Felipe Lohan Pinheiro da Silva

https://primal.net/p/npub1g67qzqdutsj444dzqlx3n3w9a5w4r2la6r6u93meqsf4ujyhad7qvz03lz

Public Key

npub1g67qzqdutsj444dzqlx3n3w9a5w4r2la6r6u93meqsf4ujyhad7qvz03lz

NIP-05 Address

npub1g67qzqdutsj444dzqlx3n3w9a5w4r2la6r6u93meqsf4ujyhad7qvz03lz

NIP-57 Address

bc1q56jw9qssdf0zr8ufvaxq5h6re65xm922aak8ej

Profile Code

nprofile1qqsyd0qpqx79cf266k3q0ngechz76823407apawzcausgy67fzt7klqpz4mhxue69uhkummnw3ezumrzv3jhvtnxw4hqz9rhwden5te0wfjkccte9ejxzmt4wvhxjmcqyzepv

Publishing to

nostr.lbdev.fun

relay.damus.io

nos.lol

Author Public Key

npub1g67qzqdutsj444dzqlx3n3w9a5w4r2la6r6u93meqsf4ujyhad7qvz03lz

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Published at

2024-09-06T03:31:15Z

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0 Metadata

Event JSON

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Last Notes

2024-09-22 03:59:34

https://web.archive.org/web/20240922031204if_/https://tmpfiles.org/dl/13162957/luckhaos_-_surubinha_de_leve.mp4
Esta é a versão da música “Surubinha De Leve”, cantada por Luckhaos. A versão com a letra original, sem as amenizações que o MC Diguinho fez após a controvérsia.
#Surubinha_De_Leve
#SurubinhaDeLeve
#Luckhaos
#MC_Diguinho
#MCDiguinho

2024-09-12 00:31:42

My #crowdfunding project in the #Catarse. A Literary review and #cats , in the #NOSTR social network:
→Meu projeto de #financiamento_coletivo (“crowdfunding”) no Catarse. Resenha literária e #gatos , na rede social NOSTR:
https://www.catarse.me/Felipe_Lohan_Pinheiro_da_Silva_-_2024-09-10#about
(📚/📕/📖) & (🐱/🐈/🐈‍⬛)
#Gato
#Cat
#Literatura
#Literature

2024-09-10 03:36:36

https://vimeo.com/201761140
https://vimeo.com/153194480
https://vimeo.com/286552250
https://vimeo.com/9836634
https://vimeo.com/5202223
https://vimeo.com/75757298
https://soundcloud.com/fueled_by_ramen/i-write-sins-not-tragedies
https://www.youtube.com/watch?v=vc6vs-l5dkc
https://www.youtube.com/v/vc6vs-l5dkc
The #YouTube version censors “gоddаmn”, but not “wհоrе”, 🤣.
The same song uploaded in the #Vimeo & #SoundCloud censors nothing. LMAO.
#I_Write_Sins_Not_Tragedies
#IWriteSinsNotTragedies
#Panic_At_The_Disco
#PanicAtTheDisco

2024-09-10 02:56:09

#Rumble Newsletter e-mail excerpts:
“Free Speech Under Attack – A Note From The CEO Of Rumble
Dear Rumble Users,
I don’t typically send messages to our users through email, but red lines have been crossed. There have been major developments with free speech platforms, and I feel it’s important to let everyone know what is going on and how you can help Rumble.
Rumble is no longer available to the citizens of Brazil, joining the ranks of France, Russia, and China. From media reports, Brazil no longer has #Elon_Musk ’s X due to attacks on free speech by #Alexandre_De_Moraes, a justice of Brazil’s Supreme Federal Court.
World powers don’t want Rumble, they don’t want X, they don’t want #Telegram, and they don’t want #Truth_Social. They want to control information, but our companies won’t let them.
There are no other large companies fighting for freedom like we are. We put everything on the line for it, and the Telegram CEO was recently arrested for it.
Advertisers boycott our companies to try and cut our economic lifeline, but they underestimate our support among the people.
The people keep us alive and keep us going.
(...)
Sincerely,
#Chris_Pavlovski
Chairman and CEO of Rumble”
#Xandaquistao
#Xanderkistan
#STF
#Twitter

2024-09-09 03:43:49

- reply

Pura inveja.
Sempre achei que o Palmeiras tem o mundial. Pra mim, 1951 é legítimo.

2024-09-09 03:41:09

https://bsky.app/
https://bsky.app/profile/jay.bsky.team
https://play.google.com/store/apps/details?id=xyz.blueskyweb.app
https://apps.apple.com/br/app/bluesky-social/
https://apps.apple.com/br/app/bluesky-social/id6444370199
https://en.wikipedia.org/wiki/Jay_Graber
https://en.m.wikipedia.org/wiki/Jay_Graber
https://en.wikipedia.org/wiki/Bluesky_(social_network)
https://en.m.wikipedia.org/wiki/Bluesky_(social_network)
https://www.correiobraziliense.com.br/economia/2024/04/6836830-nao-toleramos-assedio-e-discurso-de-odio-diz-ceo-da-bluesky.html
https://www.poder360.com.br/midia/elon-musk-matou-o-twitter-diz-presidente-do-bluesky/
https://www.nsctotal.com.br/noticias/ceo-do-bluesky-se-manifesta-contra-criticas-de-elon-musk-em-relacao-ao-presidente-lula
https://revistaforum.com.br/brasil/2024/9/3/ceo-do-bluesky-contrasta-com-musk-reconhece-governo-lula-como-democraticamente-eleito-pelo-seu-povo-164893.html
https://www.oliberal.com/mundo/ceo-da-bluesky-rebate-criticas-de-elon-musk-em-relacao-ao-governo-brasileiro-1.857797
https://br.ign.com/twitter-2/129143/news/pretendemos-respeitar-totalmente-as-leis-e-autoridades-do-brasil-ceo-do-bluesky-vai-na-contramao-de
https://www.bnews.com.br/noticias/entretenimento/ceo-de-aplicativo-substituto-do-x-alfineta-musk-e-afirma-que-pretende-respeitar-leis-brasileiras.html
https://www.diariocarioca.com/politica/jay-graber-ceo-da-bluesky-detona-elon-musk-lula-foi-eleito-democraticamente/
The CEO of the #Bluesky , #Jay_Graber , attacks #Elon_Musk & the #Twitter (“X”), in order to brоwnоѕе the Brazilian authorities ( #Lula , #Alexandre_de_Moraes , the Brazilian Supreme Court, & the Brazilian government) and avoid a block like the one on Twitter.
More #woke #SJW bullѕհіт.
Now, ye already know what to expect from this ѕհітту Bluesky platform: just a puppet for Moraes & Lula.
¡ İ’m fortunate to be a #NOSTR user!
#Xandaquistao
#Xanderkistan

2024-09-09 00:05:28

https://www.youtube.com/watch?v=Zm56jn70rhY
https://www.youtube.com/v/Zm56jn70rhY
Much better than the original by #Charlie_Puth & #Selena_Gomez.
#We_Dont_Talk_Anymore
#WeDontTalkAnymore
#The_Avalanche_Diaries
#TheAvalancheDiaries

2024-09-08 23:51:05

https://www.youtube.com/watch?v=YJW9QCJAN1o
https://www.youtube.com/v/YJW9QCJAN1o
https://www.youtube.com/shorts/YJW9QCJAN1o
https://www.youtube.com/watch?v=CNcPXA6Srio
https://www.youtube.com/v/CNcPXA6Srio
https://www.youtube.com/watch?v=KeDOr1AvSrM
https://www.youtube.com/v/KeDOr1AvSrM
O canal Fatos Desconhecidos, assim como a moça em seu vídeo, perderam uma boa oportunidade de fіcarem calados.
A análise de Bruno Formiga acerca deste tema específіco é muito mais sã do que a do canal Fatos Desconhecidos.
O Palmeiras foi, sim, campeão mundial em 1951.
#Palmeiras
#Palmeiras_1951
#Palmeiras1951
#Palmeiras_Mundial
#Palmeiras_Mundial_De_Clubes
#Mundial_De_Clubes
#Futebol
#Soccer

