La Gazzetta di Modena di oggi riferisce dell'arresto di un uomo per tentata estorsione ai danni del fratello: i due erano stati soci di una pizzeria (fallita) e l'uomo arrestato, cui il fratello doveva ancora una somma, aveva fatto diverse minacce (anche di morte) per rientrarne in possesso.
L'arrestato si chiama Pio, il fratello Fortunato. Nè Pio, nè Fortunati....
Thursday, October 14, 2010
Tuesday, October 12, 2010
Vento e luna
An eternity of endless space:
A day of wind and moon.
The Golden Age of Zen: Zen Masters of the T'Ang Dynasty
Monday, October 11, 2010
Chi non si può difendere
Tutti gli uomini sono mortali.
Socrate è un uomo.
Quindi Socrate è mortale.
Sono secoli che ce la pigliamo con Socrate. Forse perché a dire certe cose di noi stessi ci vogliono le palle. (O forse perché ai filosofi in fondo piace sparlare dei colleghi. Questa però mi convince meno).
Socrate è un uomo.
Quindi Socrate è mortale.
Sono secoli che ce la pigliamo con Socrate. Forse perché a dire certe cose di noi stessi ci vogliono le palle. (O forse perché ai filosofi in fondo piace sparlare dei colleghi. Questa però mi convince meno).
Tuesday, October 5, 2010
Alsa, pulseaudio, KDE & HDA-Intel Realtek ALC887 under Linux
Sue me, but I'm gonna out and say it: sound management under Linux suxx big time and it has done so for the longest time. It's laden with incomprehensible jargon and the most intricate jumble of competing technologies you can think of. Bottom line: lots of times, you have trouble getting audio out of your system.
My problem: FC13 with kde (but other WMs also, so KDE does not really enter into it) does occasionally:
1) switch unrequested from "Internal analog stereo" to HDMI Manhattan whatever
2) Forget entirely the "Internal analog stereo" device (shows up greyed out in multimedia)
Guess what? the "Internal analog stereo" device is the one outputting audio to my headphiones and loudspeakers. There are two hard things here: understanding (better: get a feel for) what's going on and fixing it.
I have (as of now) no general guide but I have found these commands to be of great help in finding out what the problem may be:
pacmd ls
alsamixer
alsaunmute
paman
pavumeter
pavucontrol
yum install pulseaudio-utils
modinfo soundcore
These - paman especially - also help in fixing the "switch device" problem, while:
rmmod snd-hda-intel
modprobe snd-hda-intel
Appear to fix the forgotten device problem.
All for now...
My problem: FC13 with kde (but other WMs also, so KDE does not really enter into it) does occasionally:
1) switch unrequested from "Internal analog stereo" to HDMI Manhattan whatever
2) Forget entirely the "Internal analog stereo" device (shows up greyed out in multimedia)
Guess what? the "Internal analog stereo" device is the one outputting audio to my headphiones and loudspeakers. There are two hard things here: understanding (better: get a feel for) what's going on and fixing it.
I have (as of now) no general guide but I have found these commands to be of great help in finding out what the problem may be:
pacmd ls
alsamixer
alsaunmute
paman
pavumeter
pavucontrol
yum install pulseaudio-utils
modinfo soundcore
These - paman especially - also help in fixing the "switch device" problem, while:
rmmod snd-hda-intel
modprobe snd-hda-intel
Appear to fix the forgotten device problem.
All for now...
Friday, October 1, 2010
Don Byas, “No such thing as a wrong note!”
Who influenced you?
In the beginning, it was “Hawk” [Coleman Hawkins]. That sound always stayed with me and never got away. In fact, I think I have a bigger sound now than he had. Apart from that, I dug what he was playing. Art Tatum really turned me on. That’s where my style came from … style… I haven’t any style. I just blow, like Art. He didn’t have any style, he just played the piano, and that’s the way I play. We were real close, and he loved me. He used to sit down and talk to me and one day he said, “Don, don’t ever worry about what you’re going to play or where the ideas are going to come from. Just remember there is no such thing as a wrong note.” He said, “What makes a note wrong is when you don’t know where to go after that one. As long as you know how to get to the next note, there’s no such thing as a wrong note. You hit any note you want and it fits in any chord.” And that’s right! There is no such thing as hitting a wrong note. It’s just that when you hit that wrong note, you’ve got to know how to make it right.
