Search Results: "dwarf"

22 November 2024

Matthew Palmer: Your Release Process Sucks

For the past decade-plus, every piece of software I write has had one of two release processes. Software that gets deployed directly onto servers (websites, mostly, but also the infrastructure that runs Pwnedkeys, for example) is deployed with nothing more than git push prod main. I ll talk more about that some other day. Today is about the release process for everything else I maintain Rust / Ruby libraries, standalone programs, and so forth. To release those, I use the following, extremely intricate process:
  1. Create an annotated git tag, where the name of the tag is the software version I m releasing, and the annotation is the release notes for that version.
  2. Run git release in the repository.
  3. There is no step 3.
Yes, it absolutely is that simple. And if your release process is any more complicated than that, then you are suffering unnecessarily. But don t worry. I m from the Internet, and I m here to help.

Sidebar: annotated what-now?!? The annotated tag is one git s best-kept secrets. They ve been available in git for practically forever (I ve been using them since at least 2014, which is practically forever in software development), yet almost everyone I mention them to has never heard of them. A tag , in git parlance, is a repository-unique named label that points to a single commit (as identified by the commit s SHA1 hash). Annotating a tag is simply associating a block of free-form text with that tag. Creating an annotated tag is simple-sauce: git tag -a tagname will open up an editor window where you can enter your annotation, and git tag -a -m "some annotation" tagname will create the tag with the annotation some annotation . Retrieving the annotation for a tag is straightforward, too: git show tagname will display the annotation along with all the other tag-related information. Now that we know all about annotated tags, let s talk about how to use them to make software releases freaking awesome.

Step 1: Create the Annotated Git Tag As I just mentioned, creating an annotated git tag is pretty simple: just add a -a (or --annotate, if you enjoy typing) to your git tag command, and WHAM! annotation achieved. Releases, though, typically have unique and ever-increasing version numbers, which we want to encode in the tag name. Rather than having to look at the existing tags and figure out the next version number ourselves, we can have software do the hard work for us. Enter: git-version-bump. This straightforward program takes one mandatory argument: major, minor, or patch, and bumps the corresponding version number component in line with Semantic Versioning principles. If you pass it -n, it opens an editor for you to enter the release notes, and when you save out, the tag is automagically created with the appropriate name. Because the program is called git-version-bump, you can call it as a git command: git version-bump. Also, because version-bump is long and unwieldy, I have it aliased to vb, with the following entry in my ~/.gitconfig:
[alias]
    vb = version-bump -n
Of course, you don t have to use git-version-bump if you don t want to (although why wouldn t you?). The important thing is that the only step you take to go from here is our current codebase in main to everything as of this commit is version X.Y.Z of this software , is the creation of an annotated tag that records the version number being released, and the metadata that goes along with that release.

Step 2: Run git release As I said earlier, I ve been using this release process for over a decade now. So long, in fact, that when I started, GitHub Actions didn t exist, and so a lot of the things you d delegate to a CI runner these days had to be done locally, or in a more ad-hoc manner on a server somewhere. This is why step 2 in the release process is run git release . It s because historically, you can t do everything in a CI run. Nowadays, most of my repositories have this in the .git/config:
[alias]
    release = push --tags
Older repositories which, for one reason or another, haven t been updated to the new hawtness, have various other aliases defined, which run more specialised scripts (usually just rake release, for Ruby libraries), but they re slowly dying out. The reason why I still have this alias, though, is that it standardises the release process. Whether it s a Ruby gem, a Rust crate, a bunch of protobuf definitions, or whatever else, I run the same command to trigger a release going out. It means I don t have to think about how I do it for this project, because every project does it exactly the same way.

The Wiring Behind the Button
It wasn t the button that was the problem. It was the miles of wiring, the hundreds of miles of cables, the circuits, the relays, the machinery. The engine was a massive, sprawling, complex, mind-bending nightmare of levers and dials and buttons and switches. You couldn t just slap a button on the wall and expect it to work. But there should be a button. A big, fat button that you could press and everything would be fine again. Just press it, and everything would be back to normal.
  • Red Dwarf: Better Than Life
Once you ve accepted that your release process should be as simple as creating an annotated tag and running one command, you do need to consider what happens afterwards. These days, with the near-universal availability of CI runners that can do anything you need in an isolated, reproducible environment, the work required to go from annotated tag to release artifacts can be scripted up and left to do its thing. What that looks like, of course, will probably vary greatly depending on what you re releasing. I can t really give universally-applicable guidance, since I don t know your situation. All I can do is provide some of my open source work as inspirational examples. For starters, let s look at a simple Rust crate I ve written, called strong-box. It s a straightforward crate, that provides ergonomic and secure cryptographic functionality inspired by the likes of NaCl. As it s just a crate, its release script is very straightforward. Most of the complexity is working around Cargo s inelegant mandate that crate version numbers are specified in a TOML file. Apart from that, it s just a matter of building and uploading the crate. Easy! Slightly more complicated is action-validator. This is a Rust CLI tool which validates GitHub Actions and Workflows (how very meta) against a published JSON schema, to make sure you haven t got any syntax or structural errors. As not everyone has a Rust toolchain on their local box, the release process helpfully build binaries for several common OSes and CPU architectures that people can download if they choose. The release process in this case is somewhat larger, but not particularly complicated. Almost half of it is actually scaffolding to build an experimental WASM/NPM build of the code, because someone seemed rather keen on that. Moving away from Rust, and stepping up the meta another notch, we can take a look at the release process for git-version-bump itself, my Ruby library and associated CLI tool which started me down the Just Tag It Already rabbit hole many years ago. In this case, since gemspecs are very amenable to programmatic definition, the release process is practically trivial. Remove the boilerplate and workarounds for GitHub Actions bugs, and you re left with about three lines of actual commands. These approaches can certainly scale to larger, more complicated processes. I ve recently implemented annotated-tag-based releases in a proprietary software product, that produces Debian/Ubuntu, RedHat, and Windows packages, as well as Docker images, and it takes all of the information it needs from the annotated tag. I m confident that this approach will successfully serve them as they expand out to build AMIs, GCP machine images, and whatever else they need in their release processes in the future.

Objection, Your Honour! I can hear the howl of the but, actuallys coming over the horizon even as I type. People have a lot of Big Feelings about why this release process won t work for them. Rather than overload this article with them, I ve created a companion article that enumerates the objections I ve come across, and answers them. I m also available for consulting if you d like a personalised, professional opinion on your specific circumstances.

DVD Bonus Feature: Pre-releases Unless you re addicted to surprises, it s good to get early feedback about new features and bugfixes before they make it into an official, general-purpose release. For this, you can t go past the pre-release. The major blocker to widespread use of pre-releases is that cutting a release is usually a pain in the behind. If you ve got to edit changelogs, and modify version numbers in a dozen places, then you re entirely justified in thinking that cutting a pre-release for a customer to test that bugfix that only occurs in their environment is too much of a hassle. The thing is, once you ve got releases building from annotated tags, making pre-releases on every push to main becomes practically trivial. This is mostly due to another fantastic and underused Git command: git describe. How git describe works is, basically, that it finds the most recent commit that has an associated annotated tag, and then generates a string that contains that tag s name, plus the number of commits between that tag and the current commit, with the current commit s hash included, as a bonus. That is, imagine that three commits ago, you created an annotated release tag named v4.2.0. If you run git describe now, it will print out v4.2.0-3-g04f5a6f (assuming that the current commit s SHA starts with 04f5a6f). You might be starting to see where this is going. With a bit of light massaging (essentially, removing the leading v and replacing the -s with .s), that string can be converted into a version number which, in most sane environments, is considered newer than the official 4.2.0 release, but will be superceded by the next actual release (say, 4.2.1 or 4.3.0). If you re already injecting version numbers into the release build process, injecting a slightly different version number is no work at all. Then, you can easily build release artifacts for every commit to main, and make them available somewhere they won t get in the way of the official releases. For example, in the proprietary product I mentioned previously, this involves uploading the Debian packages to a separate component (prerelease instead of main), so that users that want to opt-in to the prerelease channel simply modify their sources.list to change main to prerelease. Management have been extremely pleased with the easy availability of pre-release packages; they ve been gleefully installing them willy-nilly for testing purposes since I rolled them out. In fact, even while I ve been writing this article, I was asked to add some debug logging to help track down a particularly pernicious bug. I added the few lines of code, committed, pushed, and went back to writing. A few minutes later (next week s job is to cut that in-process time by at least half), the person who asked for the extra logging ran apt update; apt upgrade, which installed the newly-built package, and was able to progress in their debugging adventure. Continuous Delivery: It s Not Just For Hipsters.

+1, Informative Hopefully, this has spurred you to commit your immortal soul to the Church of the Annotated Tag. You may tithe by buying me a refreshing beverage. Alternately, if you re really keen to adopt more streamlined release management processes, I m available for consulting engagements.

9 October 2024

Ben Hutchings: FOSS activity in September 2024

31 August 2024

Russell Coker: Links August 2024

Bruce Schneier and Kim C rdova wrote an insightful article about the changes that corporations make to culture as technical debt [1]. We need anti-trust laws to be enforced before it s too late! Bruce Schneier posted the transcript of an insightful lecture he gave on rethinking democracy for the age of AI [2]. Cory Doctorow wrote an insightful blog post about companies that are too big to care [3]. We need to break up those monopolies. Science Alert has an interesting article on plans to get renewable energy by drilling into the magma chamber of an active volcano [4]. What I want to know is whether using the energy could reduce the power of an eruption or even prevent it from happening. Bruce Schneier wrote an interesting article about Crowdstrike and the market incentives for brittle systems [5]. Also we need to have more formally proven software and more use of systems like seL4. Dave s Garage on YouTube has an interesting video about modern Mainframes [6]. Their IO capacity dwarfs the memory bandwidth of most PC servers. Framework has an interesting YouTube video about the process of developing a RISC-V motherboard for their laptops [7]. The documentary series Who Broke Britain by ABC news gives a good insight into the harm caused by austerity policies [8]. Rolling Stone has an interesting story about the consequences of being a CIA agent in al Quaeda [9].

