Search Results: "will"

2 January 2025

Matthew Garrett: The GPU, not the TPM, is the root of hardware DRM

As part of their "Defective by Design" anti-DRM campaign, the FSF recently made the following claim:
Today, most of the major streaming media platforms utilize the TPM to decrypt media streams, forcefully placing the decryption out of the user's control (from here).
This is part of an overall argument that Microsoft's insistence that only hardware with a TPM can run Windows 11 is with the goal of aiding streaming companies in their attempt to ensure media can only be played in tightly constrained environments.

I'm going to be honest here and say that I don't know what Microsoft's actual motivation for requiring a TPM in Windows 11 is. I've been talking about TPM stuff for a long time. My job involves writing a lot of TPM code. I think having a TPM enables a number of worthwhile security features. Given the choice, I'd certainly pick a computer with a TPM. But in terms of whether it's of sufficient value to lock out Windows 11 on hardware with no TPM that would otherwise be able to run it? I'm not sure that's a worthwhile tradeoff.

What I can say is that the FSF's claim is just 100% wrong, and since this seems to be the sole basis of their overall claim about Microsoft's strategy here, the argument is pretty significantly undermined. I'm not aware of any streaming media platforms making use of TPMs in any way whatsoever. There is hardware DRM that the media companies use to restrict users, but it's not in the TPM - it's in the GPU.

Let's back up for a moment. There's multiple different DRM implementations, but the big three are Widevine (owned by Google, used on Android, Chromebooks, and some other embedded devices), Fairplay (Apple implementation, used for Mac and iOS), and Playready (Microsoft's implementation, used in Windows and some other hardware streaming devices and TVs). These generally implement several levels of functionality, depending on the capabilities of the device they're running on - this will range from all the DRM functionality being implemented in software up to the hardware path that will be discussed shortly. Streaming providers can choose what level of functionality and quality to provide based on the level implemented on the client device, and it's common for 4K and HDR content to be tied to hardware DRM. In any scenario, they stream encrypted content to the client and the DRM stack decrypts it before the compressed data can be decoded and played.

The "problem" with software DRM implementations is that the decrypted material is going to exist somewhere the OS can get at it at some point, making it possible for users to simply grab the decrypted stream, somewhat defeating the entire point. Vendors try to make this difficult by obfuscating their code as much as possible (and in some cases putting some of it in-kernel), but pretty much all software DRM is at least somewhat broken and copies of any new streaming media end up being available via Bittorrent pretty quickly after release. This is why higher quality media tends to be restricted to clients that implement hardware-based DRM.

The implementation of hardware-based DRM varies. On devices in the ARM world this is usually handled by performing the cryptography in a Trusted Execution Environment, or TEE. A TEE is an area where code can be executed without the OS having any insight into it at all, with ARM's TrustZone being an example of this. By putting the DRM code in TrustZone, the cryptography can be performed in RAM that the OS has no access to, making the scraping described earlier impossible. x86 has no well-specified TEE (Intel's SGX is an example, but is no longer implemented in consumer parts), so instead this tends to be handed off to the GPU. The exact details of this implementation are somewhat opaque - of the previously mentioned DRM implementations, only Playready does hardware DRM on x86, and I haven't found any public documentation of what drivers need to expose for this to work.

In any case, as part of the DRM handshake between the client and the streaming platform, encryption keys are negotiated with the key material being stored in the GPU or the TEE, inaccessible from the OS. Once decrypted, the material is decoded (again either on the GPU or in the TEE - even in implementations that use the TEE for the cryptography, the actual media decoding may happen on the GPU) and displayed. One key point is that the decoded video material is still stored in RAM that the OS has no access to, and the GPU composites it onto the outbound video stream (which is why if you take a screenshot of a browser playing a stream using hardware-based DRM you'll just see a black window - as far as the OS can see, there is only a black window there).

Now, TPMs are sometimes referred to as a TEE, and in a way they are. However, they're fixed function - you can't run arbitrary code on the TPM, you only have whatever functionality it provides. But TPMs do have the ability to decrypt data using keys that are tied to the TPM, so isn't this sufficient? Well, no. First, the TPM can't communicate with the GPU. The OS could push encrypted material to it, and it would get plaintext material back. But the entire point of this exercise was to avoid the decrypted version of the stream from ever being visible to the OS, so this would be pointless. And rather more fundamentally, TPMs are slow. I don't think there's a TPM on the market that could decrypt a 1080p stream in realtime, let alone a 4K one.

The FSF's focus on TPMs here is not only technically wrong, it's indicative of a failure to understand what's actually happening in the industry. While the FSF has been focusing on TPMs, GPU vendors have quietly deployed all of this technology without the FSF complaining at all. Microsoft has enthusiastically participated in making hardware DRM on Windows possible, and user freedoms have suffered as a result, but Playready hardware-based DRM works just fine on hardware that doesn't have a TPM and will continue to do so.

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Colin Watson: Free software activity in December 2024

Most of my Debian contributions this month were sponsored by Freexian, as well as one direct donation via Liberapay (thanks!). OpenSSH I issued a bookworm update with a number of fixes that had accumulated over the last year, especially fixing GSS-API key exchange which was quite broken in bookworm. base-passwd A few months ago, the adduser maintainer started a discussion with me (as the base-passwd maintainer) and the shadow maintainer about bringing all three source packages under one team, since they often need to cooperate on things like user and group names. I agreed, but hadn t got round to doing anything about it until recently. I ve now officially moved it under team maintenance. debconf Gioele Barabucci has been working on eliminating duplicated code between debconf and cdebconf, ultimately with the goal of migrating to cdebconf (which I m not sure I m convinced of as a goal, but if we can make improvements to both packages as part of working towards it then there s no harm in that). I finally got round to reviewing and merging confmodule changes in each of debconf and cdebconf. This caused an installer regression due to a weirdness in cdebconf-udeb s packaging, which I fixed - sorry about that! I ve also been dealing with a few patch submissions that had been in my queue for a long time, but more on that next month if all goes well. CI issues I noticed and fixed a problem with Restrictions: needs-sudo in autopkgtest. I fixed broken aptly images in the Salsa CI pipeline. Python team Last month, I mentioned some progress on sorting out the multipart vs. python-multipart name conflict in Debian (#1085728), and said that I thought we d be able to finish it soon. I was right! We got it all done this month: The Python 3.13 transition continues, and last month we were able to add it to the supported Python versions in testing. (The next step will be to make it the default.) I fixed lots of problems in aid of this, including: Sphinx 8.0 removed some old intersphinx_mapping syntax which turned out to still be in use by many packages in Debian. The fixes for this were individually trivial, but there were a lot of them: I found that twisted 24.11.0 broke tests in buildbot and wokkel, and fixed those. I packaged python-flatdict, needed for a new upstream version of python-semantic-release. I tracked down a test failure in vdirsyncer (which I ve been using for some years, but had never previously needed to modify) and contributed a fix upstream. I fixed some packages to tolerate future versions of dh-python that will drop their dependency on python3-setuptools: I fixed django-cte to remove a build-dependency on the obsolete python3-nose package. I added Django 5.1 support to django-polymorphic. (There are a number of other packages that still need work here.) I fixed various other build/test failures: I upgraded these packages to new upstream versions: I updated the team s library style guide to remove material related to Python 2 and early versions of Python 3, which is no longer relevant to any current Python packaging work. Other Python upstream work I happened to notice a Twisted upstream issue requesting the removal of the deprecated twisted.internet.defer.returnValue, realized it was still used in many places in Debian, and went on a PR-filing spree informed by codesearch to try to reduce the future impact of such a change on Debian: Other small fixes Santiago Vila has been building the archive with make --shuffle (also see its author s explanation). I fixed associated bugs in cccc (contributed upstream), groff, and spectemu. I backported an upstream patch to putty to fix undefined behaviour that affected use of the small keypad . I removed groff s Recommends: libpaper1 (#1091375, #1091376), since it isn t currently all that useful and was getting in the way of a transition to libpaper2. I filed an upstream bug suggesting better integration in this area.

1 January 2025

Russ Allbery: 2024 Book Reading in Review

In 2024, I finished and reviewed 46 books, not counting another three books I've finished but not yet reviewed and which will therefore roll over to 2025. This is slightly fewer books than the last couple of years, but more books than 2021. Reading was particularly spotty this year, with much of the year's reading packed into late November and December. This was a year in which I figured out I was trying to do too much, but did not finish figuring out what to do about it. Reading and particularly reviewing reflected that, with long silent periods and then attempts to catch up. One of the goals for next year is to find a more sustainable balance for the hobbies in my life, including reading. My favorite books I read this year were Ashley Herring Blake's Bright Falls sapphic romance trilogy: Delilah Green Doesn't Care, Astrid Parker Doesn't Fail, and Iris Kelly Doesn't Date. These are not perfect books, but they made me laugh, made me cry, and were impossible to put down. My thanks to a video from BookTuber Georgia Marie for the recommendation. I Shall Wear Midnight was the best of the remaining Pratchett novels. It's the penultimate Tiffany Aching book and, in my opinion, the best. All of the elements of the previous books come together in snarky competence porn that was a delight to read. The best book I read last year was Mark Lawrence's The Book That Wouldn't Burn, which much to my surprise did not make a single award list for its publication year of 2023. It was a tour de force of world-building that surprised me multiple times. Unfortunately, the sequel was not as good and I fear the series may be heading in the wrong direction. I am attempting to stay hopeful about the upcoming third and concluding book. I didn't read much non-fiction this year, but the best of what I did read was Zeke Faux's Number Go Up about the cryptocurrency bubble. This book will not change anyone's mind, but it's a readable and entertaining summary of some of the more obvious cryptocurrency scams. I also had enough quibbles with it to write an extended review, which is a compliment of sorts. The Discworld read-through is done, so I may either start or return to another series re-read in 2025. I have a huge backlog of all sorts of books, though, so we will see how the year goes. As always, I have no specific numeric goals, just a hope that I can make time for regular and varied reading and maintain a rhythm with writing reviews. The full analysis includes some additional personal reading statistics, probably only of interest to me.

Russ Allbery: Review: Driving the Deep

Review: Driving the Deep, by Suzanne Palmer
Series: Finder Chronicles #2
Publisher: DAW
Copyright: 2020
ISBN: 0-7564-1512-8
Format: Kindle
Pages: 426
Driving the Deep is science fiction, a sequel to Finder (not to be confused with Finders, Emma Bull's Finder, or the many other books and manga with the same title). It stands alone and you could start reading here, although there will be spoilers for the first book of the series. It's Suzanne Palmer's second novel. When Fergus Ferguson was fifteen, he stole his cousin's motorcycle to escape an abusive home, stashed it in a storage locker, and got the hell off of Earth. Nineteen years later, he's still paying for the storage locker and it's still bothering him that he never returned the motorcycle. His friends in the Shipyard orbiting Pluto convince him to go to Earth and resolve this ghost of his past, once and for all. Nothing for Fergus is ever that simple. When the key he's been carrying all these years fails to open the storage unit, he hacks it open, only to find no sign of his cousin's motorcycle. Instead, the unit is full of expensive storage crates containing paintings by artists like Van Gogh. They're obviously stolen. Presumably the paintings also explain the irate retired police officer who knocks him out and tries to arrest him, slightly after the urgent message from the Shipyard AI telling him his friends are under attack. Fergus does not stay arrested, a development that will not surprise readers of the previous book. He does end up with an obsessed and increasingly angry ex-cop named Zacker as an unwanted passenger. Fergus reluctantly cuts a deal with Zacker: assist him in finding out what happened to his friends, and Fergus will then go back to Earth and help track down the art thieves who shot Zacker's daughter. It will be some time before they get back to Earth. Fergus's friends have been abducted by skilled professionals. What faint clues he can track down point to Enceladus, a moon of Saturn with a vast subsurface ocean. One simulation test with a desperate and untrustworthy employer later, Fergus is now a newly-hired pilot of an underwater hauler. The trend in recent SFF genre novels has been towards big feelings and character-centric stories. Sometimes this comes in the form of found family, sometimes as melodrama, and often now as romance. I am in general a fan of this trend, particularly as a corrective to the endless engineer-with-a-wrench stories, wooden protagonists, and cardboard characters that plagued classic science fiction. But sometimes I want to read a twisty and intelligent plot navigated by a competent but understated protagonist and built around nifty science fiction ideas. That is exactly what Driving the Deep is, and I suspect this series is going to become my go-to recommendation for people who "just want a science fiction novel." I don't want to overstate this. Fergus is not a blank slate; he gets the benefit of the dramatic improvement in writing standards and characterization in SFF over the past thirty years. He's still struggling with what happened to him in Finder, and the ending of this book is rather emotional. But the overall plot structure is more like a thriller or a detective novel: there are places to go, people to investigate, bases to infiltrate, and captives to find, so the amount of time spent on emotional processing is necessarily limited. Fergus's emotions and characterization are grace notes around the edges of the plot, not its center. I thoroughly enjoyed this. Palmer has a light but effective touch with characterization and populates the story with interesting and distinguishable characters. The plot has a layered complexity that allows Fergus to keep making forward progress without running out of twists or getting repetitive. The motivations of the villains were not the most original, but they didn't need to be; the fun of the story is figuring out who the villains are and watching Fergus get out of impossible situations with the help of new friends. Finder was a solid first novel, but I thought Driving the Deep was a substantial improvement in both pacing and plot coherence. If I say a novel is standard science fiction, that sounds like criticism of lack of originality, but sometimes standard science fiction is exactly what I want to read. Not every book needs to do something wildly original or upend my understanding of story. I started reading science fiction because I loved tense adventures on moons of Saturn with intelligent spaceships and neat bits of technology, and they're even better with polished writing, quietly competent characterization, and an understated sense of humor. This is great stuff, and there are two more books already published that I'm now looking forward to. Highly recommended when you just want a science fiction novel. Followed by The Scavenger Door. Rating: 8 out of 10

