OverloadedRecordFields
.
At that point, there was no secretary role yet, so how I did become one? It seems that in February 2017 I started to clean-up and refine the process documentation, fixing bugs in the process (like requiring authors to set Github labels when they don t even have permissions to do that). This in particular meant that someone from the committee had to manually handle submissions and so on, and by the aforementioned principle that at every step there ought to be exactly one person in change, the role of a secretary followed naturally. In the email in which I described that role I wrote:
Simon already shoved me towards picking up the secretary hat, to reduce load on Ben.So when I merged the updated process documentation, I already listed myself secretary . It wasn t just Simon s shoving that put my into the role, though. I dug out my original self-nomination email to Ben, and among other things I wrote:
I also hope that there is going to be clear responsibilities and a clear workflow among the committee. E.g. someone (possibly rotating), maybe called the secretary, who is in charge of having an initial look at proposals and then assigning it to a member who shepherds the proposal.So it is hardly a surprise that I became secretary, when it was dear to my heart to have a smooth continuous process here. I am rather content with the result: These three ingredients single secretary, per-proposal shepherds, silence-is-consent helped the committee to be effective throughout its existence, even as every once in a while individual members dropped out.
BlockArguments
, do
notation with ( foo)
expressions and Unicode), I m still around, hosting the Haskell Interlude Podcast, writing on this blog and hanging out at ZuriHac etc.
Barbie No, seriously! If anyone can make a good film about a doll franchise, it's probably Greta Gerwig. Not only was Little Women (2019) more than admirable, the same could be definitely said for Lady Bird (2017). More importantly, I can't help feel she was the real 'Driver' behind Frances Ha (2012), one of the better modern takes on Claudia Weill's revelatory Girlfriends (1978). Still, whenever I remember that Barbie will be a film about a billion-dollar toy and media franchise with a nettlesome history, I recall I rubbished the "Facebook film" that turned into The Social Network (2010). Anyway, the trailer for Barbie is worth watching, if only because it seems like a parody of itself.
Blitz It's difficult to overstate just how important the aerial bombing of London during World War II is crucial to understanding the British psyche, despite it being a constructed phenomenon from the outset. Without wishing to underplay the deaths of over 40,000 civilian deaths, Angus Calder pointed out in the 1990s that the modern mythology surrounding the event "did not evolve spontaneously; it was a propaganda construct directed as much at [then neutral] American opinion as at British." It will therefore be interesting to see how British Grenadian Trinidadian director Steve McQueen addresses a topic so essential to the British self-conception. (Remember the controversy in right-wing circles about the sole Indian soldier in Christopher Nolan's Dunkirk (2017)?) McQueen is perhaps best known for his 12 Years a Slave (2013), but he recently directed a six-part film anthology for the BBC which addressed the realities of post-Empire immigration to Britain, and this leads me to suspect he sees the Blitz and its surrounding mythology with a more critical perspective. But any attempt to complicate the story of World War II will be vigorously opposed in a way that will make the recent hullabaloo surrounding The Crown seem tame. All this is to say that the discourse surrounding this release may be as interesting as the film itself.
Dune, Part II Coming out of the cinema after the first part of Denis Vileneve's adaptation of Dune (2021), I was struck by the conception that it was less of a fresh adaptation of the 1965 novel by Frank Herbert than an attempt to rehabilitate David Lynch's 1984 version and in a broader sense, it was also an attempt to reestablish the primacy of cinema over streaming TV and the myriad of other distractions in our lives. I must admit I'm not a huge fan of the original novel, finding within it a certain prurience regarding hereditary military regimes and writing about them with a certain sense of glee that belies a secret admiration for them... not to mention an eyebrow-raising allegory for the Middle East. Still, Dune, Part II is going to be a fantastic spectacle.
Ferrari It'll be curious to see how this differs substantially from the recent Ford v Ferrari (2019), but given that Michael Mann's Heat (1995) so effectively re-energised the gangster/heist genre, I'm more than willing to kick the tires of this about the founder of the eponymous car manufacturer. I'm in the minority for preferring Mann's Thief (1981) over Heat, in part because the former deals in more abstract themes, so I'd have perhaps prefered to look forward to a more conceptual film from Mann over a story about one specific guy.
How Do You Live There are a few directors one can look forward to watching almost without qualification, and Hayao Miyazaki (My Neighbor Totoro, Kiki's Delivery Service, Princess Mononoke Howl's Moving Castle, etc.) is one of them. And this is especially so given that The Wind Rises (2013) was meant to be the last collaboration between Miyazaki and Studio Ghibli. Let's hope he is able to come out of retirement in another ten years.
Indiana Jones and the Dial of Destiny Given I had a strong dislike of Indiana Jones and the Kingdom of the Crystal Skull (2008), I seriously doubt I will enjoy anything this film has to show me, but with 1981's Raiders of the Lost Ark remaining one of my most treasured films (read my brief homage), I still feel a strong sense of obligation towards the Indiana Jones name, despite it feeling like the copper is being pulled out of the walls of this franchise today.