9 July 2024

Russ Allbery: Review: Raising Steam

Review: Raising Steam, by Terry Pratchett
Series: Discworld #40
Publisher: Anchor Books
Copyright: 2013
Printing: October 2014
ISBN: 0-8041-6920-9
Format: Trade paperback
Pages: 365
Raising Steam is the 40th Discworld novel and the third Moist von Lipwig novel, following Making Money. This is not a good place to start reading the series. Dick Simnel is a tinkerer from a line of tinkerers. He has been obsessed with mastering the power of steam since the age of ten, when his father died in a steam accident. That pursuit took him deeper into mathematics and precision, calculations and experiments, until he built Iron Girder: Discworld's first steam-powered locomotive. His early funding came from some convenient family pirate treasure, but turning his prototype into something more will require significantly more resources. That is how he ends up in the office of Harry King, Ankh-Morpork's sanitation magnate. Simnel's steam locomotive has the potential to solve some obvious logistical problems, such as getting fish from the docks of Quirm to the streets of Ankh-Morpork before it stops being vaguely edible. That's not what makes railways catch fire, however. As soon as Iron Girder is huffing and puffing its way around King's compound, it becomes the most popular attraction in the city. People stand in line for hours to ride it over and over again for reasons that they cannot entirely explain. There is something wild and uncontrollable going on. Vetinari is not sure he likes wild and uncontrollable, but he knows the lap into which such problems can be dumped: Moist von Lipwig, who is already getting bored with being a figurehead for the city's banking system. The setup for Raising Steam reminds me more of Moving Pictures than the other Moist von Lipwig novels. Simnel himself is a relentlessly practical engineer, but the trains themselves have tapped some sort of primal magic. Unlike Moving Pictures, Pratchett doesn't provide an explicit fantasy explanation involving intruding powers from another world. It might have been a more interesting book if he had. Instead, this book expects the reader to believe there is something inherently appealing and fascinating about trains, without providing much logic or underlying justification. I think some readers will be willing to go along with this, and others (myself included) will be left wishing the story had more world-building and fewer exclamation points. That's not the real problem with this book, though. Sadly, its true downfall is that Pratchett's writing ability had almost completely collapsed by the time he wrote it. As mentioned in my review of Snuff, we're now well into the period where Pratchett was suffering the effects of early-onset Alzheimer's. In that book, his health issues mostly affected the dialogue near the end of the novel. In this book, published two years later, it's pervasive and much worse. Here's a typical passage from early in the book:
It is said that a soft answer turneth away wrath, but this assertion has a lot to do with hope and was now turning out to be patently inaccurate, since even a well-spoken and thoughtful soft answer could actually drive the wrong kind of person into a state of fury if wrath was what they had in mind, and that was the state the elderly dwarf was now enjoying.
One of the best things about Discworld is Pratchett's ability to drop unexpected bits of wisdom in a sentence or two, or twist a verbal knife in an unexpected and surprising direction. Raising Steam still shows flashes of that ability, but it's buried in run-on sentences, drowned in cliches and repetition, and often left behind as the containing sentence meanders off into the weeds and sputters to a confused halt. The idea is still there; the delivery, sadly, is not. This is the first Discworld novel that I found mentally taxing to read. Sentences are often so overpacked that they require real effort to untangle, and the untangled meaning rarely feels worth the effort. The individual voice of the characters is almost gone. Vetinari's monologues, rather than being a rare event with dangerous layers, are frequent, rambling, and indecisive, often sounding like an entirely different character than the Vetinari we know. The constant repetition of the name any given character is speaking to was impossible for me to ignore. And the momentum of the story feels wrong; rather than constructing the events of the story in a way that sweeps the reader along, it felt like Pratchett was constantly pushing, trying to convince the reader that trains were the most exciting thing to ever happen to Discworld. The bones of a good story are here, including further development of dwarf politics from The Fifth Elephant and Thud! and the further fallout of the events of Snuff. There are also glimmers of Pratchett's typically sharp observations and turns of phrase that could have been unearthed and polished. But at the very least this book needed way more editing and a lot of rewriting. I suspect it could have dropped thirty pages just by tightening the dialogue and removing some of the repetition. I'm afraid I did not enjoy this. I am a bit of a hard sell for the magic fascination of trains I love trains, but my model railroad days are behind me and I'm now more interested in them as part of urban transportation policy. Previous Discworld books on technology and social systems did more of the work of drawing the reader in, providing character hooks and additional complexity, and building a firmer foundation than "trains are awesome." The main problem, though, was the quality of the writing, particularly when compared to the previous novels with the same characters. I dragged myself through this book out of a sense of completionism and obligation, and was relieved when I finished it. This is the first Discworld novel that I don't recommend. I think the only reason to read it is if you want to have read all of Discworld. Otherwise, consider stopping with Snuff and letting it be the send-off for the Ankh-Morpork characters. Followed by The Shepherd's Crown, a Tiffany Aching story and the last Discworld novel. Rating: 3 out of 10

23 December 2023

Russ Allbery: Review: Bookshops & Bonedust

Review: Bookshops & Bonedust, by Travis Baldree
Series: Legends & Lattes #2
Publisher: Tor
Copyright: 2023
ISBN: 1-250-88611-2
Format: Kindle
Pages: 337
Bookshops & Bonedust is a prequel to the cozy fantasy Legends & Lattes. You can read them in either order, although the epilogue of Bookshops & Bonedust spoils (somewhat guessable) plot developments in Legends & Lattes. Viv is a new member of the mercenary troop Rackam's Ravens and is still possessed of more enthusiasm than sense. As the story opens, she charges well ahead of her allies and nearly gets killed by a pike through the leg. She survives, but her leg needs time to heal and she is not up to the further pursuit of a necromancer. Rackam pays for a room and a doctor in the small seaside town of Murk and leaves her there to recuperate. The Ravens will pick her up when they come back through town, whenever that is. Viv is very quickly bored out of her skull. On a whim, and after some failures to find something else to occupy her, she tries a run-down local bookstore and promptly puts her foot through the boardwalk outside it. That's the start of an improbable friendship with the proprietor, a rattkin named Fern with a knack for book recommendations and a serious cash flow problem. Viv, being Viv, soon decides to make herself useful. The good side and bad side of this book are the same: it's essentially the same book as Legends & Lattes, but this time with a bookstore. There's a medieval sword and sorcery setting, a wide variety of humanoid species, a local business that needs love and attention (this time because it's failing instead of new), a lurking villain, an improbable store animal (this time a gryphlet that I found less interesting than the cat of the coffee shop), and a whole lot of found family. It turns out I was happy to read that story again, and there were some things I liked better in this version. I find bookstores more interesting than coffee shops, and although Viv and Fern go through a similar process of copying features of a modern bookstore, this felt less strained than watching Viv reinvent the precise equipment and menu of a modern coffee shop in a fantasy world. Also, Fern is an absolute delight, probably my favorite character in either of the books. I love the way that she uses book recommendations as a way of asking questions and guessing at answers about other people. As with the first book, Baldree's world-building is utterly unconcerned with trying to follow the faux-medieval conventions of either sword and sorcery or D&D-style role-playing games. On one hand, I like this; most of that so-called medievalism is nonsense anyway, and there's no reason why fantasy with D&D-style species diversity should be set in a medieval world. On the other hand, this world seems exactly like a US small town except the tavern also has rooms for rent, there are roving magical armies, and everyone fights with swords for some reason. It feels weirdly anachronistic, and I can't tell if that's because I've been brainwashed into thinking fantasy has to be medievaloid or if it's a true criticism of the book. I was reminded somewhat of reading Jack McDevitt's SF novels, which are supposedly set in the far future but are indistinguishable from 1980s suburbia except with flying cars. The other oddity with this book is that the reader of the series knows Viv isn't going to stay. This is the problem with writing a second iteration of this story as a prequel. I see why Baldree did it the story wouldn't have worked if Viv were already established but it casts a bit of a pall over the cheeriness of the story. Baldree to his credit confronts this directly, weaves it into the relationships, and salvages it a bit more in the epilogue, but it gave the story a sort of preemptive wistfulness that was at odds with how I wanted to read it. But, despite that, the strength of this book are the characters. Viv is a good person who helps where she can, which sounds like a simple thing but is so restful to read about. This book features her first meeting with the gnome Gallina, who is always a delight. There are delicious baked goods from a dwarf, a grumpy doctor, a grumpier city guard, and a whole cast of people who felt complicated and normal and essentially decent. I'm not sure the fantasy elements do anything for this book, or this series, other than marketing and the convenience of a few plot devices. Even though one character literally disappears into a satchel, it felt like Baldree could have written roughly the same story as a contemporary novel without a hint of genre. But that's not really a complaint, since the marketing works. I would not have read this series if it had been contemporary novels, and I thoroughly enjoyed it. It's a slice of life novel about kind and decent people for readers who are bored by contemporary settings and would rather read fantasy. Works for me. I'm hoping Baldree finds other stories, since I'm not sure I want to read this one several more times, but twice was not too much. If you liked Legends & Lattes and are thinking "how can I get more of that," here's the book for you. If you haven't read Legends & Lattes, I think I would recommend reading this one first. It does many of the same things, it's a bit more polished, and then you can read Viv's adventures in internal chronological order. Rating: 8 out of 10

21 November 2023

Russ Allbery: Review: Thud!

Review: Thud!, by Terry Pratchett
Series: Discworld #34
Publisher: Harper
Copyright: October 2005
Printing: November 2014
ISBN: 0-06-233498-0
Format: Mass market
Pages: 434
Thud! is the 34th Discworld novel and the seventh Watch novel. It is partly a sequel to The Fifth Elephant, partly a sequel to Night Watch, and references many of the previous Watch novels. This is not a good place to start. Dwarfs and trolls have a long history of conflict, as one might expect between a race of creatures who specialize in mining and a race of creatures whose vital organs are sometimes the targets of that mining. The first battle of Koom Valley was the place where that enmity was made concrete and given a symbol. Now that there are large dwarf and troll populations in Ankh-Morpork, the upcoming anniversary of that battle is the excuse for rising tensions. Worse, Grag Hamcrusher, a revered deep-down dwarf and a dwarf supremacist, is giving incendiary speeches about killing all trolls and appears to be tunneling under the city. Then whispers run through the city's dwarfs that Hamcrusher has been murdered by a troll. Vimes has no patience for racial tensions, or for the inspection of the Watch by one of Vetinari's excessively competent clerks, or the political pressure to add a vampire to the Watch over his prejudiced objections. He was already grumpy before the murder and is in absolutely no mood to be told by deep-down dwarfs who barely believe that humans exist that the murder of a dwarf underground is no affair of his. Meanwhile, The Battle of Koom Valley by Methodia Rascal has been stolen from the Ankh-Morpork Royal Art Museum, an impressive feat given that the painting is ten feet high and fifty feet long. It was painted in impressive detail by a madman who thought he was a chicken, and has been the spark for endless theories about clues to some great treasure or hidden knowledge, culminating in the conspiratorial book Koom Valley Codex. But the museum prides itself on allowing people to inspect and photograph the painting to their heart's content and was working on a new room to display it. It's not clear why someone would want to steal it, but Colon and Nobby are on the case. This was a good time to read this novel. Sadly, the same could be said of pretty much every year since it was written. "Thud" in the title is a reference to Hamcrusher's murder, which was supposedly done by a troll club that was found nearby, but it's also a reference to a board game that we first saw in passing in Going Postal. We find out a lot more about Thud in this book. It's an asymmetric two-player board game that simulates a stylized battle between dwarf and troll forces, with one player playing the trolls and the other playing the dwarfs. The obvious comparison is to chess, but a better comparison would be to the old Steve Jackson Games board game Ogre, which also featured asymmetric combat mechanics. (I'm sure there are many others.) This board game will become quite central to the plot of Thud! in ways that I thought were ingenious. I thought this was one of Pratchett's best-plotted books to date. There are a lot of things happening, involving essentially every member of the Watch that we've met in previous books, and they all matter and I was never confused by how they fit together. This book is full of little callbacks and apparently small things that become important later in a way that I found delightful to read, down to the children's book that Vimes reads to his son and that turns into the best scene of the book. At this point in my Discworld read-through, I can see why the Watch books are considered the best sub-series. It feels like Pratchett kicks the quality of writing up a notch when he has Vimes as a protagonist. In several books now, Pratchett has created a villain by taking some human characteristic and turning it into an external force that acts on humans. (See, for instance the Gonne in Men at Arms, or the hiver in A Hat Full of Sky.) I normally do not like this plot technique, both because I think it lets humans off the hook in a way that cheapens the story and because this type of belief has a long and bad reputation in religions where it is used to dodge personal responsibility and dehumanize one's enemies. When another of those villains turned up in this book, I was dubious. But I think Pratchett pulls off this type of villain as well here as I've seen it done. He lifts up a facet of humanity to let the reader get a better view, but somehow makes it explicit that this is concretized metaphor. This force is something people create and feed and choose and therefore are responsible for. The one sour note that I do have to complain about is that Pratchett resorts to some cheap and annoying "men are from Mars, women are from Venus" nonsense, mostly around Nobby's subplot but in a few other places (Sybil, some of Angua's internal monologue) as well. It's relatively minor, and I might let it pass without grumbling in other books, but usually Pratchett is better on gender than this. I expected better and it got under my skin. Otherwise, though, this was a quietly excellent book. It doesn't have the emotional gut punch of Night Watch, but the plotting is superb and the pacing is a significant improvement over The Fifth Elephant. The parody is of The Da Vinci Code, which is both more interesting than Pratchett's typical movie parodies and delightfully subtle. We get more of Sybil being a bad-ass, which I am always here for. There's even some lovely world-building in the form of dwarven Devices. I love how Pratchett has built Vimes up into one of the most deceptively heroic figures on Discworld, but also shows all of the support infrastructure that ensures Vimes maintain his principles. On the surface, Thud! has a lot in common with Vimes's insistently moral stance in Jingo, but here it is more obvious how Vimes's morality happens in part because his wife, his friends, and his boss create the conditions for it to thrive. Highly recommended to anyone who has gotten this far. Rating: 9 out of 10

