diff options
| author | kaa <kaa@disroot.org> | 2023-11-09 22:57:12 -0800 |
|---|---|---|
| committer | kaa <kaa@disroot.org> | 2023-11-09 22:57:12 -0800 |
| commit | 3ff2e62722ff5a51a32961d97dc028c56e00481f (patch) | |
| tree | 4a5ccc63c4780be400ef024c7e973365bf51352e | |
| parent | 8987d13d3c1a62d2d1db6ecabb29bc76f3529a44 (diff) | |
A good copy of libhyphen is included in-tree. Makefile has been modified so as to allow easy compilation. The build path is now a compiled-in constant, allowing for the hyphenation patterns in-tree to be referenced from any directory. Hyphenation language may be specified at runtime using -l.
| -rw-r--r-- | config.h | 8 | ||||
| -rw-r--r-- | demo/a.html | 377 | ||||
| -rw-r--r-- | demo/b.html | 377 | ||||
| -rw-r--r-- | ext/es/hyph_es.dic | 862 | ||||
| -rw-r--r-- | ext/es/readme | 2 | ||||
| -rw-r--r-- | ext/hyphen-2.8.8.tar.gz | bin | 0 -> 638369 bytes | |||
| -rw-r--r-- | ext/sources | 2 | ||||
| -rw-r--r-- | hyp.c | 81 | ||||
| -rw-r--r-- | makefile | 32 | ||||
| -rw-r--r-- | share/hyphen/hyph_en_US.dic | 11110 | ||||
| -rwxr-xr-x | unhyp | 4 |
11 files changed, 12813 insertions, 42 deletions
@@ -13,3 +13,11 @@ char *taglist[] = { /* Words containing any of these characters are skipped. */ char *skip = "&/-=~"; + +/* Inherit the directory at compile time. */ +const char *buildpath = BUILD_PATH; +const char *en = "share/hyphen/hyph_en_US.dic"; +const char *es = "ext/es/hyph_es.dic"; +enum { + pathbuf = 512, +}; diff --git a/demo/a.html b/demo/a.html new file mode 100644 index 0000000..f39d560 --- /dev/null +++ b/demo/a.html @@ -0,0 +1,377 @@ +<!DOCTYPE html> +<html lang=en> + <head> + <link href='data:image/gif;base64, +R0lGODlhEAAQAPEAAAD/AP+tAACt//+t/yH5BAAAAAAALAAAAAAQABAAAAIwjI+pq+MPHYp0 +zCGyzvK4vXXGB3KWh2UAoIkBKaztOaalC4O4rdNvBbkAXYyi8VAAADs=' rel=icon> + <meta http-equiv="Content-Type" content="text/html; charset=UTF-8"> + <title>appreciated</title> + <style> + /* https://www.w3.org/Style/Examples/007/units.en.html + https://www.w3.org/wiki/Common_HTML_entities_used_for_typography + https://systemfontstack.com/ + http://www.ampsoft.net/webdesign-l/WindowsMacFonts.html + http://iosfonts.com/ + https://learn.microsoft.com/en-us/typography/fonts/windows_10_font_list + https://www.toptal.com/designers/htmlarrows/math/ + https://www.awayback.com/index.php/2010/02/03/revised-font-stack/ */ + p { + text-indent: 1.5em; + } + tt, pre { + font-family: OCR B, Go Mono, Courier 10 Pitch, Inconsolata, Cascadia Mono, DejaVu Sans Mono, Consolas, Lucida Console, Lucida Typewriter, Menlo, Monaco, monospace; + white-space: pre-wrap; + } + ul, p { + /* There is some off-chance that a user has a Garamond installed. + In a case without Garamond, Baskerville fits, and comes with Apple's OSs. + Alternatively, Century Schoolbook may be available. + If not that, Palatino is commonly available. + Should none of those be available, DejaVu Serif may be. */ + font-family: Garamond, Adobe Garamond Pro, Baskerville, Century Schoolbook, New Century Schoolbook, C059, Palatino Linotype, Palatino, P052, DejaVu Serif, serif; + margin-top: 0; + margin-bottom: 0; + font-size: 1.6vw; + font-variant-numeric: oldstyle-nums; + } + a { + text-decoration-color: #00BEBE; + font-variant-numeric: normal; + } + a:link { + /* Futura works well here. + Lucida in one form or another is often available. + American Typewriter is a personal favorite, common to MacOS and iOS. + Trebuchet MS is common to both Apple and Microsoft. + Helvetica in one form or another is common, and is okay in this context. + The DejaVu fonts are often installed when none of the above are. + If it ain't got any of those, it's surely got Georgia! */ + font-family: Futura, Futura Std, Lucida Sans Unicode, Lucida Grande, Go, Luxi Sans, American Typewriter, Trebuchet MS, Helvetica Neue, Nimbus Sans L, Arial, DejaVu Sans, Georgia, sans-serif; + font-size: 90%; + color: #000000; + } + a:visited { + color: #000000; + } + ul { + padding-left: 0em; + } + #first, #quote { + text-indent: 0; + } + #quote { + width: 85%; + margin-left: 7.5%; + font-size: 1.55vw; + } + #nested { + font-size: 1em; + padding-left: 1em; + } + ::-webkit-scrollbar { + width: 1em; + } + ::-webkit-scrollbar-track { + background: #fffff0; + } + ::-webkit-scrollbar-thumb { + background: #000020; + } + body { + background-color: #fffbf0; + margin: 0; + } + div { + padding-left: 1%; + padding-right: 1%; + width: 52%; + margin-left: 24%; + background-color: #fffaf0; + text-rendering: optimizeLegibility; + line-height: 2.3vw; + /* line-by-line text justification without hyphenation is difficult to read. + Automatic hyphenation requires JavaScript, and manual hyphenation, + though I did attempt it partially, is not an activity I wish to spend my time doing. + To remedy this, I wrote a program to automatically hyphenate HTML! + Now to provide it with some hyphenation patterns ... Done! */ + text-align: justify; + } + h1, h2 { + font-style: italic; + font-weight: normal; + letter-spacing: 0.05em; + font-family: Garamond, Georgia, Palatino Linotype, Palatino, P052, serif; + } + h1 { + text-align: center; + padding-top: 1em; + margin-top: 0; + margin-bottom: 0.5em; + font-size: 2.5vw; + } + h2 { + margin-top: 0; + margin-bottom: 0; + font-size: 1.8vw; + } + /* Abbreviations, such as `GTK3', should be put in small caps, with titling figures. */ + abbr { + font-variant-caps: all-small-caps; + font-variant-numeric: normal; + } + </style> + </head> + <body> + <div> + <h1>appreciated</h1> + <h2>An Introduction.</h2> + <p id=first>A discussion of a variety of works that this author appreciates follows. + They are presented here with the hope that they spark some + interest in a prospective reader. This document is written with the expectation + that a reader has some experience and interest in software development.</p> + <br> + <a name=cat-v><h2>cat-v.org</h2></a> + <p id="first"><a href="http://cat-v.org">cat-v.org</a> introduced me to the potential beauty of a well-written program. + Much of my study of programming and otherwise arts is now dedicated to the pursuit of that beauty.</p> + <p>The first of multiple sections of the site, I found <a href="https://harmful.cat-v.org/software/">harmful.cat-v.org's software section</a>. + I initially found it curious that staples such as <i>bash</i> or <i><abbr>PDF</abbr></i> + may be considered bad or wrong. Near the bottom of the index page, it is written: + “At the moment a detailed rationale is not provided for most of this, so figuring out why some things are considered more or less harmful than others is left as an exercise for the reader. Here is a hint: <i>complexity</i> is the bane of all software, <i>simplicity</i> is the most important quality.” Deciding to take upon myself this curious challenge, I slowly became + educated upon what it means for a set of software to be, in a vague and aesthetic + sense, <i>good</i>. Supplied in tandem with regular exploration of software that + caught momentary fancy, the text available provided me some guidance.</p> + <p>A later discovered section of the site, <a href="http://quotes.cat-v.org/">quotes.cat-v.org</a>, provided me with philosophical + food for thought. Those that have impacted me, the person, have been re-sourced from + their origin, then written below.</p> + <ul> + <li>“It is, in fact, nothing short of a miracle that the modern methods of instruction have not yet entirely strangled the holy curiosity of inquiry; for this delicate little plant, aside from stimulation, stands mainly in need of freedom; without this it goes to wreck and ruin without fail. It is a very grave mistake to think that the enjoyment of seeing and searching can be promoted by means of coercion and a sense of duty. To the contrary, I believe that it would be possible to rob even a healthy beast of prey of its voraciousness, if it were possible, with the aid of a whip, to force the beast to devour continuously, even when not hungry, especially if the food, handed out under such coercion, were to be selected accordingly.”<br> + — Albert Einstein, translated by Paul Arthur Schilpp, <a href="https://ia801902.us.archive.org/6/items/albert-einstein-philosopher-scientist/albert-einstein-philosopher-scientist_text.pdf"><i>Albert Einstein Philosopher—Scientist</i></a>, <abbr>PDF</abbr> page 33 and <abbr>PDF</abbr> page 35</li> + <li>“What a misfortune it is that we should thus be compelled to let our boys' schooling interfere with their education!”<br> + — Grant Allen, <a href="https://www.gutenberg.org/files/18788/18788-h/18788-h.htm#XV"><i>Post-Prandial Philosophy</i>, chapter XV</a></li> + <li>“there is nothing as boring as the truth” … “an intellectual is a man who says a simple thing in a difficult way; an artist is a man who says a difficult thing in a simple way.”<br> + — Charles Bukowski, <a href="https://archive.org/details/notesofdirtyoldm00buko/page/207/mode/1up?view=theater"><i>Notes of a Dirty Old Man</i>, page 207</a></li> + <li>“la inspiración existe, pero tiene que encontrarte trabajando”<br><i>inspiration exists, but it has to encounter you at work</i><br>— Pablo Picasso, published in Tomás R. Villasante's <a href="https://www.google.com/books/edition/_/BQy8AAAAIAAJ?hl=en&gbpv=1&bsq=%22la%20inspiraci%C3%B3n%22"><i>Las ciudades hablan: identidades y movimientos sociales en seis metrópolis latinoamericanas</i>, página 264</a></li> + <li>“I conclude that there are two ways of constructing a software design: One way is to make it so simple that there are <i>obviously</i> no deficiencies and the other way is to make it so complicated that there are no <i>obvious</i> deficiencies.” … “At first I hoped that such a technically unsound project would collapse but I soon realized it was doomed to success. Almost anything in software can be implemented, sold, and even used given enough determination. There is nothing a mere scientist can say that will stand against the flood of a hundred million dollars. But there is one quality that cannot be purchased in this way – and that is reliability. The price of reliability is the pursuit of the utmost simplicity. It is a price which the very rich find most hard to pay.”<br> + — C. A. R. Hoare, <a href="https://www.cs.fsu.edu/~engelen/courses/COP4610/hoare.pdf"><i>The 1980 ACM Turing Award Lecture</i></a>, <abbr>PDF</abbr> pages 7 and 8</li> + <li>“Fools ignore complexity. Pragmatists suffer it. Some can avoid it. Geniuses remove it.”<br> + — Alan Perlis, <a href="https://web.archive.org/20230127130734/http://pu.inf.uni-tuebingen.de/users/klaeren/epigrams.html"><i>Epigrams on Programming</i></a>, epigram 58</li> + <li>“One of the surest tests is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different than that from which it is torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest.”<br> + — T.S. Eliot, <a href="https://archive.org/25/items/sacredwoodessays00elio/sacredwoodessays00elio.pdf"><i>The Sacred Wood: Essays on Poetry and Criticism</i></a>, <abbr>PDF</abbr> page 138</li> + <li>“The first principle is that you must not fool yourself – and you are the easiest person to fool. So you have to be very careful about that. After you've not fooled yourself, it's easy not to fool other scientists. You just have to be honest in a conventional way after that.”<br>— Richard Feynman, <a href="https://calteches.library.caltech.edu/51/2/CargoCult.htm">1974 Caltech commencement address</a></li> + <li>“When you're young, you look at television and think, There's a conspiracy. The networks have conspired to dumb us down. But when you get a little older, you realize that's not true. The networks are in business to give people exactly what they want. That's a far more depressing thought. Conspiracy is optimistic! You can shoot the bastards! We can have a revolution! But the networks are really in business to give people what they want. It's the truth.”<br> + — Steve Jobs, <a href="https://www.wired.com/1996/02/jobs-2/">1996 february Wired Magazine interview</a></li> + <li>“some people never go crazy.<br> + what truly horrible lives<br> + they must lead.”<br> + — Charles Bukowski, <a href="https://archive.org/0/items/Bukowskicollection/Burning%20in%20Water%20%20Drowning%20in%20Flame.pdf"><i>Burning in Water, Drowning in Flame</i></a>, <abbr>PDF</abbr> page 192</li> + </ul> + <br> + <a name="litcave"><h2>litcave.rudi.ir</h2></a> + <p id="first">I discovered this site some months previous to discovering cat-v.org. Perhaps I had found it when searching for vi implementations, for there was a time during which I searched for text editors for the sake of exploratory enjoyment. In any case, the software developed by this site's owner, Ali Gholami Rudi, continually amazes me.</p> + <p>Foremost, <a href="http://litcave.rudi.ir/neatroff.pdf">his implementation</a> and <a href="https://repo.or.cz/troff.git">partial port</a> of <a href="https://troff.org">Joseph Ossana and Brian Kernighan's troff</a> is excellent. I use it for most documents that need be more glorious than a <abbr>UTF</abbr>-8 text file. This typesetting system enables me to create beautiful documents, and its usage continually sparks my interest in font design and data presentation. On a technical level:</p> + <ul> + <li>Full <abbr>UTF</abbr>-8 unicode input support.</li> + <li>24-bit <abbr>RGB</abbr> color applicable to any text. See pages 5 and 7 of <a href="http://litcave.rudi.ir/neatroff.pdf">Neatroff Introduction</a> for usage and otherwise details.</li> + <li>In addition to PostScript fonts, TrueType and OpenType fonts may be used. Wholesome support for <a href="https://en.wikipedia.org/wiki/List_of_typographic_features">OpenType features</a> is implemented and accessible. For usage, see pages 2 and 8 of <a href="http://litcave.rudi.ir/neatroff.pdf">Neatroff Introduction</a>.</li> + <li>Space shrinking, that which allows for more readable documents when used appropriately. See <abbr>PDF</abbr> pages 5 through 6 of <a href="https://heirloom.sourceforge.net/doctools/just.pdf">Justification in Heirloom Troff</a> for visual examples, and pages 4 and 11 of <a href="http://litcave.rudi.ir/neatroff.pdf">Neatroff Introduction</a> for usage.</li> + <li>PostScript metadata, title and author and links and bookmarks in particular, may be set. In addition, images formatted as PostScript or <abbr>PDF</abbr> may be embedded, depending on which of the two is the intended output format. See page 6 of <a href="http://litcave.rudi.ir/neatroff.pdf">Neatroff Introduction</a> and <a href="https://repo.or.cz/neatroff_make.git/blob/HEAD:/tmac/tmac.post">the set of PostScript-specific macros</a> for usage.</li> + <li>Paragraph-at-once adjustment, that which may be used along with space shrinking to improve the readability of a document. So as to understand what that means in practice, see <abbr>PDF</abbr> pages 7 through 9 of <a href="https://heirloom.sourceforge.net/doctools/just.pdf">Justification in Heirloom Troff</a>, and page 7 of <a href="http://litcave.rudi.ir/neatroff.pdf">Neatroff Introduction</a> for usage.</li> + <li>Right-to-left text support, with Farsi in particular being the author's language of interest. The author supplies <a href="https://litcave.rudi.ir/neatfarsi.pdf">a demonstrational document that I yearn to learn to read</a>.</li> + </ul> + <p id=first>Each of the features above are useful in practice, with <a href="https://kaa.neocities.org/PDF/chem-2-9.pdf">an article of my school work</a> serving as a real example of a document benefitting from the above features applicable to the Latin alphabet.</p> + <p><a href="https://litcave.rudi.ir/neatcc.pdf">His C compiler suite</a>, featuring <a href="https://repo.or.cz/neatas.git">an assember</a>, <a href="https://github.com/aligrudi/neatld">linker</a>, <a href="https://repo.or.cz/neatlibc.git">standard libraries</a>, and <a href="https://repo.or.cz/neatcc.git">a compiler</a>, for Linux operating systems running on either <abbr>ARM</abbr> or x86 architecture, is both small and largely standard-compliant. Admittedly, too much of the world's code is designed around <abbr>GNU</abbr>'s compiler suite for this compiler suite to act a drop-in replacement in a majority of C projects, however it is in and of itself very usable.</p> + <p>Ali Gholami Rudi uses Linux, and does not use Xorg. Restricting himself from conventional graphics support, he develops tools that make his predicament more pleasant. He maintains <a href="https://repo.or.cz/fbpdf.git">a program that wraps around existing document viewing programs</a> so as to view <abbr>PDF</abbr> and <abbr>EPUB</abbr> documents within the Linux framebuffer. He regularly develops <a href="https://repo.or.cz/fbpad.git">a terminal emulator</a> that allows for the usage of TrueType fonts in the Linux framebuffer. He's come to use vi, and so he maintains <a href="https://repo.or.cz/neatvi.git">his own vi implementation</a>, that which is small, <a href="https://riptutorial.com/posix"><abbr>POSIX</abbr></a> portable, and designed for <abbr>UTF</abbr>-8. His admirable efforts often have useful and interesting results.</p> + <br> + <a name=alpinelinux><h2>alpinelinux.org</h2></a> + <p id="first">Intrinsically, Linux is a problematic and error-prone hodgepodge of conflicting designs, even if driven by good intentions. Linux comes to mind not for being a clean or ingenious Unix clone, but instead for being a popular and messy operating system backed by large corporations.