debian/patches/
folder. The modifications are diffed line by line with the original source (just as with git) and the result is output in a file managed by debian utility tool, Quilt. The contents of the debian
folder are instructions on how to build the source into binaries or an installable archive .deb
(like Java's .jar
or Android's .apk
).
Dogtooth (2009) A father, a mother, a brother and two sisters live in a large and affluent house behind a very high wall and an always-locked gate. Only the father ever leaves the property, driving to the factory that he happens to own. Dogtooth goes far beyond any allusion to Josef Fritzl's cellar, though, as the children's education is a grotesque parody of home-schooling. Here, the parents deliberately teach their children the wrong meaning of words (e.g. a yellow flower is called a 'zombie'), all of which renders the outside world utterly meaningless and unreadable, and completely mystifying its very existence. It is this creepy strangeness within a 'regular' family unit in Dogtooth that is both socially and epistemically horrific, and I'll say nothing here of its sexual elements as well. Despite its cold, inscrutable and deadpan surreality, Dogtooth invites all manner of potential interpretations. Is this film about the artificiality of the nuclear family that the West insists is the benchmark of normality? Or is it, as I prefer to believe, something more visceral altogether: an allegory for the various forms of ontological violence wrought by fascism, as well a sobering nod towards some of fascism's inherent appeals? (Perhaps it is both. In 1972, French poststructuralists Gilles and F lix Guattari wrote Anti-Oedipus, which plays with the idea of the family unit as a metaphor for the authoritarian state.) The Greek-language Dogtooth, elegantly shot, thankfully provides no easy answers.
Holy Motors (2012) There is an infamous scene in Un Chien Andalou, the 1929 film collaboration between Luis Bu uel and famed artist Salvador Dal . A young woman is cornered in her own apartment by a threatening man, and she reaches for a tennis racquet in self-defence. But the man suddenly picks up two nearby ropes and drags into the frame two large grand pianos... each leaden with a dead donkey, a stone tablet, a pumpkin and a bewildered priest. This bizarre sketch serves as a better introduction to Leos Carax's Holy Motors than any elementary outline of its plot, which ostensibly follows 24 hours in the life of a man who must play a number of extremely diverse roles around Paris... all for no apparent reason. (And is he even a man?) Surrealism as an art movement gets a pretty bad wrap these days, and perhaps justifiably so. But Holy Motors and Un Chien Andalou serve as a good reminder that surrealism can be, well, 'good, actually'. And if not quite high art, Holy Motors at least demonstrates that surrealism can still unnerving and hilariously funny. Indeed, recalling the whimsy of the plot to a close friend, the tears of laughter came unbidden to my eyes once again. ("And then the limousines...!") Still, it is unclear how Holy Motors truly refreshes surrealism for the twenty-first century. Surrealism was, in part, a reaction to the mechanical and unfeeling brutality of World War I and ultimately sought to release the creative potential of the unconscious mind. Holy Motors cannot be responding to another continental conflagration, and so it appears to me to be some kind of commentary on the roles we exhibit in an era of 'post-postmodernity': a sketch on our age of performative authenticity, perhaps, or an idle doodle on the function and psychosocial function of work. Or perhaps not. After all, this film was produced in a time that offers the near-universal availability of mind-altering substances, and this certainly changes the context in which this film was both created. And, how can I put it, was intended to be watched.
Manchester by the Sea (2016) An absolutely devastating portrayal of a character who is unable to forgive himself and is hesitant to engage with anyone ever again. It features a near-ideal balance between portraying unrecoverable anguish and tender warmth, and is paradoxically grandiose in its subtle intimacy. The mechanics of life led me to watch this lying on a bed in a chain hotel by Heathrow Airport, and if this colourless circumstance blunted the film's emotional impact on me, I am probably thankful for it. Indeed, I find myself reduced in this review to fatuously recalling my favourite interactions instead of providing any real commentary. You could write a whole essay about one particular incident: its surfaces, subtexts and angles... all despite nothing of any substance ever being communicated. Truly stunning.