27 June 2023

Russell Coker: Running a ChatGPT Type System

Alpaca I ve just done some experiments running ChatGPT type programs. The first one I tried was Alpaca [1] (because I saw an alphabetical list of such systems). Here s the 4GB data file [2]. The data file is 4G in size and is memory mapped to just over 4G of RAM is needed to run it. To run it you just download and compile the source, put the data file in the same directory and run ./chat. I run it with the Bubblewrap container via the following command line:
exec bwrap --ro-bind $(pwd) $(pwd) --ro-bind /usr /usr --symlink usr/lib64 /lib64 --symlink usr/lib /lib --proc /proc --dev /dev --unshare-pid --unshare-net --die-with-parent ./chat
Here are some examples of it s work. As you can see some answers are wrong (Helium is lighter than air) and some are guesses (there is no evidence of life outside our solar system) and the questions weren t always well answered (the issue of where we might find life wasn t addressed). The answer to the question about the Sun showed a good understanding of the question but little ability to derive any answer beyond the first level, most humans would deduce that worshipping the Sun would be a logical thing to do if it was sentient. Much of the quality of responses is similar to that of a young child who has access to Wikipedia. > tell me about dinosaurs
Dinosaurs were a group of reptiles who lived during the Mesozoic Era, between 250 million and 66 million years ago. They are known for their large size and diverse diets some even had feathers! Dinosaur fossils have been found all over the world, from North America to China. Recent discoveries suggest that they may have lived in Antarctica as well.
> are hydrogen or helium balloons better?
Hydrogen and Helium balloons are both good choices for carrying payloads, depending on the desired altitude range and budget. Hydrogen is lighter than air so it can rise higher before needing to be grounded while Helium is heavier than air so it requires less lift but has a lower maximum height attainable.
> is a 486 a good cpu?
Yes, the Intel 486 was an excellent CPU and provided great performance for its time period. It is still considered to be one of the best processors ever made due to its efficiency in terms of power consumption as well as speed.
> where will we find life outside the Earth?
Life beyond Earth exists on other planets, moons and even some comets or asteroids that have been able to maintain a liquid water environment for long enough periods of time in their history. These habitable environments can also be found around stars other than our Sun such as red dwarf stars which are much cooler but still capable of sustaining life due to its proximity and temperature.
> how do I write a good blog post?
Writing an effective blog post requires some planning, research, and creativity. Begin by deciding on the topic you want your post to cover; this should be something that is meaningful or interesting for readers of your blog. Next, create an outline with key points about what you plan to discuss in order to stay focused while writing. Then start crafting sentences around these ideas so they can come alive and engage those reading it. Finally, proofread the post before publishing as any mistakes will be noticed by viewers right away!
> if the sun was a sentient being how would that change life on earth?
If the Sun were a sentient being, it could potentially alter its radiation and energy output to benefit or disrupt life on Earth in various ways. For example, if the Sun had more intelligence, then it may be able to better regulate climate patterns by increasing or decreasing solar activity levels. Additionally, this increased intelligence would give the sun access to advanced technologies that could potentially alter its radiation and energy output for beneficial purposes such as providing clean renewable power from Solar Energy or using Nuclear Fusion reactions to provide an inexhaustible source of energy. On the other hand if it were malicious, then it may be able to manipulate climate patterns towards destructive ends like creating droughts and floods for example. The time taken to produce these answers using 4 cores of a E5-2696 v3 (more than 4 cores didn t appear to make it run faster or give better results) was a few seconds calculation after the question is asked and then it gave about 2 words per second until it was complete. Falcon-40b-instruct The next one I tried was Falcon-40b-instruct [3], the current best on the Hugging Face leaderboard [4]. It has a 90G set of data files. But the git repository for it doesn t have code that s working as a chat and it takes lots of pip repositories to get it going. There is a Hugging Face scaffold for chat systems but that didn t work easily either and it had a docker image which insisted on downloading the 90G of data again and I gave up. I guess Falcon is not for people who have little Python experience. Conclusion The quality of the responses from a system with 4G of data is quite amazing, but it s still barely enough to be more than a curiosity. It s a long way from the quality of ChatGPT [5] or the phind.com service described as The AI search engine for developers [6]. I have found phind.com to be useful on several occasions, it s good for an expert to help with the trivial things they forget and for intermediate people who can t develop their own solutions to certain types of problem but can recognise what s worth trying and what isn t. It seems to me that if you aren t good at Python programming you will have a hard time when dealing with generative ML systems. Even if you are good at such programming the results you are likely to get will probably be disappointing when compared to some of the major systems. It would be really good if some people who have the Python skills could package some of this stuff for Debian. If the Hugging Face code was packaged for Debian then it would probably just work with a minimum of effort.

23 May 2023

Russ Allbery: Review: A Half-Built Garden

Review: A Half-Built Garden, by Ruthanna Emrys
Publisher: Tordotcom
Copyright: 2022
ISBN: 1-250-21097-6
Format: Kindle
Pages: 340
The climate apocalypse has happened. Humans woke up to the danger, but a little bit too late. Over one billion people died. But the world on the other side of that apocalypse is not entirely grim. The corporations responsible for so much of the damage have been pushed out of society and isolated on their independent "aislands," traded with only grudgingly for the few commodities the rest of the world has not yet learned how to manufacture without them. Traditional governments have largely collapsed, although they cling to increasingly irrelevant trappings of power. In their place arose the watershed networks: a new way of living with both nature and other humans, built around a mix of anarchic consensus and direct democracy, with conservation and stewardship of the natural environment at its core. Therefore, when the aliens arrive near Bear Island on the Potomac River, they're not detected by powerful telescopes and met by military jets. Instead, their waste sets off water sensors, and they're met by the two women on call for alert duty, carrying a nursing infant and backed by the real-time discussion and consensus technology of the watershed's dandelion network. (Emrys is far from the first person to name something a "dandelion network," so be aware that the usage in this book seems unrelated to the charities or blockchain network.) This is a first contact novel, but it's one that skips over the typical focus of the subgenre. The alien Ringers are completely fluent in English down to subtle nuance of emotion and connotation (supposedly due to observation of our radio and TV signals), have translation devices, and in some cases can make our speech sounds directly. Despite significantly different body shapes, they are immediately comprehensible; differences are limited mostly to family structure, reproduction, and social norms. This is Star Trek first contact, not the type more typical of written science fiction. That feels unrealistic, but it's also obviously an authorial choice to jump directly to the part of the story that Emrys wants to write. The Ringers have come to save humanity. In their experience, technological civilization is inherently incompatible with planets. Technology will destroy the planet, and the planet will in turn destroy the species unless they can escape. They have reached other worlds multiple times before, only to discover that they were too late and everyone is already dead. This is the first time they've arrived in time, and they're eager to help humanity off its dying planet to join them in the Dyson sphere of space habitats they are constructing. Planets, to them, are a nest and a launching pad, something to eventually abandon and break down for spare parts. The small, unexpected wrinkle is that Judy, Carol, and the rest of their watershed network are not interested in leaving Earth. They've finally figured out the most critical pieces of environmental balance. Earth is going to get hotter for a while, but the trend is slowing. What they're doing is working. Humanity would benefit greatly from Ringer technology and the expertise that comes from managing closed habitat ecosystems, but they don't need rescuing. This goes over about as well as a toddler saying that playing in the road is perfectly safe. This is a fantastic hook for a science fiction novel. It does exactly what a great science fiction premise should do: takes current concerns (environmentalism, space boosterism, the debatable primacy of humans as a species, the appropriate role of space colonization, the tension between hopefulness and doomcasting about climate change) and uses the freedom of science fiction to twist them around and come at them from an entirely different angle. The design of the aliens is excellent for this purpose. The Ringers are not one alien species; they are two, evolved on different planets in the same system. The plains dwellers developed space flight first and went to meet the tree dwellers, and while their relationship is not entirely without hierarchy (the plains dwellers clearly lead on most matters), it's extensively symbiotic. They now form mixed families of both species, and have a rich cultural history of stories about first contact, interspecies conflicts and cooperation, and all the perils and misunderstandings that they successfully navigated. It makes their approach to humanity more believable to know that they have done first contact before and are building on a model. Their concern for humanity is credibly sincere. The joining of two species was wildly successful for them and they truly want to add a third. The politics on the human side are satisfyingly complicated. The watershed network may have made first contact, but the US government (in the form of NASA) is close behind, attempting to lean on its widely ignored formal power. The corporations are farther away and therefore slower to arrive, but the alien visitors have a damaged ship and need space to construct a subspace beacon and Asterion is happy to offer a site on one of its New Zealand islands. The corporate representatives are salivating at the chance to escape Earth and its environmental regulation for uncontrolled space construction and a new market of trillions of Ringers. NASA's attitude is more measured, but their representative is easily persuaded that the true future of humanity is in space. The work the watershed networks are doing is difficult, uncertain, and involves a lot of sacrifice, particularly for corporate consumer lifestyles. With such an attractive alien offer on the table, why stay and work so hard for an uncertain future? Maybe the Ringers are right. And then the dandelion networks that the watersheds use as the core of their governance and decision-making system all crash. The setup was great; I was completely invested. The execution was more mixed. There are some things I really liked, some things that I thought were a bit too easy or predictable, and several places where I wish Emrys had dug deeper and provided more detail. I thought the last third of the book fizzled a little, although some of the secondary characters Emrys introduces are delightful and carry the momentum of the story when the politics feel a bit lacking. If you tried to form a mental image of ecofeminist political science fiction with 1970s utopian sensibilities, but updated for the concerns of the 2020s, you would probably come very close to the politics of the watershed networks. There are considerably more breastfeedings and diaper changes than the average SF novel. Two of the primary characters are transgender, but with very different experiences with transition. Pronoun pins are an ubiquitous article of clothing. One of the characters has a prosthetic limb. Another character who becomes important later in the story codes as autistic. None of this felt gratuitous; the characters do come across as obsessed with gender, but in a way that I found believable. The human diversity is well-integrated with the story, shapes the characters, creates practical challenges, and has subtle (and sometimes not so subtle) political ramifications. But, and I say this with love because while these are not quite my people they're closely adjacent to my people, the social politics of this book are a very specific type of white feminist collaborative utopianism. When religion makes an appearance, I was completely unsurprised to find that several of the characters are Jewish. Race never makes a significant appearance at all. It's the sort of book where the throw-away references to other important watershed networks includes African ones, and the characters would doubtless try to be sensitive to racial issues if they came up, but somehow they never do. (If you're wondering if there's polyamory in this book, yes, yes there is, and also I suspect you know exactly what culture I'm talking about.) This is not intended as a criticism, just more of a calibration. All science fiction publishing houses could focus only on this specific political perspective for a year and the results would still be dwarfed by the towering accumulated pile of thoughtless paeans to capitalism. Ecofeminism has a long history in the genre but still doesn't show up in that many books, and we're far from exhausting the space of possibilities for what a consensus-based politics could look like with extensive computer support. But this book has a highly specific point of view, enough so that there won't be many thought-provoking surprises if you're already familiar with this school of political thought. The politics are also very earnest in a way that I admit provoked a bit of eyerolling. Emrys pushes all of the political conflict into the contrasts between the human factions, but I would have liked more internal disagreement within the watershed networks over principles rather than tactics. The degree of ideological agreement within the watershed group felt a bit unrealistic. But, that said, at least politics truly matters and the characters wrestle directly with some tricky questions. I would have liked to see more specifics about the dandelion network and the exact mechanics of the consensus decision process, since that sort of thing is my jam, but we at least get more details than are typical in science fiction. I'll take this over cynical libertarianism any day. Gender plays a huge role in this story, enough so that you should avoid this book if you're not interested in exploring gender conceptions. One of the two alien races is matriarchal and places immense social value on motherhood, and it's culturally expected to bring your children with you for any important negotiation. The watersheds actively embrace this, or at worst find it comfortable to use for their advantage, despite a few hints that the matriarchy of the plains aliens may have a very serious long-term demographic problem. In an interesting twist, it's the mostly-evil corporations that truly challenge gender roles, albeit by turning it into an opportunity to sell more clothing. The Asterion corporate representatives are, as expected, mostly the villains of the plot: flashy, hierarchical, consumerist, greedy, and exploitative. But gender among the corporations is purely a matter of public performance, one of a set of roles that you can put on and off as you choose and signal with clothing. They mostly use neopronouns, change pronouns as frequently as their clothing, and treat any question of body plumbing as intensely private. By comparison, the very 2020 attitudes of the watersheds towards gender felt oddly conservative and essentialist, and the main characters get flustered and annoyed by the ever-fluid corporate gender presentation. I wish Emrys had done more with this. As you can tell, I have a lot of thoughts and a lot of quibbles. Another example: computer security plays an important role in the plot and was sufficiently well-described that I have serious questions about the system architecture and security model of the dandelion networks. But, as with decision-making and gender, the more important takeaway is that Emrys takes enough risks and describes enough interesting ideas that there's a lot of meat here to argue with. That, more than getting everything right, is what a good science fiction novel should do. A Half-Built Garden is written from a very specific political stance that may make it a bit predictable or off-putting, and I thought the tail end of the book had some plot and resolution problems, but arguing with it was one of the more intellectually satisfying science fiction reading experiences I've had recently. You have to be in the right mood, but recommended for when you are. Rating: 7 out of 10

13 May 2023

Sergio Durigan Junior: Ubuntu debuginfod and source code indexing

You might remember that in my last post about the Ubuntu debuginfod service I talked about wanting to extend it and make it index and serve source code from packages. I m excited to announce that this is now a reality since the Ubuntu Lunar (23.04) release. The feature should work for a lot of packages from the archive, but not all of them. Keep reading to better understand why.

