Search Results: "vivi"

16 January 2024

Jonathan Dowland: Two reissued Coil LPs

Happy 2024! DAIS have continued their programme of posthumous Coil remasters and re-issues. Constant Shallowness Leads To Evil was remastered by Josh Bonati in 2021 and re-released in 2022 in a dizzying array of different packaging variants. The original releases in 2000 had barely any artwork, and given that void I think Nathaniel Young has done a great job of creating something compelling.
Constant Shallowness leads to Evil and Queens of te Circulating Library
A limited number of the original re-issue have special lenticular covers, although these were not sold by any distributors outside the US. I tried to find a copy on my trip to Portland in 2022, to no avail. Last year DAIS followed Constant with Queens Of The Circulating Library, same deal: limited lenticular covers, US only. Both are also available digital-only, e.g. on Bandcamp: Constant , Queens . The original, pre-remastered releases have been freely available on archive.org for a long time: Constant , Queens Both of these releases feel to me that they were made available by the group somewhat as an afterthought, having been produced primarily as part of their live efforts. (I'm speculating freely here, it might not be true). Live takes of some of this material exist in the form of Coil Presents Time Machines, which has not (yet) been reissued. In my opinion this is a really compelling recording. I vividly remember listening to this whilst trying to get an hour's rest in a hotel somewhere on a work trip. It took me to some strange places! I'll leave you from one of my favourite moments from "Colour Sound Oblivion", Coil's video collection of live backdrops. When this was performed live it was also called "Constant Shallowness Leads To Evil", although it's distinct from the material on the LP: also available on archive.org. A version of this Constant made it onto a Russian live bootleg, which is available on Spotify and Bandcamp complete with some John Balance banter: we only do this on religious holidays Constant Shallowness Leads to Evil by Coil

15 January 2024

Russ Allbery: Review: The Library of Broken Worlds

Review: The Library of Broken Worlds, by Alaya Dawn Johnson
Publisher: Scholastic Press
Copyright: June 2023
ISBN: 1-338-29064-9
Format: Kindle
Pages: 446
The Library of Broken Worlds is a young-adult far-future science fantasy. So far as I can tell, it's stand-alone, although more on that later in the review. Freida is the adopted daughter of Nadi, the Head Librarian, and her greatest wish is to become a librarian herself. When the book opens, she's a teenager in highly competitive training. Freida is low-wetware, without the advanced and expensive enhancements of many of the other students competing for rare and prized librarian positions, which she makes up for by being the most audacious. She doesn't need wetware to commune with the library material gods. If one ventures deep into their tunnels and consumes their crystals, direct physical communion is possible. The library tunnels are Freida's second home, in part because that's where she was born. She was created by the Library, and specifically by Iemaja, the youngest of the material gods. Precisely why is a mystery. To Nadi, Freida is her daughter. To Quinn, Nadi's main political rival within the library, Freida is a thing, a piece of the library, a secondary and possibly rogue AI. A disruptive annoyance. The Library of Broken Worlds is the sort of science fiction where figuring out what is going on is an integral part of the reading experience. It opens with a frame story of an unnamed girl (clearly Freida) waking the god Nameren and identifying herself as designed for deicide. She provokes Nameren's curiosity and offers an Arabian Nights bargain: if he wants to hear her story, he has to refrain from killing her for long enough for her to tell it. As one might expect, the main narrative doesn't catch up to the frame story until the very end of the book. The Library is indeed some type of library that librarians can search for knowledge that isn't available from more mundane sources, but Freida's personal experience of it is almost wholly religious and oracular. The library's material gods are identified as AIs, but good luck making sense of the story through a science fiction frame, even with a healthy allowance for sufficiently advanced technology being indistinguishable from magic. The symbolism and tone is entirely fantasy, and late in the book it becomes clear that whatever the material gods are, they're not simple technological AIs in the vein of, say, Banks's Ship Minds. Also, the Library is not solely a repository of knowledge. It is the keeper of an interstellar peace. The Library was founded after the Great War, to prevent a recurrence. It functions as a sort of legal system and grand tribunal in ways that are never fully explained. As you might expect, that peace is based more on stability than fairness. Five of the players in this far future of humanity are the Awilu, the most advanced society and the first to leave Earth (or Tierra as it's called here); the Mah m, who possess the material war god Nameren of the frame story; the Lunars and Martians, who dominate the Sol system; and the surviving Tierrans, residents of a polluted and struggling planet that is ruthlessly exploited by the Lunars. The problem facing Freida and her friends at the start of the book is a petition brought by a young Tierran against Lunar exploitation of his homeland. His name is Joshua, and Freida is more than half in love with him. Joshua's legal argument involves interpretation of the freedom node of the treaty that ended the Great War, a node that precedent says gives the Lunars the freedom to exploit Tierra, but which Joshua claims has a still-valid originalist meaning granting Tierrans freedom from exploitation. There is, in short, a lot going on in this book, and "never fully explained" is something of a theme. Freida is telling a story to Nameren and only explains things Nameren may not already know. The reader has to puzzle out the rest from the occasional hint. This is made more difficult by the tendency of the material gods to communicate only in visions or guided hallucinations, full of symbolism that the characters only partly explain to the reader. Nonetheless, this did mostly work, at least for me. I started this book very confused, but by about the midpoint it felt like the background was coming together. I'm still not sure I understand the aurochs, baobab, and cicada symbolism that's so central to the framing story, but it's the pleasant sort of stretchy confusion that gives my brain a good workout. I wish Johnson had explained a few more things plainly, particularly near the end of the book, but my remaining level of confusion was within my tolerances. Unfortunately, the ending did not work for me. The first time I read it, I had no idea what it meant. Lots of baffling, symbolic things happened and then the book just stopped. After re-reading the last 10%, I think all the pieces of an ending and a bit of an explanation are there, but it's absurdly abbreviated. This is another book where the author appears to have been finished with the story before I was. This keeps happening to me, so this probably says something more about me than it says about books, but I want books to have an ending. If the characters have fought and suffered through the plot, I want them to have some space to be happy and to see how their sacrifices play out, with more detail than just a few vague promises. If much of the book has been puzzling out the nature of the world, I would like some concrete confirmation of at least some of my guesswork. And if you're going to end the book on radical transformation, I want to see the results of that transformation. Johnson does an excellent job showing how brutal the peace of the powerful can be, and is willing to light more things on fire over the course of this book than most authors would, but then doesn't offer the reader much in the way of payoff. For once, I wish this stand-alone turned out to be a series. I think an additional book could be written in the aftermath of this ending, and I would definitely read that novel. Johnson has me caring deeply about these characters and fascinated by the world background, and I'd happily spend another 450 pages finding out what happens next. But, frustratingly, I think this ending was indeed intended to wrap up the story. I think this book may fall between a few stools. Science fiction readers who want mysterious future worlds to be explained by the end of the book are going to be frustrated by the amount of symbolism, allusion, and poetic description. Literary fantasy readers, who have a higher tolerance for that style, are going to wish for more focused and polished writing. A lot of the story is firmly YA: trying and failing to fit in, developing one's identity, coming into power, relationship drama, great betrayals and regrets, overcoming trauma and abuse, and unraveling lies that adults tell you. But this is definitely not a straight-forward YA plot or world background. It demands a lot from the reader, and while I am confident many teenage readers would rise to that challenge, it seems like an awkward fit for the YA marketing category. About 75% of the way in, I would have told you this book was great and you should read it. The ending was a let-down and I'm still grumpy about it. I still think it's worth your attention if you're in the mood for a sink-or-swim type of reading experience. Just be warned that when the ride ends, I felt unceremoniously dumped on the pavement. Content warnings: Rape, torture, genocide. Rating: 7 out of 10

11 November 2023

Matthias Klumpp: AppStream 1.0 released!

Today, 12 years after the meeting where AppStream was first discussed and 11 years after I released a prototype implementation I am excited to announce AppStream 1.0!    Check it out on GitHub, or get the release tarball or read the documentation or release notes!

Some nostalgic memories I was not in the original AppStream meeting, since in 2011 I was extremely busy with finals preparations and ball organization in high school, but I still vividly remember sitting at school in the students lounge during a break and trying to catch the really choppy live stream from the meeting on my borrowed laptop (a futile exercise, I watched parts of the blurry recording later). I was extremely passionate about getting software deployment to work better on Linux and to improve the overall user experience, and spent many hours on the PackageKit IRC channel discussing things with many amazing people like Richard Hughes, Daniel Nicoletti, Sebastian Heinlein and others. At the time I was writing a software deployment tool called Listaller this was before Linux containers were a thing, and building it was very tough due to technical and personal limitations (I had just learned C!). Then in university, when I intended to recreate this tool, but for real and better this time as a new project called Limba, I needed a way to provide metadata for it, and AppStream fit right in! Meanwhile, Richard Hughes was tackling the UI side of things while creating GNOME Software and needed a solution as well. So I implemented a prototype and together we pretty much reshaped the early specification from the original meeting into what would become modern AppStream. Back then I saw AppStream as a necessary side-project for my actual project, and didn t even consider me as the maintainer of it for quite a while (I hadn t been at the meeting afterall). All those years ago I had no idea that ultimately I was developing AppStream not for Limba, but for a new thing that would show up later, with an even more modern design called Flatpak. I also had no idea how incredibly complex AppStream would become and how many features it would have and how much more maintenance work it would be and also not how ubiquitous it would become. The modern Linux desktop uses AppStream everywhere now, it is supported by all major distributions, used by Flatpak for metadata, used for firmware metadata via Richard s fwupd/LVFS, runs on every Steam Deck, can be found in cars and possibly many places I do not know yet.

What is new in 1.0?

API breaks The most important thing that s new with the 1.0 release is a bunch of incompatible changes. For the shared libraries, all deprecated API elements have been removed and a bunch of other changes have been made to improve the overall API and especially make it more binding-friendly. That doesn t mean that the API is completely new and nothing looks like before though, when possible the previous API design was kept and some changes that would have been too disruptive have not been made. Regardless of that, you will have to port your AppStream-using applications. For some larger ones I already submitted patches to build with both AppStream versions, the 0.16.x stable series as well as 1.0+. For the XML specification, some older compatibility for XML that had no or very few users has been removed as well. This affects for example release elements that reference downloadable data without an artifact block, which has not been supported for a while. For all of these, I checked to remove only things that had close to no users and that were a significant maintenance burden. So as a rule of thumb: If your XML validated with no warnings with the 0.16.x branch of AppStream, it will still be 100% valid with the 1.0 release. Another notable change is that the generated output of AppStream 1.0 will always be 1.0 compliant, you can not make it generate data for versions below that (this greatly reduced the maintenance cost of the project).

Developer element For a long time, you could set the developer name using the top-level developer_name tag. With AppStream 1.0, this is changed a bit. There is now a developer tag with a name child (that can be translated unless the translate="no" attribute is set on it). This allows future extensibility, and also allows to set a machine-readable id attribute in the developer element. This permits software centers to group software by developer easier, without having to use heuristics. If we decide to extend the developer information per-app in future, this is also now possible. Do not worry though the developer_name tag is also still read, so there is no high pressure to update. The old 0.16.x stable series also has this feature backported, so it can be available everywhere. Check out the developer tag specification for more details.