McCabe & Mrs. Miller (1971) Roger Ebert called this movie one of the saddest films I have ever seen, filled with a yearning for love and home that will not ever come. But whilst it is difficult to disagree with his sentiment, Ebert's choice of sad is somehow not quite the right word. Indeed, I've long regretted that our dictionaries don't have more nuanced blends of tragedy and sadness; perhaps the Ancient Greeks can loan us some. Nevertheless, the plot of this film is of a gambler and a prostitute who become business partners in a new and remote mining town called Presbyterian Church. However, as their town and enterprise booms, it comes to the attention of a large mining corporation who want to bully or buy their way into the action. What makes this film stand out is not the plot itself, however, but its mood and tone the town and its inhabitants seem to be thrown together out of raw lumber, covered alternatively in mud or frozen ice, and their days (and their personalities) are both short and dark in equal measure. As a brief aside, if you haven't seen a Roger Altman film before, this has all the trappings of being a good introduction. As Ebert went on to observe: This is not the kind of movie where the characters are introduced. They are all already here. Furthermore, we can see some of Altman's trademark conversations that overlap, a superb handling of ensemble casts, and a quietly subversive view of the tyranny of 'genre'... and the latter in a time when the appetite for revisionist portrays of the West was not very strong. All of these 'Altmanian' trademarks can be ordered in much stronger measures in his later films: in particular, his comedy-drama Nashville (1975) has 24 main characters, and my jejune interpretation of Gosford Park (2001) is that it is purposefully designed to poke fun those who take a reductionist view of 'genre', or at least on the audience's expectations. (In this case, an Edwardian-era English murder mystery in the style of Agatha Christie, but where no real murder or detection really takes place.) On the other hand, McCabe & Mrs. Miller is actually a poor introduction to Altman. The story is told in a suitable deliberate and slow tempo, and the two stars of the film are shown thoroughly defrocked of any 'star status', in both the visual and moral dimensions. All of these traits are, however, this film's strength, adding up to a credible, fascinating and riveting portrayal of the old West.
Detour (1945) Detour was filmed in less than a week, and it's difficult to decide out of the actors and the screenplay which is its weakest point.... Yet it still somehow seemed to drag me in. The plot revolves around luckless Al who is hitchhiking to California. Al gets a lift from a man called Haskell who quickly falls down dead from a heart attack. Al quickly buries the body and takes Haskell's money, car and identification, believing that the police will believe Al murdered him. An unstable element is soon introduced in the guise of Vera, who, through a set of coincidences that stretches credulity, knows that this 'new' Haskell (ie. Al pretending to be him) is not who he seems. Vera then attaches herself to Al in order to blackmail him, and the world starts to spin out of his control. It must be understood that none of this is executed very well. Rather, what makes Detour so interesting to watch is that its 'errors' lend a distinctively creepy and unnatural hue to the film. Indeed, in the early twentieth century, Sigmund Freud used the word unheimlich to describe the experience of something that is not simply mysterious, but something creepy in a strangely familiar way. This is almost the perfect description of watching Detour its eerie nature means that we are not only frequently second-guessed about where the film is going, but are often uncertain whether we are watching the usual objective perspective offered by cinema. In particular, are all the ham-fisted segues, stilted dialogue and inscrutable character motivations actually a product of Al inventing a story for the viewer? Did he murder Haskell after all, despite the film 'showing' us that Haskell died of natural causes? In other words, are we watching what Al wants us to believe? Regardless of the answers to these questions, the film succeeds precisely because of its accidental or inadvertent choices, so it is an implicit reminder that seeking the director's original intention in any piece of art is a complete mirage. Detour is certainly not a good film, but it just might be a great one. (It is a short film too, and, out of copyright, it is available online for free.)
Safe (1995) Safe is a subtly disturbing film about an upper-middle-class housewife who begins to complain about vague symptoms of illness. Initially claiming that she doesn't feel right, Carol starts to have unexplained headaches, a dry cough and nosebleeds, and eventually begins to have trouble breathing. Carol's family doctor treats her concerns with little care, and suggests to her husband that she sees a psychiatrist. Yet Carol's episodes soon escalate. For example, as a 'homemaker' and with nothing else to occupy her, Carol's orders a new couch for a party. But when the store delivers the wrong one (although it is not altogether clear that they did), Carol has a near breakdown. Unsure where to turn, an 'allergist' tells Carol she has "Environmental Illness," and so Carol eventually checks herself into a new-age commune filled with alternative therapies. On the surface, Safe is thus a film about the increasing about of pesticides and chemicals in our lives, something that was clearly felt far more viscerally in the 1990s. But it is also a film about how lack of genuine healthcare for women must be seen as a critical factor in the rise of crank medicine. (Indeed, it made for something of an uncomfortable watch during the coronavirus lockdown.) More interestingly, however, Safe gently-yet-critically examines the psychosocial causes that may be aggravating Carol's illnesses, including her vacant marriage, her hollow friends and the 'empty calorie' stimulus of suburbia. None of this should be especially new to anyone: the gendered Victorian term 'hysterical' is often all but spoken throughout this film, and perhaps from the very invention of modern medicine, women's symptoms have often regularly minimised or outright dismissed. (Hilary Mantel's 2003 memoir, Giving Up the Ghost is especially harrowing on this.) As I opened this review, the film is subtle in its messaging. Just to take one example from many, the sound of the cars is always just a fraction too loud: there's a scene where a group is eating dinner with a road in the background, and the total effect can be seen as representing the toxic fumes of modernity invading our social lives and health. I won't spoiler the conclusion of this quietly devasting film, but don't expect a happy ending.