Kafka I only know Polish filmmaker Agnieszka Holland through her Spoor (2017), an adaptation of Olga Tokarczuk's 2009 eco-crime novel Drive Your Plow Over the Bones of the Dead. I wasn't an unqualified fan of Spoor (nor the book on which it is based), but I am interested in Holland's take on the life of Czech author Franz Kafka, an author enmeshed with twentieth-century art and philosophy, especially that of central Europe. Holland has mentioned she intends to tell the story "as a kind of collage," and I can hope that it is an adventurous take on the over-furrowed biopic genre. Or perhaps Gregor Samsa will awake from uneasy dreams to find himself transformed in his bed into a huge verminous biopic.
The Killer It'll be interesting to see what path David Fincher is taking today, especially after his puzzling and strangely cold Mank (2020) portraying the writing process behind Orson Welles' Citizen Kane (1941). The Killer is said to be a straight-to-Netflix thriller based on the graphic novel about a hired assassin, which makes me think of Fincher's Zodiac (2007), and, of course, Se7en (1995). I'm not as entranced by Fincher as I used to be, but any film with Michael Fassbender and Tilda Swinton (with a score by Trent Reznor) is always going to get my attention.
Killers of the Flower Moon In Killers of the Flower Moon, Martin Scorsese directs an adaptation of a book about the FBI's investigation into a conspiracy to murder Osage tribe members in the early years of the twentieth century in order to deprive them of their oil-rich land. (The only thing more quintessentially American than apple pie is a conspiracy combined with a genocide.) Separate from learning more about this disquieting chapter of American history, I'd love to discover what attracted Scorsese to this particular story: he's one of the few top-level directors who have the ability to lucidly articulate their intentions and motivations.
Napoleon It often strikes me that, despite all of his achievements and fame, it's somehow still possible to claim that Ridley Scott is relatively underrated compared to other directors working at the top level today. Besides that, though, I'm especially interested in this film, not least of all because I just read Tolstoy's War and Peace (read my recent review) and am working my way through the mind-boggling 431-minute Soviet TV adaptation, but also because several auteur filmmakers (including Stanley Kubrick) have tried to make a Napoleon epic and failed.
Oppenheimer In a way, a biopic about the scientist responsible for the atomic bomb and the Manhattan Project seems almost perfect material for Christopher Nolan. He can certainly rely on stars to queue up to be in his movies (Robert Downey Jr., Matt Damon, Kenneth Branagh, etc.), but whilst I'm certain it will be entertaining on many fronts, I fear it will fall into the well-established Nolan mould of yet another single man struggling with obsession, deception and guilt who is trying in vain to balance order and chaos in the world.
The Way of the Wind Marked by philosophical and spiritual overtones, all of Terrence Malick's films are perfumed with themes of transcendence, nature and the inevitable conflict between instinct and reason. My particular favourite is his stunning Days of Heaven (1978), but The Thin Red Line (1998) and A Hidden Life (2019) also touched me ways difficult to relate, and are one of the few films about the Second World War that don't touch off my sensitivity about them (see my remarks about Blitz above). It is therefore somewhat Malickian that his next film will be a biblical drama about the life of Jesus. Given Malick's filmography, I suspect this will be far more subdued than William Wyler's 1959 Ben-Hur and significantly more equivocal in its conviction compared to Paolo Pasolini's ardently progressive The Gospel According to St. Matthew (1964). However, little beyond that can be guessed, and the film may not even appear until 2024 or even 2025.
Zone of Interest I was mesmerised by Jonathan Glazer's Under the Skin (2013), and there is much to admire in his borderline 'revisionist gangster' film Sexy Beast (2000), so I will definitely be on the lookout for this one. The only thing making me hesitate is that Zone of Interest is based on a book by Martin Amis about a romance set inside the Auschwitz concentration camp. I haven't read the book, but Amis has something of a history in his grappling with the history of the twentieth century, and he seems to do it in a way that never sits right with me. But if Paul Verhoeven's Starship Troopers (1997) proves anything at all, it's all in the adaption.
[..] fixing unreproducible build issues poses a set of challenges [..], among which we consider the localization granularity and the historical knowledge utilization as the most significant ones. To tackle these challenges, we propose a novel approach [called] RepFix that combines tracing-based fine-grained localization with history-based patch generation mechanisms.The paper (PDF, 3.5MB) uses the Debian
mylvmbackup
package as an example to show how RepFix can automatically generate patches to make software build reproducibly. As it happens, Reiner Herrmann submitted a patch for the mylvmbackup
package which has remained unapplied by the Debian package maintainer for over seven years, thus this paper inadvertently underscores that achieving reproducible builds will require both technical and social solutions.