That’s when the doors started opening for me music wise. From that time I started practicing and remembering that and all of a sudden I said, “That’s where it is.” There’s no way you can hit a wrong note, as long as you know where to go afterwards. You just keep weaving and there’s no way in the world you can get lost. You hit one. If it’s not right, you hit another. If that’s not right you hit another one, so you just keep hitting. Now who’s going to say you’re wrong? You show me anybody who can prove you’re wrong. As long as you keep going you’re all right, but don’t stop unless you know you’re at a station. If you’re at a station then you stop, take a breath and make it to the next station. Tatum turned me onto that. He was a genius. I had been with Tatum for two years on the West Coast. I came to New York in 1935, and we hung out together every night. It was during that time that he taught me all those things. I came to New York with Eddie Mallory’s band. Mallory’s wife, Ethel Waters, opened up in the Cotton Club, Duke Ellington was playing with his band and so was Eddie Mallory, two big bands.
There was nobody playing what I was playing because I played all that stuff from Tatum. That F-sharp, B-natural, E, A, D, G, C, F, like in rhythm, instead of playing rhythm chords. Everybody was saying what is that? Where did this cat come from? Who is he? There weren’t any horn players following piano players at that time, so I was ahead of everybody.
“Bird” [Charlie Parker] got a lot of things from me. I met Bird when he was about fourteen in Kansas City, so I’ve been knowing him for a long time. Even after Bird got to New York with Jay McShann, we were still real tight, and he used to always come and get me when he wanted to go and jam, which was damn near every night. He would say: “Come on, Don, we’re going to play ’Cherokee’”. That was his favorite tune. What people don’t know is that Bird got a lot of stuff from me, although he was influenced more by “Pres” [Lester Young]. Pres was really his boy. There was another cat, Buster Smith, and somebody else, I forget his name, but those are the cats who influenced Bird. They were all around Kansas City at that time. That was in the early thirties. Bird was a little cat, fourteen years old and blowing! He hadn’t developed then. He didn’t really start blowing till he got to New York; then he stretched out. That man could blow! You listen to the music now and you ask yourself what people are talking about when they compare somebody with Bird? Even “Trane” [John Coltrane] was influenced by him, although he went much further, but Bird was his idol.
Trane was tight. Every time he came to Europe, the first place he would go to, he would ask, “Where is Don Byas?” Always went where I was playing, never said hello. He’d just come in, sneak in. I don’t know how this cat did it. He would sit in the club all night and never move. I wouldn’t know he was there. I’d say to myself, “That looks like Trane sitting back there.” So when the set was over, I would go and ask, “How long have you been here?” He’d say, “I just came in.” Trane was something else. You would never know he was in the joint.
Have you ever felt any kind of protest in music?
I’m protesting. If you listen you will notice I’m always trying to make my sound stronger and more brutal than ever. I shake the walls in joints I play in. I’m always trying to sound brutal without losing the beauty, in order to impress people and wake them up. That’s protest, of course it is. I’ve always felt like that. The point is how long will people keep me waiting before they come in. I’m wondering if things will finally come my way before I pop off. Actually right now there aren’t that many cats left that are blowing—me and “Griff” [Johnny Griffin], who else is there? There are a lot of young cats, but I don’t even know them. I’m talking about the ones on the top. My form of protest is to play as hard and strong as I can. In other words, you did this and you did that, so now take this!
Do you feel unrewarded for the contribution you made to our music?
Yes, in a way, but I can’t say I’m angry, because I split at the top of my success, so actually a lot of it is my fault. I can’t get mad at anybody but I can get mad in my music. When I play, I can allow myself to get mad. I split twenty-five years ago. This cat [Calvin Massey, present at the time of the interview] asked me the night before I left, “When are you coming back?’ I said, “When they build a bridge!”
