We will forget your copy of your data upon your request. We will also forward your request to be forgotten onto federated homeservers. However - these homeservers are outside our span of control, so we cannot guarantee they will forget your data.It's great they implemented those mechanisms and, after all, if there's an hostile party in there, nothing can prevent them from using screenshots to just exfiltrate your data away from the client side anyways, even with services typically seen as more secure, like Signal. As an aside, I also appreciate that Matrix.org has a fairly decent code of conduct, based on the TODO CoC which checks all the boxes in the geekfeminism wiki.
matrix.orgto block known abusers (users or servers). Bans are pretty flexible and can operate at the user, room, or server level. Matrix people suggest making the bot admin of your channels, because you can't take back admin from a user once given.
This tool and Mjolnir are based on the admin API built into Synapse.
- System notify users (all users/users from a list, specific user)
- delete sessions/devices not seen for X days
- purge the remote media cache
- select rooms with various criteria (external/local/empty/created by/encrypted/cleartext)
- purge history of theses rooms
- shutdown rooms
+Rmode ("only registered users can join") by default, except that anyone can register their own homeserver, which makes this limited. Server admins can block IP addresses and home servers, but those tools are not easily available to room admins. There is an API (
/devtools) but it is not reliable (thanks Austin Huang for the clarification). Matrix has the concept of guest accounts, but it is not used very much, and virtually no client or homeserver supports it. This contrasts with the way IRC works: by default, anyone can join an IRC network even without authentication. Some channels require registration, but in general you are free to join and look around (until you get blocked, of course). I have seen anecdotal evidence (CW: Twitter, nitter link) that "moderating bridges is hell", and I can imagine why. Moderation is already hard enough on one federation, when you bridge a room with another network, you inherit all the problems from that network but without the entire abuse control tools from the original network's API...
joeon server B, they will hijack that room on that specific server. This will not (necessarily) affect users on the other servers, as servers could refuse parts of the updates or ban the compromised account (or server). It does seem like a major flaw that room credentials are bound to Matrix identifiers, as opposed to the E2E encryption credentials. In an encrypted room even with fully verified members, a compromised or hostile home server can still take over the room by impersonating an admin. That admin (or even a newly minted user) can then send events or listen on the conversations. This is even more frustrating when you consider that Matrix events are actually signed and therefore have some authentication attached to them, acting like some sort of Merkle tree (as it contains a link to previous events). That signature, however, is made from the homeserver PKI keys, not the client's E2E keys, which makes E2E feel like it has been "bolted on" later.
connectblock on both servers
@anarcat:matrix.org) is bound to that specific home server. If that server goes down, that user is completely disconnected. They could register a new account elsewhere and reconnect, but then they basically lose all their configuration: contacts, joined channels are all lost. (Also notice how the Matrix IDs don't look like a typical user address like an email in XMPP. They at least did their homework and got the allocation for the scheme.)
#room:matrix.orgis also visible as
example.comhome server. Both addresses refer to the same room underlying room. (Finding this in the Element settings is not obvious though, because that "alias" are actually called a "local address" there. So to create such an alias (in Element), you need to go in the room settings' "General" section, "Show more" in "Local address", then add the alias name (e.g.
foo), and then that room will be available on your
#foo:example.com.) So a room doesn't belong to a server, it belongs to the federation, and anyone can join the room from any serer (if the room is public, or if invited otherwise). You can create a room on server A and when a user from server B joins, the room will be replicated on server B as well. If server A fails, server B will keep relaying traffic to connected users and servers. A room is therefore not fundamentally addressed with the above alias, instead ,it has a internal Matrix ID, which basically a random string. It has a server name attached to it, but that was made just to avoid collisions. That can get a little confusing. For example, the
#fractal:gnome.orgroom is an alias on the
gnome.orgserver, but the room ID is
!hwiGbsdSTZIwSRfybq:matrix.org. That's because the room was created on
matrix.org, but the preferred branding is
gnome.orgnow. As an aside, rooms, by default, live forever, even after the last user quits. There's an admin API to delete rooms and a tombstone event to redirect to another one, but neither have a GUI yet. The latter is part of MSC1501 ("Room version upgrades") which allows a room admin to close a room, with a message and a pointer to another room.
matrix.example.com) must never change in the future, as renaming home servers is not supported. The documentation used to say you could "run a hot spare" but that has been removed. Last I heard, it was not possible to run a high-availability setup where multiple, separate locations could replace each other automatically. You can have high performance setups where the load gets distributed among workers, but those are based on a shared database (Redis and PostgreSQL) backend. So my guess is it would be possible to create a "warm" spare server of a matrix home server with regular PostgreSQL replication, but that is not documented in the Synapse manual. This sort of setup would also not be useful to deal with networking issues or denial of service attacks, as you will not be able to spread the load over multiple network locations easily. Redis and PostgreSQL heroes are welcome to provide their multi-primary solution in the comments. In the meantime, I'll just point out this is a solution that's handled somewhat more gracefully in IRC, by having the possibility of delegating the authentication layer.
.well-knownpattern (or SRV records, but that's "not recommended" and a bit confusing) to delegate that service to another server. Be warned that the server still needs to be explicitly configured for your domain. You can't just put:
https://example.com/.well-known/matrix/serverand start using
@you:example.comas a Matrix ID. That's because Matrix doesn't support "virtual hosting" and you'd still be connecting to rooms and people with your
example.comas you would normally expect. This is also why you cannot rename your home server. The server discovery API is what allows servers to find each other. Clients, on the other hand, use the client-server discovery API: this is what allows a given client to find your home server when you type your Matrix ID on login.
matrix.debian.social) takes a few minutes and then fails. That is because the home server has to sync the entire room state when you join the room. There was promising work on this announced in the lengthy 2021 retrospective, and some of that work landed (partial sync) in the 1.53 release already. Other improvements coming include sliding sync, lazy loading over federation, and fast room joins. So that's actually something that could be fixed in the fairly short term. But in general, communication in Matrix doesn't feel as "snappy" as on IRC or even Signal. It's hard to quantify this without instrumenting a full latency test bed (for example the tools I used in the terminal emulators latency tests), but even just typing in a web browser feels slower than typing in a xterm or Emacs for me. Even in conversations, I "feel" people don't immediately respond as fast. In fact, this could be an interesting double-blind experiment to make: have people guess whether they are talking to a person on Matrix, XMPP, or IRC, for example. My theory would be that people could notice that Matrix users are slower, if only because of the TCP round-trip time each message has to take.