_m
led to unreproducible .pyc
files. In particular, the types
module in Python 3.10 requires the following patch to make it reproducible:
--- a/Lib/types.py
+++ b/Lib/types.py
@@ -37,8 +37,8 @@ _ag = _ag()
AsyncGeneratorType = type(_ag)
class _C:
- def _m(self): pass
-MethodType = type(_C()._m)
+ def _b(self): pass
+MethodType = type(_C()._b)
Simply renaming the dummy method from _m
to _b
was enough to workaround the problem. Johannes bug report first led to a number of improvements in diffoscope to aid in dissecting .pyc
files, but upstream identified this as caused by an issue surrounding interned strings and is being tracked in CPython bug #78274.
foreach
package let their personal email domain expire, so they bought it and now controls foreach
on NPM and the 36,826 projects that depend on it . Shortly afterwards, Drew DeVault published a related blog post titled When will we learn? that offers a brief timeline of major incidents in this area and, not uncontroversially, suggests that the correct way to ship packages is with your distribution s package manager .
There s some bugs open with the Rust maintainers to address reproducible builds, but with the number of issues they have to deal with in the language, I am not optimistic that this problem will be resolved anytime soon. Assuming the only driver of the unreproducibility is the inclusion of OS paths in the binary, one fix to this would be to re-configure our build system to run in some sort of a chroot environment or a virtual machine that fixes the paths in a way that almost anyone else could reproduce. I say almost anyone else because this fix would be OS-dependent, so we d be able to get reproducible builds under, for example, Linux, but it would not help Windows users where chroot environments are not a thing.(Full post)
#reproducible-builds
on the OFTC network.
PKGBUILDs
provide authentication in the context of signed Git tags (i.e. the ability to verify the Git tag was signed by one of the two trusted keys ), they do not support pinning, ie. that upstream could create a new signed Git tag with an identical name, and arbitrarily change the source code without the [maintainer] noticing . Conversely, other PKGBUILD
s support pinning but not authentication. The new tool, auth-tarball-from-git, fixes both problems, as nearly outlined in kpcyrd s original blog post.
212
, 213
and 214
to Debian unstable.
Chris also made the following changes:
zipinfo
and zipinfo -v
. [ ]assert_diff
in test_zip
over calling get_data
with a separate assert
. [ ]re.compile
and then call .sub
on the result; just call re.sub
directly. [ ]--usage
and --help
. [ ]xb-tool
for GNU Guix [ ] as well as updated the diffoscope package in GNU Guix itself [ ][ ][ ].
nondeterministic_ordering_in_deprecated_items_collected_by_doxygen
toolchain issue [ ] as well as ones for mono_mastersummary_xml_files_inherit_filesystem_ordering
[ ], extended_attributes_in_jar_file_created_without_manifest
[ ] and apxs_captures_build_path
[ ].
Vagrant Cascadian performed a rough check of the reproducibility of core package sets in GNU Guix, and in openSUSE, Bernhard M. Wiedemann posted his usual monthly reproducible builds status report.
gtkmm-documentation
(merged; sorting issue)librespot
(merged; random BuildID
issue)lirc
(merged)lsof
(uname
/hostname
problem)solanum
(merged, possibly a race condition)mtink
.fceux
.glob2
.coinor-cgl
.metapixel
.ragel
.gdome2
.sgml-base-doc
.xarclock
.xgammon
.lwatch
.bbrun
.gscanbus
.libnss-gw-name
.pidgin-blinklight
.dvbtune
.efax
.quelcom
.xine-lib-1.2
.fusesmb
.mailfront
.convlit
.bitstormlite
.coinor-osi
.razor
.autoclass
.cdbackup
.dds2tar
.transcalc
.libapache2-mod-authz-unixgroup
.mgdiff
.scsitools
.fstrcmp
.libxsettings-client
.tamil-gtk2im
.tdfsb
.stymulator
.wiipdf
.gdigi
.getstream
.freecdb
.modglue
.nwall
.parprouted
.imagination
.tuxcmd-modules
.libapache2-mod-authn-yubikey
.libapache2-mod-auth-plain
.arm64
binaries to build reproducibly for the Debian systemd
package.
.dsc
files using reprepro.
#reproducible-builds
on irc.oftc.net
.
