Bifurcated Rivets: From FB

Pictures of Debbie

Bifurcated Rivets: From FB

Scam time

Bifurcated Rivets: From FB

Hot House

Bifurcated Rivets: From FB

Sweet Georgie Fame

Bifurcated Rivets: From FB


Penny Arcade: Comic: Upmarket

New Comic: Upmarket

Penny Arcade: News Post: Upmarket

Tycho: Making an update while PAX is ongoing still feels pretty weird.  I mean, if you worked at a gaming news site, I guess this would be, like, your whole show.  I suppose the reality is that everyone is updating constantly about the show, and everything else, professionally or otherwise.  “Writing” and “Living” are two distinct gears for me.  It’s a big lever and it’s hard to pull. We managed our strip duties on Sunday, achieving our goal, performing flawless karate on foes real and imagined.  Using Benaroya for main theater stuff…

programming: String Deduplication - A new feature in Java 8 Update 20

submitted by lukaseder
[link] [1 comment]

programming: When to learn, and when to adopt new programming tools, languages and other tech?

submitted by zombiecodekill
[link] [comment]

Slashdot: Apple Said To Team With Visa, MasterCard On iPhone Wallet

An anonymous reader writes with news about a possible partnership between Apple and major credit card companies. Apple plans to turn its next iPhone into a mobile wallet through a partnership with major payment networks, banks and retailers, according a person familiar with the situation. The agreement includes Visa, MasterCard, and American Express and will be unveiled on Sept. 9 along with the next iPhone, said the person, who asked not to be identified because the talks are private. The new iPhone will make mobile payment easier by including a near-field communication chip for the first time, the person said. That advancement along with Touch ID, a fingerprint recognition reader that debuted on the most recent iPhone, will allow consumers to securely pay for items in a store with the touch of a finger.

Read more of this story at Slashdot.

MetaFilter: Game, Set and Murphy

James Murphy (formerly of LCD Soundsystem) has built an algorithm to musically interpret live data from the US Tennis Open which will create around 400 hours of music. All previous games can be listened to and each has a different flavour - it can get a little glitchy but try Djokovic vs Querry or Brengle vs Lisick for starters. Or have a play with the algorithm yourself.

Recent additions: hermit

Added by AndrewFarmer, Mon Sep 1 05:14:58 UTC 2014.

Haskell Equational Reasoning Model-to-Implementation Tunnel

Hackaday: Arduino-based LED Wedding Lights

Light (1 of 3)Light (2 of 3)

[Rob] created these amazing Bluetooth controlled LED lights for his daughter’s wedding adding a colorful ambient glow to the ceremony. Each item held a Neopixel ring and an Arduino microprocessor with a wireless module that could be individually addressed over a ‘mini-network.’ The main master station would receive commands from a Windows Phone. Usually we see Arduino-based projects being run with Android apps, so it’s nice to see that Microsoft is still present in the maker community.

The enclosures and translucent vases that sit atop the devices were 3D printed. All eight of the matrimonial units synchronized with each other, and the colors could be changed by sliding the settings bar on the app.  [Rob] says that it was a lot of fun to build, and jokingly stated that it kept him “out of all the less important aspects of the ceremony. (food choice, decor, venue, who to marry etc etc).” The outcome was a beautiful arrangement of tabletop lighting for the wedding. A demo of [Rob]‘s setup can be seen in the video below.


Filed under: led hacks Test-Mock-Simple-0.06

A simple way to mock out parts of or a whole module.

Recent additions: http-client

Added by MichaelSnoyman, Mon Sep 1 04:33:55 UTC 2014.

An HTTP client engine, intended as a base layer for more user-friendly packages. Bugle-0.001

Blow your own trumpet

programming: Boeing Flies on 99% Ada

submitted by electronics-engineer
[link] [23 comments]

MetaFilter: Men + Kittens

I feel like a Mommy [SLYT, Buzzfeed]

Recent additions: doctest

Added by SimonHengel, Mon Sep 1 03:29:43 UTC 2014.

Test interactive Haskell examples

Disquiet: Dawn-Break Ambient

As the track title suggests, “I Have Been Waiting For You, Quiet Morning” posits itself as dawn-break ambient. The drone comes in slow and stays slow, with an extended break between each soft-metal ping and each phase of wind-in-pipe shuddering. It’s a gorgeous, gaseous piece that hovers in the middle distance, full of promise.

Track originally posted at More from Leonardo Rosado, who’s based in Gothenburg, Sweden, at and

Slashdot: Grand Ayatollah Says High Speed Internet Is "Against Moral Standards"

An anonymous reader writes A Grand Ayatollah in Iran has determined that access to high-speed and 3G Internet is "against Sharia" and "against moral standards." However, Iran’s President Hassan Rouhani, plans to renew licenses and expand the country’s 3G cellular phone network. A radical MP associated with the conservative Resistance Front, warned: “If the minister continues to go ahead with increasing bandwidth and Internet speed, then we will push for his impeachment and removal from the cabinet.” “We will vigorously prevent all attempts by the [communication] minister to expand 3G technology, and if our warnings are not heeded, then the necessary course of action will be taken,” he added.

Read more of this story at Slashdot.

Recent additions: btrfs

Added by MariosTitas, Mon Sep 1 02:57:03 UTC 2014.

Bindings to the btrfs API HTTP-Session2-1.09

HTTP session management

MetaFilter: March in August: "Liar Liar, pants on fire" (also: "Kick this Knob Out")

March in August: thousands rally against Tony Abbott by taking to streets:
Thousands of protesters have taken to the streets for the latest wave of protests against the federal government.

Demonstrations were held in cities across the country, including Sydney, Melbourne, Brisbane and Adelaide, to protest against a range of of social and economic policies being implemented by the Abbott government.

About 3,000 protesters marched through Sydney, voicing their concerns on a range of issues, from Australia's asylum seeker policies, to education cuts and the humanitarian crisis in Gaza.

Some background about the anti-bikie legislation going on in Australia, discussed in the main link.

An excerpt from the March Australia website's about page:
March Australia (previously March in March Australia) began as a series of national protests that were held in over 32 locations across Australia in March 2014. It was organised by named members of the concerned public, remains unassociated with any political party or organisation and is devoted to total transparency. Along with over 50,000 supporters from Facebook alone, we marched with the 100,000 Australians who peacefully protested as a vote of no confidence in the Abbott Government, with the aim of achieving the best possible government for all of Australia.

"Australians united for a better Government" is a unified call for decency, accountability and transparency from and within the Australian Government. The result of the hasty and heavy-handed approach by the Abbott Government has been that this call is still imminent and necessary – we cannot wait silently as our country is systematically torn apart.
Wikipedia page for March in March Australia, and related Flickr gallery.

Bonus links

March in March marks the birth of a new kind of activismThe Guardian
Rage against the mainstreamThe Drum

Top link via the Twitter feeds of Guardian Australia and Graham Linehan.

Previously: Australiafilter: Back to the (18)50s, or a new comedic golden age, "Let's have a bloke's question"

All Content: As Above, So Below


I wish I could recommend "As Above, So Below" more strongly. It's that rare found-footage film with a strong premise,  a memorably eccentric style, and plenty of energy to burn. It's also poorly conceived, and hard to watch. Normally, that's not such a terrible thing when it comes to B-horror films, the kind of genre fare that handily coasts on chutzpah alone. Then again, the novelty of exploring an already-confined spacesubterranean Parisian catacombs—shot through a conspicuous fish-eye lens is only so endearing. That's the biggest stumbling obstacle preventing viewers from enjoying "As Above, So Below," a movie that's as close as recent horror films have come to approximating the feel of a haunted-house attraction. The film's violent, Richard Simmons-worthy shakey-camerawork evokes "Saving Private Ryan"'s Omaha Beach sequence. There's some great impressionistic visual cues throughout the film, as when dust and rubble scatter around the camera during the film's introductory scene. And the movie's cramped setting makes the film atmospheric enough to be frequently creepy. But when the film's protagonists finally put their rinky-dink digital head-rigs down, you will cheer, and it won't be for them.

Since it's a movie-shaped theme park ride, "As Above, So Below" is bogged down by way too much narrative baggage. Human-shaped plot point Scarlett (Perdita Weeks) is our guide through the French tunnels. A super-smart explorer in search of the Philosopher's Stone, Scarlett enlists the help of fraidy-cat language expert George (Ben Feldman, or Ginsberg from "Mad Men"), stoic cameraman Benji (Edwin Hodge), and full-of-it urban explorer Papillon (Francois Civil). Together with Papillon's companions Souxie and Zed (Marion Lambert and Ali Marhyar), Scarlett's group searches the French catacombs for the Stone, and inadvertently discovers what may or may not be a gateway to Hell. Along the way, they're improbably confronted with a laundry list of goofy ghosts and creepy objects, including a haunted telephone, an impossibly deep pool of blood, a burning car, and a malnourished—and probably undead—French raver named La Taupe (Cosme Castro). 

This gruel-thin scenario is perfectly reasonable when you think of it in the context of crass real-life attractions like Berlin's Grusellkabinett, a haunted house attraction built on top of preserved Nazi bunkers. It's garish and excessive, but seeing stone gargoyles, anorexic witches, and hanged men in the midst of an already creepy setting can be fun when you accept that the name of the game is sheer overkill. Morever, Weeks and Feldman don't have to do much to sell their stick figure protagonists' enthusiasm. Feldman and Weeks are charming enough to make you believe that their characters really want to explore, and are therefore always thinking of new, moronic ways to discover the next secret chamber, push through the next tiny hole, and sneak past that one corpse that looks suspiciously like the Bad Seeds' Warren Ellis. You actually won't find fault with their generic need to see and do things that normal, semi-intelligent people know not to, like take the hood off of a hanged man's face. It's a bad idea, but not an offensive decision in a film that sometimes feels like a series of video-game cut scenes you cannot fast-forward through.

Then again, "As Above, So Below" falters most when it tries to be a movie. When Scarlett's group tries to assert themselves as people (!!!) haunted by personal trauma—dead dads, brothers, guys in cars, etc.—the film drags needlessly. Like, I'm sorry, but if you're going to wander around teeny-tiny tunnels that may or may not be the path to an infernal plane of existence, I don't really care what your pre-Hellmouth life was like. That stuff is for your therapist, not a 93-minute survival-horror adventure.

Still, if I could get a clear view of the ghost of your dead gallic buddy, or the aforementioned gargoyle that possibly (?) has took a bite out of your face, you could throw any number of dead friends, relatives, and notary publics at me. The makers of "As Above, So Below" earn points for trying to make their film look different than the preponderance of found-footage junk. But their distinctive, impressionistic camera-work is also head-splittingly alienating. Even viewers with cast-iron stomachs will want a barf-bag, a bottle of Dasani, and a strong shoulder to rest their head on just to prevent early on-set car-sickness. "As Above, So Below" is novel enough to be worth the price of admission, but you'll think twice before getting back in line for a second visit.

All Content: Telluride 2014: True Stories Turn to Festival Hits in "The Imitation Game," "The Price of Fame"


Opinions at film festivals rarely reach consensus, given how fractious and divided personal tastes run. Trends are easier to capture. Among the new crop of films being screened anywhere for the first time, the highly touted ones have included "The Imitation Game," "The Price of Fame" and "99 Homes," a significant comeback for director Ramin Bahrani after the disastrous flameout, commercially and critically, of his previous "At Any Price."

Norwegian director Morten Tyldum detonated critical and public consciousness with his lively "Headhunters," two years ago. He returns with "The Imitation Game," debuting this weekend. "That was good," a woman said after the film's Sunday afternoon screening at the Palm.

Tyldum's film taps the right emotions in telling the invigorating and haunting story of Alan Turing, the brilliant mathematician whose blinding, egomanical genius proved crucial for British intelligence's deciphering of the Nazi's encrypted military communications, changing the course of World War II. His post-war experiences left this singular man broken and defeated.

The movie is the big awards contender for the Weinstein Company, and the trade reviews and other prominent Oscar bloggers have already called Benedict Cumberbatch's lead performance as the tragic figure a top-flight Best Actor contendor. It's middlebrow in the best sense, lively and intelligent and sharply produced.

It is also pretty square and uneven. Like a lot of the Weinstein films, it's more of a producer's film than a director's film. The polish and character emerge in the craftsmanship and the force of the players rather than the dominant stylistic personality of the director. The script, by the talented young writer Graham Moore, frames the subject through the perspective of a 1951 robbery at Turing's flat that prompts a police investigation and the discovery of his homosexually, formally outlawed in Britain until the late 1960s.

The strongest material is the detailing of the prickly individualists working in secret at Bletchley Park and tasked with breaking the military communications code that the Allies deemed "unbreakable." Having come into possession of the Enigma, the daunting challenge confronting Turing and his collaborators was solving the almost mathematically infinite variations and permutations of the settings, which changed daily.

Turing's asocial manner, natural astringency and solitary coldness alienates the rest of the group, even brings suspicion when the prospect of a Soviet mole is introduced. The film's most interesting relationship is the complicated byplay of Turing and Joan Clarke (Keira Knightley), the lone woman in the group. Moore sharply teases out the natural affinities between the closeted gay man and the woman socially and professionally marginalized despite her commanding intellectual competence.

The best and most electrifying moment is a trenchant and engrossing sequence that begins in a kind of off-handed action of flirtation and sexual banter and ends with the realization that the super-expensive "machine" Turing has created has achieved a thrilling, remarkable scientific breakthrough.

Knightley has long been one of the most interesting actors around. Her style, mixing the flamboyant and the cold, is fascinating to behold. Cumberbatch's performance is, I think, open to question, divisive and mercurial and likely to sustain the interest in the film. His performance certainly commands the center, but it is also, at times, a very distracting one, mannered and almost too self-declamatory, the acting with a capital A brand of performance. Still, the movie is now clearly out there and open for interpretation. Attention must be paid.

Introducing his new film, "The Price of Fame," the excellent French director Xavier Beauvois called it a celebration of American cinema. It's a jewel of a film, beautfiully directed and wonderfully acted, demonstrating a fine and acute sense of film history and also mixing tones with a felicity that in its finest moments reaches the pure and lyric.

Like "The Imitation Game," the movie is taken from actual experience, centered around two socially displaced European emigres who plotted to steal the recently interred remains of Charlie Chaplin in order to extact a ransom. The story is set over a wintry Christmas season of 1977, in a quiet shoreline of Switzerland. The mischeviously sly and fantastically skilled Belgian comic actor Benoit Poelvoorde is the recently paroled small-time crook Eddy who dreams up the absurd criminal plot to alleviate the financial hardship of his friend and benefactor, Ousman (Roschdy Zem), who's reeling over the staggering bills incurred for his wife's hospitalization.

Beauvois, who's also a very capable actor, contributed to the script. Stylistically and tonally, the movie works in a much different register than his somber work of religious intolerance ("Of Gods and Men") or his intensely realistic cop thriller ("Le petit lieutenant"). The plot riffs on classics like "Big Deal on Madonna Street," but here rendered in a more generous and even ecstatic sense of wonder.

Poelvoorde is one of the marvels of French cinema who really deserves to be known here. He has the classic elastic features of the cinema clowns, like Chaplin and Keaton, a point Beauvois brings home with a vengeance with a late, momentum-shifting, secondary plot about a beautiful circus owner (Chiara Mastroianni) who turns up as a romantic entanglement. Zem is the straight man who's proud and defiant and also a lot more explosive in his temperament. The physical constrast of the two is elegantly staged though also disruptive and anarchic in its comic impulses (the sad sack exchanges with the Chaplin family and cops over the ransom demands is worth the price of admission).

Finally, Beauvois is a man of the cinema, and he works in magical allusions to Chaplin masterpieces like "The Circus" and "Limelight" that give the melancholy, rueful glances a sharp and painful sting. App-Maisha-0.20

A command line social micro-blog networking tool

Hackaday: Baby’s Room Gets a Palace with this CNC Castle Decoration

castle decoration

[Vegard] and his wife were expecting a baby girl, and decided to build a castle for their new daughter. As a prototyping geek with his own CNC machine in his apartment, he decided to take to Google Sketchup to design this well-crafted castle decoration for his daughter’s room.

The first challenge was figuring out what the castle would look like. [Vegard] had never been to Disney Land or World, and so had never actually seen any of the fairy-tale castles in real life. After experimenting with some paper versions, he settled on a design which incorporates multiple layers and can house lights within them.

The next step was to cut the final version on the CNC machine, then sand and paint the parts. After figuring out a way to mount the castle to the wall, some LEDs were added for effect, driven by an Arduino. The final version looks pretty good!

Hacking your kids’ room is great fun, and you get to keep making new stuff to remain age appropriate. We bet [Vegard] can’t wait until she’s old enough to enjoy a marble-run that wraps the entire room. In the mean time he can work on a classic robot stroller.

Filed under: cnc hacks WebService-JotForm-0.011

Perl interface to JotForm's API -- currently only the read operations, not creating or deleting data

MetaFilter: Stampylonghead

Tens of millions a viewers a month watch Youtube videos of an orange and white cat and his friends playing in Minecraft. Twenty-three year old Joseph Garrett plans to use Minecraft as a platform for launching an educational channel.

In the news: 1 2 3
[via 6 y.o carter jr., who has been binge watching this since discovering it a few days ago]

Perlsphere: Citrus Perl Raspberry Pi dev

Anyone interested in GUI Perl dev in Pi? Please go through the link here and download the distribution from sourceforge project site.

I am using Citrus Perl on Pi (Raspbian Wheezy OS) for quite some time major issue.


Enjoy GUI dev on Pi .




MetaFilter: The Cats of World War I

Thousands of cats served in the First World War -- as rat killers, as mascots for troops in the trenches, at sea, and elsewhere. War at its furriest.

programming: Just created my first tutorial (is on c++ and Qt's model/view programming), what do you think?

submitted by Diusrex
[link] [1 comment]

Instructables: exploring - featured: Left For Dead 2 Boomer Bile Prop

I built this boomer bile prop for a friend that was cosplaying Ellis from Left for Dead 2. It took me an afternoon to make and cost me about 8 bucks.Stuff I Used: Voss water bottle Bottle of Hair Gel Red Spray Paint White Spray Paint Foam BoardThis is the picture I used for the Labelhttp://img...
By: Nerd Builds

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programming: [x-post from /r/Minecraft] "Post explaining the new culling algorithm we added in MCPE 0.9 and PC 1.8, for who cares!"

submitted by gmfreaky
[link] [9 comments]

Instructables: exploring - featured: Dremel Maze

materials and tools used:dremel etching bit6"x9"X1/2" wood220 sand paper The Gang step 1 get a group of, non institutionalized, creative thinkers Tiffany and Walter step 1.5 ask tiffany(or any local positive, insightful person) for advice Failed Attempts step 2Ignore everyone's advice and t...
By: kevin7314

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Twitch: Macabro 2014: DARKNESS BY DAY Wins Best Film Award

The closing ceremony of Macabro 2014 was held on Saturday, August 30 at Mexico City's Cineteca Nacional. The festival's director Edna Campos conducted the event prior to the start of the closing film, Asmodexia. Macabro awarded only one feature length film and several shorts during this night. The big winner was Argentina's Darkness by Day (El Día Trajo la Oscuridad), which I reviewed during Fantaspoa. Check out the complete list of winners of Macabro 2014:Best International Film (Gran Premio Macabro)Jury: Armando Vega-Gil, Bernardo Esquinca and Guillermo Sarquis FingerhutWinner: Darkness by Day (dir. Martín de Salvo, Argentina) Best International Horror Short Film (Premio Macabron de Onix)Jury: Alejandro Iglesias Mendizábal, Orlando Jiménez Ruiz and Pedro G. García Winner: Selfish People (dir. Jae-Bin Han, Joo-Yong Kwon, South Korea)Honorable Mention: Familiar (dir. Richard...

[Read the whole post on]

Planet Haskell: Yesod Web Framework: Planning Yesod 1.4

Now that persistent 2.0 is out the door, it's time to start talking about Yesod version 1.4. First question you might ask: what happened to Yesod 1.3? Answer: a few of the Yesod libraries (e.g., yesod-auth) are already on version 1.3, so to avoid confusion, we're jumping straight to 1.4.

Second question: what are we planning on breaking this time? Answer: hopefully nothing! The main purpose of this release is actually to just remove some backwards-compatibility hacks in the Yesod codebase for older versions of dependencies, like shakespeare pre-2.0, conduit pre-1.2, WAI pre-3.0, and persistent pre-2.0.

There are few exceptions to this, which should hopefully have minimal impact on users. You can see these in the detailed change list. One change I'd like to call out is the updated routing system. This is a fundamental change to how yesod-routes works. The generated code is drastically simpler as a result. Instead of constructing a data structure that allows for efficient pattern matching of the request path and then attempting to parse the resulting pieces, the new code simply generates a series of clauses, one for each route, and ensures proper parsing using view patterns. In my initial benchmarking, this made routing twice as fast as Yesod 1.2. I would release this as part of 1.2, but it introduces a new requirement on the ViewPatterns language extension. So instead, I held it off for the 1.4 release.

If there are other breaking changes that people would like to propose, now's the time to do it. But be aware that I'll likely push back hard on any breakage. If there's a very good reason for it, we can do it. But I'd rather keep stability wherever possible.

There's one exception to that rule, which is the purpose of the rest of this blog post: the scaffolded site. Making changes to the scaffolded site never breaks existing application, and therefore we can be much more liberal about changing things there. There is a downside in terms of education: all existing tutorials on the scaffolding would need to be updated. But one of my points below addresses that.