</p> + <p>Disdain aside, there are examples of good design among the mess, and <a href="https://alpinelinux.org">Alpine Linux</a> is one such example. Importantly, <a href="https://www.gnu.org/software/"><abbr>GNU</abbr>'s software</a> is largely averted, with dependence falling upon their library only for the surprisingly portable <a href="https://www.gnu.org/software/binutils/">binutils</a> and <a href="https://gcc.gnu.org/"><abbr>GCC</abbr></a>, those which a compilation environment is often comprised of, even if <abbr>POSIX</abbr> need be <a href="https://www.delorie.com/djgpp/doc/eli-m17n99.html#History">brought along with it</a>. The C standard library used is musl, that which is <a href="https://wiki.musl-libc.org/compatibility.html">standards-compliant</a>, <a href="http://www.etalabs.net/compare_libcs.html">small</a>, and otherwise <a href="https://musl.libc.org/">strives for correctness</a>, even when that pursuit leads to <a href="https://wiki.musl-libc.org/functional-differences-from-glibc.html">incompatibilities with <abbr>GNU</abbr>'s libc</a>. The usual Unix-borne utilities are provided by <a href="https://busybox.net/">busybox</a>. Though busybox's code is less than glamorous – <a href="https://vid.puffyan.us/watch?v=MkJkyMuBm3g">see the ending minutes of this presentation given by its previous maintainer</a> – it is small and mature, and certainly more usable than the usual selection, <a href="https://www.gnu.org/software/coreutils/"><abbr>GNU</abbr>'s coreutils</a>. Alpine Linux's <a href="https://dl-cdn.alpinelinux.org/alpine/v3.17/releases/">installation images</a> are generally less than 200 MiB in binary size, allowing for <abbr>RAM</abbr> booting to be a sane default. The software packages available in <a href="https://pkgs.alpinelinux.org/packages">the repositories</a> are numerous, and the package management software is expedient. Though <a href="https://wiki.alpinelinux.org/wiki/Main_Page">the distribution-specific documentation</a> does have some rough edges, it is extensive.</p> + <p>There are multiple Linux distributions that try to do better than <abbr>GNU</abbr>'s libc and coreutils, however Alpine is the only one I've noticed to put each of Linux's many pieces together so that the system works well in practice. In particular, Alpine Linux is the only Linux distribution that does not use glibc that I've been able to wrangle into running <a href="https://www.x.org/wiki">Xorg</a>. The mess of <a href="https://kisscommunity.bvnf.space/"><abbr>KISS</abbr> Linux's many split repositories and sparse documentation</a> causes more woes than required of a minimally bootstrapped operating system. <a href="https://github.com/oasislinux/oasis">Oasis Linux</a> is amazingly ambitious, particuarly for preferring <a href="https://sr.ht/~mcf/cproc/">cproc</a> over <abbr>GCC</abbr> or <a href="https://clang.llvm.org/">clang</a>, yet too underbaked to feel useful. <a href="http://tinycorelinux.net">TinyCore Linux</a> boots to <abbr>RAM</abbr>, and its modern incarnations boast smaller size than any other Linux distribution. Unfortunately, a lack of good documentation averts me from its use, despite having tinkered with it for many hours. The gap between toy and ready product may be bridged by good documentation. A move away from glibc would be ideal, however secondary to the documentation issue. As a side note: I imagine glibc is one of the greatest causes of increase in binary size from release to release, for it is <a href="https://vid.puffyan.us/watch?v=Nbv9L-WIu0s">famously inflationary</a>. What was once 11 MiB – <a href="http://tinycorelinux.net/3.x/archive/3.0/tinycore_3.0.iso">TinyCore Linux 3.0</a> – is now 21 MiB – <a href="http://tinycorelinux.net/13.x/x86/archive/13.0/TinyCore-13.0.iso">TinyCore Linux 13.0</a>.</p> + <p>Linux is messy, and improvement is extra messy, which has done well to feed <a href="https://www.debian.org/">Debian</a> and <a href="https://www.redhat.com/en/technologies/linux-platforms/enterprise-linux">Red Hat</a>'s popularity; Debian and Red Hat are mature, and rarely change, and so the same quirks mastered years ago continually apply, for better and worse. Though there are many distributions that try to do better, and occasionally do achieve betterment, a majority of such distributions are generally too malleable or obscure to be reliable. Alpine Linux appears to be the only Linux distribution in any position to upset the frequency of use of <abbr>GNU</abbr>'s C standard libraries and system utilities in actual practice, being both well-documented and mature.</p> + <br> + <a name=bellard><h2>bellard.org</h2></a> + <p id="first">I found Fabrice Bellard's web site during the year 2021. I was amazed by how much could be accomplished by someone both dedicated and creative.</p> + <p>Fabrice Bellard started what has become <i>the</i> media encoding software, <a href="https://ffmpeg.org/">ffmpeg</a>. A subset of ffmpeg, <a href="https://trac.ffmpeg.org/wiki/Using%20libav*">libavcodec</a>, has become a core part of many pieces of software, with there being <a href="https://en.wikipedia.org/wiki/Libavcodec#Applications_using_libavcodec">a long list of such software, maintained by wikipedia contributors</a>. On a personal level, ffmpeg has served as software for recording video, recording audio, the otherwise encoding of images and video and audio, and in particular for encoding animations from images. If not for it, I doubt the current existence of a suitable replacement.</p> + <p>Fabrice Bellard also started <i>the</i> Linux emulation software, <a href="https://www.qemu.org/"><abbr>QEMU</abbr></a>. <abbr>QEMU</abbr> paired with <a href="https://www.linux-kvm.org/page/Main_Page"><abbr>KVM</abbr></a> is a go-to when needing to emulate an operating system with native-ish performance. People who tinker use it quite a bit, and I imagine there are some businesses whose infrastructure depends upon <abbr>QEMU</abbr>.</p> + <p>An entrant into <a href="https://www.ioccc.org">The International Obfuscated C Code Contest</a> built upon, <a href="https://repo.or.cz/tinycc.git">tinycc</a> has become a mature <a href="https://en.wikipedia.org/wiki/C99"><abbr>C99</abbr></a> compiler. It is <a href="https://bellard.org/tcc#speed">about an order of magnitude faster than <abbr>GCC</abbr></a>, and produces reasonably optimal code. C code can be either compiled or <i>interpreted</i>, with the interpreter functionality being baked well enough to be actually useful during development. When using either Windows AME, Alpine Linux, or OpenBSD, this is my first choice of C compiler.</p> + <p>Some lesser known however extremely impressive examples of his programming prowess are listed at the index of his site. Some particularly eye-catching ones include</p> + <ul> + <li><a href="https://bellard.org/jslinux/">hardware emulators</a> that allow running Linux or Windows in-browser via javascript,</li> + <li><a href="https://bellard.org/nncp/">an experimental lossless compression model</a> built around neural networks,</li> + <li><a href="https://bellard.org/pi/pi2700e9/">having computed what was at a time the largest amount of digits of PI ever</a>, on consumer hardware,</li> + <li><a href="https://www.ioccc.org/2018/bellard/hint.html">in some way that befuddled even the <abbr>IOCCC</abbr> judges</a>, <a href="https://bellard.org/ioccc_lena/">a program to inflate Lena from itself</a>, and</li> + <li><a href="https://bellard.org/TinyGL/">a useful software-only subset of OpenGL</a>.</li> + </ul> + <br> + <a name=other><h2>other.stanleylieber.com</h2></a> + <p id="first">I found <a href="http://other.stanleylieber.com">other.stanleylieber.com</a> after traversing web sites regarding 9front, the foremost being cat-v.org and <a href="http://9front.org">9front.org</a>. I first encountered it during the year 2022. This site encourages the best kind of doom scrolling. Image after image, chances are good that one of every few images strikes interest. That sort of consistent quality buys trust, and that trust may be spent in continued viewer attention. It's a sort of magic that I'd like to capture.</p> + <br> + <a name=openbsd><h2>openbsd.org</h2></a> + <p id="first">Having mentioned above that Linux is a mess, it feels suitable to now explain a Unix derivative that is not. <a href="https://www.openbsd.org">OpenBSD</a> split from <a href="http://netbsd.org/">NetBSD</a> 1.0 in 1995, which in turn was based upon <a href="https://www.tuhs.org/cgi-bin/utree.pl?file=4.4BSD">4.4BSD-Lite</a>, which in turn was based upon twenty-odd years of development upon a <a href="https://www.tuhs.org/cgi-bin/utree.pl?file=V6">Unix Version 6</a> installation <a href="http://www.groklaw.net/article.php?story=20050505095249230">performed at University of California, Berkeley</a>. In the time between 1995 and now, OpenBSD has become an operating system that is stable, secure, and excellently documented. The manuals are concise without erring on being terse, the system defaults are sane and secure, and things do not break often.</p> + <p>Glittering generalities presented, some real examples may provide some validity to the claims given. Each program purpose-written for the distribution has a man page written in a consistent style, featuring English that is appropriately formal, a unique feature among Unix clones. Linux in particular often features man pages that are <a href="https://linux.die.net/man/1/gcc">too long to grok and poorly written</a> – commonly those written for <abbr>GNU</abbr>'s software – or too little more than a list of options – most notably <a href="https://linux.die.net/man/1/busybox">busybox</a>. On OpenBSD, for those external programs that may be included in an installation by way of <a href="https://www.openbsd.org/faq/faq4.html#FilesNeeded">file sets</a>, packages served by <a href="https://www.openbsd.org/faq/faq15.html">the repositories</a>, or <a href="https://www.ports.to/">the ports tree</a>, all documentation is included, that much being the best that can be reasonably expected. The programmer's documentation – so as to be explicit, <a href="https://man.openbsd.org/strtol.3">this is one such page</a> – is sincerely better written than any other set I've encountered.</p> + <p>Options that don't make sense to be enabled by default are not enabled by default. Audio recording is disabled, video recording is disabled, and daemons installed are not suddenly marked to run at boot. This last point may feel obvious, however I distinctly remember Debian Linux exhibiting the opposite behavior. There was a time during which a younger and less aware version of myself had apache starting upon each boot of my laptop <abbr>PC</abbr>.</p> + <p>Never has OpenBSD presented me with an issue that feels arbitrary. Installation makes sense, post-installation makes sense, with wifi setup being <a href="https://man.openbsd.org/rtwn">particularly well documented</a>, and regular usage makes sense. These are vague qualities that describe general feelings, with those general feelings being my focus. There is a sense of <i>comfort</i> that eludes any Linux distribution I've used. It's a boring comfort, a stable comfort, a good one.</p> + <p><abbr>POSIX</abbr> conformance completes this operating system. It is not <a href="http://www.minix3.org/">a forgotten toy</a>, or <a href="https://git.sr.ht/~vdupras/duskos">a promising dream</a>, but a real and maintained product, compatible with real programs. A list of some that I value follows.</p> + <ul> + <li><a href="https://repo.or.cz/tinycc.git">tinycc</a> is available in the repositories. On the occasions during which tinycc is not suitable, the compiler included with the <a href="https://www.openbsd.org/faq/faq4.html#FilesNeeded">comp file set</a>, clang, works well, if much slower.</li> + <li><a href="https://9fans.github.io/plan9port/">plan9port</a> is available in the repositories. <a href="https://9fans.github.io/plan9port/man/man1/sam.html">sam</a>, <a href="https://9fans.github.io/plan9port/man/man1/acme.html">acme</a>, and <a href="https://9fans.github.io/plan9port/man/man1/9term.html">9term</a> are the main attractions. I recommend explicitly setting a bitmap font that suits your preference. + <a href="https://kaa.run.place/go.tgz">A personally performed conversion of Go Regular</a> is usually my first choice. + There are <a href="https://plan9.io/wiki/plan9/fonts/index.html">a variety of fonts</a> downloadable from <a href="http://git.9front.org/plan9front/plan9front/7f8246fd97a12477f9dd21c68a3d81b4c4b46852/lib/font/bit/f.html">9front's git repository</a>, with the most simple method of download being <a href="http://git.9front.org/git/plan9front/plan9front/27a63ae22975171efbee5549d100f416ccb4066a/snap.tar.gz">a current snapshot of the git repository</a>. + Of 9front's conversions, I prefer <a href="http://git.9front.org/plan9front/plan9front/7f8246fd97a12477f9dd21c68a3d81b4c4b46852/lib/font/bit/dejavusans/unicode.14.font/f.html">DejaVu Sans</a>. Alternatively, <a href="http://plan9.stanleylieber.com/src/">sl's various conversions</a>, or <a href="https://kaa.run.place/c059.tgz">the conversion I performed of URW's C059</a> may be suitable. P.S.: Conversion of a scalable font may be performed on Unix using <a href="https://9fans.github.io/plan9port/man/man4/fontsrv.html">plan9port's fontsrv</a>, using either <a href="http://pmikkelsen.com/plan9/fonts">the method described here</a> or <a href="Program/r.txt">judicious use of plan9port's 9p</a>. Also on Unix, <a href="https://ftrv.se/21">Sigrid's ttfs</a> gives <a href="https://kaa.neocities.org/Image/ttfs.png">perfect results</a>. Alternatively, conversion may be performed by means of <a href="https://tcp80.org/11-ttf2subf-new-release.html">ttf2subf</a>, <a href="https://drawterm.9front.org/">DRAWTERM</a>, and a networked 9front installation. That last requirement may be fulfilled by <a href="https://9p.sdf.org/">an account with <abbr>SDF</abbr>'s public 9front</a>, <a href="https://ftrv.se/5">OpenBSD's vmd</a> – see also <a href="http://wiki.9front.org/cpu-setup">wiki.9front.org</a> and <a href="https://armeye.github.io/posts/p9obsd.html">armeye.github.io</a>, or an installation of 9front on real hardware, the last of which may be difficult to satisfy as a result of lacking hardware support.</li> + <li><a href="https://curl.se/">cURL</a> is, of course, available in the repositories.</li> + <li><a href="http://www.mutt.org/">mutt</a>, the mail client, is available in the repositories.</li> + <li><a href="https://www.netsurf-browser.org/">NetSurf</a>, a web browser that balances current web site compatibility and resource usage well, is in the repositories. A practical majority of the <abbr>HTML</abbr> and <abbr>CSS</abbr> in use today are implemented.</li> + <li><a href="https://mupdf.com/">mμ<abbr>PDF</abbr></a> and <a href="https://ghostscript.com/">GhostScript</a>, both of which are particularly useful for document consumption and preparation, are available in the repositories. The practical use of typesetting systems, such as the aforementioned neatroff, and the now mentioned <a href="http://kertex.kergis.com/en/index.html">KerTeX</a> and <a href="https://plain-xetex.neocities.org/">XeTeX</a>, depend upon these two programs, or close equivalents. Allow me to indulge in a tangent: using either of these requires digital typefaces. For these purposes exactly, the developers of mμ<abbr>PDF</abbr> and Ghostscript, known as <a href="https://artifex.com/">Artifex</a>, have worked with <a href="https://en.wikipedia.org/wiki/URW_Type_Foundry">URW</a> to produce <a href="https://github.com/ArtifexSoftware/urw-base35-fonts">a public release of professionally produced digital clones of popular typefaces</a>. These are suitable for documents and user interfaces alike, serving an important role in freely distributed operating systems particularly. They have been <a href="https://raw.githubusercontent.com/ArtifexSoftware/urw-base35-fonts/master/fonts/LICENSE">specially licensed to be embedded in any PostScript or <abbr>PDF</abbr> file</a>. Peter Deutsch of Artifex <a href="https://tug.org/fonts/deutsch-urw.txt">described the transaction</a> as a donation of commodity items for the sake of brand appreciation. They are available in several formats – some descriptions may be found at <a href="http://fonts.github.io/typographic-collaboration/">fonts.github.io's appendix</a> and <a href="https://xml.web.cern.ch/XML/lgc2/xetexmain.pdf">The XeTeX Companion</a>, and some of the OpenType iterations provide supplemental glyphs as <a href="https://en.wikipedia.org/wiki/List_of_typographic_features">OpenType features</a>. + There's a lot more out there than these thirty five, and here are some pleasant avenues from which to find more. + <ul id="nested"> + <li><a href="https://tug.org/FontCatalogue/">The LATeX Font Catalogue</a> features a long list of well-categorized typefaces, in a mix of PostScript and OpenType formats. Each shown here is distributed freely, and several contain vast character sets designed for typesetting first and foremost.