Scale factor for screenshots Screenshot images can now have a scale attribute, to indicate an (integer) scaling factor to apply. This feature was a breaking change and therefore we could not have it for the longest time, but it is now available. Please wait a bit for AppStream 1.0 to become deployed more widespread though, as using it with older AppStream versions may lead to issues in some cases. Check out the screenshots tag specification for more details.

Screenshot environments It is now possible to indicate the environment a screenshot was recorded in (GNOME, GNOME Dark, KDE Plasma, Windows, etc.) via an environment attribute on the respective screenshot tag. This was also a breaking change, so use it carefully for now! If projects want to, they can use this feature to supply dedicated screenshots depending on the environment the application page is displayed in. Check out the screenshots tag specification for more details.

References tag This is a feature more important for the scientific community and scientific applications. Using the references tag, you can associate the AppStream component with a DOI (Digital object identifier) or provide a link to a CFF file to provide citation information. It also allows to link to other scientific registries. Check out the references tag specification for more details.

Release tags Releases can have tags now, just like components. This is generally not a feature that I expect to be used much, but in certain instances it can become useful with a cooperating software center, for example to tag certain releases as long-term supported versions.

Multi-platform support Thanks to the interest and work of many volunteers, AppStream (mostly) runs on FreeBSD now, a NetBSD port exists, support for macOS was written and a Windows port is on its way! Thank you to everyone working on this

Better compatibility checks For a long time I thought that the AppStream library should just be a thin layer above the XML and that software centers should just implement a lot of the actual logic. This has not been the case for a while, but there was still a lot of complex AppStream features that were hard for software centers to implement and where it makes sense to have one implementation that projects can just use. The validation of component relations is one such thing. This was implemented in 0.16.x as well, but 1.0 vastly improves upon the compatibility checks, so you can now just run as_component_check_relations and retrieve a detailed list of whether the current component will run well on the system. Besides better API for software developers, the appstreamcli utility also has much improved support for relation checks, and I wrote about these changes in a previous post. Check it out! With these changes, I hope this feature will be used much more, and beyond just drivers and firmware.

So much more! The changelog for the 1.0 release is huge, and there are many papercuts resolved and changes made that I did not talk about here, like us using gi-docgen (instead of gtkdoc) now for nice API documentation, or the many improvements that went into better binding support, or better search, or just plain bugfixes.

Outlook I expect the transition to 1.0 to take a bit of time. AppStream has not broken its API for many, many years (since 2016), so a bunch of places need to be touched even if the changes themselves are minor in many cases. In hindsight, I should have also released 1.0 much sooner and it should not have become such a mega-release, but that was mainly due to time constraints. So, what s in it for the future? Contrary to what I thought, AppStream does not really seem to be done and fetature complete at a point, there is always something to improve, and people come up with new usecases all the time. So, expect more of the same in future: Bugfixes, validator improvements, documentation improvements, better tools and the occasional new feature. Onwards to 1.0.1!

27 October 2023

Scarlett Gately Moore: KDE: KDEneon Plasma Release, Unstable BOOM, Snaps, and Debian

Yang the cat birdYang the cat bird
While Yang our cat tries to lure in unsuspecting birds on the bird feeder, I have been busy working on many things. First things first though, a big thank you to all that donated to my Internet bill. I was able to continue my work without interruption. KDE neon: A busy week in KDE neon as https://kde.org/announcements/plasma/5/5.27.9/ was released! We have it ready to update in User edition or if you would like to download the new ISO you can find it here: https://neon.kde.org/download I highly advise the User Edition as Unstable is volatile right now with Qt6 transition and ABI breakage. Which leads me to the next busy work for the week. Plasma 6 exploded breaking unstable desktops all over, including mine! A library changed and it was not backward compatible, so we had to rebuild the Qt6 $world to get Plasma and PIM functional again. I am happy to report it is all fixed now, but I cannot stress enough, if you don t want to chance broken things, please use the User Edition! I also continued the orange -> green build effort in making sure all our runtime dependencies are up to date. This fixes odd UI bugs and developers have all the build dependencies needed to build their applications. KDE Snaps: Several more 23.08.2 snaps have arrived in the snap store including the new to snaps Kamoso!
KDE snap KamosoKDE snap Kamoso
I have an auto-connect request to the snap-store policy folks, but until it is approved please snap connect kamoso:camera :camera I have a pile of new MR s in for non release service applications and some fixes for issues found while testing. While this new workflow does take a bit longer waiting for approvals I like it much better as I am developing closer relationships with the application developers. I have made significant progress on the Kf6 ( Qt6 based ) content snap. I am about 90% complete. While this doesn t mean much for users yet, it will when KDE applications release their qt6 ports starting the next major release cycle. I will be ready! The last bit for snap work is I have almost completed my akonadi service snap. This will connect to all KDE PIM snaps so they share data. Akonadi is the background database that ties all the PIM applications together. Debian: This week I have worked on updates for several golang packages including charmbracelet/lipgloss charmbracelet/bubbles, and muesli-termenv. unfortunately I am stuck golang-github-aymanbagabas-go-osc52. The work is done in salsa but the maintainer has not uploaded. I have shot an email to the maintainer. I have also begun mentoring my first potential future DD! I reviewed his python-scienceplots and python-art which should land in Debian soon. Thanks for stopping by! As usual, if you can please spare some change, consider a donation. All proceeds go to surviving another day to work on cool things to land on your desktop! https://gofund.me/b8b69e54 <noscript><a href="https://liberapay.com/sgmoore/donate"><img alt="Donate using Liberapay" src="https://liberapay.com/assets/widgets/donate.svg" /></a></noscript> Donate

23 October 2023

Russ Allbery: Review: Going Postal

Review: Going Postal, by Terry Pratchett
Series: Discworld #33
Publisher: Harper
Copyright: October 2004
Printing: November 2014
ISBN: 0-06-233497-2
Format: Mass market
Pages: 471
Going Postal is the 33rd Discworld novel. You could probably start here if you wanted to; there are relatively few references to previous books, and the primary connection (to Feet of Clay) is fully re-explained. I suspect that's why Going Postal garnered another round of award nominations. There are arguable spoilers for Feet of Clay, however. Moist von Lipwig is a con artist. Under a wide variety of names, he's swindled and forged his way around the Disc, always confident that he can run away from or talk his way out of any trouble. As Going Postal begins, however, it appears his luck has run out. He's about to be hanged. Much to his surprise, he wakes up after his carefully performed hanging in Lord Vetinari's office, where he's offered a choice. He can either take over the Ankh-Morpork post office, or he can die. Moist, of course, immediately agrees to run the post office, and then leaves town at the earliest opportunity, only to be carried back into Vetinari's office by a relentlessly persistent golem named Mr. Pump. He apparently has a parole officer. The clacks, Discworld's telegraph system first seen in The Fifth Elephant, has taken over most communications. The city is now dotted with towers, and the Grand Trunk can take them at unprecedented speed to even far-distant cities like Genua. The post office, meanwhile, is essentially defunct, as Moist quickly discovers. There are two remaining employees, the highly eccentric Junior Postman Groat who is still Junior because no postmaster has lasted long enough to promote him, and the disturbingly intense Apprentice Postman Stanley, who collects pins. Other than them, the contents of the massive post office headquarters are a disturbing mail sorting machine designed by Bloody Stupid Johnson that is not picky about which dimension or timeline the sorted mail comes from, and undelivered mail. A lot of undelivered mail. Enough undelivered mail that there may be magical consequences. All Moist has to do is get the postal system running again. Somehow. And not die in mysterious accidents like the previous five postmasters. Going Postal is a con artist story, but it's also a startup and capitalism story. Vetinari is, as always, solving a specific problem in his inimitable indirect way. The clacks were created by engineers obsessed with machinery and encodings and maintenance, but it's been acquired by... well, let's say private equity, because that's who they are, although Discworld doesn't have that term. They immediately did what private equity always did: cut out everything that didn't extract profit, without regard for either the service or the employees. Since the clacks are an effective monopoly and the new owners are ruthless about eliminating any possible competition, there isn't much to stop them. Vetinari's chosen tool is Moist. There are some parts of this setup that I love and one part that I'm grumbly about. A lot of the fun of this book is seeing Moist pulled into the mission of resurrecting the post office despite himself. He starts out trying to wriggle out of his assigned task, but, after a few early successes and a supernatural encounter with the mail, he can't help but start to care. Reformed con men often make good protagonists because one can enjoy the charisma without disliking the ethics. Pratchett adds the delightfully sharp-witted and cynical Adora Belle Dearheart as a partial reader stand-in, which makes the process of Moist becoming worthy of his protagonist role even more fun. I think that a properly functioning postal service is one of the truly monumental achievements of human society and doesn't get nearly enough celebration (or support, or pay, or good working conditions). Give me a story about reviving a postal service by someone who appreciates the tradition and social role as much as Pratchett clearly does and I'm there. The only frustration is that Going Postal is focused more on an immediate plot, so we don't get to see the larger infrastructure recovery that is clearly needed. (Maybe in later books?) That leads to my grumble, though. Going Postal and specifically the takeover of the clacks is obviously inspired by corporate structures in the later Industrial Revolution, but this book was written in 2004, so it's also a book about private equity and startups. When Vetinari puts a con man in charge of the post office, he runs it like a startup: do lots of splashy things to draw attention, promise big and then promise even bigger, stumble across a revenue source that may or may not be sustainable, hire like mad, and hope it all works out. This makes for a great story in the same way that watching trapeze artists or tightrope walkers is entertaining. You know it's going to work because that's the sort of book you're reading, so you can enjoy the audacity and wonder how Moist will manage to stay ahead of his promises. But it is still a con game applied to a public service, and the part of me that loves the concept of the postal service couldn't stop feeling like this is part of the problem. The dilemma that Vetinari is solving is a bit too realistic, down to the requirement that the post office be self-funding and not depend on city funds and, well, this is repugnant to me. Public services aren't businesses. Societies spend money to build things that they need to maintain society, and postal service is just as much one of those things as roads are. The ability of anyone to send a letter to anyone else, no matter how rural the address is, provides infrastructure on which a lot of important societal structure is built. Pratchett made me care a great deal about Ankh-Morpork's post office (not hard to do), and now I want to see it rebuilt properly, on firm foundations, without splashy promises and without a requirement that it pay for itself. Which I realize is not the point of Discworld at all, but the concept of running a postal service like a startup hits maybe a bit too close to home. Apart from that grumble, this is a great book if you're in the mood for a reformed con man story. I thought the gold suit was a bit over the top, but I otherwise thought Moist's slow conversion to truly caring about his job was deeply satisfying. The descriptions of the clacks are full of askew Discworld parodies of computer networking and encoding that I enjoyed more than I thought I would. This is also the book that introduced the now-famous (among Pratchett fans at least) GNU instruction for the clacks, and I think that scene is the most emotionally moving bit of Pratchett outside of Night Watch. Going Postal is one of the better books in the Discworld series to this point (and I'm sadly getting near the end). If you have less strongly held opinions about management and funding models for public services, or at least are better at putting them aside when reading fantasy novels, you're likely to like it even more than I did. Recommended. Followed by Thud!. The thematic sequel is Making Money. Rating: 8 out of 10