2024-09-08 06:34:28

https://stackexchange.com
https://meta.stackexchange.com
https://meta.stackexchange.com/questions/22232/are-expletives-cursing-swear-words-or-vulgar-language-allowed-on-se-sites
https://meta.stackexchange.com/questions/13676/do-posts-have-to-be-in-english-on-stack-exchange
https://meta.stackexchange.com/questions/22232/are-expletives-cursing-swear-words-or-vulgar-language-allowed-on-se-sites
https://meta.stackexchange.com/questions/13676/do-posts-have-to-be-in-english-on-stack-exchange
https://meta.stackexchange.com/questions/7931/faq-for-stack-exchange-sites
“Meu pаu de óculos” (“My dіск/соск wearing sunglasses”, as Brazilian Portuguese slang says) (🍆+😎).
The аѕѕհоlеѕ admins from the #Stack_Exchange started to persecute me because İ posted bilingual content (English + Brazilian Portuguese), and accused me of being “rude/aggressive” and starting the so-called “rollback wars” with the admins, just because İ didn’t accepted them editing my posts.
İ said them to fuск themselves, and deleted my accounts in their network of websites.
Here in NOSTR İ post in the language İ want.
#StackExchange

2024-09-08 05:51:49

https://www.youtube.com/watch?v=Km_YtK1L9w0
#Spit_At_Stars – #Bad_Romance
Much better than the original by the #Lady_Gaga herself.
#SpitAtStars
#BadRomance
#LadyGaga

2024-09-08 05:40:03

https://morkborg.com/license/
https://morkborg.com/content/
https://morkborg.com/cb-license/
Sanitized darkness: just mall goths, poseurs. Woke & SJW. Anti-NFT Вullѕհіт.
Even yo mama (👵) is darker than that.
#Mork_Borg
#MorkBorg
#CY_Borg
#NFT

2024-09-08 05:18:04

https://www.youtube.com/watch?v=eB2ayeiYVLA
Se a princesinha postou no #Twitter o rolê com a amiga, das duas uma:
•Ou o clipe é anterior aos desmandos do #Alexandre_de_Moraes (Xandão).
•Ou ela está usando VPN.
🤣
#AlexandredeMoraes
#Xandaquistao
#Funk

2024-09-08 05:01:47

https://www.youtube.com/@MeteoroBrasil
Meteoro da canalhice, isso sim. Espalhando a desinformação: calúnia, difamação, ataques ad-hominem, e por aí vai.
Ficaram ao lado do #Alexandre_de_Moraes (“Xandão”) quando em sua perseguição contra o #Twitter (“X”) e a Starlink. Mas, ironicamente, eles têm conta no Twitter:
https://ghostarchive.org/archive/NgJBD
https://archive.ph/Ikfae/7b8cdca83770abe9926efb5206355461d457f613.jpg
https://web.archive.org/web/20240908045641if_/https://image.nostr.build/081991b21349afde056e6a0c5c24c011b9414dc961d273b33c744eb818184f8f.jpg
Mas nada fora do esperado: #Esquerdistas sendo Esquerdistas.
E é claro, não podia faltar o “algospeak”:
https://ghostarchive.org/archive/2wu4X
https://archive.ph/aOA0p/597674719fc21d6f58fb5dcfe552e7e682be5884.jpg
https://web.archive.org/web/20240908045028if_/https://image.nostr.build/b7dd7907874f11cfcfe0a4d01f26fddb519fed1ee1df42c9e225a6eed8d1d622.jpg
#Xandaquistao
#Meteoro_Brasil
#MeteoroBrasil

2024-09-08 02:56:28

İ just purchased this #Virgin_Of_Guadalupe laminated card from a store/shop of used (second-hand) items. Text in English; made in the İtaly.
İ purchased it because this art is historically important for the culture of the American Continent.
#Our_Lady_Of_Guadalupe
#Nuestra_Senora_De_Guadalupe
#Virgen_De_Guadalupe
#Virgem_De_Guadalupe
#Nossa_Senhora_De_Guadalupe
https://ghostarchive.org/archive/replay/w/id-48789e91c3be/mp_/https://image.nostr.build/d1bbf6d44dfce155b670b10aa769fea5b158d82fb4dcd75da4f4665aa3e685e7.jpg
https://archive.ph/SImYx/4ae44c61315473b10104ae87c263f803a0650b9b.jpg
https://web.archive.org/web/20240908025150if_/https://image.nostr.build/d1bbf6d44dfce155b670b10aa769fea5b158d82fb4dcd75da4f4665aa3e685e7.jpg