You were one of the first musicians to settle in Europe?
I was the first. I came with Don Redman, after the war. I had a beautiful success and made a lot of money. I’ve just stopped making money during the last three or four years. Things got low. So many cats have come over and are still coming that things have dropped down. There isn’t the demand there was before, so that makes it a little rough. I’m not squawkin’. It’s just that I’m going to try some different things and see if I can’t put a little firecracker under. [Don Byas was expecting to go to Africa with Archie Shepp.] I think it would be nice to change things around a little bit for a while.
I’ve been going in a straight line for so long, it’s not going to hurt me to do that. That tape recorder is on! Yeah you’ve got to be a cross-eyed motherfucker to make it in life.
Paris, November 11, 1969
In the beginning, it was “Hawk” [Coleman Hawkins]. That sound always stayed with me and never got away. In fact, I think I have a bigger sound now than he had. Apart from that, I dug what he was playing. Art Tatum really turned me on. That’s where my style came from … style… I haven’t any style. I just blow, like Art. He didn’t have any style, he just played the piano, and that’s the way I play. We were real close, and he loved me. He used to sit down and talk to me and one day he said, “Don, don’t ever worry about what you’re going to play or where the ideas are going to come from. Just remember there is no such thing as a wrong note.” He said, “What makes a note wrong is when you don’t know where to go after that one. As long as you know how to get to the next note, there’s no such thing as a wrong note. You hit any note you want and it fits in any chord.” And that’s right! There is no such thing as hitting a wrong note. It’s just that when you hit that wrong note, you’ve got to know how to make it right.
That’s when the doors started opening for me music wise. From that time I started practicing and remembering that and all of a sudden I said, “That’s where it is.” There’s no way you can hit a wrong note, as long as you know where to go afterwards. You just keep weaving and there’s no way in the world you can get lost. You hit one. If it’s not right, you hit another. If that’s not right you hit another one, so you just keep hitting. Now who’s going to say you’re wrong? You show me anybody who can prove you’re wrong. As long as you keep going you’re all right, but don’t stop unless you know you’re at a station. If you’re at a station then you stop, take a breath and make it to the next station. Tatum turned me onto that. He was a genius. I had been with Tatum for two years on the West Coast. I came to New York in 1935, and we hung out together every night. It was during that time that he taught me all those things. I came to New York with Eddie Mallory’s band. Mallory’s wife, Ethel Waters, opened up in the Cotton Club, Duke Ellington was playing with his band and so was Eddie Mallory, two big bands.
There was nobody playing what I was playing because I played all that stuff from Tatum. That F-sharp, B-natural, E, A, D, G, C, F, like in rhythm, instead of playing rhythm chords. Everybody was saying what is that? Where did this cat come from? Who is he? There weren’t any horn players following piano players at that time, so I was ahead of everybody.
“Bird” [Charlie Parker] got a lot of things from me. I met Bird when he was about fourteen in Kansas City, so I’ve been knowing him for a long time. Even after Bird got to New York with Jay McShann, we were still real tight, and he used to always come and get me when he wanted to go and jam, which was damn near every night. He would say: “Come on, Don, we’re going to play ’Cherokee’”. That was his favorite tune. What people don’t know is that Bird got a lot of stuff from me, although he was influenced more by “Pres” [Lester Young]. Pres was really his boy. There was another cat, Buster Smith, and somebody else, I forget his name, but those are the cats who influenced Bird. They were all around Kansas City at that time. That was in the early thirties. Bird was a little cat, fourteen years old and blowing! He hadn’t developed then. He didn’t really start blowing till he got to New York; then he stretched out. That man could blow! You listen to the music now and you ask yourself what people are talking about when they compare somebody with Bird? Even “Trane” [John Coltrane] was influenced by him, although he went much further, but Bird was his idol.