So here are my proposed scaffolding changes:

  • Let's move away from config files towards environment variables for configuration. A config file is still a convenient way to record configuration, but injecting that configuration through environment variables means configuration can also be stored in a database or elsewhere and injected through environment variables the same way.
  • Along the same lines, we would no longer need a command line argument to indicate which environment we're in (devel vs production, etc). All such settings would be controlled via environment variables.
  • To allow for easy development, we would have a single YESOD_DEVEL environment variables which would indicate if we're currently in development. If so, it would apply a number of default environment variable values to avoid the need to set these in your shell manually.
  • Finally, and I expect this to be controversial: let's use classy-prelude-yesod in the Import module, instead of just taking Prelude with a few objectionable functions filtered out.

This is just a first pass at a scaffolding cleanup, I'm sure there are other improvements that can be made as well.

I don't have a specific date on a Yesod 1.4 release, but I'm not expecting it to be a long development process. The vast majority of the work is already done (on the yesod-1.4 branch), and that codebase is already being used extensively in a rather large Yesod application, so I'm not too worried about regressions having slipped in.

Slashdot: XKCD Author's Unpublished Book Remains a Best-Seller For 5 Months

destinyland writes Tuesday is the official release date for the newest book from the geeky cartoonist behind XKCD — yet it's already become one of Amazon's best-selling books. Thanks to a hefty pre-order discount, one blogger notes that it's appeared on Amazon's list of hardcover best-sellers since the book was first announced in March, and this weekend it remains in the top 10. Randall Munroe recently announced personal appearances beginning this week throughout the U.S. (including Cambridge, New York, Seattle, and the San Francisco Bay Area) — as well as a Google Hangout on Friday, September 12. Just two weeks ago he was also awarded the Hugo Award for Best Graphic Story — and now many of his appearances are already sold out.

Read more of this story at Slashdot.

Instructables: exploring - featured: DIY Invitation Ornament

This ornament is a perfect way to commemorate any special occasion. I like to make them for the bride and groom for all the weddings I attend, but I've also made them using baby announcements, birthday invitations, and other special occasions. Materials For this instrucatble, you'll need-an invit...
By: Ruth in Craftsville

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things magazine: People and Places

The Internet Archive Book Image Database is a mind-boggling resource of over 2.5 million images. Every single one of the 26,270 pages is a surrealist masterpiece of juxtaposition and oddity / the origins of the Asian Sting / after the 1:1 map of Denmark in Minecraft comes a geological map of Great Britain / Streetview meets Alvar Aalto: ‘collection of imagery featuring architectural heritage of Hugo Alvar Henrik Aalto, a Finnish architect and designer’ / Jacket Mechanical, the blog of book designer Peter Mendelsund / Michael Wolf on the quest for privacy in Hong Kong.

Hackaday: Hackaday Links: August 30, 2014


Adafruit did another Circuit Playground, this time concerning frequency. If you’re reading this, no, it’s probably not for you, which is great because it’s not meant to be. If you have some kids, though, it’s great. Not-muppet robots and oscilloscopes. Just great.

The Hack42 space in Arnhem, Neterhlands recently got an offer: clean out a basement filled with old computer equipment, and it’s yours. Everything in the haul had to fit through an 80cm square door, and there are some very heavy, very rare pieces of equipment here. It’ll be a great (and massive) addition to their museum. There’s a few pics from the cleanout here and here.

[Mike] has been working on a project to convert gerber files into SVGs and it’s great.

[Carl] did a roundup of all the currently available software defined radios available. It’s more than just the RTL-SDR, HackRF, and BladeRF, and there’s also a list of modifications and ones targeted explicitly to the ham crowd.

This is a Facebook video, but it is pretty cool. It’s a DIY well pump made in Mexico. A few rubber disks made out of an old inner tube, a bit of PVC pipe, and a string is all you need to bring water to ground level.

What can you do with a cellphone equipped with a thermal imaging camera? Steal PIN codes, of course. Cue the rest of the blogosphere sensationalizing this to kingdom come. Oh, what’s that? Only Gizmodo took the bait?

About a year ago, we saw a pretty cool board made by [Derek] to listen in on the CAN bus in his Mazda 3. Now it’s a Kickstarter, and a pretty good one at that.

Your connectors will never be this cool. This is a teardown of a mind bogglingly expensive cable assembly, and this thing is amazing. Modular connectors, machined copper shields, machined plastic stress relief, and entire PCBs dedicated to two caps. Does anyone know what this mated to and what the list price was?


Filed under: Hackaday links

Slashdot: Yahoo Stops New Development On YUI

First time accepted submitter dnebin writes Yahoo announced that they will cease new development on their javascript framework YUI, bowing to industry trends towards Node.js, Angular, and others. The announcement reads in part: "The consequence of this evolution in web technologies is that large JavaScript libraries, such as YUI, have been receiving less attention from the community. Many developers today look at large JavaScript libraries as walled gardens they don't want to be locked into. As a result, the number of YUI issues and pull requests we've received in the past couple of years has slowly reduced to a trickle. Most core YUI modules do not have active maintainers, relying instead on a slow stream of occasional patches from external contributors. Few reviewers still have the time to ensure that the patches submitted are reviewed quickly and thoroughly."

Read more of this story at Slashdot.

Instructables: exploring - featured: Embellished Sunglasses

One of the most important summer essentials in any wardrobe is a pair of decent sunglasses. This method is a perfect, incredibly simple way to spruce up a pair of old glasses, creating an intricate, beautiful look from what are in reality just a pair of cheap plastic shades.For this project, you wil...
By: LD_P

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Greater Fool - Authored by Garth Turner - The Troubled Future of Real Estate: Ugly

UGLY modified

Last week I picked on Paul Etherington, cartel boss of the nation’s biggest real estate board. It was so much fun, let’s do it again. Easy, too, when he writes drivel like this:

“Making regular mortgage payments represents a method of forced savings: as you pay down the principal on your home loan, and your property’s market value appreciates, your home equity builds, setting you on a path to greater financial structure, even if you count poor budgeting or excessive spending among your vices.

“In addition to compelling you to take a disciplined approach toward your financial future, homeownership offers several other benefits that are equally important.  A 2012 study…found that respondents who had recently transitioned to homeownership reported feelings of improved health, pride of ownership and ties to the community.”

See what I mean? Houses always go up, so they’re good investments, and you’ll be okay even if you piss away all your income. Just keep making those loan payments. Hey, and mortgages are healthy, too. So get a big one, kids.

Sadly, our society oozes with people who believe this stuff. And, from time to time, we get a glimpse of the potential mess they’re walking into – not to mention the detritus all their house lust could leave for Canadian taxpayers. Such a glimpse is here, in the latest data from the guys who make 95%-financing possible, CHMC, as flagged by the trade site, Canadian Mortgage Trenda.

The ugly stats tell us this about what the masses are doing lately:

  • In the first six months of this year, CMHC insured 143,151 new mortgages worth $25 billion
  • Of all those borrowers, 88% borrowed more than 85% of the property’s value.
  • The average down payment was just 8%
  • In fact, with 70% of all loans, the average down was less than 10%.
  • The typical loan equaled 92% of the property’s sale value.
  • The average insured mortgage is $231,000.
  • CMHC lending plunged by 13.3% in the first six months of this year compared with 2013.
  • An estimated 80% of all home sales in Canada now have an insured mortgage – meaning the buyer couldn’t muster 20% down.

The federal agency is not telling us how big the mortgages are for those putting the least amount down, but the picture is scary enough. An average down payment of just 8% – when you consider that includes a fat CMHC premium heaped on top of the equity loan plus (quite likely) a repayable RRSP homebuyer’s snatch – shows just how much floating debt most fools are willing to walk into.

So long as real estate values hold or continue to rise (like Mr. Etherington promises), then we might be able to keep the wheels form falling off. But eventually the market will correct, equity levels will decline, and this giant vat of debt will remain. Now there’s a new poll of analysts and housing economists showing more of them are worried. In fact, they think the chances of a “steep fall” in prices have increased in the past twelve months.

The Reuters survey showed most smart guys (“many of whom work for mortgage lenders,” said the company) think house prices will continue to creep higher. But seven in 20 believe the chances of a market meltdown have intensified, particularly in Toronto and Vancouver. Said Queen’s Prof John Andrew: “The risk has increased due to house price increases significantly exceeding income growth and the oversupply of condos in downtown Toronto.”

The big threats are well-known to readers of this pathetic yet spoonable blog: higher mortgage rates, especially when the BoC starts swelling next year, and the expanding sea of debt (shown by the CMHC stats above) being swallowed by people who obviously can’t afford to buy. But the experts don’t expect a massive price tumble, or a US-style houseaggedon.

Maybe they should. After all, the American real estate market peaked in 2005, but didn’t convulse until ’08. It’s simply a myth that these events take place in months, because house prices are massively sticky. Sellers are greedy little things (especially the FSBOs), who would rather sit on the market for nine months, then cancel the listing, than reduce the price 10%. It can take a year or two for a general price decline to ripple through, but once it does then the dominoes start to fall. Listings increase and buyers decrease. It’s already happening in secondary markets across the land.

This does not mean anybody with a house, lots of equity, and other investments should bail in fear. But the vulnerable – house-rich, pensionless Boomers and cashless, horny Millennials – need a reality check.

As for the 143,151 who just bought at peak house levels with 92% financing at rates destined to increase, well, pucker up.

Instructables: exploring - featured: Easy DIY phone holder keychain.

A DIY phone holder keychain perfectly customizable and super useful for watching movies, taking pictures or doing whatever you'd like to! :D Main material. I used for this keychain a piece of wood glued to some cardboard to increase its resistance. I used balsa tree wood (ochroma pyramidale) bec...
By: aescobar ortega

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Slashdot: The Apache Software Foundation Now Accepting BitCoin For Donations

rbowen writes The Apache Software Foundation is the latest not-for-profit organization to accept bitcoin donations, as pointed out by a user on the Bitcoin subreddit. The organization is well known for their catalog of open-source software, including the ubiquitous Apache web server, Hadoop, Tomcat, Cassandra, and about 150 other projects. Users in the community have been eager to support their efforts using digital currency for quite a while. The Foundation accepts donations in many different forms: Amazon, PayPal, and they'll even accept donated cars. On their contribution page the Apache Software Foundation has published a bitcoin address and QR code.

Read more of this story at Slashdot.

Trivium: 31aug2014

The Shape of Code: undefined behavior: pay up or shut up

Academia recently discovered undefined behavior in C, twenty five years after industry tool vendors first started trying to help developers catch the problems it causes. Some of the tools that are now being written are doing stuff that we could only dream about back in the day.

The forces that morph occurrences of undefined behavior in source code to unwanted behavior during program execution have changed over the years.

  • When developers paid for their compilers there was an incentive for compiler writers to try to be nice to developers by doing the right thing for undefined behaviors. Twenty five years ago there were lots of commercial compilers all having slightly different views about what the right thing might be; a lot of code was regularly ported to different compilers and got to encounter different compiler writer’s views.
  • These days there is widespread use of open source compilers, which developers don’t pay for, removing the incentive for compilers writers to be nice to developers. Paying customers want support for new processors, enhancements to existing generated code quality and the sexy topic for PhDs is code optimization; what better climate for treating source containing undefined behavior as road kill. Now developers only need to upgrade to a later release of the compiler they are using to encounter an unexpected handling of undefined behavior.

A recent blog post, authored by some of the academics alluded to above, proposes adding a new option to gcc: -std=friendly-c. If developers feel that this kind of option needs to be supported then they should contribute to a crowdfunding campaign (none exists at the time of writing) to raise, say, $500,000 towards supporting the creation and ongoing support for the functionality behind this option. Of course one developer’s friendly is another developer’s unfriendly, so we could end up with multiple funds each promoting an option that supports a view of the world that is specific to one target environment.

At the moment, in response to user complaints, Open source compiler vendors lamely point out that the C standard permits them to handle source containing undefined behaviors the way they do; they stop short of telling people to quit complaining and that they are getting the compiler for free.

If this undefined behavior issue starts to gain substantial publicity, but insufficient funding, open source compiler vendors will need to start putting a positive spin on the decisions they make. Not being in marketing I might have a problem keeping a straight face when giving the following positive messages:

  • We are helping to save the world: optimized programs use less power (ok, every now and again they can use more). Do you really want to stop us adding more optimizations just because you cannot find the time to fix a mistake in your code?
  • We are helping your application gain market share. Applications that are not actively maintained are less and less likely to continue to work with every release of the compiler.

Recent additions: git-annex 5.20140831

Added by JoeyHess, Sun Aug 31 20:45:15 UTC 2014.

manage files with git, without checking their contents into git

Computer Science: Theory and Application: What does 8080 instruction DAA do?

I'm working on an 8080 simulator, and so far the only instruction I really don't understand is DAA (decimal adjust accumulator). Can anyone explain this bad boy to me?

submitted by legallyfucked
[link] [2 comments]

Hackaday: Flying a Drone with an Oculus Rift 


Controlling autonomous vehicles remotely with the use of virtual reality headsets seems like an obvious next step. Already, a few UAV companies have begun experimenting with these types of ideas by integrating Oculus Rift developer kits into their hovering quadcopters and drones. Parrot released a video on their blog showing that they developed a head-tracking system for their Bebop Drone in an effort to bring FPV flights to fruition. It looks like a lot of fun and we want to try one of these out asap!

As for technical specifications, they can be found in the YouTube description of the video embedded below. A quick glance showed that the operating system is based on Android and uses WiFi to connect the handheld tablet to the autonomous vehicle floating above. The range is a whopping 2km, giving plenty of freedom to explore. Moving one’s head swivels the attached camera giving a more immersive flying experience.

This isn’t the first example of FPV drones that we have seen. Previously, we covered an Oculus Rift + Head Tracking setup and another similar integration with a Black Armor Drone. We are bound to see virtual reality equipment used to control drones more and more as developers get their hands on cutting edge hardware like the Oculus developer kit 2 hardware which is currently shipping.


Filed under: drone hacks

silk and spinach: Sinatra/Heroku microservices

I spent some of this weekend working on a side project. It began as a monolithic Sinatra app, then became two apps, and then finally the design settled on five microservices. At some point in this evolutionary journey I had a separate git repository for each microservice. But some of them wanted to share code, so I also had yet another git repository for each shared library, with the shared code included via git submodules.

This was a nightmare to work with, particularly as all of these git repositories were evolving simultaneously. So I wondered whether I could have a single git repository containing the code for all five microservices. But then how could I deploy them as separate Heroku apps? The answer lies in this Heroku article about managing multiple environments:

For simplicity, imagine we have a single git repository containing two Sinatra apps, stored in app_a.rb and app_b.rb. First, create a heroku app for each:

$ heroku create --remote app_a
$ heroku create --remote app_b

Now set an environment variable in each, telling it which of the two apps it is:

$ heroku config:set WHICH_APP=app_a --remote app_a
$ heroku config:set WHICH_APP=app_b --remote app_b

And finally in I configure Rack to start the app that matches the environment variable in each instance:

require 'rubygems'

service = ENV['WHICH_APP']

if ['app_a', 'app_b'].include?(service)
  require File.join(File.dirname(__FILE__), service
  run Sinatra::Application
  abort "Unknown microservice '#{service}'"

Now, when I push to Heroku:

$ git push app_a master
$ git push app_b master

each Heroku app will launch a different Sinatra app.

new shelton wet/dry: ‘It belongs to the imperfection of everything human that man can only attain his desire by passing through its opposite.’ –Kierkegaard

Take the Danes, for instance. True, they claim to be the happiest people in the world, but why no mention of the fact they are second only to Iceland when it comes to consuming anti- depressants? […] The Danes also have the highest level of private debt in the world (four times as much as [...]

TheSirensSound: You Feel Like Memories

You Feel Like Memories - Profile

Todi, Itali

You Feel Like Memories is a Post-Rock duo from Todi, Italy. The project took shape in June 2014 and the band have released their debut EP “Just Before The Sunset” on the 27/07/2014. [ You Feel Like Memories ] are independent and the whole EP was recorded, mixed and mastered in their home studio during June 2014. They have already written new music and another EP or Album is in pipeline.

The Duo

Lorenzo Pompili
and Matteo Guarnello

“Just Before The Sunset” is a five track EP, inspired by instrumental post-rock music and by the beauty of nature, that never ceases to amaze us with the breathtaking phenomenon of the sunset.

< < < < < [ [ BANDCAMP ] | [ FACEBOOK ] ]. > > > > >

You Feel Like Memories - Just Before Sunset

Artist – You Feel Like Memories
Album – Just Before The Sunset
Release Date – 2014
Genre – Ambient, Instrumental, Post-rock [ EXCELLENT STUFF ]


1. VI 04:41
2. LXII 05:47
3. XVI 06:57
4. LXV 06:22 | 5. II 02:39
You Feel Like Memories – Just Before The Sunset

You Feel Like Memories

TheSirensSound: Hanetration

Hanetration Profile

Short quotes from various sites / web-zine are straight to the point, concise, direct, relevant and upfront… the music speaks for itself on this one. MEGA EXPERIMENTAL GLITCH-CORE that comes out extremely appealing and pleasant. [ Hanetration ] attributes more than just glitch element as it portrait the meaning of sound and vibes through an unspeakable trance. If you fancy the likes of [ Oyaarss ] ~ [ Improving Silence "Mixes" ], [ Amon Tobin ], [ Nitrada ], [ Subheim ], [ Rena Jones ] and [ Murcof ] then consider yourself in for a superb treat.

[ Mixtape Episode 8 ] comes from London based producer Hanetration who’s Tenth Oar EP is currently being circulated around the music blog-verse. Needless to say, we were hipping it long before anyone else was. This is an astonishing project, playing for 1 hour and 4 mins, and cross-fading many of the tracks brilliantly. Modestly describing it as “objectively spectacular” Hantetration, who still remains anonymous has the following say:

I focused on the records I was playing around the time I made the Tenth Oar EP, and which may have influenced its sound. It’s effectively a bunch of drones, glitches and sound collages, but there’s real variation in there; some amazing textures, tones, rhythms and melodies. Plus a Malian kora/cello duet, a bagpipe solo and an improvisation by a five-year-old elephant.” In other words, something for everyone.


2014 – Murmurist EP
2013 – Timelapse EP
2013 – Nae Troth EP
2012 – Torn Heat EP
2012 – Tenth Oar EP
2012 – Mixtapes Series 8

Over the course of two and half years we’ve all had the privilege to be treated with plenty of fresh materials from a number of monikers, out of which one of them is [ Hanetration ], fresh materials per-se… referring to drone-ambient pieces through a stable’s full sonic range. From the experimental part of a journey to the everlasting slow-motion decaying textures [ Hanetration ] warmth and glowing vibrant on “Murmurist” is not disappointing at all to the absolute generation of minimal-ambient producers. Check out ‘bigin’, ‘morning’, ‘wither’, check out the whole EP for a mega treat.

< < < < < [ [ FACEBOOK ] | [ YOUTUBE ][ BANDCAMP] ]. > > > > >

Hanetration - Murmurist EP

Artist – Hanetration
Album – Murmurist [ * * * * * ]
Release Date – 2014
Genre – Minimal, Ambient, Drone, Post-rock, Ambientscape [ PERFECT AS USUAL ]


1. Morning 05:19
2. Begin 04:38
3. Fly 00:36
4. Wither 04:05
5. Sundown 06:53
Hanetration – Murmurist


Hanetration - Timelapse

Artist – Hanetration
Album – Timelapse EP
Release Date – 2013
Genre – Minimal, Ambient, Drone, Post-rock, Ambientscape [ PERFECT AS USUAL ]


1. Moon 05:40
2. Thought 01:26
3.Opal 05:09
4.Square 01:15
5.Sleep 07:12
Hanetration – Timelapse EP


Hanetration - Nae Troth EP

Artist – Hanetration
Album – Nae Troth EP
Release Date – 2013
Genre – Minimal, Ambient, Drone, Post-rock, Ambientscape [ PERFECT AS USUAL ]


1. Nae Troth 22:44
Hanetration – Nae Troth EP


Artist – Hanetration
Album – Torn Heat [ EP ] [ * * * * * ]
Release Date – 2012
Genre – Minimal, Ambient, Drone, Post-rock, Ambientscape [ PERFECT AS USUAL ]


1. Jurassic 03:47
2. Splinter 06:19
3. Sixth 04:31
4. Flicker 06:25
Hanetration – Torn Heat [ EP ]


Artist – Homeless Mind Theory [ Hanetration ]
Album – Mixtapes Series 8
Release Date – 2012
Genre – Ambient, Drone, Experimental, Classical [ BRILLIANT VA ]


01. Asa-Chang & Junray – Hana
02. Susanne Brokesch – Verschuviegene Liebe
03. Andrew Pekler – Dim Star
04. Dawid Szczesny – Hook Up
05. Thai Elephant Orchestra – Phong’s Solo
06. Yoshimio – Taiii
07. Same Actor – Sharp Edges
08. David Watson – Echo
09. Frog Pocket – Oben
10. Németh – Soprus
11. Christ – Pylonesque (Broken Mix)
12. C-Schulz – Flimm II
13. Tilman Ehrhorn – Silver Mate
14. Ballaké Sissoko & Vincent Segal – Wo Yé N’Gnougobine
15. Neina – Equivocal
16. Hanetration – Rufus
17. Kim Hiorthøy – Forskjellige Gode Ting
STREAM Homeless Mind Theory [ Hanetration ] – Mixtapes Series 8
DOWNLOAD Homeless Mind Theory [ Hanetration ] – Mixtapes Series 8

Artist – Hanetration
Album – Tenth Oar EP [ * * * * * ] X 10
Release Date – 2012
Genre – Experimental, Instrumental, Glitch, Glitch-core, Tribal, Glitchscape, Ambient, Ambientscape, Post-rock, Minimal, Abstract-ambient [ EXTREMELY BEAUTIFUL / SUPERB LISTEN ]


1. Rex 05:17
2. Alarm 05:30
3. Rufus 07:11
4. Wreck 04:54
Henetration – Tenth Oar EP


TheSirensSound: fydhws

fydhws profile

[ Теми и Идеи ] is the side project [ fydhws ]. He has been working on this project for the past six months. [ Теми и Идеи ] translated as (Themes and Ideas) and taking a radical turn to neo-classical style. [ The Rigged Orchestra ] got nothing to do with drones, noise, ambient, or guitars although the compositions were developed on acoustic guitar. Go get it guys it’s an amazingly beautiful album.