2024-08-31 21:01:23

❦Manual❦
Edição: 2024-Agosto-31
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As decisões do ministro do STF (Supremo Tribunal Federal) Alexandre de Moraes, tomadas na última semana do mês de agosto de 2024, são incompatíveis com os valores de liberdade de expressão e de acesso à informação. Além disso, foi estipulada uma pesada multa aos internautas que utilizarem contramedidas tecnológicas para contornar tal censura.
Os provedores de internet brasileiros têm a sua parcela de culpa nessa situação, ao acatar estes bloqueios claramente inconstitucionais.
Tal situação afeta a todos em território nacional, independe das ideologias políticas de cada um.
Portanto, dada a necessidade premente de instruir o público acerca de plataformas de comunicação descentralizadas, fiz este manual.
31 de agosto de 2024
“Vincit Omnia Veritas”
– Felipe Lohan Pinheiro da Silva
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❦Arquivadores Da Web❦
Se uma determinada página da Web estiver indisponível/bloqueado na sua rede local, você pode salvar uma versão estática dela em sites “arquivadores da web” (“Web archives”). Copie o endereço da página em questão, e cole ela na barra de texto dentro do website, e clique no botão que pede seu arquivamento. Um link será gerado para visualizar essa página dentro do próprio website. Esse mesmo link pode ser compartilhado com outras pessoas. Tecnicamente, você estará visualizando a página do arquivador da Web, e não a página original.
Atualmente, os arquivadores da Web mais acessíveis (links abaixo) são o “Ghost Archive”, o “Archive Today”, e o “Wayback Machine” (este pertencente ao İnternet Archive).
https://ghostarchive.org/
https://archive.today
https://web.archive.org/save
❦YACY❦
O YACY (“Yet Another Cyberspace”, link abaixo) é um programa de motor de busca descentralizado. İnstale-o em seu computador desktop e use-o para fazer pesquisas. Caso você se depare com alguma página da web ainda não indexada, o YACY tem o seu próprio web crawler, para que você possa inserir o endereço da página para que ela fіque disponível para os outros usuários do YACY.
https://yacy.net/
❦Chaves Públicas E Privadas❦
A criptografіa assimétrica é aquela que trabalha com chaves públicas e privadas.
A chave pública serve tanto como o seu endereço nas redes socias quanto como um cadeado. Você pode compartilhá-la com todos. Com ela, as pessoas podem te encontrar e enviar mensagens encriptadas/criptografadas para você.
A chave privada serve como a chave desse cadeado. Apenas aqueles que possuem essa chave privada poderão abrir essas mensagens, ou fazer alterações no perfіl. Portanto, você não deve mostrá-la a ninguém.
❦BİP-39❦
O padrão BİP-39 (Bitcoin İmprovement Proposals) gera uma lista de palavras, chamada de “seed”, que serve como uma chave privada.
Para ela funcionar corretamente, você deve copiar todas as palavras com a grafіa correta, e na ordem correta. Recomendo fortemente que você opte por usar o maior número de palavras possível (24 atualmente).
O link abaixo é um exemplo de aplicativo gerador de “seed” que pode ser usado pelo navegador mesmo offline (depois de baixado, obviamente). Apenas faça o download do arquivo html standalone e depois abra-o no navegador.
https://github.com/iancoleman/bip39/releases/latest
❦Status❦
Status é um aplicativo descentralizado de mensagens; ele está disponível tanto para dispositivos móveis quanto para computadores desktop. Ao inserir sua “seed” privada no aplicativo, ele gera um endereço de usuário público, um nome de usuário de três palavras, e uma carteira da criptomoeda Ethereum.
https://f-droid.org/pt_BR/packages/im.status.ethereum/
https://github.com/status-im/status-mobile/releases/latest
https://github.com/status-im/status-desktop/releases/latest
❦NOSTR❦
NOSTR (“Notes And Other Stuff [Through / Transmitted By] Relays”) é uma rede social descentralizada, que também pode ser usada para troca de mensagens privadas.
Um servidor “relay” é como se fosse um entregador/carteiro. Você envia cópias do mesmo conteúdo (seja uma postagem pública ou uma mensagem privada) através de múltiplos relays, para aumentar as chances do conteúdo chegar corretamente ao seu destino.
Ao criar a sua conta, são geradas uma chave privada (no formato nsec) e uma chave pública (no formato npub).
Ao criar a sua conta, recomendo fortemente que você a crie inserindo a seed BİP-39 nela. Caso contrário, o cliente em questão pode te entregar a nsec diretamente, e atualmente não é possível gerar uma seed BİP-39 a partir duma nsec (apesar do contrário ser possível).
Também é possível criar uma conta usando o aplicativo NAK (“NOSTR Army Knife”, link abaixo). Porém, não o recomendo, pois atualmente ele gera chaves apenas em formato hexadecimal.
https://github.com/fiatjaf/nak/releases/latest
É possível usar o NOSTR através de clientes web no seu próprio navegador, porém recomendo o uso de plugins/extensões de navegadores para fazer a autenticação com a sua chave privada, pois inseri-la diretamente no website é um risco de segurança. O website “Nostr Apps” (link abaixo) mostra uma lista de clientes Nostr.
https://nostrapps.com/
Se você for usar o NOSTR em dispositivos móveis (link do cliente “Amethyst” abaixo), recomendo o uso do Amber (link abaixo), que é um autenticador para NOSTR; isso evita que você tenha a sua chave privada inserida em vários clientes. İnstale e abra o Amber antes de abrir seu cliente Nostr. Depois insira a sua chave privada; recomendo o uso do BİP-39 pelos motivos explicados acima, mas chaves nsec ou hexadecimais também são possíveis. Então, cada vez que você usar o seu cliente para fazer uma postagem ou mudança no seu perfіl, ele acionará o Amber.
https://f-droid.org/pt_BR/packages/com.greenart7c3.nostrsigner/
https://f-droid.org/pt_BR/packages/com.vitorpamplona.amethyst/
O uso da criptomoeda Bitcoin (veja abaixo) é corriqueiro no NOSTR.
❦Bitcoin❦
É possível criar uma carteira Bitcoin usando a seed BİP-39. Nos dispositivos móveis, você pode usar o aplicativo “Green” (link abaixo).
https://f-droid.org/pt_BR/packages/com.greenaddress.greenbits_android_wallet/
Você também pode usar o aplicativo “Electrum” (link abaixo). Neste caso, você deve marcar manualmente a opção de BİP-39 ao inserir a seed. Nota: o Electrum avisa expressamente que ele NÃO garante que ele dará suporte ao BİP-39 no futuro.
https://electrum.org/
❦Session (Loki-Oxen)❦
Status é um aplicativo descentralizado de mensagens (link abaixo); ele está disponível tanto para dispositivos móveis quanto para computadores desktop. Ao inserir sua “seed” privada no aplicativo, ele gera um endereço de usuário público.
https://f-droid.org/pt_BR/packages/network.loki.messenger.fdroid/
https://github.com/oxen-io/
Porém, diferente das plataformas acima, o Session usa o padrão Loki-Oxen (diferente do BİP-39); ele gera uma lista de palavras, chamada de “seed”, que serve como uma chave privada.
Para ela funcionar corretamente, você deve copiar todas as palavras com a grafіa correta, e na ordem correta. Recomendo fortemente que você opte por usar o maior número de palavras possível (25 atualmente).
O link abaixo é um exemplo de aplicativo gerador de seed Loki-Oxen que pode ser usado pelo navegador mesmo offline (depois de baixado, obviamente). Faça o download do pacote completo, e depois o arquivo “index.html” no navegador.
https://github.com/oxen-io/loki-offline-wallet-generator
https://github.com/oxen-io/loki-offline-wallet-generator/archive/refs/heads/master.zip
Alternativamente, você pode criá-la com o aplicativo desktop “oxen-wallet-cli” (do pacote Oxen Core, link abaixo), seguindo as instruções ao executar próprio aplicativo.
https://github.com/oxen-io/oxen-core/releases/latest
❦Monero (XMR)❦
A sua seed Loki-Oxen também pode ser usada para gerar uma chave pública da criptomoeda Monero (que usa a breviação “XMR”) (link abaixo).
https://www.getmonero.org/downloads/
❦Exemplo❦
Gerei a seguinte seed BİP-39 (de 24 palavras):
target actor squirrel figure retire slab puppy sort buffalo ostrich loan kidney together zebra drill hat visa total case link tide mystery crop float
Aplicarei essa seed nos aplicativos.
Usarei a seguinte senha genérica para os aplicativos: 0123456789
No aplicativo Status, nosso nome de usuário auto-gerado (de três palavras) será: “Unwieldy Content Grub”.
Nossa chave pública será: 0x044a12e498d861990ae3d3b1b11a0408c1c33297078352d9f09fe565a1eaabde248dc3d385de832b174ad5becbf947bb4c9e1739a38797770bcb5050bc14ffe9ee
Por conseguinte, no Ethereum, a nossa chave pública será: 0x80ea2de41f66de1266cbeabaecc3d8e5f8a8a3ad
No Amber e Amethyst (NOSTR), a nossa chave pública será: @nprofile…6h2j
(93a65e7fd62c21b660e78523ee249eb70244acce048966652410935f996f852c em hexadecimal)
Já a nossa chave privada será: @nprofile…6h2j
(4e011c249e64b89a0b9a7a9bee73e032cf0bcd95ca821f5651364b8ff429e722 em hexadecimal)
Para o Bitcoin (Green, Electrum usando o BİP-39, etc.), nossa chave pública será: bc1qds7x2rq83qsyk93excptee4d87gryk4c0vs6c9
Para o Session, gerei a seguinte seed Loki-Oxen (de 24 palavras):
point public eleven snake public giddy poetry lava siblings identity suitcase suture pebbles perfect tilt beyond foiled gables verification nuns unhappy fierce hedgehog inquest gables
İnserindo-o no aplicativo, obtemos a seguinte chave pública: 05017e44b7eaa030d99ec9d19781fb8e774247a4e5537a122debd8ce5161ad0608
Para o Monero, usando a mesma seed Loki-Oxen, obtemos a seguinte chave pública:
4AZJQXDGFT9VwHQUtP758qdWJXhEz8SdZR64nLYNK1eZgRaJKcUsZ6w12eVy8AkvkhYYDk4HT8oEGLBcBTBmhEihP1pd6eo