</li> + <li><a href="https://www.x.org/releases/individual/font/font-bh-ttf-1.0.4.tar.xz">The Luxi fonts</a> were designed and released by <a href="https://bigelowandholmes.typepad.com/bigelow-holmes/history/">Bigelow and Holmes</a>, of Lucida fame, some twenty-odd years ago. The serif typeface included is described as “a modification of Lucida … fitted to the same widths as Times Roman and with modified serifs but keeping the x-height of Lucida”. See PDF page 3 of <a href="www.tug.org/TUGboat/tb37-2/tb116bigelow-lucidamath.pdf">A short history of the Lucida Math fonts</a>, one of B&H's multiple good reads to be found on TUGboat. The sans-serif typeface included inherits some of Lucida's grace. Much later, in late 2016, Bigelow and Holmes freely released <a href="https://go.dev/blog/go-fonts">the Go fonts</a>, those which contain an extensive set of pan-European glyphs, Greek and Cyrillic included. Here's a description of the rationale behind these typefaces, <a href="https://www.computerhistory.org/collections/catalog/102738267">excerpted from an interview with Chuck Bigelow</a>: ‘the most recent thing we did – which is not called Lucida – for engineers at Google who developed a programming language called Go. And one of them, Rob Pike, worked at Bell Labs. And we had licensed Lucida to Bell Labs for a programming language [sic] called Plan 9, which is obscure, but kind of in its cult way, well known. And then they did the Go language. Just last year, they said, “Look, we have this language. We distributed it for free. It’s open source software. Anybody can exchange it for any reason, and copy it, and can even go in and change it.” And we’d never allowed that before because we didn’t want people artistically to mess up our designs. And we defended that even when the big companies like Microsoft and Apple wanted to manipulate stuff without our permission. We had to say, “No, you have to have our permission. We’ll work with you, but you can’t do it on your own.” But, with Rob Pike there was just something about the proposal that we liked. He said, “You know, what do you think? What about it?” We said, “Okay, we can do it.” And we’d done some free fonts, but they weren’t open [the Luxi fonts]. And we took those. And we adjusted them to the Go format in TrueType because the Go language, they’d developed TrueType rasterizing tools and graphical tools [see <a href="https://pkg.go.dev/golang.org/x/image/font">golang.org/x/image/font</a>]. And we settled with Go that we would do not just the Roman types, or the Latin-based types, but we would add in Greek, and Cyrillic, and a bunch of symbols and graphic characters that Microsoft had defined. So, instead of a font of two hundred and fifty characters, we had like six hundred and sixty characters. And we did it in a tremendous hurry, always in a hurry. … Whether the type will become vastly used, I don’t know. But anybody can use it for web fonts or anything. … Early on, we observed that popular typefaces often had non-Latin versions. Times Roman was the first because customers in other countries would ask for Times Roman, but for Greek or for Cyrillic. And Helvetica, when it became popular, had the same question. So, we thought we’d reverse that. Let’s design Greek and Cyrillic before people want it because, if it was a mark of success for a typeface incrementally, what if we designed them? Maybe it will help them be a success now.’ For user interface purposes, these typefaces have spoiled this author.</li> + <li><a href="https://fonts.google.com/">Google Fonts</a>, <a href="https://typetype.org/freefonts/">truetype.org</a>, <a href="https://fontlibrary.org/en/guidebook/supported_licenses">fontlibrary.org</a>, <a href="https://usemodify.com/">Use & Modify</a>, <a href="https://packages.debian.org/stable/fonts">Debian's package repositories</a>, and <a href="https://fontain.org/about">fontain.org</a> feature aggregations of open-source fonts, those which any person is permitted to both utilize and change. <a href="https://fontlibrary.org/en/font/coelacanth">Coelacanth</a> and <a href="https://fontlibrary.org/en/font/eb-garamond">EB Garamond</a> are head-turners, both of which have been developed using <a href="https://fontforge.org/en-US/">FontForge</a>. As a partially relevant bonus, some <a href="https://fontlibrary.org/en/guidebook/font_design">design tips</a> and <a href="https://fontlibrary.org/en/guidebook/book_recommendations">book recommendations</a> are offered to aspiring fontographers by fontlibrary.org.</li> + <li><a href="https://www.theleagueofmoveabletype.com/">The League of Movable Type</a>, <a href="http://osp.kitchen/foundry/">Open Source Publishing</a>, <a href="https://indestructibletype.com/Home.html">indestructible type*</a>, <a href="https://velvetyne.fr">Velvetyne Type Foundry</a>, <a href="https://www.collletttivo.it">Collletttivo</a>, and <a href="https://arkandis.tuxfamily.org/index.html">Arkandis</a> are each digital type foundries that solely design open-source fonts.</li> + <li>I am personally fond of <a href="https://dbmiller.org/type/rwgaramond.html">RW Garamond</a>, a collaboratively developed typeface – see <a href="https://web.archive.org/web/20161031051637/http://garamond.org/urw/">garamond.org</a> and <a href="https://www.ctan.org/pkg/garamondx">ctan.org</a> for the lineage – reminiscent of the typographic style of centuries past. It has small caps and old-style figures. Being derived from Garamond No. 8, as distributed at <a href="https://github.com/ArtifexSoftware/ghostpdl/tree/master/pcl/urwfonts">ghostpdl/pcl/urwfonts</a>, it is licensed as according to the terms of the <a href="https://raw.githubusercontent.com/ArtifexSoftware/ghostpdl/master/pcl/LICENSE">Affero Free Public License, without exception</a>. The licensing is discussed further on <a href="https://en.wikipedia.org/wiki/Garamond#URW++_Garamond_No._8">the associated Wikipedia page</a>, and described in full <a href="https://web.archive.org/web/20100107165113/http://www.artifex.com/downloads/doc/Public.htm">at Artifex's web site</a>.</li> + <li><a href="https://www.gnu.org/software/freefont/">FreeFont</a> is a continuation of URW's Nimbus Serif, Nimbus Sans, and Nimbus Mono, each re-named FreeSerif, FreeSans, and FreeMono respectively. A vast character set is supplied. These derivatives are <a href="https://www.gnu.org/software/freefont/license.html">licensed under version of the <abbr>GNU</abbr> Public License</a>, though with an exception so as to permit embedding each typeface in a <abbr>PDF</abbr>.</li> + <li><a href="https://www.fontshare.com/">Fontshare</a> features fonts designed by the Indian Type foundry, with all being <a href="https://www.fontshare.com/licenses/itf-ffl">free for commercial use</a>. In a similar vein, the professional digital type foundry Paratype was commissioned by the Russian Federation to produce publically-distributed Latin and Cyrillic typefaces, with <a href="https://company.paratype.com/pt-sans-pt-serif">PT Serif and PT Sans</a> having resulted. Adobe publically released <a href="https://github.com/adobe-fonts/source-serif">Source Serif</a>, <a href="https://github.com/adobe-fonts/source-sans">Source Sans</a>, and <a href="https://github.com/adobe-fonts/source-code-pro">Source Code Pro</a>. Source Serif in particular is available in a variety of <a href="https://blog.adobe.com/en/publish/2021/03/04/source-serif-gets-optical-sizes">optical sizes</a>.</li> + <li><a href="https://www.cooperhewitt.org/about/">The Cooper Hewitt museum</a> professionally commissioned <a href="https://www.cooperhewitt.org/open-source-at-cooper-hewitt/cooper-hewitt-the-typeface-by-chester-jenkins/">a sans-serif typeface by the same name</a>, that which has been publically released in source form. + <li><a href="https://en.wikipedia.org/wiki/Open-source_Unicode_typefaces">Wikipedia's page dedicated to Open-Source Unicode typefaces</a> and <a href="https://software.sil.org/fonts/">SIL International's font listing</a> are each useful for choosing a typeface with support for a wide variety of languages. <a href="https://dejavu-fonts.github.io">DejaVu</a> is my go-to when such a typeface is needed.</li> + <li><a href="http://tulrich.com/fonts/">Thatcher Ulrich's Tuffy</a> is a rare example of a truly public domain typeface.</li> + <li><a href="https://www.edwardtufte.com/tufte/">Edward Tufte</a>, an accomplished author, has collaboratively produced <a href="https://edwardtufte.github.io/et-book/">“a Bembo-like font for the computer”</a>, that which is explicitly designed with publication usage in mind.</li> + <li><a href="https://www.glukfonts.pl/info.php">glukfonts</a> and <a href="https://www.exljbris.com/eula.html">exljbris</a> each offer some free typefaces, with downloading being a singular click, rather than a game of hoop jumping. <a href="https://typodermicfonts.com/downloads/">Typodermic</a> offers some portions of typefaces – including the often seen and seldom used <a href="https://en.wikipedia.org/wiki/Ray_Larabie#/media/File:Grand_Theft_Auto_logo_series.svg">Pricedown</a>.</li> + <li><a href="http://web.archive.org/web/20221003220503/https://brill.com/page/290?language=en">The Brill Typeface</a> is seriffed, contains roughly 6000 pan-European glyphs, and is free for non-commercial use.</li> + <li><a href="http://fonts.jp/hanazono/">Hanazono Mincho</a> is a mono-spaced and seriffed typeface, with its claim to fame being its whopping 100-thousand-plus character set.</li> + <li><a href="https://kurinto.com/">Kurinto</a> is a collection of several unicode typefaces, presented in a user-accessible manner.</li> + <li><a href="https://web.archive.org/web/20101122142710/http://code2000.net/code2000_page.htm">Code2000</a>, a shareware typeface once hosted on a now defunct web site, supports a wide variety of scripts, by means of roughly 50000 glyphs. The similarly licensed <a href="https://evertype.com/emono/">Everson Mono</a> aims to compete with Courier in general use, including roughly 9000 glyphs.</li> + <li>A revival of an almost forgotten typeface may found in <a href="https://iginomarini.com/fell/the-revival-fonts/">Igino Marini's rendition of The Fell Types</a>.</li> + <li><a href="https://en.wikipedia.org/wiki/Bitstream_Inc."</a>Bitsteam</a>'s <a href="https://en.wikipedia.org/wiki/Bitstream_Charter">Charter</a> and <a href="https://en.wikipedia.org/wiki/Courier_(typeface)#Courier_10_Pitch_BT_and_Courier_Code">Courier 10 Pitch</a> may now be found in TrueType format at <a href="http://rolandstroud.com/Fonts-1.html">the web site of Roland Stroud</a>, writer and physician. Alternatively, Bitstream's Charter and Courier may be found <a href="https://www.x.org/releases/individual/font/font-bitstream-type1-1.0.4.tar.xz">in Type 1 format, distributed with Xorg</a>. Bitstream's extensive <a href="https://en.wikipedia.org/wiki/Bitstream_Cyberbit">Cyberbit</a>, released freely for non-commerical use, may be found at <a href="https://web.archive.org/web/20040117055154/http://ftp.netscape.com/pub/communicator/extras/fonts/windows/Cyberbit.ZIP">an archive of a now long offline NetScape FTP server</a>.</li> + <li><a href="https://fontmeme.com/fonts/free-fonts-collection/">FontMeme</a>, <a href="https://fontesk.com/license/free-for-commercial-use,ofl-gpl/">Fontesk</a>, <a href="https://www.dafont.com/top.php?page=2&l[]=10&l[]=1">dafont</a>, <a href="https://www.fontspace.com/new/fonts">FontSpace</a>, and <a href="https://www.1001fonts.com/free-for-commercial-use-fonts.html">1001fonts</a> each feature lists of fonts free for commercial use. It's a very mixed bag.</li> + </ul> + <li><a href="https://surf.suckless.org/">surf</a>, a web browser that acts as a minimal wrapper around the ginormous <a href="https://webkit.org/">WebKit</a>, is available in the repositories.</li> + <li><a href="https://www.mozilla.org/">Firefox</a>: it works, so long as there's a gigabyte or so of memory to spare. The builds of Firefox distributed in the repositories are intentionally restricted to accessing <tt>~/Downloads</tt>, and feature the Unix functionality of <abbr>CTRL</abbr> + A, <abbr>CTRL</abbr> + E, <abbr>CTRL</abbr> + W, and <abbr>CTRL</abbr> + U in text input contexts. This program is just about necessary for bank and school interactions, and for the popular methods of social interaction over an internet connection. Even Advent of Code needs OAuth, which means third-party cookies and JavaScript. Privacy-first Firefox configurations <a href="https://github.com/arkenfox/user.js">do exist</a>, but aren't practical for a majority of the use cases in which Firefox or a near equivalent is needed – gmail.com, outlook.com, discord.com, youruniversity.edu, yourbank.com and so on. The best that can be done with Firefox is generally to use <a href="https://start.duckduckgo.com/">DuckDuckGo</a> -
or <a href="https://www.mojeek.com/">Mojeek</a> if you're brave – and to install <a href="https://ublockorigin.com/">UBlockOrigin</a> to curve the web's visual harrassment. P.S.: The JavaScript-disabling option provided by UBlockOrigin is particularly useful to selectively enable for web sites that have a paywall. Paywalls are often enforced using JavaScript, in which case this feature disables the JavaScript that does the paywalling. Some of the frequenters of <a href="https://www.oftc.net">irc.oftc.net</a>'s <tt>#cat-v</tt> well describe the sentiment I share. <pre> +irc.otfc.net, #cat-v: 2023 June 28 +11:40:44 invoked → i don't feel shame in using firefox, it's mostly resignation mixed with disgust +11:43:39 sigrid → it's not really about shame, I use firefox too</pre></li> + <li><a href="https://ffmpeg.org/">ffmpeg</a>, the media conversion and recording and playback utility, is available in the repositories.</li> + <li><a href="https://imagemagick.org/index.php">ImageMagick</a>, the image conversion, transformation, and filtration utility, is available in the repositories.</li> + <li><a href="https://git-scm.com/">git</a>, of course, is available in the repositories.</li> + <li><a href="https://unix4lyfe.org/darkhttpd/">darkhttpd</a>, a suitable <abbr>HTTP</abbr> server for local file transfer, is available in the repositories.</li> + <li><a href="https://drawterm.9front.org/">DRAWTERM</a>, an excellent program for graphical login to a 9front system, is available in the repositories.</li> + <li><a href="http://litcave.rudi.ir/neatroff.pdf">neatroff</a>, though unavailable in the repositories, compiles and runs without hassle.</li> + <li><a href="https://mtpaint.sourceforge.net/">mtPaint</a>, a program suitable for digital drawing and animation, is available in the repositories.</li> + <li><a href="https://man.openbsd.org/pkg_locate">pkg_locate</a>, analagous to <a href="https://wiki.debian.org/apt-file">Debian's apt-file</a>, greatly simplifies searching for correct header files for source code compilation.</li> + <li><a href="http://www.eterna.com.au/ircii/">ircII</a>, <a href="https://en.wikipedia.org/wiki/IrcII">the most mature maintained <abbr>IRC</abbr> client</a>, is included in the repositories. So as to understand the myriad of commands specific to <abbr>IRC</abbr>, the information accessible through this program's /help command is the best-written documentation I've found. This <abbr>IRC</abbr> client is not only capable of <abbr>DCC</abbr> file transfer, it features the original implementation. Should the <abbr>DCC</abbr> file transfer give you trouble, as it has done for me, attempt using <a href="https://irssi.org/">irssi</a>, that which is both capable of <abbr>DCC</abbr> file transfer and available in the repositories.</li> + <li><a href="https://openxcom.org/">OpenXcom</a>, a source port of <a href="https://en.wikipedia.org/wiki/X-COM:_UFO_Defense">X-COM: UFO Defense</a>, is available in the repositories. A clean copy of the game data may be found in <a href="https://www.gog.com/en/game/xcom_ufo_defense">the gog.com release</a>, and then extracted via <a href="https://constexpr.org/innoextract/">innoextract</a>, the latter of which is additionally available in the repositories. This being my first and only extended venture into a strategy game, I thoroughly enjoy it. Some well-produced coverage of this game <a href="https://vid.puffyan.us/watch?v=gBu77h2FSCM">may be found here</a>.</li> + <li><a href="https://st.suckless.org/">st</a>, a reasonable terminal emulator, compiles without hassle. There are no “Gotcha!” moments to be had here; the same <tt>config.h</tt> and patches that work on Linux work in this context too. Using a graphical terminal emulator requires a good monospaced typeface. Raph Levien's <a href="https://levien.com/type/myfonts/inconsolata.html">Inconsolata</a> is popular for good reason. <a href="https://go.dev/blog/go-fonts">Go Mono</a> is another personal favorite. Mark Simonson, a professional type designer with an impressive career, freely released <a href="https://www.marksimonson.com/fonts/view/anonymous-pro">Anonymous Pro</a>. Adrian Frutiger's <abbr>OCR</abbr>-B is <a href="https://en.wikipedia.org/wiki/OCR-B">a long-held standard</a> in fixed-width text, and <a href="https://tsukurimashou.osdn.jp/ocr.php.en">this free adaptation</a> by multiple authors works well in a terminal. Maybe less immediately attractive but undeniably universally legible is Courier, with its regularly available descendants being the purely commercial iterations distributed with Windows and MacOS, <a href="https://www.x.org/releases/individual/font/font-ibm-type1-1.0.4.tar.xz"><abbr>IBM</abbr>'s official digitization of the original</a> – this one doesn't feel right, <a href="https://www.gnu.org/software/freefont/">FreeMono</a> – reasonable, <a href="https://quoteunquoteapps.com/courierprime/">Courier Prime</a>, and <a href="https://www.x.org/releases/individual/font/font-bitstream-type1-1.0.4.tar.xz">Bitstream's freely distributed Type1 iteration</a> – this one's just right. <a href="https://typodermicfonts.com/downloads/">Typodermic's fonts free for commerical use</a> include <a href="https://typodermicfonts.com/nk57-monospace/">NK57 Monospace</a>, that which comes in a variety of weights and widths. Microsoft's <a href="https://github.com/microsoft/cascadia-code">Cascadia Code</a> is another suitable choice, and those with access to Windows Vista or later – or maybe to <a href="https://aur.archlinux.org/packages/ttf-vista-fonts">a copy of PowerPoint</a>, or simply <a href="https://www.fontshop.com/families/consolas">FontShop</a> – may use Consolas, which is great. Fans of bitmap fonts may be pleased by <a href="https://int10h.org/oldschool-pc-fonts/fontlist/?1#top">The Ultimate Oldschool <abbr>PC</abbr> Font Pack</a>, that which is composed of bitmap fonts extracted from a wide variety of decades-old personal computer firmware. Some particular stand-outs for 1920 by 1080 pixel displays include <a href="https://int10h.org/oldschool-pc-fonts/fontlist/font?ibm_ps-55_re"><abbr>IBM</abbr> PS/55 re.