This is zero-frills rock, (sort of, not really): guitar, bass, drums, a pedal board, the occasional piano. Wordless and unorthodox, it is nevertheless clear there is a plot to all of this — a screen full of character actors, menace, and resolution — you just won’t be able to divine it. Distorted, unjagged guitar; bass drum worship, air raid dissonance, and unabashed ironworking. It’s difficult to remember a hard rock project so fiercely independent, one so tirelessly devoted to discovery.  __[ Review by "The Muse In Music"  ].

Minimalistic, very slowly progressing primal sonic atoms, threatening infiltrating drone overthrows, static krautrock effects, and a kind of sound which comes very close to the sound-art-like approach. Knob-screwers` output indeed. __[ Review by "Recent music heroes" ].

There’s a lot of experimentation on show with musical boundaries pushed in every way possible. On top of this is a lot of layering in sounds creating a all encompassing atmosphere that drags you right into the middle of the sound and doesn’t let you out until it’s over… __[ Review by "Tomatrax" ].

[ The Sound "Four Movements In The Key Of D" ] is a diametric opposite of the previous album [ 9 ] in terms of style and atmosphere but as with the previous releases, this album also follows the same idea of continuity and conceptual work of composition and presentation of the music as a type of symbiotic relationship between the movements. The album is meant to be played without pauses in between tracks and as one continuous flow of the 4 movements.

NOTE: The Following albums are available for downloaded by request via mail, on the artist Bandcamp contact form. Those are some seriously good albums, you might want to consider dropping the artist a line for a free download link. Truth be told ALL releases by [ fydhws ] or [ Теми и Идеи ] are absolutely gorgeous.

Impresii, II
Split ( aiRless pRoject )
Split ( BC_Ranger & Gravity End )

< < < < < [ [ BandCamp ] | [ Last.Fm ] ]. > > > > >

fydhws - The Sound

Artist – fydhws
Album – The Sound ( Four Movements In The Key Of D ) [ * * * * * ]
Release Date – 2014
Genre – Instrumental, Experimental, Noise, Drone, Experimental-noise, Drone-noise [ EXQUISITE ]


1. Movement 1 (Light Wave) 06:47
2. Movement 2 (Ocean’s Deep) 18:16
3. Movement 3 (Mountain) 09:56
4. Movement 4 (The Timbre) 07:15
fydhws – The Sound ( Four Movements In The Key Of D )


fydhws - 9

Artist – fydhws
Album – 9
Release Date – 2013
Genre – Instrumental, Experimental, Noise, Drone, Experimental-noise, Drone-noise [ EXQUISITE ]


1. Проникни! 04:57
2. Ништо не е како што беше, а пак е исто 03:05
3. Собир на 1000 птици 02:39
4. Мост 02:21
5. Ѕвездена прашина 03:52
6. Ветришта 03:40
7. Приспивна песна 04:30
8. Соништа на Летните денови 07:24
9. Зајди! 07:11
fydhws – 9


fydhws - Lament for all alive rock stars

Artist – fydhws
Album – Lament For All Alive Rock Stars
Release Date – 2013
Genre – Instrumental, Experimental, Noise, Drone, Experimental-noise, Drone-noise [ EXQUISITE ]


1. Surf Drone 06:00
2. The Sprawl 18:26
3. MU Sound Laboratories – Stardust (Alpha Centauri Mix) 13:14
fydhws – Lament For All Alive Rock Stars


Artist – Теми и Идеи
Album – The Rigged Orchestra [ * * * * * ] X2
Release Date – 2012
Genre – Classical, Contemporary-classic, Neo-classical, Orchestre, Instrumental [ ABSOLUTELY GORGEOUS ]


1. The Rigged Orchestra I 03:54
2. Бран 04:45
3. Зрак 02:00
4. Sonus Novicius 02:10
5. За негде, ама за каде? 04:33
6. Простор 03:44
7. The Rigged Orchestra II 02:52
Теми и Идеи – The Rigged Orchestra


fydhws - Early Recordings V​.​2 Fictions

Artist – fydhws
Album – Early Recordings V​.​2 Fictions
Release Date – 2011
Genre – Instrumental, Experimental, Noise, Drone, Experimental-noise, Drone-noise [ EXQUISITE ]


1. Минимализам 15:40
2. VI 04:34
3. Part 03 16:23
4. Fourth Step 17:18
fydhws – Early Recordings V​.​2 Fictions


fydhws - Eden i Dva

Artist – fydhws
Album – Eden i Dva
Release Date – 2010
Genre – Instrumental, Experimental, Noise, Drone, Experimental-noise, Drone-noise [ EXQUISITE ]


1. Prva 09:03
2. Vtora 08:55
fydhws – Eden i Dva


TheSirensSound: Cestine

Cestine Profile

Together, Dominic Coppola and Theodore Schafer form the experimental/ambient duo that is Cestine. This two song cassette showcases two lengthy tracks of minimal ambiance that is performed with such a mature sense of timing and restraint, where the natural dynamics of the compositions just flow. Cestine locks into warm sounds of droney waves and builds upon layers in such a subdued manner that one is enveloped in a calm of manipulated synth drones, and honed improvisation.

Not a single sound ever feels rushed or cluttered-even the field recordings explored are done so in a manner that is not obtrusive to the overall aura of the work. The spaciousness achieved by Cestine reminds of the work of Widesky, R. Sawyer or Steve Reich. “Other Half/Bright Encounter” is an immersive, introspective experience that commands a listener’s attention to fully appreciate but at the same time doesn’t give into the lure of lengthy, self indulgent forays sound experimentation but rather a more focused and refined sense of minimal composition. “Other Half/Bright Encounter” is limited to an edition of 40 cassettes (home dubbed in real time) packaged in full color, numbered j-cards and stamped labels. This is Rok Lok Records #97

Released 13 August 2014
On Rok Lok Records
Mastered by Jeff Swearengin

< < < < < [ [ BANDCAMP ] | [ FACEBOOK ] ]. > > > > >

Cestine - Other Half & Bright Encounter

Artist – Cestine
Album – Other Half​/​Bright Encounter [ * * * * * ]
Release Date – 2014
Genre – Ambient, Instrumental, Minimal, Drone, Experimental [ EPIC ]


01 – Other Half​
02 – Bright Encounter
Cestine – Other Half​/​Bright Encounter


Cestine - Pressed

Artist – Cestine
Album – Pressed [ * * * * * ]
Release Date – 2013
Genre – Ambient, Instrumental, Minimal, Drone, Experimental [ EPIC ]


1. Pressed 12:38
2. Lost In The Silver Ball 07:22
3. Soil / Nocturne In D Major, Op. 1 18:18
Cestine – Pressed


OCaml Planet: Shayne Fletcher: Terms With Variables (C++)

Terms with Variables (C++)

In this earlier post I showed a nifty OCaml type for modeling terms with variables for problems involving substitutions. I got interested in what it would take to implement the type in C++(03) (doing 'sum' types in C++ elegantly is a perennial problem). It ain't nowhere near as succinct but we got there nonetheless.

#include <list>

#include <boost/variant.hpp>

type ('a, 'b) term =
| Term of 'a * ('a, 'b) term list
| Var of 'b

template <class A, class B> struct term;
template <class B> struct var;

template <class A, class B>
struct make_tree
typedef boost::variant <
boost::recursive_wrapper<term <A, B> >,
boost::recursive_wrapper<var<B> > > type;

template <class A, class B>
struct term
typedef typename make_tree <A, B>::type tree;
A a;
std::list <tree> children;
term (A a
, std::list<tree> const& children)
: a (a), children (children)

template <class A, class B>
inline term <A, B> make_term (
A a, std::list<typename make_tree<A, B>::type> const& c, B const*)
return term<A, B> (a, c);

template <class B>
struct var
B tag;
var (B tag) : tag (tag) {}

template <class B>
inline var<B> make_var (B tag) { return var<B> (tag); }
For example, this little program builds the term represented by the concrete syntax "a(b(), c)".

int main ()
typedef make_tree<std::string, std::string>::type tree;
typedef std::list<tree> term_list;
std::string const* tag_str=(std::string const*)0L;

// a(b(), c)
term_list l;
l.push_back (make_term(std::string("b"), term_list (), tag_str));
l.push_back (make_var(std::string("c")));
tree t = make_term(std::string("a"), l, tag_str);

return 0;

Hackaday: A Remote Controlled, Fully Functional, Steam Powered Tank

Steam Powered Tank for the 21st Century

Steam power anything these days is pretty cool, but rarely have we ever seen such a complex build as this steam powered, remote controlled 1/16th scale tank.

[Ian] is an electronics design engineer whose hobbies include messing around with steam power. The Steam Turret Tank is based on a 1/16th scale Tamiya King Tiger die-cast model tank. It features a 3.5″ diameter marine boiler from MaccSteam, which is a fully equipped miniature version of a real boiler, complete with pressure gauges, safety valves, and a ceramic burner. It can produce pressures of up to 70PSI (max 120PSI), but for this project, [Ian] is limiting it to around 30PSI.

A small 2″ diameter fuel tank contains a propane mixture to fuel the boiler. Two Regner 40451 Piccolo steam engines make up the drive train, with mechanical linkages controlled by servos to engage the various features. The tank can go forward, backward, spin in place, and the turret can both rotate and adjust trajectory. It also has controllable headlights, and can even “fire” the turret.

He’s put an amazing amount of detail into his build log, so much that you could potentially recreate this — if you were determined enough.

Believe it or not, this isn’t actually the first steam powered tank we’ve shared, but it’s probably the nicest. Though the steam powered hexapod is pretty cool too…

Filed under: wireless hacks

Computer Science: Theory and Application: Conflating CS with Business/IT and the Merits of a CS Education

submitted by Kambingx
[link] [19 comments]

Emery Blogger: Washington Post, Take Down This Article!


The Washington Post just published an article from a kid claiming he graduated at the top of his class at Penn State in Computer Science but couldn’t find a job. But his description of Computer Science classes is completely disconnected from reality. Turns out, he graduated with a degree in Management Information Systems (a business degree) and not from the Penn State any reasonable person would assume, but rather a satellite campus. All this info is right on the dude’s own LinkedIn page and a previous version of the article from Sept. 2013. Washington Post, Take Down This Article!

[This was initially publicly posted on Facebook here:]

Some comments posted by my fellow Computer Science colleagues:

Daniel Ángel Jiménez This kind of garbage causes lots of confusion. At my last job, almost all of the complaints from local industry about our CS graduates turned out to actually be about morons from the business school.


Shriram Krishnamurthi “Correction: An earlier version of this story’s headline misidentified what the author studied. It has been corrected.” They changed “engineering” to “computer science”. Thanks, WaPo!


Rob Ennals It seems that whenever I read a media article about something I actually know about, there is something fundamentally wrong with their understanding of the situation. This makes me worry about the accuracy of the information I’m getting about things I’m not knowledgable about.


Emery Berger He laments “they’re looking for employees who can actually do things – like build iPhone apps…. I wish I’d been taught how to do those things in school, but my college had something different in mind.”

PSU offers CMPSC 475, WHICH TEACHES iOS PROGRAMMING.…/courses/C/CMPSC/475/201314SP


Tao Xie Another very important piece of information (from the original earlier post:…/heres_why_why_more_and_more…), “When I graduated from PSU’s Harrisburg campus in May, ….” This kid graduated from PSU Harrisburg Campus, **NOT** the State College campus!! There are 24 campuses of PSU ( and some campuses can have not that good quality of education, just like the situation in other states’ public state universities. Note that the Washington Post article (carefully?) “rephrased” the above quoted sentence to be “When I graduated from Penn State a year ago, …” smh..


Stephen A. Edwards Breathtaking naivete on display in this column. I have no idea what he was studying: any CS graduate shouldn’t have any idea about the difference between advertising and marketing.

His lament about all the programming languages and tools I learned were years out of date is also laughable. Of course they’re out of date: everything in CS is more-or-less instantly. The thing is to make sure you understand the basic concepts so you can learn the new stuff faster.

But I really got a chuckle about his suggestion that we be more lax about academic standards and hire better businesspeople. Absolutely that will improve the quality of your education, no question. Blog: Geiger Counter


A Geiger counter, also called a Geiger-Muller (GM) counter, is a type of particle detector that measures ionizing radiation. It detects the emission of nuclear radiation: alpha particles, beta particles, and gamma rays by the ionization produced in a low-pressure gas in a Geiger-Muller (GM) tube, which gives its name to the instrument.

A High Voltage generator (U1, U2, Q1, T1, and associated components) powers a GM tube. A pulse from the GM tube is interfaced through Q2 and U1 to pulse-generator U3, which drives a speaker.

Geiger Counter - [Link] Blog: IKEA Samtid mood-light upgrade


madworm writes:

Just wanting to share one of my latest projects, made possible by DirtyPCBs. I got a lot of good boards (actually 2 designs) and saved 25$ using this service. Very nice.
It’s a simple thing, just a micro (ATmega168) + a bunch of WS2812B LEDs. Main purpose: more colours :-)
It’s meant to fit nicely into IKEA Samtid lamps, runs with 5V DC and takes up to 2.75A. The control module is removable, so one doesn’t have to rip the lamp apart every time you change code. I used microMaTch connectors, as they’re somewhat low profile, at least compared to standard headers, and provide quite good mechanical support.


IKEA Samtid mood-light upgrade - [Link] Blog: 120 Seconds Voice Record – Play Back


This project is a message recording board capable of recording 120 secs of audio. This project is designed around ISD25120 which can store 120 Seconds audio. Recording and playback operations are controlled with tact switches. The kit has an onboard microphone and LED to indicate the functions of Play and Recording. IC has a re recordable non-volatile memory which means that the message will be stored even after the units are turned off and even when it is turned on again.

120 Seconds Voice Record – Play Back - [Link]

Computer Science: Theory and Application: ZehJuggler - Hacker Challenge - Part 1 - Zeh Images -

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[link] [comment]

All Content: What It Means "To Be Takei"


As a sometime theater critic, I try not to play for tickets and I rarely sit in the front row, but for George Takei's musical "Allegiance" I made an exception in 2012. That was not because I was a fan of "Star Trek: The Original Series" or because I follow George Takei on Facebook.

I was back in Balboa Park San Diego, the place where I learned to love theater, because an elderly relative wished to see the show. I don't remember ever attending theater, particularly the Old Globe, with her, but it was something she wanted to do, and something I could do to repay all of her past kindnesses. The show would have never made it to the Old Globe without Takei, and ,if not for this musical, it's unlikely that the documentary "To Be Takei" would have been made.

Before you went into the theater, you could look at artifacts from the past—old school yearbooks and photos. I found a photo of a relative who has since passed away. In the photo, he was young and hopeful. I don't remember him that way. History had beaten him down at least in one particular emotional compartment in one particular historical moment.

Franklin D. Roosevelt's Executive Order 9066 on February 19, 1942 came as a reaction to years of yellow perilism and the Dec. 7, 1941 bombing of Pearl Harbor. The order meant to clear the West Coast of Japanese and Japanese Americans, first sending them to temporary relocation camps such as the Santa Anita racetrack where people lived in horse stalls and then to one of ten relocation camps located in various states. The closest was Manzanar, California and the farthest east were two in Arkansas. People lost businesses and precious family heirlooms because they could only take what they could carry.

Being in prison is something I understand one doesn't forget and the internment experience is a hard, divisive matter in the Japanese American community for two generations (the adults and the children) in many ways. In the lobby of the theater in Balboa Park, there was an artistic reminder of the many people who had been in the American internment camps--Japanese nationals who were denied the right to become naturalized citizens and Japanese Americans who were denied the rights extended to other immigrants. Artist Wendy Maruyama had tags that represented each inmate for each camp, gathered and hung together like rootless trees, floating as a ghostly reminder of something that haunts the lives of those who remember.

My relatives were divided into two mental camps: Those who can talk about the internment and those who cannot. The number of people still living who were confined in those Japanese American internment camps dwindles with each passing year. Memories are being both lost and forgotten.

In the camps themselves, a form called the Leave Clearance Application and also known as the loyalty oath was administered in 1943. Two questions divided the Japanese American community into the no-no and the yes-yes. The questions were:       

  • "Are you willing to serve in the armed forces of the United States on combat duty wherever ordered?"
  • "Will you swear unqualified allegiance to the United States of America and faithfully defend the United States from any or all attack by foreign or domestic forces, and forswear any form of allegiance or obedience to the Japanese emperor, to any other foreign government, power or organization?"

The no-no respondents were gathered up and sent to a different camp and ostracized by the yes-yes community for decades after the war ended. The musical "Allegiance" is about one family that was bitterly divided by the questionnaire and is told through flashbacks with George Takei playing the older present-day version of Sam Kimura and in the 1940s the grandfather. Telly Leung plays the young Sam Kimura.

My relative was touched that so many people wanted to hear this story and that the majority of the audience weren't ethnic Asians.

The musical had at least two unintentional consequences: 1) In attempts to promote the musical, George Takei took to social media and became a Facebook celebrity and 2) His prominence likely led director Jennifer M. Kroot (with co-director and editor Bill Weber) to make the documentary "To Be Takei."

In "To Be Takei," we see how being a political prisoner as a child defined George Takei and how that and his confrontation with stereotypes, turned into his political activism. When Takei finally came out in 2005 and got married to his long-time companion, Brad Altman, in 2008, he also became an activist for gay rights and same-sex marriage. To “Be Takei,” either George or Brad, means being political by showing how normal one is and by embracing social issues with grace and a smile.

Although the documentary originally was supposed to end with the opening of "Allegiance" on Broadway, the Allegiance team are still working on finding a venue and crowdsourcing. It would be a pity if it didn't open; it would be a shame if George Takei didn't star in it.

The musical is about the past, a memory play, but it is also about how Americans can sometimes view Asian ethnic groups as never truly American. It's a lesson about the xenophobia and prejudices that surface during wartime and that should be a lesson that is vital and timely since we are a country at war in Iraq and Afghanistan, two Asian countries.

We have seen an escalation of prejudice and hate crimes against people who look like they might be from those areas and toward people of the predominant religion there: Islam. If you think my analogy is too far fetched, then I'll remind people that the late Arab (Lebanese) American Casey Kasem came together with Japanese Americans in Los Angeles when people were suggesting that ethnic Arabs be interned. That was in 1991, during the first Gulf War (Desert Storm) before the current war and before Guantanamo Bay Detention Camp was established in 2002.

To “Be Takei" is to be hard working and optimistic, and I hope that it also means a successful opening and run on Broadway. Blog: Smartphone Nose



Cambridge Sensors Ltd have announced the appointment of the ASE group to assemble and test there latest tiny (currently the world’s smallest) gas sensor. The 2.0mm x 3.0mm cavity DFN package developed together with ASE enables the integration of gas sensors into devices such as smartphones, tablets and wearable devices where it has previously not been physically possible.

The CCS800 product family of ultra-low power miniature gas sensors can be used for detecting Ethanol (Alcohol) and hazardous gases such as Carbon Monoxide (CO) and a wide range of Volatile Organic Compounds (VOCs) including Formaldehyde. According to Fuyu Shih the vice president of ASE Europe: “The Global emergence of sophisticated electronics geared towards improving lifestyle and efficiency is fuelling the sensor market, making it one of the fastest growing areas of innovation within the semiconductor industry”.

Smartphone Nose - [Link] Blog: 2.4V to 5V Step Up DC-DC Converter


This project has been designed around Texas Instrument’s LM2623 IC, The LM2623 is a high efficiency, general purpose step-up DC-DC switching regulator for battery powered and low input voltage systems. It accepts an input voltage between 2.4V to 12V volts and coverts it into 5V DC. Efficiencies up to 90% are achievable with the LM2623.

2.4V to 5V Step Up DC-DC Converter - [Link]

Twitch: Full Disclosure 2014 The Directors Cut: Alfred Hitchcock

This month, the Master of Suspense himself, Alfred Hitchcock would have been celebrating his 115th birthday. But while he shuffled off his mortal coil back in 1980, his legacy remains as healthy as ever thanks to a hugely innovative, influential, enduring and damn entertaining body of work. In a career spanning more than five decades, Hitch directed over 50 features, both in England and Hollywood, worked with the biggest names in the industry, and is still heralded today as one of cinema's greatest ever filmmakers. In honour of the great man, this month's Full Disclosure sees Team Twitch dig deep into Hitchcock's impressive oeuvre and experience some of his varied cinematic offerings for the very first time....

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Potz!Blitz!Szpilman!: Paul McCarthy

Paul McCarthy, Black and White Tapes, 1970–75

Saturday Morning Breakfast Cereal (updated daily): August 31, 2014

Perlsphere: PBP: 037 Constants

Mr. Conway’s book suggests that constants are good but “use constant;” is the wrong way to go about them.  It suggests the Readonly module.  Later commenters have suggested Const::Fast instead.  Feh, I say.