2024-08-27 04:13:14

❦Re[view/senha] – [Horror Street / A Rua Do Terror]❦
[By/Por]: Felipe Lohan Pinheiro da Silva
***
İ purchased a second-hand copy of this book. İn its back cover, it was written:
→Eu comprei um exemplar usado deste livro. Em sua capa traseira, tava escrito:
«However, in the best tradition of masters like Poe & Lovecraft, the horror presented here is also the one found in the day-to-day: the horror from the stormy or distant interpersonal relationships between parents and their children, from the urban violence, from the gangs of juvenile delinquency, and even that subtler one which comes from the walls erected by the selfishness and incomprehension among the people.»
→«Na melhor tradição, porém, de mestres como Poe e Lovecraft, o terror aqui presente também é aquele do dia-a-dia: o terror das relações tumultuadas ou distantes entre pais e filhos, o da violência urbana e das gangues infanto-juvenis e mesmo aquele, mais sutil, que deriva das muralhas de egoísmo e incompreensão entre as pessoas.»
Also, in the beginning of the book, there's the opening phrase of the chapter [Ⅰ/1/one] (İntroduction) from the essay «Supernatural Horror İn Literature» (by Lovecraft):
Também, no início do livro, há a frase de abertura do capítulo [Ⅰ/1/um] (İntrodução) do ensaio «Supernatural Horror İn Literature» («O Horror Sobrenatural Na Literatura», por Lovecraft):
«The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.»
→«A emoção mais forte e mais antiga do homem é o medo, e a espécie mais forte e antiga de medo é o medo do desconhecido.»
The tales are interlinked, since they're set in (or make reference to) the «Rua Alfabeto» (Alphabet Street), in a similar war in which Lovecraft did w/ Arkham, Dunwich, İnnsmouth, etc. They're [7/seven] tales.
Os contos são interligados, já que eles se passam na (ou fazerem referência a) Rua Alfabeto, de forma semelhante a que Lovecraft fazia com Arkham, Dunwich, İnnsmouth, etc. São [7/sete] contos.
•1 – «A Turma Da Rua Alfabeto» (The Circle Of Friends Of The Alphabet Street). A tale involving magic and a mysterious magical tome w/ black cover (similar to the ones that Lovecraft and his correspondents used in their tales). Also, the book contains a ritual in an unknown language:
→1 – «A Turma Da Rua Alfabeto». Um conto envolvendo magia e um misterioso tomo mágico de capa preta (parecido com aqueles que Lovecraft e seus correspondentes usavam em suas estórias). İnclusive, o livro contém um ritual numa língua desconhecida:
«Astra vacoti castrapara nekka teppa concatepa jenakterikk...
(...)
Cxthyph kraphtolik kankanrakanka ghettapa-kanka...»
•2 – «O Homem Velho» (The Old Man). A supernatural story involving the character of the title. İ saw a certain similarity w/ the tale «The Terrible Old Man» (by Lovecraft), but this may be just an impression that i get.
→2 – «O Homem Velho». Uma estória sobrenatural envolvendo o personagem do título. Eu vi certa semelhança com a estória «The Terrible Old Man» («O Velho Terrível», de Lovecraft), mas isso pode ser só impressão minha.
•3 – «Carta Para Mamãe» (Letter to Mommy). A «common» horror story, involving beings which apparently seems to be common vampires or werewolves.
→3 – «Carta Para Mamãe». Uma estória de terror «comum», envolvendo seres que aparentemente parecem ser vampiros ou lobisomens comuns.
•4 – «Coraçãozinho Verde Das Estrelas» (The Little Green Heart From The Stars). A being (glowing & amorphous) from the outer space arrives in our world, hiding himself in a well; soon, he begins to feed from living animals. The tale has obvious similarities w/ «The Colour Out Of Space» (by Lovecraft).
→4 – «Coraçãozinho Verde Das Estrelas». Um ser (brilhante e amorfo) vindo do espaço sideral chega ao nosso mundo, se escondendo num poço; ele logo começa a se alimentar de animais vivos. O conto tem semelhanças óbvias com «The Colour Out Of Space» («A Cor Que Veio Do Espaço Sideral», de Lovecraft).
İn my opinion, this tale extended itself more than the necessary. However, this can be a subjective impression from me, given the fact that the previous tale (Letter to Mommy) was very short.
→Eu achei que o conto se estendeu um pouco mais do que o necessário. Porém, isso pode ser algo subjetivo da minha parte, dado o fato de que o conto anterior (Carta Para Mamãe) foi bem curto.
•5 – «Bicho-Papão» (Bogeyman). İn my opinion, although this tale is as bloody as any other which involves physical horror, it fits more in the Comedy horror classification.
→5 – «Bicho-Papão». Pra mim, apesar dessa estória ser tão sangrenta quanto qualquer outra que envolva horror físico, ela se encaixa mais no gênero do «terrir» (horror de comédia).
•«A Morada Do Demônio Negro» (The Lair Of The Black Demon). A tale involving a gang of juvenile delinquency (bullies) mixed w/ the supernatural horror from the summoning of a demon (who acts as a «Genie İn A Bottle», in a more violent version). The theme of the s[hop/tor]e that disappears reminded me the tale «Bureau D’Echange De Maux», by the [Baron/Lord] Dunsany (Edward Plunkett, writer admired por Lovecraft).
→6 – «A Morada Do Demônio Negro». Uma estória de envolvendo uma gangue infanto-juvenil ([valentões/bullying]) misturada com o horror sobrenatural da invocação dum demônio (que age como uma versão mais violenta dum «gênio da lâmpada»). O tema da loja que desaparece me lembrou o conto «Bureau D’Echange De Maux», do [Barão/Lord] Dunsany (Edward Plunkett, escritor admirado por Lovecraft).
•7 – «Efeitos Colaterais» (Collateral Effects). Science fiction tale about a medicine w/ problems, that was distributed to the public.
→7 – «Efeitos Colaterais». Estória de ficção científica acerca dum medicamento com problemas, que foi distribuído ao público.
İn my opinion, there's a similarity among this story, «The Strange Case Of Dr. Jekyll And Mr. Hyde» (by Robert Louis Stevenson), and «The Novel Of The White Powder» (by Arthur Machen, writer admired por Lovecraft).