</a> and <a href="https://int10h.org/oldschool-pc-fonts/fontlist/font?cordata_ppc-400">Cordata PPC-400</a>. <a href="https://www.cambus.net/spleen-monospaced-bitmap-fonts/">Spleen</a> 8x16, <a href="https://kaa.run.place/spleen-8x16.tgz">converted</a> by means of <a href="http://plan9.stanleylieber.com/fonts/">bdf2subf</a>, has come to be my fixed-width replacement for Pellucida Mono – see <a href="https://www.tug.org/TUGboat/tb26-3/tb84beet.pdf">TUGboat, Volume 26, No. 3</a>, and <a href="https://tug.org/TUGboat/tb39-3/tb123bigelow-lucida.pdf">TUGboat, Volume 39, No. 3</a>, and <a href="https://github.com/9fans/plan9port/tree/master/font/pelm"><tt>$PLAN9/font/pelm</tt></a> – when using acme. <a href="http://viznut.fi/unscii/">unscii</a> contains even more characters. <a href="https://www.inp.nsk.su/~bolkhov/files/fonts/univga">univga</a> is an oldie and a goodie. <a href="https://www.x.org/releases/individual/font/font-misc-misc-1.1.3.tar.xz">XOrg's misc 10x20</a> is workable. <a href="https://tobiasjung.name/profont/index.php?fs=18&pf=on">ProFont OTB</a> has grown on me.</li> + <li><a href="https://www.victornils.net/tetris/">vitetris</a>, an implementation of <a href="https://en.wikipedia.org/wiki/Tetris">Alexey Pajitnov's Tetris</a> that will run in a usual terminal emulator, is available in the repositories.</li> + <li><a href="https://www.gnu.org/software/gtypist/">gtypist</a>, a sincerely beneficial ncurses typing tutor, is available in the reposories. + <li><a href="https://www.fluidsynth.org/">FluidSynth</a>, a utility for rendering <abbr>MIDI</abbr> data to <abbr><abbr>PC</abbr>M</abbr> audio, is available in the repositories. So as to use this software, you will need at least one soundfont. Many complete options are listed on <a href="https://github.com/FluidSynth/fluidsynth/wiki/SoundFont">the FluidSynth wiki</a>, <a href="https://musescore.org/en/handbook/3/soundfonts-and-sfz-files#list">the MuseScore handbook</a>, and <a href="http://www.synthfont.com/links_to_soundfonts.html">synthfont.com</a>.</li> + <li><a href="https://sox.sourceforge.net/">sox</a>, that which is particularly useful for mixing audio, is available in the repositories.</li> + <li><a href="https://lmms.io/"><abbr>LMMS</abbr></a>, a graphical program designed for music production, is available in the repositories.</a> + <li><a href="https://fontforge.org/en-US/">FontForge</a> and <a href="https://www.lcdf.org/type/">the LCDF Typetools</a> each facilitate inspection and creation of digital typefaces. They're both available in the repositories.</li> + <li><a href="https://lldb.llvm.org/">lldb</a> and <a href="https://www.sourceware.org/gdb/">gdb</a> each may fill the essential role of a debugger. lldb comes with the distribution's comp file set, and gdb is in the repositories.</li> + </ul> + <p>The programs that come with the distribution and are developed by the distributors are mature. <a href="https://www.gnu.org/fun/jokes/ed-msg.html"><tt>ed</tt></a> and <a href="https://man.openbsd.org/ksh"><tt>sh</tt></a> are each designed for human use, as opposed to busybox's maimed <tt>ed</tt> implementation, or <a href="https://en.wikipedia.org/wiki/Almquist_shell#Dash">Debian's Almquist Shell</a>. The <tt>vi</tt> implementation handles <abbr>UTF</abbr>-8 unicode, while also not taking 20 or more MiB of binary space. This is not the norm on modern Unix; usually, either the very large <a href="https://www.vim.org/">Vim</a> or the Unicode-mangling <a href="http://k.japko.eu/busybox-vi-tutorial.html"><tt>busybox vi</tt></a> are used. For those who crave <tt>emacs</tt>, <a href="https://man.openbsd.org/mg">there is an original micro emacs implementation</a> included with the distribution. So as to prevent carpal tunnel caused by repeated use of <abbr>CTRL</abbr> on an <abbr>ANSI</abbr> or <abbr>ISO PC</abbr> keyboard, I recommend remapping <abbr>CAPS LOCK</abbr> to the left <abbr>CTRL</abbr> key, <a href="https://www.openbsd.org/faq/faq7.html">as documented here</a>. For those who have content to host, <a href="https://man.openbsd.org/httpd">OpenBSD has its own <abbr>HTTP</abbr> server</a>, and <a href="https://www.libressl.org/">its own <abbr>SSL</abbr> implementation to match it</a>. OpenBSD has <a href="https://sndio.org/">its own sound system</a>, <a href="https://web.archive.org/https://mandoc.bsd.lv/">its own man page programs</a>, <a href="https://www.openbsd.org/faq/faq16.html">its own kernel-resident virtual machine software</a>, and most famously, <a href="https://www.openssh.com/">its own <abbr>SSH</abbr> implementation</a>. Not only do these implementations mark past creative effort, for their development is ongoing. Recent releases are announced first by <a href="https://marc.info/?l=openbsd-announce">mailing list</a>, which are then often re-announced <a href="http://www.undeadly.org/cgi?action=front">on the web</a>. Development is consistently constant.</p> + <p>There was a single feature that cemented my decision to stick with OpenBSD. Aside from Xorg's installation being largely automatic, the touchpad driver <i>worked</i>. When using Debian, the default touchpad driver was … awful. I found a singular alternative driver, that which worked about as awfully. Despite haggling with xinput, it never felt good to use. Months after the fact, I found some magic words which work to better the behavior of one of those drivers, Synapics: <tt>synclient AccelFactor=0</tt>, and for those who like tap-to-click, <tt>synclient TapButton1=1</tt>. I suffered the same issues on Alpine Linux, and have now confirmed similar behavior on CRUX Linux. And yet, upon installing OpenBSD and then starting Xorg, and then moving the mouse, it felt good! There was no choppiness; the movement was smooth. Though there was some mouse acceleration I did not like, that was simple enough to disable via xinput, after which the touchpad behavior has been perfect, far better than anything I've found before or since.</p> + <p>OpenBSD provides my best preferred digital work environments, both on laptop and desktop hardware. For many months, a 12-or-so year-old laptop – <a href="https://gadgetaz.com/Laptop/Toshiba_Satellite_L755D-S5218--4332">of this make and model</a> – dual booting between Alpine Linux and OpenBSD by means of <a href="https://www.gnu.org/software/grub/"><abbr>GRUB</abbr></a> has performed gracefully – they really don't make laptop keyboards the way they used to! On a desktop <abbr>PC</abbr>, a dual boot between <a href="https://kaa.neocities.org/survival">Windows AME</a> and OpenBSD by means of <a href="http://www.rodsbooks.com/refind/">rEFInd</a> serves well.</p> + <br> + <a name="Envisioning"><h2>Envisioning Information</h2></a> + <p id="first">I found this book after having read about its author, Edward Tufte, <a href="http://fqa.9front.org/fqa8.html#8.2.7">in the 9front documentation</a>. Having come to love 9front's text editors – <a href="http://sam.cat-v.org/">sam</a> and <a href="http://acme.cat-v.org/">acme</a>, I felt inclined to read some of the inspirational work. Understanding that sam and acme's designs were products of the 1990s, I was drawn towards <a href="https://www.edwardtufte.com/tufte/books_ei"><i>Envisioning Information</i></a>, the work that Edward Tufte published in 1990. I obtained a digital copy, transferred it to a 2013 iPad, and over the course of some weeks, read.</p> + <p>What I found within the pages continually earned my attention, and then earned my earnest thought. A majority of the pages feature examples of either excellent or poor data presentation, along with discussion and analysis of the given examples. A purely textual excerpt that particularly struck me follows.</p> + <br> + <p id="quote">What about confusing clutter? Information overload? Doesn't data have to be “boiled down” and “simplified”? These common questions miss the point, for the quantity of detail is an issue completely separate from the difficulty of reading. <i>Clutter and confusion are failures of design, not attributes of information.</i> Often the less complex and less subtle the line, the more ambiguous and less interesting is the reading. Stripping the detail out of data is a style based on personal preference and fashion, considerations utterly indifferent to substantive content. … So much for the conventional, facile, and false equation: simpleness of data and design = clarity of reading. Simpleness is another aesthetic preference, not an information display strategy, not a guide to clarity. What we seek instead is a rich texture of data, a comparative context, an understanding of complexity revealed with an economy of means. … But, finally, the deepest reason for displays that portray complexity and intricacy is that the worlds we seek to understand are complex and intricate.<br> + — Edward Tufte, <a href="https://archive.org/details/envisioninginfor00tuft/page/51/mode/1up?view=theater"><i>Envisioning Information</i>, page 51</a></p> + <br> + <p>After reading and thoroughly enjoying this book, I found myself trying an essay of his, titled <a href="https://www.edwardtufte.com/tufte/books_pp"><i>The Cognitive Style of Powerpoint: Pitching Out Corrupts Within</i></a>. I found myself enamored in a way similar to my recent experience with <i>Envisioning Information</i>, though focused on a new topic upon which I was also uneducated. It is here that I came to understand the value of real paragraphs. A trifecta of excerpts follows.</p> + <br> + <p id="quote">In the reports, <i>every single text-slide uses bullet-outlines</i> with 4 to 6 levels of hierarchy. Then another multi-level list, another bureaucracy of bullets, <i>starts afresh</i> for a new slide. How is it that each elaborate architecture of thought always fits <i>exactly</i> on one slide? The rigid slide-by-slide hierarchies, indifferent to content, slice and dice the evidence into arbitrary compartments, producing an anti-narrative with choppy continuity. Medieval in its preoccupation with hierarchical distinctions, the PowerPoint format signals every bullet's status in 4 or 5 different simultaneous ways: by the order in sequence, extent of indent, size of bullet, style of bullet, and size of type associated with various bullets. This is a lot of insecure format for a simple engineering problem. The format reflects a common conceptual error in analytic design: information architectures mimic the hierarchical structure of large bureaucracies pitching the information. Conway's Law again. In their report, the Columbia Accident Investigation Board found that the distinctive cognitive style of PowerPoint reinforced the hierarchical filtering and biases of the <abbr>NASA</abbr> bureaucracy during the crucial period when the Columbia was damaged but still functioning … At the same time, lower-level <abbr>NASA</abbr> engineers were writing about the possible dangers to the Columbia in several hundred emails, with the Boeing reports in PP format sometimes attached. The text of about 90% of these emails simply used sentences sequentially ordered into <i>paragraphs</i>; 10% used bullet lists with 2 or 3 levels. These engineers were able to reason about the issues without employing the baroque hierarchical outlines of the original PP pitches. Good for them.<br> + — Edward Tufte, <a href="https://www.edwardtufte.com/tufte/books_pp"><i>The Cognitive Style of Powerpoint: Pitching Out Corrupts Within, 2nd Edition</i></a>, page 12 + <br> + <br> + Gerstner's blunt action shutting down the projector suggests that there are better tools for doing business analysis than reading aloud from bullet lists: “<i>Let's just talk about your business.</i>” Indeed, Gerstner later asked <abbr>IBM</abbr> executives to write out their business strategies in longhand using the presentation methodology of <i>sentences</i>, with subjects and predicates, nouns and verbs, which then combine sequentially to form <i>paragraphs</i>, an analytic tool demonstratively better than slideware bullet lists. “<i>Let's just talk about your business</i>” indicates a thoughtful exchange of information, a mutual interplay between speaker and audience, rather than a pitch made by a power pointer pointing to bullets. PowerPoint is <i>presenter-oriented, not content-oriented, not audience-oriented</i>. PP advertising is not about content quality, but rather presenter therapy: “A cure for the presentation jitters.” “Get yourself organized.” “Use the AutoContent Wizard to figure out what you want to say.”<br> + — Edward Tufte, <a href="https://www.edwardtufte.com/tufte/books_pp"><i>The Cognitive Style of Powerpoint: Pitching Out Corrupts Within, 2nd Edition</i></a>, page 4 + <br> + <br> + At a talk, paper handouts of a technical report effectively show text, data graphics, images. Printed materials bring information transfer rates in presentations up to that of everyday material in newspaper sports and financial pages, books, and internet news sites. An excellent paper size for presentation handouts is A3, 30 by 42 cm or about 11 by 17 inches, folded in half to make 4 pages. That one piece of paper, the 4-pager, can show images with 1,200 dpi resolution, up to 60,000 characters of words and numbers, detailed tables worthy of the sports pages, or 1,000 sparkline statistical graphics showing 500,000 numbers. <i>That one piece of paper shows the content-equivalent of 50 to 250 typical PP slides</i>.<br> + — Edward Tufte, <a href="https://www.edwardtufte.com/tufte/books_pp"><i>The Cognitive Style of Powerpoint: Pitching Out Corrupts Within, 2nd Edition</i></a>, page 30</p> + <br> + <p>It is through these paragraphs and others that I came to realize the inappropriacy of deeply heirarchical lists, that realization having prompted me to rewrite this page of appreciations. For the sake of comparison, <a href="https://kaa.neocities.org/Previous/appreciated.html">a copy of the previous iteration, last touched 2023 march 31</a>, is kept.</p> + <br> + <a name=Advent><h2>Advent of Code</h2></a> + <p id=first>Advent of Code has taught me how to use a struct, why and when data structures should be <a href="https://man.openbsd.org/calloc.3">calloc</a>'d instead of dumped on the stack, how to use <a href="https://man.openbsd.org/free.3">free</a>, what “<a href="https://r.nf/r/adventofcode/comments/1389362/2022_day_12_route_finding_using_cellular_automata/">Dijkstra's Algorithm</a>” is, and a lot of little details in-between. Participating has closed the gap between theory and practice, and for that I am very thankful. <a href="https://files.catbox.moe/uxd989.mp4">Linked here is a video snippet</a> of an eventual solution after three hours of attempt.</p> + <br> + <a name=miscellany><h2>miscellany</h2></a> + <ul> + <li>Ken Thompson participated in <a href="https://vid.puffyan.us/watch?v=EY6q5dv_B-o">a captivating interview</a> by <a href="http://genius.cat-v.org/brian-kernighan/">Brian Kernighan</a>.</li> + <li><a href="http://herpolhode.com/rob/">Rob Pike</a> irregularly updates <a href="https://commandcenter.blogspot.com/">his blog</a>. <a href="https://swtch.com/~rsc/">Russ Cox</a> regularly updates <a href="https://research.swtch.com/">his series of articles</a>, and occasionally shares <a href="https://vid.puffyan.us/watch?v=pESDfDGXdzg">videos of what expert programming looks like</a>. Both he and <a href="https://vid.puffyan.us/watch?v=qT2Efjein68">David Given</a> can be downright mesmerizing to watch while displaying their prowess and explaining their logic.</li> + <li><a href="http://genius.cat-v.org/doug-mcilroy/">Doug McIlroy</a> conceptualized Unix pipes. He recently gave <a href="https://vid.puffyan.us/watch?v=l03CF9_078I">some fascinating context to Unix's upbringing</a>, featuring an executive with poor vision and a helicopter.</li> + <li>Some time ago, <a href="http://herpolhode.com/rob/">Rob Pike</a> gave <a href="https://www.vid.puffyan.us/watch?v=5kj5ApnhPAE">a concise overview on where modern computer languages fail</a>. More recently, he gave <a href="https://vid.puffyan.us/watch?v=rFejpH_tAHM">a talk on his most recent solution, Google's Go programming language</a>. In a single sentence: a healthy blend of simplicity, concurrency, stability, garbage collection, <abbr>UTF</abbr>-8, networked dependency management, and high-level libraries, and good tools surrounding. For more than a sentence, see <a href="https://vid.puffyan.us/watch?v=YXV7sa4oM4I&listen=false">his most recent overview</a> on where Go fills a niche.</li> + <li>“Dijkstra said that computing was about controlling complexity. And we have failed miserably.”<br> + — Joe Armstrong, <a href="https://vid.puffyan.us/lKXe3HUG2l4?t=2620"><i>The Mess We're In</i>, 43 minutes and 40 seconds</a></li> + <li><a href="https://vid.puffyan.us/channel/UCmEmX_jw_pRp5UbAdzkZq-g">Posy</a> consistently produces artistically and informationally captivating audio-visual spectacles.</li> + <li><a href="https://st.tokhmi.xyz/">SimplyTranslate</a> is Google Translate with an interface that feels good to use.</li> + <li><a href="https://2ton.com.au/">2 Ton Digital</a> has produced <a href="https://2ton.com.au/videos/tvs_part1/">a video</a> showcasing the benefits that may be gained from effortful assembly programming in a world full of high-level languages.</li> + <li><a href="http://dict.org/bin/Dict">dict.org</a> features an aggregation of several free dictionaries, that which is very responsive and without any advertisements. I have written <a href="https://kaa.neocities.org/Program/dict.txt">a script</a> to search for a word via either stdin or a command line argument, using the dedicated <a href="https://www.rfc-editor.org/rfc/rfc2229">DICT protocol</a>.</li> + <li><a href="https://somafm.com">SomaFM</a> features internet radio without advertisements. <a href="https://somafm.com/illstreet/">Illinois Street Lounge</a> is my go-to.</li> + <li><a href="https://ngmi.work/home">ngmi.work</a> has a real sense of style.