The arguments made against “use constant” are that all cap constants look funny and people are surprised when they don’t interpolate right.  I find this a tenuous argument, as they’re visibly different from variables that do interpolate.

I also dislike the variable-looking constants because they aren’t actually variables any more.  If I try and do things to them that I should be able to do to variables, the program will crash, usually at run-time.

The book suggests creating a constant – a variable that isn’t actually a variable, mind you – for the empty string, as it will be less ambiguous than a set of empty quotes, and more familiar to a less-experienced engineer than the ugly q{} notation.  Except they’ll all be different – there isn’t a standard, so we’ll have $BLANK, $EMPTY_STRING, $EMPTY, $NULL, $QUOTEQUOTE, and any number of other wacky variants that different engineers come up with.  Boo!  Use an empty string and be done!

I like constants, and think they should be used.  I think putting things in constants helps make programs more readable and prevents gobs of magic numbers from making expressions unfathomable.  But I don’t like the mechanisms offered by the book, when the language comes with a perfectly usable mechanism to create constants.

I disable the perlcritic complaint about use constant.  Sometimes I disable or reconfigure the one about constants in general.  The lack of -1 in the list of acceptable constants bites me often.  Let’s invert the sign!  Whoops, can’t multiply by -1, that’s not allowed.  Let’s get the last item in a string!  Whoops, -1 isn’t allowed.  I often add that to the list of allowed constants.

All Content: Telluride 2014: Personal Politics in "Rosewater," "Tales of the Grim Sleeper"


The political is personal, and all pervasive, as revealed over and over as we move to the first full day of screenings at the 41st edition of this year's festival. The mode of political inquiry, moral, aesthetic and existential is recurrent in the early works shown here.

It is inescapable.

"Rosewater" is the directorial debut of the observant and often lacerating political humorist, sometime actor and "The Daily Show" host Jon Stewart, here adapting the memoir of the Iranian-born author, filmmaker, playwright and journalist Maziar Bahari.

Bahari, who's made his own films about the highly repressive social order and political state of Iran's theocratic rule, was a Newsweek correspondent and political exile living and working in London. Returning to Tehran in 2009 to write about the contested national elections, Bahari was arrested and charged with being a subversive, CIA-sponsored spy.

Stewart adapted the memoir and constructs a two-part narrative structure, built on themes of discovery and confinement, as Bahari's contentious family background (his father and sister were both imprisoned for their communist leanings) bleed into the present. Gael Garcia Bernal plays the journalist, and Stewart is not quite able to entirely transcend the aesthetic and narrative complications of casting a Mexican actor in the lead and playing the material in accented English.

Bernal, wiry and engaged, has always been an alert, physically compelling actor and he works through the awkard initial passages with an innate grace and intelligence. Stewart wisely acknowledges the cultural displacement, underlining the character's Western assimilation with a pregnant English wife, and the casting of Bernal exacts its own form of Brechtian distancing.

The first part is intelligently rendered though somewhat bloodless and clinical. Stewart struggles to find a consistent rhythm against the flashback-driven structure of the first half. His personal identification with the material is never questioned.

The film achieves a sharper edge and far greater psychological acuity once Bahari is arrested, cruelly blindfolded and detained in solitary confinement. The movie grows and finds a bleak, sinister and blackly comic absurdity in the political and moral exchanges between Bahari and his interrogator (Kim Bodnia), the blunt jailer and investigator assigned to secure the writer's confession.

Stewart is more comfortable and assured working in the claustrophobic and restricted space of the solitary cell. Bobby Bukowski's volatile and whip-fast cinematography is disruptive as it circles and moves around the two men's bodies, catching glances, moments of pain and vulnerability. Bernal has a dancer's lithe body and supple movements, but it's the interior qualities, the humor, that is the most jolting and immediate.

"Rosewater" is about a collision of ideas, not only of East and West, or even liberal democracy and theocracy, but a divide permanent and probably unresolvable in the conflict between information and security. It's not enough to draw blood, says the interrogator's Stalinist boss. "You must take away his hope." This is a bleak film, in many ways, marked by sorrow and rage. It also adds another impressive layer to the achievements of Jon Stewart.

The British documentary filmmaker Nick Broomfield, like Stewart, has a great journalist's instinct but not always his discretion. His stories of crime, celebrity and political corruption are often fun to watch, but a great many of them have been marred by a fussy, sensational technique that turn too many of his subjects into grotesques worsened by his need to superimpose himself over the material.

No such qualms with his new, and I think, finest work to date, the mesmerizing, chilling and greatly disturbing "Tales of the Grim Sleeper." It's another of his true crime stories, a meditation on race, class, institutional racism and abject horror as he moves around the story of Lonnie Franklin, a South-Central mechanic and purported serial killer, the "Grim Sleeper," who preyed on black, poor women who were prostitutes or drug addicts.

The first victim was traced to 1987, and the movie unearths a staggering and haunting reign of terror. Franklin was arrested four years ago and is awaiting trial in Los Angeles on charges of killing 10 women and whose complete number of victims is unknowable, though it carries into at least 100 women, and more likely a great many more.

Broomfield made the film with his son Barney, the primary camera operator, and his producer, Marc Hoeferlin. He is, thankfully, a more moderated and adjusted presence here, probing and serious but not theatrical or self-regarding. He is an ethnographer, intelligent and open, who brings a bracing perspective and empathy to a struggling though vigilant black underclass suffering from systemic racism, the collapse of the industrial economy and political disenfranchisement.

Pretty much shut out by official government representatives and the the police, Broomfield instead explores the case from the ground up. Less structured around questions of guilt, the movie is drawn to process and form as Broomfield elicits clear-eyed, profane and direct testimony from friends of Franklin's, the bereaved and devastated family of those killed and the grass-roots, civil rights activists who are clamoring for greater official disclosure on the investigation and why the police suppressed valuable evidence from the public for more than two decades in some instances.

The three associates of Franklin have a craggy, lived-in existence of difficulty and personal demons that only accentuates their humanity and desire to find some trace of the rationale and known in trying to explicate his actions. The community activists traffic in rage and powerlessness against a closed-off system.

Stylistically, Broomfield films them in medium close-ups and largely unbroken shots that grants them a grace, dignity and individuality that is absolutely heartbreaking. And a late interview with the only known survivor of the Grim Sleeper is the kind of plea for appreciation and recognition that leaves you broken and choking up.

Most significantly, Broomfield cedes much of the film to the outsized and remarkable personality of Pamela Brooks, a 45-year-old recovering addict and former prostitute who becomes his entry point to the daily textures and rhythms of life in South-Central. Brooks is an enthralling figure, touching, warm, emphatic ("And that's when the shenanigans began," she says at one point) and riotously profane and funny. She offers a depth of characterization without ever forgetting her own private demons.

Even if one did not see this film in the wake of Ferguson, "Tales of the Grim Sleeper" registers like a brutal shock to the system. It is virtually impossible to not be appalled by the lack of transparency by Los Angeles police and prosecutors and how meager were the resources the city and county deployed to identify the severity of the problem.

The film feels a bit overlong and repetitive at times, and my most significant complaint is that Broomfield does not adequately address the earlier work, particularly the astounding journalism produced by LA Weekly, on many of the same material.

Those problems are fairly minor in the context of the film's remarkable achievements. The movie burns in the memory.

Computer Science: Theory and Application: Why don't many languages allow returning multiple values? (i.e., why can we only map to one output?)

In almost every language I've used, functions seem to take on the same general form: One or more inputs are mapped to a single output. There are essentially no restrictions on the input.

So why is it that so many languages don't allow for multiple outputs as well? For example, say a normal function maps to integers (a,b) to a single integer f(a,b), and looks like:

int function(int a, int b) {...} 

Then, what would be the complications involved in mapping a pair of integers (a,b) to another pair (c,d), which might look like:

(int c, int d) function(int a, int b) {...} 

(Note - I know it's possible to abstract the output away to be an n-tuple or something, I'm just wondering why this isn't built in as a primitive construction.)

submitted by dzack
[link] [102 comments] 08.31.2014

New Cyanide and Happiness Comic.

Twitch: Review: DOCTOR WHO S8E02, INTO THE DALEK (Or, They Shrunk The Doctor And Put Him In A Dalek)

Regeneration episodes tend to be anomalies, so Peter Capaldi's second installment as the Doctor was always going to be more telling as to his take on the character. The good news, then, is that he remains brilliant. This Doctor is darker than the last, but he's also just the right mix of sarcastic, weary and hopeful that makes perfect sense for who the character is. His rapport with Clara is already more enjoyable than the dynamic she had with Matt Smith, where they were both taking a similarly hyperactive approach.This episode has a simple premise and little explanation is needed. The Doctor finds himself saving a soldier (Zawe Ashton) who he later learns is fighting against the Daleks. Her comrades have captured a Dalek, and...

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Computer Science: Theory and Application: "No algorithm focused on human behavior is neutral. Anything which is trained on historical human behavior embeds and codifies historical and cultural practices."

submitted by DevFRus
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OCaml Planet: Anil Madhavapeddy: Talks from OCaml Labs during ICFP 2014

It’s the ever-exciting week of the International Conference on Functional Programming again in Sweden, and this time OCaml Labs has a variety of talks, tutorials and keynotes to deliver throughout the week. This post summarises all them so you can navigate your way to the right session. Remember that once you register for a particular day at ICFP, you can move between workshops and tutorials as you please.

Quick links to the below in date order:

Language and Compiler Improvements

The first round of talks are about improvements to the core OCaml language and runtime.

» Modular implicits

Leo White and Frederic Bour have been taking inspiration from Scala implicits and Modular Type Classes by Dreyer et al, and will describe the design and implementation of a system for ad-hoc polymorphism in OCaml based on passing implicit module parameters to functions based on their module type.

This provides a concise way to write functions to print or manipulate values generically, while maintaining the ML spirit of explicit modularity. You can actually get get a taste of this new feature ahead of the talk, thanks to a new facility in OCaml: we can compile any OPAM switch directly into an interactive JavaScript notebook thanks to iocamljs by Andy Ray.

» Multicore OCaml

Currently, threading in OCaml is only supported by means of a global lock, allowing at most one thread to run OCaml code at any time. Stephen Dolan, Leo White and Anil Madhavapeddy have been building on the early design of a multicore OCaml runtime that they started in January, and now have a (early) prototype of a runtime design that is capable of shared memory parallelism.

  • Abstract
  • Date: 09:10-10:00, OCaml Workshop, Fri Sept 5th

» Type-level Module Aliases

Leo White has been working with Jacques Garrigue on adding support for module aliases into OCaml. This significantly improves the compilation speed and executable binary sizes when using large libraries such as Core/Async.

» Coeffects: A Calculus of Context-dependent Computation

Alan Mycroft has been working with Tomas Petricek and Dominic Orchard on defining a broader notion of context than just variables in scope. Tomas will be presenting a research paper on developing a generalized coeffect system with annotations indexed by a correct shape.

  • Paper
  • Date: 16:30-17:20, ICFP Day 1, Mon Sep 1st.

 Mirage OS 2.0

We released Mirage OS 2.0 in July, and there will be several talks diving into some of the new features you may have read on the blog.

» Unikernels Keynote at Haskell Symposium

Since MirageOS is a unikernel written entirely in OCaml, it makes perfect sense to describe it in detail to our friends over at the Haskell Symposium and reflect on some of the design implications between Haskell type-classes and OCaml functors and metaprogramming. Anil Madhavapeddy will be doing just that in a Friday morning keynote at the Haskell Symposium.

  • Haskell Symposium Program
  • Date: 0900-1000, Haskell Symposium, Fri Sep 5th.

» Transport Layer Security in OCaml

Hannes Menhert and David Kaloper have been working hard on integrating a pure OCaml Transport Layer Security stack into Mirage OS. They’ll talk about the design principles underlying the library, and reflect on the next steps to build a TLS stack that we can rely on not to been more insecure than telnet.

  • Abstract
  • Date: 10:25-11:20, OCaml Workshop, Fri Sep 5th.

Hannes will also continue his travels and deliver a couple of talks the week after ICFP on the same topic in Denmark, so you can still see it if you happen to miss this week’s presentation:

  • 9th Sep at 15:00, IT University of Copenhagen (2A08), details
  • 11th Sep Aarhus University, same talk (time and room TBA)

» Irmin: a Branch-consistent Distributed Library Database

Irmin is an OCaml library to persist and synchronize distributed data structures both on-disk and in-memory. It enables a style of programming very similar to the Git workflow, where distributed nodes fork, fetch, merge and push data between each other. The general idea is that you want every active node to get a local (partial) copy of a global database and always be very explicit about how and when data is shared and migrated.

This has been a big collaborative effort lead by Thomas Gazagnaire, and includes contributions from Amir Chaudhry, Anil Madhavapeddy, Richard Mortier, David Scott, David Sheets, Gregory Tsipenyuk, Jon Crowcroft. We’ll be demonstrating Irmin in action, so please come along if you’ve got any interesting applications you would like to talk to us about.

  • Abstract
  • Blog Post
  • Date: 15:10-16:30, Joint Poster Session for OCaml/ML Workshop, Fri Sep 5th 2014.

» Metaprogramming with ML modules in the MirageOS

Mirage OS lets the programmer build modular operating system components using a combination of OCaml functors and generative metaprogramming. This ensures portability across both Unix binaries and Xen unikernels, while preserving a usable developer workflow.

The core Mirage OS team of Anil Madhavapeddy, Thomas Gazagnaire, David Scott and Richard Mortier will be talking about the details of the functor combinators that make all this possible, and doing a live demonstration of it running on a tiny ARM board!

  • Abstract
  • Date: 14:50-15:10, ML Workshop, Thu Sep 4th 2014.

» CUFP OCaml Language Tutorial

Leo White and Jeremy Yallop (with much helpful assistance from Daniel Buenzli) will be giving a rather different OCaml tutorial from the usual fare: they are taking you on a journey of building a variant of the popular 2048 game in pure OCaml, and compiling it to JavaScript using the js_of_ocaml compiler. This is a very pragmatic introduction to using statically typed functional programming combined with efficient compilation to JavaScript.

In this tutorial, we will first introduce the basics of OCaml using an interactive environment running in a web browser, as well as a local install of OCaml using the OPAM package manager. We will also explore how to compile OCaml to JavaScript using the js_of_ocaml tool.

The tutorial is focused around writing the 2048 logic, which will then be compiled with js_of_ocaml and linked together with a frontend based on (a pre-release version of) Useri, React, Gg and Vg, thanks to Daniel Buenzli. There’ll also be appearances from OPAM, IOCaml, Qcheck and OUnit.

There will also be a limited supply of special edition OCaml-branded USB sticks for the first tutorial attendees, so get here early for your exclusive swag!

» The OCaml Platform

The group here has been working hard all summer to pull together an integrated demonstration of the new generation of OCaml tools being built around the increasingly popular OPAM package manager. Anil Madhavapeddy will demonstrate all of these pieces in the OCaml Workshop, with guest appearances of work from Amir Chaudhry, Daniel Buenzli, Jeremie Diminio, Thomas Gazagnaire, Louis Gesbert, Thomas Leonard, David Sheets, Mark Shinwell, Christophe Troestler, Leo White and Jeremy Yallop.

The OCaml Platform combines the OCaml compiler toolchain with a coherent set of tools for build, documentation, testing and IDE integration. The project is a collaborative effort across the OCaml community, tied together by the OCaml Labs group in Cambridge and with other major contributors.

» The 0install Binary Installation System

Thomas Leonard will also be delivering a separate talk about cross-platform binary installation via his 0install library, which works on a variety of platforms ranging from Windows, Linux and MacOS X. He recently rewrote it in OCaml from Python, and will be sharing his experiences on how this went as a new OCaml user, as well as deliver an introduction to 0install.

  • Abstract
  • Date: 10:25-10:50, OCaml Workshop, Fri Sep 5th 2014.

» Service and Socialising

Heidi Howard and Leonhard Markert are acting as student volunteers at this years ICFP, and assisting with videoing various workshops such as CUFP Tutorials, Haskell Symposium, the Workshop on Functional High-Performance Computing and the ML Family Workshop. Follow their live blogging on the Systems Research Group SysBlog and leave comments about any sessions you’d like to know more about!

Anil Madhavapeddy is the ICFP industrial relations chair and will be hosting an Industrial Reception on Thursday 4th September in the Museum of World Culture starting from 1830. There will be wine, food and some inspirational talks from the ICFP sponsors that not only make the conference possible, but provide an avenue for the academic work to make its way out into industry (grad students that are job hunting: this is where you get to chat to folk hiring FP talent).

This list hasn’t been exhaustive, and only covers the activities of my group in OCaml Labs and the Systems Research Group at Cambridge. There are numerous other talks from the Cambridge Computer Lab during the week, but the artistic highlight will be on Saturday evening following the CUFP talks: Sam Aaron will be doing a live musical performance sometime after 8pm at 3vaningen. Sounds like a perfect way to wind down after what’s gearing to up to be an intense ICFP 2014. I look forward to seeing old friends and making new ones in Gothenburg soon!

Planet Lisp: Christophe Rhodes: backquote and pretty printing

There was a bit of a kerfuffle following the 1.2.2 release of SBCL, regarding the incompatible change in the internals of the backquote reader macro.

Formally, implementations can choose how to implement the backquote reader macro (and its comma-based helpers): the semantics of backquote are defined only after evaluation:

An implementation is free to interpret a backquoted form F1 as any form F2 that, when evaluated, will produce a result that is the same under equal as the result implied by the above definition, provided that the side-effect behavior of the substitute form F2 is also consistent with the description given above.

(CLHS 2.4.6; emphasis mine)

There are also two advisory notes about the representation:

Often an implementation will choose a representation that facilitates pretty printing of the expression, so that (pprint '`(a ,b)) will display `(a ,b) and not, for example, (list 'a b). However, this is not a requirement.

(CLHS; added quote in example mine), and:

Implementors who have no particular reason to make one choice or another might wish to refer to IEEE Standard for the Scheme Programming Language, which identifies a popular choice of representation for such expressions that might provide useful to be useful compatibility for some user communities.

(CLHS; the Scheme representation reads `(foo ,bar) as (quasiquote (foo (unquote bar))))

The problem the new implementation of backquote is attempting to address is the first one: pretty printing. To understand what the problem is, an example might help: imagine that we as Common Lisp programmers (i.e. not implementors, and aiming for portability) have written a macro bind which is exactly equivalent to let:

(defmacro bind (bindings &body body)
  `(let ,bindings ,@body))

and we want to implement a pretty printer for it, so that (pprint '(progn (bind ((x 2) (z 3)) (if *print-pretty* (1+ x) (1- y))))) produces

  (bind ((x 2)
         (z 3))
    (if *print-pretty*
        (1+ x)
        (1- y))))

What does that look like? Writing pretty-printers is a little bit of a black art; a first stab is something like:

(defun pprint-bind (stream object)
  (pprint-logical-block (stream object :prefix "(" :suffix ")")
    (write (pprint-pop) :stream stream)
    (write-char #\Space stream)
    (pprint-logical-block (stream (pprint-pop) :prefix "(" :suffix ")")
        (write (pprint-pop) :stream stream)
        (pprint-newline :mandatory stream)))
    (pprint-indent :block 1 stream)
    (pprint-newline :mandatory stream)
      (write (pprint-pop) :stream stream)
      (pprint-newline :mandatory stream))))
(set-pprint-dispatch '(cons (eql bind)) 'pprint-bind)

The loop noise is necessary because we're using :mandatory newlines; a different newline style, such as :linear, might have let us use a standard utility function such as pprint-linear. But otherwise, this is straightforward pretty-printing code, doing roughly the equivalent of SBCL's internal pprint-let implementation, which is:

(formatter "~:<~^~W~^ ~@_~:<~@{~:<~^~W~@{ ~_~W~}~:>~^ ~_~}~:>~1I~:@_~@{~W~^ ~_~}~:>")

A few tests at the repl should show that this works with nasty, malformed inputs ("malformed" in the sense of not respecting the semantics of bind) as well as expected ones:

(pprint '(bind))
(pprint '(bind x))
(pprint '(bind x y))
(pprint '(bind (x y) z))
(pprint '(bind ((x 1) (y 2)) z))
(pprint '(bind ((x 1) (y 2)) z w))
(pprint '(bind . 3))
(pprint '(bind x . 4))
(pprint '(bind (x . y) z))
(pprint '(bind ((x . 0) (y . 1)) z))
(pprint '(bind ((x) (y)) . z))
(pprint '(bind ((x) y) z . w))

Meanwhile, imagine a world where the backquote reader macro simply wraps (quasiquote ...) around its argument, and comma likewise wraps (unquote ...):

(set-macro-character #\` (defun read-backquote (stream char)
                           (list 'quasiquote (read stream t nil t))))
(set-macro-character #\, (defun read-comma (stream char)
                           (list 'unquote (read stream t nil t))))

Writing pretty-printer support for that is easy, right?

(defun pprint-quasiquote (stream object)
  (write-char #\` stream)
  (write (cadr object) :stream stream))
(defun pprint-unquote (stream object)
  (write-char #\, stream)
  (write (cadr object) :stream stream))
(set-pprint-dispatch '(cons (eql quasiquote) (cons t null)) 'pprint-quasiquote)
(set-pprint-dispatch '(cons (eql unquote) (cons t null)) 'pprint-unquote)

(ignoring for the moment what happens if the printed representation of object happens to start with a @ or .)

