the next paragraph.
• You should always collect more material than you will eventually use. Look for your material everywhere, not just by reading the obvious sources and interviewing the obvious people.

10. The Ending

• Article that doesn't stop at its proper stopping place is suddenly a drag and therefore, ultimately, a failure.
• The perfect ending should take the reader slightly by surprise and yet seem exactly right to him.
• When you are ready to stop, stop. If you have presented all the facts and made the points that you want to make, look for the nearest exit.

11. The Interview

• Take heart. You will find the solution if you look for the human element.

12. Writing about a Place

13. Bits & Pieces

VERBS

• Use active verbs unless there is no comfortable way to get around using passive verb.

ADVERBS

• Most adverbs are unnecessary.
• You will clutter your sentence and annoy the reader if you choose a verb that has a precise meaning and then add an adverb that carries the same meaning.

ADJECTIVES

• Most adjectives are also unnecessary.
• Make your adjectives do work that needs to be done.

LITTLE QUALIFIERS

• Don't say you were a bit confused and sort of tired and a little depressed and somewhat annoyed. Be tired. Be confused. Be depressed. Be annoyed. Don't hedge your prose with little tumidity. Good writing is lean and confident.

PUNCTUATION

• Period - most writers don't reach it soon enough.
• Exclamation Point - Don't use it unless you must to achieve a certain effect.
• Semicolon - rely on the period and the dash.
• Dash - 1) amplify or justify in the second part of the sentence a though that your have stated in the first part. 2) set apart a parenthetical thought within a longer sentence. An explanatory detail that might otherwise have had to go into a separate sentence is dispatched along the way.
• Colon - quotation, itemized list.

MOOD CHANGERS

• It's okay to start with "but" when you're shifting direction -- there is no stronger word at the start. 

CONTRACTIONS

• Your style will be warmer and truer to your personality if you use contractions like "I'll" and "won't" when they fit comfortably into what you're writing.
• Avoid "I'd" -- it can mean both "I had" and "I would."

OVERSTATEMENT

• Don't overstate.
• Let the humor sneak up so that we hardly hear it coming.

CREDIBILITY

• Don't inflate. Just one bogus statement will make everything you write be thereafter will be suspect.

CONCEPT NOUNS

• Nouns that express a concept are commonly used in bad writing instead of verbs that tell what somebody did.
• Get people doing things

CREEPING NOUNISM

• Stringing two or three nouns together. Choose one noun.

SEXISM

• The "he-she" pronoun -- 그냥 알아서 잘 처리해야..;;

PARAGRAPHS

• Keep it short.

WRITING IS NOT A CONTEST

• Every writer is starting from a different point and is bound for a different destination.
• Forget the competition and go at your own pace. Ultimately your only contest is with yourself.

THE SUBCONSCIOUS MIND

• Stay alert to the currents around you.

DICTATION

• Dictated sentences tend to be pompous, sloppy and redundant. 

THE HUMAN CONDITION

14. Science Writing and Technical Writing

• Linear sequence.
• You can't assume that people know what you think any boob knows.
• Describing how a process works is valuable for two reasons.
  1) it forces you to make sure that you know how it works.
  2) it forces you to make sure that the reader will understand it as clearly as you do.
• Add human element -- one obvious is yourself. use your own experience to connect the reader to some mechanism that also touches his life.
• Don't be scared of the subject -- be relaxed and have a good time.

15. Writing in Your Job

• Just because people work for an institution they don't have to write like one. Institutions can be warmed up.
• If you work for an institution, whatever your job, whatever your level, be yourself when you write. You will stand out as a real person among the robots.

16. Sports

• Values to look for: people, places, the link between past and present, the tug of the future.
• Observe closely.
• Hang around the track and the paddock, the ball park and the rink.
• Interview in depth.
• Listen to old-timers.
• Ponder the changes.
• Write well.

17. Criticism

• critic vs. reviewer
• Critic should love the medium that he is reviewing. If you think movies are dumb, don't write about them. The reader deserves a lifelong movie buff who will bring with him a reservoir of knowledge, passion and prejudice.
• Don't give away too much plot.
• Generate a provocative idea and to throw it onto the page where your fellow scholars can savor it.
• Criticism at its best = stylish, allusive, disturbing
• Critics should always be among the first to notify us when the truths that we hold to be self-evident cease to be true.

18. Humor

• One Catch-22 or Dr. Strangelove is more powerful than all the books and movies that try to show war "as it is." They are two works of comic imagination, but they are still the standard points of reference for anyone trying to warn us about the military mentality that could blow us all up tomorrow. Joseph Heller and Stanley Kubrick heightened the truth about war just enough to catch its essential lunacy, and we recognize it as lunacy. The joke is no joke.
• Several principles for the writer of humor:
  Master the craft of writing good "straight" English; humorists from Mark Twain to Russell Baker are, first of all, superb writers. Don't search high and low for the outlandish and scorn what seems too ordinary; you will touch more chords by finding what is funny in what you know to be true. Finally, don't strain for laughs; humor is built on surprise, and you can surprise the reader only so often.