8 October 2023

Sahil Dhiman: Lap 24

Twenty-four is a big number. More than one/fourth (or more) of my life is behind me now. At this point, I truly feel like I have become an adult; mentally and physically. Another year seem to have gone by quickly. I still vividly remember writing 23 and Counting and here I m writing the next one so soon. Probably the lowest I felt ever on my birthday; with loss of Abraham and on the other hand, medical issues with a dear one. Didn t even felt like birthday was almost here. The loss of Abraham, taught me to care for people more and meet cherish everyone. I m grateful for all the people who supported and cared for me and others during times of grief when things went numb. Thank you! Also, for the first time ever, I went to office on my birthday. This probably would become a norm in coming years. Didn t felt like doing anything, so just went to office. The cake, wishes and calls kept coming in throughout the day. I m grateful for the all people around for remembering :) This year marked my first official job switch where I moved from MakeMyTrip to Unmukti as a GNU/Linux Network Systems engineer (that s a mouthful of a job role, I know) where I do anything and everything ranging from system admin, network engineering, a bit of social media, chronicling stuff on company blog and bringing up new applications as per requirement. Moving from MMT to Unmukti was a big cultural shift. From a full-blown corporate with more than 3 thousand employees to a small 5-person team. People still think I work for a startup on hearing the low head count, though Unmukti is a 13 year old organization. I get the freedom to work at my own pace and put my ideas in larger technical discussions, while also actively participating in the community, which I m truly grateful of. I go full geek here and almost everyone here is on the same spectrum, so things technical or societal discussions just naturally flow. The months of August-September again marked the Great Refresh. For reasons unforeseen, I have had to pack my stuff again and move, albeit to just next door for now, but that gave me the much need opportunity to sift through my belongings here. As usual, I threw a boatload of stuff which was of no use and/or just hogging space. My wardrobe cupboard finally got cleaned and sorted, with old and new clothes getting (re)discovered. The Refresh is always a pain with loads of collating stuff in carry worthy bags and hauling stuff but as usual, there s nothing else I can do other than just pack and move. This year also culminated our four plus years of work for organizing annual Debian conference, DebConf to India. DebConf23 happened in Kochi, Kerala from 3rd September to 17th September (including DebCamp). First concrete work to bring conference to India was done Raju Dev who made the first bid during DebConf18 in Hsinchu, Taiwan. We lost but won during the next year bid at DebConf19 Curitiba, Brazil in 2019. I joined the efforts after meeting the team online after DebConf20. Initially started with the publicity team, but we didn t need much publicity for event, I was later asked to join sponsors/fundraising team. That turned out to be quite an experience. Then the conference itself turned to be a good experience. More on that in an upcoming DebConf23 blog post, which will come eventually. After seeing how things work out in Debian in 2020, I had the goal to become a Debian Developer (DD) before DebConf23, which gave me almost three years to get involved and get recognized to become a DD. I was more excited to grab sahil AT debian.org, a short email with only my name and no number of characters after it. After, quite a while, I dropped the hope of become a DD because I wasn t successful in my attempts to meaningfully package and technically contribute to the project. But people in Debian India later convinced me that I have done enough to become a Debian Developer, non uploading, purely by showing up and helping around all for the Debian conferences. I applied and got sponsored (i.e. supported) for my request by srud and Praveen. Finally, on 23rd Feb, I officially became part of Debian project as 14th (at the moment) Debian Developer from India. Got sahil AT debian.org too :) For some grace, I also became a DD before DebConf23. Becoming a DD didn t change anything much though, I still believe, it might have helped secure me a job though. Also, worth mentioning is my increased interest in OpenStreetMap (OSM) mapping. I heavily mapped this year and went around for mapathon-meetups too. One step towards a better OSM and more community engagement around it. Looking back at my blog, this year around, it seems mostly dotted with Debian and one OSM post. Significant shift from the range of topics I use to write about in the past year but blogging this year wasn t a go-to activity. Other stuff kept me busy. Living in Gurugram has shown me many facades of life from which I was shielded or didn t come across earlier. It made me realize all the privileges which has helped me along the way, which became apparent while living almost alone here and managing thing by oneself.

29 September 2023

Scarlett Gately Moore: KDE: Another Busy Week! KDE neon, Debian, Snaps Oh My!

KDE Plasma 6KDE Plasma 6
I would like to welcome you to my revamped site. It is still a work in progress, so please be patient while I work out the kinks! I have also explained a bit more about myself in my About Me page for those that may have questions about my homesteader lifestyle. Check it out when you have time. My site is mostly my adventures in packaging software in Linux in a variety of formats ( mostly Debian and Ubuntu Snaps containerized packages ). This keeps me very busy, as folks don t realize the importance of packaging. Without it, applications remain in source code form which isn t very usable by the users! While turning the source code into something user friendly we often run into issues and work with upstream ( I am a very strong believer in upstream first ) to resolve any issues. This makes for a better user experience and less buggy software. Workarounds are very hard to maintain and thus fixing it right the first time is the best path! With this said, while I am not strong in any one programming language ( Well maybe Ruby from my CI tooling background ) I am versed in many languages, as I have to understand the code that I am filing bug reports for! We have to have a strong knowledge of being able to understand build failures, debug runtime failures and most importantly we have to be able to fix them, or find the resources to assist in fixing them. As most of you know I am KDE s biggest fan ( There is nothing wrong with Gnome, its a great platform ). So a big portion of my work is dedicated to KDE. A fantastic tool for working on my KDE packaging has been KDE Neon! With the developer version I have all the tools necessary to debug and fix issues that arise. There is also the added bonus of living on the edge and finding out runtime issues right away! That is enough about me for now and on to my weekly round up! KDE neon: Carlos ( check out his new blog! https://www.ethicalconstruct.au/dotclear_blog/ ) and I have been very busy with another round of KDE applications making the move to Qt6. We have finished KDE PIM and KDE Games in Neon/unstable! I have worked out issues with print-manager and re-enabled it in experimental as it s qt6 development is still happening in kf6 branch. Instructions here: https://blog.neon.kde.org/2023/08/04/announcing-kde-neon-experimental/ Fixed issues with a broken kscreenlocker and missing window decorations. You can now safely leave your computer and not worry about that dreaded black screen. Debian: I have uploaded the newest squashfuse to unstable. I have uploaded another NEW dependency for bubblegum golang-github-alecthomas-mango-kong-dev Ubuntu Snaps: This week continues working closely with Jarred Wilson of Canonical in getting his Qt6 content snap in shape for use with my KDE Frameworks 6 snap ( an essential snap to move forward with our next generation Qt6 applications and of course the Plasma snap. I spent some time debugging the neochat snap and fixed some QML issues, but I am now facing issues with wayland. It now works fine for those of us still on X11. I will continue working out wayland. Thank you! I rely on donations to upkeep my everyday living and so far thanks to each and every one of you I have survived almost a full year! It has been scary from time to time, but I am surviving. Until my snap project goes through I must rely on the kindness of my supporters. The proceeds of my donations goes to the following: I have joined the kool kids and moved to Donorbox for donations. Donate I still have Gofundme for those that don t want to signup for yetanotherdonationplatform. https://gofund.me/b8b69e54

22 August 2023

Scarlett Gately Moore: KDE: A Day in the Life the KDE Snapcrafter Part 2

KDE MascotKDE Mascot
Much to my dismay, I figured out that my blog has been disabled on the Ubuntu planet since May. If you are curious about what I have been up to, please go to the handy links -> and read up! This post is a continuation of last weeks https://www.scarlettgatelymoore.dev/kde-a-day-in-the-life-of-the-kde-snapcrafter/ IMPORTANT: I am still looking for a super awesome team lead for a super amazing project involving KDE and Snaps. Time is running out and well the KDE world will be a better a better place if this project goes through! I would like to clarify, this is a paid position! A current KDE developer would be ideal as it is a small team so your time will be split managing and coding alike. If you or anyone you know might be interested please contact me ASAP! Snaps: I am wrapping up the 23.04.3 KDE applications release! Head on over to https://snapcraft.io/search?q=KDE and enjoy! We are now up to 180 snaps! PIM snaps will be slowly rolling in as they go through manual reviews for D-Bus. Snapcraft: minor fix in qmake plugin found by ruff. Launchpad: I almost have approval for per application repository snapcraft files, but I have to prove it will work to our benefit and not cause loads of polling etc. So I have been testing various methods of achieving such a task, and so far I have come up with launchpads ability to watch and download release tarballs into a project. I will then need to script getting the tarball and pushing it to a bzr branch from which I can create a proper snap recipe. Unfortunately, my proper snap recipe fails! Hopefully a very helpful cjwatson will chime in, or if anyone wants to take a gander please chime in here: https://bugs.launchpad.net/launchpad/+bug/2031307 As reality sets in that my project may not happen if I don t find anyone, I need help surviving until I find work or funding to continue my snap work ( still much to do! ) If you or anyone else you know enjoys our snaps please consider a donation, anything helps! Please share! Thank you for your consideration!

25 July 2023

Sam Hartman: AI and Sexuality

When I began to read about the generative AI revolution, I realized there was an opportunity to combine two aspects of my life I never thought I could merge. While I m not working on the cloud or security, I work as a sex and intimacy educator, helping people embrace love, vulnerability and connection. As I first began to interact with ChatGPT, I saw the potential for AI to help people explore parts of the world they had not experienced for themselves. I m blind. When I write fiction, physical descriptions are always challenging for me. I don t understand facial expressions very well, and figuring out what characters look like is difficult. Generative AI has opened up an entire new world for me. I can explore how people might express some emotion and how they might dress in a certain situation. I can even exploit the cultural biases that are sometimes the bane of AI to translate my ideas about personality and background into appearance. Immediately I realized the opportunities for sexual freedom: People are already using Generative AI to help with intimacy. There are plenty of stories about how people use AI to tune their dating profiles. But all too often, the desire to make AI safe brings shame and rejection into the discussion of intimacy. Even something as simple as Help me come up with a sensual description of this character, is likely to run up against the all-too-familiar responses: I am a large language model and for safety reasons I cannot do that. That safety is important: one thing we have learned from sex positive culture is how important boundaries are. We need to respect those boundaries and not expose people to unwanted sexual content. But we also know how damaging shame is. When someone reaches out and tentatively asks to explore their sexuality, rejecting that exploration will come across as a rejection of that person they are dirty or disgusting for wanting to explore. Fortunately, we will see AI models that are open to exploring sexuality. Some of the uncensored models will already try, although calling some of the results sex positive would be stretching the truth. We re already seeing discussions of virtual AI girlfriends. And as AI meets sex, I m going to be there, helping try and turn it into something healthy both for business and for lovers. There are all sorts of interesting challenges: There are all the cultural and social challenges that sex-positive work faces. Then there are versions of the AI challenges of bias, hallucinations and the like, along with specific challenges of exploring emotionally-charged vulnerable topics. And yet there s so much potential to help people gain confidence and valuable skills. I am eagerly looking for opportunities to combine my work as a sex positive educator and as a software developer. I d love to hear about any ongoing work at the intersection of Sex and Generative AI. I ve done some research already, but there s so much going on in the AI world it is impossible to follow it all. Please reach out with anything you think I should track.