The Driver (1978) Critics grossly misunderstood The Driver when it was first released. They interpreted the cold and unemotional affect of the characters with the lack of developmental depth, instead of representing their dissociation from the society around them. This reading was encouraged by the fact that the principal actors aren't given real names and are instead known simply by their archetypes instead: 'The Driver', 'The Detective', 'The Player' and so on. This sort of quasi-Jungian erudition is common in many crime films today (Reservoir Dogs, Kill Bill, Layer Cake, Fight Club), so the critics' misconceptions were entirely reasonable in 1978. The plot of The Driver involves the eponymous Driver, a noted getaway driver for robberies in Los Angeles. His exceptional talent has far prevented him from being captured thus far, so the Detective attempts to catch the Driver by pardoning another gang if they help convict the Driver via a set-up robbery. To give himself an edge, however, The Driver seeks help from the femme fatale 'Player' in order to mislead the Detective. If this all sounds eerily familiar, you would not be far wrong. The film was essentially remade by Nicolas Winding Refn as Drive (2011) and in Edgar Wright's 2017 Baby Driver. Yet The Driver offers something that these neon-noir variants do not. In particular, the car chases around Los Angeles are some of the most captivating I've seen: they aren't thrilling in the sense of tyre squeals, explosions and flying boxes, but rather the vehicles come across like wild animals hunting one another. This feels especially so when the police are hunting The Driver, which feels less like a low-stakes game of cat and mouse than a pack of feral animals working together a gang who will tear apart their prey if they find him. In contrast to the undercar neon glow of the Fast & Furious franchise, the urban realism backdrop of the The Driver's LA metropolis contributes to a sincere feeling of artistic fidelity as well. To be sure, most of this is present in the truly-excellent Drive, where the chase scenes do really communicate a credible sense of stakes. But the substitution of The Driver's grit with Drive's soft neon tilts it slightly towards that common affliction of crime movies: style over substance. Nevertheless, I can highly recommend watching The Driver and Drive together, as it can tell you a lot about the disconnected socioeconomic practices of the 1980s compared to the 2010s. More than that, however, the pseudo-1980s synthwave soundtrack of Drive captures something crucial to analysing the world of today. In particular, these 'sounds from the past filtered through the present' bring to mind the increasing role of nostalgia for lost futures in the culture of today, where temporality and pop culture references are almost-exclusively citational and commemorational.
The Souvenir (2019) The ostensible outline of this quietly understated film follows a shy but ambitious film student who falls into an emotionally fraught relationship with a charismatic but untrustworthy older man. But that doesn't quite cover the plot at all, for not only is The Souvenir a film about a young artist who is inspired, derailed and ultimately strengthened by a toxic relationship, it is also partly a coming-of-age drama, a subtle portrait of class and, finally, a film about the making of a film. Still, one of the geniuses of this truly heartbreaking movie is that none of these many elements crowds out the other. It never, ever feels rushed. Indeed, there are many scenes where the camera simply 'sits there' and quietly observes what is going on. Other films might smother themselves through references to 18th-century oil paintings, but The Souvenir somehow evades this too. And there's a certain ring of credibility to the story as well, no doubt in part due to the fact it is based on director Joanna Hogg's own experiences at film school. A beautifully observed and multi-layered film; I'll be happy if the sequel is one-half as good.
The Wrestler (2008) Randy 'The Ram' Robinson is long past his prime, but he is still rarin' to go in the local pro-wrestling circuit. Yet after a brutal beating that seriously threatens his health, Randy hangs up his tights and pursues a serious relationship... and even tries to reconnect with his estranged daughter. But Randy can't resist the lure of the ring, and readies himself for a comeback. The stage is thus set for Darren Aronofsky's The Wrestler, which is essentially about what drives Randy back to the ring. To be sure, Randy derives much of his money from wrestling as well as his 'fitness', self-image, self-esteem and self-worth. Oh, it's no use insisting that wrestling is fake, for the sport is, needless to say, Randy's identity; it's not for nothing that this film is called The Wrestler. In a number of ways, The Sound of Metal (2019) is both a reaction to (and a quiet remake of) The Wrestler, if only because both movies utilise 'cool' professions to explore such questions of identity. But perhaps simply when The Wrestler was produced makes it the superior film. Indeed, the role of time feels very important for the Wrestler. In the first instance, time is clearly taking its toll on Randy's body, but I felt it more strongly in the sense this was very much a pre-2008 film, released on the cliff-edge of the global financial crisis, and the concomitant precarity of the 2010s. Indeed, it is curious to consider that you couldn't make The Wrestler today, although not because the relationship to work has changed in any fundamentalway. (Indeed, isn't it somewhat depressing the realise that, since the start of the pandemic and the 'work from home' trend to one side, we now require even more people to wreck their bodies and mental health to cover their bills?) No, what I mean to say here is that, post-2016, you cannot portray wrestling on-screen without, how can I put it, unwelcome connotations. All of which then reminds me of Minari's notorious red hat... But I digress. The Wrestler is a grittily stark darkly humorous look into the life of a desperate man and a sorrowful world, all through one tragic profession.