31 December 2024

Russ Allbery: Review: Metal from Heaven

Review: Metal from Heaven, by August Clarke
Publisher: Erewhon
Copyright: November 2024
ISBN: 1-64566-099-0
Format: Kindle
Pages: 443
Metal from Heaven is industrial-era secondary-world fantasy with a literary bent. It is a complete story in one book, and I would be very surprised by a sequel. Clarke previously wrote the Scapegracers young-adult trilogy, which got excellent reviews and a few award nominations, as H.A. Clarke. This is his first adult novel.
Know I adore you. Look out over the glow. The cities sundered, their machines inverted, mountains split and prairies blazing, that long foreseen Hereafter crowning fast. This calamity is a promise made to you. A prayer to you, and to your shadow which has become my second self, tucked behind my eye and growing in tandem with me, pressing outwards through the pupil, the smarter, truer, almost bursting reason for our wrath. Do not doubt me. Just look. Watch us rise as the sun comes up over the beauty. The future stains the bleakness so pink. When my violence subsides, we will have nothing, and be champions.
Marney Honeycutt is twelve years old, a factory worker, and lustertouched. She works in the Yann I. Chauncey Ichorite Foundry in Ignavia City, alongside her family and her best friend, shaping the magical metal ichorite into the valuable industrial products of a new age of commerce and industry. She is the oldest of the lustertouched, the children born to factory workers and poisoned by the metal. It has made her allergic, prone to fits at any contact with ichorite, but also able to exert a strange control over the metal if she's willing to pay the price of spasms and hallucinations for hours afterwards. As Metal from Heaven opens, the workers have declared a strike. Her older sister is the spokesperson, demanding shorter hours, safer working conditions, and an investigation into the health of the lustertouched children. Chauncey's response is to send enforcer snipers to kill the workers, including the entirety of her family.
The girl sang, "Unalone toward dawn we go, toward the glory of the new morning." An enforcer shot her in the belly, and when she did not fall, her head.
Marney survives, fleeing into the city, swearing an impossible personal revenge against Yann Chauncey. An act of charity gets her a ticket on a train into the countryside. The woman who bought her ticket is a bandit who is on the train to rob it. Marney's ability to control ichorite allows her to help the bandits in return, winning her a place with the Highwayman's Choir who have been preying on the shipments of the rich and powerful and then disappearing into the hills. The Choir's secret is that the agoraphobic and paranoid Baron of the Fingerbluffs is dead and has been for years. He was killed by his staff, Hereafterist idealists, who have turned his remote territory into an anarchist commune and haven for pirates and bandits. This becomes Marney's home and the Choir becomes her family, but she never forgets her oath of revenge or the childhood friend she left behind in the piles of bodies and to whom this story is narrated. First, Clarke's writing is absolutely gorgeous.
We scaled the viny mountain jags at Montrose Barony's legal edge, the place where land was and wasn't Ignavia, Royston, and Drustland alike. There was a border but it was diffuse and hallucinatory, even more so than most. On legal papers and state maps there were harsh lines that squashed topography and sanded down the mountains into even hills in planter's rows, but here among the jutting rocks and craggy heather, the ground was lineless.
The rhythm of it, the grasp of contrast and metaphor, the word choice! That climactic word "lineless," with its echo of limitless. So good. Second, this is the rarest of books: a political fantasy that takes class and religion seriously and uses them for more than plot drivers. This is not at all our world, and the technology level is somewhat ambiguous, but the parallels to the Gilded Age and Progressive Era are unmistakable. The Hereafterists that Marney joins are political anarchists, not in the sense of alternative governance structures and political theory sanitized for middle-class liberals, but in the sense of Emma Goldman and Peter Kropotkin. The society they have built in the Fingerbluffs is temporary, threatened, and contingent, but it is sincere and wildly popular among the people who already lived there. Even beyond politics, class is a tangible force in this book. Marney is a factory worker and the child of factory workers. She barely knows how to read and doesn't magically learn over the course of the book. She has friends who are clever in the sense rewarded by politics and nobility, who navigate bureaucracies and political nuance, but that is not Marney's world. When, towards the end of the book, she has to deal with a gathering of high-class women, the contrast is stark, and she navigates that gathering only by being entirely unexpected. Perhaps the best illustration of the subtlety of this is the terminology in the book for lesbian. Marney is a crawly, which is a slur thrown at people like her (and one of the rare fictional slurs that work exactly as the author intended) but is also simply what she calls herself. Whether or not it functions as a slur depends on context, and the context is never hard to understand. The high-class lesbians she meets later are Lunarists, and react to crawly as a vile and insulting word. They use language to separate themselves from both the insult and from the social class that uses it. Language is an indication of culture and manners and therefore of morality, unlike deeds, which admit endless justifications.
Conversation was fleeting. Perdita managed with whomever stood near her, chipper about every prettiness she saw, the flitting butterflies, the dappled light between the leaves, the lushness and the fragrance of untamed land, and her walking companions took turns sharing in her delight. It was infectious, how happy she was. She was going to slaughter millions. She was going to skip like this all the while.
The handling of religion is perhaps even better. Marney was raised a Tullian, which sits alongside two other fleshed-out fictional religions and sketches of several more. Tullians tend to be conservative and patriarchal, and Marney has a realistically complicated relationship with faith: sticking with some Tullian worship practices and gestures because they're part of who she is, feeling a kinship to other Tullians, discarding beliefs that don't fit her, and revising others. Every major religion has a Hereafterist spin or reinterpretation that upends or reverses the parts of the religion that were used to prop up the existing social order and brings it more in line with Hereafterist ideals. We see the Tullian Hereafterist variation in detail, and as someone who has studied a lot of methods of reinterpreting Christianity, I was impressed by how well Clarke invents both a belief system and its revisionist rewrite. This is exactly how religions work in human history, but one almost never sees this subtlety in fantasy novels. Marney's allergy to ichorite causes her internal dialogue to dissolve into hallucinatory synesthesia when she's manipulating or exposed to it. Since that's most of the book, substantial portions read like drug trips with growing body horror. I normally hate this type of narration, so it's a sign of just how good Clarke's writing is that I tolerated it and even enjoyed parts. It helps that the descriptions are irreverent and often surprising, full of unexpected metaphors and sudden turns. It's very hard not to quote paragraph after paragraph of this book. Clarke is also doing a lot with gender that I don't feel qualified to comment in detail on, but it would not surprise me to see this book in the Otherwise Award recommendation list. I can think of three significant male characters, all of whom are well-done, but every other major character is female by at least some gender definition. Within that group, though, is huge gender diversity of the complicated and personal type that doesn't force people into defined boxes. Marney's sexuality is similarly unclassified and sometimes surprising. My one complaint is that I thought the sex scenes (which, to warn, are often graphic) fell into the literary fiction trap of being described so closely and physically that it didn't feel like anyone involved was actually enjoying themselves. (This is almost certainly a matter of personal taste.) I had absolutely no idea how Clarke was going to end this book, and the last couple of chapters caught me by surprise. I'm still not sure what I think about the climax. It's not the ending that I wanted, but one of the merits of this book is that it never did what I thought I wanted and yet made me enjoy the journey anyway. It is, at least, a genre ending, not a literary ending: The reader gets a full explanation of what is going on, and the setting is not static the way that it so often is in literary fiction. The characters can change the world, for good or for ill. The story felt frustrating and incomplete when I first finished it, but I haven't stopped thinking about this book and I think I like the shape of it a bit more now. It was certainly unexpected, at least by me. Clarke names Dhalgren as one of their influences in the acknowledgments, and yes, Metal from Heaven is that kind of book. This is the first 2024 novel I've read that felt like the kind of book that should be on award shortlists. I'm not sure it was entirely successful, and there are parts of it that I didn't like or that weren't for me, but it's trying to do something different and challenging and uncomfortable, and I think it mostly worked. And the writing is so good.
She looked like a mythic princess from the old woodcuts, who ruled nature by force of goodness and faith and had no legal power.
Metal from Heaven is not going to be everyone's taste. If you do not like literary fantasy, there is a real chance that you will hate this. I am very glad that I read it, and also am going to take a significant break from difficult books before I tackle another one. But then I'm probably going to try the Scapegracers series, because Clarke is an author I want to follow. Content notes: Explicit sex, including sadomasochistic sex. Political violence, mostly by authorities. Murdered children, some body horror, and a lot of serious injuries and death. Rating: 8 out of 10

30 December 2024

Steve Kemp: The CP/M emulator runs on Windows, maybe!

Today I made a new release of my CP/M emulator and I think that maybe now it will run on Microsoft Windows. Unfortunately I cannot test it! A working CP/M implementation needs to provide facilities for reading input from the console, both reading a complete line of text and individual keystrokes. These input functions need to handle several different types of input: In the past we used a Unix-specific approach to handle the enabling and disabling of keyboard echoing (specifically we executed the stty binary to enable/disable echos), but this release adds a more portable solution, based around termbox-go which is the new default, and should allow our emulator to work on Microsoft Windows systems. We always had the ability to select between a number of different output drivers, and as of this release we can now select between multiple input drivers too - with the new portable option being the default. This has been tested on MacOS X systems, as well as GNU/Linux, but sadly I don't have access to Windows to test that. Fingers crossed it's all good now though, happy new year!