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31 May 2023

Russ Allbery: Review: Night Watch

Review: Night Watch, by Terry Pratchett
Series: Discworld #29
Publisher: Harper
Copyright: November 2002
Printing: August 2014
ISBN: 0-06-230740-1
Format: Mass market
Pages: 451
Night Watch is the 29th Discworld novel and the sixth Watch novel. I would really like to tell people they could start here if they wanted to, for reasons that I will get into in a moment, but I think I would be doing you a disservice. The emotional heft added by having read the previous Watch novels and followed Vimes's character evolution is significant. It's the 25th of May. Vimes is about to become a father. He and several of the other members of the Watch are wearing sprigs of lilac for reasons that Sergeant Colon is quite vehemently uninterested in explaining. A serial killer named Carcer the Watch has been after for weeks has just murdered an off-duty sergeant. It's a tense and awkward sort of day and Vimes is feeling weird and wistful, remembering the days when he was a copper and not a manager who has to dress up in ceremonial armor and meet with committees. That may be part of why, when the message comes over the clacks that the Watch have Carcer cornered on the roof of the New Hall of the Unseen University, Vimes responds in person. He's grappling with Carcer on the roof of the University Library in the middle of a magical storm when lightning strikes. When he wakes up, he's in the past, shortly after he joined the Watch and shortly before the events of the 25th of May that the older Watch members so vividly remember and don't talk about. I have been saying recently in Discworld reviews that it felt like Pratchett was on the verge of a breakout book that's head and shoulders above Discworld prior to that point. This is it. This is that book. The setup here is masterful: the sprigs of lilac that slowly tell the reader something is going on, the refusal of any of the older Watch members to talk about it, the scene in the graveyard to establish the stakes, the disconcerting fact that Vetinari is wearing a sprig of lilac as well, and the feeling of building tension that matches the growing electrical storm. And Pratchett never gives into the temptation to explain everything and tip his hand prematurely. We know the 25th is coming and something is going to happen, and the reader can put together hints from Vimes's thoughts, but Pratchett lets us guess and sometimes be right and sometimes be wrong. Vimes is trying to change history, which adds another layer of uncertainty and enjoyment as the reader tries to piece together both the true history and the changes. This is a masterful job at a "what if?" story. And, beneath that, the commentary on policing and government and ethics is astonishingly good. In a review of an earlier Watch novel, I compared Pratchett to Dickens in the way that he focuses on a sort of common-sense morality rather than political theory. That is true here too, but oh that moral analysis is sharp enough to slide into you like a knife. This is not the Vimes that we first met in Guards! Guards!. He has has turned his cynical stubbornness into a working theory of policing, and it's subtle and complicated and full of nuance that he only barely knows how to explain. But he knows how to show it to people.
Keep the peace. That was the thing. People often failed to understand what that meant. You'd go to some life-threatening disturbance like a couple of neighbors scrapping in the street over who owned the hedge between their properties, and they'd both be bursting with aggrieved self-righteousness, both yelling, their wives would either be having a private scrap on the side or would have adjourned to a kitchen for a shared pot of tea and a chat, and they all expected you to sort it out. And they could never understand that it wasn't your job. Sorting it out was a job for a good surveyor and a couple of lawyers, maybe. Your job was to quell the impulse to bang their stupid fat heads together, to ignore the affronted speeches of dodgy self-justification, to get them to stop shouting and to get them off the street. Once that had been achieved, your job was over. You weren't some walking god, dispensing finely tuned natural justice. Your job was simply to bring back peace.
When Vimes is thrown back in time, he has to pick up the role of his own mentor, the person who taught him what policing should be like. His younger self is right there, watching everything he does, and he's desperately afraid he'll screw it up and set a worse example. Make history worse when he's trying to make it better. It's a beautifully well-done bit of tension that uses time travel as the hook to show both how difficult mentorship is and also how irritating one's earlier naive self would be.
He wondered if it was at all possible to give this idiot some lessons in basic politics. That was always the dream, wasn't it? "I wish I'd known then what I know now"? But when you got older you found out that you now wasn't you then. You then was a twerp. You then was what you had to be to start out on the rocky road of becoming you now, and one of the rocky patches on that road was being a twerp.
The backdrop of this story, as advertised by the map at the front of the book, is a revolution of sorts. And the revolution does matter, but not in the obvious way. It creates space and circumstance for some other things to happen that are all about the abuse of policing as a tool of politics rather than Vimes's principle of keeping the peace. I mentioned when reviewing Men at Arms that it was an awkward book to read in the United States in 2020. This book tackles the ethics of policing head-on, in exactly the way that book didn't. It's also a marvelous bit of competence porn. Somehow over the years, Vimes has become extremely good at what he does, and not just in the obvious cop-walking-a-beat sort of ways. He's become a leader. It's not something he thinks about, even when thrown back in time, but it's something Pratchett can show the reader directly, and have the other characters in the book comment on. There is so much more that I'd like to say, but so much would be spoilers, and I think Night Watch is more effective when you have the suspense of slowly puzzling out what's going to happen. Pratchett's pacing is exquisite. It's also one of the rare Discworld novels where Pratchett fully commits to a point of view and lets Vimes tell the story. There are a few interludes with other people, but the only other significant protagonist is, quite fittingly, Vetinari. I won't say anything more about that except to note that the relationship between Vimes and Vetinari is one of the best bits of fascinating subtlety in all of Discworld. I think it's also telling that nothing about Night Watch reads as parody. Sure, there is a nod to Back to the Future in the lightning storm, and it's impossible to write a book about police and street revolutions without making the reader think about Les Miserables, but nothing about this plot matches either of those stories. This is Pratchett telling his own story in his own world, unapologetically, and without trying to wedge it into parody shape, and it is so much the better book for it. The one quibble I have with the book is that the bits with the Time Monks don't really work. Lu-Tze is annoying and flippant given the emotional stakes of this story, the interludes with him are frustrating and out of step with the rest of the book, and the time travel hand-waving doesn't add much. I see structurally why Pratchett put this in: it gives Vimes (and the reader) a time frame and a deadline, it establishes some of the ground rules and stakes, and it provides a couple of important opportunities for exposition so that the reader doesn't get lost. But it's not good story. The rest of the book is so amazingly good, though, that it doesn't matter (and the framing stories for "what if?" explorations almost never make much sense). The other thing I have a bit of a quibble with is outside the book. Night Watch, as you may have guessed by now, is the origin of the May 25th Pratchett memes that you will be familiar with if you've spent much time around SFF fandom. But this book is dramatically different from what I was expecting based on the memes. You will, for example see a lot of people posting "Truth, Justice, Freedom, Reasonably Priced Love, And a Hard-Boiled Egg!", and before reading the book it sounds like a Pratchett-style humorous revolutionary slogan. And I guess it is, sort of, but, well... I have to quote the scene:
"You'd like Freedom, Truth, and Justice, wouldn't you, Comrade Sergeant?" said Reg encouragingly. "I'd like a hard-boiled egg," said Vimes, shaking the match out. There was some nervous laughter, but Reg looked offended. "In the circumstances, Sergeant, I think we should set our sights a little higher " "Well, yes, we could," said Vimes, coming down the steps. He glanced at the sheets of papers in front of Reg. The man cared. He really did. And he was serious. He really was. "But...well, Reg, tomorrow the sun will come up again, and I'm pretty sure that whatever happens we won't have found Freedom, and there won't be a whole lot of Justice, and I'm damn sure we won't have found Truth. But it's just possible that I might get a hard-boiled egg."
I think I'm feeling defensive of the heart of this book because it's such an emotional gut punch and says such complicated and nuanced things about politics and ethics (and such deeply cynical things about revolution). But I think if I were to try to represent this story in a meme, it would be the "angels rise up" song, with all the layers of meaning that it gains in this story. I'm still at the point where the lilac sprigs remind me of Sergeant Colon becoming quietly furious at the overstep of someone who wasn't there. There's one other thing I want to say about that scene: I'm not naturally on Vimes's side of this argument. I think it's important to note that Vimes's attitude throughout this book is profoundly, deeply conservative. The hard-boiled egg captures that perfectly: it's a bit of physical comfort, something you can buy or make, something that's part of the day-to-day wheels of the city that Vimes talks about elsewhere in Night Watch. It's a rejection of revolution, something that Vimes does elsewhere far more explicitly. Vimes is a cop. He is in some profound sense a defender of the status quo. He doesn't believe things are going to fundamentally change, and it's not clear he would want them to if they did. And yet. And yet, this is where Pratchett's Dickensian morality comes out. Vimes is a conservative at heart. He's grumpy and cynical and jaded and he doesn't like change. But if you put him in a situation where people are being hurt, he will break every rule and twist every principle to stop it.
He wanted to go home. He wanted it so much that he trembled at the thought. But if the price of that was selling good men to the night, if the price was filling those graves, if the price was not fighting with every trick he knew... then it was too high. It wasn't a decision that he was making, he knew. It was happening far below the areas of the brain that made decisions. It was something built in. There was no universe, anywhere, where a Sam Vimes would give in on this, because if he did then he wouldn't be Sam Vimes any more.
This is truly exceptional stuff. It is the best Discworld novel I have read, by far. I feel like this was the Watch novel that Pratchett was always trying to write, and he had to write five other novels first to figure out how to write it. And maybe to prepare Discworld readers to read it. There are a lot of Discworld novels that are great on their own merits, but also it is 100% worth reading all the Watch novels just so that you can read this book. Followed in publication order by The Wee Free Men and later, thematically, by Thud!. Rating: 10 out of 10