Trane was tight. Every time he came to Europe, the first place he would go to, he would ask, “Where is Don Byas?” Always went where I was playing, never said hello. He’d just come in, sneak in. I don’t know how this cat did it. He would sit in the club all night and never move. I wouldn’t know he was there. I’d say to myself, “That looks like Trane sitting back there.” So when the set was over, I would go and ask, “How long have you been here?” He’d say, “I just came in.” Trane was something else. You would never know he was in the joint.
Have you ever felt any kind of protest in music?
I’m protesting. If you listen you will notice I’m always trying to make my sound stronger and more brutal than ever. I shake the walls in joints I play in. I’m always trying to sound brutal without losing the beauty, in order to impress people and wake them up. That’s protest, of course it is. I’ve always felt like that. The point is how long will people keep me waiting before they come in. I’m wondering if things will finally come my way before I pop off. Actually right now there aren’t that many cats left that are blowing—me and “Griff” [Johnny Griffin], who else is there? There are a lot of young cats, but I don’t even know them. I’m talking about the ones on the top. My form of protest is to play as hard and strong as I can. In other words, you did this and you did that, so now take this!
Do you feel unrewarded for the contribution you made to our music?
Yes, in a way, but I can’t say I’m angry, because I split at the top of my success, so actually a lot of it is my fault. I can’t get mad at anybody but I can get mad in my music. When I play, I can allow myself to get mad. I split twenty-five years ago. This cat [Calvin Massey, present at the time of the interview] asked me the night before I left, “When are you coming back?’ I said, “When they build a bridge!”
You were one of the first musicians to settle in Europe?
I was the first. I came with Don Redman, after the war. I had a beautiful success and made a lot of money. I’ve just stopped making money during the last three or four years. Things got low. So many cats have come over and are still coming that things have dropped down. There isn’t the demand there was before, so that makes it a little rough. I’m not squawkin’. It’s just that I’m going to try some different things and see if I can’t put a little firecracker under. [Don Byas was expecting to go to Africa with Archie Shepp.] I think it would be nice to change things around a little bit for a while.
I’ve been going in a straight line for so long, it’s not going to hurt me to do that. That tape recorder is on! Yeah you’ve got to be a cross-eyed motherfucker to make it in life.
Paris, November 11, 1969
Tuesday, September 14, 2010
Taking ttyS0 away from xen
On xen machines, (linux-Centos5 Dom0) xen is in the habit of grabbing /dev/ttyS0 for its console, so if you need the serial port for other purposes (a modem, or UPS control) you are royally screwed.
Symptoms:
# modprobe 8250
Cannot get serial info: Invalid argument
The trick is finding the right parameters combination in the boot configuration. This is tedious, as it requires a reboot per test, and servers have slow reboot sequences. However, this grub.conf stanza fixed it for me:
I suppose that this should also work:
But I really have no inclination to try it now.
Symptoms:
# modprobe 8250
FATAL: Error inserting 8250
(/lib/modules/2.6.13-15.8-xen/kernel/drivers/serial/8250.ko): Device or
resource busy
# setserial -a /dev/ttyS0Cannot get serial info: Invalid argument
The trick is finding the right parameters combination in the boot configuration. This is tedious, as it requires a reboot per test, and servers have slow reboot sequences. However, this grub.conf stanza fixed it for me:
title CentOS (2.6.18-194.11.3.el5xen)
kernel /xen.gz-3.2.1 noirqbalance hap dom0_mem=2G dom0_max_vcpus=8 xencons=tty console=vga
module /vmlinuz-2.6.18-194.11.3.el5xen ro root=LABEL=dom0_root console=vga xencons=tty
module /initrd-2.6.18-194.11.3.el5xen.img
I suppose that this should also work:
title CentOS (2.6.18-194.11.3.el5xen)
kernel /xen.gz-3.2.1 noirqbalance hap dom0_mem=2G dom0_max_vcpus=8 xencons=tty
module /vmlinuz-2.6.18-194.11.3.el5xen ro root=LABEL=dom0_root console=vga
module /initrd-2.6.18-194.11.3.el5xen.img
But I really have no inclination to try it now.