Russ Allbery: Review: House in Hiding

Review: House in Hiding, by Jenny Schwartz
Series: Uncertain Sanctuary #2
Publisher: Jenny Schwartz
Copyright: October 2020
Printing: September 2024
ASIN: B0DBX6GP8Z
Format: Kindle
Pages: 196
House in Hiding is the second book of a self-published space fantasy trilogy that started with The House That Walked Between Worlds. I read it as part of the Uncertain Sanctuary omnibus, which is reflected in the sidebar metadata. At the end of the previous book, Kira had gathered a motley crew for her house and discovered that she had drawn the attention of some rather significant galactic powers. Now, with the help of her new (hopefully) friends, she has to decide what role she's going to play in the galaxy. Or she can dither a lot, ruminate repeatedly on the same topics, and flail about randomly. That's also an option. This is slightly unfair. By the second half of the book, the series plot is beginning to cohere around two major problems: what is happening to the magic flows in the universe, and who killed Kira's parents. But apparently there was a limit on my enjoyment for the chaos in Kira's chaotic decisiveness I praised in my review of the last book, and I hit that limit around the middle of this book. I am interested in the questions of ethics, responsibility, and public image that this series is raising. I'm just not convinced that Schwartz is going to provide satisfying answers. One thing I do appreciate about this book is that it acknowledges that politics exist and that taking powerful people at face value is a bad idea. You would think that this would be a low bar, and yet it's depressing how many fantasy novels signal the trustworthiness of a character via some variation of "I looked into his eyes and shook his hand," or at least expect readers to be surprised by the inevitable betrayals. Schwartz does not make that mistake; after getting a call from a powerful player in galactic politics, the characters take apart everything that was said while assuming it could be attempted manipulation, which is the correct initial response. My problem comes after that. I like reading about competent characters with a plan, and these are absurdly powerful but very naive characters with no plan. This is realistic for the situation Kira has been thrust into, but it's not that entertaining to read about. I think the root of my problem is that there are some fundamental storytelling problems here that Schwartz is struggling to fix. The basic theory of story says that you need a protagonist, a setting, a conflict, and a plot. Schwartz has a good protagonist, one great supporting character and several adequate ones, and an enjoyably weird setting. I think she's working her way up to having a plot, although usually it's best for the plot to show up before the middle book of the series. What she doesn't have is a meaningful conflict. It's not entirely clear to either the reader or to Kira why Kira cares about what's happening. You would not think this would be a problem given that Kira's parents were murdered before the start of the first book. That's a classic conflict that's driven more books than I think anyone could count. It's not what Kira has cared about up to this point, however; she got away from Earth and has shown no sign of wanting to go back or identify the people who killed her parents, perhaps because she mostly blames herself. Instead, she's stumbling across other problems in the universe that other people would like her to care about. She occasionally feels like she ought to care about them because they involve her new friends or because she wants to be a good person, but they have very little dramatic oomph. "I'm a sorcerer and vaguely want the universe to be a better place" turns out to not work that well as a source of dramatic tension. This lack of conflict is somewhat fascinating because it's so different than most fantasy novels. If Schwartz were more aware of how oddly disconnected her protagonist is from the story conflict, I think there could be a thoughtful, if odd, psychological novel in here about one's ethical responsibilities if one suddenly had vast power and no strong attachments to the world. Kira does gesture occasionally in that direction, but there's no real meat to her musings. Instead, her lack of motivation is solved through one of the hoariest tropes in fiction: children in danger. I really want to like this series, and I still love the House, but this book was not good. The romance that I was delighted to not be subjected to in the first book appears to be starting (sigh), the political maneuvering that happens here is only mildly interesting and not believably competent, and the book concludes in Kira making an egregiously and blatantly stupid mistake that should have resulted in one of her friends asking her what the hell she was doing. Some setup happens, and it seems likely that the final book will have a clear conflict and plot, but this middle book was a disappointing mess. These books are fast to read and lightly entertaining between other things, and the House still has me invested enough in this universe that I'll read the last book in the omnibus. Be warned, though, that the middle book is more a collection of anecdotes than a story, and there's only so much of Kira showing off her power I can take without a conflict and a plot. Followed by The House That Fought. Rating: 5 out of 10

29 December 2024

Russ Allbery: Review: The Last Hour Between Worlds

Review: The Last Hour Between Worlds, by Melissa Caruso
Series: The Echo Archives #1
Publisher: Orbit
Copyright: November 2024
ISBN: 0-316-30364-X
Format: Kindle
Pages: 388
The Last Hour Between Worlds is urban, somewhat political high fantasy with strong fae vibes. It is the first book of a series, but it stands alone quite well. Kembral Thorne is a Hound, a member of the guild that serves as guards, investigators, and protectors. Kembral's specialty is Echo retrieval: rescues of people and animals who have fallen through a weak spot in reality into one of the strange, dangerous, and malleable layers called Echoes. Kem once rescued a dog from six layers down, an almost unheard-of feat. Kem is also a new single mother, which means her past two months have been spent in a sleep-deprived haze revolving exclusively around her much-beloved infant. Dona Marjorie Swift's year-turning party is the first time she's been out without Emmi since she gave birth, and she's only there because her sister took the child and practically shoved her out the door. Now, she's desperately trying to remember how to be social and normal, which is not made easier by the unexpected presence of Rika at the party. Rika Nonesuch is not a Hound. She's a Cat, a member of the guild of thieves and occasional assassins. They are the nemesis of the Hounds, but in a stylized and formalized way in which certain courtesies are expected. (The politics of this don't really make sense; you just have to go with it.) Kem has complicated feelings about Rika's grace, banter, and intoxicating perfume, feelings that she thought might be reciprocated until Rika drugged her during an apparent date and left her buried under a pile of garbage. She was not expecting Rika to be at this party and is definitely not ready to have a conversation with her. This emotional turmoil is rudely interrupted by the death of nearly everyone at the party via an Echo poison, the appearance of a dark figure driving a black sword into someone, and the descent of the entire party into an Echo. This was one of those books that kept getting better the farther into the book I read. I was a bit leery at first because the publisher's blurb made it sound more like horror than I prefer, but this is more the disturbing strangeness of fae creatures than the sort of gruesomeness, disgust, or body horror that I find off-putting. Most importantly, the point of this book is not to torture the characters or scare the reader. It's instead structured a bit like a murder mystery, but one whose resolution requires working out obscure fantasy rules and hidden political agendas. One of the currencies in the world of Echos is blood, but another is emotion, revelation, and the stories that bring both, and Caruso focuses the story more on that aspect than on horrifying imagery.
Rika frowned. "Resolve it? How?" "I have no idea." I couldn't keep my frustration from leaking through. "Might be that we have to delve deep into our own hearts to confront the unhealed wounds we've carried with us in secret. Might be that we have to say their names backward, or just close our eyes and they'll go away. Echoes never make any damned sense." Rika made a face. "We'd better not have to confront our unhealed wounds, or I'm leaving you to die."
All of The Last Hour Between Worlds is told in the first person from Kem's perspective, but Rika is the best character in this book. Kem is a rather straightforward, dogged, stubborn protector; Rika is complicated, selfish, conflicted, and considerably more dynamic. The first obvious twist in her background I spotted so long before Kem found out that it was a bit frustrating, but there were multiple satisfying twists after that. As advertised in the blurb, there's a sapphic romance angle here, but it's the sort that comes from a complicated friendship and a lot of mutual respect rather than love at first sight. Some of their relationship conflict is driven by misunderstanding, but the misunderstanding happens before the novel begins, which means the reader doesn't have to sit through the bit where one yells at the characters for being stupid. It helps that the characters have something concrete to do, and that driving plot problem is multi-layered and satisfying. Each time the party falls through a layer of reality, it's mostly reset to the start of the book, but the word "mostly" is hiding a lot of subtlety. Given the clock at the start of each chapter and the blurb (if one read it), the reader can make a good guess that the plot problem will not be fully resolved until the characters fall quite deep into the Echoes, but the story never felt repetitive the way that some time loop stories can. As the characters gain more understanding, the problems change, the players change, and they have to make several excursions into the surrounding world. This is the sort of fantasy that feels a bit like science fiction. You're thrown into a world with a different culture and different rules that are foreign to the reader and natural to the characters. Part of the fun of reading is figuring out the rules, history, and backstory while watching the characters try to solve the puzzles they're faced with. The writing is good but not great. Characterization was good enough for a story primarily focused on action and puzzle-solving, but it was a bit lacking in subtlety. I think Caruso's strengths showed most in the world design, particularly the magic system and the rules followed by the Echo creatures. The excursions outside of the somewhat-protected house struck a balance between eeriness and comprehensibility that reminded me of T. Kingfisher or Sandman. The human politics were unfortunately less successful and rested on some tired centrist cliches. Thankfully, this was not the main point of the story. I should also warn that there is a lot of talk about babies. Kem's entire identity at the start of the novel, to the point of incessant monologue, is "new mother." This is not a perspective we get very often in fantasy, and Kem eventually finds a steadier balance between her bond with her daughter and the other parts of her life. I think some readers will feel very seen. But Caruso leans hard into maternal bonding. So hard. If you don't want to read about someone who is deliriously obsessed with their new child, you may want to skip this one. Right after I finished this book, I thought it was amazing. Now that I've had a few days to think about it, the lack of subtlety and the facile human politics brought it down a notch. I'm a science fiction reader at heart, so I loved the slow revelation of mechanics; the reader starts the story by knowing that Kem can "blink step" but not knowing what that means, and by the end of the story one not only knows but has opinions about its limitations, political implications, and interactions with other forms of magic. The Echo worlds are treated similarly, and this type of world-building is my jam. But the cost is that the human characters, particularly the supporting cast, don't get the same focus and therefore are a bit straightforward and obvious. The subplot with Dona Vandelle was particularly annoying. Ah well. Kem and Rika's relationship did work, and it's the center of the book. If you like fantasy mechanics but are a bit leery of fae stories because they feel too symbolic or arbitrary, give this a try. It's the most satisfyingly constructed fae story that I've read in a long time. It's not great literary fiction, but it's also not trying to be; it's a puzzle adventure, and a well-executed one. Recommended, and I will definitely be reading the sequel. Content notes: Lots of violent death and other physical damage, creepy dream worlds with implied but not explicit horror, and rather a lot of blood. Followed by The Last Soul Among Wolves, not yet published at the time I wrote this review. Rating: 8 out of 10

27 December 2024

Wouter Verhelst: Writing an extensible JSON-based DSL with Moose

At work, I've been maintaining a perl script that needs to run a number of steps as part of a release workflow. Initially, that script was very simple, but over time it has grown to do a number of things. And then some of those things did not need to be run all the time. And then we wanted to do this one exceptional thing for this one case. And so on; eventually the script became a big mess of configuration options and unreadable flow, and so I decided that I wanted it to be more configurable. I sat down and spent some time on this, and eventually came up with what I now realize is a domain-specific language (DSL) in JSON, implemented by creating objects in Moose, extensible by writing more object classes. Let me explain how it works. In order to explain, however, I need to explain some perl and Moose basics first. If you already know all that, you can safely skip ahead past the "Preliminaries" section that's next.

Preliminaries

Moose object creation, references. In Moose, creating a class is done something like this:
package Foo;
use v5.40;
use Moose;
has 'attribute' => (
    is  => 'ro',
    isa => 'Str',
    required => 1
);
sub say_something  
    my $self = shift;
    say "Hello there, our attribute is " . $self->attribute;
 
The above is a class that has a single attribute called attribute. To create an object, you use the Moose constructor on the class, and pass it the attributes you want:
use v5.40;
use Foo;
my $foo = Foo->new(attribute => "foo");
$foo->say_something;
(output: Hello there, our attribute is foo) This creates a new object with the attribute attribute set to bar. The attribute accessor is a method generated by Moose, which functions both as a getter and a setter (though in this particular case we made the attribute "ro", meaning read-only, so while it can be set at object creation time it cannot be changed by the setter anymore). So yay, an object. And it has methods, things that we set ourselves. Basic OO, all that. One of the peculiarities of perl is its concept of "lists". Not to be confused with the lists of python -- a concept that is called "arrays" in perl and is somewhat different -- in perl, lists are enumerations of values. They can be used as initializers for arrays or hashes, and they are used as arguments to subroutines. Lists cannot be nested; whenever a hash or array is passed in a list, the list is "flattened", that is, it becomes one big list. This means that the below script is functionally equivalent to the above script that uses our "Foo" object:
use v5.40;
use Foo;
my %args;
$args attribute  = "foo";
my $foo = Foo->new(%args);
$foo->say_something;
(output: Hello there, our attribute is foo) This creates a hash %args wherein we set the attributes that we want to pass to our constructor. We set one attribute in %args, the one called attribute, and then use %args and rely on list flattening to create the object with the same attribute set (list flattening turns a hash into a list of key-value pairs). Perl also has a concept of "references". These are scalar values that point to other values; the other value can be a hash, a list, or another scalar. There is syntax to create a non-scalar value at assignment time, called anonymous references, which is useful when one wants to remember non-scoped values. By default, references are not flattened, and this is what allows you to create multidimensional values in perl; however, it is possible to request list flattening by dereferencing the reference. The below example, again functionally equivalent to the previous two examples, demonstrates this:
use v5.40;
use Foo;
my $args =  ;
$args-> attribute  = "foo";
my $foo = Foo->new(%$args);
$foo->say_something;
(output: Hello there, our attribute is foo) This creates a scalar $args, which is a reference to an anonymous hash. Then, we set the key attribute of that anonymous hash to bar (note the use arrow operator here, which is used to indicate that we want to dereference a reference to a hash), and create the object using that reference, requesting hash dereferencing and flattening by using a double sigil, %$. As a side note, objects in perl are references too, hence the fact that we have to use the dereferencing arrow to access the attributes and methods of Moose objects. Moose attributes don't have to be strings or even simple scalars. They can also be references to hashes or arrays, or even other objects:
package Bar;
use v5.40;
use Moose;
extends 'Foo';
has 'hash_attribute' => (
    is => 'ro',
    isa => 'HashRef[Str]',
    predicate => 'has_hash_attribute',
);
has 'object_attribute' => (
    is => 'ro',
    isa => 'Foo',
    predicate => 'has_object_attribute',
);
sub say_something  
    my $self = shift;
    if($self->has_object_attribute)  
        $self->object_attribute->say_something;
     
    $self->SUPER::say_something unless $self->has_hash_attribute;
    say "We have a hash attribute!"
 