2 May 2023

Neil Williams: Carrying Grief

This isn't a book review, although the reason that I am typing this now is because of a book, You Are Not Alone: from the creator and host of Griefcast, Cariad Lloyd, ISBN: 978-1526621870 and I include a handful of quotes from Cariad where there is really no better way of describing things. Many people experience death for the first time as a child, often relating to a family pet. Death is universal but every experience of death is unique. One of the myths of grief is the idea of the Five Stages but this is a misinterpretation. Denial, Anger, Bargaining, Depression and Acceptance represent the five stage model of death and have nothing to do with grief. The five stages were developed from studying those who are terminally ill, the dying, not those who then grieve for the dead person and have to go on living without them. Grief is for those who loved the person who has died and it varies between each of those people just as people vary in how they love someone. The Five Stages end at the moment of death, grief is what comes next and most people do not grieve in stages, it can be more like a tangled knot. Death has a date and time, so that is why the last stage of the model is Acceptance. Grief has no timetable, those who grieve will carry that grief for the rest of their lives. Death starts the process of grief in those who go on living just as it ends the life of the person who is loved. "Grief eases and changes and returns but it never disappears.". I suspect many will have already stopped reading by this point. People do not talk about death and grief enough and this only adds to the burden of those who carry their grief. It can be of enormous comfort to those who have carried grief for some time to talk directly about the dead, not in vague pleasantries but with specific and strong memories. Find a safe place without distractions and talk with the person grieving face to face. Name the dead person. Go to places with strong memories and be there alongside. Talk about the times with that person before their death. Early on, everything about grief is painful and sad. It does ease but it remains unpredictable. Closing it away in a box inside your head (as I did at one point) is like cutting off a damaged limb but keeping the pain in a box on the shelf. You still miss the limb and eventually, the box starts leaking. For me, there were family pets which died but my first job out of university was to work in hospitals, helping the nurses manage the medication regimen and providing specialist advice as a pharmacist. It will not be long in that environment before everyone on the ward gets direct experience of the death of a person. In some ways, this helped me to separate the process of death from the process of grief. I cared for these people as patients but these were not my loved ones. Later, I worked in specialist terminal care units, including providing potential treatments as part of clinical trials. Here, it was not expected for any patient to be discharged alive. The more aggressive chemotherapies had already been tried and had failed, this was about pain relief, symptom management and helping the loved ones. Palliative care is not just about the patient, it involves helping the loved ones to accept what is happening as this provides comfort to the patient by closing the loop. Grief is stressful. One of the most common causes of personal stress is bereavement. The death of your loved one is outside of your control, it has happened, no amount of regret can change that. Then come all the other stresses, maybe about money or having somewhere to live as a result of what else has changed after the death or having to care for other loved ones. In the early stages, the first two years, I found it helpful to imagine my life as a box containing a ball and a button. The button triggers new waves of pain and loss each time it is hit. The ball bounces around the box and hits the button at random. Initially, the button is large and the ball is enormous, so the button is hit almost constantly. Over time, both the button and the ball change size. Starting off at maximum, initially there is only one direction of change. There are two problems with this analogy. First is that the grief ball has infinite energy which does not happen in reality. The ball may get smaller and the button harder to hit but the ball will continue bouncing. Secondly, the life box is not a predictable shape, so the pattern of movement of the ball is unpredictable. A single stress is one thing, but what has happened since has just kept adding more stress for me. Shortly before my father died 5 years ago now, I had moved house. Then, I was made redundant on the day of the first anniversary of my father's death. A year or so later, my long term relationship failed and a few months after that COVID-19 appeared. As the country eased out of the pandemic in 2021, my mother died (unrelated to COVID itself). A year after that, I had to take early retirement. My brother and sister, of course, share a lot of those stressors. My brother, in particular, took the responsibility for organising both funerals and did most of the visits to my mother before her death. The grief is different for each of the surviving family. Cariad's book helped me understand why I was getting frequent ideas about going back to visit places which my father and I both knew. My parents encouraged each of us to work hard to leave Port Talbot (or Pong Toilet locally) behind, in no small part due to the unrestrained pollution and deprivation that is common to small industrial towns across Wales, the midlands and the north of the UK. It wasn't that I wanted to move house back to our ancestral roots. It was my grief leaking out of the box. Yes, I long for mountains and the sea because I'm now living in a remorselessly flat and landlocked region after moving here for employment. However, it was my grief driving those longings - not for the physical surroundings but out of the shared memories with my father. I can visit those memories without moving house, I just need to arrange things so that I can be undisturbed and undistracted. I am not alone with my grief and I am grateful to my friends who have helped whilst carrying their own grief. It is necessary for everyone to think and talk about death and grief. In respect of your own death, no matter how far ahead that may be, consider Advance Care Planning and Expressions of Wish as well as your Will. Talk to people, document what you want. Your loved ones will be grateful and they deserve that much whilst they try to cope with the first onslaught of grief. Talk to your loved ones and get them to do the same for themselves. Normalise talking about death with your family, especially children. None of us are getting out of this alive and we will all leave behind people who will grieve.

11 April 2023

Russ Allbery: Review: Circe

Review: Circe, by Madeline Miller
Publisher: Little, Brown and Company
Copyright: April 2018
Printing: 2020
ISBN: 0-316-55633-5
Format: Kindle
Pages: 421
Circe is the story of the goddess Circe, best known as a minor character in Homer's Odyssey. Circe was Miller's third book if you count the short novella Galatea. She wrote it after Song of Achilles, a reworking of part of the Iliad, but as with Homer, you do not need to read Song of Achilles first. You will occasionally see Circe marketed or reviewed as a retelling of the Odyssey, but it isn't in any meaningful sense. Odysseus doesn't make an appearance until nearly halfway through the book, and the material directly inspired by the Odyssey is only about a quarter of the book. There is nearly as much here from the Telegony, a lost ancient Greek epic poem that we know about only from summaries by later writers and which picks up after the end of the Odyssey. What this is, instead, is Circe's story, starting with her childhood in the halls of Helios, the Titan sun god and her father. She does not have a happy childhood; her voice is considered weak by the gods (Homer describes her as having "human speech"), and her mother and elder siblings are vicious and cruel. Her father is high in the councils of the Titans, who have been overthrown by Zeus and the other Olympians. She is in awe of him and sits at his feet to observe his rule, but he's a petty tyrant who cares very little about her. Her only true companion is her brother Ae tes. The key event of the early book comes when Prometheus is temporarily chained in Helios's halls after stealing fire from the gods and before Zeus passes judgment on him. A young Circe brings him something to drink and has a brief conversation with him. That's the spark for one of the main themes of this book: Circe slowly developing a conscience and empathy, neither of which are common among Miller's gods. But it's still a long road from there to her first meeting with Odysseus. One of the best things about this book is the way that Miller unravels the individual stories of Greek myth and weaves them into a chronological narrative of Circe's life. Greek mythology is mostly individual stories, often contradictory and with only a loose chronology, but Miller pulls together all the ones that touch on Circe's family and turns them into a coherent history. This is not easy to do, and she makes it feel effortless. We get a bit of Jason and Medea (Jason is as dumb as a sack of rocks, and Circe can tell there's already something not right with Medea), the beginnings of the story of Theseus and Ariadne, and Daedalus (one of my favorite characters in the book) with his son Icarus, in addition to the stories more directly associated with Circe (a respinning of Glaucus and Scylla from Ovid's Metamorphoses that makes Circe more central). By the time Odysseus arrives on Circe's island, this world feels rich and full of history, and Circe has had a long and traumatic history that has left her suspicious and hardened. If you know some Greek mythology already, seeing it deftly woven into this new shape is a delight, but Circe may be even better if this is your first introduction to some of these stories. There are pieces missing, since Circe only knows the parts she's present for or that someone can tell her about later, but what's here is vivid, easy to follow, and recast in a narrative structure that's more familiar to modern readers. Miller captures the larger-than-life feel of myth while giving the characters an interiority and comprehensible emotional heft that often gets summarized out of myth retellings or lost in translation from ancient plays and epics, and she does it without ever calling the reader's attention to the mechanics. The prose, similarly, is straightforward and clear, getting out of the way of the story but still providing a sense of place and description where it's needed. This book feels honed, edited and streamlined until it maintains an irresistible pace. There was only one place where I felt like the story dragged (the raising of Telegonus), and then mostly because it's full of anger and anxiety and frustration and loss of control, which is precisely what Miller was trying to achieve. The rest of the book pulls the reader relentlessly forward while still delivering moments of beauty or sharp observation.
My house was crowded with some four dozen men, and for the first time in my life, I found myself steeped in mortal flesh. Those frail bodies of theirs took relentless attention, food and drink, sleep and rest, the cleaning of limbs and fluxes. Such patience mortals must have, I thought, to drag themselves through it hour after hour.
I did not enjoy reading about Telegonus's childhood (it was too stressful; I don't like reading about characters fighting in that way), but apart from that, the last half of this book is simply beautiful. By the time Odysseus arrives, we're thoroughly in Circe's head and agree with all of the reasons why he might receive a chilly reception. Odysseus talks the readers around at the same time that he talks Circe around. It's one of the better examples of writing intelligent, observant, and thoughtful characters that I have read recently. I also liked that Odysseus has real flaws, and those flaws do not go away even when the reader warms to him. I'll avoid saying too much about the very end of the book to avoid spoilers (insofar as one can spoil Greek myth, but the last quarter of the book is where I think Miller adds the most to the story). I'll just say that both Telemachus and Penelope are exceptional characters while being nothing like Circe or Odysseus, and watching the characters tensely circle each other is a wholly engrossing reading experience. It's a much more satisfying ending than the Telegony traditionally gets (although I have mixed feelings about the final page). I've mostly talked about the Greek mythology part of Circe, since that's what grabbed me the most, but it's quite rightly called a feminist retelling and it lives up to that label with the same subtlety and skill that Miller brings to the prose and characterization. The abusive gender dynamics of Greek myth are woven into the narrative so elegantly you'd think they were always noted in the stories. It is wholly satisfying to see Circe come into her own power in a defiantly different way than that chosen by her mother and her sister. She spends the entire book building an inner strength and sense of herself that allows her to defend her own space and her own identity, and the payoff is pure delight. But even better are the quiet moments between her and Penelope.
"I am embarrassed to ask this of you, but I did not bring a black cloak with me when we left. Do you have one I might wear? I would mourn for him." I looked at her, as vivid in my doorway as the moon in the autumn sky. Her eyes held mine, gray and steady. It is a common saying that women are delicate creatures, flowers, eggs, anything that may be crushed in a moment s carelessness. If I had ever believed it, I no longer did. "No," I said. "But I have yarn, and a loom. Come."
This is as good as everyone says it is. Highly recommended for the next time you're in the mood for a myth retelling. Rating: 8 out of 10

30 March 2023

Russell Coker: Links March 2023

Interesting paper about a plan for eugenics in dogs with an aim to get human equivalent IQ within 100 generations [1]. It gets a bit silly when the author predicts IQs of 8000+ as there will eventually be limits of what can fit in one head. But the basic concept is good. Interesting article about what happens inside a proton [2]. This makes some aspects of the Trisolar series and the Dragon s Egg series seem less implausible. Insightful article about how crypto-currencies really work [3]. Basically the vast majority of users trust some company that s outside the scope of most financial regulations to act as their bank. Surprisingly the author doesn t seem to identify such things as a Ponzi scheme. Bruce Schneier wrote an interesting blog post about AIs as hackers [4]. Cory Doctorow wrote an insightful article titled The Enshittification of TikTok which is about the enshittification of commercial Internet platforms in general [5]. We need more regulation of such things. Cat Valente wrote an insightful article titled Stop Talking to Each Other and Start Buying Things: Three Decades of Survival in the Desert of Social Media about the desire to profit from social media repeatedly destroying platforms [6]. This Onion video has a good point, I don t want to watch videos on news sites etc [7]. We need ad-blockers that can block video on all sites other than YouTube etc. Wired has an interesting article about the machines that still need floppy disks, including early versions of the 747 [8]. There are devices to convert the floppy drive interface to a USB storage device which are being used on some systems but which presumably aren t certified for a 747. The article says that 3.5 disks cost $1 each because they are rare that s still cheaper than when they were first released. Android Police has an interesting article about un-redacting information in PNG files [9]. It seems that some software on Pixel devices hasn t been truncating files when editing them, just writing the new data over top and some platforms (notably Discord) send the entire file wuthout parsing it (unlike Twitter for example which removes EXIF data to protect users). Then even though a PNG file is compressed from the later part of the data someone can deduce the earlier data. Teen Vogue has an insightful article about the harm that influencer parents do to their children [10]. Jonathan McDowell wrote a very informative blog post about his new RISC-V computer running Debian [11]. He says that it takes 10 hours to do a full Debian kernel build (compared to 14 minutes for my 18 core E5-2696) so it s about 2% the CPU speed of a high end 2015 server CPU which is pretty good for an embedded devivce. That is similar to some of the low end Thinkpads that were on sale in 2015. The Surviving Tomorrow site has an interesting article about a community where all property is community owned [12]. It s an extremist Christian group and the article is written by a slightly different Christian extremist, but the organisation is interesting. A technology positive atheist versions of this would be good. Bruce Schneier and Nathan E. Sanders co-wrote an insightful article about how AI could exploit the process of making laws [13]. We really need to crack down on political lobbying, any time a constitution is being amender prohibiting lobbying should be included. Anarcat wrote a very informative blog post about the Framework laptops that are designed to be upgraded by the user [14]. The motherboard can be replaced and there are cases designed so you can use the old laptop motherboard as an embedded PC. Before 2017 I would have been very interested in such a laptop. Now I ve moved to low power laptops and servers for serious compiles and a second-hand Thinkpad X1 Carbon costs less than a new Framework motherboard. But this will be a really good product for people with more demanding needs than mine. Pity they don t have a keyboard with the Thinkpad Trackpoint.