(pprint '(quasiquote (x (unquote y))))

The problem arises when we try to combine these two things. In particular, what happens when we attempt to print backquoted forms:

(pprint '`(bind ,y z))

What we would hope to see is something like

`(bind ,y

but what we actually get is

`(bind (unquote

because each of the bindings in bind is printed individually, rather than the bindings being printed as a whole. And, lest there be hopes that this can be dealt with by a slightly different way of handling the pretty printing in pprint-bind, note that it's important that (pprint '(bind (function y) z)) print as

(bind (function

and not as

(bind #'y

so the only way to handle this is to know the magical symbols involved in backquote and comma reader macros - but that is not portably possible. So, we've come to the point where the conclusion is inevitable: it is not possible for an implementation to support list-structured quasiquote and unquote reader macros and general pretty printing for user-defined operators. (This isn't the only failure mode for the combination of unquote-as-list-structure and pretty-printing; it's surprisingly easy to write pretty-printing functions that fail to print accurately, not just cosmetically as above but catastrophically, producing output that cannot be read back in, or reads as a structurally unequal object to the original.

The new implementation, by Douglas Katzman, preserves the implementation of the backquote reader macro as a simple list, but comma (and related reader macros) read as internal, literal structures. Since these internal structures are atoms, not lists, they are handled specially by pprint-logical-block and friends, and so their own particular pretty-printing routines always fire. The internal quasiquote macro ends up extracting and arranging for appropriate evaluation and splicing of unquoted material, and everything ends up working.

Everything? Well, not quite: one or two programmer libraries out there implemented some utility functionality - typically variable renaming, automatic lambda generation, or similar - without performing a full macroexpansion and proper codewalk. That code was in general already broken, but it is true that in the past generating an example to demonstrate the breakage would have to violate the general expectation of what "normal" Lisp code would look like, whereas as a result of the new implementation of backquote in SBCL the symptoms of breakage were much easier to generate. Several of these places were fixed before the new implementation was activated, such as iterate's #l macro; among the things to be dealt with after the new implementation was released was the utility code from let-over-lambda (a workaround has been installed in the version distributed from github, and there is still a little bit of fallout being dealt with (e.g. a regression in the accuracy of source-location tracking). But overall, I think the new implementation of backquote has substantial advantages in maintainability and correctness, and while it's always possible to convince maintainers that they've made a mistake, I hope this post explains some of why the change was made.

Meanwhile, I've released SBCL version 1.2.3 - hopefully a much less "exciting" release...

Disquiet: via

Interrogative Graffiti

Cross-posted from

Planet Haskell: Philip Wadler: Howard on Curry-Howard

When writing Propositions as Types, I realised I was unclear on parts of the history. Below is a letter I wrote to William Howard and his response (with corrections he provided after I asked to publish it). I believe it is a useful historical document, and am grateful to Howard for his permission to publish.

Update. References to Figures 5 and 6 in the following are to Propositions as Types. Thanks to Ezra Cooper for pointing out this was unclear.

Here is my original request.

Subject: The Formulae-as-Types Notion of Construction

Dear Prof Howard,

My research has been greatly influenced by your own, particularly the paper cited in my subject. I am now writing a paper on the field of work that grew out of that paper, which was solicited for publications by the Communications of the ACM (the flagship of the professional organisation for computer scientists). A draft of the paper is attached.

I would like to portray the history of the subject accurately. I have read your interview with Shell-Gallasch, but a few questions remain, which I hope you will be kind enough to answer.

Your paper breaks into two halves. The first describes the correspondence between propositional logic and simple types, the second introduces the correspondence between predicate logic and dependent types. Did you consider the first half to be new material or merely a reprise of what was known? To what extent do you consider your work draws on or was anticipated by the work of Heyting and Kolmogorov, and Kleene's realisability? To what extent did your work influence the subsequent work of de Bruijn and Martin Lof? What was the history of your mimeograph on the subject, and why was it not published until the Curry Festschrift in 1980?

Many thanks for your consideration, not to mention for founding my field! Yours, -- P

And here is his response: 

Dear Prof. Wadler,

As mentioned in the interview with Shell-Gellasch, my work on propositions as types (p-a-t) originated from my correspondence with Kreisel, who was very interested in getting a mathematical notion (i.e., in ordinary mathematics) for Brouwer's idea of a construction (as explained by Heyting). I was not familiar with the work of Brouwer or Heyting, let alone Kolmogorov, but, from what Kreisel had to say, the idea was clear enough: a construction of  alpha - > beta was to be a construction F which, acting on a construction A of alpha, gives a construction B of beta. So we have constructions acting on constructions, rather like functionals acting on functionals. So, as an approximation,

(1)   let's take "construction" to mean "functional".

But what kind of functionals? In constructive mathematics, a functional is not given as a set of ordered pairs. Rather,

(2)   to give a functional is to give not only the action or process it performs but also to give its type (domain and counterdomain).

Clearly, the type structure is going to be complicated. I set myself the project of finding a suitable notation for the type symbols. So one needs a suitable type symbol for the functional F, above. Well, just take it to be alpha itself (at this point, I was thinking of propositional logic). Suddenly I remembered something that Curry had talked about in the logic seminar during my time at Penn State. If we consider typed combinators, and look at the structure of the type symbols of the basic combinators (e.g., S, K, I), we see that each of the type symbols corresponds to (is isomorphic to) one of the axioms of pure implicative logic. Well! This was just what I needed!

How do we formulate the following notion?

(3)   F is a construction of phi.

Consider the case in which phi has the form alpha - > beta. The temptation is to define "F is a construction of alpha - > beta" to mean "for all A: if A is a construction of alpha, then FA is a construction of beta". Well, that is circular, because we have used if ... then ... to define implication. This is what you call "Zeno’s paradox of logic". I avoided this circularity by taking (3) to mean:

(4)   F is assigned the type phi according to the way F is built up; i.e., the way in which F is constructed.

Thus F is a construction of phi {\em by construction}. Your figure 6 illustrates precisely what I meant by this. (I did not have that beautiful notation at the time but it conveys what I meant.)

To summarize: My basic insight consisted simultaneously of the thoughts (2) and (4) plus the thought that Curry's observation provided the means to implement (2), (4). Let me say this in a different way. The thought (2) was not new. I had had the thought (2) for many years, ever since I had begun to study primitive recursive functionals of finite type. What was new was the thought (4) plus the recognition that Curry's idea provided the way to implement (4). I got this basic insight in the summer of 1966. Once I saw how to do it with combinators, I wondered what it would look like from the vewpoint of the lambda calculus, and saw, to my delight, that this corresponded to the intuitionistic version of Gentzen's sequent calculus.

Incidentally, Curry's observation concerning the types of the basic combinators is presented in his book with Feys (Curry-Feys), but I was unaware of this, though I had owned a copy for several years (since 1959, when I was hired at Penn State). After working out the details of p-a-t over a period of several months, I began to think about writing it up, so I thought I had better see if it is in the book. Well, it is easy enough to find if you know what you are looking for. On looking at it, I got a shock: not only had they extended the ideas to Gentzen's sequent calculus, but they had the connection between elimination of cuts from a derivation and normalization of the corresponding lambda term. But, on a closer look, I concluded that they had {\em a} connection but not {\em the} connection. It turns out that I was not quite right about that either. See my remark about their Theorem 5, below. Not that it would have mattered much for anything I might have published: even if they had the connection between Gentzen's sequent calculus and the lambda calculus, I had a far-reaching generalization (i.e., to Heyting arithmetic).

The above is more detailed than would be required to answer your questions, but I needed to write this out to clarify my thoughts about the matter; so I may as well include the above, since I think it will interest you. It answers one of your questions, "To what extent do you consider your work draws on or was anticipated by the work of Heyting and Kolmogorov, and Kleene's realisability?" Namely, my work draws on the work of Heyting and Brouwer, via Kreisel's explanation of that work to me. None of it was anticipated by the work of Heyting, Kolmogorov or Kleene: they were not thinking of functionals of finite type. Though I was familiar with Kleene's recursive realizability, I was not thinking about it at the time. Admittedly, it touches on ideas about Brouwer's constructions but is far from capturing the notion of a construction (actually, Kleene once made remarks to this effect, I forget where). Because of the relation between constructions and Kleene's recursive realizability, there could have been some unconscious influence; but, in any case, not a significant influence.

"did your work influence the subsequent work of de Bruijn and Martin Lof? " As far as I know, my work had no influence on the work of de Bruijn. His work appears to be completely independent of mine. I do recall that he once sent me a package of Automath material. The project of a computer program for checking existing proofs did not appear very interesting and I did not reply. What I would have been interested in is a program for finding proofs of results that had not yet been proved! Even a proof-assistant would have been fine. Why did he send me the Automath material? I don't recall what year it was. Sometime in the 1970s. Whatever the accompanying letter, it was not informative; merely something like: "Dear Professor Howard, you may be interested in the following material ...". Since that time, I have seen two or three articles by him, and I have a more favorable impression. It is good, solid work. Obviously original. He discovered the idea of derivations as terms, and the accompanying idea of formulae-as-types, on his own. He uses lambda terms but, I think, only for purposes of description. In other words, I don't think that he has the connection between normalization and cut-elimination, but I have not made an extensive examination of his work. In fact, does he use a Gentzen system at all? I just don't know. The latter two questions would easily be answered by anyone familiar with his work. In any case, give him credit where credit is due. There are enough goodies for everyone!

My influence on Martin-Löf? No problem there. I met him at the Buffalo 1968 conference and I told him my ideas. His instant reaction was: "Now, why didn't I think of that?" He had a visiting appointment at UIC for the academic year 1968-1969, so we had lot's of opportunity to talk, and he started developing his own approach to the ideas. In Jan. 1969, mainly to make sure that we were both clear on who had discovered what, I wrote up my own ideas in the form of handwritten notes. By then, Xerox machines were prevalent, so I sent a copy to Kreisel, and he gave copies to various people, including Girard. At least, I think that is how Girard got a copy, or maybe Martin-Löf gave him one. I like Martin-Löf's work. I could say more about this, but the short answer to your question is: Martin-Löf's work originated from mine. He has always given me credit and we are good friends.

On further thought, I need to mention that, in that first conversation, Martin-Löf suggested that the derivations-as-terms idea would work particularly well in connection with Prawitz's theory of natural deduction. I thought: okay, but no big deal. Actually, at that time, I was not familiar with Prawitz's results (or, if at all, then only vaguely). But it was a bigger deal than I had thought, because Prawitz's reductions steps for a deduction correspond direcly to reduction steps for the associated lambda term! Actually, for most purposes, I like the sequent formulation of natural deduction as given in pages 33 and 88 of Sorensen and Urzyczyn (2006). In fact, if we add left-implication-introduction to this (let's confine ourselves to pure implicative logic), the resulting system P# is pretty interesting. All occurrences of modus ponens can be eliminated, not just those which are preceded by left-implication-introduction. This is what I am up to in my JSL 1980 paper, "Ordinal analysis of terms of finite type." Also, the cut rule is easy to derive in P# (just consider, for typed lambda terms: a well-formed term substituted into a well-formed term results in a well-formed term); hence P# is is a conservative extension of the system P* in Part I of my little paper in the Curry Festschrift.

The phrase formulae-as-types was coined by Kreisel in order that we would have a name for the subject matter in our correspondence back and forth. I would assume that the phrase "propositions as types" was coined by Martin-Löf; at least, during our first conversation at the Buffalo 1968 meeting, he suggested that one could think of a type as a proposition, according to the idea that, in intuitionistic mathematics, the meaning of a proposition phi is given by the species of "all" proofs of phi. I use quotes here because we are not talking about a set-theoretic, completed infinity.

"the second [part] intrudes the correspondence between predicate logic and dependent types." I was not thinking about it in that way at all. I wanted to provided an interpretation of the notion of construction to some nontrivial part of intuitionistic mathematics (Heyting arithmetic). Part I of the paper was just the preliminaries for this. Actually, what you say in the pdf is consistent with this. No need for change here.

"Did you consider the first half to be new material or merely a reprise of what was known?" New. But in January of last year I had occasion to take a really hard look at the material in Curry-Feys, pp. 313-314; and I now see that there is a much closer relationship between my Theorem 2 in Part I and their Theorem 5, page 326, than I had thought. The issues here are quite interesting. I can provide a discussion if you want.

In the introduction to my little paper, I mention that Tait had influenced me. Let me say a few words about that. In the summer of 1963 we had conversations in which he explained to me that he had developed a theory of infinite terms in analogy to Schütte's theory of infinite proofs, where normalization (via lambda reductions) of an infinite terms corresponds to cut elimination of the corresponding proof. He did not know what to make of it. He thought of his theory of infinite terms as a sort of pun on Schütte's theory of infinite proofs. But we both agreed that  there must be a deep connection between normalization of lambda terms and Gentzen's cut elimination. We puzzled over this during two or three of our conversations but could not come up with an answer.

As explained in the first paragraph of this e-mail, my work originated with a problem posed by Kreisel; so, at the start of this work, certainly I was not thinking of those conversations with Tait. But, as mentioned above, as soon as I got the basic insight about the relevance of Curry's combinators, I considered how it would work for lambda terms. At that point, I remembered my conversations with Tait. In other words, when I verified that

(5)   cut elimination for a derivation corresponds to normalization for the term,

the conversations with Tait were very much on my mind. Most likely I would have noticed (5) without having had the conversations with Tait. But who knows? In any case, he deserves credit for having noticed the correspondence between derivations and terms. What he did not have was the associated correspondence between propositions and types. In fact, he was not using a general enough notion of type for this. By hindsight we can see that in his system there is a homomorphism, not an isomorphism, from propositions to types.

I need to say a bit more about Tait and types. Since Schütte had extended his system of proofs to transfinite orders, Tait extended his system of terms to transfinite type levels. I already had my own system of primitive recursive functionals of transfinite type. In our very first conversation, we compared out ideas on this topic. This topic requires that one think very hard about the notion of type. Certainly, I had already thought extensively about the notion of type (because of (2), above) before I ever met Tait, but my conversations with him reinforced this tendency. Thoughts about types were very much on my mind when I began to consider (1), (2), above.

As already mentioned, the notes were handwritten and xeroxed; no mimeographs. "why [were they] not published until the Curry Festschrift in 1980?" First let me mention why they got published in the Curry Festschrift. Selden was bringing out the Festschrift for Curry's 80th birthday. He asked me to contribute the notes. I said: "Sure. I'll write up an improved version. I can now do much better." He replied: "No, I want the original notes. It is a historical document." In other words, by that time various copies had been passed around and there were a number of references to them in the literature. So I had them typed up and I sent them in.

Why didn't I publish them before that? Simply because they did not solve the original problem. That was Kreisel's and Gödel’s verdict (Kreisel had shown or described the work to Gödel). In fact, even before communicating the work to Kreisel, I knew that I had gotten only an approximation to the notion of construction, and that more work had to be done. Essentially, the criticism is as follows. In my little paper, I do not provide axioms and rules of inference for proving statements of the form

(3)   F is a construction of phi.

Remember, we have to avoid "Zeno’s paradox of logic"! The answer is that the proofs will look like what you have in Figure 6. In other words, Figure 6 is not only a program; it is also a proof (or: it can be reinterpreted as a proof). But Figure 6 can also be interpreted as an explanation of how a construction (blue) is to be built up in order to have a given type (red). In other words, figures such as Figure 6 implements the idea (4) mentioned near the beginning of this e-mail; i.e., F is assigned the type phi according to the way F is built up.

I hope this tickles you; it certainly tickles me. Of course, the rules of inference are as in Figure 5. So these simple ideas provide the missing theory of constructions; or, at the very least, provide a significant step in that direction.

In Jan. 2013, I exchanged a few e-mails with Tait and Constable on the history of p-a-t. This caused me to take a really careful look at the Curry-Feys book. Here is something I found that really made me laugh: the required theory, whose inferences are of the form given in Figure 5 is already in Curry-Feys. Admittedly, to see this you first have to erase all the turnstyles ( |-- ); Curry seems to have some kind of obsession with them. In particular, erase the turnstiles from the proof tree on page 281. The result is exactly a proof tree of the general form given in your Figure 6. (Hint: (...)X is to be read "X has type (...)". In other words, rewrite (...)X as X : (...).) What does Fbc mean, where F is boldface? Just rewrite Fbc as b -> c. You see? I am an expert. I could probably make money writing a translation manual. In summary, the required theory is essentially just Curry's theory of functionality (more precisely, the appropriate variant of Curry's theory). So, did I miss the boat here? Might I have seen all this in 1969 if only I had had the determination to take a hard look at Curry-Feys? I don't know. It may require the clarity of mind represented by the notation of Figure 5. Do you have any idea when and where this notation came into use?

One more remark concerning my reason for not publishing. Didn't I feel that I had made an important breakthrough, in spite of Kreisel's and Gödel’s criticisms? On the one hand, yes. On the other hand, I had reservations. Except for Martin-Löf, Prawitz, Tait and Girard, very few people showed an interest in the ideas. But maybe Martin-Löf, Prawitz, Tait and Girard should have been enough. You say: "Certainly Howard was proud of the connection he drew, citing it as one of the two great achievements of his career [43]." Should we let that passage stand? Sure. The interview occurred in the spring of 2000. By that time, I was getting lots of praise from the computer science community. So, pride is a peculiar thing. Let me end this on a positive note. In 1969 Prawitz was in the US and came to UIC to give a talk. When he entered the room, he made a beeline for me, looked me in the eye and shook my hand. The message was: Well done! THAT made me proud.

There is more to say; but this answers your questions, I think; so I'll send it to avoid further delay. 

Your pdf, Propositions as Types, is very readable.


Lambda the Ultimate - Programming Languages Weblog: Howard on Curry-Howard

Philip Wadler posts his exchange with William Howard on history of the Curry-Howard correspondence. Howard on Curry-Howard.

Planet Haskell: Joachim Breitner: DebConf 14

I’m writing this blog post on the plain from Portland towards Europe (which I now can!), using the remaining battery live after having watched one of the DebConf talks that I missed. (It was the systemd talk, which was good and interesting, but maybe I should have watched one of the power management talks, as my battery is running down faster than it should be, I believe.)

I mostly enjoyed this year’s DebConf. I must admit that I did not come very prepared: I had neither something urgent to hack on, nor important things to discuss with the other attendees, so in a way I had a slow start. I also felt a bit out of touch with the project, both personally and technically: In previous DebConfs, I had more interest in many different corners of the project, and also came with more naive enthusiasm. After more than 10 years in the project, I see a few things more realistic and also more relaxed, and don’t react on “Wouldn’t it be cool to have <emph>crazy idea</emph>” very easily any more. And then I mostly focus on Haskell packaging (and related tooling, which sometimes is also relevant and useful to others) these days, which is not very interesting to most others.

But in the end I did get to do some useful hacking, heard a few interesting talks and even got a bit excited: I created a new tool to schedule binNMUs for Haskell packages which is quite generic (configured by just a regular expression), so that it can and will be used by the OCaml team as well, and who knows who else will start using hash-based virtual ABI packages in the future... It runs via a cron job on to produce output for Haskell and for OCaml, based on data pulled via HTTP. If you are a Debian developer and want up-to-date results, log into and run ~nomeata/binNMUs --sql; it then uses the projectb and wanna-build databases directly. Thanks to the ftp team for opening up, by the way!

Unsurprisingly, I also held a talk on Haskell and Debian (slides available). I talked a bit too long and we had too little time for discussion, but in any case not all discussion would have fitted in 45 minutes. The question of which packages from Hackage should be added to Debian and which not is still undecided (which means we carry on packaging what we happen to want in Debian for whatever reason). I guess the better our tooling gets (see the next section), the more easily we can support more and more packages.

I am quite excited by and supportive of Enrico’s agenda to remove boilerplate data from the debian/ directories and relying on autodebianization tools. We have such a tool for Haskell package, cabal-debian, but it is unofficial, i.e. neither created by us nor fully endorsed. I want to change that, so I got in touch with the upstream maintainer and we want to get it into shape for producing perfect Debian packages, if the upstream provided meta data is perfect. I’d like to see the Debian Haskell Group to follows Enrico’s plan to its extreme conclusion, and this way drive innovation in Debian in general. We’ll see how that goes.

Besides all the technical program I enjoyed the obligatory games of Mao and Werewolves. I also got to dance! On Saturday night, I found a small but welcoming Swing-In-The-Park event where I could dance a few steps of Lindy Hop. And on Tuesday night, Vagrant Cascadian took us (well, three of us) to a blues dancing night, which I greatly enjoyed: The style was so improvisation-friendly that despite having missed the introduction and never having danced Blues before I could jump right in. And in contrast to social dances in Germany, where it is often announced that the girls are also invited to ask the boys, but then it is still mostly the boys who have to ask, here I took only half a minute of standing at the side until I got asked to dance. In retrospect I should have skipped the HP reception and went there directly...

I’m not heading home at the moment, but will travel directly to Göteborg to attend ICFP 2014. I hope the (usually worse) west-to-east jet lag will not prevent me from enjoying that as much as I could.

Twitch: Big Talk, Bigger Stakes In The Trailer For Zvyagintsev's LEVIATHAN

While Andrey Zvyaginstev has only made a handful of feature films over the last decade (The Return being a personal favorite), he's made everyone of them count, and none perhaps more so than his latest, Leviathan. Charting great buzz out of Cannes, where it won the screenplay prize, Zvyaginstev's modern retelling of the Book of Job focuses on a land battle between rural Russian citizens and the authorities who have come to upend their world.While the film seems to be touted in some circles as merely a political thriller on corruption, Zvyaginstev's keen eye as a spiritual-humanist should make this an enriching experience. Making an appearance at Toronto later next month, Leviathan will be released stateside on December 31. Catch the mesmerizing trailer below....