Thief (1981) Frank is an expert professional safecracker and specialises in high-profile diamond heists. He plans to use his ill-gotten gains to retire from crime and build a life for himself with a wife and kids, so he signs on with a top gangster for one last big score. This, of course, could be the plot to any number of heist movies, but Thief does something different. Similar to The Wrestler and The Driver (see above) and a number of other films that I watched this year, Thief seems to be saying about our relationship to work and family in modernity and postmodernity. Indeed, the 'heist film', we are told, is an understudied genre, but part of the pleasure of watching these films is said to arise from how they portray our desired relationship to work. In particular, Frank's desire to pull off that last big job feels less about the money it would bring him, but a displacement from (or proxy for) fulfilling some deep-down desire to have a family or indeed any relationship at all. Because in theory, of course, Frank could enter into a fulfilling long-term relationship right away, without stealing millions of dollars in diamonds... but that's kinda the entire point: Frank needing just one more theft is an excuse to not pursue a relationship and put it off indefinitely in favour of 'work'. (And being Federal crimes, it also means Frank cannot put down meaningful roots in a community.) All this is communicated extremely subtly in the justly-lauded lowkey diner scene, by far the best scene in the movie. The visual aesthetic of Thief is as if you set The Warriors (1979) in a similarly-filthy Chicago, with the Xenophon-inspired plot of The Warriors replaced with an almost deliberate lack of plot development... and the allure of The Warriors' fantastical criminal gangs (with their alluringly well-defined social identities) substituted by a bunch of amoral individuals with no solidarity beyond the immediate moment. A tale of our time, perhaps. I should warn you that the ending of Thief is famously weak, but this is a gritty, intelligent and strangely credible heist movie before you get there.
Uncut Gems (2019) The most exhausting film I've seen in years; the cinematic equivalent of four cups of double espresso, I didn't even bother even trying to sleep after downing Uncut Gems late one night. Directed by the two Safdie Brothers, it often felt like I was watching two films that had been made at the same time. (Or do I mean two films at 2X speed?) No, whatever clumsy metaphor you choose to adopt, the unavoidable effect of this film's finely-tuned chaos is an uncompromising and anxiety-inducing piece of cinema. The plot follows Howard as a man lost to his countless vices mostly gambling with a significant side hustle in adultery, but you get the distinct impression he would be happy with anything that will give him another high. A true junkie's junkie, you might say. You know right from the beginning it's going to end in some kind of disaster, the only question remaining is precisely how and what. Portrayed by an (almost unrecognisable) Adam Sandler, there's an uncanny sense of distance in the emotional chasm between 'Sandler-as-junkie' and 'Sandler-as-regular-star-of-goofy-comedies'. Yet instead of being distracting and reducing the film's affect, this possibly-deliberate intertextuality somehow adds to the masterfully-controlled mayhem. My heart races just at the memory. Oof.
Woman in the Dunes (1964) I ended up watching three films that feature sand this year: Denis Villeneuve's Dune (2021), Lawrence of Arabia (1962) and Woman in the Dunes. But it is this last 1964 film by Hiroshi Teshigahara that will stick in my mind in the years to come. Sure, there is none of the Medician intrigue of Dune or the Super Panavision-70 of Lawrence of Arabia (or its quasi-orientalist score, itself likely stolen from Anton Bruckner's 6th Symphony), but Woman in the Dunes doesn't have to assert its confidence so boldly, and it reveals the enormity of its plot slowly and deliberately instead. Woman in the Dunes never rushes to get to the film's central dilemma, and it uncovers its terror in little hints and insights, all whilst establishing the daily rhythm of life. Woman in the Dunes has something of the uncanny horror as Dogtooth (see above), as well as its broad range of potential interpretations. Both films permit a wide array of readings, without resorting to being deliberately obscurantist or being just plain random it is perhaps this reason why I enjoyed them so much. It is true that asking 'So what does the sand mean?' sounds tediously sophomoric shorn of any context, but it somehow applies to this thoughtfully self-contained piece of cinema.