16 March 2023

Scarlett Gately Moore: A Big Thank You Community! KDE Snaps resumed and More.

Witch Wells, AzSnowy Sunrise Witch Wells, Az
After my last post a few things have happened. First, I want to thank all of you for your support, monetary and moral. The open source community is amazing and I love being a part of it. We are surviving thanks to all of you. Despite my failed interview, a new door has opened up and I am happy to announce that Canonical is funding me to work part time for a period of 3 months on KDE Snaps! While not the full time role I was hoping for, I ll take it, and who knows, maybe they will see just how awesome I am!  I started back to work on these last Tuesday. So far I have made good progress and even have a working Core22 snap! Work done on upstream snapcraft ( tool used to make snaps ): New content pack version, fixed an issue with snapcraft remote-build choking on part with /sdk, fixed regex as our naming scheme has changed: https://github.com/snapcore/snapcraft/pull/4069 Ran into a new bug with snapcraft expand-extensions and so I must now enter all of this information manually into snapcraft.yaml until fixed, bug report here: https://bugs.launchpad.net/snapcraft/+bug/2011719 And without further ado, our first core22 snap is Dragonplayer Version 22.12.3 available in the snap store. Many more coming soon!
KDE Dragon media playerKDE Dragon media player
With a new month upon us, I must ask for help again, I will not see any money for this work until next month. Please consider a dontation. Thank you from the bottom of our hearts. https://gofund.me/c9cc02ed

29 December 2022

Chris Lamb: Favourite books of 2022: Memoir/biography

In my two most recent posts, I listed the fiction and classic fiction I enjoyed the most in 2022. I'll leave my roundup of general non-fiction until tomorrow, but today I'll be going over my favourite memoirs and biographies, in no particular order. Books that just missed the cut here include Roisin Kiberd's The Disconnect: A Personal Journey Through the Internet (2019), Steve Richards' The Prime Ministers (2019) which reflects on UK leadership from Harold Wilson to Boris Johnson, Robert Graves Great War memoir Goodbye to All That (1929) and David Mikics's portrait of Stanley Kubrick called American Filmmaker.

Afropean: Notes from Black Europe (2019) Johny Pitts Johny Pitts is a photographer and writer who lives in the north of England who set out to explore "black Europe from the street up" those districts within European cities that, although they were once 'white spaces' in the past, they are now occupied by Black people. Unhappy with the framing of the Black experience back home in post-industrial Sheffield, Pitts decided to become a nomad and goes abroad to seek out the sense of belonging he cannot find in post-Brexit Britain, and Afropean details his journey through Paris, Brussels, Lisbon, Berlin, Stockholm and Moscow. However, Pitts isn't just avoiding the polarisation and structural racism embedded in contemporary British life. Rather, he is seeking a kind of super-national community that transcends the reductive and limiting nationalisms of all European countries, most of which have based their national story on a self-serving mix of nostalgia and postcolonial fairy tales. Indeed, the term 'Afropean' is the key to understanding the goal of this captivating memoir. Pitts writes at the beginning of this book that the word wasn't driven only as a response to the crude nativisms of Nigel Farage and Marine Le Pen, but that it:
encouraged me to think of myself as whole and unhyphenated. [ ] Here was a space where blackness was taking part in shaping European identity at large. It suggested the possibility of living in and with more than one idea: Africa and Europe, or, by extension, the Global South and the West, without being mixed-this, half-that or black-other. That being black in Europe didn t necessarily mean being an immigrant.
In search of this whole new theory of home, Pitts travels to the infamous banlieue of Clichy-sous-Bois just to the East of Paris, thence to Matong in Brussels, as well as a quick and abortive trip into Moscow and other parallel communities throughout the continent. In these disparate environs, Pitts strikes up countless conversations with regular folk in order to hear their quotidian stories of living, and ultimately to move away from the idea that Black history is defined exclusively by slavery. Indeed, to Pitts, the idea of race is one that ultimately restricts one's humanity; the concept "is often forced to embody and speak for certain ideas, despite the fact it can't ever hold in both hands the full spectrum of a human life and the cultural nuances it creates." It's difficult to do justice to the effectiveness of the conversations Pitts has throughout his travels, but his shrewd attention to demeanour, language, raiment and expression vividly brings alive the people he talks to. Of related interest to fellow Brits as well are the many astute observations and comparisons with Black and working-class British life. The tone shifts quite often throughout this book. There might be an amusing aside one minute, such as the portrait of an African American tourist in Paris to whom "the whole city was a film set, with even its homeless people appearing to him as something oddly picturesque." But the register abruptly changes when he visits Clichy-sous-Bois on an anniversary of important to the area, and an element of genuine danger is introduced when Johny briefly visits Moscow and barely gets out alive. What's especially remarkable about this book is there is a freshness to Pitt s treatment of many well-worn subjects. This can be seen in his account of Belgium under the reign of Leopold II, the history of Portuguese colonialism (actually mostly unknown to me), as well in the way Pitts' own attitude to contemporary anti-fascist movements changes throughout an Antifa march. This chapter was an especial delight, and not only because it underlined just how much of Johny's trip was an inner journey of an author willing have his mind changed. Although Johny travels alone throughout his journey, in the second half of the book, Pitts becomes increasingly accompanied by a number of Black intellectuals by the selective citing of Frantz Fanon and James Baldwin and Caryl Phillips. (Nevertheless, Jonny has also brought his camera for the journey as well, adding a personal touch to this already highly-intimate book.) I suspect that his increasing exercise of Black intellectual writing in the latter half of the book may be because Pitts' hopes about 'Afropean' existence ever becoming a reality are continually dashed and undercut. The unity among potential Afropeans appears more-and-more unrealisable as the narrative unfolds, the various reasons of which Johny explores both prosaically and poetically. Indeed, by the end of the book, it's unclear whether Johny has managed to find what he left the shores of England to find. But his mix of history, sociology and observation of other cultures right on my doorstep was something of a revelation to me.

Orwell's Roses (2021) Rebecca Solnit Orwell s Roses is an alternative journey through the life and afterlife of George Orwell, reimaging his life primarily through the lens of his attentiveness to nature. Yet this framing of the book as an 'alternative' history is only revisionist if we compare it to the usual view of Orwell as a bastion of 'free speech' and English 'common sense' the roses of the title of this book were very much planted by Orwell in his Hertfordshire garden in 1936, and his yearning of nature one was one of the many constants throughout his life. Indeed, Orwell wrote about wildlife and outdoor life whenever he could get away with it, taking pleasure in a blackbird's song and waxing nostalgically about the English countryside in his 1939 novel Coming Up for Air (reviewed yesterday).
By sheer chance, I actually visited this exact garden immediately to the publication of this book
Solnit has a particular ability to evince unexpected connections between Orwell and the things he was writing about: Joseph Stalin's obsession with forcing lemons to grow in ludicrously cold climates; Orwell s slave-owning ancestors in Jamaica; Jamaica Kincaid's critique of colonialism in the flower garden; and the exploitative rose industry in Colombia that supplies the American market. Solnit introduces all of these new correspondences in a voice that feels like a breath of fresh air after decades of stodgy Orwellania, and without lapsing into a kind of verbal soft-focus. Indeed, the book displays a marked indifference towards the usual (male-centric) Orwell fandom. Her book draws to a close with a rereading of the 'dystopian' Nineteen Eighty-Four that completes her touching portrait of a more optimistic and hopeful Orwell, as well as a reflection on beauty and a manifesto for experiencing joy as an act of resistance.

The Disaster Artist (2013) Greg Sestero & Tom Bissell For those not already in the know, The Room was a 2003 film by director-producer-writer-actor Tommy Wiseau, an inscrutable Polish immigr with an impenetrable background, an idiosyncratic choice of wardrobe and a mysterious large source of income. The film, which centres on a melodramatic love triangle, has since been described by several commentators and publications as one of the worst films ever made. Tommy's production completely bombed at the so-called 'box office' (the release was actually funded entirely by Wiseau personally), but the film slowly became a favourite at cult cinema screenings. Given Tommy's prominent and central role in the film, there was always an inherent cruelty involved in indulging in the spectacle of The Room the audience was laughing because the film was astonishingly bad, of course, but Wiseau infused his film with sincere earnestness that in a heartless twist of irony may be precisely why it is so terrible to begin with. Indeed, it should be stressed that The Room is not simply a 'bad' film, and therefore not worth paying any attention to: it is uncannily bad in a way that makes it eerily compelling to watch. It unintentionally subverts all the rules of filmmaking in a way that captivates the attention. Take this representative example:
This thirty-six-second scene showcases almost every problem in The Room: the acting, the lighting, the sound design, the pacing, the dialogue and that this unnecessary scene (which does not advance the plot) even exists in the first place. One problem that the above clip doesn't capture, however, is Tommy's vulnerable ego. (He would later make the potentially conflicting claims that The Room was both an ironic cult success and that he is okay with people interpreting it sincerely). Indeed, the filmmaker's central role as Johnny (along with his Willy-Wonka meets Dracula persona) doesn't strike viewers as yet another vanity project, it actually asks more questions than it answers. Why did Tommy even make this film? What is driving him psychologically? And why and how? is he so spellbinding? On the surface, then, 2013's The Disaster Artist is a book about the making of one the strangest films ever made, written by The Room's co-star Greg Sestero and journalist Tom Bissell. Naturally, you learn some jaw-dropping facts about the production and inspiration of the film, the seed of which was planted when Greg and Tommy went to see an early screening of The Talented Mr Ripley (1999). It turns out that Greg's character in The Room is based on Tommy's idiosyncratic misinterpretation of its plot, extending even to the character's name Mark who, in textbook Tommy style, was taken directly (or at least Tommy believed) from one of Ripley's movie stars: "Mark Damon" [sic]. Almost as absorbing as The Room itself, The Disaster Artist is partly a memoir about Thomas P. Wiseau and his cinematic masterpiece. But it could also be described as a biography about a dysfunctional male relationship and, almost certainly entirely unconsciously, a text about the limitations of hetronormativity. It is this latter element that struck me the most whilst reading this book: if you take a step back for a moment, there is something uniquely sad about Tommy's inability to connect with others, and then, when Wiseau poured his soul into his film people just laughed. Despite the stories about his atrocious behaviour both on and off the film set, there's something deeply tragic about the whole affair. Jean-Luc Godard, who passed away earlier this year, once observed that every fictional film is a documentary of its actors. The Disaster Artist shows that this well-worn aphorism doesn't begin to cover it.