[Read the whole post on]

Planet Haskell: Philip Wadler: Independent information on independence

A few sources of information that those interested may find helpful.

Thanks to my colleague James Cheney for spotting these. (I previously circulated a pointer to the second but not to the first or third.) The sources appear reputable, but---as with everything on the net---caveat emptor.

Twitch: Watch The U.S. Trailer For Palme d'Or Winner WINTER SLEEP

Equally hailed and disregarded for a plethora of reasons that could probably fill its near 3 and a half hour running time, Nuri Belge Ceylan, Turkey's preeminent filmmaker on the international stage, nonetheless walked away from this year's Cannes with the Palme d'Or for his latest Winter Sleep.Aydin, a former actor, runs a small hotel in central Anatolia with his young wife Nihal with whom he has a stormy relationship and his sister Necla who is suffering from her recent divorce. In winter as the snow begins to fall, the hotel turns into a shelter but also an inescapable place that fuels their animosities...With Winter Sleep appearing this weekend at Telluride, then Toronto, and finally a theatrical release later this year, its U.S. distributor Adopt...

[Read the whole post on]

Potz!Blitz!Szpilman!: Peter Hutchinson

Peter Hutchinson, Paricutin Volcano Project, 1970

Tea Masters: 3 ways to combine tea with a meal

Seafood and white wine
Tea and wine share many similarities. The pairing of food and tea follows the same functions as with wine has. It's in Chaozhou, the place where gongfu cha originated, that the Chinese have pushed the interactions between fine tea and food the furthest. In traditional Teochew restaurants (= serving Chaozhou/Chaoshan cuisine), a strongly roasted Oolong is served when guests arrive.

1. Tea as appetizer

This strong Oolong used to be a Yan Cha for the best restaurants or a roasted Tie Guan Yin. The function of this tea is like a Champagne during an aperitif. It's goal is to make you feel hungry. That's why one or two cups are sufficient -we don't want to feel full with tea-. But it should be very strong, stronger than when we brew the tea for its own sake. This means using more leaves than usual.
Wuyi Yan Cha
 2. Tea as flavor enhancer

The second possible function for tea is to enhance the flavors of the food. This is the result of good pairing of tea and food. In this case, the tea acts a little bit like a sauce that brings new flavors, or helps underline those present in the food.

For instance, the Yan Cha we had as appetizer also underlined the salty sea freshness of the tapenade. And with the hummus, it's the spiciness of the garlic that came alive in the mouth! With a good pairing, 1 +1 = 3 or more!

Which teas pair which food the best is still very new field of trial and research. On that subject, Teaparker has written 3 books (puerh, Oolong and red tea) in Chinese. And in France, Lydia Gautier has also written 'Thés et Mets: subtiles alliances'. There are no rules like for wine (white for seafood and red for meat), but the principle guiding the pairing is similar: the strength of the tea should match the strength of the taste of the food.
Duck liver
Very powerful food like duck liver is still better matched with a sweet, late harvest (vendanges tardives) white wine like a Sauternes or Tokaji.

However, a lighter fish can nicely paired with a nice Oriental Beauty Oolong. The lightness of Oolong underlines the finesse of the fish. And at the same time, the wonderful flavors of the Oriental Beauty add more flavors to the many spices/vegetables that were used to prepare this fish's sauce (saffron, dates, mushrooms, ginger, carrots...)
 3. Tea as digestive drink

At the end of a bigger/better than usual meal, you realize that you had a spoon or a fork too much. This was the case for the nice lunch we had last Sunday! (I didn't mention the 4 or 5 desserts we had...) At this point, you need to gather some energy to get up, and you wish to do so feeling fresh, with a clean taste in the mouth. So, for the ending, our hostess brewed a Hungshui Oolong from Yong Lung.
This tea's function is similar to that of a brandy at the end of a meal. It brings a last touch of sweetness and richness, but at the same time it cleanses the mouth and the throat. The whole body receives a natural energy that helps the digestion. In the case of tea (vs a liquor) you will even have a clearer mind!
Bon appétit!

Open Culture: Download for Free 2.6 Million Images from Books Published Over Last 500 Years on Flickr

flickr archive globe

Thanks to Kalev Leetaru, a Yahoo! Fellow in Residence at Georgetown University, you can now head over to a new collection at Flickr and search through an archive of 2.6 million public domain images, all extracted from books, magazines and newspapers published over a 500 year period. Eventually this archive will grow to 14.6 million images.

This new Flickr archive accomplishes something quite important. While other projects (e.g., Google Books) have digitized books and focused on text — on printed words – this project concentrates on images. Leetaru told the BBC, “For all these years all the libraries have been digitizing their books, but they have been putting them up as PDFs or text searchable works.”  “They have been focusing on the books as a collection of words. This inverts that.”

flicker reo speedwagon

The Flickr project draws on 600 million pages that were originally scanned by the Internet Archive. And it uses special software to extract images from those pages, plus the text that surrounds the images. I arrived at the image above when I searched for “automobile.” The page associated with the image tells me that the image comes from an old edition of the iconic American newspaper, The Saturday Evening Post. A related link puts the image in context, allowing me to see that we’re dealing with a 1920 ad for an REO Speedwagon. Now you know the origin of the band’s name!

venice flickr

I should probably add a note about how to search through the archive, because it’s not entirely obvious. From the home page of the archive, you can do a keyword search. As you’re filling in the keyword, Flickr will autopopulate the box with the words “Internet Archive Book Images’ Photostream.” Make sure you click on those autopopulated words, or else your search results will include images from other parts of Flickr.

Or here’s an easier approach: simply go to this interior page and conduct a search. It should yield results from the book image archive, and nothing more.

In case you’re wondering, all images can be downloaded for free. They’re all public domain.

More information about the new Flickr project can be found at the Internet Archive.

In the relateds below, you can find other great image archives that recently went online.

flicker gall

via the BBC and Peter Kaufman

Related Content:

Folger Shakespeare Library Puts 80,000 Images of Literary Art Online, and They’re All Free to Use

The Metropolitan Museum of Art Puts 400,000 High-Res Images Online & Makes Them Free to Use

New York Public Library Puts 20,000 Hi-Res Maps Online & Makes Them Free to Download and Use

The British Library Puts 1,000,000 Images into the Public Domain, Making Them Free to Reuse & Remix

The Rijksmuseum Puts 125,000 Dutch Masterpieces Online, and Lets You Remix Its Art

Where to Find Free Art Images & Books from Great Museums, and Free Books from University Presses

Download for Free 2.6 Million Images from Books Published Over Last 500 Years on Flickr is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

The post Download for Free 2.6 Million Images from Books Published Over Last 500 Years on Flickr appeared first on Open Culture.

Saturday Morning Breakfast Cereal (updated daily): August 30, 2014


i like this art: Price Bullington

Celestial Architectecture
Study After Francis Bacons Study After Velazquez's Portrait of Pope Innocent X

Price Bullington

Work from his oeuvre.

“My universe is an ongoing creation of my own mythology, it’s a reflection of my fleeting, ever evolving conciousness.

I turn my brain off when I create, it’s a moving meditation like Tai Chi where the end result is creation.

Like dreams my work reveals my unconcious through metaphors, riddles that needs to be deciphered.

I invite you to join me on this journey, see my works like advanced rorschach images, riddles only you can solve.

You have the keys to the kingdom, but you need to focus, don’t lose your balance or you might fall and lose yourself forever.” – Price Bullington 08.30.2014

New Cyanide and Happiness Comic.

All Content: The 41st Annual Telluride Film Festival Preview


Every major film festival cultivates a privileged aura. Sundance asserts the primacy of the American independent and heralds the wonder of the breakthrough discovery. Cannes celebrates the cultural prominence of film as a fabric of French cultural life. Toronto animates a very Canadian brand of egalatarianism and social inclusiveness.

The Telluride Film festival, which kicks off its 41st iteration formally today, is the most furtive. In movie language, Telluride is a noir connoting something shadowy and unknowable, and governed by its own internal logic. As a four-day boutique festival that ends on Labor Day, the festival is a much smaller and more intricate gathering than those of Cannes, Venice, Sundance and Toronto.

The festival unquestionably carries disproportionate power. By its very nature, the festival is mutable, a cultural tastemaker, a showcase for international art cinema and a launchpad for the highly-anticipated and prestigious fall titles that shape the awards narrative.

Increasingly the festival is an insurgent with the ability to secure high-profile premieres of major titles such as "Argo" or "12 Years a Slave," which prompted Toronto's executives to announce a somewhat punitive policy that any film with a previous North American premiere is going to be denied any Toronto screenings the first four days.

Timing (and location) is everything here, and the fact that it unfolds a week before Toronto gives it an undeniable cachet. Unless you own a private jet, Telluride is virtually impossible to get to, increasing the sense of this town as projecting a kind of mystique or otherworldly glow. The festival's central motif is mystery, emphasized by the adroit way the festival's top programmers always withhold the films playing until the day before the festival starts.

This year's program is, on paper, a very impressive melange, a 25-film main program culled from the major international festivals and highly anticipated new works balanced out with a collection of tributes, revivals and the special programs selected by this year's guest directors, the husband and wife team of the very gifted Canadian expressionistic filmmaker Guy Maddin ("Archangel") and the talented film writer Kim Morgan.

Seven of the films in the main program mark the American premieres of titles that played in the very strong Cannes competition, like Bennett Miller's "Foxcatcher," Mike Leigh's "Mr. Turner," the Dardenne Brothers' "Two Days, One Night," Russian director Andrey Zvyagintsev's "Leviathan," Quebecois filmmaker Xavier Dolan's "Mommy" and Tommy Lee Jones' "The Homesman."

The most eagerly anticipated work is "Birdman," Alejandro Gonzalez Innaritu's new film with Michael Keaton as a New York actor who's trying to revive his career. The first film by the director of "Babel" in four years, the reportedly audacious and visually inventive feature received a rapturous response when it opened the Venice Film festival on Wednesday.

Right on the heels of heightened excitement is "Wild," by the talented French-Canadian director Jean-Marc Valee coming off his celebrated "The Dallas Buyers Club," working from an adapted script by Nick Hornsby and Reese Witherspoon trying to find her own stride again.

The other films generating heightened response are "The Price of Fame," the new work by the leading French director Xavier Beauvois ("Of Gods and Men"); Ramin Bahrani's film, "99 Homes," with Michael Shannon, set during the financing and housing crisis; Joshua Oppenheimer's documentary, "The Look of Silence," his follow up to his devastating work on the Indonesian death squads, "The Act of Killing"; Nick Broomfield's "Tales of the Grim Sleeper," about the serial killer who haunted a Los Angeles South Central neighborhood.

Two-time Academy Award-winning actress Hilary Swank is the subject of a career tribute. Her work is bracing and judicious as an independent frontierswoman tasked with transporting a group of damaged women across the Nebraska plains in Jones' feminist-tinged piece, "The Homesman." As part of the celebration, the festival is screening the Western, which constitutes her finest work since Clint Eastwood's "Million Dollar Baby."

If anything, Telluride is too much of a good thing, too much great stuff packed into too narrow a framework. How many chances do you get in life to see Joseph Losey's remake of Fritz Lang's "M," or a director's cut of "California Split," one of Robert Altman's best films from the greatest period? Or there's my candidate for the greatest American filmmaker ever, Orson Welles, represented here with the 66-minute version of his "Too Much Johnson" and the subject of a new documentary, "Magic," by Chuck Workman.

The natural wonder and beauty of this place is a knockout, and now we're about to find out if the films stack up.

Disquiet: via

I’d attend a Fire Alarm Panel. Heck, I’d be in the front row.

Cross-posted from

Greater Fool - Authored by Garth Turner - The Troubled Future of Real Estate: Throwing in the towel

GIN modified

Jason makes a lot of money on Bay Street and has a spouse who can’t understand why he’s so cheap. “Just my background,” he says. Later he hints he has about two million in cash, works like a dog at his finance job, and just got notice his executive-style rented house has been sold.

“Now I’m committed. I have to buy, or get a new wife.” The target house (probably an offer this long weekend) is owned by people asking $1.7 million and has been on the market many months. Jason says he gave a verbal of $1.5, and was told the vendors were “highly insulted” by the paltry amount proffered. “Then I found out they’d already bought,” he says. “Not only that, but they bought a place for $1.8 million that was originally listed for $2.5 million. So they can be as insulted as they want.”

Of course, I told him to put the vendor in a vice and show him no mercy. The crumble in prices – even in affluent and snooty parts of the GTA like North Toronto – is now leading to some interesting dynamics. Anyone who believes the realtor hype about ever-increasing prices is missing the real news.

In the upper ranges over $1 million there are no more widespread bidding wars. Activity over the summer has shriveled like a dude in a lake. As I detailed here some days ago, the average price of a SFH in 416 dropped 17% between April and August. Of course there is always a seasonal dip (which is exactly why you should buy before Labour Day), but this year it’s been twice the norm.

That’s a big deal when it comes at the same time as a crash in mortgage rates. As you know, five-year fixed-rate home loans are now available for less than 3%. Variable mortgages are as cheap as a buck ninety-nine, which means carrying a bloated and morbidly obese mortgage is easier than ever.

In fact, that’s just what the Royal Bank had to say this week when it released the latest Affordability Report (love that name).

“Housing across Canada became more affordable in the second quarter of this year because mortgage rates dropped, according to a report from RBC,” says the incisive media coverage. “Even with prices moving higher, homes became more affordable in nearly every market across Canada, according to RBC’s Housing Trends and Affordability Report.”

Of course, this report is a disappointment on many fronts. First, its basic premise is that houses are bought with a 25% down payment, then financed with a five-year fixed mortgage at current rates. Because the average down in Canada is less than 10%, the full absurdity of current house prices is masked.

Second, the bank found that to afford the average two-storey house in Canada (even with that whopper of a down) takes 48% of a family’s pre-tax income. What does that mean? Well, here is the bank’s own explanation:

“An affordability measure of 50% (for example) means that home ownership costs, including mortgage payments, utilities, and property taxes take up 50% of a typical household’s pre-tax income. Qualifying income is the minimum annual income used by lenders to measure the ability of a borrower to make mortgage payments. Typically, no more than 32% of a borrower’s gross annual income should go to ‘mortgage expenses’—principal, interest, property taxes, and heating costs (plus maintenance fees for condos).”

In other words, the average detached house is already unaffordable – even with the lowest mortgage rates since ever. It also suggests banks are routinely exceeding gross debt servicing ratios. Or, where else are all these mortgages coming from?

Of course, Toronto and Vancouver are off the charts. To buy a two-story house in the GTA now takes 65% of the average family’s pre-tax income, and in the Mouldy City that number soars to 85% – which is a tad less than a few months ago when home loans were more expensive. Of course, 85% of gross income is more than 100% of take-home pay, which is why household debt is rising faster in BC than anywhere else.

Jason knows this. In his job he moves vast sums of money and is acutely aware of risk and return. For years he’s resisted buying because it made so much more sense to rent – and his ballooning bank account is evidence. He’s 100% convinced Canadian real estate will fall, the way he watched it happen back in California before coming here five years ago. After all, when most people are gutting their incomes and swallowing debt to buy something they could rent for less, how can the outcome be in doubt?

So here’s his plan: Vultch hard and get a low price. Use a home inspection report to hammer it down further (“There’s always something wrong”). Pay for the place with cash. Borrow 65% of it back on a home equity loan and invest. Write off 100% of the interest expense from his sizeable salary. Mitigate his real estate risk with a nice, balanced, diversified portfolio, financed with a loan costing him 1.5%. “If I make only 5% a year, I’m laughing,” he says, “and I can now sustain a $55,000 annual loss on the house.

“Sure hope it’ll be enough. No new wife, though.”

Planet Haskell: Yesod Web Framework: Announcing Persistent 2

We are happy to announce the release of persistent 2.0

persistent 2.0 adds a flexible key type and makes some breaking changes. 2.0 is an unstable release that we want your feedback on for the soon to follow stable 2.1 release.

New Features

  • type-safe composite primary and foreign keys
  • added an upsert operation (update or insert)
  • added an insertMany_ operation


  • An Id suffix is no longer automatically assumed to be a Persistent type
  • JSON serialization * MongoDB ids no longer have a prefix 'o' character.

Breaking changes

  • Use a simple ReaderT for the underlying connection
  • fix postgreSQL timezone storage
  • remove the type parameter from EntityDef and FieldDef

In depth

Composite keys

The biggest limitation of data modeling with persistent is an assumption of a simple (for current SQL backends an auto-increment) primary key. We learned from Groundhog that a more flexible primary key type is possible. Persistent adds a similar flexible key type while maintaining its existing invariant that a Key is tied to a particular table.

To understand the changes to the Key data type, lets look at a change in the test suite for persistent 2.

       i <- liftIO $ randomRIO (0, 10000)
-      let k = Key $ PersistInt64 $ abs i
+      let k = PersonKey $ SqlBackendKey $ abs i

Previously Key contained a PersistValue. This was not type safe. PersistValue is meant to serialize any basic Haskell type to the database, but a given table only allows specific values as the key. Now we generate the PersonKey data constructor which specifies the Haskell key types. SqlBackendKey is the default key type for SQL backends.

Now lets look at code from CompositeTest.hs

mkPersist sqlSettings [persistLowerCase|
      name  String maxlen=20
      name2 String maxlen=20
      age Int
      Primary name name2 age
      deriving Show Eq
      name  String maxlen=20
      name2 String maxlen=20
      age Int
      Foreign Parent fkparent name name2 age
      deriving Show Eq

Here Parent has a composite primary key made up of 3 fields. Child uses that as a foreign key. The primary key of Child is the default key for the backend.

let parent = Parent "a1" "b1" 11
let child = Child "a1" "b1" 11
kp <- insert parent
_ <- insert child
testChildFkparent child @== parent

Future changes

Short-term improvements

Before the 2.1 release I would like to look at doing some simple things to speed up model compilation a little bit.

  • Speed up some of the compile-time persistent code (there is a lot of obviously naive code).
  • Reduce the size of Template Haskell generation (create a reference for each EntityDef and some other things rather than potentially repeatedly inlining it)

Medium-term improvement: better support for Haskell data types

We want to add better support for modeling ADTs, particularly for MongoDB where this is actually very easy to do in the database itself. Persistent already support a top-level entity Sum Type and a simple field ADT that is just an enumeration.

Another pain point is serializing types not declared in the schema. The declaration syntax in groundhog is very verbose but allows for this. So one possibility would be to allow the current DRY persistent declaration style and also a groundhog declaration style.

Long-term improvements: Projections

It would be possible to add projections now as groundhog or esqueleto have done. However, the result is not as end-user friendly as we would like. When the record namespace issue is dealt with in the GHC 7.10 release we plan on adding projections to persistent.

Ongoing: Database specific functionality

We always look forward to see more databases adapters for persistent. In the last year, a Redis and ODBC adapter were added.

Every database is different though, and you also want to take advantage of your database-specific features. esqueleto and persistent-mongoDB have shown how to build database specific features in a type-safe way on top of persistent.


Although the persistent code has no dependency on Yesod, I would like to make the infrastructure a little more independent of yesod. The first steps would be

  • putting it under a different organization on github.
  • having a separate mail list (should stackoverflow be prioritized over e-mail?)

Schneier on Security: Squid Skin Inspires Eye-Like Photodetector

Squid are color-blind, but may detect color directly through their skin. A researcher is working on a system to detect colored light the way squid do....

OCaml Planet: Richard Jones: virt-v2v: better living through new technology

If you ever used the old version of virt-v2v, our software that converts guests to run on KVM, then you probably found it slow, but worse still it was slow and could fail at the end of the conversion (after possibly an hour or more). No one liked that, least of all the developers and support people who had to help people use it.

A V2V conversion is intrinsically going to take a long time, because it always involves copying huge disk images around. These can be gigabytes or even terabytes in size.

My main aim with the rewrite was to do all the work up front (and if the conversion is going to fail, then fail early), and leave the huge copy to the last step. The second aim was to work much harder to minimize the amount of data that we need to copy, so the copy is quicker. I achieved both of these aims using a lot of new technology that we developed for qemu in RHEL 7.

Virt-v2v works (now) by putting an overlay on top of the source disk. This overlay protects the source disk from being modified. All the writes done to the source disk during conversion (eg. modifying config files and adding device drivers) are saved into the overlay. Then we qemu-img convert the overlay to the final target. Although this sounds simple and possibly obvious, none of this could have been done when we wrote old virt-v2v. It is possible now because:

  • qcow2 overlays can now have virtual backing files that come from HTTPS or SSH sources. This allows us to place the overlay on top of (eg) a VMware vCenter Server source without having to copy the whole disk from the source first.
  • qcow2 overlays can perform copy-on-read. This means you only need to read each block of data from the source once, and then it is cached in the overlay, making things much faster.
  • qemu now has excellent discard and trim support. To minimize the amount of data that we copy, we first fstrim the filesystems. This causes the overlay to remember which bits of the filesystem are used and only copy those bits.
  • I added support for fstrim to ntfs-3g so this works for Windows guests too.
  • libguestfs has support for remote storage, cachemode, discard, copy-on-read and more, meaning we can use all these features in virt-v2v.
  • We use OCaml — not C, and not type-unsafe languages — to ensure that the compiler is helping us to find bugs in the code that we write, and also to ensure that we end up with an optimized, standalone binary that requires no runtime support/interpreters and can be shipped everywhere.




