Relatively simple, but there are some potentially confusing steps. Well worth doing, just to be able to install a sensible number of apps (I didn’t get beyond about 20 before starting to run out of disk space).
First you need a GoldCard SD card if you have an operator supplied phone (mine was a free upgrade from O2). The instructions just work
- Use an old SD card (NB you can use the format option on the Desire to format it: Settings->SD card and storage->SD card…).
- You don’t need to install the sdk, just have it on your system.
Then follow the HTC Desire rooting guide. Again, it just works.
- I used the second file for download (marked as ONLY if) as my fastboot was 0.80.xxxx and my system 1.21.xxx (I think).
- I swapped the GoldCard over for the 8Gb card from my Hero once I had completed step one.
- When you get back the recovery screen and run step 2, I saw a red icon on screen which threw me slightly, but it appeared to have done the trick. I’m not sure I actually ran the rootedupdate.zip myself following step 2, but when I turned the phone back on, I had to setup once more, so it had clearly been wiped.
- Getting to recovery works fine as per the instructions, but again, the icon is red and looks slightly like there is an error: once you’ve heard the USB connect (bong bong on Windows 7) you run the recovery script and the normal screen (Nandroid backup etc) appears on the Desire.
- If you want to use A2SD (to put your applications on the SD card) there is an option to partition SD card on the recovery menu. I suggest you take it.
I then baked a custom ROM and installed it in the normal way: copy the zipped ROM over to the Desire’s SD card, boot up in recovery mode and install zipped ROM.
Bingo. Now to work on the slightly poor battery life and I’ll be more than happy.
Pandoras briefcase is a barnstorming Gladwell romp through the realities of Second World War and cold war espionage. It’s a must read, and suggests that espionage isn’t necessarily that useful and that I definitely wouldn’t want to be a spy. Odd to have a profession where the better you were the more likely you were to be doubted.
Yum. Lots of nice ideas from Clotilde. We have rampant sage in our raised beds, and it has already contributed to lovely pasta sauce and saltimbocca with lovely cuts of Mr Fortnum’s veal.
I’m not a footy fan, but this is genius. Roo in a beard is particularly good.
Write The Future from Nalden on Vimeo.
Pegasus is involved in the 40th anniversary celebrations of The Place, somewhere I had no idea about before we did a piece there a couple of years ago. There were some
dance celebs at the first night, but it is not my area of expertise…
Choir project: Attention! has been a hard piece to get to grips with, partly because movement while singing is not a core competence and the music needs to be memorised while doing it, not something we can practice at home. Finally, the hugging audience members and lying down at their feet while singing (and sweating in my case) is entertaining.
It has been great to watch the creative process as Hanne, Heidi and Sylvia have had to deal with changing demands of the location, not having the whole team together at any one time, and our attempts to learn and perform simultaneously. Two more performances to go, and I am looking forward to them.
We were kindly bought tickets for the sell-out anniversary programme (we are a prologue outside the auditorium) and I absolutely loved some of the excerpts we saw:
- Robert Cohan’s Forest was stunning (Graun has lots of information about the man and a short clip of the piece).
- There was a lovely piece for the young dancers (under 7s, I think) called The Chase which was delightful to a cracking piano piece: the Steeple Chase Rag by Jelly Roll Morton.
- Hands (the opening of What the body does not remember) by Wim Vandekeybus was simply stunning. A performer’s hands on a table control two dancers in impossibly difficult routines. Staggeringly good. I can’t find anything like it online, but the brick-throwing bit at 2:20 in this video gives a flavour: yes, they are real bricks.
- Shobana Jeyasingh‘s Configurations was a great combination of eastern and western styles.
- The short excerpt of Siobhan Davies’ Sphinx showed just how difficult solo dance can be.
- Victoria Marks’ Dancing to music was a brilliant piece of mostly stationary dance, and made for a great finale. I enjoyed the Sigur Rós-like vocals over the Wim Mertens piece (Casting no shadow) it was performed to.
These are my choices: the whole programme was excellent. I liked the current dancers Reservoir Dogs-style walk to the front of the stage, lights off and leave that they did to finish each of their group pieces.
Fascinating look at the regular reconfigurations of Whitehall departments. I particularly enjoyed the spoof one.
Fascinating but depressing article from John Robb. The global economic system has co-opted many of the functions of the nation state to its own ends. Look at the support given to banks, the ability of BP to stifle reporting on the Deepwater Horizon oil leak.
My take on it is this: in any sector (not just banking) the global economy will tend to route around any regulation governments put in. This will lead to bubbles and crashes. The governments of the day will feel obliged to protect their citizens from any ill effects. Plus ça change.
Robb’s question is if we can continue to live peacefully in a world where:
You are on your own. You are in direct competition with everyone else in the world, and your success or failure is something you alone control.
At the very least, this suggests that we will see a reduction in the standard of living in the developed world as resources flow to the developing world.
Delightful quote from Dan Dennett:
there is no polite way of asking somebody: have you considered the
possibility that your entire life has been devoted to a delusion?
He also asks the sensible question:
would the ritualistic shells still do the work of binding together
communities
I guess that’s what I use to justify my participation as an atheist in religious ceremonies. I hadn’t read of Owen Flanagan’s work on saying it and meaning it, but should look through it.