/READcommand for the latter:
And yes, that's a Perl script in my IRC client. I am not aware of any Matrix client that does stuff like that, except maybe Weechat, if we can call it a Matrix client, or Irssi itself, now that it has a Matrix plugin (!). As for other clients, I have looked through the Matrix Client Matrix (confusing right?) to try to figure out which one to try, and, even after selecting
/ALIAS READ script exec \$_->activity(0) for Irssi::windows
Linuxas a filter, the chart is just too wide to figure out anything. So I tried those, kind of randomly:
gomuks. At least Weechat is scriptable so I could continue playing the power-user. Right now my strategy with messaging (and that includes microblogging like Twitter or Mastodon) is that everything goes through my IRC client, so Weechat could actually fit well in there. Going with
gomuks, on the other hand, would mean running it in parallel with Irssi or ... ditching IRC, which is a leap I'm not quite ready to take just yet. Oh, and basically none of those clients (except Nheko and Element) support VoIP, which is still kind of a second-class citizen in Matrix. It does not support large multimedia rooms, for example: Jitsi was used for FOSDEM instead of the native videoconferencing system.
matrix.orgpublishes a (federated) block list of hostile servers (
#matrix-org-coc-bl:matrix.org, yes, of course it's a room). Interestingly, Email is also in that stage, where there are block lists of spammers, and it's a race between those blockers and spammers. Large email providers, obviously, are getting closer to the EFnet stage: you could consider they only accept email from themselves or between themselves. It's getting increasingly hard to deliver mail to Outlook and Gmail for example, partly because of bias against small providers, but also because they are including more and more machine-learning tools to sort through email and those systems are, fundamentally, unknowable. It's not quite the same as splitting the federation the way EFnet did, but the effect is similar. HTTP has somehow managed to live in a parallel universe, as it's technically still completely federated: anyone can start a web server if they have a public IP address and anyone can connect to it. The catch, of course, is how you find the darn thing. Which is how Google became one of the most powerful corporations on earth, and how they became the gatekeepers of human knowledge online. I have only briefly mentioned XMPP here, and my XMPP fans will undoubtedly comment on that, but I think it's somewhere in the middle of all of this. It was co-opted by Facebook and Google, and both corporations have abandoned it to its fate. I remember fondly the days where I could do instant messaging with my contacts who had a Gmail account. Those days are gone, and I don't talk to anyone over Jabber anymore, unfortunately. And this is a threat that Matrix still has to face. It's also the threat Email is currently facing. On the one hand corporations like Facebook want to completely destroy it and have mostly succeeded: many people just have an email account to register on things and talk to their friends over Instagram or (lately) TikTok (which, I know, is not Facebook, but they started that fire). On the other hand, you have corporations like Microsoft and Google who are still using and providing email services because, frankly, you still do need email for stuff, just like fax is still around but they are more and more isolated in their own silo. At this point, it's only a matter of time they reach critical mass and just decide that the risk of allowing external mail coming in is not worth the cost. They'll simply flip the switch and work on an allow-list principle. Then we'll have closed the loop and email will be dead, just like IRC is "dead" now. I wonder which path Matrix will take. Could it liberate us from these vicious cycles? Update: this generated some discussions on lobste.rs.
Dogtooth (2009) A father, a mother, a brother and two sisters live in a large and affluent house behind a very high wall and an always-locked gate. Only the father ever leaves the property, driving to the factory that he happens to own. Dogtooth goes far beyond any allusion to Josef Fritzl's cellar, though, as the children's education is a grotesque parody of home-schooling. Here, the parents deliberately teach their children the wrong meaning of words (e.g. a yellow flower is called a 'zombie'), all of which renders the outside world utterly meaningless and unreadable, and completely mystifying its very existence. It is this creepy strangeness within a 'regular' family unit in Dogtooth that is both socially and epistemically horrific, and I'll say nothing here of its sexual elements as well. Despite its cold, inscrutable and deadpan surreality, Dogtooth invites all manner of potential interpretations. Is this film about the artificiality of the nuclear family that the West insists is the benchmark of normality? Or is it, as I prefer to believe, something more visceral altogether: an allegory for the various forms of ontological violence wrought by fascism, as well a sobering nod towards some of fascism's inherent appeals? (Perhaps it is both. In 1972, French poststructuralists Gilles and F lix Guattari wrote Anti-Oedipus, which plays with the idea of the family unit as a metaphor for the authoritarian state.) The Greek-language Dogtooth, elegantly shot, thankfully provides no easy answers.
Holy Motors (2012) There is an infamous scene in Un Chien Andalou, the 1929 film collaboration between Luis Bu uel and famed artist Salvador Dal . A young woman is cornered in her own apartment by a threatening man, and she reaches for a tennis racquet in self-defence. But the man suddenly picks up two nearby ropes and drags into the frame two large grand pianos... each leaden with a dead donkey, a stone tablet, a pumpkin and a bewildered priest. This bizarre sketch serves as a better introduction to Leos Carax's Holy Motors than any elementary outline of its plot, which ostensibly follows 24 hours in the life of a man who must play a number of extremely diverse roles around Paris... all for no apparent reason. (And is he even a man?) Surrealism as an art movement gets a pretty bad wrap these days, and perhaps justifiably so. But Holy Motors and Un Chien Andalou serve as a good reminder that surrealism can be, well, 'good, actually'. And if not quite high art, Holy Motors at least demonstrates that surrealism can still unnerving and hilariously funny. Indeed, recalling the whimsy of the plot to a close friend, the tears of laughter came unbidden to my eyes once again. ("And then the limousines...!") Still, it is unclear how Holy Motors truly refreshes surrealism for the twenty-first century. Surrealism was, in part, a reaction to the mechanical and unfeeling brutality of World War I and ultimately sought to release the creative potential of the unconscious mind. Holy Motors cannot be responding to another continental conflagration, and so it appears to me to be some kind of commentary on the roles we exhibit in an era of 'post-postmodernity': a sketch on our age of performative authenticity, perhaps, or an idle doodle on the function and psychosocial function of work. Or perhaps not. After all, this film was produced in a time that offers the near-universal availability of mind-altering substances, and this certainly changes the context in which this film was both created. And, how can I put it, was intended to be watched.