This creates a subclass of Foo called Bar that has a hash attribute called hash_attribute, and an object attribute called object_attribute. Both of them are references; one to a hash, the other to an object. The hash ref is further limited in that it requires that each value in the hash must be a string (this is optional but can occasionally be useful), and the object ref in that it must refer to an object of the class Foo, or any of its subclasses. The predicates used here are extra subroutines that Moose provides if you ask for them, and which allow you to see if an object's attribute has a value or not. The example script would use an object like this:
use v5.40;
use Bar;
my $foo = Foo->new(attribute => "foo");
my $bar = Bar->new(object_attribute => $foo, attribute => "bar");
$bar->say_something;
(output: Hello there, our attribute is foo) This example also shows object inheritance, and methods implemented in child classes. Okay, that's it for perl and Moose basics. On to...

Moose Coercion Moose has a concept of "value coercion". Value coercion allows you to tell Moose that if it sees one thing but expects another, it should convert is using a passed subroutine before assigning the value. That sounds a bit dense without example, so let me show you how it works. Reimaginging the Bar package, we could use coercion to eliminate one object creation step from the creation of a Bar object:
package "Bar";
use v5.40;
use Moose;
use Moose::Util::TypeConstraints;
extends "Foo";
coerce "Foo",
    from "HashRef",
    via   Foo->new(%$_)  ;
has 'hash_attribute' => (
    is => 'ro',
    isa => 'HashRef',
    predicate => 'has_hash_attribute',
);
has 'object_attribute' => (
    is => 'ro',
    isa => 'Foo',
    coerce => 1,
    predicate => 'has_object_attribute',
);
sub say_something  
    my $self = shift;
    if($self->has_object_attribute)  
        $self->object_attribute->say_something;
     
    $self->SUPER::say_something unless $self->has_hash_attribute;
    say "We have a hash attribute!"
 
Okay, let's unpack that a bit. First, we add the Moose::Util::TypeConstraints module to our package. This is required to declare coercions. Then, we declare a coercion to tell Moose how to convert a HashRef to a Foo object: by using the Foo constructor on a flattened list created from the hashref that it is given. Then, we update the definition of the object_attribute to say that it should use coercions. This is not the default, because going through the list of coercions to find the right one has a performance penalty, so if the coercion is not requested then we do not do it. This allows us to simplify declarations. With the updated Bar class, we can simplify our example script to this:
use v5.40;
use Bar;
my $bar = Bar->new(attribute => "bar", object_attribute =>   attribute => "foo"  );
$bar->say_something
(output: Hello there, our attribute is foo) Here, the coercion kicks in because the value object_attribute, which is supposed to be an object of class Foo, is instead a hash ref. Without the coercion, this would produce an error message saying that the type of the object_attribute attribute is not a Foo object. With the coercion, however, the value that we pass to object_attribute is passed to a Foo constructor using list flattening, and then the resulting Foo object is assigned to the object_attribute attribute. Coercion works for more complicated things, too; for instance, you can use coercion to coerce an array of hashes into an array of objects, by creating a subtype first:
package MyCoercions;
use v5.40;
use Moose;
use Moose::Util::TypeConstraints;
use Foo;
subtype "ArrayOfFoo", as "ArrayRef[Foo]";
subtype "ArrayOfHashes", as "ArrayRef[HashRef]";
coerce "ArrayOfFoo", from "ArrayOfHashes", via   [ map   Foo->create(%$_)   @ $_  ]  ;
Ick. That's a bit more complex. What happens here is that we use the map function to iterate over a list of values. The given list of values is @ $_ , which is perl for "dereference the default value as an array reference, and flatten the list of values in that array reference". So the ArrayRef of HashRefs is dereferenced and flattened, and each HashRef in the ArrayRef is passed to the map function. The map function then takes each hash ref in turn and passes it to the block of code that it is also given. In this case, that block is Foo->create(%$_) . In other words, we invoke the create factory method with the flattened hashref as an argument. This returns an object of the correct implementation (assuming our hash ref has a type attribute set), and with all attributes of their object set to the correct value. That value is then returned from the block (this could be made more explicit with a return call, but that is optional, perl defaults a return value to the rvalue of the last expression in a block). The map function then returns a list of all the created objects, which we capture in an anonymous array ref (the [] square brackets), i.e., an ArrayRef of Foo object, passing the Moose requirement of ArrayRef[Foo]. Usually, I tend to put my coercions in a special-purpose package. Although it is not strictly required by Moose, I find that it is useful to do this, because Moose does not allow a coercion to be defined if a coercion for the same type had already been done in a different package. And while it is theoretically possible to make sure you only ever declare a coercion once in your entire codebase, I find that doing so is easier to remember if you put all your coercions in a specific package. Okay, now you understand Moose object coercion! On to...

Dynamic module loading Perl allows loading modules at runtime. In the most simple case, you just use require inside a stringy eval:
my $module = "Foo";
eval "require $module";
This loads "Foo" at runtime. Obviously, the $module string could be a computed value, it does not have to be hardcoded. There are some obvious downsides to doing things this way, mostly in the fact that a computed value can basically be anything and so without proper checks this can quickly become an arbitrary code vulnerability. As such, there are a number of distributions on CPAN to help you with the low-level stuff of figuring out what the possible modules are, and how to load them. For the purposes of my script, I used Module::Pluggable. Its API is fairly simple and straightforward:
package Foo;
use v5.40;
use Moose;
use Module::Pluggable require => 1;
has 'attribute' => (
    is => 'ro',
    isa => 'Str',
);
has 'type' => (
    is => 'ro',
    isa => 'Str',
    required => 1,
);
sub handles_type  
    return 0;
 
sub create  
    my $class = shift;
    my %data = @_;
    foreach my $impl($class->plugins)  
        if($impl->can("handles_type") && $impl->handles_type($data type ))  
            return $impl->new(%data);
         
     
    die "could not find a plugin for type " . $data type ;
 
sub say_something  
    my $self = shift;
    say "Hello there, I am a " . $self->type;
 
The new concept here is the plugins class method, which is added by Module::Pluggable, and which searches perl's library paths for all modules that are in our namespace. The namespace is configurable, but by default it is the name of our module; so in the above example, if there were a package "Foo::Bar" which
  • has a subroutine handles_type
  • that returns a truthy value when passed the value of the type key in a hash that is passed to the create subroutine,
  • then the create subroutine creates a new object with the passed key/value pairs used as attribute initializers.
Let's implement a Foo::Bar package:
package Foo::Bar;
use v5.40;
use Moose;
extends 'Foo';
has 'type' => (
    is => 'ro',
    isa => 'Str',
    required => 1,
);
has 'serves_drinks' => (
    is => 'ro',
    isa => 'Bool',
    default => 0,
);
sub handles_type  
    my $class = shift;
    my $type = shift;
    return $type eq "bar";
 
sub say_something  
    my $self = shift;
    $self->SUPER::say_something;
    say "I serve drinks!" if $self->serves_drinks;
 
We can now indirectly use the Foo::Bar package in our script:
use v5.40;
use Foo;
my $obj = Foo->create(type => bar, serves_drinks => 1);
$obj->say_something;
output:
Hello there, I am a bar.
I serve drinks!
Okay, now you understand all the bits and pieces that are needed to understand how I created the DSL engine. On to...

Putting it all together We're actually quite close already. The create factory method in the last version of our Foo package allows us to decide at run time which module to instantiate an object of, and to load that module at run time. We can use coercion and list flattening to turn a reference to a hash into an object of the correct type. We haven't looked yet at how to turn a JSON data structure into a hash, but that bit is actually ridiculously trivial:
use JSON::MaybeXS;
my $data = decode_json($json_string);
Tada, now $data is a reference to a deserialized version of the JSON string: if the JSON string contained an object, $data is a hashref; if the JSON string contained an array, $data is an arrayref, etc. So, in other words, to create an extensible JSON-based DSL that is implemented by Moose objects, all we need to do is create a system that
  • takes hash refs to set arguments
  • has factory methods to create objects, which
    • uses Module::Pluggable to find the available object classes, and
    • uses the type attribute to figure out which object class to use to create the object
  • uses coercion to convert hash refs into objects using these factory methods
In practice, we could have a JSON file with the following structure:
 
    "description": "do stuff",
    "actions": [
         
            "type": "bar",
            "serves_drinks": true,
         ,
         
            "type": "bar",
            "serves_drinks": false,
         
    ]
 
... and then we could have a Moose object definition like this:
package MyDSL;
use v5.40;
use Moose;
use MyCoercions;
has "description" => (
    is => 'ro',
    isa => 'Str',
);
has 'actions' => (
    is => 'ro',
    isa => 'ArrayOfFoo'
    coerce => 1,
    required => 1,
);
sub say_something  
    say "Hello there, I am described as " . $self->description . " and I am performing my actions: ";
    foreach my $action(@ $self->actions )  
        $action->say_something;
     
 
Now, we can write a script that loads this JSON file and create a new object using the flattened arguments:
use v5.40;
use MyDSL;
use JSON::MaybeXS;
my $input_file_name = shift;
my $args = do  
    local $/ = undef;
    open my $input_fh, "<", $input_file_name or die "could not open file";
    <$input_fh>;
 ;
$args = decode_json($args);
my $dsl = MyDSL->new(%$args);
$dsl->say_something
Output:
Hello there, I am described as do stuff and I am performing my actions:
Hello there, I am a bar
I am serving drinks!
Hello there, I am a bar
In some more detail, this will:
  • Read the JSON file and deserialize it;
  • Pass the object keys in the JSON file as arguments to a constructor of the MyDSL class;
  • The MyDSL class then uses those arguments to set its attributes, using Moose coercion to convert the "actions" array of hashes into an array of Foo::Bar objects.
  • Perform the say_something method on the MyDSL object
Once this is written, extending the scheme to also support a "quux" type simply requires writing a Foo::Quux class, making sure it has a method handles_type that returns a truthy value when called with quux as the argument, and installing it into the perl library path. This is rather easy to do. It can even be extended deeper, too; if the quux type requires a list of arguments rather than just a single argument, it could itself also have an array attribute with relevant coercions. These coercions could then be used to convert the list of arguments into an array of objects of the correct type, using the same schema as above. The actual DSL is of course somewhat more complex, and also actually does something useful, in contrast to the DSL that we define here which just says things. Creating an object that actually performs some action when required is left as an exercise to the reader.