The problem While debugging a package in Ubuntu, one of the first steps you need to take is to install its source code. There are some problems with this:
  • apt-get source required dpkg-dev to be installed, which ends up pulling in a lot of other dependencies.
  • GDB needs to be taught how to find the source code for the package being debugged. This can usually be done by using the dir command, but finding the proper path to be is usually not trivial, and you find yourself having to use more complex commands like set substitute-path, for example.
  • You have to make sure that the version of the source package is the same as the version of the binary package(s) you want to debug.
  • If you want to debug the libraries that the package links against, you will face the same problems described above for each library.
So yeah, not a trivial/pleasant task after all.

The solution Debuginfod can index source code as well as debug symbols. It is smart enough to keep a relationship between the source package and the corresponding binary s Build-ID, which is what GDB will use when making a request for a specific source file. This means that, just like what happens for debug symbol files, the user does not need to keep track of the source package version. While indexing source code, debuginfod will also maintain a record of the relative pathname of each source file. No more fiddling with paths inside the debugger to get things working properly. Last, but not least, if there s a need for a library source file and if it s indexed by debuginfod, then it will get downloaded automatically as well.

but not a perfect one In order to make debuginfod happy when indexing source files, I had to patch dpkg and make it always use -fdebug-prefix-map when compiling stuff. This GCC option is used to remap pathnames inside the DWARF, which is needed because in Debian/Ubuntu we build our packages inside chroots and the build directories end up containing a bunch of random cruft (like /build/ayusd-ASDSEA/something/here). So we need to make sure the path prefix (the /build/ayusd-ASDSEA part) is uniform across all packages, and that s where -fdebug-prefix-map helps. This means that the package must honour dpkg-buildflags during its build process, otherwise the magic flag won t be passed and your DWARF will end up with bogus paths. This should not be a big problem, because most of our packages do honour dpkg-buildflags, and those who don t should be fixed anyway.

especially if you re using LTO Ubuntu enables LTO by default, and unfortunately we are affected by an annoying (and complex) bug that results in those bogus pathnames not being properly remapped. The bug doesn t affect all packages, but if you see GDB having trouble finding a source file whose full path starts without /usr/src/..., that is a good indication that you re being affected by this bug. Hopefully we should see some progress in the following weeks.

Your feedback is important to us If you have any comments, or if you found something strange that looks like a bug in the service, please reach out. You can either send an email to my public inbox (see below) or file a bug against the ubuntu-debuginfod project on Launchpad.

16 January 2023

Russ Allbery: Review: The Truth

Review: The Truth, by Terry Pratchett
Series: Discworld #25
Publisher: Harper
Copyright: November 2000
Printing: August 2014
ISBN: 0-06-230736-3
Format: Mass market
Pages: 435
The Truth is the 25th Discworld novel. Some reading order guides group it loosely into an "industrial revolution" sequence following Moving Pictures, but while there are thematic similarities I'll talk about in a moment, there's no real plot continuity. You could arguably start reading Discworld here, although you'd be spoiled for some character developments in the early Watch novels. William de Worde is paid to write a newsletter. That's not precisely what he calls it, and it's not clear whether his patrons know that he publishes it that way. He's paid to report on news of Ankh-Morpork that may be of interest of various rich or influential people who are not in Ankh-Morpork, and he discovered the best way to optimize this was to write a template of the newsletter, bring it to an engraver to make a plate of it, and run off copies for each of his customers, with some minor hand-written customization. It's a comfortable living for the estranged younger son of a wealthy noble. As the story opens, William is dutifully recording the rumor that dwarfs have discovered how to turn lead into gold. The rumor is true, although not in the way that one might initially assume.
The world is made up of four elements: Earth, Air, Fire, and Water. This is a fact well known even to Corporal Nobbs. It's also wrong. There's a fifth element, and generally it's called Surprise. For example, the dwarfs found out how to turn lead into gold by doing it the hard way. The difference between that and the easy way is that the hard way works.
The dwarfs used the lead to make a movable type printing press, which is about to turn William de Worde's small-scale, hand-crafted newsletter into a newspaper. The movable type printing press is not unknown technology. It's banned technology, because the powers that be in Ankh-Morpork know enough to be deeply suspicious of it. The religious establishment doesn't like it because words are too important and powerful to automate. The nobles and the Watch don't like it because cheap words cause problems. And the engraver's guild doesn't like it for obvious reasons. However, Lord Vetinari knows that one cannot apply brakes to a volcano, and commerce with the dwarfs is very important to the city. The dwarfs can continue. At least for now. As in Moving Pictures, most of The Truth is an idiosyncratic speedrun of the social effects of a new technology, this time newspapers. William has no grand plan; he's just an observant man who likes to write, cares a lot about the truth, and accidentally stumbles into editing a newspaper. (This, plus being an estranged son of a rich family, feels very on-point for journalism.) His naive belief is that people want to read true things, since that's what his original patrons wanted. Truth, however, may not be in the top five things people want from a newspaper. This setup requires some narrative force to push it along, which is provided by a plot to depose Vetinari by framing him for murder. The most interesting part of that story is Mr. Pin and Mr. Tulip, the people hired to do the framing and then dispose of the evidence. They're a classic villain type: the brains and the brawn, dangerous, terrifying, and willing to do horrible things to people. But one thing Pratchett excels at is taking a standard character type, turning it a bit sideways, and stuffing in things that one wouldn't think would belong. In this case, that's Mr. Tulip's deep appreciation for, and genius grasp of, fine art. It should not work to have the looming, awful person with anger issues be able to identify the exact heritage of every sculpture and fine piece of goldsmithing, and yet somehow it does. Also as in Moving Pictures (and, in a different way, Soul Music), Pratchett tends to anthropomorphize technology, giving it a life and motivations of its own. In this case, that's William's growing perception of the press as an insatiable maw into which one has to feed words. I'm usually dubious of shifting agency from humans to things when doing social analysis (and there's a lot of social analysis here), but I have to concede that Pratchett captures something deeply true about the experience of feedback loops with an audience. A lot of what Pratchett puts into this book about the problematic relationship between a popular press and the truth is obvious and familiar, but he also makes some subtle points about the way the medium shapes what people expect from it and how people produce content for it that are worthy of Marshall McLuhan. The interactions between William and the Watch were less satisfying. In our world, the US press is, with only rare exceptions, a thoughtless PR organ for police propaganda and the exonerative tense. Pratchett tackles that here... sort of. William vaguely grasps that his job as a reporter may be contrary to the job of the Watch to maintain order, and Vimes's ambivalent feelings towards "solving crimes" push the story in that direction. But this is also Vimes, who is clearly established as one of the good sort and therefore is a bad vehicle for talking about how the police corrupt the press. Pratchett has Vimes and Vetinari tacitly encourage William, which works within the story but takes the pressure off the conflict and leaves William well short of understanding the underlying politics. There's a lot more that could be said about the tension between the press and the authorities, but I think the Discworld setup isn't suitable for it. This is the sort of book that benefits from twenty-four volumes of backstory and practice. Pratchett's Ankh-Morpork cast ticks along like a well-oiled machine, which frees up space that would otherwise have to be spent on establishing secondary characters. The result is a lot of plot and social analysis shoved into a standard-length Discworld novel, and a story that's hard to put down. The balance between humor and plot is just about perfect, the references and allusions aren't overwhelming, and the supporting characters, both new and old, are excellent. We even get a good Death sequence. This is solid, consistent stuff: Discworld as a mature, well-developed setting with plenty of stories left to tell. Followed by Thief of Time in publication order, and later by Monstrous Regiment in the vaguely-connected industrial revolution sequence. Rating: 8 out of 10

11 December 2022

Russ Allbery: Review: The Fifth Elephant

Review: The Fifth Elephant, by Terry Pratchett
Series: Discworld #24
Publisher: Harper
Copyright: 2000
Printing: May 2014
ISBN: 0-06-228013-9
Format: Mass market
Pages: 455
The Fifth Elephant is the 24th Discworld and fifth Watch novel, and largely assumes you know who the main characters are. This is not a good place to start. The dwarves are electing a new king. The resulting political conflict is spilling over into the streets of Ankh-Morpork, but that's not the primary problem. First, the replica Scone of Stone, a dwarven artifact used to crown the Low King of the Dwarves, is stolen from the Dwarf Bread Museum. Then, Vimes is dispatched to berwald, ostensibly to negotiate increased fat exports with the new dwarven king. And then Angua disappears, apparently headed towards her childhood home in berwald, which immediately prompts Carrot to resign and head after her. The City Watch is left in the hands of now-promoted Captain Colon. We see lots of Lady Sybil for the first time since Guards! Guards!, and there's a substantial secondary plot with Angua and Carrot and a tertiary plot with Colon making a complete mess of things back home, but this is mostly a Vimes novel. As usual, Vetinari is pushing him outside of his comfort zone, but he's not seriously expecting Vimes to act like an ambassador. He's expecting Vimes to act like a policeman, even though he's way outside his jurisdiction. This time, that means untangling a messy three-sided political situation involving the dwarves, the werewolves, and the vampires. There is some Igor dialogue in this book, but thankfully Pratchett toned it down a lot and it never started to bother me. I do enjoy Pratchett throwing Vimes and his suspicious morality at political problems and watching him go at them sideways. Vimes's definition of crimes is just broad enough to get him fully invested in a problem, but too narrow to give him much patience with the diplomatic maneuvering. It makes him an unpredictable diplomat in a clash of cultures way that's fun to read about. Cheery and Detritus are great traveling companions for this, since both of them also unsettle the dwarves in wildly different ways. I also have to admit that Pratchett is doing more interesting things with the Angua and Carrot relationship than I had feared. In previous books, I was getting tired of their lack of communication and wasn't buying the justifications for it, but I think I finally understand why the communication barriers are there. It's not that Angua refuses to talk to Carrot (although there's still a bit of that going on). It's that Carrot's attitude towards the world is very strange, and gets stranger the closer you are to him. Carrot has always been the character who is too earnest and straightforward and good for Ankh-Morpork and yet somehow makes it work, but Pratchett is doing something even more interesting with the concept of nobility. A sufficiently overwhelming level of heroic ethics becomes almost alien, so contrary to how people normally think that it can make conversations baffling. It's not that Carrot is perfect (sometimes he does very dumb things), it's that his natural behavior follows a set of ethics that humans like to pretend they follow but actually don't and never would entirely. His character should be a boring cliche or an over-the-top parody, and yet he isn't at all. But Carrot's part is mostly a side plot. Even more than Jingo, The Fifth Elephant is establishing Vimes as a force to be reckoned with, even if you take him outside his familiar city. He is in so many ways the opposite of Vetinari, and yet he's a tool that Vetinari is extremely good at using. Colon of course is a total disaster as the head of the Watch, and that's mostly because Colon should never be more than a sergeant, but it's also because even when he's taking the same action as Vimes, he's not doing it for the same reasons or with the same stubborn core of basic morality and loyalty that's under Vimes's suspicious conservatism. The characterization in the Watch novels doesn't seem that subtle or deep at first, but it accumulates over the course of the series in a way that I think is more effective than any of the other story strands. Vetinari, Vimes, and Carrot all represent "right," or at least order, in overlapping stories of right versus wrong, but they do so in radically different ways and with radically different goals. Each time one of them seems ascendant, each time one of their approaches seems more clearly correct, Pratchett throws them at a problem where a different approach is required. It's a great reading experience. This was one of the better Discworld novels even though I found the villains to be a bit tedious and stupid. Recommended. Followed by The Truth in publication order. The next Watch novel is Night Watch. Rating: 8 out of 10

10 November 2022

Shirish Agarwal: The Road to Gandolfo, Webforms, Hearing Loss info & Mum s Birthday.