A Quiet Place (2018) Although A Quiet Place was not actually one of the best films I saw this year, I'm including it here as it is certainly one of the better 'mainstream' Hollywood franchises I came across. Not only is the film very ably constructed and engages on a visceral level, I should point out that it is rare that I can empathise with the peril of conventional horror movies (and perhaps prefer to focus on its cultural and political aesthetics), but I did here. The conceit of this particular post-apocalyptic world is that a family is forced to live in almost complete silence while hiding from creatures that hunt by sound alone. Still, A Quiet Place engages on an intellectual level too, and this probably works in tandem with the pure 'horrorific' elements and make it stick into your mind. In particular, and to my mind at least, A Quiet Place a deeply American conservative film below the surface: it exalts the family structure and a certain kind of sacrifice for your family. (The music often had a passacaglia-like strain too, forming a tombeau for America.) Moreover, you survive in this dystopia by staying quiet that is to say, by staying stoic suggesting that in the wake of any conflict that might beset the world, the best thing to do is to keep quiet. Even communicating with your loved ones can be deadly to both of you, so not emote, acquiesce quietly to your fate, and don't, whatever you do, speak up. (Or join a union.) I could go on, but The Quiet Place is more than this. It's taut and brief, and despite cinema being an increasingly visual medium, it encourages its audience to develop a new relationship with sound.
STRICT_R_HEADERS
was prososed years ago in 2016 and again in 2018. But making such a chance against a widely-deployed code base has repurcussions, and we were not ready then. Last April, this was revisited in issue #1158. Over the course of numerous lengthy runs of tests of a changed Rcpp package against (essentially) all reverse-dependencies (i.e. packages which use Rcpp) we identified ninetyfour packages in total which needed a change. We provided either a patch we emailed, or a GitHub pull request, to all ninetyfour. And we are happy to say that eighty cases were resolved via a new CRAN upload, with a seven more having merged the pull request but not yet uploaded.
Hence, we could make the case to CRAN (who were always CC ed on the monthly nag emails we sent to maintainers of packages needing a change) that an upload was warranted. And after a brief period for their checks and inspection, our January 11 release of Rcpp 1.0.8 arrived on CRAN on January 13.
So with that, a big and heartfelt Thank You! to all eighty maintainers for updating their packages to permit this change at the Rcpp end, to CRAN for the extra checking, and to everybody else who I bugged with the numerous emails and updated to the seemingly never-ending issue #1158. We all got this done, and that is a Good Thing (TM).
Other than the aforementioned change which will not automatically set STRICT_R_HEADERS
(unless opted out which one can), a number of nice pull request by a number of contributors are included in this release:
Thanks to my CRANberries, you can also look at a diff to the previous release. Questions, comments etc should go to the rcpp-devel mailing list off the R-Forge page. Bugs reports are welcome at the GitHub issue tracker as well (where one can also search among open or closed issues); questions are also welcome underChanges in Rcpp release version 1.0.8 (2022-01-11)
- Changes in Rcpp API:
STRICT_R_HEADERS
is now enabled by default, see extensive discussion in #1158 closing #898.- A new
#define
allows default setting of finalizer calls for external pointers (I aki in #1180 closing #1108).Rcpp:::CxxFlags()
now quotes the include path generated, (Kevin in #1189 closing #1188).- New header files
Rcpp/Light
,Rcpp/Lighter
,Rcpp/Lightest
and defaultRcpp/Rcpp
for fine-grained access to features (and compilation time) (Dirk #1191 addressing #1168).- Changes in Rcpp Attributes:
- Changes in Rcpp Documentation:
- Changes in Rcpp Deployment:
rcpp
tag at StackOverflow which also allows searching among the (currently) 2822 previous questions.
If you like this or other open-source work I do, you can sponsor me at GitHub.
This post by Dirk Eddelbuettel originated on his Thinking inside the box blog. Please report excessive re-aggregation in third-party for-profit settings.
Updates 24.01.2022: What I love about the community is the playful creativity that inspires a game like Wordle and that in turn inspires others to create fun tools around it: Robert Reichel has reverse engineered the Wordle application, so in case you want to play tomorrow's word today .. you can. Or have that one guess "Genius" solution experience. JP Fosterson created a Wordle helper that is very much the Python version of my grep-foo above. In case you play regularly and can use a hand. And Tom Lockwood wrote a Wordle solver also in Python. He blogged about it and ... is pondering to rewrite things in Rust:
I ve decided to explore Rust for this, and so far what was taking 1GB of RAM in Python is taking, literally 1MB in Rust!Welcome to 2022. 01.02.2022: OMG. Wordle has been bought by the New York Times for "for a price in the low seven figures" (Source). Joey Rees-Hill put it well in The Death of Wordle:
Today s Web is dominated by platforms. The average Web user will spend most of their time on large platforms such as Instagram, Facebook, Twitter, TikTok, Google Drive/Docs, YouTube, Netflix, Spotify, Gmail, and Google Calendar, along with sites operated by large publishers such as The New York Times or The Washington Post. [..]Still kudos to Josh Wardle, a Million Pounds for Wordle. Well done! It was fun while it lasted. Let's see what the next Wordle will be. This one has just been absorbed into the borg collective.
The Web wasn t always this way. I m not old enough to remember this, but things weren t always so centralized. Web users might run their own small website, and certainly would visit a good variety of smaller sites. With the increasing availability of internet access, the Web has become incredibly commercialized, with a handful of companies concentrating Web activity on their own properties.
