Jonathan Dowland: Two reissued Coil LPs
we only do this on religious holidaysConstant Shallowness Leads to Evil by Coil
we only do this on religious holidaysConstant Shallowness Leads to Evil by Coil
Publisher: | Scholastic Press |
Copyright: | June 2023 |
ISBN: | 1-338-29064-9 |
Format: | Kindle |
Pages: | 446 |
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_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
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.
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, 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.
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.
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!
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Series: | Discworld #33 |
Publisher: | Harper |
Copyright: | October 2004 |
Printing: | November 2014 |
ISBN: | 0-06-233497-2 |
Format: | Mass market |
Pages: | 471 |
Series: | Discworld #29 |
Publisher: | Harper |
Copyright: | November 2002 |
Printing: | August 2014 |
ISBN: | 0-06-230740-1 |
Format: | Mass market |
Pages: | 451 |
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
Help your loved ones cope with your death by describing what you would like to happen.
Document how your life has been arranged so that the executor of your Will can find the right documents to inform:
- your bank,
- your mortgage company,
- your energy company,
- your mobile phone company,
- your house and car insurers and the like.
If you've got a complex home setup with servers and other machines which would be unfamiliar to the executor of your Will, then entrust someone else with the information required to revoke your keys, access your machines etc. and then provide the contact information for that person to your executor.
Arrange for your pets to be looked after.
Describe how you would like your belongings to be handled - do you want every effort made to have your clothes and furnishing recycled instead of going to landfill?
Where are the documents for the oven, the dishwasher and the central heating system so that these can be included in the sale of your property?
If there are loans outstanding, make sure your executor or a trusted person knows where to find the account numbers and company names.
What about organ donation? Make sure your executor knows your wishes and make sure your loved ones either agree or are willing to respect your wishes.
Then the personal stuff, what do you want to happen to your social media accounts, your cloud data, your games, DVD and CD collection, your photos and other media? Some social media companies have explicit settings available in your account to describe if you want the data deleted after a certain amount of time, after a notification from some government service or to set up some kind of memorialised version or hand over control of the account to a trusted person.
Publisher: | Little, Brown and Company |
Copyright: | April 2018 |
Printing: | 2020 |
ISBN: | 0-316-55633-5 |
Format: | Kindle |
Pages: | 421 |
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
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). 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.
Series: | Machine Mandate #1 |
Publisher: | Prime Books |
Copyright: | 2019 |
ISBN: | 1-60701-533-1 |
Format: | Kindle |
Pages: | 86 |
Series: | Radiant Emperor #1 |
Publisher: | Tor |
Copyright: | 2021 |
Printing: | 2022 |
ISBN: | 1-250-62179-8 |
Format: | Kindle |
Pages: | 414 |
Publisher: | Chicago Review Press |
Copyright: | 2022 |
ISBN: | 1-64160-534-0 |
Format: | Kindle |
Pages: | 190 |
Next.