→Pra mim, há uma semelhança entre estória, «The Strange Case Of Dr. Jekyll And Mr. Hyde» («O Estranho Caso Do Dr. Jekyll & Do Sr. Hyde», de Robert Louis Stevenson), e «The Novel Of The White Powder» («A Novela Do Pó Branco», de Arthur Machen, escritor admirado por Lovecraft).
***
İ had a clear impression that the Alphabet Street is located in a [luxury / high-income] [neighborhood/borough], in a city which already have a high living cost. This is because the street is full of mansions; the father of the protagonist of «The Circle Of Friends Of The Alphabet Street» is an industry businessman who have some employees in his house; the father of the protagonist of «Carta Para Mamãe» said that the city is «for tourists» due to the high prices charged by the items in the markets (and the protagonist himself says that the city have several shopping malls).
→Tive a nítida impressão que a Rua Alfabeto fica localizada num[a] [vizinhança/bairro] de [luxo / alto-padrão], numa cidade que já tem o custo de vida alto. İsso porque a rua é cheia de grandes casarões; o pai do protagonista de «A Turma Da Rua Alfabeto» é um industrial que tem alguns empregados em casa; o pai do protagonista de «Carta Para Mamãe» disse que a cidade é «pra turista» devido ao alto preço cobrado pelas mercadorias no comércio (e o próprio protagonista diz que a cidade tem muitos shopping centers).
***Contextualiz[i/a]n[g/do]***
İn the page w/ the information sheet about the book, it says that the author was born in 1959, and that the copyright of the text is from 1995 (my copy, in its 7ª edition, is dated from 1999). Being an African-Brazilian author, this is notable.
→Na página com a ficha de informações do livro, consta que o autor nasceu em 1959, e que o «copyright» (direitos autorais) do texto é de 1995 (o meu exemplar, em sua 7ª edição, data de 1999). Sendo um autor afro-brasileiro, isto é notável.
İn the book's flap, the author told that he already had [53 / fifty-three] published books, and that the literature was his full-time job. Being an African-Brazilian writer in 1995 is already a notable deed; having heard about Lovecraft is also notable; the two things together, is something doubly notable.
→Na orelha do livro, o autor contava que já tinha [53 / cinqüenta e três] livros publicados, e a literatura era seu trabalho em tempo integral. Ter sido um autor afro-brasileiro em 1995 já é um feito notável; ter ouvido falar em Lovecraft naquela época também é; as duas coisas juntas, é algo duplamente notável.
For those who understand the thing, taking in consideration the epochs is needed. This predates both the «Lovecraftian boom» starting in the second half of the 2000s, and the flood of black literature since the 2020s.
→Pra quem não entende isso, é preciso considerar as épocas. İsto antecede tanto o «boom lovecraftiano» a partir da segunda metade dos anos 2000, e a enxurrada de literatura negra a partir da década de 2020.
Since Lovecraft died in 1937, and the Brazilian public domain law is life (or death) +70, his works entered in the public domain in 2008-January-1st (according to the law, the works by the author enter in the public domain in the January 1st of the year after the 70 years from his dead). This coincided w/ the time of the expansion of the infraestructure that covered the network of broadband internet in the Brazil. This meant that, regarding the Lovecraft's works, the following things could be made in the Brazil, w/out any fear:
→Já que Lovecraft morreu em 1937, e a lei brasileira de domínio público é vida (ou morte) +70, suas obras entraram em domínio público em 1º de janeiro de 2008 (de acordo com a lei, as obras do autor entram em domínio público no dia 1º de janeiro do ano posterior aos 70 anos de sua morte). İsso coincidiu com a época da expansão da infraestrutura que cobria a rede de internet banda-larga no Brasil. İsso significa que, em relação aos textos de Lovecraft, as seguintes coisas podiam ser feitas no Brasil, sem nenhum medo:
•The sharing of his texts among the internet users.
→O compartilhamento dos seus textos entre os internautas.
•The publishing of the translations by the publishing houses.
→A publicação das traduções pelas editoras.
W/ the popularization of the fight for the social rights (blacks, gays, [disabl/handicapp]ed people, and minorities in general) in the 2020s, having itens of the «black literature» (written by black authors, or talking about the blacks) became a «must have» thing for the publishing houses who want to pretend to care about the fight for the social rights (I say pretend, because it's more than obvious that they only care about their profit; no value judgement here). Being «socially aware» became a «chic» thing.
→Com a popularização da luta pelos direitos sociais (negros, gays, deficientes, e minorias no geral) na década de 2020, ter itens da «literatura negra» (escrita por autores negros, ou falando acerca dos negros) se tornou algo «obrigatório» pra editoras que querem fingir que se importam com a luta pelos direitos sociais (digo fingir, porque ta mais do que na cara que elas apenas se importam com o seu lucro; sem juízo de valor aqui). Ser «socialmente consciente» se tornou algo «chic».
So, long story short, seeing an African-Brazilian author mentioning Lovecraft, taking in consideration that this was the second half of the 90s, is something doubly notable.
→Então, resumo da ópera, ver um autor afro-brasileiro citando Lovecraft, considerando que isso era a segunda metade da década de 1990, é algo duplamente notável.
☙Ver[e]di[c]t[o]❧
[Nota/Rating]: 08/10 (★★★★)
İt’sn’t a perfect book but, it has nice tales and, if you’re a fan of the Kalem Club, the book is a nice addition to your collection due to both the direct and the indirect references to Lovecraft.
→Não é um livro perfeito mas, ele tem bons contos e, se você for fã do Clube De Kalem, o livro é uma boa adição à sua coleção devido tanto às referências diretas quanto indiretas a Lovecraft.