rb-general@lists.reproducible-builds.org
The Lord said to Moses: Tell your brother Aaron that he is not to come whenever he chooses into the Most Holy Place behind the curtain in front of the atonement cover on the ark, or else he will die, for I will appear in the cloud above the mercy seat.But would it be too much of a stretch to also see the myth of Orpheus and Eurydices too? Orpheus's wife would only be saved from the underworld if he did not turn around until he came to his own house. But he turned round to look at his wife, and she instantly slipped back into the depths:
For he who overcome should turn back his gazePerhaps not, given that Marion and the ark are not lost in quite the same way. But whilst touching on gender, it was interesting to update my view of archaeologist Ren Belloq. To countermand his slight queer coding (a trope of Disney villains such as Scar, Jafar, Cruella, etc.), there is a rather clumsy subplot involving Belloq repeatedly (and half-heartedly) failing to seduce Marion. This disavows any idea that Belloq isn't firmly heterosexual, essential for the film's mainstream audience, but it is especially important in Raiders because, if we recall the relationship between Belloq and Jones: 'it would take only a nudge to make you like me'. (This would definitely put a new slant on 'Top men'.) However, my favourite moment is where the Nazis place the ark in a crate in order to transport it to the deserted island. On route, the swastikas on the side of the crate spontaneously burn away, and a disturbing noise is heard in the background. This short scene has always fascinated me, partly because it's the first time in the film that the power of the ark is demonstrated first-hand but also because gives the object an other-worldly nature that, to the best of my knowledge, has no parallel in the rest of cinema. Still, I had always assumed that the Aak disfigured the swastikas because of their association with the Nazis, interpreting the act as God's condemnation of the Third Reich. But now I catch myself wondering whether the ark would have disfigured any iconography as a matter of principle or whether their treatment was specific to the swastika. We later get a partial answer to this question, as the 'US Army' inscriptions in the Citizen Kane warehouse remain untouched. Far from being an insignificant concern, the filmmakers appear to have wandered into a highly-contested theological debate. As in, if the burning of the swastika is God's moral judgement of the Nazi regime, then God is clearly both willing and able to intervene in human affairs. So why did he not, to put it mildly, prevent Auschwitz? From this perspective, Spielberg appears to be limbering up for some of the academic critiques surrounding Holocaust representations that will follow Schindler's List (1993). Given my nostalgic and somewhat ironic attachment to Raiders, it will always be difficult for me to objectively appraise the film. Even so, it feels like it is underpinned by an earnest attempt to entertain the viewer, largely absent in the affected cynicism of contemporary cinema. And when considered in the totality of Hollywood's output, its tonal and technical flaws are not actually that bad or at least Marion's muddled characterisation and its breezy chauvinism (for example) clearly have far worse examples. Perhaps the most remarkable thing about the film in 2021 is that it hasn't changed that much at all. It spawned one good sequel (The Last Crusade), one bad one (The Temple of Doom), and one hardly worth mentioning at all, yet these adventures haven't affected the original Raiders in any meaningful way. In fact, if anything has affected the original text it is, once again, George Lucas himself, as knowing the impending backlash around the Star Wars prequels adds an inadvertent paratext to all his earlier works. Yet in a 1978 discussion prior to the creation of Raiders, you can get a keen sense of how Lucas' childlike enthusiasm will always result in something either extremely good or something extremely bad somehow no middle ground is quite possible. Yes, it's easy to rubbish his initial ideas 'We'll call him Indiana Smith! but hasn't Lucas actually captured the essence of a heroic 'Americana' here, and that the final result is simply a difference of degree, not kind?
Towards the Tartarean cave,
Whatever excellence he takes with him
He loses when he looks on those below.
The Lord said to Moses: Tell your brother Aaron that he is not to come whenever he chooses into the Most Holy Place behind the curtain in front of the atonement cover on the ark, or else he will die, for I will appear in the cloud above the mercy seat.But would it be too much of a stretch to also see the myth of Orpheus and Eurydices too? Orpheus's wife would only be saved from the underworld if he did not turn around until he came to his own house. But he turned round to look at his wife, and she instantly slipped back into the depths:
For he who overcome should turn back his gazePerhaps not, given that Marion and the ark are not lost in quite the same way. But whilst touching on gender, it was interesting to update my view of archaeologist Ren Belloq. To countermand his slight queer coding (a trope of Disney villains such as Scar, Jafar, Cruella, etc.), there is a rather clumsy subplot involving Belloq repeatedly (and half-heartedly) failing to seduce Marion. This disavows any idea that Belloq isn't firmly heterosexual, essential for the film's mainstream audience, but it is especially important in Raiders because, if we recall the relationship between Belloq and Jones: 'it would take only a nudge to make you like me'. (This would definitely put a new slant on 'Top men'.) However, my favourite moment is where the Nazis place the ark in a crate in order to transport it to the deserted island. On route, the swastikas on the side of the crate spontaneously burn away, and a disturbing noise is heard in the background. This short scene has always fascinated me, partly because it's the first time in the film that the power of the ark is demonstrated first-hand but also because gives the object an other-worldly nature that, to the best of my knowledge, has no parallel in the rest of cinema. Still, I had always assumed that the Aak disfigured the swastikas because of their association with the Nazis, interpreting the act as God's condemnation of the Third Reich. But now I catch myself wondering whether the ark would have disfigured any iconography as a matter of principle or whether their treatment was specific to the swastika. We later get a partial answer to this question, as the 'US Army' inscriptions in the Citizen Kane warehouse remain untouched. Far from being an insignificant concern, the filmmakers appear to have wandered into a highly-contested theological debate. As in, if the burning of the swastika is God's moral judgement of the Nazi regime, then God is clearly both willing and able to intervene in human affairs. So why did he not, to put it mildly, prevent Auschwitz? From this perspective, Spielberg appears to be limbering up for some of the academic critiques surrounding Holocaust representations that will follow Schindler's List (1993). Given my nostalgic and somewhat ironic attachment to Raiders, it will always be difficult for me to objectively appraise the film. Even so, it feels like it is underpinned by an earnest attempt to entertain the viewer, largely absent in the affected cynicism of contemporary cinema. And when considered in the totality of Hollywood's output, its tonal and technical flaws are not actually that bad or at least Marion's muddled characterisation and its breezy chauvinism (for example) clearly have far worse examples. Perhaps the most remarkable thing about the film in 2021 is that it hasn't changed that much at all. It spawned one good sequel (The Last Crusade), one bad one (The Temple of Doom), and one hardly worth mentioning at all, yet these adventures haven't affected the original Raiders in any meaningful way. In fact, if anything has affected the original text it is, once again, George Lucas himself, as knowing the impending backlash around the Star Wars prequels adds an inadvertent paratext to all his earlier works. Yet in a 1978 discussion prior to the creation of Raiders, you can get a keen sense of how Lucas' childlike enthusiasm will always result in something either extremely good or something extremely bad somehow no middle ground is quite possible. Yes, it's easy to rubbish his initial ideas 'We'll call him Indiana Smith! but hasn't Lucas actually captured the essence of a heroic 'Americana' here, and that the final result is simply a difference of degree, not kind?