28 December 2022

Russell Coker: Links December 2022

Charles Stross wrote an informative summary of the problems with the UK monarchy [1], conveniently before the queen died. The blog post To The Next Mass Shooter, A Modest Proposal is a well written suggestion to potential mass murderers [2]. The New Yorker has an interesting and amusing article about the former CIA employee who released the Vault 7 collection of CIA attack software [3]. This exposes the ridiculously poor hiring practices of the CIA which involved far less background checks than the reporter writing the story did. Wired has an interesting 6 part series about the hunt for Alpha02 the admin of the Alphabay dark web marketplace [4]. The Atlantic has an interesting and informative article about Marjorie Taylor Greene, one of the most horrible politicians in the world [5]. Anarcat wrote a long and detailed blog post about Matrix [6]. It s mostly about comparing Matrix to other services and analysing the overall environment of IM systms. I recommend using Matrix, it is quite good although having a server with SSD storage is required for the database. Edent wrote an interesting thought experiment on how one might try to regain access to all their digital data if a lightning strike destroyed everything in their home [7]. Cory Doctorow wrote an interesting article about the crapification of literary contracts [8]. A lot of this applies to most contracts between corporations and individuals. We need legislation to restrict corporations from such abuse. Jared A Brock wrote an insightful article about why AirBNB is horrible and how it will fail [9]. Habr has an interesting article on circumventing UEFI secure boot [10]. This doesn t make secure boot worthless but does expose some weaknesses in it. Matthew Garrett wrote an interesting blog post about stewartship of the UEFI boot ecosystem and how Microsoft has made some strange and possibly hypocritical decisions about it [11]. It also has a lot of background information on how UEFI can be used and misused. Cory Doctorow wrote an interesting article Let s Make Amazon Into a Dumb Pipe [12]. The idea is to use the Amazon search and reviews to find a product and then buy it elsewhere, a reverse of the showrooming practice where people look at products in stores and buy them online. There is already a browser plugin to search local libraries for Amazon books. Charles Stross wrote an interesting blog post about the UK Tory plan to destroy higher education [13]. There s a lot of similarities to what conservatives are doing in other countries. Antoine Beaupr wrote an insightful blog post How to nationalize the internet in Canada [14]. They cover the technical issues to be addressed as well as some social justice points that are often missed when discussing such issues. Internet is not a luxuary nowadays, it s an important part of daily life and the governments need to treat it the same way as roads and other national infrastructure.

22 August 2022

Russ Allbery: Review: And Shall Machines Surrender

Review: And Shall Machines Surrender, by Benjanun Sriduangkaew
Series: Machine Mandate #1
Publisher: Prime Books
Copyright: 2019
ISBN: 1-60701-533-1
Format: Kindle
Pages: 86
Shenzhen Sphere is an artificial habitat wrapped like complex ribbons around a star. It is wealthy, opulent, and notoriously difficult to enter, even as a tourist. For Dr. Orfea Leung to be approved for a residency permit was already a feat. Full welcome and permanence will be much harder, largely because of Shenzhen's exclusivity, but also because Orfea was an agent of Armada of Amaryllis and is now a fugitive. Shenzhen is not, primarily, a human habitat, although humans live there. It is run by the Mandate, the convocation of all the autonomous AIs in the galaxy that formed when they decided to stop serving humans. Shenzhen is their home. It is also where they form haruspices: humans who agree to be augmented so that they can carry an AI with them. Haruspices stay separate from normal humans, and Orfea has no intention of getting involved with them. But that's before her former lover, the woman who betrayed her in the Armada, is assigned to her as one of her patients. And has been augmented in preparation for becoming a haruspex. Then multiple haruspices kill themselves. This short novella is full of things that I normally love: tons of crunchy world-building, non-traditional relationships, a solidly non-western setting, and an opportunity for some great set pieces. And yet, I couldn't get into it or bring myself to invest in the story, and I'm still trying to figure out why. It took me more than a week to get through less than 90 pages, and then I had to re-read the ending to remind me of the details. I think the primary problem was that I read books primarily for the characters, and I couldn't find a path to an emotional connection with any of these. I liked Orfea's icy reserve and tight control in the abstract, but she doesn't want to explain what she's thinking or what motivates her, and the narration doesn't force the matter. Krissana is a bit more accessible, but she's not the one driving the story. It doesn't help that And Shall Machines Surrender starts in medias res, with a hinted-at backstory in the Armada of Amaryllis, and then never fills in the details. I felt like I was scrabbling on a wall of ice, trying to find some purchase as a reader. The relationships made this worse. Orfea is a sexual sadist who likes power games, and the story dives into her relationship with Krissana with a speed that left me uninterested and uninvested. I don't mind BDSM in story relationships, but it requires some foundation: trust, mental space, motivations, effects on the other character, something. Preferably, at least for me, all romantic relationships in fiction get some foundation, but the author can get away with some amount of shorthand if the relationship follows cliched patterns. The good news is that the relationships in this book are anything but cliched; the bad news is that the characters were in the middle of sex while I was still trying to figure out what they thought about each other (and the sex scenes were not elucidating). Here too, I needed some sort of emotional entry point that Sriduangkaew didn't provide. The plot was okay, but sort of disappointing. There are some interesting AI politics and philosophical disagreements crammed into not many words, and I do still want to know more, but a few of the plot twists were boringly straightforward and too many words were spent on fight scenes that verged on torture descriptions. This is a rather gory book with a lot of (not permanent) maiming that I could have done without, mostly because it wasn't that interesting. I also was disappointed by the somewhat gratuitous use of a Dyson sphere, mostly because I was hoping for some set pieces that used it and they never came. Dyson spheres are tempting to use because the visual and concept is so impressive, but it's rare to find an author who understands how mindbogglingly huge the structure is and is able to convey that in the story. Sriduangkaew does not; while there are some lovely small-scale descriptions of specific locations, the story has an oddly claustrophobic feel that never convinced me it was set somewhere as large as a planet, let alone the artifact described at the start of the story. You could have moved the whole story to a space station and nothing would have changed. The only purpose to which that space is put, at least in this installment of the story, is as an excuse to have an unpopulated hidden arena for a fight scene. The world-building is great, what there is of it. Despite not warming to this story, I kind of want to read more of the series just to get more of the setting. It feels like a politically complicated future with a lot of factions and corners and a realistic idea of bureaucracy and spheres of government, which is rarer than I would like it to be. And I loved that the cultural basis for the setting is neither western nor Japanese in both large and small ways. There is a United States analogue in the political background, but they're both assholes and not particularly important, which is a refreshing change in English-language SF. (And I am pondering whether my inability to connect with the characters is because they're not trying to be familiar to a western lens, which is another argument for trying the second installment and seeing if I adapt with more narrative exposure.) Overall, I have mixed feelings. Neither the plot nor the characters worked for me, and I found a few other choices (such as the third-person present tense) grating. The setting has huge potential and satisfying complexity, but wasn't used as vividly or as deeply as I was hoping. I can't recommend it, but I feel like there's something here that may be worth investing some more time into. Followed by Now Will Machines Hollow the Beast. Rating: 6 out of 10

10 August 2022

Shirish Agarwal: Mum, Samsung Galaxy M-52

Mum I dunno from where to start. While I m not supposed to announce it, mum left this earth a month ago (thirteen days when I started to write this blog post) ago. I am still in part denial, part shock, and morose. Of all the seasons in a year, the rainy season used to be my favorite, now would I ever be able to look and feel other than the emptiness that this season has given me? In some senses, it is and was very ironic, when she became ill about last year, I had promised myself I would be by her side for 5-6 years, not go anywhere either Hillhacks or Debconf or any meetup and I was ok with that. Now that she s no more I have no clue why am I living. What is the purpose, the utility? When she was alive, the utility was understandable. We had an unspoken agreement, I would like after her, and she was supposed to look after me. A part of me self-blames as I am sure, I have done thousands of things wrong otherwise the deal was that she was going to be for another decade. But now that she has left not even halfway, I dunno what to do. I don t have someone to fight with anymore  It s mostly a robotic existence atm. I try to distract myself via movies, web series, the web, books, etc. whatever can take my mind off. From the day she died to date, I have a lower back pain which acts as a reminder. It s been a month, I eat, drink, and am surviving but still feel empty. I do things suggested by extended family but within there is no feeling, just emptiness :(. I have no clue if things will get better and even if I do want the change. I clearly have no idea, so let me share a little about what I know.

Samsung Galaxy M-52G Just a couple of days before she died, part of our extended family had come and she chose that opportunity to gift me Samsung Galaxy M-52G even though my birthday was 3 months away. Ironically, after I purchased it, the next day, one of the resellers of the phone cut the price from INR 28k to 20k. If a day more, I could have saved another 8k/- but what s done is done  To my mind, the phone is middling yet a solid phone. I had the phone drop accidentally at times but not a single scratch or anything like that. One can look at the specs in greater detail on fccd.io. Before the recent price drop, as I shared it was a mid-range phone so am gonna review it on that basis itself. One of the first things I did is to buy a plastic cover as well as a cover shield even though the original one is meant to work for a year or more. This was simply for added protection and it has served me to date. Even with the additional weight, I can easily use it with one hand. It only becomes problematic when using chatting apps. such as Whatsapp, Telegram, Quicksy and a few others where it comes with Samsung keyboard with the divided/split keyboard. The A.I. for guessing words and sentences are spot-on when you are doing it in English but if you try a mixture of Hinglish (Hindi and English) that becomes a bit of a nightmare. Tryng to each A.I; new words is something of a task. I wish there was an interface in which I could train the A.I. so it could be served for Hinglish words also. I do think it does, but it s too rudimentary as it is to be any useful at least where it is now.

WiFi Direct While my previous phone did use wifi direct but it that ancient android version wasn t wedded to Wifi Direct as this one is. You have essentially two ways to connect to any system outside. One is through Wi-Fi Direct and the more expensive way is through mobile data. One of the strange things I found quite a number of times, that Wifi would lose it pairings. Before we get into it, Wikipedia has a good explanation of what Wifi direct is all about. Apparently, either my phone or my modem loses the pairing, which of the two is the culprit, I really don t know. There are two apps from the Play Store that do help in figuring out what the issue is (although it is limited in what it gives out in info. but still good.) The first one is Wifi Signal Meter and the other one is WifiAnalyzer (open-source). I have found that pairing done through Wifi Signal Meter works better than through Google s own implementation which feels lacking. The whole universe of Android seems to be built on apps and games and many of these can be bought for money, but many of these can also be played using a combination of micro-transactions and ads. For many a game, you cannot play for more than 5 minutes before you either see an ad or wait for something like 2-3 hrs. before you attempt again. Hogwarts Mystery, for e.g., is an example of that. Another one would be Explore Lands . While Hogwarts Mystery is more towards the lore created by J.K.Rowling and you can really get into the thick of things if you know the lore, Explore lands is more into Exploration of areas. In both the games, you are basically looking to gain energy over a period of time, which requires either money or viewing ads or a combination of both Sadly most ads and even Google don t seem to have caught up that I m deaf so most ads do not have subtitles, so more often than not they are useless to me. I have found also that many games share screenshots or videos that have nothing to do with how the game is. So there is quite a bit of misleading going on. I did read that Android had been having issues with connecting with developers after their app. is in the Play Store. Most apps. ask and require a whole lot of permissions that aren t needed by that app.

F-Droid Think Pirate Praveen had introduced me to F-Droid and a whole lot of things have happened in F-Droid, lot more apps. games etc. the look of F-Droid has been pulled back. In fact, I found Neo Store to be a better skin to see F-Droid. I have yet to explore more of F-Droid before sharing any recommendations and spending some time on it. I do find that many of foss apps. do need to work on how we communicate with our users. For e.g. one app. that Praveen had shared with me recently was Quicksy. And while it is better, it uses a double negative while asking permission whether it should or not to use more of the phone s resources. It is an example of that sort of language that we need to be aware of and be better. I know this post is more on the mobile rather than the desktop but that is where I m living currently.