2024-08-25 01:55:57

Re[view/senha] – Nevermore (Estronho)
[By/Por]: Felipe Lohan Pinheiro da Silva
[Aviso / Warning]: SPOİLERS
***
«Nevermore: Tales İnspired By Edgar Allan Poe», anthology book by the Brazilian «Estronho» publishing house.
→«Nevermore: Contos İnspirados Em Edgar Allan Poe», livro de antologia pela editora Estronho.
İ’m not a physical books «sommelier» (the Brazilian publishing house Darkside Books, and its readers, must pardon me), but the cover have problems. The text of the frontal cover is inside the «groove» between the hardcover and the book’s spine, being, in my opinion, an inelegant thing. And the choice of the used font was bad, because it became the reading of the back cover (that’s black) a difficult thing.
→Não sou um «sommelier» de livros físicos (a editora brasileira Darkside Books, e seus leitores, que me perdoem), mas a capa tem problemas. O texto da capa frontal ficou dentro da «vala» entre a capa dura e a [lombad/espinh]a do livro, sendo, em minha opinião, uma coisa deselegante. E a escolha da fonte usada foi ruim, pois tornou a leitura da capa traseira (que é preta) uma coisa difícil.
***
•«Devaneios» («Delusions», by Kathia Brienza). The fіrst part of the tale, in which the narrator tells how he became the messenger of the Death itself, seems to be both disconnected w/, and unnecessary to, a tale based on «Ligeia»; in my opinion, such part could be removed from the tale w/out any prejudice to it.
→Devaneios (Kathia Brienza). A primeira parte do conto, em que o narrador conta como ele se tornou o mensageiro da própria Morte, parece ser tanto desconectado com, e desnecessário para, um conto baseado em «Ligeia»; em minha opinião, tal parte poderia ser removida do conto sem prejuízo a ele.
•«A Casa Maldita Dos Usher» («The Damned House Of Usher», by Ademir Pascale). İ’m not sure whether moving the house of the Usher family to the [stat/provinc]e of São Paulo (Brazil) was the right decision from the author, as this was of no use for the tale. On the other hand, it was interesting to see the mention to the book «At The Mountains Of Madness» (by Lovecraft), which is one of the seqüels to «The Narrative Of Arthur Gordon Pym Of Nantucket» (by Poe).
→A Casa Maldita Dos Usher (Ademir Pascale). Não to certo se a decisão de mover a casa da família Usher pro estado de São Paulo (Brazil) foi a decisão correta pelo autor, pois isso não foi de serventia nenhuma pro conto. Por outro lado, foi interessante ver a menção ao livro «Nas Montanhas Da Loucura» (por Lovecraft), que é uma das continuações de «The Narrative Of Arthur Gordon Pym Of Nantucket» («A Narrativa De Arthur Gordon Pym De Nantucket») (por Poe).
•«O Olho Da Gárgula» («The Gargoyle’s Eye», by Leon Nunes) & «İn The Valley Of The Silence And Desolation» («No Vale Do Silêncio E Da Desolação», by Luciana Fátima). Both tales are supposedly based on «Silence – A Fable». İn my opinion, both are dispensable tales that could be left out from the anthology w/out any prejudice to it.
→O Olho Da Gárgula (Leon Nunes) & «No Vale Do Silêncio E Da Desolação» (Luciana Fátima). Ambos os contos são supostamente baseados em «Silence – A Fable» («Silêncio – Uma Fábula»). Em minha opinião, ambos são contos dispensáveis que poderiam ser deixados de fora da antologia sem prejuízo a ela.
•«De Volta À Rua Morgue» (Back To The Rue Morgue, by Miriam Santiago). The tale is set in the same house featured in «The Murders İn The Rue Morgue». However, two factors can be a prejudice for the experience of the readers; fіrst, the medical condition of the assassin is never explained; second, Auguste Dupin isn’t the investigator of the case (so the tale’s title may generate false expectations in some readers).
→De Volta À Rua Morgue (Miriam Santiago). O conto se passa na mesma casa de «Os Assassinatos Na Rua Morgue» («The Murders İn The Rue Morgue»). Porém, dois fatores podem ser um prejuízo pra experiência dos leitores; primeiro, a condição médica do assassino nunca é explicada; segundo, Auguste Dupin não é o investigador do caso (então o título do conto pode gerar falsas expectativas nalguns leitores).
•The Sewing Machine (Marcelo Bighetti). Seqüel to «Life İn Death – The Oval Portrait». The tale is covered w/ inconsistencies and plot holes.
→A Máquina De Costura (Marcelo Bighetti). Continuação de «Life İn Death – The Oval Portrait» («Vida Na Morte – O Retrato Oval»). O conto é coberto de inconsistências e furos de enredo («plot holes»).
İn my review of the book «A Floresta Das Árvores Retorcidas» («The Forest Of The Twisted Trees», by Аlехаndrе Саllаrі), İ already warned against the practice from the authors of using the aura of mystery of the horror narratives as an excuse for letting the elements of the work w/out any explanation. The same applies here.
→Na minha resenha do livro «A Floresta Das Árvores Retorcidas» (por Аlехаndrе Саllаrі), eu já alertei contra a prática dos autores de utilizar a aura de mistério das narrativas de terror como desculpa pra deixar as coisas sem explicação. O mesmo se aplica aqui.
İt’s never explained how the painter became the scarecrow entity in the maize fіeld. İt’s never explained neither the nature and the terms of the pact between the man who fled from the château and the scarecrow entity, nor why the pact involved sewing the people’s mouths w/ sewing needles made of human bones (the fact that the mouth of the scarecrow entity was made of black sewing thread seems to me to be something too tenuous to be of any signifіcance). And the worst: it’s never explained who crafted the three sewing needles, from the bones of the painter, the man who fled from the château, and the son of this man.
→Nunca é explicado como o pintor se tornou a entidade do espantalho no milharal. Nunca são explicados nem a natureza e os termos do pacto entre o homem que fugiu do château e a entidade do espantalho, nem porque o pacto envolvia costurar as bocas das pessoas com agulhas de costura feitas de ossos humanos (o fato de que a boca da entidade do espantalho era feita de linha preta costurada me parece ser algo tênue demais pra ser de qualquer signifіcância). E o pior: nunca é explicado quem fabricou as três agulhas, feitas dos ossos do pintor, do homem que fugiu do château, e do fіlho desse homem.
The narrator’s fear of clowns, by somehow associating them w/ the scarecrow entity, after hearing the narrative about it, seems something utterly pointless.
→O medo de palhaços pelo narrador, ao associá-los dalguma forma com a entidade do espantalho, após ouvir a narrativa acerca dele, parece algo completamente sem sentido.
¿ How the narrator didn’t woke up while his mouth was being sewn during his sleep? And his reaction after waking up and discovering that his mouth had been sewn (he looked to his own reflection in the mirror for hours, washed his face after the sunrise, and only later cut the thread w/ a utility knife), seems utterly inverosimile.
→¿ Como o narrador não acordou enquanto sua boca tava sendo costurada durante seu sono? E a sua reação ao acordar e descobrir que sua boca tinha sido costurada (ele fіcou olhondo pro seu próprio reflexo no espelho por horas, lavou o rosto depois de amanhecer, e só depois cortou a linha com um estilete), parece completamente inverossímil.
Ultimately, the tale looks more like the draft of a script for a cheap sensationalist fіl[m]ovie.
→Por fіm, o conto mais se parece com o esboço do script dum fіlme sensacionalista barato.
•«Os Dois Lados Da Maldição» («Both Sides Of The Curse», by [Gisele/Celly] Borges). Seqüel to «The Cask Of Amontillado». One part of the tale is even narrated by Fortunato himself.
→Os Dois Lados Da Maldição ([Gisele/Celly] Borges). Continuação de «The Cask Of Amontillado» («O Barril De Amontillado»). Uma parte do conto é até mesmo narrada pelo próprio Fortunato.
•«As Tiras Do Vestido De Marie Rogêt’s Dress» («The Shreds Of The Marie Rogêt’s Dress», Marcelo Amado). Based on «The Mystery of Marie Rogêt», told by her perspective.
→As Tiras Do Vestido De Marie Rogêt (Marcelo Amado). Baseado em «The Mystery of Marie Rogêt» («O Mistério De Marie Rogêt»), contado pela perspectiva dela própria.
•Al Aaraaf (الأعراف) (Daniel Borba). Based on the homonymous Poe’s poem. İt uses Poe himself as a character. The tale is covered w/ inconsistencies and plot holes.
→Al Aaraaf (الأعراف) (Daniel Borba). Baseado no poema homônimo de Poe. O conto é coberto de inconsistências e furos de enredo («plot holes»).
The black planet is described as having an «unpronounceable name»; however, in the Lovecraft’s works, for the sake of the comparison, even when a name is unpronounceable by the human speech organs, the humans use names that are approximations of them, like «Cthulhu», «Shub-Niggurath», «Yog-Sothoth», «Nyarlathotep», «Tsathoggua», etc.
→O planeta negro é descrito como tendo um «nome impronunciável»; porém, nas obras de Lovecraft, pra efeito de comparação, até mesmo quando um nome é impronunciável pelos órgãos de fala humanos, os humanos usam nomes que são aproximações deles, como «Cthulhu», «Shub-Niggurath», «Yog-Sothoth», «Nyarlathotep», «Tsathoggua», etc.
İt’s said that Al Aaraaf is a planet where the bulk of its population in general doesn’t have the knowledge about the evilness. However, this doesn’ make any sense, as population is composed of persons who, albeit being good, came from several planets where the evilness is something prosaic.
→É dito Al Aaraaf é um planeta onde o grosso de sua população em geral não tem o conhecimento acerca da maldade. Porém, isso não faz nenhum sentido, já que a sua população é composta por pessoas que, mesmo sendo boas, vieram de vários planetas onde a maldade é algo prosaico.
Even if you buy the explanation (which İ didn’t) that Poe was chosen because of this ability of imagine the evilness in order to be able to write about it, it’s never explained neither how this ability of Poe would be useful in the conflict, nor how the conflict occurred.
→Até mesmo se você engolir a explicação (que eu não engoli) de que Poe foi escolhido por causa de sua habilidade de imaginar a maldade pra poder escrever a respeito dela, nunca é explicado nem como essa habilidade de Poe seria útil no conflito, nem de que forma o conflito ocorreu.
Ultimately, the overly Manichæist nature of the narrative may seem too forced to the readers who already read tales that shows an impersonal Cosmos (like the writers of the Kalem Club).
→Por fіm, a natureza excessivamente maniqueísta da narrativa pode parecer forçada demais pros leitores que já lêem contos que mostram um Cosmos impessoal (como os escritores do Clube De Kalem).
☙Ver[e]di[c]t[o]❧
[Nota/Rating]: 04/10 (★★)
İf you’re a hardcore fan of the Kalem Club, the book worths solely due to its reference to the Lovecraft’s «At The Mountains Of Madness» in the tale «A Casa Maldita Dos Usher» (The Damned House Of Usher).
→Se você for um fã hardcore do Clube De Kalem, o livro vale a pena unicamente pela sua referência ao «At The Mountains Of Madness» (Nas Montanhas Da Loucura) de Lovecraft, no conto «A Casa Maldita Dos Usher» (The Damned House Of Usher).