</li> + <li><a href="https://2bit.neocities.org/">2bit.neocities.org</a> takes an artistic limitation to its limits.</li> + <li>Reading <a href="https://typographica.org/typography-books/the-elements-of-typographic-style-4th-edition/">The Elements of Typographic Style</a> by Robert Bringhurst has provided me with a wholesome introduction to good typography.</li> + <li><a href="https://en.wikipedia.org/wiki/Brief_Answers_to_the_Big_Questions">Brief Answers to the Big Questions</a> by Stephen Hawking is a wonderful method of getting the mind to wondering.</li> + <li><a href="https://en.uncyclopedia.co/wiki/Theo_de_Raadt">Uncyclopedia</a> is an encyclopedia with a sense of humor.</li> + <li><a href="https://www.devuan.org/">Devuan</a> is Debian without <a href="https://suckless.org/sucks/systemd/">systemd</a>. + <li><a href="https://copy.sh/v86/">copy.sh/v86</a> is a full <abbr>PC</abbr> hardware emulator that runs in web browsers that support Web Assembly.</li> + <li><a href="https://veir.neocities.org/angelD">veir.neocities.org</a> features wonderfully elaborate works of graphical art.</li> + <li><a href="http://fqa.9front.org/fqa0.html">fqa.9front.org</a> is the only documentation I've encountered with a good sense of humor. Thanks, sl.</li> + <li><a href="https://tilde.institute">tilde.institute</a> provides free accounts to a network-connected OpenBSD installation. Along with this, <a href="https://git.tilde.institute/kaa">git</a> and dedicated sub-domain <a href="https://wiki.tilde.institute/w/bchs">capable of serving <abbr>HTML</abbr> and running <abbr>CGI</abbr></a> is provided.</li> + <li>The progress of an in-development role-playing game with excellent music may be found at <a href="https://murumart.neocities.org/g/gregrpg/greggame">murumart.neocites.org</a>.</li> + <li>“It's a little ridiculous to have to trick myself into believing in my own work, and even more ridiculous that I can be tricked so simply, like a child enraptured at a magic act. But creative output of any kind depends upon a steady stream of tiny self-delusions – guardrails to keep yourself from veering into a pit of self-doubt and despair.”<br> + — R. E. Hawley, <a href="https://www.nytimes.com/2022/02/01/magazine/garamond.html"><i>Write It in Garamond</i></a></li> + <li>“If you aren't sure which way to do something, do it both ways and see which works better.”<br>— John Carmack, <a href="https://games.slashdot.org/comments.pl?sid=25551&cid=2775698">2002 january 2 slashdot.org post</a></li> + <li>“DON'T TRY”<br>— Charles Bukowski, <a href="https://bukowski.net/dont-try.php">his grave</a></li> + <li>“Matisse does a drawing, then he recopies it. He recopies it five times, ten times, each time with cleaner lines. He is persuaded that the last one, the most spare, is the best, the purest, the definitive one; and yet, it's usually the first. When it comes to drawing, nothing is better than the first sketch.”<br>— Pablo Picasso, translated by Brassaï, <a href="https://archive.org/details/conversationswit00bras/page/66/mode/1up?view=theater"><i>Conversations with Picasso</i>, page 66</a><br><a href="https://en.wikipedia.org/wiki/Second-system_effect">Second system syndrome</a> applies to more than computing alone.</li> + <li>“The primary issue with racism is that it Stops. People. From. Thinking. … people turn off their brains, when they choose to be racist … it's something that a lot of us are guity of at some point in our lives or another. Anybody who's ever laughed at a racist joke is guity of it. I can't say I'm not guity of having turned off my brain at points in my life, and I can't say +that I haven't made a silly snicker at a racist joke, whether it's about my race or somebody else's at some point in life, and most people watching this video that are honest with themselves probably … +you probably didn't go through twenty, or forty, or sixty years alive and never hear a racist joke and laugh, or snicker at one point. +… The racist is going to look at the three people that <i>do</i> fit the stereotype and say, ‘see, I'm right!’ And that's where this is really f***ing stupid and really f***ing dumb. +… The issue here is that people decide to just turn off their brain. And here's the real shameful s*** when it comes to turning off your brain. Here's the part that really f***in' sucks, is that you start to project that out into the world, is that you believe yourself. So now you're believing your own bulls***; and by the way, one of the most dangerous things you can do in the world is to Believe. Your Own. Bulls***. The most dangerous s*** that you can do is believe the crap that comes out of your mouth is correct. You should say the stuff that you say, but then I want you to think about it. I want you to think, really hard, about +whether what you actually said, is true. Before you just believe it just because you said it. You're gonna say a lot of stuff that's not true.”<br>Louis Rossman, <a href="https://vid.puffyan.us/watch?v=gJNigLJA9Fg">A word on racism(and why it's bulls***)</a><br>When one stops believing their own BS, one can stop believing anyone else's too.</li> + <li>“Success is dangerous. One begins to copy oneself and to copy oneself is more dangerous than to copy others.”<br>— According to <a href="https://en.wikiquote.org/wiki/Pablo_Picasso">wikiquote.org</a>, stated by Pablo Picasso in "<i>The Artist, Vol. 93</i> (1978) p. 5"</li> + <li>“I can't come back, I don't know how it works … Goodbye, folks!”<br>—Oz in <a href="https://archive.org/details/the-wizard-of-oz-1080p"><i>The Wizard of Oz</i> 1939 film</a>, 1 hour 35 minutes 16 seconds</li> + <li>Alice: “Oh no no no … thank you, but–but I just wanted to ask you which way I ought to go.”<br>Cheshire Cat: “Well, that depends, on <i>where</i>, you want to get to…?”<br>Alice: “Well, it really doesn't matter. As long as I c—”<br>Cheshire Cat: “Then, it <i>really doesn't matter</i>, which way, you go!”<br>— <a href="https://archive.org/details/AliceInWonderland1951"><i>Alice in Wonderland</i> 1951 film</a>, 39 minutes 41 seconds</li> + <li>“At the same time that Thompson and Ritchie were on their blackboard, sketching out a file system, I was sketching out how to do data processing on this blackboard by connecting together cascades of processes and looking for a kind of prefix notation language for connecting processes together, and failing because it's very easy to say "cat into grep into …", or "who into cat into grep", and so on; it's very easy to say that, and it was clear from the start that that was something you'd like to say. But there are all these side parameters that these commands have; they don't just have input and output arguments, but they have the options, and syntactically it was not clear how to stick the options into this chain of things written in prefix notation, cat of grep of who [i.e. cat(grep(who …))]. Syntactic blinders: didn't see how to do it. So I had these very pretty programs written on the blackboard in a language that wasn't strong enough to cope with reality. So we didn't actually do it. And over a period from 1970 to 1972, I'd from time to time say, "How about making something like this?", and I'd put up another proposal, another proposal, another proposal. And one day I came up with a syntax for the shell that went along with the piping, and Ken said, "I'm going to do it!" He was tired of hearing all this stuff, and that was – you've read about it several times, I'm sure – that was absolutely a fabulous day the next day. He said, "I'm going to do it." He didn't do exactly what I had proposed for the pipe system call; he invented a slightly better one that finally got changed once more to what we have today. He did use my clumsy syntax. He put pipes into Unix, he put this notation [Here McIlroy pointed to the board, where he had written f >g> c] into shell, all in one night. The next morning, we had this—people came in, and we had—oh, and he also changed a lot of—most of the programs up to that time couldn't take standard input, because there wasn't the real need. So they all had file arguments; grep had a file argument, and cat had a file argument, and Thompson saw that that wasn't going to fit with this scheme of things and he went in and changed all those programs in the same night. I don't know how … And the next morning we had this orgy of one-liners.”<br>Doug McIlroy, <a href="http://web.archive.org/web/20230317134313/https://www.princeton.edu/~hos/Mahoney/expotape.htm">The Unix Oral History Project</a></li> + <li>“Intelligence is positively correlated with being nice to others.”<br>— Salvatore Sanfilippo, <a href="http://invece.org">a personal site of his</a></li> + <li>“I think modern art's almost total pre-occupation with subjectivism has led to anarchy and sterility in the arts. The notion that reality exists only in the artist's mind, and that the thing which simpler souls had for so long believed to be reality is only an illusion, was initially an invigorating force, but it eventually led to a lot of highly original, very personal and extremely uninteresting work. In Cocteau's film <i>Orpheé</i>, the poet asks what he should do. 'Astonish me,' he is told. Very little of modern art does that – certainly not in the sense that a great work of art can make you wonder how its creation was accomplished by a mere mortal.”<br>— Stanley Kubrick, <a href="http://visual-memory.co.uk/amk/doc/interview.aco.html">1980 interview with Michel Ciment regarding <i>A Clockwork Orange</i></a></li> + <li>“At first glance opera would seem to make impossible demands on the credulity of the spectator. +It presents us with human beings caught up in dramatic situations, who sing to each other instead of speaking. +The reasonable question is (and it was asked most pointedly throughout the history of opera by literary men): +how can an art form based on so unnatural a proceeding be convincing? +The question ignores what must always remain the fundamental aspiration of art: +not to copy nature but to heighten our awareness of it. +True enough, people in real life do not sing to each other. +Neither do they converse in blank verse, as Shakespeare's characters do; nor live in rooms of which one wall is conveniently missing so that the audience may look in. +All the arts employ conventions that are accepted both by the artist and his audience. +The conventions of opera are more in evidence than those in poetry, painting, drama, or film, but they are not different in kind. +Once we have accepted the fact that the carpet can fly, how simple to believe that it is also capable of carrying the prince's luggage.”<br>— Joseph Machlis, The Enjoyment of Music Fourth Edition, pages 160 through 161</li> + <li>“In anything at all, perfection is finally attained not when there is no longer anything to add, but when there is no longer anything to take away, when a body has been stripped down to its nakedness.”<br>— Antoine de Saint-Exupéry, <a href="https://archive.org/details/windsandstars00sain/page/46/mode/1up?view=theater"><i>Wind, Sand and Stars</i>, page 46</a></li> + <li>“At all costs I wanted to avoid whatever is shapeless, irregular, accidental; even in subject matter, I wanted to confine myself within a given frame; I have tried for a concrete, finite presence. A true revelation, it seems to be, will only emerge from stubborn concentration on a single problem. I have nothing in common with experimentalists, adventurers, with those who travel in strange regions. The surest, and the quickest, way for us to arouse the sense of wonder is to stare, unafraid, at a single object. Suddenly – miraculously – it will look like something we have never seen before.”<br>— Cesare Pavese, translated by William Arrowsmith; D.S. Carne-Ross, <a href="https://archive.org/details/dialogueswithleu00pave/page/n8/mode/1up?q=adventurers&view=theater"><i>Dialogues with Leucó</i>, Foreword</a> + <li>“Why did not any of the children in the first group think of this faster method
of going across the room?
It is simple. They looked at what they were given to use for materials and, they
are like all of us, they wanted to use everything.
But they did not need everything. They could do better with less, in a different way.”<br>— Frederik Pohl, The Gold at the Starbow's End, <a href="https://archive.org/details/goldatstarbowsen0000pohl/page/29/mode/1up?view=theater&q=faster">page 29</a> + <li>“Attention is the reader's gift to you. That gift is precious. And finite.” … “Once a reader revokes the gift of attention, you don't have a reader anymore. Then you become a writer only in the narrowest sense of the word. Yes, you put words on some pages. But if your reader has disappeared, what was the point? How is your writing more valuable than a random string of characters? Like the proverbial tree falling in the woods, no one's there to notice the difference. Unfortunately, many professional writers adopt a high-risk model of reader attention. Instead of treating reader attention as a precious commodity, they treat it as an unlimited resource. "I'll take as much attention as I need, and if I want more, I'll take that too." Writing as if you have unlimited reader attention is presumptuous, because readers are not doing you a personal favor.” … “I'll even go one better: I believe that most readers are looking for reasons to stop reading. Not because they're malicious or aloof. They're just being rational. Readers have other demands on their time. Why would they pay more attention than they must? Readers are always looking for the exit.”<br>— Matthew Butterick, <a href="https://practicaltypography.com/why-does-typography-matter.html"><i>Practical Typography</i>, why does typography matter?</a></li> + <li>“The input problem is technically the least interesting but perhaps emotionally the most important of the problems of converting a system to an international character set.”<br>— Rob Pike; Ken Thompson, <a href="https://plan9.io/sys/doc/utf.pdf"><i>Hello World or Καλημέρα κόσμϵ or こんにちは 世界</i></a></li> + <li>“The function of a kerning table is to achieve what perfect sidebearings cannot. A thorough check of the kerning table therefore involves checking all feasible permutations of characters: 1213141516 … qwqeqrqtqyquqiqoqpq … (a(s(d(f(g(h(j(k(l … )a)s)d)f)g … -1-2-3-4-5 … TqTwTeTrTtTyTuTiToTp … and so on. This will take several hours for a standard <abbr>ISO</abbr> font. For a full pan-European font, it will take several days.”<br>— Robert Bringhurst, <a href="https://www.amazon.com/Elements-Typographic-Style-Version-3-0/dp/B008LZLYR4">The Elements of Typographic Style Version 3.0</a>, page 203</li> + <li>“Data structures in computer science needn't be homogeneous, and algorithms can involve many different kinds of steps. Sometimes that is a weakness of computer scientists, because we don't try as hard as we should to find uniformity; but sometimes it is a strength because we can deal fluently with concepts that are inherently non-uniform.”<br>— Donald Knuth, <a href="https://www.jstor.org/stable/2322871"><i>Algorithmic Thinking and Mathematical Thinking</i></a>, <abbr>PDF</abbr> page 13</li> + <li>“<abbr>UTF</abbr>-8 was designed, in front of my eyes, on a placemat in a New Jersey diner one night in September or so 1992.”<br>— Rob Pike, <a href="http://doc.cat-v.org/bell_labs/utf-8_history"><i><abbr>UTF</abbr>-8 History</i></a></li> + <li>“Now I have come to the crossroads in <i>my</i> life. I always knew what the right path was. Without exception, I knew. But I never took it. You know why? It was too. Damned. Hard.”<br>— The Colonel, exceptionally played by Al Pacino, 1992 film <i>Scent of a Woman</i>, <a href="https://vid.puffyan.us/watch?v=Jd10x8LiuBc">The Decision</a></li> + <li>“I can make myself happy, then I should be able to do the same for somebody else.”<br>— Slick Rick in <a href="https://web.archive.org/web/20111219225750/https://insomniacmagazine.com/2010/02/hip-hop-icon-classic-interview-with-slick-rick/">2010 february 7 interview with Insomniac Magazine</a></li> + <li>“I'm tired of using vi.”<br>— Bill Joy, <a href="http://xahlee.info/comp/interview_with_bill_joy.html">1984 august interview with Unix Review magazine</a></li> + <li>“I'm pretty sure the concept of a hidden file was an unintended consequence. It was certainly a mistake. How many bugs and wasted CPU cycles and instances of human frustration (not to mention bad design) have resulted from that one small shortcut about 40 years ago? Keep that in mind next time you want to cut a corner in your code.”<br>— Rob Pike, <a href="https://web.archive.org/web/20170903224737/https://plus.google.com/101960720994009339267/posts/R58WgWwN9jp">2012 february 8 plus.google.com post</a></li> + <li>“Boring damned people. All over the earth. Propogating more boring damned people. What a horror show. The earth swarmed with them.”<br>— Charles Bukowski, <a href="https://archive.org/details/pulp0000buko/page/181/mode/1up?view=theater"><i>Pulp</i>, page 181</a></li> + <li>“Arguing that you don't care about the right to privacy because you have nothing to hide is no different than saying you don't care about free speech because you have nothing to say.”<br>— Edward Snowden, <a href="https://r.nf/r/IAmA/comments/36ru89/just_days_left_to_kill_mass_surveillance_under/crglgh2/">2015 may 21 reddit comment</a></li> + <li>“"Of course I cannot understand it," he said. "If your heads were stuffed with straw, like mine, you would probably all live in the beautiful places, and then Kansas would have no people at all. It is fortunate for Kansas that you have brains."”<br>— Scarecrow in Lyman Frank Baum's <a href="https://gutenberg.org/cache/epub/55/pg55-images.html#chap04"><i>The Wonderful Wizard of Oz</i>, Chapter IV</a><!