Wordle was a small site that gained popularity despite not being part of a corporate platform. It was wonderful to see an independent site gain attention for being simple and fun. Wordle was refreshingly free of attention-manipulating dark patterns and pushy monetization. That s why it s a shame to see it absorbed, to inevitably become just another feature of one large media company s portfolio.
MEDIATEK Corp. Device 7961
wifi adapter.
radeon
driver does have decent support. So far, on the graphics side of things, I m glad that things look bright. The stock in-kernel radeon driver has been working perfect for my needs and I haven t had to tinker even once so far, in my 30 days of use.
On the overall system performance, I have not done any benchmarks nor do I want to do. But wholly, the system performance is smooth.
powertop
reports, it does show to consume an average of 10 watts power even while idle.
I m hoping these are Linux ingeration issues and that Lenovo/AMD will improve things in the coming months. But given the user feedback on the ThinkPad T14 Gen1 thread, it may just be wishful thinking.
rrs@priyasi:~$ cat btrfs-volume-layout
ID 550 gen 19166 top level 5 path home/foo/.cache
ID 552 gen 1522688 top level 5 path home/rrs
ID 553 gen 1522688 top level 552 path home/rrs/.cache
ID 555 gen 1426323 top level 552 path home/rrs/rrs-home/Libvirt-Images
ID 618 gen 1522672 top level 5 path var/spool/news
ID 634 gen 1522670 top level 5 path var/tmp
ID 635 gen 1522688 top level 5 path var/log
ID 639 gen 1522226 top level 5 path var/cache
ID 992 gen 1522670 top level 5 path disk-tmp
ID 1018 gen 1522688 top level 552 path home/rrs/NoBackup
ID 1196 gen 1522671 top level 5 path etc
ID 23721 gen 775692 top level 5 path swap
18:54
send/receive
.
There s get/set-property
which I noticed later but by then it was late. So some sort of tooling, ideally something like btrfs migrate
or somesuch would be nicer.
In the file system world, we already have nice tools to take care of similar scenarios. Like with rsync
, I can request it to carry all file attributes.
Also, iirc, send/receive
works only on ro
volumes. So there s more work one needs to do in:
user@debian:~$ for volume in sudo btrfs sub list /media/user/TOSHIBA/Migrate/ cut -d ' ' -f9 grep -v ROOTVOL grep -v etc grep -v btrbk ; do echo $volume; sud
o btrfs send /media/user/TOSHIBA/$volume sudo btrfs receive /media/user/BTRFSROOT/ ; done
Migrate/snapshot_disk-tmp
At subvol /media/user/TOSHIBA/Migrate/snapshot_disk-tmp
At subvol snapshot_disk-tmp
Migrate/snapshot-home_foo_.cache
At subvol /media/user/TOSHIBA/Migrate/snapshot-home_foo_.cache
At subvol snapshot-home_foo_.cache
Migrate/snapshot-home_rrs
At subvol /media/user/TOSHIBA/Migrate/snapshot-home_rrs
At subvol snapshot-home_rrs
Migrate/snapshot-home_rrs_.cache
At subvol /media/user/TOSHIBA/Migrate/snapshot-home_rrs_.cache
At subvol snapshot-home_rrs_.cache
ERROR: crc32 mismatch in command
Migrate/snapshot-home_rrs_rrs-home_Libvirt-Images
At subvol /media/user/TOSHIBA/Migrate/snapshot-home_rrs_rrs-home_Libvirt-Images
At subvol snapshot-home_rrs_rrs-home_Libvirt-Images
ERROR: crc32 mismatch in command
Migrate/snapshot-var_spool_news
At subvol /media/user/TOSHIBA/Migrate/snapshot-var_spool_news
At subvol snapshot-var_spool_news
Migrate/snapshot-var_lib_machines
At subvol /media/user/TOSHIBA/Migrate/snapshot-var_lib_machines
At subvol snapshot-var_lib_machines
Migrate/snapshot-var_lib_machines_DebianSidTemplate
..... snipped .....