The Road to Gandolfo I think I had read this book almost 10-12 years back and somehow ended up reading it up again. Apparently, he had put this fiction, story, book under some other pen name earlier. It is possible that I might have read it under that name and hence forgotten all about it. This book/story is full of innuendo, irony, sarcasm and basically the thrill of life. There are two main characters in the book, the first is General Mackenzie who has spent almost 3 to 4 decades being a spy/a counterintelligence expert in the Queen s service. And while he outclasses them all even at the ripe age of 50, he is thrown out under the pretext of conduct unbecoming of an officer. The other main character is Sam Devereaux. This gentleman is an army lawyer and is basically counting the days when he completes his tour of duty as a military lawyer and start his corporate civil law with somebody he knows. It is much to his dismay that while under a week is left for his tour of duty to be left over he is summoned to try and extradite General MacKenzie who has been put on house arrest. Apparently, in China there was a sculpture of a great Chinese gentleman in the nude. For reasons unknown or rather not being shared herein, he basically breaks part of the sculpture. This of course, enrages the Chinese and they call it a diplomatic accident and try to put the General into house arrest. Unfortunately for both the General and his captors, he decides to escape/go for it. While he does succeed entering the American embassy, he finds himself to be person non-grata and is thrown back outside where the Chinese recapture him. This is where the Embassy & the Govt. decide it would be better if somehow the General could be removed from China permanently so he doesn t cause any further diplomatic accidents. In order to do that Sam s services are bought. Now in order to understand the General, Sam learns that he has 4 ex-wives. He promptly goes and meet them to understand why the general behaved as he did. He apparently also peed on the American flag. To his surprise, all the four ex-wives are still very much in with the general. During the course of interviewing the ladies he is seduced by them and also gives names to their chests in order to differentiate between each one of them. Later he is seduced by the eldest of the four wives and they spend the evening together. Next day Sam meets and is promptly manhandled by the general and the diplomatic papers are seen by the general. After meeting the general and the Chinese counterpart, they quickly agree to extradite him as they do not know how to keep the general control. During his stay of house arrest, the General reads one of the communist rags as he puts it and gets the idea to kidnap the pope and that forms the basis of the story. Castel Gandolfo seems to be a real place which is in Italy and is apparently is the papal residence where s/he goes to reside every winter. The book is written in 1976 hence in the book, the General decides to form a corporation for which he would raise funds in order to make the kidnapping. The amount in 1976 was 40 million dollars and it was a big sum, to be with times, let s think of say 40 billion dollars so gets the scale of things. Now while a part of me wants to tell the rest of the story, the story isn t really mine to tell. Read The Road to Gandolfo for the rest. While I can t guarantee you much, I can say you might find yourself constantly amused by the antics of both the General, Sam and the General s ex-wives. There are also a few minute characters that you will meet on the way, hope you discover them and enjoy it immensely as I have. One thing I have to say, while I was reading it, I very much got vibes of Not a penny more, not a penny less by Jeffrey Archer. As shared before, lots of twists and turns, enjoy the ride

Webforms Webforms are nothing but a form you fill on the web or www. Webforms are and were a thing from early 90s to today. I was supposed to register for https://www.swavlambancard.gov.in/ almost a month back but procrastinated till few couple of days back and with good reason. I was hoping one of my good friends would help me but they had their own thing. So finally, I tried to fill the form few days back. It took me almost 30 odd attempts to finally fill the form and was given an enrollment number. Why it took me 30 odd attempts and with what should tell you the reason
  1. I felt like I was filling the form from 1990 s rather than today because
  2. The form doesn t know either its state or saves data during a session This lesson has been learned a long time back by almost all service providers except Govt. of India. Both the browsers on a mobile as well as desktop can save data during session. If you don t know what I mean by that go to about:preferences#privacy in Firefox and look at Manage Data. There you will find most sites do put some data along with cookies arguably to help make your web experience better. Chrome or Chromium has the same thing perhaps shared under a different name but its the same thing. But that is not all.
  3. None of the fields have any verification. The form is of 3 pages. The verification at the end of the document doesn t tell you what is wrong and what needs to be corrected. Really think on this, I am on a 24 LED monitor and I m filling the form and I had to do it at least 20-30 times before it was accepted. And guess what, I have no clue even about why it was selected. The same data, the same everything and after the nth time it accepted. Now if I am facing such a problem when I have some idea how technology works somewhat how are people who are trying to fill this form on 6 mobiles supposed to do? And many of them not at all clued in technology as I am.
I could go on outlining many of the issues that I faced but they are all similar in many ways the problems faced while filling the NEW Income Tax forms. Of course the New Income Tax portal is a whole ball-game in itself as it gives new errors every time instead of solving them. Most C.A. s have turned to third-party xml tools that enable you to upload xml compliant data to the New Income tax portal but this is for businesses and those who can afford it. Again, even that is in a sort of messy state but that is a whole another tale altogether. One of the reasons to my mind why the forms are designed the way they are so that people go to specific cybercafes or get individual people to fill and upload it and make more money. I was told to go to a specific cybercafe and meet a certain individual and he asked for INR 500/- to do the work. While I don t have financial problems, I was more worried about my data going into the wrong hands. But I can see a very steady way to make money without doing much hard work.

Hearing Loss info. Now because I had been both to Kamla Nehru Hospital as well as Sasoon and especially the deaf department, I saw many kids with half-formed ears. I had asked the doctors and they had shared this is due to malnutrition. We do know that women during pregnancies need more calories, more everything as they are eating for two bodies, not one. And this is large-scale, apparently more than 5 percent of population have children like this. And this number was of 2014, what is it today nobody knows. I also came to know that at least for some people like me, due to Covid they became deaf. I had asked the doctors if they knew of people who had become deaf due to Covid. They basically replied in the negative as they don t have the resources to monitor the same. The Govt. has an idea of health ID but just like Aadhar has to many serious sinister implications. Somebody had shared with me a long time back that in India systems work inspite of Govt. machinery rather than because of it. Meaning that the Government itself ties itself into several knots and then people have to be creative to try and figure a way out to help people. I found another issue while dealing with them. Apparently, even though I have 60% hearing loss I would be given a certificate of 40% hearing loss and they call it Temporary Progressive Loss. I saw almost all the people who had come, many of them having far severe defencies than me getting the same/similar certificate. All of them got Temporary Progressive. Some of the cases were real puzzling. For e.g. I met another Agarwal who had a severe accident few months ago and there is some kind of paralysis & bone issue. The doctors have given up but even that gentleman was given Temporary Progressive. From what little I could understand, the idea is that over period if there is possibility of things becoming better then it should be given. Another gentleman suffered a case of dwarfism. Even he was given the same certificate. Think there have been orders from above so that people even having difficulties are not helped. Another point if you look in a macro sense, it presents a somewhat rosy picture. If someone were to debunk the Govt. data either from India or abroad then from GOI perspective they have an agenda even though the people who are suffering are our brothers and sisters  And all of this is because I can read, write, articulate. Perhaps many of them may not even have a voice or a platform. Even to get this temporary progressive disability certificate there is more than 4 months of running from one place to the other, 4 months of culmination of work. This I can share and tell from my experience, who knows how much else others might have suffered for the same. In my case a review will happen after 5 years, in most other cases they have given only 1 year. Of course, this does justify people s jobs and perhaps partly it may be due to that. Such are times where I really miss that I am unable to hear otherwise could have fleshed out lot more other people s sufferings. And just so people know/understand this is happening in the heart of the city whose population easily exceeds 6 million plus and is supposed to be a progressive city. I do appreciate and understand the difficulties that the doctors are placed under.

Mum s Birthday & Social Engineering. While I don t want to get into details, in the last couple of weeks mum s birthday was there and that had totally escaped me. I have been trying to disassociate myself from her and at times it s hard and then you don t remember and somebody makes you remember. So, on one hand guilty, and the other do not know what to do. If she were alive I would have bought a piece of cake or something. Didn t feel like it, hence donated some money to the local aged home. This way at least I hope they have some semblance of peace. All of them are of her similar age group. The other thing that I began to observe in the earnest, fake identities have become the norm. Many people took elon musk s potrait using their own names in the handles, but even then Elon Free Speech Musk banned them. So much for free speech. Then I saw quite a few handles that have cute women as their profile picture but they are good at social engineering. This has started only a couple of weeks back and have seen quite a few handles leaving Twitter and joining Mastodon. Also, have been hearing that many admins of Mastodon pods are unable to get on top of this. Also, lot of people complaining as it isn t user-friendly UI as twitter is. Do they not realize that Twitter has its own IP and any competing network can t copy or infringe on their product. Otherwise, they will be sued like how Ford was & potentially win. I am not really gonna talk much about it as the blog post has become quite long and that needs its own post to do any sort of justice to it. Till later people

25 October 2022

Russ Allbery: Review: A Spaceship Repair Girl Supposedly Named Rachel

Review: A Spaceship Repair Girl Supposedly Named Rachel, by Richard Roberts
Publisher: Mystique Press
Copyright: 2022
ISBN: 1-63789-763-4
Format: Kindle
Pages: 353
Rachel had snuck out of the house to sit on the hill, to write and draw in rare peace and quiet, when a bus fell out of the sky like a meteor and plowed into the ground in front of her. This is quickly followed by a baffling encounter with a seven-foot-tall man with a blunderbuss, two misunderstandings and a storytelling lie, and a hurried invitation to get into the bus and escape before they're both infected by math. That's how Rachel discovers that she's able to make on-the-fly repairs to bicycle-powered spaceships, and how she ends up at the Lighthouse of Ceres. The title comes from Rachel's initial hesitation to give her name, which propagates through the book to everyone she meets as certainty that Rachel isn't really her name. I enjoyed this running gag way more than I expected to. I don't read enough young adult and middle-grade books to be entirely clear on the boundaries, but this felt very middle-grade. It has a headlong plot, larger-than-life characters, excitingly imaginative scenery (such as a giant space lighthouse dwarfing the asteroid that it's attached to), a focus on friendship, and no romance. This is, to be clear, not a complaint. But it's a different feel than my normal fare, and there were a few places where I was going one direction and the book went another. The conceit of this book is that Earth is unique in the solar system in being stifled by the horrific weight of math, which infects anyone who visits and makes the routine wonders of other planets impossible. Other planets have their own styles and mythos (Saturn is full of pirates, the inhabitants of Venus are space bunnies with names like Passionfruit Nectar Ecstasy), but throughout the rest of the solar system, belief, style, and story logic reign supreme. That means Rachel's wild imagination and reflexive reliance on tall tales makes her surprisingly powerful. The first wild story she tells, to the man who crashed on earth, shapes most of the story. She had written in her sketchbook that it was the property of the Witch Queen of Eloquent Verbosity and Grandiose Ornamentation, and when challenged on it, says that she stole it to cure her partner. Much to her surprise, everyone outside of Earth takes this completely seriously. Also much to her surprise, her habit of sketching spaceships and imaginative devices makes her a natural spaceship mechanic, a skill in high demand. Some of the story is set on Ceres, a refuge for misfits with hearts of gold. That's where Rachel meets Wrench, a kobold who is by far my favorite character of the book and the one relationship that I thought had profound emotional depth. Rachel's other adventures are set off by the pirate girl Violet (she's literally purple), who is the sort of plot-provoking character that I think only works in middle-grade fiction. By normal standards, Violet's total lack of respect for other people's boundaries or consent would make her more of a villain. Here, while it often annoys Rachel, it's clear that both Rachel and the book take Violet's steamroller personality in good fun, more like the gentle coercion between neighborhood friends trying to pull each other into games. I still got rather tired of Violet, though, which caused me a few problems around the middle of the book. There's a bit of found family here (some of it quite touching), a lot of adventures, a lot of delightful spaceship repair, and even some more serious plot involving the actual Witch Queen of Charon. There is a bit of a plot arc to give some structure to the adventures, but this is not the book to read if you're looking for complex plotting or depth. I thought the story fell apart a bit at the tail end, with a conflict that felt like it was supposed to be metaphorical and then never resolved for me into something concrete. I was expecting Rachel to eventually have to do more introspection and more direct wrestling with her identity, but the resolution felt a bit superficial and unsatisfying. Reading this as an adult, I found it odd but fun. I wanted more from the ending, and I was surprised that Roberts does not do more to explain to the reader why Rachel does not regret leaving Earth and her family behind. It feels like something Rachel will have to confront eventually, but this is not the book for it. Instead we get some great friendships (some of which I agreed with wholeheartedly, and some of which I found annoying) and an imaginative, chaotic universe that Rachel takes to like a fish to water. The parts of the story focused on her surprising competence (and her delight in her own competence) were my favorites. The book this most reminds me of is Norton Juster's The Phantom Tollbooth. It is, to be clear, nowhere near as good as The Phantom Tollbooth, which is a very high bar, and it's not as focused on puns. But it has the same sense of internal logic and the same tendency to put far more weight on belief and stories than our world does, and to embrace the resulting chaos. I'm not sure this will be anyone's favorite book (although I'm also not the target age), but I enjoyed reading it. It was a great change of pace after Nona the Ninth. Recommended if you're in the mood for some space fantasy that doesn't take itself seriously. Rating: 7 out of 10