Manchester by the Sea (2016) An absolutely devastating portrayal of a character who is unable to forgive himself and is hesitant to engage with anyone ever again. It features a near-ideal balance between portraying unrecoverable anguish and tender warmth, and is paradoxically grandiose in its subtle intimacy. The mechanics of life led me to watch this lying on a bed in a chain hotel by Heathrow Airport, and if this colourless circumstance blunted the film's emotional impact on me, I am probably thankful for it. Indeed, I find myself reduced in this review to fatuously recalling my favourite interactions instead of providing any real commentary. You could write a whole essay about one particular incident: its surfaces, subtexts and angles... all despite nothing of any substance ever being communicated. Truly stunning.
McCabe & Mrs. Miller (1971) Roger Ebert called this movie one of the saddest films I have ever seen, filled with a yearning for love and home that will not ever come. But whilst it is difficult to disagree with his sentiment, Ebert's choice of sad is somehow not quite the right word. Indeed, I've long regretted that our dictionaries don't have more nuanced blends of tragedy and sadness; perhaps the Ancient Greeks can loan us some. Nevertheless, the plot of this film is of a gambler and a prostitute who become business partners in a new and remote mining town called Presbyterian Church. However, as their town and enterprise booms, it comes to the attention of a large mining corporation who want to bully or buy their way into the action. What makes this film stand out is not the plot itself, however, but its mood and tone the town and its inhabitants seem to be thrown together out of raw lumber, covered alternatively in mud or frozen ice, and their days (and their personalities) are both short and dark in equal measure. As a brief aside, if you haven't seen a Roger Altman film before, this has all the trappings of being a good introduction. As Ebert went on to observe: This is not the kind of movie where the characters are introduced. They are all already here. Furthermore, we can see some of Altman's trademark conversations that overlap, a superb handling of ensemble casts, and a quietly subversive view of the tyranny of 'genre'... and the latter in a time when the appetite for revisionist portrays of the West was not very strong. All of these 'Altmanian' trademarks can be ordered in much stronger measures in his later films: in particular, his comedy-drama Nashville (1975) has 24 main characters, and my jejune interpretation of Gosford Park (2001) is that it is purposefully designed to poke fun those who take a reductionist view of 'genre', or at least on the audience's expectations. (In this case, an Edwardian-era English murder mystery in the style of Agatha Christie, but where no real murder or detection really takes place.) On the other hand, McCabe & Mrs. Miller is actually a poor introduction to Altman. The story is told in a suitable deliberate and slow tempo, and the two stars of the film are shown thoroughly defrocked of any 'star status', in both the visual and moral dimensions. All of these traits are, however, this film's strength, adding up to a credible, fascinating and riveting portrayal of the old West.
Detour (1945) Detour was filmed in less than a week, and it's difficult to decide out of the actors and the screenplay which is its weakest point.... Yet it still somehow seemed to drag me in. The plot revolves around luckless Al who is hitchhiking to California. Al gets a lift from a man called Haskell who quickly falls down dead from a heart attack. Al quickly buries the body and takes Haskell's money, car and identification, believing that the police will believe Al murdered him. An unstable element is soon introduced in the guise of Vera, who, through a set of coincidences that stretches credulity, knows that this 'new' Haskell (ie. Al pretending to be him) is not who he seems. Vera then attaches herself to Al in order to blackmail him, and the world starts to spin out of his control. It must be understood that none of this is executed very well. Rather, what makes Detour so interesting to watch is that its 'errors' lend a distinctively creepy and unnatural hue to the film. Indeed, in the early twentieth century, Sigmund Freud used the word unheimlich to describe the experience of something that is not simply mysterious, but something creepy in a strangely familiar way. This is almost the perfect description of watching Detour its eerie nature means that we are not only frequently second-guessed about where the film is going, but are often uncertain whether we are watching the usual objective perspective offered by cinema. In particular, are all the ham-fisted segues, stilted dialogue and inscrutable character motivations actually a product of Al inventing a story for the viewer? Did he murder Haskell after all, despite the film 'showing' us that Haskell died of natural causes? In other words, are we watching what Al wants us to believe? Regardless of the answers to these questions, the film succeeds precisely because of its accidental or inadvertent choices, so it is an implicit reminder that seeking the director's original intention in any piece of art is a complete mirage. Detour is certainly not a good film, but it just might be a great one. (It is a short film too, and, out of copyright, it is available online for free.)
Safe (1995) Safe is a subtly disturbing film about an upper-middle-class housewife who begins to complain about vague symptoms of illness. Initially claiming that she doesn't feel right, Carol starts to have unexplained headaches, a dry cough and nosebleeds, and eventually begins to have trouble breathing. Carol's family doctor treats her concerns with little care, and suggests to her husband that she sees a psychiatrist. Yet Carol's episodes soon escalate. For example, as a 'homemaker' and with nothing else to occupy her, Carol's orders a new couch for a party. But when the store delivers the wrong one (although it is not altogether clear that they did), Carol has a near breakdown. Unsure where to turn, an 'allergist' tells Carol she has "Environmental Illness," and so Carol eventually checks herself into a new-age commune filled with alternative therapies. On the surface, Safe is thus a film about the increasing about of pesticides and chemicals in our lives, something that was clearly felt far more viscerally in the 1990s. But it is also a film about how lack of genuine healthcare for women must be seen as a critical factor in the rise of crank medicine. (Indeed, it made for something of an uncomfortable watch during the coronavirus lockdown.) More interestingly, however, Safe gently-yet-critically examines the psychosocial causes that may be aggravating Carol's illnesses, including her vacant marriage, her hollow friends and the 'empty calorie' stimulus of suburbia. None of this should be especially new to anyone: the gendered Victorian term 'hysterical' is often all but spoken throughout this film, and perhaps from the very invention of modern medicine, women's symptoms have often regularly minimised or outright dismissed. (Hilary Mantel's 2003 memoir, Giving Up the Ghost is especially harrowing on this.) As I opened this review, the film is subtle in its messaging. Just to take one example from many, the sound of the cars is always just a fraction too loud: there's a scene where a group is eating dinner with a road in the background, and the total effect can be seen as representing the toxic fumes of modernity invading our social lives and health. I won't spoiler the conclusion of this quietly devasting film, but don't expect a happy ending.