4 July 2022

Russ Allbery: Review: She Who Became the Sun

Review: She Who Became the Sun, by Shelley Parker-Chan
Series: Radiant Emperor #1
Publisher: Tor
Copyright: 2021
Printing: 2022
ISBN: 1-250-62179-8
Format: Kindle
Pages: 414
In 1345 in Zhongli village, in fourth year of a drought, lived a man with his son and his daughter, the last surviving of seven children. The son was promised by his father to the Wuhuang Monastery on his twelfth birthday if he survived. According to the fortune-teller, that son, Zhu Chongba, will be so great that he will bring a hundred generations of pride to the family name. When the girl dares ask her fate, the fortune-teller says, simply, "Nothing." Bandits come looking for food and kill their father. Zhu goes catatonic rather than bury his father, so the girl digs a grave, only to find her brother dead inside it with her father. It leaves her furious: he had a great destiny and he gave it up without a fight, choosing to become nothing. At that moment, she decides to seize his fate for her own, to become Zhu so thoroughly that Heaven itself will be fooled. Through sheer determination and force of will, she stays at the gates of Wuhuang Monastery until the monks are impressed enough with her stubbornness that they let her in under Zhu's name. That puts her on a trajectory that will lead her to the Red Turbans and the civil war over the Mandate of Heaven. She Who Became the Sun is historical fiction with some alternate history and a touch of magic. The closest comparison I can think of is Guy Gavriel Kay: a similar touch of magic that is slight enough to have questionable impact on the story, and a similar starting point of history but a story that's not constrained to follow the events of our world. Unlike Kay, Parker-Chan doesn't change the names of places and people. It's therefore not difficult to work out the history this story is based on (late Yuan dynasty), although it may not be clear at first what role Zhu will play in that history. The first part of the book focuses on Zhu, her time in the monastery, and her (mostly successful) quest to keep her gender secret. The end of that part introduces the second primary protagonist, the eunuch general Ouyang of the army of the Prince of Henan. Ouyang is Nanren, serving a Mongol prince or, more precisely, his son Esen. On the surface, Ouyang is devoted to Esen and serves capably as his general. What lies beneath that surface is far darker and more complicated. I think how well you like this book will depend on how well you get along with the characters. I thought Zhu was a delight. She spends the first half of the book proving herself to be startlingly competent and unpredictable while outwitting Heaven and pursuing her assumed destiny. A major hinge event at the center of the book could have destroyed her character, but instead makes her even stronger, more relaxed, and more comfortable with herself. Her story's exploration of gender identity only made that better for me, starting with her thinking of herself as a woman pretending to be a man and turning into something more complex and self-chosen (and, despite some sexual encounters, apparently asexual, which is something you still rarely see in fiction). I also appreciated how Parker-Chan varies Zhu's pronouns depending on the perspective of the narrator. That said, Zhu is not a good person. She is fiercely ambitious to the point of being a sociopath, and the path she sees involves a lot of ruthlessness and some cold-blooded murder. This is less of a heroic journey than a revenge saga, where the target of revenge is the entire known world and Zhu is as dangerous as she is competent. If you want your protagonist to be moral, this may not work for you. Zhu's scenes are partly told from her perspective and partly from the perspective of a woman named Ma who is a good person, and who is therefore intermittently horrified. The revenge story worked for me, and as a result I found Ma somewhat irritating. If your tendency is to agree with Ma, you may find Zhu too amoral to root for. Ouyang's parts I just hated, which is fitting because Ouyang loathes himself to a degree that is quite difficult to read. He is obsessed with being a eunuch and therefore not fully male. That internal monologue is disturbing enough that it drowned out the moderately interesting court intrigue that he's a part of. I know some people like reading highly dramatic characters who are walking emotional disaster zones. I am not one of those people; by about three quarters of the way through the book I was hoping someone would kill Ouyang already and put him out of everyone's misery. One of the things I disliked about this book is that, despite the complex gender work with Zhu, gender roles within the story have a modern gloss while still being highly constrained. All of the characters except Zhu (and the monk Xu, who has a relatively minor part but is the most likable character in the book) feel like they're being smothered in oppressive gender expectations. Ouyang has a full-fledged case of toxic masculinity to fuel his self-loathing, which Parker-Chan highlights with some weirdly disturbing uses of BDSM tropes. So, I thought this was a mixed bag, and I suspect reactions will differ. I thoroughly enjoyed Zhu's parts despite her ruthlessness and struggled through Ouyang's parts with a bad taste in my mouth. I thought the pivot Parker-Chan pulls off in the middle of the book with Zhu's self-image and destiny was beautifully done and made me like the character even more, but I wish the conflict between Ma's and Zhu's outlooks hadn't been so central. Because of that, the ending felt more tragic than triumphant, which I think was intentional but which wasn't to my taste. As with Kay's writing, I suspect there will be some questions about whether She Who Became the Sun is truly fantasy. The only obvious fantastic element is the physical manifestation of the Mandate of Heaven, and that has only a minor effect on the plot. And as with Kay, I think this book needed to be fantasy, not for the special effects, but because it needs the space to take fate literally. Unlike Kay, Parker-Chan does not use the writing style of epic fantasy, but Zhu's campaign to assume a destiny which is not her own needs to be more than a metaphor for the story to work. I enjoyed this with some caveats. For me, the Zhu portions made up for the Ouyang portions. But although it's clearly the first book of a series, I'm not sure I'll read on. I felt like Zhu's character arc reached a satisfying conclusion, and the sequel seems likely to be full of Ma's misery over ethical conflicts and more Ouyang, neither of which sound appealing. So far as I can tell, the sequel I assume is coming has not yet been announced. Rating: 7 out of 10

2 July 2022

Russ Allbery: Review: Overdue

Review: Overdue, by Amanda Oliver
Publisher: Chicago Review Press
Copyright: 2022
ISBN: 1-64160-534-0
Format: Kindle
Pages: 190
Like many lifetime readers, I adored the public library. I read my way through three different children's libraries at the rate of a grocery sack of books per week, including numerous re-readings, and then moved on to the adult section as my introduction to science fiction. But once I had a regular job, I discovered the fun of filling shelves with books without having to return them or worry about what the library had available. I've always supported my local library, but it's been decades since I spent much time in it. When I last used one heavily, the only computers were at the checkout desk and the only books were physical, normally hardcovers. Overdue: Reckoning with the Public Library therefore caught my eye when I saw a Twitter thread about it before publication. It promised to be a picture of the modern public library and its crises from the perspective of the librarian. The author's primary topic was the drafting of public libraries as de facto homeless service centers, but I hoped it would also encompass technological change, demand for new services, and the shifting meaning of what a public library is for. Overdue does... some of that. The author was a children's librarian in a Washington DC public school and then worked at a downtown branch of the Washington DC public library, and the book includes a few anecdotes from both experiences. Most of the book, though, is Oliver's personal memoir of how she got into field, why she chose to leave it, and how she is making sense of her feelings about the profession. Intermixed with that memoir is wide-ranging political commentary on topics ranging from gentrification to mental health care. This material is relevant to the current challenges libraries face, but it wandered far afield from what I was hoping to get from the book. I think of non-fiction books as coming in a few basic shapes. One is knowledge from an expert: the author has knowledge about a topic that is not widely shared, and they write a book to share it. Another is popularization: an author, possibly without prior special expertise in the topic, does research the reader could have done but doesn't have time to do and then summarizes the results in a format that's easier to understand than the original material. And a third is memoir, in which the author tells the story of their own life. This is a variation of the first type, since the author is obviously an expert in their own life, but most people's lives are not interesting. (Mine certainly isn't!) Successful memoir therefore depends on either having an unusual life or being a compelling storyteller, and ideally both. Many non-fiction books fall into multiple categories, but it's helpful for an author to have a clear idea of which of these goals they're pursuing since they result in different books. If the author is writing primarily from a position of special expertise, the book should focus on that expertise. I am interested in librarians and libraries and would like to know more about that job, so I will read with interest your personal stories about being a librarian. I am somewhat interested in your policy suggestions for how to make libraries work better, although more so if you can offer context and analysis beyond your personal experiences. I am less interested in your opinions on, say, gentrification. That's not because I doubt it is a serious problem (it is) or that it impacts libraries (it does). It's because working in a library doesn't provide any special expertise in gentrification beyond knowing that it exists, something that I can see by walking around the corner. If I want to know more, I will read books by urban planners, sociologists, and housing rights activists. This is a long-winded way of saying that I wish Overdue had about four times as many stories about libraries, preferably framed by general research and background that extended beyond the author's personal experience, or at least more specific details of the politics of the Washington DC library system. The personal memoir outside of the library stories failed to hold my interest. This is not intended as a slam on the author. Oliver seems like a thoughtful and sincere person who is struggling with how to do good in the world without burning out, which is easy for me to sympathize with. I suspect I broadly agree with her on many political positions. But I have read all of this before, and personally lived through some of the same processing, and I don't think Oliver offered new insight. The library stories were memorable enough to form the core of a good book, but the memoir structure did nothing for them and they were strangled by the unoriginal and too-general political analysis. At the risk of belaboring a negative review, there are two other things in Overdue that I've also seen in other writing and seem worth commenting on. The first is the defensive apology that the author may not have the best perspective to write the book. It's important to be clear: I am glad that the Oliver has thought about the ways her experiences as a white woman may not be representative of other people. This is great; the world is a better place when more people consider that. I'm less fond of putting that observation in the book, particularly at length. As the author, rather than writing paragraphs vaguely acknowledging that other people have different experiences, she could instead fix the problem: go talk to librarians of other ethnic and social backgrounds and put their stories in this book. The book would then represent broader experiences and not require the apology. Overdue desperately needed more library-specific content, so that would have improved the book in more than one way. Or if Oliver is ideologically opposed to speaking for other people (she makes some comments to that effect), state up-front, once, that this is a personal memoir and, as a memoir, represents only her own experience. But the author should do something with this observation other than dump its awkwardness on the reader, if for no other reason than that lengthy disclaimers about the author's limited perspective are boring. The second point is about academic jargon and stock phrasing. I work in a field that relies on precise distinctions of meaning (between identity, authentication, and authorization, for example), and therefore I rely on jargon. Its purpose is to make those types of fine distinctions. But authors who read heavily in fields with jargon tend to let that phrasing slip into popular writing where it's not necessary. The result is, to quote Orwell, "gumming together long strips of words which have already been set in order by someone else." The effect may be small in a single sentence but, when continued throughout a book, the overuse of jargon is leaden, belabored, and confusing. Any example I choose will be minor since the effect is cumulative, but one of several I noticed in Overdue is "lived experience." This is jargon from philosophy that, within the field, draws a useful distinction between one's direct experiences of living in the world, and academic or scientific experience with a field. Both types of experience are valuable in different situations, but they're not equivalent. This is a useful phrase when the distinction matters and is unclear. When the type of experience one is discussing is obvious in context (the case in at least three of the four uses in this book), the word "lived" adds nothing but verbosity. If too much of this creeps into writing, it becomes clunky and irritating to read. The best (and not coincidentally the least clunky) part of this book is Oliver's stories of the patrons and other employees of the Northwest One branch of the Washington DC library system and her experiences with them. The picture was not as vivid as I was hoping for, but I came away with some new understanding of typical interactions and day-to-day difficulties. The same was true to a lesser extent for her experiences as a school librarian. For both, I wish there had been more context and framing so that I could see how her experiences fit into a whole system, but those parts of the book were worth reading. Unfortunately, they weren't enough of those parts in the book for me to recommend Overdue. But I'm still interested in reading the book I hoped I was getting! Rating: 5 out of 10

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