Towards the Tartarean cave,
Whatever excellence he takes with him
He loses when he looks on those below.
#linux-it
to leave ircnet, and soon after I became senior staff. Even if I have not been very active recently, at this point I was the longest-serving freenode staff member and now I expect that I will hold this record forever.
The people that I have met on IRC, on freenode and other networks, have been and still are a very important part of my life, second only to the ones that I have known thanks to Usenet. I am not fine, but I know that the communities which I have been a part of are not defined by a domain name and will regroup somewhere else.
The current freenode staff members have resigned with me, these are some of their farewell messages:
I am arranging to take a cottage at Wallington near Baldock in Herts, rather a pig in a poke because I have never seen it, but I am trusting the friends who have chosen it for me, and it is very cheap, only 7s. 6d. a week [ 20 in 2021].For those not steeped in English colloquialisms, "a pig in a poke" is an item bought without seeing it in advance. In fact, one general insight that may be drawn from reading Orwell's extant correspondence is just how much he relied on a close network of friends, belying the lazy and hagiographical picture of an independent and solitary figure. (Still, even Orwell cultivated this image at times, such as in a patently autobiographical essay he wrote in 1946. But note the off-hand reference to varicose veins here, for they would shortly re-appear as a symbol of Winston's repressed humanity in Nineteen Eighty-Four.) Nevertheless, the porcine reference in Orwell's idiom is particularly apt, given that he wrote the bulk of Animal Farm at The Stores his 1945 novella, of course, portraying a revolution betrayed by allegorical pigs. Orwell even drew inspiration for his 'fairy story' from Wallington itself, principally by naming the novel's farm 'Manor Farm', just as it is in the village. But the allusion to the purchase of goods is just as appropriate, as Orwell returned The Stores to its former status as the village shop, even going so far as to drill peepholes in a door to keep an Orwellian eye on the jars of sweets. (Unfortunately, we cannot complete a tidy circle of references, as whilst it is certainly Napoleon Animal Farm's substitute for Stalin who is quoted as describing Britain as "a nation of shopkeepers", it was actually the maraisard Bertrand Bar re who first used the phrase). "It isn't what you might call luxurious", he wrote in typical British understatement, but Orwell did warmly emote on his animals. He kept hens in Wallington (perhaps even inspiring the opening line of Animal Farm: "Mr Jones, of the Manor Farm, had locked the hen-houses for the night, but was too drunk to remember to shut the pop-holes.") and a photograph even survives of Orwell feeding his pet goat, Muriel. Orwell's goat was the eponymous inspiration for the white goat in Animal Farm, a decidedly under-analysed character who, to me, serves to represent an intelligentsia that is highly perceptive of the declining political climate but, seemingly content with merely observing it, does not offer any meaningful opposition. Muriel's aesthetic of resistance, particularly in her reporting on the changes made to the Seven Commandments of the farm, thus rehearses the well-meaning (yet functionally ineffective) affinity for 'fact checking' which proliferates today. But I digress. There is a tendency to "read Orwell backwards", so I must point out that Orwell wrote several other works whilst at The Stores as well. This includes his Homage to Catalonia, his aforementioned The Road to Wigan Pier, not to mention countless indispensable reviews and essays as well. Indeed, another result of focusing exclusively on Orwell's last works is that we only encounter his ideas in their highly-refined forms, whilst in reality, it often took many years for concepts to fully mature we first see, for instance, the now-infamous idea of "2 + 2 = 5" in an essay written in 1939. This is important to understand for two reasons. Although the ostentatiously austere Barnhill might have housed the physical labour of its writing, it is refreshing to reflect that the philosophical heavy-lifting of Nineteen Eighty-Four may have been performed in a relatively undistinguished North Hertfordshire village. But perhaps more importantly, it emphasises that Orwell was just a man, and that any of us is fully capable of equally significant insight, with to quote Christopher Hitchens "little except a battered typewriter and a certain resilience."