(Calgary, AB)
Guitar fuckery
(Victoria, BC)
Pushing speakers like weight
Bong Sample
(Edmonton, AB)
Ovulating oscillators
(Edmonton, AB)
Program, destroy, repeat
(Edmonton, AB)
Sexually touching a map

Upcoming Events: Google - Rapid Resume Review Session

Industry & Careers
September 15, 2014 - 11:00am - 12:30pm
ETLC E 2-050A & B – Engineering Employment Centre

Interested students will come at 10:50AM and sign up for a 10 minute rapid resume review slot ​returning​ at their assigned time with a resume.


Perlsphere: YAPC::EU videos start appearing online

@yapceu has posted a link to the start of videos from the conference.

YAPC::EU 2014 was the biggest conference in Europe, dedicated to the Perl programming language. lists other Perl conferences and workshops around Europe.

Perlsphere: I learn something about tell(), then abuse it.

I learned a new thing today, or remembered a forgotten one. I can use tell to affect the file handle that $. uses.

It all started very simply. I was going too far in my answer to How do I add the elements of a file to a second one as columns using Perl?, a question I found by looking for the most down voted open questions without an accepted answer. As usual, I thought the answer would be easy. And, for the most part it was.

Then I wanted to make it even easier. I thought Perl might not be necessary at all when we have things like paste and head and tail and other command-line thingys. The problem was a header in one input file and no corresponding header in the other. How could I make paste ignore the header?

I bet there's something that I'm missing, but I started working with the Perl Power Tools version of paste. To fast forward through a file to get to the right starting point, I wanted to look at $. to know when to stop, but that only works for the last read filehandle. To use it on another filehandle, I need to do something to to that handle without disturbing the data. tell was just the thing.

tell( $fh )
readline( $fh ) while $. < $starting_line - 1;

But, now I think that's also stupid because I didn't need the magic because I don't need to know the number of the currently read line:

readline( $fh ) foreach 1 .. $starting_line - 1;

As Perl gives, so Perl takes away (brain cells).

explodingdog: Photo

Schneier on Security: Cell Phone Kill Switches Mandatory in California

California passed a kill-switch law, meaning that all cell phones sold in California must have the capability to be remotely turned off. It was sold as an antitheft measure. If the phone company could remotely render a cell phone inoperative, there would be less incentive to steal one. I worry more about the side effects: once the feature is in...

OUR VALUED CUSTOMERS: While discussing the future of malcontent fandom...

new shelton wet/dry: Every day, the same, again

World’s most pierced man barred from Dubai Women college students average 10 hours a day on their cellphones and men students spend nearly eight Hangover Cure Finally Comes to the U.S. Date rape drug-detecting nail polish won’t work There were no associations between childhood family income and subsequent violent criminality and substance misuse When you are in the [...]

Open Culture: Fans Reconstruct Authentic Version of Star Wars, As It Was Shown in Theaters in 1977

I watched Star Wars for the first time in 1977 at the tender age of four. And like a lot of people in my generation and younger, that first time was a major, formative experience in my life. I got all the toys. I fantasized about being Han Solo. And during the summer of ’83, I blew my allowance by watching Return of the Jedi every day for a week in the theater. George Lucas‘ epic space opera is the reason why I spent a lifetime watching, making and writing about movies. And if you asked any movie critic, fan or filmmaker who grew up in the ‘80s, they will probably tell you a similar story.

Over the years though, Lucas succumbed to the dark side of the Force. His prequel trilogy, starting with truly god awful The Phantom Menace (1999), is as visually overstuffed as it is cinematically inert. (Somewhere, there’s a dissertation to be written about how widespread feelings of betrayal from the prequels psychically prepared America for the anxiety and disappointments of the Bush administration.)

Worse, fans who want to console themselves by watching Star Wars as they remember seeing it back in the ‘80s are out of luck. Lucas has been quietly butchering the original movies by adding CGI, sound effects and even whole characters – like (gag) Jar Jar Binks — to successive special edition updates. The problem is these updated versions feel bifurcated. It’s as if two different movies with two different aesthetics were clumsily stitched together. Lucas’ spare, muscular compositions in the original movie sit uneasily next to its cartoony, over-wrought additions. Yet this Frankenstein version is the one that Lucas insists you watch. The original cut is just plain not for sale. Lucas even refused to give the National Film Registry the 1977 cut of Star Wars for future preservation. “It’s like this is the movie I wanted it to be,” said Lucas in an interview in 2004, “and I’m sorry if you saw half a completed film and fell in love with it, but I want it to be the way I want it to be.”

Thankfully, hardcore Star Wars fans are telling Lucas, respectfully, to go cram it. As Rose Eveleth in The Atlantic reports, a dedicated online community has set out to create a “despecialized” edition of Star Wars that strips away all of Lucas’s digital nonsense and restores the movie to its original 1977 state. The de facto leader of this movement is Petr Harmy, a 25-year-old guy from the Czech Republic who with the help of a legion of technically savvy film nerds has pieced together footage from existing prints and older DVD releases to create the Despecialized Edition v. 2.5. (Directions on where you can locate it are here.) Above Harmy talks in detail about how he accomplished this feat. And below you can see some side-by-side comparisons. More can be found on Petr Harmy’s page.




Via The Atlantic

Related Content: 

How Star Wars Borrowed From Akira Kurosawa’s Great Samurai Films

Freiheit, George Lucas’ Short Student Film About a Fatal Run from Communism (1966)

Watch the Very First Trailers for Star Wars, The Empire Strikes Back & Return of the Jedi (1976-83)

Joseph Campbell and Bill Moyers Break Down Star Wars as an Epic, Universal Myth

Hundreds of Fans Collectively Remade Star Wars; Now They Remake The Empire Strikes Back

Jonathan Crow is a Los Angeles-based writer and filmmaker whose work has appeared in Yahoo!, The Hollywood Reporter, and other publications. You can follow him at @jonccrowAnd check out his blog Veeptopus, featuring one new drawing of a vice president with an octopus on his head daily. 

Fans Reconstruct Authentic Version of Star Wars, As It Was Shown in Theaters in 1977 is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

The post Fans Reconstruct Authentic Version of Star Wars, As It Was Shown in Theaters in 1977 appeared first on Open Culture.

Climate Resistance: Does the UK Need Another Climate ‘Unit’?

Imagine that you are a journalist — it’s not hard to do — in need of some information about climate change. Where would you turn to first?

You might start with the UK’s allegedly independent Committee on Climate Change, they are charged by the Climate Change Act 2008 with establishing the UK’s ‘carbon budgets’. Or, of course, for more policy-related matters, you could ring the Department of Energy and Climate Change. Both these organisations have media officers. But perhaps you want more of a science angle. In which case, you could have got in touch with the Met Office. The Met Office scientists do lots of research into climate change and its impacts — work that needs no introduction here — much of which comes out of its Hadley Centre. Or you could get in touch with some of the other academic research departments that have been created over the years: The Climate Research Unit at UAE, or al at UEA, the Tyndall Centre for Climate Research, which has branches at Cardiff University, Newcastle, Cambridge, Manchester, Oxford, Sussex, or Southampton Universities. Or you could get in touch with The Grantham Research Institute on Climate Change and the Environment at the LSE, or it’s sister, The Grantham Research Institute on Climate Change and the Environment at Imperial College, just down the road. There’s The Walker Institute for Climate Research at Reading, The National Centre for Atmospheric Science, which is part of the National Environmental Research Council, which funds and directs an array of research programmes across many research organisations, throughout the UK and beyond.

Perhaps you’re more interested in responses to climate change. In which case, there are the government-backed non-profit companies Carbon Trust, Energy Saving Trust, and The Waste & Resources Action Plan (WRAP). Or there are the departments, quangos, statutory bodies and non departmental public bodies, not already mentioned, like OFGEM, the Dept. for Environment, Food and Rural Affairs, The Environment Agency, The Forestry Commission, and many others.

And of course, let us not forget the charities and NGOS!… Greenpeace, Friends of the Earth, The WWF, The RSPB, and those one-time development and relief charities, who prefer to concentrate on making the weather noce, rather than saving people’s lives, like Oxfam, Tearfund, and Save the Children. An even fuller list can be found on Wikpedia.

In other words, if you wanted to find out about the climate, there are, literally, thousands of people, in hundreds of organisations, with budgets totalling many, many £billions, that you could call on — and that’s before we’ve even considered other individual experts and organisations in other countries. Each of them has a view on climate change and probably wants to share it with you. Every organisation listed above has at least one media officer, if not an entire media team.

(In other words, if you are a journalist, and you’re unsure about where to go for a comment about climate change, you are doing the wrong job, and the discussions about mediocrity in the previous two posts on this blog apply to you absolutely.)

So why, then, has this week seen the birth of a new climate change organisation, the ominously-titled, Energy & Climate Intelligence Unit?

The Energy and Climate Intelligence Unit is a non-profit organisation that supports informed debate on energy and climate change issues in the UK.

We support journalists and other communicators with accurate and accessible briefings on key issues, and work with individuals and organisations that have interesting stories to tell, helping them connect to the national conversation.

But isn’t this is a job that was already being done by The Carbon Brief.

Carbon Brief reports on the latest developments and media coverage of climate science and energy policy, with a particular focus on the UK. We produce news coverage, analysis and factchecks, and publish a daily and weekly email briefing.

Carbon Brief are…

… grateful for the support of the European Climate Foundation, which provides our funding.

And The Energy and Climate Intelligence Unit gladly tells us that,

All of our funding comes from philanthropic foundations. We gratefully acknowledge the support of the European Climate Foundation, the Grantham Foundation for the Protection of the Environment, and the Tellus Mater Foundation.

Tellus Mater are a mysterious organisation

Tellus Mater’s mission is to catalyze a shift to sustainable capitalism: to change the operating rules for capitalism so that finance can better fulfill it’s role in directing the flows of Financial Capital to production systems that preserve and enhance Natural Capital.

Furthering green capitalism strikes me as a categorically political objective. And yet here it seems to be presenting itself as a philanthropic organisation, pursuing indubitably noble, if not value-free objectives, while not listing its supporters, or saying much at all about where its own money comes from.

The Grantham Foundation, of course, is set up from the extraordinary wealth of the super-rich Jeremy Grantham — another mega capitalist, again, note.

And the European Climate Foundation…

was established in early 2008 as a major philanthropic initiative to promote climate and energy policies that greatly reduce Europe’s greenhouse gas (GHG) emissions and to help Europe play an even stronger international leadership role to mitigate climate change.

The group of philanthropists who founded the ECF were deeply concerned over the lack of political action and the lack of general public awareness around the devastating future consequences implied by climate change. They formed the ECF – a ‘foundation of foundations’ – to collaborate in ensuring the necessary transformation from a high-carbon to a low-carbon economy.


The ECF has an annual budget of roughly €25 million. The majority of our funds are re-granted to NGOs and think tanks engaged in bringing about meaningful policy change. Our programme staff collaborate with grantees and experts from the field and funders to design and fund strategies based on a thorough understanding of decision-makers, decision-making processes, and political context. In 2012, we made 181 grants to 102 organisations.

There seems to be a lot of ‘philanthropic’ activity aimed not as much at helping people, as managing the public’s perception of climate change and influencing policy makers. The alleged “lack of general public awareness around the devastating future consequences implied by climate change” is of course, what has concerned all three major political parties, and thus the government, its departments, The United Nations and its organisations, the European Union and its organisations, NGOs, charities, and of course, all manner of public organisations.

It is a puzzling thing… democratic governments, supranational political organisations and charities seem to be out of kilter with the public mood, yet each depend on the public to a greater or lesser extent, for legitimacy. Together, they seem to think it is their role to persuade the public rather than respond to them. It is hard to resist the idea that this gap in fact precedes the political establishment’s embrace of climate change, and that the possibility of the end of the world in fact comes as quite a relief to those who still have positions of power, in spite of that gap.

The Energy & Climate Intelligence Unit (ECIU) demonstrated the need for itself by commissioning a survey. The poll, said the ECIU, “shows widespread misconceptions about energy and climate change”.

It shows that only one in nine (11 percent) of people are aware of the strength of the scientific consensus on man-made climate change, a finding that the ECIU said carries ‘uncomfortable echoes’ of the MMR controversy of 15 years ago.

In fact, the Comres survey asked,

What proportion of climate scientists do you think believe that climate change is mainly the result of human activities?

The answers were as follows:

Almost all 11%
A majority 43%
About half and half 35%
A minority 9%
Almost none 2%

It wasn’t good enough for ECIU that 43% of respondents only said ‘a majority’ — they were ignorant if they didn’t say ‘amost all’. ECIU continue,

Nearly half of the UK population (47 percent) think either that most climate scientists reject the idea that human activities such as fossil fuel burning are the main driver of climate change (11 percent), or that scientists are evenly split on the issue (35 percent). Several recent studies [ Cook et al, Tol, Verheggen et al] show that more than 90% of climate scientists agree that the main cause of climate change is human activity.

In spite of surveys such as Cook et al, the view that scientists are split on a proposition as ambiguously framed as the survey’s is not unreasonable.

For instance, even if one believes i) that climate change is a problem, and that ii) it is a problem caused by industrial emissions, and even that iii) most scientists believe i) and ii), there is the question of degree to which a) climate change is a problem, b) climate change is caused by man, which the proposition in the survey ducks. The problem of ill-defined propositions is rife in climate change science, as I pointed out last year:

Nuccitelli’s survey results are either the result of a comprehensive failure to understand the climate debate, or an attempt to divide it in such a way as to frame the result for political ends. The survey manifestly fails to capture arguments in the climate debate sufficient to define a consensus, much less to make a distinction between arguments within and without the consensus position. Nuccitelli’s survey seems to canvas scientific opinion, but it begins from entirely subjective categories: a cartoonish polarisation of positions within the climate debate.

No less a figure than climate scientist, Professor Mike Hulme, founding director of the Tyndall Centre, joined the debate.

Ben Pile is spot on. The “97% consensus” article is poorly conceived, poorly designed and poorly executed. It obscures the complexities of the climate issue and it is a sign of the desperately poor level of public and policy debate in this country that the energy minister should cite it. It offers a similar depiction of the world into categories of ‘right’ and ‘wrong’ to that adopted in Anderegg et al.’s 2010 equally poor study in PNAS: dividing publishing climate scientists into ‘believers’ and ‘non-believers’. It seems to me that these people are still living (or wishing to live) in the pre-2009 world of climate change discourse. Haven’t they noticed that public understanding of the climate issue has moved on?

The informed member of the public would now know that respectable, consensus, mainstream position on climate change is that,

1. There are serious problems with the historical temperature record, especially as it has been constructed from proxies.
2. There are serious problems with projections of likely future temperature, especially as they have been produced from computer models.
3. There are no detectable signals, attributable to climate change, in statistical records of climate, or losses associate with them.

These are points which emerge from mainstream climate science. They are not the irrational beliefs held by anti-scientific ‘deniers’.

So the scientific understanding of the planet’s past and future climate, once regarded as an essential component of understanding climate change are in fact matters of debate. It might be reasonable for the public to regard the question posed by the survey as trivial. And as Judith Curry points out about the current climate, there are many problems with the claim that ‘more than half of the observed increase in global average surface temperature from 1951 to 2010 was caused by the anthropogenic increase in greenhouse gas concentrations and other anthropogenic forcings together’ — far from speaking for itself, the statement needs unpacking and its premises interrogating. Meanwhile, the Cook et al study deviated from the consensus position in effect by including in its estimation of the ‘consensus’, studies which proceeded from the putative consensus a priori, rather than investigating it. The problem, as I have explained in the article linked to above, is one of a ‘consensus without an object’: most people agree with the consensus without identifying what the point or principle of agreement is, thus the ‘consensus’ is invented ad hoc, to suit whatever is needed from it, in any particular debate. New light has been shed on the study by Jose Duarte.

In the case of the ECIU’s attempt to construct foundations for itself out of the public’s ignorance of science, this new organisation does a good job of mangling its own survey, which aimed to measure the public’s memory of an earlier mangled survey — Cook et al. One can now imagine that someone in the future trying to understand the construction of successive organisations, each built on the failures of previous organisations. There will be some kind of archaeologist, peeling back through mangled surveys and studies, but never reaching the actual point of origin — a climate change big bang.

The problem that exists in the present for the likes of Cook et al’s 97% survey, is that it is not having the desired effect of rousing the masses from their climate science slumber. Yet it was transparently a PR exercise, rather than an attempt to inform the public. So too, for that matter, is the European Climate Foundation’s sister-project, The Climate Brief, a PR exercise. One might recall at this point, another PR exercise:

The Climate Science Rapid Response Team is a match-making service to connect climate scientists with lawmakers and the media. The group is committed to providing rapid, high-quality information to media and government officials.

Climate Science Rapid Response team member scientists are chosen to cover a wide array of topics related to Climate Science. They have been selected based upon their publications in professional peer-reviewed scientific journals.

There is a wide gap between what scientists know about climate change and what the public knows. The scientists of the Climate Science Rapid Response Team understand that better communication can narrow this gap. The media is in the best position to deliver accurate science information to the general public and to our elected leaders but only when they have access to that information. The Climate Science Rapid Response Team is committed to delivering that service. We are advocates for science education.

The climate change communication field now seems crowded with organisations claiming to be able to connect the public, via the media, with climate scientists.

The Climate Science Rapid Response Team seems to have been convened by Richard Hawkins of the Public Interest Research Centre(PIRC). And as we know, it’s all about funding…

PIRC was set up with grants from the Joseph Rowntree Charitable and Social Services Trust. One way or another, JRCT has supported every one of our major ventures over the years.

PIRC has also been core-funded for many years by the 1970 Trust, and grants for individual projects have in the past been given by other organisations including the Consumers Association, Social Science Research Council, Allen Lane Foundation, Artists Project Earth, Dag Hammarskjold Foundation, the Network for Social Change, Nuffield Foundation, Ford Foundation, the Sainsburys Family Trusts and Trocaire. In the past few years have also received support from civil society organisations, including WWF-UK, RSPB, and 10 other conservation organisations for Common Cause for Nature.

So now there are an entire ecosystem of philanthropic organisations, funding other organisations to ‘inform’ an apparently ignorant public for their own good. But each of them fail to alter the balance of public opinion. What has the ECIU got that The Climate Science Rapid Response Team not got? And what have they got that The Carbon Brief hasn’t got? And while we’re there, what have those organisations got that organisations like The Science Media Centre — which also aims to put scientists in front of cameras — have not got?

Paul Matthew in the comments below notes that we should remember the Climate Outreach and Information Network (COIN), which is also funded by the ECF, amongst many others. And Responding To Climate Change (RTCC), which appears to be a project of a private company, Entico, which has substantial contracts with the United Nations. Then there’s the conglomeration of NGOs, ClimateCoalition, and CaCC (Campaign against Climate Change), too — each of which claims to be doing the same thing.

We should examine these claims to be informing the public and raising the level of debate. That is not the effect of any of these organisations. All such sound-byte mines do is encourage lazy, sloppy, cut-and-paste journalism. Churnalism. All the journalist needs to do, now, to write a piece about climate change, is ring up any of these organisations, ask for the officially-sanctioned and hygienic comment, without ever having had to go to the trouble of understanding the debate they are reporting on.

The founder of ECIU is Richard Black, a former BBC journalist, who became known for his palpable activism-cum-journalism — not something which is deserving of criticism in and of itself, but which under the pretence of i) scientific journalism, and ii) the BBC’s commitment to the environmental issue, is rather jarring. Just as there are plenty of ‘units’ established to ‘communicate’ science, and a surfeit of media organisations intent on burdening the public with ‘information’ about climate change, journalists like Black were ten-a-penny. That is the consequence of mediocrity’s ascendency, of course. There was speculation that Black’s notoriously one-sided hectoring became too much, even for the BBC. The notion that the public might not be getting the right messages might not be all that distinct to bitterness at being removed from an organisation which very rarely gets rid of anyone it has put in the public eye.

But journalists removed from such high profile institutions as the BBC’s World Service leave with the connections to the world intact. Hence, Black has been able to assemble quite a team, as Andrew Montford notes, over at Bishop Hill.

Rushanara Ali, MP for Bethnal Green & Bow
Richard Benyon, MP for Newbury
The Rt Rev Richard Chartres, Bishop of London
Dr Fiona Godlee, Editor in Chief, British Medical Journal
Professor Michael Grubb, Professor of International Energy and Climate Change Policy, UCL
Professor Joanna Haigh, Co-Director, Grantham Institute, Imperial College London
Marylyn Haines Evans, Public Affairs Chair, National Federation of Women’s Institutes
Martin Horwood, MP for Cheltenham
Lord Howard of Lympne
Robin Lustig, Journalist and Broadcaster
Rear Admiral Neil Morisetti, Former Commander, UK Maritime Forces
Lord Oxburgh of Liverpool
Lord Puttnam of Queensgate
The Earl of Selborne
Dr Emily Shuckburgh, Head of Open Oceans, British Antarctic Survey
Graham Stuart, MP for Beverley and Holderness
Sir Crispin Tickell, Former Ambassador to the United Nations
Dr Camilla Toulmin, Director, IIED
Lord Turner of Ecchinswell

I shall spare you the biographies. Andrew suggests that this ugly assembly represents ‘the goblin version of the GWPF’, which is certainly the most of it.

This puts me in mind of a recent post by Judith Curry on ‘Institutionalizing Dissent‘. Says Curry,

One of the norms of science is organized skepticism. Those working at the climate science – policy interface (including the IPCC) have worked hard to kill organized skepticism by manufacturing a consensus on climate change. The idea of a climate red team has been put forward by John Christy. Kantrowitz and Biddle have thought through how institutionalizing dissent might actually work. Particularly for climate science, implementing something like this wouldn’t be simple, and actually achieving the desired objectives would be quite difficult.