-- Also available at http://www.huzheng.org/bookstore/TheWonderfulWizardOfOz.pdf --></li> + <li>“"I was hired to work on MULTICS. … Bell Labs quit the project when it decided that it wasn't gonna satisfy their needs, and then, I was almost like out of a job. And no real thing to do so I just did what I wanted to do from then on. Games and operating systems … I did some positional astronomy, some audio … absolutely anything that I wanted to do. … That got us into the PDP-7, into really running it. Then on the PDP-7 we wrote the first version of Unix. … We bought a PDP-11, to … the excuse was text processing, but the real reason, was, to, you know, to play more, to play.”<br>— Ken Thompson, <a href="https://vid.puffyan.us/watch?v=wqI7MrtxPnk">Oral History of Ken Thompson</a></li> + <li>“And remember, my sentimental friend…that a heart is not judged by how much <i>you</i> love, but by how much you are loved by others.”<br>— Oz in <a href="https://archive.org/details/the-wizard-of-oz-1080p"> <i>The Wizard of Oz</i> 1939 film</a>, 1 hour 31 minutes 58 seconds</li> + <li>“Free software that people value adds wealth to the world.”<br>— John Carmack, <a href="http://www.bradcook.net/games/articles/2009/02/johncarmack/">2009 februrary interview with Brad Cook</a></li> + <li>“Even from the outside, a truly beautiful book cannot be a novelty. It must settle for mere perfection instead.”<br>Jan Tschichold, The Form of the Book, <abbr>PDF</abbr> page 27</li> + <li>“It took about two hours in all – 10 minutes to do the sketch and the rest to render it. On my Mac, I could have done the whole thing in a couple of minutes – and with no mistakes. But it would have been much less satisfying when I was finished. And I'd be tempted to fiddle with it endlessly. … The digital world has its place. You can do amazing things in it (like publishing a blog post). But don't spend all your time there. It's not the real world.”<br>— Mark Simonson, <a href="https://www.marksimonson.com/notebook/view/1979">1979</a></li> + <li>“Standards, even though they are supposed to be standard, are subject to change.”<br>— Charles Bigelow; Kris Holmes, <a href="http://cajun.cs.nott.ac.uk/compsci/epo/papers/volume6/issue3/bigelow.pdf">The design of a Unicode font</a>, <abbr>PDF</abbr> page 13</li> + <li>“If somebody said what advice would I give to a… a young person – they always ask that funny kind of a question. And… and I think one of the things that… is… that I would… that would sort of come first to me is this idea of, don't just believe that because something is trendy, that it's good. I'd probably go the other extreme where if… if something… if I find too many people adopting a certain idea I'd probably think it's wrong or if, you know, if… if my work had become too popular I probably would think I had to change. This is, of course, ridiculous but… but I see the… I see the… the other side of it too… too often where people will… will do something against their own gut instincts because they think the community wants them to do it that way, so people will… will work on a certain… a certain subject even though they aren't terribly interested in it because they think that they'll get more prestige by working on it. I think you get more prestige by doing good science than by doing popular science because… because if… if you go with… with what you really think is… is important then it's a higher chance that it really is important in the long run and it's the long run which… which has the most benefit to the world.”<br>— Donald Knuth, <a href="https://vid.puffyan.us/watch?v=75Ju0eM5T2c&list=PLVV0r6CmEsFzeNLngr1JqyQki3wdoGrCn&index=92">a section of an interview featuring his advice to young people</a></li> + <li>“The time has come!”<br>— Walrus in <a href="https://archive.org/details/AliceInWonderland1951"><i>Alice in Wonderland</i> 1951 film</a>, 19 minutes 54 seconds</li> + </ul> + </div> + </body> +</html> diff --git a/demo/b.html b/demo/b.html new file mode 100644 index 0000000..3dca345 --- /dev/null +++ b/demo/b.html @@ -0,0 +1,377 @@ +<!DOCTYPE html> +<html lang=en> + <head> + <link href='data:image/gif;base64, +R0lGODlhEAAQAPEAAAD/AP+tAACt//+t/yH5BAAAAAAALAAAAAAQABAAAAIwjI+pq+MPHYp0 +zCGyzvK4vXXGB3KWh2UAoIkBKaztOaalC4O4rdNvBbkAXYyi8VAAADs=' rel=icon> + <meta http-equiv="Content-Type" content="text/html; charset=UTF-8"> + <title>appreciated</title> + <style> + /* https://www.w3.org/Style/Examples/007/units.en.html + https://www.w3.org/wiki/Common_HTML_entities_used_for_typography + https://systemfontstack.com/ + http://www.ampsoft.net/webdesign-l/WindowsMacFonts.html + http://iosfonts.com/ + https://learn.microsoft.com/en-us/typography/fonts/windows_10_font_list + https://www.toptal.com/designers/htmlarrows/math/ + https://www.awayback.com/index.php/2010/02/03/revised-font-stack/ */ + p { + text-indent: 1.5em; + } + tt, pre { + font-family: OCR B, Go Mono, Courier 10 Pitch, Inconsolata, Cascadia Mono, DejaVu Sans Mono, Consolas, Lucida Console, Lucida Typewriter, Menlo, Monaco, monospace; + white-space: pre-wrap; + } + ul, p { + /* There is some off-chance that a user has a Garamond installed. + In a case without Garamond, Baskerville fits, and comes with Apple's OSs. + Alternatively, Century Schoolbook may be available. + If not that, Palatino is commonly available. + Should none of those be available, DejaVu Serif may be. */ + font-family: Garamond, Adobe Garamond Pro, Baskerville, Century Schoolbook, New Century Schoolbook, C059, Palatino Linotype, Palatino, P052, DejaVu Serif, serif; + margin-top: 0; + margin-bottom: 0; + font-size: 1.6vw; + font-variant-numeric: oldstyle-nums; + } + a { + text-decoration-color: #00BEBE; + font-variant-numeric: normal; + } + a:link { + /* Futura works well here. + Lucida in one form or another is often available. + American Typewriter is a personal favorite, common to MacOS and iOS. + Trebuchet MS is common to both Apple and Microsoft. + Helvetica in one form or another is common, and is okay in this context. + The DejaVu fonts are often installed when none of the above are. + If it ain't got any of those, it's surely got Georgia! */ + font-family: Futura, Futura Std, Lucida Sans Unicode, Lucida Grande, Go, Luxi Sans, American Typewriter, Trebuchet MS, Helvetica Neue, Nimbus Sans L, Arial, DejaVu Sans, Georgia, sans-serif; + font-size: 90%; + color: #000000; + } + a:visited { + color: #000000; + } + ul { + padding-left: 0em; + } + #first, #quote { + text-indent: 0; + } + #quote { + width: 85%; + margin-left: 7.5%; + font-size: 1.55vw; + } + #nested { + font-size: 1em; + padding-left: 1em; + } + ::-webkit-scrollbar { + width: 1em; + } + ::-webkit-scrollbar-track { + background: #fffff0; + } + ::-webkit-scrollbar-thumb { + background: #000020; + } + body { + background-color: #fffbf0; + margin: 0; + } + div { + padding-left: 1%; + padding-right: 1%; + width: 52%; + margin-left: 24%; + background-color: #fffaf0; + text-rendering: optimizeLegibility; + line-height: 2.3vw; + /* line-by-line text justification without hyphenation is difficult to read. + Automatic hyphenation requires JavaScript, and manual hyphenation, + though I did attempt it partially, is not an activity I wish to spend my time doing. + To remedy this, I wrote a program to automatically hyphenate HTML! + Now to provide it with some hyphenation patterns ... Done! */ + text-align: justify; + } + h1, h2 { + font-style: italic; + font-weight: normal; + letter-spacing: 0.05em; + font-family: Garamond, Georgia, Palatino Linotype, Palatino, P052, serif; + } + h1 { + text-align: center; + padding-top: 1em; + margin-top: 0; + margin-bottom: 0.5em; + font-size: 2.5vw; + } + h2 { + margin-top: 0; + margin-bottom: 0; + font-size: 1.8vw; + } + /* Abbreviations, such as `GTK3', should be put in small caps, with titling figures. */ + abbr { + font-variant-caps: all-small-caps; + font-variant-numeric: normal; + } + </style> + </head> + <body> + <div> + <h1>appreciated</h1> + <h2>An Introduction.</h2> + <p id=first>A dis­cus­sion of a va­ri­ety of works that this au­thor ap­pre­ci­ates fol­lows. + They are pre­sented here with the hope that they spark some + in­ter­est in a prospec­tive reader. This doc­u­ment is writ­ten with the ex­pec­ta­tion + that a reader has some ex­pe­ri­ence and in­ter­est in soft­ware de­vel­op­ment.</p> + <br> + <a name=cat-v><h2>cat-v.org</h2></a> + <p id="first"><a href="http://cat-v.org">cat-v.org</a> in­tro­duced me to the po­ten­tial beauty of a well-written pro­gram. + Much of my study of pro­gram­ming and other­wise arts is now ded­i­cated to the pur­suit of that beauty.</p> + <p>The first of mul­ti­ple sec­tions of the site, I found <a href="https://harmful.cat-v.org/software/">harm­ful.cat-v.org's soft­ware sec­tion</a>. + I ini­tially found it cu­ri­ous that sta­ples such as <i>bash</i> or <i><abbr>PDF</abbr></i> + may be con­sid­ered bad or wrong. Near the bot­tom of the in­dex page, it is writ­ten: + “At the mo­ment a de­tailed ra­tionale is not pro­vided for most of this, so fig­ur­ing out why some things are con­sid­ered more or less harm­ful than others is left as an ex­er­cise for the reader. Here is a hint: <i>com­plex­i­ty</i> is the bane of all soft­ware, <i>sim­plic­i­ty</i> is the most im­por­tant qual­ity.” De­cid­ing to take upon my­self this cu­ri­ous chal­lenge, I slowly be­came + e­d­u­cated upon what it means for a set of soft­ware to be, in a vague and aes­thetic + sense, <i>good</i>. Sup­plied in tan­dem with reg­u­lar ex­plo­ration of soft­ware that + caught mo­men­tary fancy, the text avail­able pro­vided me some guid­ance.</p> + <p>A later dis­cov­ered sec­tion of the site, <a href="http://quotes.cat-v.org/">quotes.cat-v.org</a>, pro­vided me with philo­soph­i­cal + food for thought. Those that have im­pacted me, the per­son, have been re-sourced from + their ori­gin, then writ­ten be­low.</p> + <ul> + <li>“It is, in fact, noth­ing short of a mir­a­cle that the mod­ern meth­ods of in­struc­tion have not yet en­tirely stran­gled the holy cu­rios­ity of in­quiry; for this del­i­cate lit­tle plant, aside from stim­u­la­tion, stands mainly in need of free­dom; with­out this it goes to wreck and ruin with­out fail. It is a very grave mis­take to think that the en­joy­ment of see­ing and search­ing can be pro­moted by means of co­er­cion and a sense of duty. To the con­trary, I be­lieve that it would be pos­si­ble to rob even a healthy beast of prey of its vo­ra­cious­ness, if it were pos­si­ble, with the aid of a whip, to force the beast to de­vour con­tin­u­ously, even when not hun­gry, espe­cially if the food, handed out un­der such co­er­cion, were to be se­lected ac­cord­ingly.”<br> + — Al­bert Ein­stein, trans­lated by Paul Arthur Schilpp, <a href="https://ia801902.us.archive.org/6/items/albert-einstein-philosopher-scientist/albert-einstein-philosopher-scientist_text.pdf"><i>Al­bert Ein­stein Philosopher—Sci­en­tist</i></a>, <abbr>PDF</abbr> page 33 and <abbr>PDF</abbr> page 35</li> + <li>“What a mis­for­tune it is that we should thus be com­pelled to let our boys' school­ing in­ter­fere with their ed­u­ca­tion!”<br> + — Grant Allen, <a href="https://www.gutenberg.org/files/18788/18788-h/18788-h.htm#XV"><i>Post-Prandial Phi­los­o­phy</i>, chap­ter XV</a></li> + <li>“there is noth­ing as bor­ing as the truth” … “an in­tel­lec­tual is a man who says a sim­ple thing in a dif­fi­cult way; an artist is a man who says a dif­fi­cult thing in a sim­ple way.”<br> + — Charles Bukowski, <a href="https://archive.org/details/notesofdirtyoldm00buko/page/207/mode/1up?view=theater"><i>Notes of a Dirty Old Man</i>, page 207</a></li> + <li>“la inspiración ex­iste, pero tiene que en­con­trarte trabajando”<br><i>in­spi­ra­tion ex­ists, but it has to en­counter you at work</i><br>— Pablo Pi­casso, pub­lished in Tomás R. Vil­las­ante's <a href="https://www.google.com/books/edition/_/BQy8AAAAIAAJ?hl=en&gbpv=1&bsq=%22la%20inspiraci%C3%B3n%22"><i>Las ci­u­dades hablan: iden­ti­dades y movimien­tos so­ciales en seis metrópo­lis lati­noamer­i­canas</i>, página 264</a></li> + <li>“I con­clude that there are two ways of con­struct­ing a soft­ware de­sign: One way is to make it so sim­ple that there are <i>ob­vi­ous­ly</i> no de­fi­cien­cies and the other way is to make it so com­pli­cated that there are no <i>ob­vi­ous</i> de­fi­cien­cies.” … “At first I hoped that such a tech­ni­cally un­sound pro­ject would col­lapse but I soon re­al­ized it was doomed to suc­cess. Al­most any­thing in soft­ware can be im­ple­mented, sold, and even used given enough de­ter­mi­na­tion. There is noth­ing a mere sci­en­tist can say that will stand against the flood of a hun­dred mil­lion dol­lars. But there is one qual­ity that can­not be pur­chased in this way – and that is re­li­a­bil­ity. The price of re­li­a­bil­ity is the pur­suit of the ut­most sim­plic­ity. It is a price which the very rich find most hard to pay.”<br> + — C. A. R. Hoare, <a href="https://www.cs.fsu.edu/~engelen/courses/COP4610/hoare.pdf"><i>The 1980 ACM Tur­ing Award Lec­ture</i></a>, <abbr>PDF</abbr> pages 7 and 8</li> + <li>“Fools ig­nore com­plex­ity. Prag­ma­tists suf­fer it. Some can avoid it. Ge­niuses re­move it.”<br> + — Alan Perlis, <a href="https://web.archive.org/20230127130734/http://pu.inf.uni-tuebingen.de/users/klaeren/epigrams.html"><i>Epi­grams on Pro­gram­ming</i></a>, epi­gram 58</li> + <li>“One of the surest tests is the way in which a poet bor­rows. Im­ma­ture po­ets im­i­tate; ma­ture po­ets steal; bad po­ets de­face what they take, and good po­ets make it into some­thing bet­ter, or at least some­thing dif­fer­ent. The good poet welds his theft into a whole of feel­ing which is unique, ut­terly dif­fer­ent than that from which it is torn; the bad poet throws it into some­thing which has no co­he­sion. A good poet will usu­ally bor­row from au­thors re­mote in time, or alien in lan­guage, or di­verse in in­ter­est.”<br> + — T.S. Eliot, <a href="https://archive.org/25/items/sacredwoodessays00elio/sacredwoodessays00elio.pdf"><i>The Sa­cred Wood: Es­says on Poetry and Crit­i­cism</i></a>, <abbr>PDF</abbr> page 138</li> + <li>“The first prin­ci­ple is that you must not fool your­self – and you are the easi­est per­son to fool. So you have to be very care­ful about that. After you've not fooled your­self, it's easy not to fool other sci­en­tists. You just have to be hon­est in a con­ven­tional way after that.”<br>— Richard Feyn­man, <a href="https://calteches.library.caltech.edu/51/2/CargoCult.htm">1974 Cal­tech com­mence­ment ad­dress</a></li> + <li>“When you're young, you look at tele­vi­sion and think, There's a con­spir­acy. The net­works have con­spired to dumb us down. But when you get a lit­tle older, you re­al­ize that's not true. The net­works are in busi­ness to give peo­ple ex­actly what they want. That's a far more de­press­ing thought. Con­spir­acy is op­ti­mistic! You can shoot the bas­tards! We can have a rev­o­lu­tion! But the net­works are re­ally in busi­ness to give peo­ple what they want. It's the truth.”<br> + — Steve Jobs, <a href="https://www.wired.com/1996/02/jobs-2/">1996 febru­ary Wired Magazine in­ter­view</a></li> + <li>“some peo­ple never go crazy.<br> + what truly hor­ri­ble lives<br> + they must lead.”<br> + — Charles Bukowski, <a href="https://archive.org/0/items/Bukowskicollection/Burning%20in%20Water%20%20Drowning%20in%20Flame.pdf"><i>Burn­ing in Water, Drown­ing in Flame</i></a>, <abbr>PDF</abbr> page 192</li> + </ul> + <br> + <a name="litcave"><h2>litcave.rudi.ir</h2></a> + <p id="first">I dis­cov­ered this site some months pre­vi­ous to dis­cov­er­ing cat-v.org. Per­haps I had found it when search­ing for vi im­ple­men­ta­tions, for there was a time dur­ing which I searched for text ed­i­tors for the sake of ex­ploratory en­joy­ment. In any case, the soft­ware de­vel­oped by this site's owner, Ali Gho­lami Rudi, con­tin­u­ally amazes me.</p> + <p>Fore­most, <a href="http://litcave.rudi.ir/neatroff.pdf">his im­ple­men­ta­tion</a> and <a href="https://repo.or.cz/troff.git">par­tial port</a> of <a href="https://troff.org">Joseph Os­sana and Brian Kernighan's troff</a> is ex­cel­lent. I use it for most doc­u­ments that need be more glo­ri­ous than a <abbr>UTF</abbr>-8 text file. This type­set­ting sys­tem en­ables me to cre­ate beau­ti­ful doc­u­ments, and its usage con­tin­u­ally sparks my in­ter­est in font de­sign and data pre­sen­ta­tion. On a tech­ni­cal level:</p> + <ul> + <li>Full <abbr>UTF</abbr>-8 unicode in­put sup­port.</li> + <li>24-bit <abbr>RGB</abbr> color ap­pli­ca­ble to any text. See pages 5 and 7 of <a href="http://litcave.rudi.ir/neatroff.pdf">Neatroff In­tro­duc­tion</a> for usage and other­wise de­tails.</li> + <li>In ad­di­tion to PostScript fonts, TrueType and OpenType fonts may be used. Whole­some sup­port for <a href="https://en.wikipedia.org/wiki/List_of_typographic_features">OpenType fea­tures</a> is im­ple­mented and ac­ces­si­ble. For usage, see pages 2 and 8 of <a href="http://litcave.rudi.ir/neatroff.pdf">Neatroff In­tro­duc­tion</a>.</li> + <li>Space shrink­ing, that which al­lows for more read­able doc­u­ments when used ap­pro­pri­ately. See <abbr>PDF</abbr> pages 5 through 6 of <a href="https://heirloom.sourceforge.net/doctools/just.pdf">Jus­ti­fi­ca­tion in Heir­loom Troff</a> for vi­sual ex­am­ples, and pages 4 and 11 of <a href="http://litcave.rudi.ir/neatroff.pdf">Neatroff In­tro­duc­tion</a> for usage.</li> + <li>PostScript meta­data, ti­tle and au­thor and links and book­marks in par­tic­u­lar, may be set. In ad­di­tion, im­ages for­mat­ted as PostScript or <abbr>PDF</abbr> may be em­bed­ded, de­pend­ing on which of the two is the in­tended out­put for­mat. See page 6 of <a href="http://litcave.rudi.ir/neatroff.pdf">Neatroff In­tro­duc­tion</a> and <a href="https://repo.or.cz/neatroff_make.git/blob/HEAD:/tmac/tmac.post">the set of PostScript-specific macros</a> for usage.