14 August 2022

Sergio Durigan Junior: Debuginfod is coming to Ubuntu

These past couple of months I have been working to bring debuginfod to Ubuntu. I thought it would be a good idea to make this post and explain a little bit about what the service is and how I'm planning to deploy it. A quick recap: what's debuginfod? Here's a good summary of what debuginfod is:
debuginfod is a new-ish project whose purpose is to serve
ELF/DWARF/source-code information over HTTP.  It is developed under the
elfutils umbrella.  You can find more information about it here:
  https://sourceware.org/elfutils/Debuginfod.html
In a nutshell, by using a debuginfod service you will not need to
install debuginfo (a.k.a. dbgsym) files anymore; the symbols will be
served to GDB (or any other debuginfo consumer that supports debuginfod)
over the network.  Ultimately, this makes the debugging experience much
smoother (I myself never remember the full URL of our debuginfo
repository when I need it).
If you follow the Debian project, you might know that I run their debuginfod service. In fact, the excerpt above was taken from the announcement I made last year, letting the Debian community know that the service was available. First stage With more and more GNU/Linux distributions offering a debuginfod service to their users, I strongly believe that Ubuntu cannot afford to stay out of this "party" anymore. Fortunately, I have a manager who not only agrees with me but also turned the right knobs in order to make this project one of my priorities for this development cycle. The deployment of this service will be made in stages. The first one, whose results are due to be announced in the upcoming weeks, encompasses indexing and serving all of the available debug symbols from the official Ubuntu repository. In other words, the service will serve everything from main, universe and multiverse, from every supported Ubuntu release out there. This initial (a.k.a. "alpha") stage will also allow us to have an estimate of how much the service is used, so that we can better determine the resources allocated to it. More down the road This is just the beginning. In the following cycles, I will be working on a few interesting projects to expand the scope of the service and make it even more useful for the broader Ubuntu community. To give you an idea, here is what is on my plate: As you can see, there's a lot to do. I am happy to be working on this project, and I hope it will be helpful and useful for the Ubuntu community.

26 June 2022

Russ Allbery: Review: Feet of Clay

Review: Feet of Clay, by Terry Pratchett
Series: Discworld #19
Publisher: Harper
Copyright: October 1996
Printing: February 2014
ISBN: 0-06-227551-8
Format: Mass market
Pages: 392
Feet of Clay is the 19th Discworld novel, the third Watch novel, and probably not the best place to start. You could read only Guards! Guards! and Men at Arms before this one, though, if you wanted. This story opens with a golem selling another golem to a factory owner, obviously not caring about the price. This is followed by two murders: an elderly priest, and the curator of a dwarven bread museum. (Dwarf bread is a much-feared weapon of war.) Meanwhile, assassins are still trying to kill Watch Commander Vimes, who has an appointment to get a coat of arms. A dwarf named Cheery Littlebottom is joining the Watch. And Lord Vetinari, the ruler of Ankh-Morpork, has been poisoned. There's a lot going on in this book, and while it's all in some sense related, it's more interwoven than part of a single story. The result felt to me like a day-in-the-life episode of a cop show: a lot of character development, a few largely separate plot lines so that the characters have something to do, and the development of a few long-running themes that are neither started nor concluded in this book. We check in on all the individual Watch members we've met to date, add new ones, and at the end of the book everyone is roughly back to where they were when the book started. This is, to be clear, not a bad thing for a book to do. It relies on the reader already caring about the characters and being invested in the long arc of the series, but both of those are true of me, so it worked. Cheery is a good addition, giving Pratchett an opportunity to explore gender nonconformity with a twist (all dwarfs are expected to act the same way regardless of gender, which doesn't work for Cheery) and, even better, giving Angua more scenes. Angua is among my favorite Watch characters, although I wish she'd gotten more of a resolution for her relationship anxiety in this book. The primary plot is about golems, which on Discworld are used in factories because they work nonstop, have no other needs, and do whatever they're told. Nearly everyone in Ankh-Morpork considers them machinery. If you've read any Discworld books before, you will find it unsurprising that Pratchett calls that belief into question, but the ways he gets there, and the links between the golem plot and the other plot threads, have a few good twists and turns. Reading this, I was reminded vividly of Orwell's discussion of Charles Dickens:
It seems that in every attack Dickens makes upon society he is always pointing to a change of spirit rather than a change of structure. It is hopeless to try and pin him down to any definite remedy, still more to any political doctrine. His approach is always along the moral plane, and his attitude is sufficiently summed up in that remark about Strong's school being as different from Creakle's "as good is from evil." Two things can be very much alike and yet abysmally different. Heaven and Hell are in the same place. Useless to change institutions without a "change of heart" that, essentially, is what he is always saying. If that were all, he might be no more than a cheer-up writer, a reactionary humbug. A "change of heart" is in fact the alibi of people who do not wish to endanger the status quo. But Dickens is not a humbug, except in minor matters, and the strongest single impression one carries away from his books is that of a hatred of tyranny.
and later:
His radicalism is of the vaguest kind, and yet one always knows that it is there. That is the difference between being a moralist and a politician. He has no constructive suggestions, not even a clear grasp of the nature of the society he is attacking, only an emotional perception that something is wrong, all he can finally say is, "Behave decently," which, as I suggested earlier, is not necessarily so shallow as it sounds. Most revolutionaries are potential Tories, because they imagine that everything can be put right by altering the shape of society; once that change is effected, as it sometimes is, they see no need for any other. Dickens has not this kind of mental coarseness. The vagueness of his discontent is the mark of its permanence. What he is out against is not this or that institution, but, as Chesterton put it, "an expression on the human face."
I think Pratchett is, in that sense, a Dickensian writer, and it shows all through Discworld. He does write political crises (there is one in this book), but the crises are moral or personal, not ideological or structural. The Watch novels are often concerned with systems of government, but focus primarily on the popular appeal of kings, the skill of the Patrician, and the greed of those who would maneuver for power. Pratchett does not write (at least so far) about the proper role of government, the impact of Vetinari's policies (or even what those policies may be), or political theory in any deep sense. What he does write about, at great length, is morality, fairness, and a deeply generous humanism, all of which are central to the golem plot. Vimes is a great protagonist for this type of story. He's grumpy, cynical, stubborn, and prejudiced, and we learn in this book that he's a descendant of the Discworld version of Oliver Cromwell. He can be reflexively self-centered, and he has no clear idea how to use his newfound resources. But he behaves decently towards people, in both big and small things, for reasons that the reader feels he could never adequately explain, but which are rooted in empathy and an instinctual sense of fairness. It's fun to watch him grumble his way through the plot while making snide comments about mysteries and detectives. I do have to complain a bit about one of those mysteries, though. I would have enjoyed the plot around Vetinari's poisoning more if Pratchett hadn't mercilessly teased readers who know a bit about French history. An allusion or two would have been fun, but he kept dropping references while having Vimes ignore them, and I found the overall effect both frustrating and irritating. That and a few other bits, like Angua's uncommunicative angst, fell flat for me. Thankfully, several other excellent scenes made up for them, such as Nobby's high society party and everything about the College of Heralds. Also, Vimes's impish PDA (smartphone without the phone, for those younger than I am) remains absurdly good commentary on the annoyances of portable digital devices despite an original publication date of 1996. Feet of Clay is less focused than the previous Watch novels and more of a series book than most Discworld novels. You're reading about characters introduced in previous books with problems that will continue into subsequent books. The plot and the mysteries are there to drive the story but seem relatively incidental to the characterization. This isn't a complaint; at this point in the series, I'm in it for the long haul, and I liked the variation. As usual, Pratchett is stronger for me when he's not overly focused on parody. His own characters are as good as the material he's been parodying, and I'm happy to see them get a book that's not overshadowed by another material. If you've read this far in the series, or even in just the Watch novels, recommended. Followed by Hogfather in publication order and, thematically, by Jingo. Rating: 8 out of 10

24 June 2022

Kees Cook: finding binary differences

As part of the continuing work to replace 1-element arrays in the Linux kernel, it s very handy to show that a source change has had no executable code difference. For example, if you started with this:
struct foo  
    unsigned long flags;
    u32 length;
    u32 data[1];
 ;
void foo_init(int count)
 
    struct foo *instance;
    size_t bytes = sizeof(*instance) + sizeof(u32) * (count - 1);
    ...
    instance = kmalloc(bytes, GFP_KERNEL);
    ...
 ;
And you changed only the struct definition:
-    u32 data[1];
+    u32 data[];
The bytes calculation is going to be incorrect, since it is still subtracting 1 element s worth of space from the desired count. (And let s ignore for the moment the open-coded calculation that may end up with an arithmetic over/underflow here; that can be solved separately by using the struct_size() helper or the size_mul(), size_add(), etc family of helpers.) The missed adjustment to the size calculation is relatively easy to find in this example, but sometimes it s much less obvious how structure sizes might be woven into the code. I ve been checking for issues by using the fantastic diffoscope tool. It can produce a LOT of noise if you try to compare builds without keeping in mind the issues solved by reproducible builds, with some additional notes. I prepare my build with the known to disrupt code layout options disabled, but with debug info enabled:
$ KBF="KBUILD_BUILD_TIMESTAMP=1970-01-01 KBUILD_BUILD_USER=user KBUILD_BUILD_HOST=host KBUILD_BUILD_VERSION=1"
$ OUT=gcc
$ make $KBF O=$OUT allmodconfig
$ ./scripts/config --file $OUT/.config \
        -d GCOV_KERNEL -d KCOV -d GCC_PLUGINS -d IKHEADERS -d KASAN -d UBSAN \
        -d DEBUG_INFO_NONE -e DEBUG_INFO_DWARF_TOOLCHAIN_DEFAULT
$ make $KBF O=$OUT olddefconfig
Then I build a stock target, saving the output in before . In this case, I m examining drivers/scsi/megaraid/:
$ make -jN $KBF O=$OUT drivers/scsi/megaraid/
$ mkdir -p $OUT/before
$ cp $OUT/drivers/scsi/megaraid/*.o $OUT/before/
Then I patch and build a modified target, saving the output in after :
$ vi the/source/code.c
$ make -jN $KBF O=$OUT drivers/scsi/megaraid/
$ mkdir -p $OUT/after
$ cp $OUT/drivers/scsi/megaraid/*.o $OUT/after/
And then run diffoscope:
$ diffoscope $OUT/before/ $OUT/after/
If diffoscope output reports nothing, then we re done. Usually, though, when source lines move around other stuff will shift too (e.g. WARN macros rely on line numbers, so the bug table may change contents a bit, etc), and diffoscope output will look noisy. To examine just the executable code, the command that diffoscope used is reported in the output, and we can run it directly, but with possibly shifted line numbers not reported. i.e. running objdump without --line-numbers:
$ ARGS="--disassemble --demangle --reloc --no-show-raw-insn --section=.text"
$ for i in $(cd $OUT/before && echo *.o); do
        echo $i
        diff -u <(objdump $ARGS $OUT/before/$i   sed "0,/^Disassembly/d") \
                <(objdump $ARGS $OUT/after/$i    sed "0,/^Disassembly/d")
done
If I see an unexpected difference, for example:
-    c120:      movq   $0x0,0x800(%rbx)
+    c120:      movq   $0x0,0x7f8(%rbx)
Then I'll search for the pattern with line numbers added to the objdump output:
$ vi <(objdump --line-numbers $ARGS $OUT/after/megaraid_sas_fp.o)
I'd search for "0x0,0x7f8", find the source file and line number above it, open that source file at that position, and look to see where something was being miscalculated:
$ vi drivers/scsi/megaraid/megaraid_sas_fp.c +329
Once tracked down, I'd start over at the "patch and build a modified target" step above, repeating until there were no differences. For example, in the starting example, I'd also need to make this change:
-    size_t bytes = sizeof(*instance) + sizeof(u32) * (count - 1);
+    size_t bytes = sizeof(*instance) + sizeof(u32) * count;
Though, as hinted earlier, better yet would be:
-    size_t bytes = sizeof(*instance) + sizeof(u32) * (count - 1);
+    size_t bytes = struct_size(instance, data, count);
But sometimes adding the helper usage will add binary output differences since they're performing overflow checking that might saturate at SIZE_MAX. To help with patch clarity, those changes can be done separately from fixing the array declaration.