The Driver (1978) Critics grossly misunderstood The Driver when it was first released. They interpreted the cold and unemotional affect of the characters with the lack of developmental depth, instead of representing their dissociation from the society around them. This reading was encouraged by the fact that the principal actors aren't given real names and are instead known simply by their archetypes instead: 'The Driver', 'The Detective', 'The Player' and so on. This sort of quasi-Jungian erudition is common in many crime films today (Reservoir Dogs, Kill Bill, Layer Cake, Fight Club), so the critics' misconceptions were entirely reasonable in 1978. The plot of The Driver involves the eponymous Driver, a noted getaway driver for robberies in Los Angeles. His exceptional talent has far prevented him from being captured thus far, so the Detective attempts to catch the Driver by pardoning another gang if they help convict the Driver via a set-up robbery. To give himself an edge, however, The Driver seeks help from the femme fatale 'Player' in order to mislead the Detective. If this all sounds eerily familiar, you would not be far wrong. The film was essentially remade by Nicolas Winding Refn as Drive (2011) and in Edgar Wright's 2017 Baby Driver. Yet The Driver offers something that these neon-noir variants do not. In particular, the car chases around Los Angeles are some of the most captivating I've seen: they aren't thrilling in the sense of tyre squeals, explosions and flying boxes, but rather the vehicles come across like wild animals hunting one another. This feels especially so when the police are hunting The Driver, which feels less like a low-stakes game of cat and mouse than a pack of feral animals working together a gang who will tear apart their prey if they find him. In contrast to the undercar neon glow of the Fast & Furious franchise, the urban realism backdrop of the The Driver's LA metropolis contributes to a sincere feeling of artistic fidelity as well. To be sure, most of this is present in the truly-excellent Drive, where the chase scenes do really communicate a credible sense of stakes. But the substitution of The Driver's grit with Drive's soft neon tilts it slightly towards that common affliction of crime movies: style over substance. Nevertheless, I can highly recommend watching The Driver and Drive together, as it can tell you a lot about the disconnected socioeconomic practices of the 1980s compared to the 2010s. More than that, however, the pseudo-1980s synthwave soundtrack of Drive captures something crucial to analysing the world of today. In particular, these 'sounds from the past filtered through the present' bring to mind the increasing role of nostalgia for lost futures in the culture of today, where temporality and pop culture references are almost-exclusively citational and commemorational.
The Souvenir (2019) The ostensible outline of this quietly understated film follows a shy but ambitious film student who falls into an emotionally fraught relationship with a charismatic but untrustworthy older man. But that doesn't quite cover the plot at all, for not only is The Souvenir a film about a young artist who is inspired, derailed and ultimately strengthened by a toxic relationship, it is also partly a coming-of-age drama, a subtle portrait of class and, finally, a film about the making of a film. Still, one of the geniuses of this truly heartbreaking movie is that none of these many elements crowds out the other. It never, ever feels rushed. Indeed, there are many scenes where the camera simply 'sits there' and quietly observes what is going on. Other films might smother themselves through references to 18th-century oil paintings, but The Souvenir somehow evades this too. And there's a certain ring of credibility to the story as well, no doubt in part due to the fact it is based on director Joanna Hogg's own experiences at film school. A beautifully observed and multi-layered film; I'll be happy if the sequel is one-half as good.
The Wrestler (2008) Randy 'The Ram' Robinson is long past his prime, but he is still rarin' to go in the local pro-wrestling circuit. Yet after a brutal beating that seriously threatens his health, Randy hangs up his tights and pursues a serious relationship... and even tries to reconnect with his estranged daughter. But Randy can't resist the lure of the ring, and readies himself for a comeback. The stage is thus set for Darren Aronofsky's The Wrestler, which is essentially about what drives Randy back to the ring. To be sure, Randy derives much of his money from wrestling as well as his 'fitness', self-image, self-esteem and self-worth. Oh, it's no use insisting that wrestling is fake, for the sport is, needless to say, Randy's identity; it's not for nothing that this film is called The Wrestler. In a number of ways, The Sound of Metal (2019) is both a reaction to (and a quiet remake of) The Wrestler, if only because both movies utilise 'cool' professions to explore such questions of identity. But perhaps simply when The Wrestler was produced makes it the superior film. Indeed, the role of time feels very important for the Wrestler. In the first instance, time is clearly taking its toll on Randy's body, but I felt it more strongly in the sense this was very much a pre-2008 film, released on the cliff-edge of the global financial crisis, and the concomitant precarity of the 2010s. Indeed, it is curious to consider that you couldn't make The Wrestler today, although not because the relationship to work has changed in any fundamentalway. (Indeed, isn't it somewhat depressing the realise that, since the start of the pandemic and the 'work from home' trend to one side, we now require even more people to wreck their bodies and mental health to cover their bills?) No, what I mean to say here is that, post-2016, you cannot portray wrestling on-screen without, how can I put it, unwelcome connotations. All of which then reminds me of Minari's notorious red hat... But I digress. The Wrestler is a grittily stark darkly humorous look into the life of a desperate man and a sorrowful world, all through one tragic profession.