The disease stiffened and carried off three or four patients who were expected to recover. These were the unfortunates of the plague, those whom it killed when hope was highIt somehow captured the nostalgic yearning for high-definition videos of cities and public transport; one character even visits the completely deserted railway station in Oman simply to read the timetables on the wall.
Small, podgy, and at best middle-aged, Smiley was by appearance one of London's meek who do not inherit the earth. His legs were short, his gait anything but agile, his dress costly, ill-fitting, and extremely wet.Almost a direct rebuttal to Ian Fleming's 007, Tinker, Tailor has broken-down cars, bad clothes, women with their own internal and external lives (!), pathetically primitive gadgets, and (contra Mad Men) hangovers that significantly longer than ten minutes. In fact, the main aspect that the mostly excellent 2011 film adaption doesn't really capture is the smoggy and run-down nature of 1970s London this is not your proto-Cool Britannia of Austin Powers or GTA:1969, the city is truly 'gritty' in the sense there is a thin film of dirt and grime on every surface imaginable. Another angle that the film cannot capture well is just how purposefully the novel does not mention the United States. Despite the US obviously being the dominant power, the British vacillate between pretending it doesn't exist or implying its irrelevance to the matter at hand. This is no mistake on Le Carr 's part, as careful readers are rewarded by finding this denial of US hegemony in metaphor throughout --pace Ian Fleming, there is no obvious Felix Leiter to loudly throw money at the problem or a Sheriff Pepper to serve as cartoon racist for the Brits to feel superior about. By contrast, I recall that a clever allusion to "dusty teabags" is subtly mirrored a few paragraphs later with a reference to the installation of a coffee machine in the office, likely symbolic of the omnipresent and unavoidable influence of America. (The officer class convince themselves that coffee is a European import.) Indeed, Le Carr communicates a feeling of being surrounded on all sides by the peeling wallpaper of Empire. Oftentimes, the writing style matches the graceless and inelegance of the world it depicts. The sentences are dense and you find your brain performing a fair amount of mid-flight sentence reconstruction, reparsing clauses, commas and conjunctions to interpret Le Carr 's intended meaning. In fact, in his eulogy-cum-analysis of Le Carr 's writing style, William Boyd, himself a ventrioquilist of Ian Fleming, named this intentional technique 'staccato'. Like the musical term, I suspect the effect of this literary staccato is as much about the impact it makes on a sentence as the imperceptible space it generates after it. Lastly, the large cast in this sprawling novel is completely believable, all the way from the Russian spymaster Karla to minor schoolboy Roach the latter possibly a stand-in for Le Carr himself. I got through the 500-odd pages in just a few days, somehow managing to hold the almost-absurdly complicated plot in my head. This is one of those classic books of the genre that made me wonder why I had not got around to it before.
Perhaps his life might have veered elsewhere if the US government had opened the country to colored advancement like they opened the army. But it was one thing to allow someone to kill for you and another to let him live next door.Sardonic aper us of this kind are pretty relentless throughout the book, but it never tips its hand too far into on nihilism, especially when some of the visual metaphors are often first-rate: "An American flag sighed on a pole" is one I can easily recall from memory. In general though, The Nickel Boys is not only more world-weary in tenor than his previous novel, the United States it describes seems almost too beaten down to have the energy conjure up the Swiftian magical realism that prevented The Underground Railroad from being overly lachrymose. Indeed, even we Whitehead transports us a present-day New York City, we can't indulge in another kind of fantasy, the one where America has solved its problems:
The Daily News review described the [Manhattan restaurant] as nouveau Southern, "down-home plates with a twist." What was the twist that it was soul food made by white people?It might be overly reductionist to connect Whitehead's tonal downshift with the racial justice movements of the past few years, but whatever the reason, we've ended up with a hard-hitting, crushing and frankly excellent book.
"Earlier tonight I gave some thought to stealing a kiss from you, though you are very young, and sick and unattractive to boot, but now I am of a mind to give you five or six good licks with my belt." "One would be as unpleasant as the other."Perhaps this should be unsurprising. Maddie, a fourteen-year-old girl from Yell County, Arkansas, can barely fire her father's heavy pistol, so she can only has words to wield as her weapon. Anyway, it's not just me who treasures this book. In her encomium that presages most modern editions, Donna Tartt of The Secret History fame traces the novels origins through Huckleberry Finn, praising its elegance and economy: "The plot of True Grit is uncomplicated and as pure in its way as one of the Canterbury Tales". I've read any Chaucer, but I am inclined to agree. Tartt also recalls that True Grit vanished almost entirely from the public eye after the release of John Wayne's flimsy cinematic vehicle in 1969 this earlier film was, Tartt believes, "good enough, but doesn't do the book justice". As it happens, reading a book with its big screen adaptation as a chaser has been a minor theme of my 2020, including P. D. James' The Children of Men, Kazuo Ishiguro's Never Let Me Go, Patricia Highsmith's Strangers on a Train, James Ellroy's The Black Dahlia, John Green's The Fault in Our Stars, John le Carr 's Tinker, Tailor Soldier, Spy and even a staged production of Charles Dicken's A Christmas Carol streamed from The Old Vic. For an autodidact with no academic background in literature or cinema, I've been finding this an effective and enjoyable means of getting closer to these fine books and films it is precisely where they deviate (or perhaps where they are deficient) that offers a means by which one can see how they were constructed. I've also found that adaptations can also tell you a lot about the culture in which they were made: take the 'straightwashing' in the film version of Strangers on a Train (1951) compared to the original novel, for example. It is certainly true that adaptions rarely (as Tartt put it) "do the book justice", but she might be also right to alight on a legal metaphor, for as the saying goes, to judge a movie in comparison to the book is to do both a disservice.