Thursday, August 12, 2010
I'm Your Man
If you want a lover
I'll do anything you ask me to
And if you want another kind of love
I'll wear a mask for you
If you want a partner, take my hand, or
If you want to strike me down in anger
Here I stand
I'm your man
If you want a boxer
I will step into the ring for you
And if you want a doctor
I'll examine every inch of you
If you want a driver, climb inside
Or if you want to take me for a ride
You know you can
I'm your man
Ah, the moon's too bright
The chain's too tight
The beast won't go to sleep
I've been running through
These promises to you
That I made and I could not keep
Ah, but a man never got a woman back
Not by begging on his knees
Or I'd crawl to you baby
And I'd fall at your feet
And I'd howl at your beauty
Like a dog in heat
And I'd claw at your heart
And I'd tear at your sheet
I'd say please, please
I'm your man
And if you've got to sleep a moment on the road
I will steer for you
And if you want to work the street alone
I'll disappear for you
If you want a father for your child
Or only want to walk with me a while
Across the sand
I'm your man
If you want a lover
I'll do anything that you ask me to
And if you want another kind of love
I'll wear a mask for you
By Leonard Cohen
I'll do anything you ask me to
And if you want another kind of love
I'll wear a mask for you
If you want a partner, take my hand, or
If you want to strike me down in anger
Here I stand
I'm your man
If you want a boxer
I will step into the ring for you
And if you want a doctor
I'll examine every inch of you
If you want a driver, climb inside
Or if you want to take me for a ride
You know you can
I'm your man
Ah, the moon's too bright
The chain's too tight
The beast won't go to sleep
I've been running through
These promises to you
That I made and I could not keep
Ah, but a man never got a woman back
Not by begging on his knees
Or I'd crawl to you baby
And I'd fall at your feet
And I'd howl at your beauty
Like a dog in heat
And I'd claw at your heart
And I'd tear at your sheet
I'd say please, please
I'm your man
And if you've got to sleep a moment on the road
I will steer for you
And if you want to work the street alone
I'll disappear for you
If you want a father for your child
Or only want to walk with me a while
Across the sand
I'm your man
If you want a lover
I'll do anything that you ask me to
And if you want another kind of love
I'll wear a mask for you
By Leonard Cohen
Wednesday, June 23, 2010
Una modesta proposta
L'ascolto e la lettura degli interventi dei miei compatrioti nei vari
talk show, lettere al direttore, forum ed altri luoghi deputati, mi ha
convinto che oltre ad essere poeti, navigatori, santi, siamo anche un
popolo di instancabili inventori di provocazioni e paradossi. Che
purtroppo sono anche,in massima parte, di un'idiozia talmente
monumentale da far venire voglia di suicidarsi. Quando sento le parole
"...vorrei proporre, come provocazione,..." metterei mano alla pistola
(se l'avessi).
Almeno per gli argomenti che pare vadano per la maggiore, mi sembra
che si potrebbe standardizzare il processo di confutazione di questo
diluvio di idiozie che ci "proponiamo" gli uni con gli altri tutti i
giorni. "Propongo" perciò, come provocazione, questo modulo,
che dovrebbe contemplare la maggior parte dei casi più frequenti.
Caro amico/amica,
il Tuo ultimo intervento propone una soluzione
( ) tecnica ( ) legislativa (x) paradossale (x) violenta
per modificare la situazione (x) della politica italiana
( ) della sinistra italiana
( ) della destra italiana
(x) dell'economia italiana
( ) del calcio italiano
L'idea da Te proposta non funzionerà. Nel seguito te ne fornisco alcune ragioni:
tieni presente che l'elenco è solo parziale, e la Tua idea può avere
altri difetti a seconda del paese dell'Unione Europea in cui ti trovi.
La Tua idea non potrà mai funzionare perchè:
( ) se fosse così facile, non saremmo a questo punto.
( ) basterebbe osservare le regole che già ci sono.