And then, follow-up with:
user@debian:~$ for volume in sudo btrfs sub list /media/user/BTRFSROOT/ cut -d ' ' -f9 ; do echo $volume; sudo btrfs property set -ts /media/user/BTRFSROOT/$volume ro false; done
ROOTVOL
ERROR: Could not open: No such file or directory
etc
snapshot_disk-tmp
snapshot-home_foo_.cache
snapshot-home_rrs
snapshot-var_spool_news
snapshot-var_lib_machines
snapshot-var_lib_machines_DebianSidTemplate
snapshot-var_lib_machines_DebSidArmhf
snapshot-var_lib_machines_DebianJessieTemplate
snapshot-var_tmp
snapshot-var_log
snapshot-var_cache
snapshot-disk-tmp
And then finally, renaming everything to match proper:
user@debian:/media/user/BTRFSROOT$ for x in snapshot*; do vol=$(echo $x cut -d '-' -f2 sed -e "s _ / g"); echo $x $vol; sudo mv $x $vol; done
snapshot-var_lib_machines var/lib/machines
snapshot-var_lib_machines_Apertisv2020ospackTargetARMHF var/lib/machines/Apertisv2020ospackTargetARMHF
snapshot-var_lib_machines_Apertisv2021ospackTargetARM64 var/lib/machines/Apertisv2021ospackTargetARM64
snapshot-var_lib_machines_Apertisv2022dev3ospackTargetARMHF var/lib/machines/Apertisv2022dev3ospackTargetARMHF
snapshot-var_lib_machines_BusterArm64 var/lib/machines/BusterArm64
snapshot-var_lib_machines_DebianBusterTemplate var/lib/machines/DebianBusterTemplate
snapshot-var_lib_machines_DebianJessieTemplate var/lib/machines/DebianJessieTemplate
snapshot-var_lib_machines_DebianSidTemplate var/lib/machines/DebianSidTemplate
snapshot-var_lib_machines_DebianSidTemplate_var_lib_portables var/lib/machines/DebianSidTemplate/var/lib/portables
snapshot-var_lib_machines_DebSidArm64 var/lib/machines/DebSidArm64
snapshot-var_lib_machines_DebSidArmhf var/lib/machines/DebSidArmhf
snapshot-var_lib_machines_DebSidMips var/lib/machines/DebSidMips
snapshot-var_lib_machines_JenkinsApertis var/lib/machines/JenkinsApertis
snapshot-var_lib_machines_v2019 var/lib/machines/v2019
snapshot-var_lib_machines_v2019LinuxSupport var/lib/machines/v2019LinuxSupport
snapshot-var_lib_machines_v2020 var/lib/machines/v2020
snapshot-var_lib_machines_v2021dev3Slim var/lib/machines/v2021dev3Slim
snapshot-var_lib_machines_v2021dev3SlimTarget var/lib/machines/v2021dev3SlimTarget
snapshot-var_lib_machines_v2022dev2OspackMinimal var/lib/machines/v2022dev2OspackMinimal
snapshot-var_lib_portables var/lib/portables
snapshot-var_log var/log
snapshot-var_spool_news var/spool/news
snapshot-var_tmp var/tmp
snapper
as my snapshotting tool. It worked perfect on my previous machine. While everything got migrated, the only thing that fell apart was snapper
. It just wouldn t start/run proper. Funny thing is that I just removed the snapper configs and reinitialized with the exact same config again, and voila snapper was happy.
/boot
and then just chroot to install the boot loader. At some time, I d like to explore other boot options but given that that is such a non-essential task, it is low on the list.
The good part was that I booted into my new machine with my exact workstation setup as it was. All the way to the user cache and the desktop session. So it was nice on that part.
But I surely think there s room for a better migration experience here. If not directly as btrfs migrate
, then maybe as an independent tool. The problem is that such a tool is going to be used once in years, so I didn t find the motivation to write one. But this surely would be a good use case for the distribution vendors.
Publisher: | William Morrow |
Copyright: | September 2020 |
ISBN: | 0-06-297859-4 |
Format: | Kindle |
Pages: | 403 |
xournal
wasn't
great, but now that I've tried it in xournalpp
(more on this below), I think I
will be enabling it in the future. The result on paper is also more consistent,
but I trust my skills will improve over time.
Use case
The first use case I have for the tablet is grading papers. I've been asking my
students to submit their papers via Moodle for a few semesters already, but
until now, I was grading them using PDF comments. The experience wasn't
great3 and was rather slow compared to grading physical copies.
I'm also a somewhat old-school teacher: I refuse to teach using slides. Death
by PowerPoint is real. I write on the blackboard a lot4 and I find
it much easier to prepare my notes by hand than by typing them, as the end
result is closer to what I actually end up writing down on the board.
Writing notes by hand on sheets of paper is a chore too, especially when you
revisit the same materiel regularly. Being able to handwrite digital notes gives
me a lot more flexibility and it's been great.
So far, I have been using xournal
to write notes and grade papers, and
although it is OK, it has a bunch of quirks I dislike. I was waiting for
xournalpp
to be packaged in Debian, and it now is5! I'm looking
forward to using it next semester.
Towards a better computer monitor
I have also been feeling the age of my current computer monitor. I am currently
using an old 32" 1080p TV from LG and up until now, I had been able to
deal with the drawbacks. The colors are pretty bad and 1080p for such a large
display isn't great, but I got used to it.
What I really noticed when I started using my graphics tablet was the input
lag. It's bad enough that there's a clear jello effect when writing and it
eventually gives me a headache. It's so bad I usually prefer to work on my
laptop, which has a nicer but noticeably smaller panel.