Thief (1981) Frank is an expert professional safecracker and specialises in high-profile diamond heists. He plans to use his ill-gotten gains to retire from crime and build a life for himself with a wife and kids, so he signs on with a top gangster for one last big score. This, of course, could be the plot to any number of heist movies, but Thief does something different. Similar to The Wrestler and The Driver (see above) and a number of other films that I watched this year, Thief seems to be saying about our relationship to work and family in modernity and postmodernity. Indeed, the 'heist film', we are told, is an understudied genre, but part of the pleasure of watching these films is said to arise from how they portray our desired relationship to work. In particular, Frank's desire to pull off that last big job feels less about the money it would bring him, but a displacement from (or proxy for) fulfilling some deep-down desire to have a family or indeed any relationship at all. Because in theory, of course, Frank could enter into a fulfilling long-term relationship right away, without stealing millions of dollars in diamonds... but that's kinda the entire point: Frank needing just one more theft is an excuse to not pursue a relationship and put it off indefinitely in favour of 'work'. (And being Federal crimes, it also means Frank cannot put down meaningful roots in a community.) All this is communicated extremely subtly in the justly-lauded lowkey diner scene, by far the best scene in the movie. The visual aesthetic of Thief is as if you set The Warriors (1979) in a similarly-filthy Chicago, with the Xenophon-inspired plot of The Warriors replaced with an almost deliberate lack of plot development... and the allure of The Warriors' fantastical criminal gangs (with their alluringly well-defined social identities) substituted by a bunch of amoral individuals with no solidarity beyond the immediate moment. A tale of our time, perhaps. I should warn you that the ending of Thief is famously weak, but this is a gritty, intelligent and strangely credible heist movie before you get there.
Uncut Gems (2019) The most exhausting film I've seen in years; the cinematic equivalent of four cups of double espresso, I didn't even bother even trying to sleep after downing Uncut Gems late one night. Directed by the two Safdie Brothers, it often felt like I was watching two films that had been made at the same time. (Or do I mean two films at 2X speed?) No, whatever clumsy metaphor you choose to adopt, the unavoidable effect of this film's finely-tuned chaos is an uncompromising and anxiety-inducing piece of cinema. The plot follows Howard as a man lost to his countless vices mostly gambling with a significant side hustle in adultery, but you get the distinct impression he would be happy with anything that will give him another high. A true junkie's junkie, you might say. You know right from the beginning it's going to end in some kind of disaster, the only question remaining is precisely how and what. Portrayed by an (almost unrecognisable) Adam Sandler, there's an uncanny sense of distance in the emotional chasm between 'Sandler-as-junkie' and 'Sandler-as-regular-star-of-goofy-comedies'. Yet instead of being distracting and reducing the film's affect, this possibly-deliberate intertextuality somehow adds to the masterfully-controlled mayhem. My heart races just at the memory. Oof.
Woman in the Dunes (1964) I ended up watching three films that feature sand this year: Denis Villeneuve's Dune (2021), Lawrence of Arabia (1962) and Woman in the Dunes. But it is this last 1964 film by Hiroshi Teshigahara that will stick in my mind in the years to come. Sure, there is none of the Medician intrigue of Dune or the Super Panavision-70 of Lawrence of Arabia (or its quasi-orientalist score, itself likely stolen from Anton Bruckner's 6th Symphony), but Woman in the Dunes doesn't have to assert its confidence so boldly, and it reveals the enormity of its plot slowly and deliberately instead. Woman in the Dunes never rushes to get to the film's central dilemma, and it uncovers its terror in little hints and insights, all whilst establishing the daily rhythm of life. Woman in the Dunes has something of the uncanny horror as Dogtooth (see above), as well as its broad range of potential interpretations. Both films permit a wide array of readings, without resorting to being deliberately obscurantist or being just plain random it is perhaps this reason why I enjoyed them so much. It is true that asking 'So what does the sand mean?' sounds tediously sophomoric shorn of any context, but it somehow applies to this thoughtfully self-contained piece of cinema.
A Quiet Place (2018) Although A Quiet Place was not actually one of the best films I saw this year, I'm including it here as it is certainly one of the better 'mainstream' Hollywood franchises I came across. Not only is the film very ably constructed and engages on a visceral level, I should point out that it is rare that I can empathise with the peril of conventional horror movies (and perhaps prefer to focus on its cultural and political aesthetics), but I did here. The conceit of this particular post-apocalyptic world is that a family is forced to live in almost complete silence while hiding from creatures that hunt by sound alone. Still, A Quiet Place engages on an intellectual level too, and this probably works in tandem with the pure 'horrorific' elements and make it stick into your mind. In particular, and to my mind at least, A Quiet Place a deeply American conservative film below the surface: it exalts the family structure and a certain kind of sacrifice for your family. (The music often had a passacaglia-like strain too, forming a tombeau for America.) Moreover, you survive in this dystopia by staying quiet that is to say, by staying stoic suggesting that in the wake of any conflict that might beset the world, the best thing to do is to keep quiet. Even communicating with your loved ones can be deadly to both of you, so not emote, acquiesce quietly to your fate, and don't, whatever you do, speak up. (Or join a union.) I could go on, but The Quiet Place is more than this. It's taut and brief, and despite cinema being an increasingly visual medium, it encourages its audience to develop a new relationship with sound.