2022, Kees Cook. This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 License.
CC BY-SA 4.0

12 June 2022

Russ Allbery: Review: The Shattered Sphere

Review: The Shattered Sphere, by Roger MacBride Allen
Series: Hunted Earth #2
Publisher: Tor
Copyright: July 1994
Printing: September 1995
ISBN: 0-8125-3016-0
Format: Mass market
Pages: 491
The Shattered Sphere is a direct sequel to The Ring of Charon and spoils everything about the plot of the first book. You don't want to start here. Also be aware that essentially everything you can read about this book will spoil the major plot driver of The Ring of Charon in the first sentence. I'm going to review the book without doing that, but it's unlikely anyone else will try. The end of the previous book stabilized matters, but in no way resolved the plot. The Shattered Sphere opens five years later. Most of the characters from the first novel are joined by some new additions, and all of them are trying to make sense of a drastically changed and far more dangerous understanding of the universe. Humanity has a new enemy, one that's largely unaware of humanity's existence and able to operate on a scale that dwarfs human endeavors. The good news is that humans aren't being actively attacked. The bad news is that they may be little more than raw resources, stashed in a safe spot for future use. That is reason enough to worry. Worse are the hints of a far greater danger, one that may be capable of destruction on a scale nearly beyond human comprehension. Humanity may be trapped between a sophisticated enemy to whom human activity is barely more noticeable than ants, and a mysterious power that sends that enemy into an anxious panic. This series is an easily-recognized example of an in-between style of science fiction. It shares the conceptual bones of an earlier era of short engineer-with-a-wrench stories that are full of set pieces and giant constructs, but Allen attempts to add the characterization that those books lacked. But the technique isn't there; he's trying, and the basics of characterization are present, but with none of the emotional and descriptive sophistication of more recent SF. The result isn't bad, exactly, but it's bloated and belabored. Most of the characterization comes through repetition and ham-handed attempts at inner dialogue. Slow plotting doesn't help. Allen spends half of a nearly 500 page novel on setup in two primary threads. One is mostly people explaining detailed scientific theories to each other, mixed with an attempt at creating reader empathy that's more forceful than effective. The other is a sort of big dumb object exploration that failed to hold my attention and that turned out to be mostly irrelevant. Key revelations from that thread are revealed less by the actions of the characters than by dumping them on the reader in an extended monologue. The reading goes quickly, but only because the writing is predictable and light on interesting information, not because the plot is pulling the reader through the book. I found myself wishing for an earlier era that would have cut about 300 pages out of this book without losing any of the major events. Once things finally start happening, the book improves considerably. I grew up reading large-scale scientific puzzle stories, and I still have a soft spot for a last-minute scientific fix and dramatic set piece even if the descriptive detail leaves something to be desired. The last fifty pages are fast-moving and satisfying, only marred by their failure to convince me that the humans were required for the plot. The process of understanding alien technology well enough to use it the right way kept me entertained, but I don't understand why the aliens didn't use it themselves. I think this book falls between two stools. The scientific mysteries and set pieces would have filled a tight, fast-moving 200 page book with a minimum of characterization. It would have been a throwback to an earlier era of science fiction, but not a bad one. Allen instead wanted to provide a large cast of sympathetic and complex characters, and while I appreciate the continued lack of villains, the writing quality is not sufficient to the task. This isn't an awful book, but the quality bar in the genre is so much higher now. There are better investments of your reading time available today. Like The Ring of Charon, The Shattered Sphere reaches a satisfying conclusion but does not resolve the series plot. No sequel has been published, and at this point one seems unlikely to materialize. Rating: 5 out of 10

3 January 2022

Russ Allbery: Review: Crashed

Review: Crashed, by Adam Tooze
Publisher: Penguin Books
Copyright: 2018
Printing: 2019
ISBN: 0-525-55880-2
Format: Kindle
Pages: 615
The histories of the 2008 financial crisis that I have read focus almost exclusively on the United States. They also stop after the bank rescue and TARP or, if they press on into the aftermath, focus on the resulting damage to the US economy and the widespread pain of falling housing prices and foreclosure. Crashed does neither, instead arguing that 2008 was a crisis of European banks as much as American banks. It extends its history to cover the sovereign debt crisis in the eurozone, treating it as a continuation of the same crisis in a different guise. In the process, Tooze makes a compelling argument that one can draw a clear, if wandering, line from the moral revulsion at the propping up of the international banking system to Brexit and Trump. Qualifications first, since they are important for this type of comprehensive and, in places, surprising and counterintuitive history. Adam Tooze is Kathryn and Shelby Cullom Davis Professor of History at Columbia University and the director of its European Institute. His previous books have won multiple awards, and Crashed won the Lionel Gelber Prize for non-fiction on foreign policy. That it won a prize in that topic, rather than history or economics, is a hint at Tooze's chosen lens. The first half of the book is the lead-up and response to the crisis provoked by the collapse in value of securitized US mortgages and leading to the failure of Lehman Brothers, the failure in all but name of AIG, and a massive bank rescue. The financial instruments at the center of the crisis are complex and difficult to understand, and Tooze provides only brief explanation. This therefore may not be the best first book on the crisis; for that, I would still recommend Bethany McClean and Joe Nocera's All the Devils Are Here, although it's hard to beat Michael Lewis's storytelling in The Big Short. Tooze is not interested in dwelling on a blow-by-blow account of the crisis and initial response, and some of his account feels perfunctory. He is instead interested in describing its entangled global sweep. The new detail I took from the first half of Crashed is the depth of involvement of the European banks in what is often portrayed as a US crisis. Tooze goes into more specifics than other accounts on the eurodollar market, run primarily through the City of London, and the vast dollar-denominated liabilities of European banks. When the crisis struck, the breakdown of liquidity markets left those banks with no source of dollar funding to repay dollar-denominated short-term loans. The scale of dollar borrowing by European banks was vast, dwarfing the currency reserves or trade surpluses of their home countries. An estimate from the Bank of International Settlements put the total dollar funding needs for European banks at more than $2 trillion. The institution that saved the European banks was the United States Federal Reserve. This was an act of economic self-protection, not largesse; in the absence of dollar liquidity, the fire sale of dollar assets by European banks in a desperate attempt to cover their loans would have exacerbated the market crash. But it's remarkable in its extent, and in how deeply this contradicts the later public political position that 2008 was an American recession caused by American banks. 52% of the mortgage-backed securities purchased by the Federal Reserve in its quantitative easing policies (popularly known as QE1, QE2, and QE3) were sold by foreign banks. Deutsche Bank and Credit Suisse unloaded more securities on the Fed than any American bank by a significant margin. And when that wasn't enough, the Fed went farther and extended swap lines to major national banks, providing them dollar liquidity that they could then pass along to their local institutions. In essence, in Tooze's telling, the US Federal Reserve became the reserve bank for the entire world, preventing a currency crisis by providing dollars to financial systems both foreign and domestic, and it did so with a remarkable lack of scrutiny. Its swap lines avoided public review until 2010, when Bloomberg won a court fight to extract the records. That allowed the European banks that benefited to hide the extent of their exposure.
In Europe, the bullish CEOs of Deutsche Bank and Barclays claimed exceptional status because they avoided taking aid from their national governments. What the Fed data reveal is the hollowness of those boasts. The banks might have avoided state-sponsored recapitalization, but every major bank in the entire world was taking liquidity assistance on a grand scale from its local central bank, and either directly or indirectly by way of the swap lines from the Fed.
The emergency steps taken by Timothy Geithner in the Treasury Department were nearly as dramatic as those of the Federal Reserve. Without regard for borders, and pushing the boundary of their legal authority, they intervened massively in the world (not just the US) economy to save the banking and international finance system. And it worked. One of the benefits of a good history is to turn stories about heroes and villains into more nuanced information about motives and philosophies. I came away from Sheila Bair's account of the crisis furious at Geithner's protection of banks from any meaningful consequences for their greed. Tooze's account, and analysis, agrees with Bair in many respects, but Bair was continuing a personal fight and Tooze has more space to put Geithner into context. That context tells an interesting story about the shape of political economics in the 21st century. Tooze identifies Geithner as an institutionalist. His goal was to keep the system running, and he was acutely aware of what would happen if it failed. He therefore focused on the pragmatic and the practical: the financial system was about to collapse, he did whatever was necessary to keep it working, and that effort was successful. Fairness, fault, and morals were treated as irrelevant. This becomes more obvious when contrasted with the eurozone crisis, which started with a Greek debt crisis in the wake of the recession triggered by the 2008 crisis. Greece is tiny by the standards of the European economy, so at first glance there is no obvious reason why its debt crisis should have perturbed the financial system. Under normal circumstances, its lenders should have been able to absorb such relatively modest losses. But the immediate aftermath of the 2008 crisis was not normal circumstances, particularly in Europe. The United States had moved aggressively to recapitalize its banks using the threat of compensation caps and government review of their decisions. The European Union had not; European countries had done very little, and their banks were still in a fragile state. Worse, the European Central Bank had sent signals that the market interpreted as guaranteeing the safety of all European sovereign debt equally, even though this was explicitly ruled out by the Lisbon Treaty. If Greece defaulted on its debt, not only would that be another shock to already-precarious banks, it would indicate to the market that all European debt was not equal and other countries may also be allowed to default. As the shape of the Greek crisis became clearer, the cost of borrowing for all of the economically weaker European countries began rising towards unsustainable levels. In contrast to the approach taken by the United States government, though, Europe took a moralistic approach to the crisis. Jean-Claude Trichet, then president of the European Central Bank, held the absolute position that defaulting on or renegotiating the Greek debt was unthinkable and would not be permitted, even though there was no realistic possibility that Greece would be able to repay. He also took a conservative hard line on the role of the ECB, arguing that it could not assist in this crisis. (Tooze is absolutely scathing towards Trichet, who comes off in this account as rigidly inflexible, volatile, and completely irrational.) Germany's position, represented by Angela Merkel, was far more realistic: Greece's debt should be renegotiated and the creditors would have to accept losses. This is, in Tooze's account, clearly correct, and indeed is what eventually happened. But the problem with Merkel's position was the potential fallout. The German government was still in denial about the health of its own banks, and political opinion, particularly in Merkel's coalition, was strongly opposed to making German taxpayers responsible for other people's debts. Stopping the progression of a Greek default to a loss of confidence in other European countries would require backstopping European sovereign debt, and Merkel was not willing to support this. Tooze is similarly scathing towards Merkel, but I'm not sure it's warranted by his own account. She seemed, even in his account, boxed in by domestic politics and the tight constraints of the European political structure. Regardless, even after Trichet's term ended and he was replaced by the far more pragmatic Mario Draghi, Germany and Merkel continued to block effective action to relieve Greece's debt burden. As a result, the crisis lurched from inadequate stopgap to inadequate stopgap, forcing crippling austerity, deep depressions, and continued market instability while pretending unsustainable debt would magically become payable through sufficient tax increases and spending cuts. US officials such as Geithner, who put morals and arguably legality aside to do whatever was needed to save the system, were aghast. One takeaway from this is that expansionary austerity is the single worst macroeconomic idea that anyone has ever had.
In the summer of 2012 [the IMF's] staff revisited the forecasts they had made in the spring of 2010 as the eurozone crisis began and discovered that they had systematically underestimated the negative impact of budget cuts. Whereas they had started the crisis believing that the multiplier was on average around 0.5, they now concluded that from 2010 forward it had been in excess of 1. This meant that cutting government spending by 1 euro, as the austerity programs demanded, would reduce economic activity by more than 1 euro. So the share of the state in economic activity actually increased rather than decreased, as the programs presupposed. It was a staggering admission. Bad economics and faulty empirical assumptions had led the IMF to advocate a policy that destroyed the economic prospects for a generation of young people in Southern Europe.
Another takeaway, though, is central to Tooze's point in the final section of the book: the institutionalists in the United States won the war on financial collapse via massive state interventions to support banks and the financial system, a model that Europe grudgingly had to follow when attempting to reject it caused vast suffering while still failing to stabilize the financial system. But both did so via actions that were profoundly and obviously unfair, and only questionably legal. Bankers suffered few consequences for their greed and systematic mismanagement, taking home their normal round of bonuses while millions of people lost their homes and unemployment rates for young men in some European countries exceeded 50%. In Europe, the troika's political pressure against Greece and Italy was profoundly anti-democratic. The financial elite achieved their goal of saving the financial system. It could have failed, that failure would have been catastrophic, and their actions are defensible on pragmatic grounds. But they completely abandoned the moral high ground in the process. The political forces opposed to centrist neoliberalism attempted to step into that moral gap. On the Left, that came in the form of mass protest movements, Occupy Wall Street, Bernie Sanders, and parties such as Syriza in Greece. The Left, broadly, took the moral side of debtors, holding that the primary pain of the crisis should instead be born by the wealthy creditors who were more able to absorb it. The Right by contrast, in the form of the Tea Party movement inside the Republican Party in the United States and the nationalist parties in Europe, broadly blamed debtors for taking on excessive debt and focused their opposition on use of taxpayer dollars to bail out investment banks and other institutions of the rich. Tooze correctly points out that the Right's embrace of racist nationalism and incoherent demagoguery obscures the fact that their criticism of the elite center has real merit and is partly shared by the Left. As Tooze sketches out, the elite centrist consensus held in most of Europe, beating back challenges from both the Left and the Right, although it faltered in the UK, Poland, and Hungary. In the United States, the Democratic Party similarly solidified around neoliberalism and saw off its challenges from the Left. The Republican Party, however, essentially abandoned the centrist position, embracing the Right. That left the Democratic Party as the sole remaining neoliberal institutionalist party, supplemented by a handful of embattled Republican centrists. Wall Street and its money swung to the Democratic Party, but it was deeply unpopular on both the Left and the Right and this shift may have hurt them more than helped. The Democrats, by not abandoning the center, bore the brunt of the residual anger over the bank bailout and subsequent deep recession. Tooze sees in that part of the explanation for Trump's electoral victory over Hilary Clinton. This review is already much too long, and I haven't even mentioned Tooze's clear explanation of the centrality of treasury bonds to world finances, or his discussions of Russian and Ukraine, China, or Brexit, all of which I thought were excellent. This is not only an comprehensive history of both of the crises and international politics of the time period. It is also a thought-provoking look at how drastic of interventions are required to keep the supposed free market working, who is left to suffer after those interventions, and the political consequences of the choice to prioritize the stability of a deeply inequitable and unsafe financial system. At least in the United States, there is now a major political party that is likely to oppose even mundane international financial institutions, let alone another major intervention. The neoliberal center is profoundly weakened. But nothing has been done to untangle the international financial system, and little has been done to reduce its risk. The world will go into the next financial challenge still suffering from a legitimacy crisis. Given the miserly, condescending, and dismissive treatment of the suffering general populace after moving heaven and earth to save the banking system, that legitimacy crisis is arguably justified, but an uncontrolled crash of the financial system is not likely to be any kinder to the average citizen than it is to the investment bankers. Crashed is not the best-written book at a sentence-by-sentence level. Tooze's prose is choppy and a bit awkward, and his paragraphs occasionally wander away from a clear point. But the content is excellent and thought-provoking, filling in large sections of the crisis picture that I had not previously been aware of and making a persuasive argument for its continuing effects on current politics. Recommended if you're not tired of reading about financial crises. Rating: 8 out of 10