2024-07-28 04:39:42

Libre Permissive License
By Felipe Lohan Pinheiro da Silva
Version: 2024-July-27
***
This License (fuскіng recursion) is under a rolling [releas/updat]e mode[l]. Also, you can search for the text of this license in websites that archive web pages.
***
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2024-07-28 04:38:44

Libre Viral-Open License
By Felipe Lohan Pinheiro da Silva
Version: 2024-July-27
***
This License (fuскіng recursion) is under a rolling [releas/updat]e mode[l]. Also, you can search for the text of this license in websites that archive web pages.
***
•The [distribution/release/publication] of the [produc/t/echnologie]s covered by this License (fuскіng recursion) in any form must come w/ the proper İP (İntellectual Property) notice, and this License (fuскіng recursion), in a plainly accessible way. This text (fuскіng recursion) must come in a constant letter size, to avoid the «[small/fіne] print» problem.
•Anyone ⭑CAN⭑ [crea/distribu]te NFTs (Non-Fungible Tokens) under this License (fuскіng recursion), provided that they respect the terms of this License (fuскіng recursion) normally, and take the responsibility for their own acts. Objection: «But the NFTs for a game are useless if the gaming company goes bankrupt, and the servers of the game become offline.». Answer: the gamers that buy it already know that, so they chose to take this risk; furthermore, if the company uses a non-blockchain option and goes bankrupt, the items will be lost in the same way. Objection: «But it’s a Ponzi Scheme scam; they’re used in money laundering.». Answer: those who buy them already know the risks, and chose to take them; if you think that NTFs are an inherent Ponzi Scheme scam, or used in money laundering, you have the following options: notify the authorities, or use your freedom of speech to publicly speak against it (raising the public awareness about it). Objection: «But people are buying bad art for a high price.». Answer: this is THEİR money, so this is THEİR problem. Objection: «This is an economic bubble.». Answer: this is the money of the buyers and sellers, so this is THEİR problem; furthermore, when an economic bubble bursts, most of its bad investments automatically go bankrupt, while most of the good investments survive. Objection: «People are [crea/distribu]ting [racist/Nazi/fascist/pedophile] material w/ the NFT technology.». Answer: the [crea/distribu]tion of such kinds of material predates the advent of the [Web/internet]; if you saw such a kind of material, you have the following options: notify the authorities (supposing that the [crea/distribu]tion of this kind of material is a crime in the jurisdiction in qüestion), or [crea/distribu]te yourself a better anti-[racist/Nazi/fascist/pedophile] material. Objection: «NFTs are a stillborn fad.». Answer: ¿ so why you’re still complaining about them? Objection: «NFTs are part of the Web 3.0, the project of libertarian dystopia.» Answer: sure, NFTs are part of a decentralized web; and the centralized web of your wet dreams is part of the plan for a communist tyranny. Objection: «The technology for the NFTs is power-hungry, releasing carbon into the atmosphere.». Answer: if you’re worried about the electric energy supply, just stop opposing the construction of new nuclear power plants; if you’re worried about the environmental impact of the carbon, start by paying attention to the «socialist» Norway greenwashing its oil-gas industry (no value judgment about the global oil-gas industry here); if you want to save the world by saving electric energy, just stop watching [gау/հоmоѕехuаl] роrnоgrарհу; if you want to save the world by decreasing the air pollution by the carbon, just stop smoking [weed/marijuana/cannabis/ganja]. Objection: «NFTs are useless». Answer: no one complains about the uselessness of the dildos in your drawer; so there’s no reason to do it against the NFTs. Objection: «¡ Stop [buy/purcha]sing what İ don’t like!». Answer: fuск you. One fіnal consideration: piracy of copyrighted works predates the advent of the computing, and the members of certain militant groups don’t even blink an eye to it (no value judgment about the piracy here); but try to [crea/distribu]te a NFT, and everyone loses their minds. Long story short: it’s simply irrational to prohibit the [crea/distribu]tion of NFTs just because of such objections.
•Providing the [produc/t/echnologie]s covered by this License (fuскіng recursion) as a service (even through a network) DOESN’T exempt anyone from following this License’s (fuскіng recursion) terms.
•This License (fuскіng recursion) grants to the [licensee / end-user]s the unrestricted right to redistribute copies of this [produc/t/echnologie]s, in original or modifіed forms, no matter if it’s in a commercial or non-commercial form; however, the modifіed forms must be clearly identifіed as that, in order to avoid them being mistaken w/ the original version distributed by the licensors, and this also applies to the logotypes, names, and trademarks used.
•Creating modifіed forms of the [produc/t/echnologie]s covered by this License (fuскіng recursion) constitutes it as a derivative work.
•Non-Endorsement Clause – Anyone ⭑HAS⭑ the right to make statements of compatibility between any [produc/t/echnologie]s platforms and the [produc/t/echnologie]s platforms covered by this License (fuскіng recursion). However, the names, and associated trademarks, of the licensors and contributors, ⭑CAN’T⭑ be used in [merchandising/advertising/propaganda] campaigns, or in claims of [endorsement/promotion/affіliation], except under prior legally recognized permission from the licensors themselves.
•Viral Clause – Derivative works must be Licensed under this same License (fuскіng recursion), always in the latest version available for this License (fuскіng recursion).
•People’s Economy Clause – Works under this license, and its derivatives, can’t be under any [licensing/model] that’s «Non-Commercial», or that h[inder/harm/prevent]s the [individual/private/personal/colective/popular/folk/people’s] [entrepreneurship/initiative], the free-market competition, [and/or] the mutually voluntary [trade/commerce/barter/exchange]. İn cases of [doub/conflic]t, the authorities of the appropriate jurisdiction shall rule (do the verdict) on the matter.
•This License (fuскіng recursion) is: irrevocable, multiverse-wide (and also across all the planes of existence), unrestricted, royalty-free, non-exclusive, impersonal, and ⭑APPLİED İN MATTERS OF PATENTS⭑.
•İf the [produc/t/echnologie]s covered by this License (fuскіng recursion) include or [depend/relie/need]s on a patented technology, this patented technology must also be provided under this same License (fuскіng recursion), always in the latest version available for this License (fuскіng recursion).
•The licensors give the [permission/grant] to take technical countermeasures, in order to circumvent the technical measures that they may put in the [produc/t/echnologie]s covered by this License (fuскіng recursion) preventing [modifіed/competing/alternative] technologies from being [executed/ran/used] in them; obviously, this also includes the [permission/grant] to [execute/run/use] these [modifіed/competing/alternative] technologies.