x2gokdriveclient(which is still only available in X2Go nightly builds or from X2Go Git ). X2Go and Remmina As currently posted by the Remmina community , one of my employees has been working on finalizing an already existing draft of mine for the last couple of months: Remmina Plugin X2Go. This project has been contracted by BAUR-ITCS UG (haftungsbeschr nkt) already a while back and has been financed via X2Go funding from one of their customers. Unfortunately, I never got around really to finalizing the project. Apologies for this. Daniel Teichmann, who has been in the company for a while now, but just recently switched to an employment model with considerably more work hours per week, now picked up this project two months ago and achieved awesome things on the way. Daniel Teichmann and Antenore Gatta (Remmina core developer, aka tmow) have been cooperating intensely on this, recently, with the objective of getting the X2Go plugin code merged into Remmina asap. We are pretty close to the first touchdown (i.e. code merge) of this endeavour. Thanks to Antenore for his support on this. This is much appreciated. Remmina Plugin X2Go - Current Challenges The X2Go Plugin for Remmina implementation uses Python X2Go (PyHoca-CLI) under the bonnet and basically does a system call to pyhoca-cli according to the session settings configured in the Remmina session profile UI. When using NXv3 based sessions, the session window appears on the client-side Xserver and immediately gets caught by Remmina and embedded into the Remmina frame (via Xembed protocol) where its remote sessions are supposed to appear. (Thanks that GtkSocket is still around in GTK-3). The knowing GTK-3 experts among you may have noticed: GtkSocket is obsolete and has been removed from GTK-4. Also, GtkSocket support is only available in GTK-3 when using its X11 rendering backend. For the X2Go Kdrive implementation, we tested a similar approach (embedding the
x2gokdriveclientQt5 window via Xembed/GtkSocket), but it seems that GtkSocket and Qt5 applications don't work well together and we did not succeed in embedding the Qt5 window of the
x2gokdriveclientapplication into Remmina, so far. Also, this would be a work-around for the bigger problem: We want, long-term, provide X2Go Kdrive support in Remmina, not only for Remmina running with GTK-3/X11, but also when Remmina is used natively on top of Wayland. So, the more sustainable approach for showing an X2Go Kdrive based X2Go session in Remmina would be a GTK-3/4 or a Glib-2.0 + Cairo based rendering client provided as a shared library. This then could be used by Remmina for drawing the session bitmaps into the Remmina session frame. This would require a port of the
x2gokdriveclientQt code into a non-Qt implementation. However, we are running out of funding to make this happen at the moment. More Funding Needed for this Journey As you might guess, such a project as proposed is a project that some people do in their spare time, others do it for a living. I'd love to continue this project and have Daniel Teichmann continue his work on this, so that Remmina might soon be able to provide native X2Go Kdrive Client support. If people read this and are interested in supporting such a project, please get in touch . Thanks so much! light+love
make dist, drop tar.bz2, document option
Team Cancel: 3028 signers from 1413 individual commit authors Team Support: 6249 signers from 5018 individual commit authorsGit shortlog (Top 10):
rms_cancel.git (Last update: 2021-04-07 15:42:33 (UTC)) 1228 Neil McGovern 251 Joan Touzet 86 Elana Hashman 71 Molly de Blanc 36 Shauna 19 Juke 18 Stefano Zacchiroli 17 Alexey Mirages 16 Devin Halladay 14 Nader Jafari rms_support.git (Last update: 2021-04-12 09:25:53 (UTC)) 1678 shenlebantongying 1564 nukeop 1550 Ivanq 826 Victor 746 Job Bautista 123 nekonee 61 Victor Gridnevsky 38 Patrick Spek 25 Borys Kabakov 17 KIM Taeyeob(last updated 2021-04-12 09:26:15 (UTC)) Technical info:
git shortlog -s.
.mailmapsupport as they have committed with different names. Further reading:
Yes, I notice the negative spread on Hitbtc. Either I fail to understand their Websocket API or they are sending bogus data. I've seen the same with Kraken, and suspect there is something wrong with the data they send. As usual, if you use Bitcoin and want to show your support of my activities, please send Bitcoin donations to my address 15oWEoG9dUPovwmUL9KWAnYRtNJEkP1u1b.Name Pair Bid Ask Spread Ftcd Age Freq Bitfinex BTCEUR 39229.0000 39246.0000 0.0% 44 44 nan Bitmynt BTCEUR 39071.0000 41048.9000 4.8% 43 74 nan Bitpay BTCEUR 39326.7000 nan nan% 39 nan nan Bitstamp BTCEUR 39398.7900 39417.3200 0.0% 0 0 1 Bl3p BTCEUR 39158.7800 39581.9000 1.1% 0 nan 3 Coinbase BTCEUR 39197.3100 39621.9300 1.1% 38 nan nan Kraken+BTCEUR 39432.9000 39433.0000 0.0% 0 0 0 Paymium BTCEUR 39437.2100 39499.9300 0.2% 0 2264 nan Bitmynt BTCNOK 409750.9600 420516.8500 2.6% 43 74 nan Bitpay BTCNOK 410332.4000 nan nan% 39 nan nan Coinbase BTCNOK 408675.7300 412813.7900 1.0% 38 nan nan MiraiEx BTCNOK 412174.1800 418396.1500 1.5% 34 nan nan NBX BTCNOK 405835.9000 408921.4300 0.8% 33 nan nan Bitfinex BTCUSD 47341.0000 47355.0000 0.0% 44 53 nan Bitpay BTCUSD 47388.5100 nan nan% 39 nan nan Coinbase BTCUSD 47153.6500 47651.3700 1.0% 37 nan nan Gemini BTCUSD 47416.0900 47439.0500 0.0% 36 336 nan Hitbtc BTCUSD 47429.9900 47386.7400 -0.1% 0 0 0 Kraken+BTCUSD 47401.7000 47401.8000 0.0% 0 0 0 Exchangerates EURNOK 10.4012 10.4012 0.0% 38 76236 nan Norgesbank EURNOK 10.4012 10.4012 0.0% 31 76236 nan Bitstamp EURUSD 1.2030 1.2045 0.1% 2 2 1 Exchangerates EURUSD 1.2121 1.2121 0.0% 38 76236 nan Norgesbank USDNOK 8.5811 8.5811 0.0% 31 76236 nan
|Series:||Indranan War #1|
His words slammed into me, burning like the ten thousand volts of a Solarian Conglomerate police Taser.(no, there's no significance to the Solarian Conglomerate here), or, just three paragraphs later:
The air rushed out of my lungs. Added grief for a niece I'd never known. One more log on the pyre set to burn my freedom to ashes. The hope I'd had of getting out of this mess was lost in that instant, and I couldn't do anything but stare at Emmory in abject shock.Given how much air rushes out of Hail's lungs and how often she's struck down with guilt or grief, it's hard to believe she doesn't have brain damage. Worse, Hail spends a great deal of the first third of the book whining, which given that the book is written in first person gets old very quickly. Every emotion is overwritten and overstressed as Hail rails against obvious narrative inescapability. It's blatantly telegraphed from the first few pages that Hail is going to drop into the imperial palace like a profane invasion force and shake everything up, but the reader has to endure far too long of Hail being dramatically self-pitying about the plot. I almost gave up on this book in irritation (and probably should have). And then it sort of grew on me, because the other thing Wagers is doing (also not subtly) is a story trope for which I have a particular weakness: The fish out of water who nonetheless turns out to be the person everyone needs because she's systematically and deliberately kind and thoughtful while not taking any shit. Hail left Pashati young and inexperienced, with