</li> + <li>Paragraph-at-once ad­just­ment, that which may be used along with space shrink­ing to im­prove the read­abil­ity of a doc­u­ment. So as to un­der­stand what that means in prac­tice, see <abbr>PDF</abbr> pages 7 through 9 of <a href="https://heirloom.sourceforge.net/doctools/just.pdf">Jus­ti­fi­ca­tion in Heir­loom Troff</a>, and page 7 of <a href="http://litcave.rudi.ir/neatroff.pdf">Neatroff In­tro­duc­tion</a> for usage.</li> + <li>Right-to-left text sup­port, with Farsi in par­tic­u­lar be­ing the au­thor's lan­guage of in­ter­est. The au­thor sup­plies <a href="https://litcave.rudi.ir/neatfarsi.pdf">a demon­stra­tional doc­u­ment that I yearn to learn to read</a>.</li> + </ul> + <p id=first>Each of the fea­tures above are use­ful in prac­tice, with <a href="https://kaa.neocities.org/PDF/chem-2-9.pdf">an ar­ti­cle of my school work</a> serv­ing as a real ex­am­ple of a doc­u­ment ben­e­fit­ting from the above fea­tures ap­pli­ca­ble to the Latin al­pha­bet.</p> + <p><a href="https://litcave.rudi.ir/neatcc.pdf">His C com­piler suite</a>, fea­tur­ing <a href="https://repo.or.cz/neatas.git">an assem­ber</a>, <a href="https://github.com/aligrudi/neatld">link­er</a>, <a href="https://repo.or.cz/neatlibc.git">stan­dard li­braries</a>, and <a href="https://repo.or.cz/neatcc.git">a com­pil­er</a>, for Linux op­er­at­ing sys­tems run­ning on ei­ther <abbr>ARM</abbr> or x86 ar­chi­tec­ture, is both small and largely standard-compli­ant. Ad­mit­tedly, too much of the world's code is de­signed around <abbr>GNU</abbr>'s com­piler suite for this com­piler suite to act a drop-in re­place­ment in a ma­jor­ity of C pro­jects, how­ever it is in and of it­self very us­able.</p> + <p>Ali Gho­lami Rudi uses Linux, and does not use Xorg. Restrict­ing him­self from con­ven­tional graph­ics sup­port, he de­vel­ops tools that make his predica­ment more pleas­ant. He main­tains <a href="https://repo.or.cz/fbpdf.git">a pro­gram that wraps around ex­ist­ing doc­u­ment view­ing pro­grams</a> so as to view <abbr>PDF</abbr> and <abbr>EPUB</abbr> doc­u­ments within the Linux frame­buffer. He reg­u­larly de­vel­ops <a href="https://repo.or.cz/fbpad.git">a ter­mi­nal em­u­la­tor</a> that al­lows for the usage of TrueType fonts in the Linux frame­buffer. He's come to use vi, and so he main­tains <a href="https://repo.or.cz/neatvi.git">his own vi im­ple­men­ta­tion</a>, that which is small, <a href="https://riptutorial.com/posix"><abbr>POSIX</abbr></a> portable, and de­signed for <abbr>UTF</abbr>-8. His ad­mirable ef­forts often have use­ful and in­ter­est­ing re­sults.</p> + <br> + <a name=alpinelinux><h2>alpinelinux.org</h2></a> + <p id="first">In­trin­si­cally, Linux is a prob­lem­atic and error-prone hodge­podge of con­flict­ing de­signs, even if driven by good in­ten­tions. Linux comes to mind not for be­ing a clean or in­ge­nious Unix clone, but in­stead for be­ing a pop­u­lar and messy op­er­at­ing sys­tem backed by large cor­po­ra­tions.</p> + <p>Dis­dain aside, there are ex­am­ples of good de­sign among the mess, and <a href="https://alpinelinux.org">Alpine Lin­ux</a> is one such ex­am­ple. Im­por­tantly, <a href="https://www.gnu.org/software/"><abbr>GNU</abbr>'s soft­ware</a> is largely averted, with de­pen­dence falling upon their li­brary only for the sur­pris­ingly portable <a href="https://www.gnu.org/software/binutils/">binu­tils</a> and <a href="https://gcc.gnu.org/"><abbr>GCC</abbr></a>, those which a com­pi­la­tion en­vi­ron­ment is often com­prised of, even if <abbr>POSIX</abbr> need be <a href="https://www.delorie.com/djgpp/doc/eli-m17n99.html#History">brought along with it</a>. The C stan­dard li­brary used is musl, that which is <a href="https://wiki.musl-libc.org/compatibility.html">standards-compli­ant</a>, <a href="http://www.etalabs.net/compare_libcs.html">small</a>, and other­wise <a href="https://musl.libc.org/">strives for cor­rect­ness</a>, even when that pur­suit leads to <a href="https://wiki.musl-libc.org/functional-differences-from-glibc.html">in­com­pat­i­bil­i­ties with <abbr>GNU</abbr>'s libc</a>. The usual Unix-borne util­i­ties are pro­vided by <a href="https://busybox.net/">busy­box</a>. Though busy­box's code is less than glam­orous – <a href="https://vid.puffyan.us/watch?v=MkJkyMuBm3g">see the end­ing min­utes of this pre­sen­ta­tion given by its pre­vi­ous main­tain­er</a> – it is small and ma­ture, and cer­tainly more us­able than the usual se­lec­tion, <a href="https://www.gnu.org/software/coreutils/"><abbr>GNU</abbr>'s core­uti­ls</a>. Alpine Linux's <a href="https://dl-cdn.alpinelinux.org/alpine/v3.17/releases/">in­stal­la­tion im­ages</a> are gen­er­ally less than 200 MiB in bi­nary size, al­low­ing for <abbr>RAM</abbr> boot­ing to be a sane de­fault. The soft­ware pack­ages avail­able in <a href="https://pkgs.alpinelinux.org/packages">the repos­i­to­ries</a> are nu­mer­ous, and the pack­age man­age­ment soft­ware is ex­pe­di­ent. Though <a href="https://wiki.alpinelinux.org/wiki/Main_Page">the distribution-specific doc­u­men­ta­tion</a> does have some rough edges, it is ex­ten­sive.</p> + <p>There are mul­ti­ple Linux dis­tri­bu­tions that try to do bet­ter than <abbr>GNU</abbr>'s libc and core­utils, how­ever Alpine is the only one I've no­ticed to put each of Linux's many pieces to­gether so that the sys­tem works well in prac­tice. In par­tic­u­lar, Alpine Linux is the only Linux dis­tri­bu­tion that does not use glibc that I've been able to wran­gle into run­ning <a href="https://www.x.org/wiki">Xorg</a>. The mess of <a href="https://kisscommunity.bvnf.space/"><abbr>KISS</abbr> Linux's many split repos­i­to­ries and sparse doc­u­men­ta­tion</a> causes more woes than re­quired of a min­i­mally boot­strapped op­er­at­ing sys­tem. <a href="https://github.com/oasislinux/oasis">Oa­sis Lin­ux</a> is amaz­ingly am­bi­tious, par­tic­uarly for pre­fer­ring <a href="https://sr.ht/~mcf/cproc/">cproc</a> over <abbr>GCC</abbr> or <a href="https://clang.llvm.org/">clang</a>, yet too un­der­baked to feel use­ful. <a href="http://tinycorelinux.net">TinyCore Lin­ux</a> boots to <abbr>RAM</abbr>, and its mod­ern in­car­na­tions boast smaller size than any other Linux dis­tri­bu­tion. Un­for­tu­nately, a lack of good doc­u­men­ta­tion averts me from its use, de­spite hav­ing tinkered with it for many hours. The gap be­tween toy and ready prod­uct may be bridged by good doc­u­men­ta­tion. A move away from glibc would be ideal, how­ever sec­ondary to the doc­u­men­ta­tion is­sue. As a side note: I imag­ine glibc is one of the great­est causes of in­crease in bi­nary size from re­lease to re­lease, for it is <a href="https://vid.puffyan.us/watch?v=Nbv9L-WIu0s">fa­mously in­fla­tion­ary</a>. What was once 11 MiB – <a href="http://tinycorelinux.net/3.x/archive/3.0/tinycore_3.0.iso">TinyCore Linux 3.0</a> – is now 21 MiB – <a href="http://tinycorelinux.net/13.x/x86/archive/13.0/TinyCore-13.0.iso">TinyCore Linux 13.0</a>.</p> + <p>Linux is messy, and im­prove­ment is ex­tra messy, which has done well to feed <a href="https://www.debian.org/">De­bian</a> and <a href="https://www.redhat.com/en/technologies/linux-platforms/enterprise-linux">Red Hat</a>'s pop­u­lar­ity; De­bian and Red Hat are ma­ture, and rarely change, and so the same quirks mas­tered years ago con­tin­u­ally ap­ply, for bet­ter and worse. Though there are many dis­tri­bu­tions that try to do bet­ter, and oc­ca­sion­ally do achieve bet­ter­ment, a ma­jor­ity of such dis­tri­bu­tions are gen­er­ally too mal­leable or ob­scure to be re­li­able. Alpine Linux ap­pears to be the only Linux dis­tri­bu­tion in any po­si­tion to upset the fre­quency of use of <abbr>GNU</abbr>'s C stan­dard li­braries and sys­tem util­i­ties in ac­tual prac­tice, be­ing both well-documented and ma­ture.</p> + <br> + <a name=bellard><h2>bellard.org</h2></a> + <p id="first">I found Fabrice Bel­lard's web site dur­ing the year 2021. I was amazed by how much could be ac­com­plished by some­one both ded­i­cated and cre­ative.</p> + <p>Fabrice Bel­lard started what has be­come <i>the</i> me­dia en­cod­ing soft­ware, <a href="https://ffmpeg.org/">ffm­peg</a>. A sub­set of ffm­peg, <a href="https://trac.ffmpeg.org/wiki/Using%20libav*">libav­codec</a>, has be­come a core part of many pieces of soft­ware, with there be­ing <a href="https://en.wikipedia.org/wiki/Libavcodec#Applications_using_libavcodec">a long list of such soft­ware, main­tained by wikipedia con­trib­u­tors</a>. On a per­sonal level, ffm­peg has served as soft­ware for record­ing video, record­ing au­dio, the other­wise en­cod­ing of im­ages and video and au­dio, and in par­tic­u­lar for en­cod­ing an­i­ma­tions from im­ages. If not for it, I doubt the cur­rent ex­is­tence of a suit­able re­place­ment.</p> + <p>Fabrice Bel­lard also started <i>the</i> Linux em­u­la­tion soft­ware, <a href="https://www.qemu.org/"><abbr>QEMU</abbr></a>. <abbr>QEMU</abbr> paired with <a href="https://www.linux-kvm.org/page/Main_Page"><abbr>KVM</abbr></a> is a go-to when need­ing to em­u­late an op­er­at­ing sys­tem with native-ish per­for­mance. Peo­ple who tinker use it quite a bit, and I imag­ine there are some busi­nesses whose in­fras­truc­ture de­pends upon <abbr>QEMU</abbr>.</p> + <p>An en­trant into <a href="https://www.ioccc.org">The In­ter­na­tional Ob­fus­cated C Code Con­test</a> built upon, <a href="https://repo.or.cz/tinycc.git">tiny­cc</a> has be­come a ma­ture <a href="https://en.wikipedia.org/wiki/C99"><abbr>C99</abbr></a> com­piler. It is <a href="https://bellard.org/tcc#speed">about an order of mag­ni­tude faster than <abbr>GCC</abbr></a>, and pro­duces rea­son­ably op­ti­mal code. C code can be ei­ther com­piled or <i>in­ter­pret­ed</i>, with the in­ter­preter func­tion­al­ity be­ing baked well enough to be ac­tu­ally use­ful dur­ing de­vel­op­ment. When us­ing ei­ther Win­dows AME, Alpine Linux, or OpenBSD, this is my first choice of C com­piler.</p> + <p>Some lesser known how­ever ex­tremely im­pres­sive ex­am­ples of his pro­gram­ming prowess are listed at the in­dex of his site. Some par­tic­u­larly eye-catching ones in­clude</p> + <ul> + <li><a href="https://bellard.org/jslinux/">hard­ware em­u­la­tors</a> that al­low run­ning Linux or Win­dows in-browser via javascript,</li> + <li><a href="https://bellard.org/nncp/">an ex­per­i­men­tal loss­less com­pres­sion mod­el</a> built around neu­ral net­works,</li> + <li><a href="https://bellard.org/pi/pi2700e9/">hav­ing com­puted what was at a time the largest amount of dig­its of PI ev­er</a>, on con­sumer hard­ware,</li> + <li><a href="https://www.ioccc.org/2018/bellard/hint.html">in some way that be­fud­dled even the <abbr>IOCCC</abbr> judges</a>, <a href="https://bellard.org/ioccc_lena/">a pro­gram to in­flate Lena from it­self</a>, and</li> + <li><a href="https://bellard.org/TinyGL/">a use­ful software-only sub­set of OpenGL</a>.</li> + </ul> + <br> + <a name=other><h2>other.stanleylieber.com</h2></a> + <p id="first">I found <a href="http://other.stanleylieber.com">other.stan­leylieber.com</a> after travers­ing web sites re­gard­ing 9front, the fore­most be­ing cat-v.org and <a href="http://9front.org">9front.org</a>. I first en­coun­tered it dur­ing the year 2022. This site en­cour­ages the best kind of doom scrolling. Image after im­age, chances are good that one of ev­ery few im­ages strikes in­ter­est. That sort of con­sis­tent qual­ity buys trust, and that trust may be spent in con­tin­ued viewer at­ten­tion. It's a sort of magic that I'd like to cap­ture.</p> + <br> + <a name=openbsd><h2>openbsd.org</h2></a> + <p id="first">Hav­ing men­tioned above that Linux is a mess, it feels suit­able to now ex­plain a Unix deriva­tive that is not. <a href="https://www.openbsd.org">OpenBSD</a> split from <a href="http://netbsd.org/">NetBSD</a> 1.0 in 1995, which in turn was based upon <a href="https://www.tuhs.org/cgi-bin/utree.pl?file=4.4BSD">4.4BSD-Lite</a>, which in turn was based upon twenty-odd years of de­vel­op­ment upon a <a href="https://www.tuhs.org/cgi-bin/utree.pl?file=V6">Unix Ver­sion 6</a> in­stal­la­tion <a href="http://www.groklaw.net/article.php?story=20050505095249230">per­formed at Univer­sity of Cal­i­for­nia, Berke­ley</a>. In the time be­tween 1995 and now, OpenBSD has be­come an op­er­at­ing sys­tem that is stable, se­cure, and ex­cel­lently doc­u­mented. The man­u­als are con­cise with­out er­ring on be­ing terse, the sys­tem de­faults are sane and se­cure, and things do not break often.</p> + <p>Glit­ter­ing gen­er­al­i­ties pre­sented, some real ex­am­ples may pro­vide some va­lid­ity to the claims given. Each pro­gram purpose-written for the dis­tri­bu­tion has a man page writ­ten in a con­sis­tent style, fea­tur­ing English that is ap­pro­pri­ately for­mal, a unique fea­ture among Unix clones. Linux in par­tic­u­lar often fea­tures man pages that are <a href="https://linux.die.net/man/1/gcc">too long to grok and poorly writ­ten</a> – com­monly those writ­ten for <abbr>GNU</abbr>'s soft­ware – or too lit­tle more than a list of op­tions – most no­tably <a href="https://linux.die.net/man/1/busybox">busy­box</a>. On OpenBSD, for those ex­ter­nal pro­grams that may be in­cluded in an in­stal­la­tion by way of <a href="https://www.openbsd.org/faq/faq4.html#FilesNeeded">file sets</a>, pack­ages served by <a href="https://www.openbsd.org/faq/faq15.html">the repos­i­to­ries</a>, or <a href="https://www.ports.to/">the ports tree</a>, all doc­u­men­ta­tion is in­cluded, that much be­ing the best that can be rea­son­ably ex­pected. The pro­gram­mer's doc­u­men­ta­tion – so as to be ex­plicit, <a href="https://man.openbsd.org/strtol.3">this is one such page</a> – is sin­cerely bet­ter writ­ten than any other set I've en­coun­tered.</p> + <p>Op­tions that don't make sense to be en­abled by de­fault are not en­abled by de­fault. Au­dio record­ing is dis­abled, video record­ing is dis­abled, and dae­mons in­stalled are not sud­denly marked to run at boot. This last point may feel ob­vi­ous, how­ever I dis­tinctly re­mem­ber De­bian Linux ex­hibit­ing the op­po­site be­hav­ior. There was a time dur­ing which a younger and less aware ver­sion of my­self had apache start­ing upon each boot of my lap­top <abbr>PC</abbr>.</p> + <p>Never has OpenBSD pre­sented me with an is­sue that feels ar­bi­trary. In­stal­la­tion makes sense, post-instal­la­tion makes sense, with wifi setup be­ing <a href="https://man.openbsd.org/rtwn">par­tic­u­larly well doc­u­ment­ed</a>, and reg­u­lar usage makes sense. Th­ese are vague qual­i­ties that de­scribe gen­eral feel­ings, with those gen­eral feel­ings be­ing my fo­cus. There is a sense of <i>com­fort</i> that eludes any Linux dis­tri­bu­tion I've used. It's a bor­ing com­fort, a stable com­fort, a good one.</p> + <p><abbr>POSIX</abbr> con­for­mance com­pletes this op­er­at­ing sys­tem. It is not <a href="http://www.minix3.org/">a for­got­ten toy</a>, or <a href="https://git.sr.ht/~vdupras/duskos">a promis­ing dream</a>, but a real and main­tained prod­uct, com­pat­i­ble with real pro­grams. A list of some that I value fol­lows.</p> + <ul> + <li><a href="https://repo.or.cz/tinycc.git">tiny­cc</a> is avail­able in the repos­i­to­ries. On the oc­ca­sions dur­ing which tinycc is not suit­able, the com­piler in­cluded with the <a href="https://www.openbsd.org/faq/faq4.html#FilesNeeded">comp file set</a>, clang, works well, if much slower.</li> + <li><a href="https://9fans.github.io/plan9port/">plan9­port</a> is avail­able in the repos­i­to­ries. <a href="https://9fans.github.io/plan9port/man/man1/sam.html">sam</a>, <a href="https://9fans.github.io/plan9port/man/man1/acme.html">acme</a>, and <a href="https://9fans.github.io/plan9port/man/man1/9term.html">9term</a> are the main at­trac­tions. I rec­om­mend ex­plic­itly set­ting a bitmap font that suits your pref­er­ence. + <a href="https://kaa.run.place/go.tgz">A per­son­ally per­formed con­ver­sion of Go Reg­u­lar</a> is usu­ally my first choice. + There are <a href="https://plan9.io/wiki/plan9/fonts/index.html">a va­ri­ety of fonts</a> down­load­able from <a href="http://git.9front.org/plan9front/plan9front/7f8246fd97a12477f9dd21c68a3d81b4c4b46852/lib/font/bit/f.html">9front's git repos­i­to­ry</a>, with the most sim­ple method of down­load be­ing <a href="http://git.9front.org/git/plan9front/plan9front/27a63ae22975171efbee5549d100f416ccb4066a/snap.tar.gz">a cur­rent snap­shot of the git repos­i­to­ry</a>. + Of 9front's con­ver­sions, I pre­fer <a href="http://git.9front.org/plan9front/plan9front/7f8246fd97a12477f9dd21c68a3d81b4c4b46852/lib/font/bit/dejavusans/unicode.14.font/f.html">De­jaVu Sans</a>. Al­ter­na­tively, <a href="http://plan9.stanleylieber.com/src/">sl's var­i­ous con­ver­sions</a>, or <a href="https://kaa.run.place/c059.tgz">the con­ver­sion I per­formed of URW's C059</a> may be suit­able. P.S.: Con­ver­sion of a scal­able font may be per­formed on Unix us­ing <a href="https://9fans.github.io/plan9port/man/man4/fontsrv.html">plan9­port's fontsrv</a>, us­ing ei­ther <a href="http://pmikkelsen.com/plan9/fonts">the method de­scribed here</a> or <a href="Program/r.txt">ju­di­cious use of plan9­port's 9p</a>. Also on Unix, <a href="https://ftrv.se/21">Si­grid's ttfs</a> gives <a href="https://kaa.neocities.org/Image/ttfs.png">per­fect re­sults</a>. Al­ter­na­tively, con­ver­sion may be per­formed by means of <a href="https://tcp80.org/11-ttf2subf-new-release.html">ttf2­subf</a>, <a href="https://drawterm.9front.org/">DRAWTERM</a>, and a net­worked 9front in­stal­la­tion. That last re­quire­ment may be ful­filled by <a href="https://9p.sdf.org/">an ac­count with <abbr>SDF</abbr>'s pub­lic 9front</a>, <a href="https://ftrv.se/5">OpenBSD's vmd</a> – see also <a href="http://wiki.9front.org/cpu-setup">wiki.9front.org</a> and <a href="https://armeye.github.io/posts/p9obsd.html">arm­eye.github.io</a>, or an in­stal­la­tion of 9front on real hard­ware, the last of which may be dif­fi­cult to sat­isfy as a re­sult of lack­ing hard­ware sup­port.