I’ve previously drawn a distinction between science as a process and science as an institution (or institutions). When institutional science is expected to produce a consensus, it seems to me, it is at the expense of the process of science, to the extent that the scientific process needs an institutional basis (at least for the resources, etc, that scientific research needs). The manufacture of consensus, it seems to me, is equivalent to the manufacture of consent, or at least equivalent to its circumnavigation: who needs a demos, when you have a mandate from the objectivity of science? But the demos doesn’t go away…

This seems to me to be the point of ‘units’, such as the ECIU. Although such organisations have been unsuccessful at reproducing their ideas in the public’s mind, climate institutions have nonetheless multiplied to occupy a great deal of public space. One can think of orthodoxies being established materially, rather than ‘ideologically’, so to speak, to achieve the same effect. This is the construction of consensus, as opposed to its mere manufacture.

When David Cameron was launching his ‘Big Society’ initiatives, I happened to be working with anti-wind farm campaigners, producing films and other research. It struck me how far removed these people were from the lofty heights of green NGOs. With their feet firmly planted in Brussels and Westminster, NGOs are based in huge office complexes, whereas wind farm campaigns really were launched from kitchen tables, by amateurs, who had zero experience of any kind of campaigning, and few contacts to ask for favours from. Although they are characterised — caricatured — as rural, moneyed and privileged (which I found only occasionally to be the case), wind farm campaigners lacked any resources save for what they had in their pockets. Whereas Greenpeace et al have legal teams to take development or planning issues to the High Court, it was beyond the means of most campaigners to apply for judicial review, and would do at huge personal cost and financial risk. There was never any hope of establishing any kind of institutional response to wind energy.

Whether it is in debates about science or energy policy, those debates have been won by the creation of institutions, in something like ‘astroturfing’. But “informing” the public, or claiming to speak for ordinary people isn’t as much the point as simply dominating the public sphere.

At the other end of the world to the wind farm campaigners — and it might as well be the other end of the universe — is the green lobbying and PR effort. Zombie ‘philanthropic’ organisations. The rotting corpses of dead billionaires infect the world of the living. Take, for instance, the words of the European Climate Foundation — funders of The Carbon Brief and The ECIU:

Adopting stricter standards and effective labels for appliances and equipment
All energy-using products made in or imported into the EU must meet minimum energy performance standards and product labels that encourage the production and purchase of more efficient models. The Ecodesign and Energy Labelling directives both established complex processes for designing and adopting new standards and labels. To counter industry efforts to weaken requirements and delay implementation, we support a network of technical experts and NGOs that monitor and participate in the regulatory process and arm policymakers with data and analyses to ensure adoption of the most ambitious, technically and economically feasible requirements. Our work in this arena has already led to notable successes, most recently on boilers and vacuum cleaners.

The ECF are congratulating themselves for having lobbied — spending 25 million Euros a year — the European Union to ban electronic appliances with energy consumption over a certain rating. That meant lightbulbs and washing machines, and just this week, it means vaccum cleaners, and in the future it will mean more and more appliances. It sounds somewhat trivial, but although it means that although washing machines now use less water and less electricity, it means they are less good at cleaning. Ditto, vacuum cleaners with less power are less able to produce a vacuum, and thus less able to clean floors. The policymaker’s conceit is that by setting a standard in law, innovation follows. But there was never a need to force competing manufacturers to find an edge over each other. Now, rather than meeting consumer need, manufacturers have to meet the needs of Europe’s technocrats, and the will of dead billionaires.

And although the consequences are for the consumer, and it seems like so much whinging about not having quite as good an electrical appliance as could be had, the means by which this transformation was acheived was political. The ECF, again:

Our primary geographic focus is on Brussels (the hub of EU policymaking), Germany, the United Kingdom, France, and Poland – five venues that play a critical role determining Europe’s political leadership on climate and energy policy.

The institutions where policies are made should not be the plaything of philanthropic organisations and their benefactors. What business do the ECF, and for that matter Richard Black and the ECIU have in Brussels, Germany, the UK and Poland? They are not elected. They do not stand for public positions.

So don’t be fooled, The Energy & Climate Intelligence Unit does not exist to inform the public, but to deny the public democratic expression. The Energy & Climate Intelligence Unit is not about ‘science’, it is about transforming politics, to take power away from people, to put it in the hands of dead ‘philanthropists’.

The Rhizome Frontpage RSS: Rhizome Today

Art Project 2023 from Enxuto & Love on Vimeo.

Colossal: Dreamlike Conceptual Self-Portraits Fused with Dance by Kylli Sparre

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Fine art photographer Kylli Sparre (previously) has continued to create her dance-inspired photographs, almost all of which depict the artist herself in various dreamlike states and situations. Working with outdoor landscapes, and bodies of water or ice, Sparre fuses years of formal ballet training with these dramatic and performative photographs. The artist has a show in Amsterdam next month at Qlickeditions, and you can follow her work more on Facebook.

Open Culture: A 56-Song Playlist of Music in Haruki Murakami’s Novels: Ray Charles, Glenn Gould, the Beach Boys & More


Last month we featured the particulars of novelist Haruki Murakami’s passion for jazz, including a big Youtube playlist of songs selected from Portrait in Jazz, his book of essays on the music. But we also alluded to Murakami’s admission of running to a soundtrack provided by The Lovin’ Spoonful, which suggests listening habits not enslaved to purism. His books — one of the very best known of which takes its name straight from a Beatles song (“Norwegian Wood”) — tend to come pre-loaded with references to several varieties of music, almost always Western and usually American.  “The Fierce Imagination of Haruki Murakami,” Sam Anderson’s profile of the writer on the occasion of the release of his previous novel 1Q84, name-checks not just Stan Getz but Janáček’s Sinfonietta, The Rolling Stones’ Sympathy for the Devil, Eric Clapton’s Reptile, Bruce Springsteen’s version of “Old Dan Tucker,” and The Many Sides of Gene PitneyThe title of Murakami’s new Colorless Tsukuru Tazaki and His Years of Pilgrimage, writes The Week‘s Scott Meslow, references Franz Liszt’s ‘Years of Pilgrimage’ suite, “which plays a central role in the novel’s narrative. The pointed reference isn’t exactly a major detour from Murakami.”

Given the writer’s increasing reliance on music and the notion of “songs that literally have the power to change the world,” to say nothing of his “ability to single-handedly drive musical trends,” it can prove an illuminating exercise to assemble Murakami playlists. Selecting 56 tracks, Meslow has created his own playlist (above) that emphasizes the breadth of genre in the music incorporated into Murakami’s fiction: from Ray Charles to Brenda Lee, Duke Ellington to Bobby Darin, Glenn Gould to the Beach Boys. Each song appears in one of Murakami’s novels, and Meslow even includes citations for each track: “I had some coffee while listening to Maynard Ferguson’s ‘Star Wars.’” “Her milk was on the house if she would play the Beatles’ ‘Here Comes the Sun,’ said the girl.” Imagine The Greatest Hits of Bobby Darin minus ‘Mack the Knife.’ That’s what my life would be like without you.” “The room begins to darken. In the deepening darkness, ‘I Can’t Go For That’ continues to play.” It all coheres in something to listen to while exploring Murakami’s world: in your imagination, in real life, or in his trademark realms between. 

To listen to the playlist above, you will first need to download Spotify. Please note that once you mouse over the playlist, you can scroll through all 56 songs. Look for the vertical scrollbar along the right side of the playlist.

Photo above is attributed to “wakarimasita of Flickr”

via The Week

Related Content:

Read 5 Stories By Haruki Murakami Free Online (For a Limited Time)

A Photographic Tour of Haruki Murakami’s Tokyo, Where Dream, Memory, and Reality Meet

Haruki Murakami’s Passion for Jazz: Discover the Novelist’s Jazz Playlist, Jazz Essay & Jazz Bar

In Search of Haruki Murakami, Japan’s Great Postmodernist Novelist

Haruki Murakami Translates The Great Gatsby, the Novel That Influenced Him Most

Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall or on Facebook.

A 56-Song Playlist of Music in Haruki Murakami’s Novels: Ray Charles, Glenn Gould, the Beach Boys & More is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

The post A 56-Song Playlist of Music in Haruki Murakami’s Novels: Ray Charles, Glenn Gould, the Beach Boys & More appeared first on Open Culture.

BOOOOOOOM!: Incredible Re-arranged Photographs by Vancouver-based Artist Ed Spence








Vancouver-based artist Ed Spence is making some of my favourite work right now. I dropped by his studio a couple weeks ago and I couldn’t leave without buying a piece. Let me explain to you what you’re looking at.

Ed takes a photograph of a crumpled piece of reflective paper. Then he prints the image and cuts out a section of it using a blade. He carefully cuts up the section into small “pixels” and re-arranges them based on colour. So if you were to run your hand along the finished photograph you would feel the texture of the cut pieces.

You kinda have to see these in person to really get the full effect. Really fantastic stuff! Lots more images below. The one I bought is the next one down.

View the whole post: Incredible Re-arranged Photographs by Vancouver-based Artist Ed Spence over on BOOOOOOOM!.

BOOOOOOOM!: Kamea Hadar and Defer


More collaborative work from my good friend Kamea Hadar and Defer. More images below.

View the whole post: Kamea Hadar and Defer over on BOOOOOOOM!.

Schneier on Security: ISIS Threatens US with Terrorism

They're openly mocking our profiling. But in several telephone conversations with a Reuters reporter over the past few months, Islamic State fighters had indicated that their leader, Iraqi Abu Bakr al-Baghdadi, had several surprises in store for the West. They hinted that attacks on American interests or even U.S. soil were possible through sleeper cells in Europe and the United...



My friend Dal is in New York painting in the city, here’s a piece he just finished in Manhattan. His show opens at Jonathan Levine on September 4th. More images below!

View the whole post: DALeast over on BOOOOOOOM!.

BOOOOOOOM!: Rossina Bossio


Paintings by artist Rossina Bossio. More below.

View the whole post: Rossina Bossio over on BOOOOOOOM!.

CreativeApplications.Net: KIKK is back to explore the links between playfulness, creativity and technology

kikk2014_banner_thumbFor the fourth time, KIKK Festival will take over Namur, Belgium to showcase the latest movers and shakers in the worlds of digital art and design. KIKK brings together the world’s most talented creative coders, innovators, designers, artists and researchers.

Planet Lisp: Timofei Shatrov: Living on the edge

Lately my primary Lisp has been a SBCL fork for Windows which is based on SBCL 1.1.4 and is now pretty old. The official release of SBCL for Windows is 1.2.1 so I decided to try it out. The installer managed to delete my old version of SBCL, so there was no way back now. I tried to run it, but it still tried to use .core from the old SBCL. Strange, I’m pretty sure the system environment variables have been updated. Yep, I go to system settings and SBCL_HOME points at the correct directory. I run “cmd” and nope, SBCL_HOME points at the old directory. How could that be? After some mucking about, I save the environment variables again and now it has updated. SBCL now runs from command line. Success?

Ok, so I run SLIME and it tries to use some symbol from SBCL system package which has clearly been removed at some point. My SLIME isn’t even that old, last updated in 2013. I actually installed it via Quicklisp, wonder if this will work? I run SBCL from command line and do (ql:update-all-dists). Lots of libraries get updated, including SLIME 2014-08-01. Oh, this is good stuff.

I start up Emacs, load SLIME and face a certain bug I already faced on another computer. At some point SLIME became, let’s say, not very compatible with Emacs 24.1 and 24.2 series, because Emacs developers did something with ‘cl package and SLIME relies on that change. Guess I’ll have to update Emacs too.

As a result I have been forced to update to a shiny new Lisp stack from 2014. To compare, at work we have to use Python 2.6 (released in 2008) and Django 1.3 (released in 2011 and already deprecated). It’s actually amazing how many libraries still run on Python 2.6. Meanwhile Common Lisp as the language hasn’t changed since like the 80s and yet you must always watch out for compatibility issues! Keep up with the times!

Open Culture: Jimi Hendrix, Pink Floyd, Traffic & Other Bands Play Huge London Festival “Christmas on Earth Continued” (1967)

A truly spectacular event, 1967’s “Christmas on Earth Continued”—a super-concert described in one promo poster as an “All Night Christmas Dream Party”—gets sadly remembered as the last major show Syd Barret played with Pink Floyd—ending the set dazed and motionless onstage, his arms hanging limp at his sides. Barrett’s breakdown wasn’t the only thing that kept this massive happening, “the last gasp of the British underground scene,” from taking off as it should have.

As the blog Marmalade Skies recalls, the concert, held in the “vast London Olympia,” had “hopelessly inadequate” publicity.” This, and a “particularly severe winter freeze” meant sparse attendance and “financial disaster for the organizers.” In addition, a planned film of the event failed to materialize, “owing to poor picture quality of the footage.”


Despite all this, it seems, you really had to have been there. The lineup alone will make lovers of 60s psych-rock salivate: Jimi Hendrix Experience, Eric Burdon, Pink Floyd, The Move, Soft Machine, Tomorrow… The Who didn’t make it, but the unbilled Traffic did. We’re lucky to have some of the footage from that winter night. Check out Traffic below (with a very young Steve Winwood), playing “Dear Mr. Fantasy.”

Liberal England blogger Jonathan Calder calls the Traffic clip “priceless” and quotes Marmalade Skies’ vivid description of the nights festivities:

Soft Machine, with Kevin Ayers resplendent in pre-punk black string vest, climaxed with the ultimate Dada version of ‘We did it again’ as Robert Wyatt leapt into a full bath of water, that just happened to be on-stage with them! At least, we assumed it was water. 

Tomorrow powered through their unique mix of heavily Beatles influenced psychedelia. During ‘Strawberry Fields Forever’ Twink (drums) and Junior (bass) performed a mimed fight whilst being subjected to the most powerful strobe light effects I’ve ever witnessed. Steve Howe was a revelation, moving from raga to classical to Barrett – style anarchy with an almost arrogant ease. 

Traffic, still with Dave Mason, even performed ‘Hole in my shoe’. Steve Winwood was into his white cheesecloth period, and their music was so unlike anything else around that they occupied a totally original space. The song, ‘Here we go round the Mulberry Bush’ was very typical of their trippy, watery sound at that time. 

Hendrix – voom! All light shows were killed for his performance. Noel Redding was constantly niggling Jimi, playing bass behind his head as Jimi performed his tricks with his guitar. It was the first time I saw Hendrix with his Gibson Flying Arrow, and the tension on-stage produced some electrifying music.

At the top of the post see Hendrix in backstage footage, effortlessly coaxing some beautiful 12-bar blues from that Gibson flying V. The film clips of him onstage—blowing an obviously very turned-on audience’s collective mind—will convince you this was the only place on earth to be on December 22, 1967.

And that fateful Floyd performance? We don’t seem to have any film, but we do have the audio, and you can hear it below, slightly sped up, it seems. The band were debuting their new 3D lightshow, which—as much as Barrett’s sad loss of his faculties—left quite an impression on the crowd. One anonymous commenter on Calder’s blog, who claims to have seen been in attendance at the tender age of 18, writes, “I was so impressed with the Soft Machine and Pink Floyd lightshows that I bought an old movie projector from a thrift shop and me and my flatmate spent hours putting color slides into the projector grate and watched them melt psychedelically on the wall.” No doubt impressionable youngsters all over the UK indulged in similar kinds of good clean fun, with Piper at the Gates of Dawn on the hi-fi. If like me, you were born too late to experience the zenith of the psychedelic 60s, then flip off the lights, let your trippiest screen saver take over, and listen to Pink Floyd deconstruct themselves below.

via Liberal England

Related Content:

Jimi Hendrix at Woodstock: The Complete Performance in Video & Audio (1969)

Jimi Hendrix Plays the Beatles: “Sgt. Pepper’s,” “Day Tripper,” and “Tomorrow Never Knows”

Pink Floyd Plays With Their Brand New Singer & Guitarist David Gilmour on French TV (1968)

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Jimi Hendrix, Pink Floyd, Traffic & Other Bands Play Huge London Festival “Christmas on Earth Continued” (1967) is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

The post Jimi Hendrix, Pink Floyd, Traffic & Other Bands Play Huge London Festival “Christmas on Earth Continued” (1967) appeared first on Open Culture.

Penny Arcade: News Post: The Scintillator

Tycho: Gabriel is constantly impressing himself with what he calls his thinkin’s, which are like little caltrops for the brain.  He once posited that while it was technically true that each cock exists within its own “timeline,” under certain rare conditions it would be possible for a cock to block itself. That’s, uh… huh.  That’s not really applicable to my life. We’ve long considered collecting these things together in one of those Daily Affirmation type calendars, we jot them down when we can, but we discussed for a few harrowing minutes what…

Penny Arcade: Comic: The Scintillator

New Comic: The Scintillator

TheSirensSound: Rádio Etiópia – My River

By Appointment to Her Majesty the Queen and to Their Late Majesties King George VI, King Edward VII, King William IV, King George V, Queen Victoria, King George IV and to His Late Royal Higness The Prince of Wales ( 1921-1936)


TONY JUSTERINI and ANATOLY BROOKS are the co-founders of Rádio Etiópia. New episodes are posted every Monday set completed apart from the mainstream line of music.


Intro voice led by Ana Ribeiro


Special Guests:

  • - PAULINO – 2nd FRIDAY
  • - FRAY D. JAY – 3rd FRIDAY
  • - JOÃO H – 4th FRIDAY

< < < < < [ [ .COM ] | [ PODCAST ] | [ FACEBOOK ] | [ PHASE 108.1 ] ]. > > > > >



My River
By Anatoly Brooks


01. Ilya – In Blood (0.00:01)
02. Lisa Gerrard – Estelita (0.02:18)
03. The Irrepressibles – New world (live at Limehouse) (0.05:58)
04. I Am Planet – Silene latifólia (0.09:40)
05. Hugar – Inngangur (0.12:26)
06. The Durutti Column – Free from all the chaos (0.13:45)
07. Aidan Baker – HTBDF II (0.19:13)
08. Notwist – Run run run (0.28:11)
09. Imogem Heap – Climb to sakteng (0.33:13)
10. My Brightest Diamond – Dreaming awake (Son Lux mix) (0.36:28)
11. Ulf Wakenius – Requiem for a lost son (0.40:54)
12. Tom Adams – From a great height (0.44:59)
13. Mick Flannery – Even now (0.47:32)
14. I Am Planet – Adelidae (0.50:21)
15. Strand Of Oaks – JM (0.56:18)
16. Desertshore – The morning is open (1.03:29)
17. Desertshore – Echoes of honfleur (1.06:45)
18. Empire! Empire! – Things not worthfixing (1.09:36)
19. Eric Mongrain – Aftermath (1.13:57)

Total Time: 01.19.53
A photo by António Chaves
Sultry voice of Radio Etiopia – Ana Ribeiro



The Half-Dipper: When Someone Asks You If You Are a God

Disquiet: Disquiet Junto Project 0139: Tech Technique


Each Thursday in the Disquiet Junto group on and at, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate.

Tracks are added to this playlist as they appear in the SoundCloud group:

This assignment was made in the early evening, California time, on Thursday, August 28, with 11:59pm on the following Monday, September 1, 2014, as the deadline.

These are the instructions that went out to the group’s email list (at

Disquiet Junto Project 0139: Tech Technique
The Assignment: Create and upload a track that exemplifies explain one key process you’ve developed.

Thanks to Karl Fousek, aka analogue01, of Montréal, Canada, for indirectly inspiring this project.

The Junto is as much about musicians listening to and communicating with each other as it is about making their own music. This week’s project aims to combine those two goals. The instructions are simple:

Step 1: Think of a specific technique that you are proud of having developed, perfected, or in some way folded into your work.

Step 2: Produce a short track that includes that technique.

Step 3: Upload the track to the Disquiet Junto group on SoundCloud, and in the notes field associated with the track describe the technique.

Deadline: Monday, September 1, 2014, at 11:59pm wherever you are.

Length: Your finished work should be between 1 and 4 minutes.

Information: Please when posting your track on SoundCloud, include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto.

Title/Tag: When adding your track to the Disquiet Junto group on, please include the term “disquiet0139-techtechnique″ in the title of your track, and as a tag for your track.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track, please be sure to include this information:

More on this 139th Disquiet Junto project — “Create and upload a track that exemplifies one key creative process you’ve developed″ — at:

More on the Disquiet Junto at:

Join the Disquiet Junto at:

Disquiet Junto general discussion takes place at:

The image associated with this track is by Wesley Fryer and was used thanks to a Creative Commons license. Originally posted here:

The Gutters: The Mysteries of The Comics Industry

gutters532 colours

It’s a bizzare industry, as both the reaction and the surprise at the reaction to the Milo Manara Spider-Woman cover have proven. The only thing that can possibly explain it is a scene like the one pictured above. Beyond that, I’m completely lost on this one I’m afraid. Not because I don’t get both sides of the argument, but mainly because I’m flabberghasted by both sides of the argument.

But, you have the chance to educate me, Sohmer, Lar, Will and Aurelie about it this weekend at Fan Expo in Toronto!


Today’s page comes to us from Convention-Friend Gavin Smith:

Gavin Smith is a freelance artist who lives in Indianapolis, Indiana. He is the artist on the comic books “The Accelerators” and “All Superheroes Must Die”. He created and self published his own comic book “Human City”. He is also a 2011 graduate of the Joe Kubert School. Past Clients/Work include: AT&T, New World Videos, Blue Juice Comics, The Gutters/Blind Ferret Entertainment, The Sound Magazine.

Enjoy the weekend, friends! If you’re in Toronto, come say hi!


Saturday Morning Breakfast Cereal (updated daily): August 29, 2014


Paper Bits: Photo / 2014-09-01T07:24:03