a strained relationship with her mother and a habit of letting her temper interfere with her ability to negotiate palace politics. She still has the temper, but age, experience, and confidence mean that she's decisive and confident in a way she never was before. The second half of this book is about Hail building her power base and winning loyalty by being loyal and decent. It's still not great writing, but there's something there I enjoyed reading. Wagers's setting is intriguing, although it makes me a bit nervous. The Indranan Empire was settled by colonists of primarily Indian background. The court trappings, mythology, and gods referenced in Behind the Throne are Hindu-derived, and I suspect (although didn't confirm) that the funeral arrangements are as well. Formal wear (and casual wear) for women is a sari. There's a direct reference to the goddess Lakshimi (not Lakshmi, which Wikipedia seems to indicate is the correct spelling, although transliteration is always an adventure). I was happy to see this, since there are more than enough SF novels out there that seem to assume only western countries go into space. But I'm never sure whether the author did enough research or has enough personal knowledge to pull off the references correctly, and I personally wouldn't know the difference. The Indranan Empire is also matriarchal, and here Wagers goes for an inversion of sexism that puts men in roughly the position women were in the 1970s. They can, in theory, do most jobs, but there are many things they're expected not to do, there are some explicit gender lines in power structures, and the role of men in society is a point of political conflict. It's skillfully injected as social background, with a believable pattern of societal prejudice that doesn't necessarily apply to specific men in specific situations. I liked that Wagers did this without giving the Empire itself any feminine-coded characteristics. All admirals are women because the characters believe women are obviously better military leaders, not because of some claptrap about nurturing or caring or some other female-coded reason from our society. That said, this gender role inversion didn't feel that significant to the story. The obvious "sexism is bad, see what it would be like if men were subject to it" message ran parallel to the main plot and never felt that insightful to me. I'm therefore not sure it was successful or worth the injection of sexism into the reading experience, although it certainly is different from the normal fare of space empires. I can't recommend Behind the Throne because a lot of it just isn't very good. But I still kind of want to because I sincerely enjoyed the last third of the book, despite some lingering melodrama. Watching Hail succeed by being a decent, trustworthy, loyal, and intelligent person is satisfying, once she finally stops whining. The destination is probably not worth the journey, but now that I've finished the first book, I'm tempted to grab the second. Followed by After the Crown. Rating: 6 out of 10
jaadams: The username of the user that is currently running this shell.
bg7: The name of the computer that this shell is running on, important for when you start accessing shells on remote machines.
/tmp/thisfolder: The folder or directory that your shell is currently running in. Like a file explorer (like Window s Explorer or Mac s Finder) a shell always has a working directory, from which all relative paths (see sidenote below) are resolved.
~stands for your home directory, usually
C:\Users\<username>\on Windows or
/Users/<username>on Mac, this directory is where all your files should go by default. Thus a command prompt like this: actually tells you that you are currently in the
/and there are no directories above it. For example, the directory called
hometypically contains all user directories. This is stored in the root directory, and each users specific data is stored in a directory named after that user under
home. Thus, the home directory of the user
/home/jacob, the directory
homedirectory stored in the root directory
/. If you re interested in more details about what goes in what directory,
man hierhas the basics and the Filesystem Hierarchy Standard governs the layout of the filesystem on most Linux distributions. You don t always have to use the full path, however. If the path does not begin with a
/, it is assumed that the path actually begins with the path of the current directory. So if you use a path like
my/folders/here, and you re in the
/home/jacobdirectory, the path will be treated like
/home/jacob/my/folders/here. Each folder also contains the symbolic links
.. Symbolic links are a very powerful kind of file that is actually a reference to another file.
..always represents the parent directory of the current directory, so
.always links to the current directory, so
echocommand displays the text passed as arguments.
jacob@lovelace/home/jacob$ echo hello world hello world
hellois the first argument and
worldis the second. If you need an argument to contain spaces, you ll want to put quotes around it,
echo "like so". Certain arguments are called flags , or options (options if they take another argument, flags otherwise) usually prefixed with a hyphen, and they change the way a program operates. For example, the
lscommand outputs the contents of a directory passed as an argument, but if you add
-lbefore the directory, it will give you more details on the files in that directory.
jacob@lovelace/tmp/test$ ls /tmp/test 1 2 3 4 5 6 jacob@lovelace/tmp/test$ ls -l /tmp/test total 0 -rw-r--r-- 1 jacob jacob 0 Aug 26 22:06 1 -rw-r--r-- 1 jacob jacob 0 Aug 26 22:06 2 -rw-r--r-- 1 jacob jacob 0 Aug 26 22:06 3 -rw-r--r-- 1 jacob jacob 0 Aug 26 22:06 4 -rw-r--r-- 1 jacob jacob 0 Aug 26 22:06 5 -rw-r--r-- 1 jacob jacob 0 Aug 26 22:06 6 jacob@lovelace/tmp/test$
cd <path>: Change the current directory of the running shell to
ls <path>: Output the contents of
<path>. If no path is passed, it prints the contents of the current directory.
touch <filename>: create an new empty file called
<filename>. Used on an existing file, it updates the file s last accessed and modified times. Most text editors can also create a new file for you, which is probably more useful.
mkdir <directory>: Create a new folder/directory at path
mv <src> <dest>: Move a file or directory at path
cp <src> <dest>: Copy a file or directory at path
rm <file>: Remove a file at path
zip -r <zipfile> <contents...>: Create a zip file
<contents>can be multiple arguments, and you ll usually want to use the
-rargument when including directories in your zipfile, as otherwise only the directory will be included and not the files and directories within it.
grep <thing> <file>: Look for the string
<file>. If no
<file>is passed it searches standard input.
find <path> -name <name>: Find a file or directory called
<path>. This command is actually very powerful, but also very complex. For example you can delete all files in a directory older than 30 days with:
find -mtime +30 -exec rm \;
locate <name>: A much easier to use command to find a file with a given name, but it is not usually installed by default.
cat <files...>: Output (concatenate) all the files passed as arguments.