( ) basterebbe far pagare le tasse ( ) agli evasori
( ) ai profittatori
( ) a Berlusconi
(x) gli italiani (x) sono fatti così
( ) sono inadatti al gioco a zona
( ) hanno la classe politica che si meritano
(x) socializzano le perdite e privatizzano i profitti
( ) in fondo, sono anche loro persone umane
( ) Cassano è fatto così
( ) Balotelli è fatto così
(x) chi provasse a metterla in pratica sarebbe ( ) impossibilitato
( ) deriso
( ) radiato
(x) arrestato
( ) assassinato
E poi,
(x) e' (x) immorale
(x) illegale
( ) antisportiva
( ) già stata provata nel 1989, e guarda come siamo messi
( ) quelli che la dovrebbero mettere in pratica sarebbero i primi ad
esserne colpiti
( ) bisognerebbe controllare i controllori
(x) richiede la totale collaborazione ( ) di tutti i politici
( ) dei dirigenti di tutte le squadre
( ) dei paesi dell'Ecofin/CEE/ONU
(x) di tutti, contemporaneamente.
( ) abbiamo già anche troppe ( ) leggi
( ) leggi ad personam
( ) giudici
( ) comunisti
( ) fascisti
( ) giudici comunisti
( ) giudici fascisti
( ) tasse
( ) speculatori
( ) regole che rallentano il gioco
( ) non si può chiedere a un ex ( ) fascista di rinnegare il suo passato
( ) comunista
( ) liberista
( ) difensivista
E poi considera anche che:
( ) gli italiani non lo accetterebbero mai.
(x) l'unione europea non lo accetterebbe mai.
(x) la polizia non lo accetterebbe mai.
( ) il CONI non lo accetterebbe mai.
( ) il Vaticano non l'accetterebbe mai,
( ) e' basata su una logica da alienati mentali, e nessuno la capirebbe.
( ) altro:
In particolare, la Tua idea non tiene conto:
( ) della burocrazia necessaria a implementarla.
( ) dell' ammontare ( ) del debito nazionale
( ) del PIL
( ) dell'ingaggio medio di un giocatore di serie A
(x) del codice penale
( ) della Costituzione Italiana
( ) delle radici cristiane e cattoliche del nostro paese
( ) della natura umana
(x) della logica
( ) del buon senso
( ) delle regole del mercato
( ) delle regole del fuori gioco
( ) altro:
Anche se la Tua idea non avesse i difetti di cui sopra, sarebbe ancora
criticabile da un punto di vista etico e filosofico, per i seguenti
motivi:
( ) siamo pur sempre un paese democratico
( ) siamo pur sempre un paese cristiano
( ) l'importante non è vincere, è partecipare
( ) la palla è rotonda
(x) in Italia non si fanno deportazioni di massa dai tempi di Roma antica
( ) dove metteremmo tutti quei cadaveri?
Inoltre il fatto che tu abbia proposto una soluzione del genere:
( ) dimostra che sei intelligente, ma ingenuo
( ) dimostra che sei un interista
( ) dimostra che sei un perfetto idiota e che non hai idea di cosa stai parlando
( ) dimostra che hai (di nuovo) dimenticato di prendere le tue medicine
(x) dimostra che sei troppo pericoloso per essere lasciato in
circolazione. Le autorita' di pubblica sicurezza sono state avvisate e
hanno gia' circondato il luogo dove ti trovi. Mantieni la calma ed
esci tenendo le mani bene in vista.