24 December 2024

Russ Allbery: Review: Number Go Up

Review: Number Go Up, by Zeke Faux
Publisher: Crown Currency
Copyright: 2023
Printing: 2024
ISBN: 0-593-44382-9
Format: Kindle
Pages: 373
Number Go Up is a cross between a history and a first-person account of investigative journalism around the cryptocurrency bubble and subsequent collapse in 2022. The edition I read has an afterward from June 2024 that brings the story up to date with Sam Bankman-Fried's trial and a few other events. Zeke Faux is a reporter for Bloomberg News and a fellow of New America. Last year, I read Michael Lewis's Going Infinite, a somewhat-sympathetic book-length profile of Sam Bankman-Fried that made a lot of people angry. One of the common refrains at the time was that people should read Number Go Up instead, and since I'm happy to read more about the absurdities of the cryptocurrency world, I finally got around to reading the other big crypto book of 2023. This is a good book, with some caveats that I am about to explain at absurd length. If you want a skeptical history of the cryptocurrency bubble, you should read it. People who think that it's somehow in competition with Michael Lewis's book or who think the two books disagree (including Faux himself) have profoundly missed the point of Going Infinite. I agree with Matt Levine: Both of these books are worth your time if this is the sort of thing you like reading about. But (much) more on Faux's disagreements with Lewis later. The frame of Number Go Up is Faux's quixotic quest to prove that Tether is a fraud. To review this book, I therefore need to briefly explain what Tether is. This is only the first of many extended digressions. One natural way to buy cryptocurrency would be to follow the same pattern as a stock brokerage account. You would deposit some amount of money into the account (or connect the brokerage account to your bank account), and then exchange money for cryptocurrency or vice versa, using bank transfers to put money in or take it out. However, there are several problems with this. One is that swapping cryptocurrency for money is awkward and sometimes expensive. Another is that holding people's investment money for them is usually highly regulated, partly for customer safety but also to prevent money laundering. These are often called KYC laws (Know Your Customer), and the regulation-hostile world of cryptocurrency didn't want to comply with them. Tether is a stablecoin, which means that the company behind Tether attempts to guarantee that one Tether is always worth exactly one US dollar. It is not a speculative investment like Bitcoin; it's a cryptocurrency substitute for dollars. People exchange dollars for Tether to get their money into the system and then settle all of their subsequent trades in Tether, only converting the Tether back to dollars when they want to take their money out of cryptocurrency entirely. In essence, Tether functions like the cash reserve in a brokerage account: Your Tether holdings are supposedly guaranteed to be equivalent to US dollars, you can withdraw them at any time, and because you can do so, you don't bother, instead leaving your money in the reserve account while you contemplate what new coin you want to buy. As with a bank, this system rests on the assurance that one can always exchange one Tether for one US dollar. The instant people stop believing this is true, people will scramble to get their money out of Tether, creating the equivalent of a bank run. Since Tether is not a regulated bank or broker and has no deposit insurance or strong legal protections, the primary defense against a run on Tether is Tether's promise that they hold enough liquid assets to be able to hand out dollars to everyone who wants to redeem Tether. (A secondary defense that I wish Faux had mentioned is that Tether limits redemptions to registered accounts redeeming more than $100,000, which is a tiny fraction of the people who hold Tether, but for most purposes this doesn't matter because that promise is sufficient to maintain the peg with the dollar.) Faux's firmly-held belief throughout this book is that Tether is lying. He believes they do not have enough money to redeem all existing Tether coins, and that rather than backing every coin with very safe liquid assets, they are using the dollars deposited in the system to make illiquid and risky investments. Faux never finds the evidence that he's looking for, which makes this narrative choice feel strange. His theory was tested when there was a run on Tether following the collapse of the Terra stablecoin. Tether passed without apparent difficulty, redeeming $16B or about 20% of the outstanding Tether coins. This doesn't mean Faux is wrong; being able to redeem 20% of the outstanding tokens is very different from being able to redeem 100%, and Tether has been fined for lying about its reserves. But Tether is clearly more stable than Faux thought it was, which makes the main narrative of the book weirdly unsatisfying. If he admitted he might be wrong, I would give him credit for showing his work even if it didn't lead where he expected, but instead he pivots to focusing on Tether's role in money laundering without acknowledging that his original theory took a serious blow. In Faux's pursuit of Tether, he wanders through most of the other elements of the cryptocurrency bubble, and that's the strength of this book. Rather than write Number Go Up as a traditional history, Faux chooses to closely follow his own thought processes and curiosity. This has the advantage of giving Faux an easy and natural narrative, something that non-fiction books of this type can struggle with, and it lets Faux show how confusing and off-putting the cryptocurrency world is to an outsider. The best parts of this book were the parts unrelated to Tether. Faux provides an excellent summary of the Axie Infinity speculative bubble and even traveled to the Philippines to interview people who were directly affected. He then wandered through the bizarre world of NFTs, and his first-hand account of purchasing one (specifically a Mutant Ape) to get entrance to a party (which sounded like a miserable experience I would pay money to get out of) really drives home how sketchy and weird cryptocurrency-related software and markets can be. He also went to El Salvador to talk to people directly about the country's supposed embrace of Bitcoin, and there's no substitute for that type of reporting to show how exaggerated and dishonest the claims of cryptocurrency adoption are. The disadvantage of this personal focus on Faux himself is that it sometimes feels tedious or sensationalized. I was much less interested in his unsuccessful attempts to interview the founder of Tether than Faux was, and while the digression into forced labor compounds in Cambodia devoted to pig butchering scams was informative (and horrific), I think Faux leaned too heavily on an indirect link to Tether. His argument is that cryptocurrency enables a type of money laundering that is particularly well-suited to supporting scams, but both scams and this type of economic slavery existed before cryptocurrency and will exist afterwards. He did not make a very strong case that Tether was uniquely valuable as a money laundering service, as opposed to a currently useful tool that would be replaced with some other tool should it go away. This part of the book is essentially an argument that money laundering is bad because it enables crime, and sure, to an extent I agree. But if you're going to put this much emphasis on the evils of money laundering, I think you need to at least acknowledge that many people outside the United States do not want to give US government, which is often openly hostile to them, veto power over their financial transactions. Faux does not. The other big complaint I have with this book, and with a lot of other reporting on cryptocurrency, is that Faux is sloppy with the term "Ponzi scheme." This is going to sound like nit-picking, but I think this sloppiness matters because it may obscure an ongoing a shift in cryptocurrency markets. A Ponzi scheme is not any speculative bubble. It is a very specific type of fraud in which investors are promised improbably high returns at very low risk and with safe principal. These returns are paid out, not via investment in some underlying enterprise, but by taking the money from new investments and paying it to earlier investors. Ponzi schemes are doomed because satisfying their promises requires a constantly increasing flow of new investors. Since the population of the world is finite, all Ponzi schemes are mathematically guaranteed to eventually fail, often in a sudden death spiral of ever-increasing promises to lure new investors when the investment stream starts to dry up. There are some Ponzi schemes in cryptocurrency, but most practices that are called Ponzi schemes are not. For example, Faux calls Axie Infinity a Ponzi scheme, but it was missing the critical elements of promised safe returns and fraudulently paying returns from the investments of later investors. It was simply a speculative bubble that people bought into on the assumption that its price would increase, and like any speculative bubble those who sold before the peak made money at the expense of those who bought at the peak. The reason why this matters is that Ponzi schemes are a self-correcting problem. One can decry the damage caused when they collapse, but one can also feel the reassuring certainty that they will inevitably collapse and prove the skeptics correct. The same is not true of speculative assets in general. You may think that the lack of an underlying economic justification for prices means that a speculative bubble is guaranteed to collapse eventually, but in the famous words of Gary Schilling, "markets can remain irrational a lot longer than you and I can remain solvent." One of the people Faux interviews explains this distinction to him directly:
Rong explained that in a true Ponzi scheme, the organizer would have to handle the "fraud money." Instead, he gave the sneakers away and then only took a small cut of each trade. "The users are trading between each other. They are not going through me, right?" Rong said. Essentially, he was arguing that by downloading the Stepn app and walking to earn tokens, crypto bros were Ponzi'ing themselves.
Faux is openly contemptuous of this response, but it is technically correct. Stepn is not a Ponzi scheme; it's a speculative bubble. There are no guaranteed returns being paid out of later investments and no promise that your principal is safe. People are buying in at price that you may consider irrational, but Stepn never promised you would get your money back, let alone make a profit, and therefore it doesn't have the exponential progression of a Ponzi scheme. One can argue that this is a distinction without a moral difference, and personally I would agree, but it matters immensely if one is trying to analyze the future of cryptocurrencies. Schemes as transparently unstable as Stepn (which gives you coins for exercise and then tries to claim those coins have value through some vigorous hand-waving) are nearly as certain as Ponzi schemes to eventually collapse. But it's also possible to create a stable business around allowing large numbers of people to regularly lose money to small numbers of sophisticated players who are collecting all of the winnings. It's called a poker room at a casino, and no one thinks poker rooms are Ponzi schemes or are doomed to collapse, even though nearly everyone who plays poker will lose money. This is the part of the story that I think Faux largely missed, and which Michael Lewis highlights in Going Infinite. FTX was a legitimate business that made money (a lot of money) off of trading fees, in much the same way that a casino makes money off of poker rooms. Lots of people want to bet on cryptocurrencies, similar to how lots of people want to play poker. Some of those people will win; most of those people will lose. The casino doesn't care. Its profit comes from taking a little bit of each pot, regardless of who wins. Bankman-Fried also speculated with customer funds, and therefore FTX collapsed, but there is no inherent reason why the core exchange business cannot be stable if people continue to want to speculate in cryptocurrencies. Perhaps people will get tired of this method of gambling, but poker has been going strong for 200 years. It's also important to note that although trading fees are the most obvious way to be a profitable cryptocurrency casino, they're not the only way. Wall Street firms specialize in finding creative ways to take a cut of every financial transaction, and many of those methods are more sophisticated than fees. They are so good at this that buying and selling stock through trading apps like Robinhood is free. The money to run the brokerage platform comes from companies that are delighted to pay for the opportunity to handle stock trades by day traders with a phone app. This is not, as some conspiracy theories would have you believe, due to some sort of fraudulent price manipulation. It is because the average person with a Robinhood phone app is sufficiently unsophisticated that companies that have invested in complex financial modeling will make a steady profit taking the other side of their trades, mostly because of the spread (the difference between offered buy and sell prices). Faux is so caught up in looking for Ponzi schemes and fraud that I think he misses this aspect of cryptocurrency's transformation. Wall Street trading firms aren't piling into cryptocurrency because they want to do securities fraud. They're entering this market because there seems to be persistent demand for this form of gambling, cryptocurrency markets reward complex financial engineering, and running a legal casino is a profitable business model. Michael Lewis appears as a character in this book, and Faux portrays him quite negatively. The root of this animosity appears to stem from a cryptocurrency conference in the Bahamas that Faux attended. Lewis interviewed Bankman-Fried on stage, and, from Faux's account, his questions were fawning and he praised cryptocurrencies in ways that Faux is certain he knew were untrue. From that point on, Faux treats Lewis as an apologist for the cryptocurrency industry and for Sam Bankman-Fried specifically. I think this is a legitimate criticism of Lewis's methods of getting close to the people he wants to write about, but I think Faux also makes the common mistake of assuming Lewis is a muckraking reporter like himself. This has never been what Lewis is interested in. He writes about people he finds interesting and that he thinks a reader will also find interesting. One can legitimately accuse him of being credulous, but that's partly because he's not even trying to do the same thing Faux is doing. He's not trying to judge; he's trying to understand. This shows when it comes to the parts of this book about Sam Bankman-Fried. Faux's default assumption is that everyone involved in cryptocurrency is knowingly doing fraud, and a lot of his research is looking for evidence to support the conclusion he had already reached. I don't think there's anything inherently wrong with that approach: Faux is largely, although not entirely, correct, and this type of hostile journalism is incredibly valuable for society at large. Upton Sinclair didn't start writing The Jungle with an open mind about the meat-packing industry. But where Faux and Lewis disagree on Bankman-Fried's motivations and intentions, I think Lewis has the much stronger argument. Faux's position is that Bankman-Fried always intended to steal people's money through fraud, perhaps to fund his effective altruism donations, and his protestations that he made mistakes and misplaced funds are obvious lies. This is an appealing narrative if one is looking for a simple villain, but Faux's evidence in support of this is weak. He mostly argues through stereotype: Bankman-Fried was a physics major and a Jane Street trader and therefore could not possibly be the type of person to misplace large amounts of money or miscalculate risk. If he wants to understand how that could be possible, he could read Going Infinite? I find it completely credible that someone with what appears to be uncontrolled, severe ADHD could be adept at trading and calculating probabilities and yet also misplace millions of dollars of assets because he wasn't thinking about them and therefore they stopped existing. Lewis made a lot of people angry by being somewhat sympathetic to someone few people wanted to be sympathetic towards, but Faux (and many others) are also misrepresenting his position. Lewis agrees that Bankman-Fried intentionally intermingled customer funds with his hedge fund and agrees that he lied about doing this. His only contention is that Bankman-Fried didn't do this to steal the money; instead, he invested customer money in risky bets that he thought would pay off. In support of this, Lewis made a prediction that was widely scoffed at, namely that much less of FTX's money was missing than was claimed, and that likely most or all of it would be found. And, well, Lewis was basically correct? The FTX bankruptcy is now expected to recover considerably more than the amount of money owed to creditors. Faux argues that this is only because the bankruptcy clawed back assets and cryptocurrencies have gone up considerably since the FTX bankruptcy, and therefore that the lost money was just replaced by unexpected windfall profits on other investments, but I don't think this point is as strong as he thinks it is. Bankman-Fried lost money on some of what he did with customer funds, made money on other things, and if he'd been able to freeze withdrawals for the year that the bankruptcy froze them, it does appear most of the money would have been recoverable. This does not make what he did legal or morally right, but no one is arguing that, only that he didn't intentionally steal money for his own personal gain or for effective altruism donations. And on that point, I don't think Faux is giving Lewis's argument enough credit. I have a lot of complaints about this book because I know way too much about this topic than anyone should probably know. I think Faux missed the plot in a couple of places, and I wish someone would write a book about where cryptocurrency markets are currently going. (Matt Levine's Money Stuff newsletter is quite good, but it's about all sorts of things other than cryptocurrency and isn't designed to tell a coherent story.) But if you know less about cryptocurrency and just want to hear the details of the run-up to the 2022 bubble, this is a great book for that. Faux is writing for people who are already skeptical and is not going to convince people who are cryptocurrency true believers, but that's fine. The details are largely correct (and extensively footnoted) and will satisfy most people's curiosity. Lewis's Going Infinite is a better book, though. It's not the same type of book at all, and it will not give you the broader overview of the cryptocurrency world. But if you're curious about what was going through the head of someone at the center of all of this chaos, I think Lewis's analysis is much stronger than Faux's. I'm happy I read both books. Rating: 8 out of 10