head <file>: Output the beginning of
tail <file>: Output the end of
man intro). This can be accessed using
man <command>You can search for the right command using the
-kflag, as in
man -k <search>. You can also view manual pages in your browser, on sites like https://manpages.debian.org or https://linux.die.net/man. This is not always helpful, however, because some command s descriptions are not particularly useful, and also there are a lot of manual pages, which can make searching for a specific one difficult. For example, finding the right command to search inside text files is quite difficult via
grep). When you can t find what you need with
manI recommend falling back to searching the Internet. There are lots of bad Linux tutorials out there, but here are some reputable sources I recommend:
The NAME section is the only required section. Man pages without a name section are as useful as refrigerators at the north pole. This section also has a standardized format consisting of a comma-separated list of program or function names, followed by a dash, followed by a short (usually one line) description of the functionality the program (or function, or file) is supposed to provide. By means of makewhatis(8), the name sections make it into the whatis database files. Makewhatis is the reason the name section must exist, and why it must adhere to the format I described. (Formatting explanation cut for brevity) The SYNOPSIS section is intended to give a short overview on available program options. For functions this sections lists corresponding include files and the prototype so the programmer knows the type and number of arguments as well as the return type. The DESCRIPTION section eloquently explains why your sequence of 0s and 1s is worth anything at all. Here s where you write down all your knowledge. This is the Hall Of Fame. Win other programmers and users admiration by making this section the source of reliable and detailed information. Explain what the arguments are for, the file format, what algorithms do the dirty jobs. The OPTIONS section gives a description of how each option affects program behaviour. You knew that, didn t you? The FILES section lists files the program or function uses. For example, it lists configuration files, startup files, and files the program directly operates on. (Cut details about installing files) The ENVIRONMENT section lists all environment variables that affect your program or function and tells how, of course. Most commonly the variables will hold pathnames, filenames or default options. The DIAGNOSTICS section should give an overview of the most common error messages from your program and how to cope with them. There s no need to explain system error error messages (from perror(3)) or fatal signals (from psignal(3)) as they can appear during execution of any program. The BUGS section should ideally be non-existent. If you re brave, you can describe here the limitations, known inconveniences and features that others may regard as misfeatures. If you re not so brave, rename it the TO DO section ;-) The AUTHOR section is nice to have in case there are gross errors in the documentation or program behaviour (Bzzt!) and you want to mail a bug report. The SEE ALSO section is a list of related man pages in alphabetical order. Conventionally, it is the last section.
ssh, the secure shell. This allows you to remotely connect to another computer and run a shell on that machine:
user@host:~$ ssh firstname.lastname@example.org other@example:~$
scp, which works much like the
cpcommand except that paths can also take a
user@hostargument to move files across computers. For example, if you wanted to move a file
test.txtto your home directory on another machine, the command would look like:
scp test.txt email@example.com:
scp firstname.lastname@example.org:/etc/issue.net .
sftpcommand, which gives you a very simple shell-like interface in which you can
ls, before either
puting files onto the local machine or
geting files off of it. The final and most powerful option is
rsyncwhich syncs the contents of one directory to another, and doesn t copy files that haven t changed. It s powerful and complex, however, so I recommend reading the USAGE section of its man page.
screenboth allow you to run a shell in a safe environment where it will continue even if you disconnect from it. You do this by running the command without any arguments, i.e. just
tmuxyou can disconnect from the current session by pressing
d, and reattach with the
screenworks similarly, but with
screen -rto reattach.
>and the very powerful
>redirect the input and output of a command to a file. For example, if you wanted a file called
list.txtthat contained a list of all the files in a directory
/this/one/hereyou could use:
ls /this/one/here > list.txt
, allows you to direct the output of one command into the input of another. This can be very powerful. For example, the following pipeline lists the contents of the current directory searches for the string test , then counts the number of results. (
wc -lcounts the number of lines in its input)
ls grep test wc -l
myfile, with a bunch of lines of potentially duplicated and unsorted data
test test 1234 4567 1234
$ uniq < myfile sort 1234 1234 4567 test
*.suffix. This also works with prefixes,
prefix*, and in fact you can put a
*middle*. The shell will expand that
*into all the files in that directory that match your criteria (ending with a specific suffix, starting with a specific prefix, and so on) and pass each file as a separate argument to the command. For example, if I have a series of files called
2.txt, and so on up to 9, each containing just the number for which it s named, I could use
catto output all of them like so:
jacob@lovelace/tmp/numbers$ ls 1.txt 2.txt 3.txt 4.txt 5.txt 6.txt 7.txt 8.txt 9.txt jacob@lovelace/tmp/numbers$ cat *.txt 1 2 3 4 5 6 7 8 9
~shorthand mentioned above that refers to your home directory can be used when passing a path as an argument to a command.
for i in 1 2 3 4 5 6 7 8 9 do echo $i > $i.txt done
Spaniards tend to be modest, very humble. Very unpretentious. And the Italians are loud, vain and outrageous showmen.Former directeur sportif Johan Bruyneel then asserts that "Belgians are hard workers... they are ambitious to a certain point, but not overly ambitious", and cyclist J rg Jaksche concludes with:
The Germans are very organised and very structured. And then the French, now I have to be very careful because I am German, but the French are slightly superior.This kind of lazy caricature is nothing new, especially for those brought up on a solid diet of Tintin and Asterix, but although all these examples are seemingly harmless, why does the underlying idea of ascribing moral, social or political significance to genetic lineage remain so durable in today's age of anti-racism? To be sure, culture is not quite the same thing as race, but being judged by the character of one's ancestors rather than the actions of an individual is, at its core, one of the many conflations at the heart of racism. There is certainly a large amount of cognitive dissonance at work, especially when Friebe elaborates:
East German athletes were like incredible robotic figures, fallen off a production line somewhere behind the Iron Curtain...... but then bermensch Jan Ullrich is immediately described as "emotional" and "struggled to live the life of a professional cyclist 365 days a year". We see the habit to stereotype is so ingrained that even in the face of this obvious contradiction, Friebe unironically excuses Ullrich's failure to live up his German roots due to him actually being "Mediterranean".
It's quite a complicated collective imposture, people pretending to be British and people pretending to be French, and then they get really angry with each other over what they're pretending to be.The really remarkable thing about this tendency is that even if we consciously notice it there is no seemingly no escape even I could not smirk when I considered that a brash Texan winning the Tour de France actually combines two of America's cherished obsessions: winning... and annoying the French.
|Series:||Innkeeper Chronicles #2|
|Series:||Species Imperative #3|