We're accustomed to worrying about AI systems being built that will either "go rogue" and attack us, or succeed us in a bizarre evolution of, um, evolution what we didn't reckon on is the sheer inscrutability of these manufactured minds. And minds is not a misnomer. How else should we think about the neural network Google has built so its translator can model the interrelation of all words in all languages, in a kind of three-dimensional "semantic space"?New Dark Age also turns its attention to the weird, algorithmically-derived products offered for sale on Amazon as well as the disturbing and abusive videos that are automatically uploaded by bots to YouTube. It should, by rights, be a mess of disparate ideas and concerns, but Bridle has a flair for introducing topics which reveals he comes to computer science from another discipline altogether; indeed, on a four-part series he made for Radio 4, he's primarily referred to as "an artist". Whilst New Dark Age has rather abstract section topics, Adam Greenfield's Radical Technologies is a rather different book altogether. Each chapter dissects one of the so-called 'radical' technologies that condition the choices available to us, asking how do they work, what challenges do they present to us and who ultimately benefits from their adoption. Greenfield takes his scalpel to smartphones, machine learning, cryptocurrencies, artificial intelligence, etc., and I don't think it would be unfair to say that starts and ends with a cynical point of view. He is no reactionary Luddite, though, and this is both informed and extremely well-explained, and it also lacks the lazy, affected and Private Eye-like cynicism of, say, Attack of the 50 Foot Blockchain. The books aren't a natural pair, for Bridle's writing contains quite a bit of air in places, ironically mimics the very 'clouds' he inveighs against. Greenfield's book, by contrast, as little air and much lower pH value. Still, it was more than refreshing to read two technology books that do not limit themselves to platitudinal booleans, be those dangerously naive (e.g. Kevin Kelly's The Inevitable) or relentlessly nihilistic (Shoshana Zuboff's The Age of Surveillance Capitalism). Sure, they are both anti-technology screeds, but they tend to make arguments about systems of power rather than specific companies and avoid being too anti-'Big Tech' through a narrower, Silicon Valley obsessed lens for that (dipping into some other 2020 reading of mine) I might suggest Wendy Liu's Abolish Silicon Valley or Scott Galloway's The Four. Still, both books are superlatively written. In fact, Adam Greenfield has some of the best non-fiction writing around, both in terms of how he can explain complicated concepts (particularly the smart contract mechanism of the Ethereum cryptocurrency) as well as in the extremely finely-crafted sentences I often felt that the writing style almost had no need to be that poetic, and I particularly enjoyed his fictional scenarios at the end of the book.
A better proxy for your life isn't your first home, but your last. Where you draw your last breath is more meaningful, as it's a reflection of your success and, more important, the number of people who care about your well-being. Your first house signals the meaningful your future and possibility. Your last home signals the profound the people who love you. Where you die, and who is around you at the end, is a strong signal of your success or failure in life.Nir Eyal's Indistractable, however, is a totally different kind of 'self-help' book. The important background story is that Eyal was the author of the widely-read Hooked which turned into a secular Bible of so-called 'addictive design'. (If you've ever been cornered by a techbro wielding a Wikipedia-thin knowledge of B. F. Skinner's behaviourist psychology and how it can get you to click 'Like' more often, it ultimately came from Hooked.) However, Eyal's latest effort is actually an extended mea culpa for his previous sin and he offers both high and low-level palliative advice on how to avoid falling for the tricks he so studiously espoused before. I suppose we should be thankful to capitalism for selling both cause and cure. Speaking of markets, there appears to be a growing appetite for books in this 'anti-distraction' category, and whilst I cannot claim to have done an exhausting study of this nascent field, Indistractable argues its points well without relying on accurate-but-dry "studies show..." or, worse, Gladwellian gotchas. My main criticism, however, would be that Eyal doesn't acknowledge the limits of a self-help approach to this problem; it seems that many of the issues he outlines are an inescapable part of the alienation in modern Western society, and the only way one can really avoid distraction is to move up the income ladder or move out to a 500-acre ranch.