23 December 2024

Russ Allbery: Dropping the git protocol

Ever since I started converting my free software repositories to Git and hosting them on git.eyrie.org, I've made them available via the Git network protocol (the one that uses git:// URLs). This protocol doesn't support TLS or any other form of integrity checking on the wire and has been gently deprecated for some time. Recent changes to git daemon broke the way I was managing permissions for my personal repositories, which meant that the git://git.eyrie.org/ URLs have been broken for several months. Since no one has complained or apparently noticed, this seems like a good excuse to drop support entirely and run one fewer service. All of my personal repositories will continue to be accessible via Git over HTTPS, which is now the standard for anonymous Git checkouts. If the prior URL was git://git.eyrie.org/area/package.git, the new URL is https://git.eyrie.org/git/area/package.git. I've updated my web pages accordingly. This protocol provides integrity protection on the wire and a moderate amount of authentication of my server via a Let's Encrypt certificate.

Russ Allbery: Review: The House That Walked Between Worlds

Review: The House That Walked Between Worlds, by Jenny Schwartz
Series: Uncertain Sanctuary #1
Publisher: Jenny Schwartz
Copyright: June 2020
Printing: September 2024
ASIN: B0DBX6GP8Z
Format: Kindle
Pages: 215
The House That Walked Between Worlds is the first book of a self-published trilogy of... hm. Space fantasy? Pure fantasy with a bit of science fiction thrown in for flavor? Something like that. I read it as part of the Uncertain Sanctuary omnibus, which is reflected in the sidebar metadata. Kira Aist is a doctor. She's also a witch and a direct descendant of Baba Yaga. Her Russian grandmother warned her to never use magic and never reveal who she was because people would hunt her and her family if she did. She broke the rule to try to save a child, her grandmother was right, and now multiple people are dead, including her parents. As the story opens, she's deep in the wilds of New Zealand in a valley with buried moa bones, summoning her House so that she can flee Earth. Kira's first surprise is that her House is not the small hut that she was expecting from childhood visits to Baba Yaga. It's larger. A lot larger: an obsidian castle with nine towers and legs that resemble dragons rather than the moas whose magic she drew on. Her magic apparently had a much different idea of what she needs than she did. Her second surprise is that her magical education is highly incomplete, and she is not the witch that she thought she was. Her ability to create a House means that she's a sorcerer, the top tier of magical power in a hierarchy about which she knows essentially nothing. Thankfully the House has a library, but Kira has a lot to learn about the universe and her place in it. I picked this up because the premise sounded a little like the Innkeeper novels, and since another novel in that series does not appear to be immediately forthcoming, I went looking elsewhere for my cozy sentient building fix. The House That Walked Between Worlds is nowhere near as well-written (or, frankly, coherent) as the Innkeeper books, but it did deliver some of the same vibes. You should know going in that there isn't much in the way of a plot. Schwartz invented an elaborate setting involving archetype worlds inhabited by classes of mythological creatures that in some mystical sense surround a central system called Qaysar. These archetype worlds spawn derived worlds, each of which seems to be its own dimension, although the details are a bit murky to me. The world Kira thinks of as Earth is just one of the universes branched off of an archetypal Earth, and is the only one of those branchings where the main population is human. The other Earth-derived worlds are populated by the Dinosaurians and the Neanderthals. Similarly, there is a Fae world that branches into Elves and Goblins, an Epic world that branches into Shifters, Trolls, and Kobolds, and so forth. Travel between these worlds is normally by slow World Walker Caravans, but Houses break the rules of interdimensional travel in ways that no one entirely understands. If your eyes are already starting to glaze over, be warned there's a lot of this. The House That Walked Between Worlds is infodumping mixed with vibes, and I think you have to enjoy the setting, or at least the sheer enthusiasm of Schwartz's presentation of it, to get along with this book. The rest of the story is essentially Kira picking up strays: first a dangerous-looking elf cyborg, then a juvenile giant cat (because of course there's a pet fantasy space cat; it's that sort of book), and then a charming martial artist who I'm fairly sure is up to no good. Kira is entirely out of her depth and acting on instinct, which luckily plays into stereotypes of sorcerers as mysterious and unpredictable. It also helps that her magic is roughly "anything she wants to happen, happens." This is, in other words, not a tightly-crafted story with coherent rules and a sense of risk and danger. It's a book that succeeds or fails almost entirely on how much you like the main characters and enjoy the world-building. Thankfully, I thought the characters were fun, if not (so far) all that deep. Kira deals with her trauma without being excessively angsty and leans into her new situation with a chaotic decisiveness that I found charming. The cyborg elf is taciturn and a bit inscrutable at first, but he grew on me, and thankfully this book does not go immediately to romance. Late in the book, Kira picks up a publicity expert, which was not at all the type of character that I was expecting and which I found delightful. Most importantly, the House was exactly what I was looking for: impish, protective, mysterious, inhuman, and absurdly overpowered. I adore cozy sentient building stories, so I'm an easy audience for this sort of thing, but I'm already eager to read more about the House. This is not great writing by any stretch, and you will be unsurprised that it's self-published. If you're expecting the polish and plot coherence of the Innkeeper stories, you'll be disappointed. But if you just want to spend some time with a giant sentient space-traveling mansion inhabited by unlikely misfits, and you don't mind large amounts of space fantasy infodumping, consider giving this a shot. I had fun with it and plan on reading the rest of the omnibus. Followed by House in Hiding. Rating: 6 out of 10

22 December 2024

Russ Allbery: Review: Beyond the Fringe

Review: Beyond the Fringe, by Miles Cameron
Series: Arcana Imperii #1.5
Publisher: Gollancz
Copyright: 2023
ISBN: 1-3996-1537-8
Format: Kindle
Pages: 173
Beyond the Fringe is a military science fiction short story collection set in the same universe as Artifact Space. It is intended as a bridge between that novel and its sequel, Deep Black. Originally I picked this up for exactly the reason it was published: I was eagerly awaiting Deep Black and thought I'd pass the time with some filler short fiction. Then, somewhat predictably, I didn't get around to reading it until after Deep Black was already out. I still read this collection first, partly because I'm stubborn about reading things in publication order but mostly to remind myself of what was going on in Artifact Space before jumping into the sequel. My stubbornness was satisfied. My memory was not; there's little to no background information here, and I had to refresh my memory of the previous book anyway to figure out the connections between these stories and the novel. My own poor decisions aside, these stories are... fine, I guess? They're competent military SF short fiction, mostly more explicitly military than Artifact Space. All of them were reasonably engaging. None of them were that memorable or would have gotten me to read the series on their own. They're series filler, in other words, offering a bit of setup for the next novel but not much in the way of memorable writing or plot. If you really want more in this universe, this exists, but my guess (not having read Deep Black) is that it's entirely skippable. "Getting Even": A DHC paratrooper lands on New Shenzen, a planet that New Texas is trying to absorb into the empire it is attempting to build. He gets captured by one group of irregulars and then runs into another force with an odd way of counting battle objectives. I think this exists because Cameron wanted to tell a version of a World War II story he'd heard, but it's basically a vignette about a weird military unit with no real conclusion, and I am at a loss as to the point of the story. There isn't even much in the way of world-building. I'm probably missing something, but I thought it was a waste of time. (4) "Partners": The DHC send a planetary exobiologist to New Texas as a negotiator. New Texas is aggressively, abusively capitalist and is breaking DHC regulations on fair treatment of labor. Why send a planetary exobiologist is unclear (although probably ties into the theme of this collection that the reader slowly pieces together); maybe it's because he's originally from New Texas, but more likely it's because of his partner. Regardless, the New Texas government are exploitative assholes with delusions of grandeur, so the negotiations don't go very smoothly. This was my favorite story of the collection just because I enjoy people returning rudeness and arrogance to sender, but like a lot of stories in this collection it doesn't have much of an ending. I suspect it's mostly setup for Deep Black. (7) "Dead Reckoning": This is the direct fallout of the previous story and probably has the least characterization of this collection. It covers a few hours of a merchant ship having to make some fast decisions in a changing political situation. The story is framed around a veteran spacer and his new apprentice, although even that frame is mostly dropped once the action starts. It was suspenseful and enjoyable enough while I was reading it, but it's the sort of story that you forget entirely after it's over. (6) "Trade Craft": Back on a planet for this story, which follows an intelligence agent on a world near but not inside New Texas's area of influence. I thought this was one of the better stories of the collection even though it's mostly action. There are some good snippets of characterization, an interesting mix of characters, and some well-written tense scenes. Unfortunately, I did not enjoy the ending for reasons that would be spoilers. Otherwise, this was good but forgettable. (6) "One Hour": This is the first story with a protagonist outside of the DHC and its associates. It instead follows a PTX officer (PTX is a competing civilization that features in Artifact Space) who has suspicions about what his captain is planning and recruits his superior officer to help him do something about it. This is probably the best story in the collection, although I personally enjoyed "Partners" a smidgen more. Shunfu, the first astrogator who is recruited by the protagonist, is a thoroughly enjoyable character, and the story is tense and exciting all the way through. For series readers, it also adds some depth to events in Artifact Space (if the reader remembers them), and I suspect will lead directly into Deep Black. (7) "The Gifts of the Magi": A kid and his mother, struggling asteroid miners with ancient and malfunctioning equipment, stumble across a DHC ship lurking in the New Texas system for a secret mission. This is a stroke of luck for the miners, since the DHC is happy to treat the serious medical problems of the mother without charging unaffordable fees the way that the hyper-capitalist New Texas doctors would. It also gives the reader a view into DHC's covert monitoring of the activities of New Texas that all the stories in this collection have traced. As you can tell from the title, this is a Christmas story. The crew of the DHC ship is getting ready to celebrate Alliday, which they claim rolls all of the winter holidays into one. Just like every other effort to do this, no, it does not, it just subsumes them all into Christmas with some lip service to other related holidays. I am begging people to realize that other religions often do not have major holidays in December, and therefore you cannot include everyone by just declaring December to be religious holiday time and thinking that will cover it. There is the bones of an interesting story here. The covert mission setup has potential, the kid and his mother are charming if cliched, there's a bit of world-building around xenoglas (the magical alien material at the center of the larger series plot), and there's a lot of foreshadowing for Deep Black. Unfortunately, this is too obviously a side story and a setup story: none of this goes anywhere satisfying, and along the way the reader has to endure endless rather gratuitous Christmas references, such as the captain working on a Nutcracker ballet performance for the ship talent show. This isn't bad, exactly, but it rubbed me the wrong way. If you love Christmas stories, you may find it more agreeable. (5) Rating: 6 out of 10