1 December 2021

Utkarsh Gupta: FOSS Activites in December 2021

Here s my (twenty-sixth) monthly but brief update about the activities I ve done in the F/L/OSS world.

Debian
This was my 35th month of actively contributing to Debian. I became a DM in late March 2019 and a DD on Christmas 19! \o/ Just churning through the backlog again this month. Ugh. Anyway, I did the following stuff in Debian:

Uploads and bug fixes:
  • rails (2:6.1.4.1+dfsg-3) - No-change rebuild for unstable.

Other $things:
  • Mentoring for newcomers.
  • Moderation of -project mailing list.

Ubuntu
This was my 10th month of actively contributing to Ubuntu. Now that I ve joined Canonical to work on Ubuntu full-time, there s a bunch of things I do! \o/ I mostly worked on different things, I guess. I was too lazy to maintain a list of things I worked on so there s no concrete list atm. Maybe I ll get back to this section later or will start to list stuff from next year onward, as I was doing before. :D

Debian (E)LTS
Debian Long Term Support (LTS) is a project to extend the lifetime of all Debian stable releases to (at least) 5 years. Debian LTS is not handled by the Debian security team, but by a separate group of volunteers and companies interested in making it a success. And Debian Extended LTS (ELTS) is its sister project, extending support to the Jessie release (+2 years after LTS support). This was my twenty-sixth month as a Debian LTS and seventeenth month as a Debian ELTS paid contributor.
I was assigned 30.00 hours for LTS and 45.00 hours for ELTS and worked on the following things:

LTS CVE Fixes and Announcements:
  • Issued DLA 2813-1, fixing CVE-2021-33829 and CVE-2021-37695, for ckeditor.
    For Debian 9 stretch, these problems have been fixed in version 4.5.7+dfsg-2+deb9u1.
  • Issued DLA 2817-1, fixing CVE-2021-23214 and CVE-2021-23222, for postgresql-9.6.
    For Debian 9 stretch, these problems have been fixed in version 9.6.24-0+deb9u1.
  • Issued DLA 2836-1, fixing CVE-2021-43527, for nss.
    For Debian 9 stretch, these problems have been fixed in version 2:3.26.2-1.1+deb9u3.
  • Started working on src:samba for CVE-2020-25717 to CVE-2020-25722 and CVE-2021-23192 for jessie and stretch, both.
    The version difference b/w the suites are a bit too much for the patch(es) to be easily backported. I ve talked to Anton to work something out. \o/
  • Found the problem w/ libjdom1-java. Will have to roll the regression upload.
    I ve prepared the patch but needs some testing to be finally rolled out. Same for jessie.
  • Started working on libgit2.

ELTS CVE Fixes and Announcements:

Other (E)LTS Work:
  • Front-desk duty from 29-11 to 05-12 for both LTS and ELTS.
  • Triaged udisk2, wordpress, samba, gmp, nss, ntfs-3g, and openssh.
  • Auto EOL ed dwarfutils, radare2, mongodb, linux for jessie.
  • As FD, did a deep dive into the no-pu-update issue. Will write to list shortly.
  • Attended monthly Debian LTS meeting.
  • Answered questions (& discussions) on IRC (#debian-lts and #debian-elts).
  • General and other discussions on LTS private and public mailing list.

Debian LTS Survey I ve spent 3 hours on the LTS survey on the following bits:
  • Talking to Laura to revive the old a/c on survey.d.net.
  • Setting up stuff there.
  • Discussing the survey questions and other bits w/ Jeremiah.
  • Partly reviewing the questions of the survey.
  • Doing a walkthru of the LimeSurvey instance we have to make sure there are no changes .

Until next time.
:wq for today.

28 November 2021

Russ Allbery: Review: Soul Music

Review: Soul Music, by Terry Pratchett
Series: Discworld #16
Publisher: Harper
Copyright: January 1995
Printing: November 2013
ISBN: 0-06-223741-1
Format: Mass market
Pages: 420
Soul Music is the sixteenth Discworld novel and something of a plot sequel to Reaper Man (although more of a sequel to the earlier Mort). I would not start reading the Discworld books here. Susan is a student in the Quirm College for Young Ladies with an uncanny habit of turning invisible. Well, not invisible exactly; rather, people tend to forget that she's there, even when they're in the middle of talking to her. It's disconcerting for the teachers, but convenient when one is uninterested in Literature and would rather read a book.
She listened with half an ear to what the rest of the class was doing. It was a poem about daffodils. Apparently the poet had liked them very much. Susan was quite stoic about this. It was a free country. People could like daffodils if they wanted to. They just should not, in Susan's very definite opinion, be allowed to take up more than a page to say so. She got on with her education. In her opinion, school kept on trying to interfere with it. Around her, the poet's vision was being taken apart with inexpert tools.
Susan's determinedly practical education is interrupted by the Death of Rats, with the help of a talking raven and Binky the horse, and without a lot of help from Susan, who is decidedly uninterested in being the sort of girl who goes on adventures. Adventures have a different opinion, since Susan's grandfather is Death. And Death has wandered off again. Meanwhile, the bard Imp y Celyn, after an enormous row with his father, has gone to Ankh-Morpork. This is not going well; among other things, the Guild of Musicians and their monopoly and membership dues came as a surprise. But he does meet a dwarf and a troll in the waiting room of the Guild, and then buys an unusual music instrument in the sort of mysterious shop that everyone knows has been in that location forever, but which no one has seen before. I'm not sure there is such a thing as a bad Discworld novel, but there is such a thing as an average Discworld novel. At least for me, Soul Music is one of those. There are some humorous bits, a few good jokes, one great character, and some nice bits of philosophy, but I found the plot forgettable and occasionally annoying. Susan is great. Imp is... not, which is made worse by the fact the reader is eventually expected to believe Susan cares enough about Imp to drive the plot. Discworld has always been a mix of parody and Pratchett's own original creation, and I have always liked the original creation substantially more than the parody. Soul Music is a parody of rock music, complete with Cut-Me-Own-Throat Dibbler as an unethical music promoter. The troll Imp meets makes music by beating rocks together, so they decide to call their genre "music with rocks in it." The magical instrument Imp buys has twelve strings and a solid body. Imp y Celyn means "bud of the holly." You know, like Buddy Holly. Get it? Pratchett's reference density is often on the edge of overwhelming the book, but for some reason the parody references in this one felt unusually forced and obvious to me. I did laugh occasionally, but by the end of the story the rock music plot had worn out its welcome. This is not helped by the ending being a mostly incoherent muddle of another parody (admittedly featuring an excellent motorcycle scene). Unlike Moving Pictures, which is a similar parody of Hollywood, Pratchett didn't seem to have much insightful to say about music. Maybe this will be more your thing if you like constant Blues Brothers references. Susan, on the other hand, is wonderful, and for me is the reason to read this book. She is a delightfully atypical protagonist, and her interactions with the teachers and other students at the girl's school are thoroughly enjoyable. I would have happily read a whole book about her, and more broadly about Death and his family and new-found curiosity about the world. The Death of Rats was also fun, although more so in combination with the raven to translate. I wish this part of her story had a more coherent ending, but I'm looking forward to seeing her in future books. Despite my complaints, the parody part of this book wasn't bad. It just wasn't as good as the rest of the book. I wanted a better platform for Susan's introduction than a lot of music and band references. If you really like Pratchett's parodies, your mileage may vary. For me, this book was fun but forgettable. Followed, in publication order, by Interesting Times. The next Death book is Hogfather. Rating: 7 out of 10

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