Friday, May 7, 2010
Ballata del programmatore
Sulla Musica di "IL PESCATORE" di F. De Andre'
All'ombra dell'ultimo sole
si addormentò un programmatore
tra le sue braccia un manuale
sognando il mare tropicale
Venne alla ditta un committente
con un progetto inconsistente
delle richieste da far paura
"Prima di ieri perche ho premura"
E domandò un lavoro immane
con le specifiche piu strane
"Io voglio tutto e pago niente
ho fretta e sono un committente"
Gli occhi dischiuse il softwarista
un video l'unica sua vista
dall'alba grigia fino a sera
incatenato alla tastiera
Battendo i tasti a mo' di ossesso
e trascurando cibo e sesso
riusci un bel giorno a consegnare
una release preliminare
E si sentiva ormai contento
ma fu sollievo di un momento
gia richiamava quel cliente
"Qui non funziona un accidente"
Ricominciò il programmatore
a faticar per ore ed ore
sopra un problema assai intricato
nascosto dentro ad un listato
Venne di nuovo il committente
disse "Così è meglio che niente
e tuttavia per me è importante
fare una piccola variante"
Ma all'ombra dell'ultimo
sole dormiva gia il programmatore
tra le sue braccia un manuale
sognando il mare tropicale
Wednesday, May 5, 2010
PECché no
Per come è stata pensata, la PEC (Posta Elettronica Certificata) è una tecnologia assolutamente deludente.
Senza entrare troppo nei dettagli, basterà dire che alla fine tutto si riduce nello scambio di una ricevuta di ritorno certificata, che documenta - in maniera crittograficamente sicura -lo scambio di un messaggio di posta tra due indirizzi, il momento dello scambio, e un'attestazione dell'integrità del contenuto (non viene però documentato il contenuto stesso, cosa che io considero una limitazione). Essenzialmente, una montagna che partorisce un topolino rachitico: la ricevuta, ad esempio non dice nulla sull' effettiva lettura da parte del destinatario. Il che è piuttosto grave, per il destinatario, visto che la ricevuta (dal punto di vista legale) costituisce prova di ricezione e presa visione. Ci sono altri (gravi) svantaggi, che sono elencati nel relativo articolo su Wikipedia. Insomma, vista la facilità di trascurare un messaggio di posta elettronica, il possesso di una casella PEC costituisce - dal punto di vista del destinatario - più una grana che un vantaggio. Si confronti la situazione con la normale RR: in questo caso, quando firmo la ricevuta, è garantito che io prenda fisicamente possesso del messaggio. Insomma, in tutta la storia della PEC, l'unico che ci guadagna è il mittente. Non sorprende quindi il recente entusiasmo della pubblica amministrazione per questa - tecnicamente sconsigliata - applicazione.
Oltre ad essere un mal di pancia tecnologico, e legale, la PEC costituisce anche un buon modo per trasferire tutto il business della posta elettronica agli aderenti ad un minuscolo club, come documenta questo articolo di PI. Tutti buoni motivi per evitare la PEC, finché si può.
Senza entrare troppo nei dettagli, basterà dire che alla fine tutto si riduce nello scambio di una ricevuta di ritorno certificata, che documenta - in maniera crittograficamente sicura -lo scambio di un messaggio di posta tra due indirizzi, il momento dello scambio, e un'attestazione dell'integrità del contenuto (non viene però documentato il contenuto stesso, cosa che io considero una limitazione). Essenzialmente, una montagna che partorisce un topolino rachitico: la ricevuta, ad esempio non dice nulla sull' effettiva lettura da parte del destinatario. Il che è piuttosto grave, per il destinatario, visto che la ricevuta (dal punto di vista legale) costituisce prova di ricezione e presa visione. Ci sono altri (gravi) svantaggi, che sono elencati nel relativo articolo su Wikipedia. Insomma, vista la facilità di trascurare un messaggio di posta elettronica, il possesso di una casella PEC costituisce - dal punto di vista del destinatario - più una grana che un vantaggio. Si confronti la situazione con la normale RR: in questo caso, quando firmo la ricevuta, è garantito che io prenda fisicamente possesso del messaggio. Insomma, in tutta la storia della PEC, l'unico che ci guadagna è il mittente. Non sorprende quindi il recente entusiasmo della pubblica amministrazione per questa - tecnicamente sconsigliata - applicazione.
Oltre ad essere un mal di pancia tecnologico, e legale, la PEC costituisce anche un buon modo per trasferire tutto il business della posta elettronica agli aderenti ad un minuscolo club, come documenta questo articolo di PI. Tutti buoni motivi per evitare la PEC, finché si può.
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