21 December 2024

Joey Hess: aiming at December

I have been working all year on a solar upgrade aimed at December. Now here it is, midwinter, and my electric car is charging on a cloudy day from my offgrid solar fence. I lived happily enough with 1 kilowatt of solar that I installed in 2017. Meanwhile, solar panel prices came down massively, incentives increased and everything came together: This was the year. In the spring I started clearing forest trees that were leaning over the house, making both a firebreak and a solar field. In June I picked up a pallet of panels in a box truck.
a porch with a a bunch of solar panels, stacked on edge leaning up against the wall. A black and white cat is sprawled in front of them.
In August I bought the EV and was able to charge it offgrid from my old solar system... a few miles per day on the most sunny days. In September and October I built a solar fence, of my own design.
Me standing in front of the solar fence, which is 10 panels long
For the past several weeks I have been installing additional solar panels on ballasted ground mounts full of gravel. At this point I'm half way through installing my 30 panel upgrade. The design goal of my 12 kilowatt system is to produce 1 kilowatt of power all day on a cloudy day in midwinter, which allows swapping between major loads (EV charger, hot water heater, etc) on a cloudy day and running everything on a sunny day. So the size of the battery bank doesn't matter much. Batteries are getting cheaper fast too, but they are a wear item, so it's better to oversize the solar system and minimize the battery. A lot of this is nonstandard and experimental. And that makes sense with the price of solar panels. It costs more to mount solar panels now than the panels are worth. And non-ideal panel orientation isn't a problem when the system is massively overpaneled. I'm hoping to finish up the install before the end of winter. I have more trees to clear, more ballasted ground mounts to install, and need to come up with something even more experimental for a half dozen or so panels. Using solar panels as mounts for solar panels? Hanging them from trees? Soon the wan light will fade, time to head off to the solstice party to enjoy the long night, and a bonfire.
Solar fence with some ballasted ground mounts in front of it, late evening light. Old pole mounted solar panels in the foreground are from the 90's.

20 December 2024

Steve Kemp: The CP/M emulator runs on Windows?

Today I made a new release of my CP/M emulator and I think that maybe now it will run on Microsoft Windows. Unfortunately I cannot test it! A working CP/M implementation needs to provide facilities for reading input from the console, both reading a complete line of text and individual keystrokes. These input functions need to handle several different types of input: In the past we used a Unix-specific approach to handle the enabling and disabling of keyboard echoing (specifically we executed the stty binary to enable/disable echos), but this release adds a more portable solution, based around termbox-go which is the new default, and should allow our emulator to work on Microsoft Windows systems. We always had the ability to select between a number of different output drivers, and as of this release we can now select between multiple input drivers too - with the new portable option being the default. This has been tested on MacOS X systems, as well as GNU/Linux, but sadly I don't have access to Windows to test that. Fingers crossed it's all good now though, happy new year!

Noah Meyerhans: Local Development VM Management

A coworker asked recently about how people use VMs locally for dev work, so I figured I d take a few minutes to write up a bit about what I do. There are many use cases for local virtual machines in software development and testing. They re self-contained, meaning you can make a mess of them without impacting your day-to-day computing environment. They can run different distributions, kernels, and even entirely different operating systems from the one you use regularly. Etc. They re also cheaper than cloud services and provide finer grained control over the resources. I figured I d share a little bit about how I manage different virtual machines in case anybody finds this useful. This is what works for me, but it won t necessarily work for you, or maybe you ve already got something better. I ve found it to be easy to work with, light weight, and is easy to evolve my needs change.

Use short-lived VMs Rather than keep a long-lived development VM around that you customize over time, I recommend automating the common customizations and provisioning new VMs regularly. If I m working on reproducing a bug or testing a change prior to submitting it upstream, I ll do this work in a VM and delete the VM when when I m done. When provisioning VMs this frequently, though, walking through the installation process for every new VM is tedious and a waste of time. Since most of my work is done in Debian, so I start with images generated daily by the cloud team. These images are available for multiple releases and architectures. The nocloud variant boots to a root prompt and can be useful directly, or the generic images can be used for cloud-init based customization.

Automating image preparation This makefile lets me do something like make image and get a new qcow2 image with the latest build of a given Debian release (sid by default, with others available by specifying DIST).
DATESTAMP=$(shell date +"%Y-%m-%d")
FLAVOR?=generic
ARCH?=$(shell dpkg --print-architecture)
DIST?=sid
RELEASE=$(DIST)
URL_PATH=https://cloud.debian.org/images/cloud/$(DIST)/daily/latest/
ifeq ($(DIST),trixie)
RELEASE=13
endif
ifeq ($(DIST),bookworm)
RELEASE=12
endif
ifeq ($(DIST),bullseye)
RELEASE=11
endif
debian-$(DIST)-$(FLAVOR)-$(ARCH)-daily.tar.xz:
curl --fail --connect-timeout 20 -LO \
$(URL_PATH)/debian-$(RELEASE)-$(FLAVOR)-$(ARCH)-daily.tar.xz
$(DIST)-$(FLAVOR)-$(DATESTAMP).qcow2: debian-$(RELEASE)-$(FLAVOR)-$(ARCH)-daily.tar.xz
tar xvf debian-$(RELEASE)-$(FLAVOR)-$(ARCH)-daily.tar.xz
qemu-img convert -O qcow2 disk.raw $@
rm -f disk.raw
qemu-img resize $@ 20g
qemu-img snapshot -c untouched $@
image: $(DIST)-$(FLAVOR)-$(DATESTAMP).qcow2
.PHONY: image

Customize the VM environment with cloud-init While the nocloud images can be useful, I typically find that I want to apply the same modifications to each new VM I launch, and they don t provide facilities for automating this. The generic images, on the other hand, run cloud-init by default. Using cloud-init, I can create my user account, point apt at local mirrors, install my preferred tools, ensure the root filesystem is resized to make full use of the backing storage, etc. The cloud-init configuration on the generic images will read from a local config drive, which can contain an ISO9660 (cdrom) filesystem image. This image can be generated from a subdirectory containing the various cloud-init input files using the following make syntax:
IMDS_FILES=$(shell find seedconfig -path '*/.git/*' \
-prune -o -type f -name '*.in.json' -print) \
seedconfig/openstack/latest/user_data
seed.iso: $(IMDS_FILES)
genisoimage -V config-2 -o $@ -J -R -m '*~' -m '.git' seedconfig
With the image in place, the VM can be created with
 qemu-system-x86_64 -machine q35,accel=kvm
-cpu host -m 4g -drive file=$ img ,index=0,if=virtio,media=disk
-drive file=seed.iso,media=cdrom,format=raw,index=2,if=virtio
-nic user -nographic
This invokes qemu with the root volume and ISO image attached as disks, uses an emulated q35 machine with the host s CPU and KVM acceleration, the userspace network stack, and a serial console. The first time the VM boots, cloud-init will apply the configuration from the cloud-config available in the ISO9660 filesystem.

Alternatives to cloud-init virt-customize is another tool accomplishing the same type of customization. I use cloud-init because it works directly with cloud providers in addition to local VM images. You could also use something like ansible.

Variations I have a variant of this that uses a bridged network, which I ll write more about later. The bridge is nice because it s more featureful, with full support for IPv6, etc, but it needs a bit more infrastructure in place. It also can be helpful to use 9p or virtfs to share filesystem state between the host the VM. I don t tend to rely on these, and will instead use rsync or TRAMP for moving files around. Containers are also useful, of course, and there are plenty of times when the full isolation of a VM is not worth the overhead.

19 December 2024

Gregory Colpart: MiniDebConf Toulouse 2024

After the MiniDebConf Marseille 2019, COVID-19 made it impossible or difficult to organize new MiniDebConfs for a few years. With the gradual resumption of in-person events (like FOSDEM, DebConf, etc.), the idea emerged to host another MiniDebConf in France, but with a lighter organizational load. In 2023, we decided to reach out to the organizers of Capitole du Libre to repeat the experience of 2017: hosting a MiniDebConf alongside their annual event in Toulouse in November. However, our request came too late for 2023. After discussions with Capitole du Libre in November 2023 in Toulouse and again in February 2024 in Brussels, we confirmed that a MiniDebConf Toulouse would take place in November 2024! We then assembled a small organizing team and got to work: a Call for Papers in May 2024, adding a two-day MiniDebCamp, coordinating with the DebConf video team, securing sponsors, creating a logo, ordering T-shirts and stickers, planning the schedule, and managing registrations. Even with lighter logistics (conference rooms, badges, and catering during the weekend were handled by Capitole du Libre), there was still quite a bit of preparation to do. On Thursday, November 14, and Friday, November 15, 2024, about forty developers arrived from around the world (France, Spain, Italy, Switzerland, Germany, England, Brazil, Uruguay, India, Brest, Marseille ) to spend two days at the MiniDebCamp in the beautiful collaborative spaces of Artilect in Toulouse city center.
Then, on Saturday, November 16, and Sunday, November 17, 2024, the MiniDebConf took place at ENSEEIHT as part of the Capitole du Libre event. The conference kicked off on Saturday morning with an opening session by J r my Lecour, which included a tribute to Lunar (Nicolas Dandrimont). This was followed by Reproducible Builds Rebuilding What is Distributed from ftp.debian.org (Holger Levsen) and Discussion on My Research Work on Sustainability of Debian OS (Eda). After lunch at the Capitole du Libre food trucks, the intense afternoon schedule began: What s New in the Linux Kernel (and What s Missing in Debian) (Ben Hutchings), Linux Live Patching in Debian (Santiago Ruano Rinc n), Trixie on Mobile: Are We There Yet? (Arnaud Ferraris), PostgreSQL Container Groups, aka cgroups Down the Road (C dric Villemain), Upgrading a Thousand Debian Hosts in Less Than an Hour (J r my Lecour and myself), and Using Debusine to Automate Your QA (Stefano Rivera & co). Sunday marked the second day, starting with a presentation on DebConf 25 (Benjamin Somers), which will be held in Brest in July 2025. The morning continued with talks: How LTS Goes Beyond LTS (Santiago Ruano Rinc n & Roberto C. S nchez), Cross-Building (Helmut Grohne), and State of JavaScript (Bastien Roucari s). In the afternoon, there were Lightning Talks, PyPI Security: Past, Present & Future (Salvo LtWorf Tomaselli), and the classic Bits from DPL (Andreas Tille), before closing with the final session led by Pierre-Elliott B cue. All talks are available on video (a huge thanks to the amazing DebConf video team), and many thanks to our sponsors (Viridien, Freexian, Evolix, Collabora, and Data Bene). A big thank-you as well to the entire Capitole du Libre team for hosting and supporting us see you in Brest in July 2025! Articles about (or mentioning) MiniDebConf Toulouse:

18 December 2024

Simon Josefsson: Guix Container Images for GitLab CI/CD

I am using GitLab CI/CD pipelines for several upstream projects (libidn, libidn2, gsasl, inetutils, libtasn1, libntlm, ) and a long-time concern for these have been that there is too little testing on GNU Guix. Several attempts have been made, and earlier this year Ludo came really close to finish this. My earlier effort to idempotently rebuild Debian recently led me to think about re-bootstrapping Debian. Since Debian is a binary distribution, it re-use earlier binary packages when building new packages. The prospect of re-bootstrapping Debian in a reproducible way by rebuilding all of those packages going back to the beginning of time does not appeal to me. Instead, wouldn t it be easier to build Debian trixie (or some future release of Debian) from Guix, by creating a small bootstrap sandbox that can start to build Debian packages, and then make sure that the particular Debian release can idempotently rebuild itself in a reproducible way? Then you will eventually end up with a reproducible and re-bootstrapped Debian, which pave the way for a trustworthy release of Trisquel. Fortunately, such an endeavour appears to offer many rabbit holes. Preparing Guix container images for use in GitLab pipelines is one that I jumped into in the last few days, and just came out of. Let s go directly to the point of this article: here is a GitLab pipeline job that runs in a native Guix container image that builds libksba after installing the libgpg-error dependency from Guix using the pre-built substitutes.
test-amd64-latest-wget-configure-make-libksba:
  image: registry.gitlab.com/debdistutils/guix/container:latest
  before_script:
  - lndir /gnu/store/*profile/etc/ /etc
  - rm -f /etc/group
  - groupadd --system guixbuild
  - for i in $(seq -w 1 10); do useradd -g guixbuild -G guixbuild -d /var/empty -s $(command -v nologin) -c "Guix build user $i" --system guixbuilder$i; done
  - export HOME=/
  - export LANG=C.UTF-8
  - guix-daemon --disable-chroot --build-users-group=guixbuild &
  - guix archive --authorize < /share/guix/ci.guix.gnu.org.pub
  - guix archive --authorize < /share/guix/bordeaux.guix.gnu.org.pub
  - guix describe
  - guix package -i libgpg-error
  - GUIX_PROFILE="//.guix-profile"
  - . "$GUIX_PROFILE/etc/profile"
  script:
  - wget https://www.gnupg.org/ftp/gcrypt/libksba/libksba-1.6.7.tar.bz2
  - tar xfa libksba-1.6.7.tar.bz2
  - cd libksba-1.6.7
  - ./configure
  - make V=1
  - make check VERBOSE=t V=1
You can put that in a .gitlab-ci.yml and push it to GitLab and you will end up with a nice pipeline job output. As you may imagine, there are several things that are sub-optimal in the before_script above that ought to be taken care of by the Guix container image, and I hope to be able to remove as much of the ugliness as possible. However that doesn t change that these images are useful now, and I wanted to announce this work to allow others to start testing them and possibly offer help. I have started to make use of these images in some projects, see for example the libntlm commit for that. You are welcome to join me in the Guix container images for GitLab CI/CD project! Issues and merge requests are welcome happy hacking folks!

17 December 2024

Gunnar Wolf: The science of detecting LLM-generated text

This post is a review for Computing Reviews for The science of detecting LLM-generated text , a article published in Communications of the ACM
While artificial intelligence (AI) applications for natural language processing (NLP) are no longer something new or unexpected, nobody can deny the revolution and hype that started, in late 2022, with the announcement of the first public version of ChatGPT. By then, synthetic translation was well established and regularly used, many chatbots had started attending users requests on different websites, voice recognition personal assistants such as Alexa and Siri had been widely deployed, and complaints of news sites filling their space with AI-generated articles were already commonplace. However, the ease of prompting ChatGPT or other large language models (LLMs) and getting extensive answers its text generation quality is so high that it is often hard to discern whether a given text was written by an LLM or by a human has sparked significant concern in many different fields. This article was written to present and compare the current approaches to detecting human- or LLM-authorship in texts. The article presents several different ways LLM-generated text can be detected. The first, and main, taxonomy followed by the authors is whether the detection can be done aided by the LLM s own functions ( white-box detection ) or only by evaluating the generated text via a public application programming interface (API) ( black-box detection ). For black-box detection, the authors suggest training a classifier to discern the origin of a given text. Although this works at first, this task is doomed from its onset to be highly vulnerable to new LLMs generating text that will not follow the same patterns, and thus will probably evade recognition. The authors report that human evaluators find human-authored text to be more emotional and less objective, and use grammar to indicate the tone of the sentiment that should be used when reading the text a trait that has not been picked up by LLMs yet. Human-authored text also tends to have higher sentence-level coherence, with less term repetition in a given paragraph. The frequency distribution for more and less common words is much more homogeneous in LLM-generated texts than in human-written ones. White-box detection includes strategies whereby the LLMs will cooperate in identifying themselves in ways that are not obvious to the casual reader. This can include watermarking, be it rule based or neural based; in this case, both processes become a case of steganography, as the involvement of a LLM is explicitly hidden and spread through the full generated text, aiming at having a low detectability and high recoverability even when parts of the text are edited. The article closes by listing the authors concerns about all of the above-mentioned technologies. Detecting an LLM, be it with or without the collaboration of the LLM s designers, is more of an art than a science, and methods deemed as robust today will not last forever. We also cannot assume that LLMs will continue to be dominated by the same core players; LLM technology has been deeply studied, and good LLM engines are available as free/open-source software, so users needing to do so can readily modify their behavior. This article presents itself as merely a survey of methods available today, while also acknowledging the rapid progress in the field. It is timely and interesting, and easy to follow for the informed reader coming from a different subfield.

Russ Allbery: Review: Iris Kelly Doesn't Date

Review: Iris Kelly Doesn't Date, by Ashley Herring Blake
Series: Bright Falls #3
Publisher: Berkley Romance
Copyright: October 2023
ISBN: 0-593-55058-7
Format: Kindle
Pages: 381
Iris Kelly Doesn't Date is a sapphic romance novel (probably a romantic comedy, although I'm bad at romance subgenres). It is the third book in the Bright Falls series. In the romance style, it has a new set of protagonists, but the protagonists of the previous books appear as supporting characters and reading this will spoil the previous books. Among the friend group we were introduced to in Delilah Green Doesn't Care, Iris was the irrepressible loudmouth. She's bad at secrets, good at saying whatever is on her mind, and has zero desire to either get married or have children. After one of the side plots of Astrid Parker Doesn't Fail, she has sworn off dating entirely. Iris is also now a romance novelist. Her paper store didn't get enough foot traffic to justify staying open, so she switched her planner business to online only and wrote a romance novel that was good enough to get a two-book deal. Now she needs to write a second book and she has absolutely nothing. Her own avoidance of romantic situations is not helping, but neither is her meddling family who are convinced her choices about marriage and family can be overturned with sufficient pestering. She desperately needs to shake up her life, get out of her creative rut, and do something new. Failing that, she'll settle for meeting someone in a bar and having some fun. Stevie is a barista and actress living in Portland. Six months ago, she broke up with Adri, her creative partner, girlfriend of six years, and the first person with whom she had a serious relationship. More precisely, Adri broke up with her. They're still friends, truly, even though that friendship is being seriously strained by Adri dating Vanessa, another member of their small and close-knit friend group. Stevie has occasionally-crippling anxiety, not much luck in finding real acting roles in Portland, and a desperate desire to not make waves. Ren, the fourth member of their friend group, thinks Stevie needs a new relationship, or at least a fling. That's how Stevie, with Ren as backup and encouragement, ends up at the same bar with Iris. The resulting dance and conversation was rather fun for both Stevie and Iris. The attempted one-night stand afterwards was a disaster due to Stevie's anxiety, and neither of them expected to see the other again. Stevie therefore felt safe pretending they'd hit it off to get her friends off her back. When Iris's continued restlessness lands her in an audition for Adri's fundraiser play that she also talked Stevie into performing in, this turns into a full-blown fake dating trope. These books continue to be impossible to put down. I'm not sure what Blake is doing to make the pacing so perfect, but as with the previous books of the series I found this utterly compulsive reading. I started it in the afternoon, took a break in the evening for a few hours, and then finished it at 2am. I wasn't sure if a book focused on Iris would work as well, but I need not have worried. Iris Kelly Doesn't Date is both more dramatic and more trope-centered than the earlier books, but Blake handles that in a way that fits Iris's personality and wasn't annoying even to a reader like me, who has an aversion to many types of relationship drama. The secret is Stevie, and specifically having the other protagonist be someone with severe anxiety.
No was never a very easy word for Stevie when it came to Adri, when it came to anyone, really. She could handle the little stuff do you want a soda, have you seen this movie, do you like onions on your pizza but the big stuff, the stuff that caused disappointed expressions and down-turned mouths... yeah, she sucked at that part. Her anxiety would flare, and she'd spend the next week convinced her friends hated her, she'd die alone and miserable, and wasn't worth a damn to anyone. Then, when said friend or family member eventually got ahold of her to tell her that, no, of course they didn't hate her, why in the world would she think that, her anxiety would crest once again, convincing her that she was terrible at understanding people and could never trust her own brain to make heads or tails of any social situation.
This is a spot-on description of a particular type of anxiety, but also this is the perfect protagonist to pair with Iris. Throughout the series, Iris has always been the ride-or-die friend, the person who may have no idea how to help but who will show up anyway and at least try to distract you. Stevie's anxiety makes Iris feel protective, which reveals one of the best sides of Iris's personality, and then the protectiveness plays off against Iris's own relationship issues and tendency to avoid taking anything too seriously. It's one of those relationships that starts a bit one-sided and then becomes mutually supporting once Stevie gets her feet under her. That's a relationship pattern I really enjoy reading about. As with the rest of the series, the friendship dynamics are great. Here we get to see two friend groups at work: Iris's, which we've seen in the previous two volumes and which expanded interestingly in Astrid Parker Doesn't Fail, and Stevie's, which is new. I liked all of these people, even Adri in her own way (although she's the hardest to like). The previous happily-ever-afters do get a bit awkward here, but Blake tries to make that part of the plot and also avoids most of the problem of somewhat-boring romantic bliss by spreading the friendship connections a bit wider. Stevie's friend group formed at orientation at Reed College, and that let me put my finger on another property of this series: essentially all of the characters are from a very specific social class. They're nearly all arts people (bookstore owner, photographer, interior decorator, actress, writer, director), they've mostly gone to college, and while most of them don't have lots of money, there's always at least one person in each friend group with significant wealth. Jordan, from the previous book, is a bit of an exception since she works in a trade (a carpenter), but she still acts like someone from that same social class. It's a bit like reading Jane Austen novels and realizing that the protagonists are drawn from a very specific and very narrow portion of society. This is not a complaint, to be clear; I have no objections to reading about a very specific social class. But if one has already read lots of books about this class of people, I could see that diminishing the appeal of this series a bit. There are a lot of assumptions baked into the story that aren't really questioned, such as the ubiquity of therapists. (I don't know how Stevie affords one on a barista salary.) There are also some small things in the terminology (therapy speak, for example) and in the specific type of earnestness with which the books attempt to be diverse on most axes other than social class that I suspect may grate a bit for some readers. If that's you, this is your warning. There is a third-act breakup here, just like the previous volumes. There is also a defense of the emotional punch of third-act breakups in romance novels in the book itself, put into Iris's internal monologue, so I suspect that's the author's answer to critics like myself who don't like the trope. I was less frustrated by this one because it fit the drama level of the protagonists, but I'll also know to expect a third-act breakup in any Blake novel I read in the future. But, all that said, the summary once again is that I loved this book and could not put it down. Iris is dramatic and occasionally self-destructive but has a core of earnest empathy that makes her easy to like. She's exactly the sort of extrovert who is soothing to introverts rather than draining because she carries the extrovert load of social situations. Stevie is adorably earnest and thoughtful beneath her anxiety. They two of them are wildly different and yet remarkably good together, and I loved reading their story. Highly recommended, along with the whole series. Start with Delilah Green Doesn't Care; if you like that, you're in for a treat. Content note: This book is also rather sex-forward and pretty explicit in the sex scenes, maybe a touch more than Astrid Parker Doesn't Fail. If that is or is not your thing in romance novels, be aware going in. Rating: 9 out of 10

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