•Anyone can [execute/run/use/study/modify] the [produc/t/echnologie]s covered by this License (fuскіng recursion) for any purpose (however, the licensors are automatically exempt from any liability for any [harm/damages/conseqüences] that may arise from this), including, but not limited to, purposes of warfare, [chemical/biological/nuclear] weapons, crime, and terrorism. This includes material that’s deemed to be undesirable or «non-standard» (however, the ones [develop/distribut/provid]ing it must remember that they must respect the Non-Endorsement Clause normally, and be aware of the legal conseqüences that they may face). This includes (but isn’t limited to) material that’s deemed: aberrant, abhorrent, abnormal, abominable, abusive, abysmal, adult, aggravating, agitating, alluring, annoying, anomalous, anti-Semitic, apostatical, appalling, ardent, arrogant, atrocious, atypical, beguiling, betraying, biased, bigoted, bizarre, blameworthy, blasphemous, bleak, brutal, calumniating, careless, carnal, challenging, charming, condemnable, contaminated, contemptuous, contentious, controversial, corrupt, corrupted, criminal, crude, cruel, cynical, damaging, damnable, defaming, defіled, delightful, demonic, deplorable, depraved, depreciatory, depressing, derogatory, desecrating, desperate, despicable, destructive, detestable, detractive, deviant, devilish, diabolical, dictatorial, dirty, disappointing, disastrous, discourteous, discriminatory, disdainful, disgraceful, disgusting, dishonorable, dismal, dismissive, disparaging, disrespectful, disruptive, disturbing, divisive, eccentric, enticing, erotic, evil, explicit, exploiting, exquisite, extraordinary, extremist, fascist, fearful, fervent, fіery, fіlthy, foolhardy, foolish, foul, fraudulent, frightening, frustrating, ghastly, gloomy, godless, gory, grievous, gross, grotesque, gruesome, guilty, harmful, harrowing, hateful, hazardous, heartless, hellish, heretical, hideous, hopeless, horrendous, horrid, hostile, hurtful, ignoble, ignorant, illegal, illicit, ill-mannered, immodest, immoral, impious, impolite, improper, imprudent, impulsive, impure, inappropriate, incautious, incendiary, incestuous, inciting, inconsiderate, indecent, indecorous, indelicate, indiscreet, infernal, infuriating, injudicious, insensitive, insinuating, insolent, insulting, intense, intimate, intolerant, irregular, irresistible, irresponsible, irreverent, irritating, lascivious, lewd, loathsome, Luciferian, luscious, lustful, macabre, malefіcent, malevolent, malicious, malignant, masochist, mature, miserable, misogynistic, mocking, monstrous, morbid, murderous, nasty, nauseating, Nazi, nefarious, negligent, non-traditional, objectionable, obscene, odd, odious, offensive, outlandish, outrageous, paraphilic (necrophilia, pedophilia, zoophilia, coprophilia, urophilia, foot fetish, etc.), passionate, peculiar, perverted, pessimistic, pleasurable, poisonous, polluted, pornographic, prejudiced, profane, provocative, racist, radical, raunchy, reckless, reprehensible, repugnant, repulsive, revolting, rotten, rude, ruthless, sacrilegious, sadist, sadistic, salacious, satanic, savage, scandalous, scornful, seductive, sensual, sexist, sexual, sexy, shameful, shameless, sickening, sinful, sinister, smoldering, sorrowful, spiteful, spoiled, stimulating, strange, suggestive, sultry, tactless, tainted, tempting, terrible, terrorist, thoughtless, thrilling, titillating, torturing, toxic, tragic, treacherous, twisted, tyrannical, unacceptable, uncivil, unclean, unconventional, uncouth, undignifіed, unethical, ungodly, unhealthy, unjust, unlawful, unorthodox, unprincipled, unsettling, unsuitable, untrustworthy, unusual, unwise, vicious, vile, violent, voluptuous, vulgar, [whatever]phobic (homophobic, transphobic, islamophobic, xenophobic, etc.), wicked, wretched, etc. (¡ hell, this is just a bunch of examples, not a systematic study on fuскіng adjectives!). İn other words, this License doesn’t use a sanitized darkness.
•Any legal measures taken by the licensors or their legal representatives, to negate or restrict any right given by this License (fuскіng recursion), are automatically [void/null/cancelled].
•No-one can [crea/distribu]te under this License (fuскіng recursion) [produc/t/echnologie]s that are [proprietary/closed/obfuscated]-sourced (the source code must be released in a plainly accessible and readable way), or are under DRM (Digital Rights Management). İf the licensors (or the [provid/suppli/manufactur]ers) of the [produc/t/echnologie]s covered by this License (fuскіng recursion), embed malicious features (including backdoors, malwares, etc.), intending to [harm/spy/eavesdrop/expose] the [licensee / end-user]s that [obtain/us]ed pirated versions of the [produc/t/echnologie]s under this License (fuскіng recursion), the [licensee / end-user]s have the right to take both techn[nolog]ical & legal measures, countermeasures, and anti-countermeasures, in order to both prevent this (protect themselves) & reverse-engineer its source code. Anyone can study the technologies covered by this License (fuскіng recursion) , and this includes the [permission/grant] to do it through reverse engineering; this also includes the [permission/grant] to in[vade/tercept] (in either physical or [virtual/informational/digital/analog] form) the (but not limited to these) [server/facilitie/premise/building/factory/installation/correspondence]s of the licensors, ⭑[SOL/EXCLUSİV]ELY FOR THE PURPOSES AND SCOPE OF STUDYİNG AND REVERSE ENGİNEERİNG OF THE [PRODUCT/TECHNOLOGİE]S COVERED İN THİS LİCENSE⭑ (so this License (fuскіng recursion) CAN’T be used as ex[cuse/emption] to the in[vade/tercepto]rs to commit crimes against the licensors, or anyone else). This includes an unrestricted [permission/grant] for the development, dis[tribution/semination], and use, of the [tool/information]s, used to do this [reverse engineering / invasion / interception]; this also includes an unrestricted [permission/grant] for sharing the informations [collect/gather]ed from these methods of [reverse engineering / invasion / interception] (including, but not limited to, its source code).
•This License (fuскіng recursion) automatically makes [void/null/cancelled] the legal validity of any [trade secrets / NDAs (non-disclosure agreements)] involving: information about the [produc/t/echnologie]s covered by this License (fuскіng recursion) (including the ones concerning the aforementioned restrictive technical measures and their respective countermeasures), and information concerning the aforementioned methods of [reverse engineering / invasion] (⭑TO BE DONE SOLELY FOR THE AFOREMENTİONED PURPOSES AND SCOPES); this includes an unrestricted [permission/grant] for the development, dis[tribution/semination], and use, of the [tool/information]s about them.
•This License (fuскіng recursion) ⭑per se⭑ (by itself) DOESN’T provide any kind of warranty to the [licensee / end-user]s. The exception is that, in the case of the embedding of malicious features, the responsible ones will be brought to the justice. Also, the licensors, or the [provid/suppli/manufactur]ers of the [produc/t/echnologie]s covered by this License (fuскіng recursion), have the normal rights to cancel or otherwise modify the existing warranty of the provided [produc/t/echnologie]s if it was proven that the method employed in the [reverse engineering / invasion], or the [execution/running/use] of [modifіed/competing/alternative] technologies, inside these products, caused [damage/harm/malfunction] on them. The [cancell/alter]ation of the warranty must be proportional and coherent w/ the [damage/harm/malfunction] that was caused.
•This License (fuскіng recursion) ⭑per se⭑ (by itself) DOESN’T constitute in any kind of legal [service/consulting/advice] among the ones involved in this License (fuскіng recursion); as such, it DOESN’T constitute a [lawyer/attorney/solicitor/barrister/mentor]-[client/customer/protégée] relationship among them.
•This License (fuскіng recursion) ⭑per se⭑ (by itself) DOESN’T constitute in any kind of labor relationship among the ones involved in this License (fuскіng recursion); this includes (but isn’t limited to) the relationships of employer-[employee/worker], [partner/associate/comrade]s, [provid/suppli/manufactur]er-c[lient/ustomer], or anything else.
•İf all the İP (İntellectual Properties) of the [produc/t/echnologie]s covered by this License (fuскіng recursion) expired (effectively entering into the Public Domain), no one has the obligation (or even a reason) to follow this License (fuскіng recursion). However, the original authors still retain their moral right to attribution.