I'm currently looking to replace this aging TV6 by something more modern.
I have been waiting out since I would like to buy something that will last me
another 10 years if possible. Sadly, 32" high refresh rate 4K monitors aren't
exactly there yet and I haven't found anything matching my criteria. I would
probably also need a new GPU, something that is not easy to come by these days.
Courtesy of my CRANberries, there is also a diffstat report for the this release. As always, more detailed information is on the Rblpapi page. Questions, comments etc should go to the issue tickets system at the GitHub repo. If you like this or other open-source work I do, you can now sponsor me at GitHub.Changes in Rblpapi version 0.3.13 (2022-01-09)
This post by Dirk Eddelbuettel originated on his Thinking inside the box blog. Please report excessive re-aggregation in third-party for-profit settings.
[95457.805417] BUG: kernel NULL pointer dereference, address: 0000000000000000 [95457.805424] #PF: supervisor read access in kernel mode [95457.805426] #PF: error_code(0x0000) - not-present page [95457.805429] PGD 0 P4D 0 [95457.805431] Oops: 0000 [#1] SMP PTI [95457.805435] CPU: 2 PID: 75486 Comm: v4l2src0:src Not tainted 5.15.0-2-amd64 #1 Debian 5.15.5-2 [95457.805438] Hardware name: HP ProLiant ML110 Gen9/ProLiant ML110 Gen9, BIOS P99 02/17/2017 [95457.805440] RIP: 0010:usb_ifnum_to_if+0x3a/0x50 [usbcore] ... [95457.805481] Call Trace: [95457.805484] [95457.805485] usb_hcd_alloc_bandwidth+0x23d/0x360 [usbcore] [95457.805507] usb_set_interface+0x127/0x350 [usbcore] [95457.805525] uvc_video_start_transfer+0x19c/0x4f0 [uvcvideo] [95457.805532] uvc_video_start_streaming+0x7b/0xd0 [uvcvideo] [95457.805538] uvc_start_streaming+0x2d/0xf0 [uvcvideo] [95457.805543] vb2_start_streaming+0x63/0x100 [videobuf2_common] [95457.805550] vb2_core_streamon+0x54/0xb0 [videobuf2_common] [95457.805555] uvc_queue_streamon+0x2a/0x40 [uvcvideo] [95457.805560] uvc_ioctl_streamon+0x3a/0x60 [uvcvideo] [95457.805566] __video_do_ioctl+0x39b/0x3d0 [videodev]It turns out that Ubuntu Launchpad bug #1827452 has great information on this problem [2]. Apparently if the device decides it doesn t have enough power then it will reconnect and get a different USB bus device number and this often happens when the kernel is initialising it. There s a race condition in the kernel code in which the code to initialise the device won t realise that the device has been detached and will dereference a NULL pointer and then mess up other things in USB device management. The end result for me is that all USB devices become unusable in this situation, commands like lsusb hang, and a regular shutdown/reboot hangs because it can t kill the user session because something is blocked on USB. One of the comments on the Launchpad bug is that a powered USB hub can alleviate the problem while a USB extension cable (which I had been using) can exacerbate it. Officeworks currently advertises only one powered USB hub, it s described as USB 3 but also maximum speed 480 Mbps (USB 2 speed). So basically they are selling a USB 2 hub for 4* the price that USB 2 hubs used to sell for. When debugging this I used the cheese webcam utility program and ran it in a KVM virtual machine. The KVM parameters -device qemu-xhci -usb -device usb-host,hostbus=1,hostaddr=2 (where 1 and 2 are replaced by the Bus and Device numbers from lsusb ) allow the USB device to be passed through to the VM. Doing this meant that I didn t have to reboot my PC every time a webcam test failed. For audio I m using the Sades Wand gaming headset I wrote about previously [3].
Series: | Raybearer #2 |
Publisher: | Amulet Books |
Copyright: | 2021 |
ISBN: | 1-68335-720-5 |
Format: | Kindle |
Pages: | 328 |
as the Trusted Platform Module; as a security processor used for non-TPM scenarios like platform resiliency; or OEMs can choose to ship with Pluton turned off. What we're likely to see to begin with is the former - Pluton will run firmware that exposes a Trusted Computing Group compatible TPM interface. This is almost identical to the status quo. Microsoft have required that all Windows certified hardware ship with a TPM for years now, but for cost reasons this is often not in the form of a separate hardware component. Instead, both Intel and AMD provide support for running the TPM stack on a component separate from the main execution cores on the system - for Intel, this TPM code runs on the Management Engine integrated into the chipset, and for AMD on the Platform Security Processor that's integrated into the CPU package itself.
https://github.com/ingoj
to https://codeberg.org/Windfluechter
(or the specific repo).
Next.