Self-handicapping is a cognitive strategy by which people avoid effort in the hopes of keeping potential failure from hurting self-esteem.[1] It was first theorized by Edward E. Jones and Steven Berglas,[2] according to whom self-handicaps are obstacles created, or claimed, by the individual in anticipation of failing performance.[3]
Learned Helplessness is behaviour exhibited by a subject after enduring repeated aversive stimuli beyond their control. It was initially thought to be caused from the subject's acceptance of their powerlessness: discontinuing attempts to escape or avoid the aversive stimulus, even when such alternatives are unambiguously presented. Upon exhibiting such behavior, the subject was said to have acquired learned helplessness.[1][2] Over the past few decades, neuroscience has provided insight into learned helplessness and shown that the original theory actually had it backwards: the brain's default state is to assume that control is not present, and the presence of "helpfulness" is what is actually learned.[3]
One of the "classics" of Magic literature. Stuck In The Middle With Bruce by John F. Rizzo.
-# RULES "foldr/nil" forall k z. foldr k z [] = z #-
taken right out of the standard library.
In my blog post I went through the algebraic laws that a small library of mine, successors, should fulfill, and sure enough, once I got to more interesting proofs, they would not go through just like that. At that point I had to add additional rules to the file I was editing, which helped the compiler to finish the proofs. Some of these rules were simple like
-# RULES "mapFB/id" forall c. mapFB c (\x -> x) = c #-
-# RULES "foldr/nil" forall k n. GHC.Base.foldr k n [] = n #-
-# RULES "foldr/undo" forall xs. GHC.Base.foldr (:) [] xs = xs #-
and some are more intricate like
-# RULES "foldr/mapFB" forall c f g n1 n2 xs.
GHC.Base.foldr (mapFB c f) n1 (GHC.Base.foldr (mapFB (:) g) n2 xs)
= GHC.Base.foldr (mapFB c (f.g)) (GHC.Base.foldr (mapFB c f) n1 n2) xs
#-
But there is something fishy going on here: The foldr/nil
rule is identical to a rule in the standard library! I should not have to add to my file that as I am proving things. So I knew that the GHC plugin, which I wrote to do these proofs, was doing something wrong, but I did not investigate for a while.
I returned to this problem recetly, and with the efficient and quick help of Simon Peyton Jones, I learned what I was doing wrong.1 After fixing it, I could remove all the simple rules from the files with my proofs. And to my surprise, I could remove the intricate rule as well!
So with this bug fixed, ghc-proofs is able to prove all the Functor, Applicative and Monad rules of the Succs functor without any additional rewrite rules, as you can see in the example file! (I still have to strategically place seq
s in a few places.)
That s great, isn t it! Yeah, sure. But having to introduce the rules at that point provided a very good narrative in my talk, so when I will give a similar talk next week in Pairs (actually, twice, first at the university and then at the Paris Haskell meetup, I will have to come up with a different example that calls for additional rewrite rules.
In related news: Since the last blog post, ghc-proofs learned to interpret proof specifications like
applicative_law4 :: Succs (a -> b) -> a -> Proof
applicative_law4 u y = u <*> pure y
=== pure ($ y) <*> u
where it previously only understood
applicative_law4 = (\ u (y::a) -> u <*> (pure y :: Succs a))
=== (\ u (y::a) -> pure ($ y) <*> u)
I am not sur if this should be uploaded to Hackage, but I invite you to play around with the GitHub version of ghc-proofs.
diffoscope is our in-depth and content-aware diff utility that can locate and diagnose reproducibility issues.
strip-nondeterminism is our tool to remove specific non-deterministic results from a completed build.
buildinfo.debian.net is my experiment into how to process, store and distribute .buildinfo files after the Debian archive software has processed them.
.oct
files.-fdebug-prefix-map
to clang to match GCC, another patch against gcc-5 to backport the removal of -fdebug-prefix-map
from DW_AT_producer
, and finally by proposing the addition of a normalizedebugpath
to the reproducible
feature set of dpkg-buildflags
that would use -fdebug-prefix-map
to replace the current directory with .
using -fdebug-prefix-map
.
Sergey Poznyakoff merged the --clamp-mtime
option so that it will be featured in the next Tar release. This option is likely to be used by dpkg-deb
to implement deterministic mtimes for packaged files.
Packages fixed
The following packages have become reproducible due to changes in their
build dependencies:
augeas,
gmtkbabel,
ktikz,
octave-control,
octave-general,
octave-image,
octave-ltfat,
octave-miscellaneous,
octave-mpi,
octave-nurbs,
octave-octcdf,
octave-sockets,
octave-strings,
openlayers,
python-structlog,
signond.
The following packages became reproducible after getting fixed:
i386
build nodes have been setup by converting 2 of the 4 amd64
nodes to i386
. (h01ger)
Package reviews
92 reviews have been removed, 66 added and 31 updated in the previous week.
New issues: timestamps_generated_by_xbean_spring, timestamps_generated_by_mangosdk_spiprocessor.
Chris Lamb filed 7 FTBFS bugs.
Misc.
On March 20th, Chris Lamb gave a talk at FOSSASIA 2016 in Singapore.
The very same day, but a few timezones apart, h01ger did a presentation at LibrePlanet 2016 in Cambridge, Massachusetts.
Seven GSoC/Outreachy applications were made by potential interns to work on various aspects of the reproducible builds effort. On top of interacting with several applicants, prospective mentors gathered to review the applications.
Next.