</li> + <li><a href="https://curl.se/">cURL</a> is, of course, avail­able in the repos­i­to­ries.</li> + <li><a href="http://www.mutt.org/">mutt</a>, the mail client, is avail­able in the repos­i­to­ries.</li> + <li><a href="https://www.netsurf-browser.org/">NetSurf</a>, a web browser that bal­ances cur­rent web site com­pat­i­bil­ity and re­source usage well, is in the repos­i­to­ries. A prac­ti­cal ma­jor­ity of the <abbr>HTML</abbr> and <abbr>CSS</abbr> in use to­day are im­ple­mented.</li> + <li><a href="https://mupdf.com/">mμ<abbr>PDF</abbr></a> and <a href="https://ghostscript.com/">GhostScript</a>, both of which are par­tic­u­larly use­ful for doc­u­ment con­sump­tion and prepa­ra­tion, are avail­able in the repos­i­to­ries. The prac­ti­cal use of type­set­ting sys­tems, such as the afore­men­tioned neatroff, and the now men­tioned <a href="http://kertex.kergis.com/en/index.html">KerTeX</a> and <a href="https://plain-xetex.neocities.org/">XeTeX</a>, de­pend upon these two pro­grams, or close equiv­a­lents. Al­low me to in­dulge in a tan­gent: us­ing ei­ther of these re­quires dig­i­tal type­faces. For these pur­poses ex­actly, the de­vel­op­ers of mμ<abbr>PDF</abbr> and Ghostscript, known as <a href="https://artifex.com/">Ar­tifex</a>, have worked with <a href="https://en.wikipedia.org/wiki/URW_Type_Foundry">URW</a> to pro­duce <a href="https://github.com/ArtifexSoftware/urw-base35-fonts">a pub­lic re­lease of pro­fes­sion­ally pro­duced dig­i­tal clones of pop­u­lar type­faces</a>. Th­ese are suit­able for doc­u­ments and user in­ter­faces alike, serv­ing an im­por­tant role in freely dis­tributed op­er­at­ing sys­tems par­tic­u­larly. They have been <a href="https://raw.githubusercontent.com/ArtifexSoftware/urw-base35-fonts/master/fonts/LICENSE">spe­cially li­censed to be em­bed­ded in any PostScript or <abbr>PDF</abbr> file</a>. Peter Deutsch of Ar­tifex <a href="https://tug.org/fonts/deutsch-urw.txt">de­scribed the trans­ac­tion</a> as a do­na­tion of com­mod­ity items for the sake of brand ap­pre­ci­a­tion. They are avail­able in sev­eral for­mats – some de­scrip­tions may be found at <a href="http://fonts.github.io/typographic-collaboration/">fonts.github.io's ap­pendix</a> and <a href="https://xml.web.cern.ch/XML/lgc2/xetexmain.pdf">The XeTeX Com­pan­ion</a>, and some of the OpenType it­er­a­tions pro­vide sup­ple­men­tal glyphs as <a href="https://en.wikipedia.org/wiki/List_of_typographic_features">OpenType fea­tures</a>. + There's a lot more out there than these thirty five, and here are some pleas­ant av­enues from which to find more. + <ul id="nested"> + <li><a href="https://tug.org/FontCatalogue/">The LATeX Font Cat­a­logue</a> fea­tures a long list of well-catego­rized type­faces, in a mix of PostScript and OpenType for­mats. Each shown here is dis­tributed freely, and sev­eral con­tain vast char­ac­ter sets de­signed for type­set­ting first and fore­most.</li> + <li><a href="https://www.x.org/releases/individual/font/font-bh-ttf-1.0.4.tar.xz">The Luxi fonts</a> were de­signed and re­leased by <a href="https://bigelowandholmes.typepad.com/bigelow-holmes/history/">Bigelow and Holmes</a>, of Lu­cida fame, some twenty-odd years ago. The serif type­face in­cluded is de­scribed as “a mod­i­fi­ca­tion of Lu­cida … fit­ted to the same widths as Times Ro­man and with mod­i­fied ser­ifs but keep­ing the x-height of Lu­ci­da”. See PDF page 3 of <a href="www.tug.org/TUGboat/tb37-2/tb116bigelow-lucidamath.pdf">A short his­tory of the Lu­cida Math fonts</a>, one of B&H's mul­ti­ple good reads to be found on TUGboat. The sans-serif type­face in­cluded in­her­its some of Lu­cida's grace. Much later, in late 2016, Bigelow and Holmes freely re­leased <a href="https://go.dev/blog/go-fonts">the Go fonts</a>, those which con­tain an ex­ten­sive set of pan-European glyphs, Greek and Cyril­lic in­cluded. Here's a de­scrip­tion of the ra­tionale be­hind these type­faces, <a href="https://www.computerhistory.org/collections/catalog/102738267">ex­cerpted from an in­ter­view with Chuck Bigelow</a>: ‘the most re­cent thing we did – which is not called Lu­cida – for engi­neers at Google who de­vel­oped a pro­gram­ming lan­guage called Go. And one of them, Rob Pike, worked at Bell Labs. And we had li­censed Lu­cida to Bell Labs for a pro­gram­ming lan­guage [sic] called Plan 9, which is ob­scure, but kind of in its cult way, well known. And then they did the Go lan­guage. Just last year, they said, “Look, we have this lan­guage. We dis­tributed it for free. It’s open source soft­ware. Any­body can ex­change it for any rea­son, and copy it, and can even go in and change it.” And we’d never al­lowed that be­fore be­cause we didn’t want peo­ple ar­tis­ti­cally to mess up our de­signs. And we de­fended that even when the big com­pa­nies like Mi­crosoft and Ap­ple wanted to ma­nip­u­late stuff with­out our per­mis­sion. We had to say, “No, you have to have our per­mis­sion. We’ll work with you, but you can’t do it on your own.” But, with Rob Pike there was just some­thing about the pro­posal that we liked. He said, “You know, what do you think? What about it?” We said, “Okay, we can do it.” And we’d done some free fonts, but they weren’t open [the Luxi fonts]. And we took those. And we ad­justed them to the Go for­mat in TrueType be­cause the Go lan­guage, they’d de­vel­oped TrueType ras­ter­iz­ing tools and graph­i­cal tools [see <a href="https://pkg.go.dev/golang.org/x/image/font">golang.org/x/image/font</a>]. And we set­tled with Go that we would do not just the Ro­man types, or the Latin-based types, but we would add in Greek, and Cyril­lic, and a bunch of sym­bols and graphic char­ac­ters that Mi­crosoft had de­fined. So, in­stead of a font of two hun­dred and fifty char­ac­ters, we had like six hun­dred and sixty char­ac­ters. And we did it in a tremen­dous hurry, al­ways in a hurry. … Whether the type will be­come vastly used, I don’t know. But any­body can use it for web fonts or any­thing. … Early on, we ob­served that pop­u­lar type­faces often had non-Latin ver­sions. Times Ro­man was the first be­cause cus­tomers in other coun­tries would ask for Times Ro­man, but for Greek or for Cyril­lic. And Hel­vetica, when it be­came pop­u­lar, had the same ques­tion. So, we thought we’d re­verse that. Let’s de­sign Greek and Cyril­lic be­fore peo­ple want it be­cause, if it was a mark of suc­cess for a type­face in­cre­men­tally, what if we de­signed them? Maybe it will help them be a suc­cess now.’ For user in­ter­face pur­poses, these type­faces have spoiled this au­thor.</li> + <li><a href="https://fonts.google.com/">Google Fonts</a>, <a href="https://typetype.org/freefonts/">true­type.org</a>, <a href="https://fontlibrary.org/en/guidebook/supported_licenses">fontli­brary.org</a>, <a href="https://usemodify.com/">Use & Modi­fy</a>, <a href="https://packages.debian.org/stable/fonts">De­bian's pack­age repos­i­to­ries</a>, and <a href="https://fontain.org/about">fontain.org</a> fea­ture ag­gre­ga­tions of open-source fonts, those which any per­son is per­mit­ted to both uti­lize and change. <a href="https://fontlibrary.org/en/font/coelacanth">Coela­can­th</a> and <a href="https://fontlibrary.org/en/font/eb-garamond">EB Gara­mond</a> are head-turners, both of which have been de­vel­oped us­ing <a href="https://fontforge.org/en-US/">Fon­tForge</a>. As a par­tially rel­e­vant bonus, some <a href="https://fontlibrary.org/en/guidebook/font_design">de­sign tips</a> and <a href="https://fontlibrary.org/en/guidebook/book_recommendations">book rec­om­men­da­tions</a> are of­fered to aspir­ing fontog­ra­phers by fontli­brary.org.</li> + <li><a href="https://www.theleagueofmoveabletype.com/">The League of Mov­able Type</a>, <a href="http://osp.kitchen/foundry/">Open Source Pub­lish­ing</a>, <a href="https://indestructibletype.com/Home.html">in­de­struc­tible type*</a>, <a href="https://velvetyne.fr">Vel­vetyne Type Foundry</a>, <a href="https://www.collletttivo.it">Col­l­lett­tivo</a>, and <a href="https://arkandis.tuxfamily.org/index.html">Arkan­dis</a> are each dig­i­tal type foundries that solely de­sign open-source fonts.</li> + <li>I am per­son­ally fond of <a href="https://dbmiller.org/type/rwgaramond.html">RW Gara­mond</a>, a col­lab­o­ra­tively de­vel­oped type­face – see <a href="https://web.archive.org/web/20161031051637/http://garamond.org/urw/">gara­mond.org</a> and <a href="https://www.ctan.org/pkg/garamondx">ctan.org</a> for the lin­eage – rem­i­nis­cent of the ty­po­graphic style of cen­turies past. It has small caps and old-style fig­ures. Be­ing derived from Gara­mond No. 8, as dis­tributed at <a href="https://github.com/ArtifexSoftware/ghostpdl/tree/master/pcl/urwfonts">ghostpdl/pcl/urwfonts</a>, it is li­censed as ac­cord­ing to the terms of the <a href="https://raw.githubusercontent.com/ArtifexSoftware/ghostpdl/master/pcl/LICENSE">Af­fero Free Public Li­cense, with­out ex­cep­tion</a>. The li­cens­ing is dis­cussed fur­ther on <a href="https://en.wikipedia.org/wiki/Garamond#URW++_Garamond_No._8">the as­so­ci­ated Wikipedia page</a>, and de­scribed in full <a href="https://web.archive.org/web/20100107165113/http://www.artifex.com/downloads/doc/Public.htm">at Ar­tifex's web site</a>.</li> + <li><a href="https://www.gnu.org/software/freefont/">FreeFont</a> is a con­tin­u­a­tion of URW's Nim­bus Serif, Nim­bus Sans, and Nim­bus Mono, each re-named FreeSerif, FreeSans, and FreeMono re­spec­tively. A vast char­ac­ter set is sup­plied. Th­ese deriva­tives are <a href="https://www.gnu.org/software/freefont/license.html">li­censed un­der ver­sion of the <abbr>GNU</abbr> Public Li­cense</a>, though with an ex­cep­tion so as to per­mit em­bed­ding each type­face in a <abbr>PDF</abbr>.</li> + <li><a href="https://www.fontshare.com/">Fontshare</a> fea­tures fonts de­signed by the In­dian Type foundry, with all be­ing <a href="https://www.fontshare.com/licenses/itf-ffl">free for com­mer­cial use</a>. In a sim­i­lar vein, the pro­fes­sional dig­i­tal type foundry Paratype was com­mis­sioned by the Rus­sian Fed­er­a­tion to pro­duce publically-distrib­uted Latin and Cyril­lic type­faces, with <a href="https://company.paratype.com/pt-sans-pt-serif">PT Serif and PT Sans</a> hav­ing re­sulted. Adobe pub­li­cally re­leased <a href="https://github.com/adobe-fonts/source-serif">Source Ser­if</a>, <a href="https://github.com/adobe-fonts/source-sans">Source Sans</a>, and <a href="https://github.com/adobe-fonts/source-code-pro">Source Code Pro</a>. Source Serif in par­tic­u­lar is avail­able in a va­ri­ety of <a href="https://blog.adobe.com/en/publish/2021/03/04/source-serif-gets-optical-sizes">op­ti­cal sizes</a>.</li> + <li><a href="https://www.cooperhewitt.org/about/">The Cooper He­witt mu­se­um</a> pro­fes­sion­ally com­mis­sioned <a href="https://www.cooperhewitt.org/open-source-at-cooper-hewitt/cooper-hewitt-the-typeface-by-chester-jenkins/">a sans-serif type­face by the same name</a>, that which has been pub­li­cally re­leased in source form. + <li><a href="https://en.wikipedia.org/wiki/Open-source_Unicode_typefaces">Wikipedia's page ded­i­cated to Open-Source Uni­code type­faces</a> and <a href="https://software.sil.org/fonts/">SIL In­ter­na­tional's font list­ing</a> are each use­ful for choos­ing a type­face with sup­port for a wide va­ri­ety of lan­guages. <a href="https://dejavu-fonts.github.io">De­jaVu</a> is my go-to when such a type­face is needed.</li> + <li><a href="http://tulrich.com/fonts/">Thatcher Ul­rich's Tuffy</a> is a rare ex­am­ple of a truly pub­lic do­main type­face.</li> + <li><a href="https://www.edwardtufte.com/tufte/">Ed­ward Tufte</a>, an ac­com­plished au­thor, has col­lab­o­ra­tively pro­duced <a href="https://edwardtufte.github.io/et-book/">“a Bembo-like font for the computer”</a>, that which is ex­plic­itly de­signed with pub­li­ca­tion usage in mind.</li> + <li><a href="https://www.glukfonts.pl/info.php">gluk­fonts</a> and <a href="https://www.exljbris.com/eula.html">exljbris</a> each of­fer some free type­faces, with down­load­ing be­ing a sin­gu­lar click, rather than a game of hoop jump­ing. <a href="https://typodermicfonts.com/downloads/">Ty­po­der­mic</a> of­fers some por­tions of type­faces – in­clud­ing the often seen and sel­dom used <a href="https://en.wikipedia.org/wiki/Ray_Larabie#/media/File:Grand_Theft_Auto_logo_series.svg">Price­down</a>.</li> + <li><a href="http://web.archive.org/web/20221003220503/https://brill.com/page/290?language=en">The Brill Type­face</a> is ser­iffed, con­tains roughly 6000 pan-European glyphs, and is free for non-commer­cial use.</li> + <li><a href="http://fonts.jp/hanazono/">Hana­zono Min­cho</a> is a mono-spaced and ser­iffed type­face, with its claim to fame be­ing its whop­ping 100-thousand-plus char­ac­ter set.</li> + <li><a href="https://kurinto.com/">Kur­in­to</a> is a col­lec­tion of sev­eral uni­code type­faces, pre­sented in a user-accessible man­ner.</li> + <li><a href="https://web.archive.org/web/20101122142710/http://code2000.net/code2000_page.htm">Code2000</a>, a share­ware type­face once hosted on a now de­funct web site, sup­ports a wide va­ri­ety of scripts, by means of roughly 50000 glyphs. The sim­i­larly li­censed <a href="https://evertype.com/emono/">Ever­son Mono</a> aims to com­pete with Courier in gen­eral use, in­clud­ing roughly 9000 glyphs.</li> + <li>A re­vival of an al­most for­got­ten type­face may found in <a href="https://iginomarini.com/fell/the-revival-fonts/">Igino Marini's ren­di­tion of The Fell Types</a>.</li> + <li><a href="https://en.wikipedia.org/wiki/Bitstream_Inc."</a>Bit­steam</a>'s <a href="https://en.wikipedia.org/wiki/Bitstream_Charter">Char­ter</a> and <a href="https://en.wikipedia.org/wiki/Courier_(typeface)#Courier_10_Pitch_BT_and_Courier_Code">Courier 10 Pitch</a> may now be found in TrueType for­mat at <a href="http://rolandstroud.com/Fonts-1.html">the web site of Roland Stroud</a>, writer and physi­cian. Al­ter­na­tively, Bit­stream's Char­ter and Courier may be found <a href="https://www.x.org/releases/individual/font/font-bitstream-type1-1.0.4.tar.xz">in Type 1 for­mat, dis­tributed with Xorg</a>. Bit­stream's ex­ten­sive <a href="https://en.wikipedia.org/wiki/Bitstream_Cyberbit">Cy­ber­bit</a>, re­leased freely for non-commer­i­cal use, may be found at <a href="https://web.archive.org/web/20040117055154/http://ftp.netscape.com/pub/communicator/extras/fonts/windows/Cyberbit.ZIP">an archive of a now long of­fline NetS­cape FTP server</a>.</li> + <li><a href="https://fontmeme.com/fonts/free-fonts-collection/">Fon­tMe­me</a>, <a href="https://fontesk.com/license/free-for-commercial-use,ofl-gpl/">Fon­tesk</a>, <a href="https://www.dafont.com/top.php?page=2&l[]=10&l[]=1">da­font</a>, <a href="https://www.fontspace.com/new/fonts">Fon­tS­pace</a>, and <a href="https://www.1001fonts.com/free-for-commercial-use-fonts.html">1001fonts</a> each fea­ture lists of fonts free for com­mer­cial use. It's a very mixed bag.</li> + </ul> + <li><a href="https://surf.suckless.org/">surf</a>, a web browser that acts as a min­i­mal wrap­per around the gi­nor­mous <a href="https://webkit.org/">We­bKit</a>, is avail­able in the repos­i­to­ries.</li> + <li><a href="https://www.mozilla.org/">Fire­fox</a>: it works, so long as there's a gi­ga­byte or so of mem­ory to spare. The builds of Fire­fox dis­tributed in the repos­i­to­ries are in­ten­tion­ally re­stricted to ac­cess­ing <tt>~/Downloads</tt>, and fea­ture the Unix func­tion­al­ity of <abbr>CTRL</abbr> + A, <abbr>CTRL</abbr> + E, <abbr>CTRL</abbr> + W, and <abbr>CTRL</abbr> + U in text in­put con­texts. This pro­gram is just about nec­es­sary for bank and school in­ter­ac­tions, and for the pop­u­lar meth­ods of so­cial in­ter­ac­tion over an in­ter­net con­nec­tion. Even Ad­vent of Code needs OAuth, which means third-party cook­ies and JavaScript. Privacy-first Fire­fox con­fig­u­ra­tions <a href="https://github.com/arkenfox/user.js">do ex­ist</a>, but aren't prac­ti­cal for a ma­jor­ity of the use cases in which Fire­fox or a near equiv­a­lent is needed – gmail.com, out­look.com, dis­cord.com, you­runi­ver­sity.edu, your­bank.com and so on. The best that can be done with Fire­fox is gen­er­ally to use <a href="https://start.duckduckgo.com/">Duck­Duck­Go</a> -
or <a href="https://www.mojeek.com/">Mo­jeek</a> if you're brave – and to in­stall <a href="https://ublockorigin.com/">UBlock­O­rig­in</a> to curve the web's vi­sual har­rass­ment. P.S.: The JavaScript-disabling op­tion pro­vided by UBlock­O­ri­gin is par­tic­u­larly use­ful to se­lec­tively en­able for web sites that have a pay­wall. Pay­walls are often en­forced us­ing JavaScript, in which case this fea­ture dis­ables the JavaScript that does the pay­walling. Some of the fre­quenters of <a href="https://www.oftc.net">irc.oftc.net</a>'s <tt>#cat-v</tt> well de­scribe the sen­ti­ment I share. <pre> +irc.otfc.net, #cat-v: 2023 June 28 +11:40:44 in­voked → i don't feel shame in us­ing fire­fox, it's mostly res­ig­na­tion mixed with dis­gust +11:43:39 si­grid → it's not re­ally about shame, I use fire­fox too</pre></li> + <li><a href="https://ffmpeg.org/">ffm­peg</a>, the me­dia con­ver­sion and record­ing and play­back util­ity, is avail­able in the repos­i­to­ries.</li> + <li><a href="https://imagemagick.org/index.php">ImageMag­ick</a>, the im­age con­ver­sion, trans­for­ma­tion, and fil­tra­tion util­ity, is avail­able in the repos­i­to­ries.</li> + <li><a href="https://git-scm.com/">git</a>, of course, is avail­able in the repos­i­to­ries.</li> + <li><a href="https://unix4lyfe.org/darkhttpd/">dark­httpd</a>, a suit­able <abbr>HTTP</abbr> server for lo­cal file trans­fer, is avail­able in the repos­i­to­ries.</li> + <li><a href="https://drawterm.9front.org/">DRAWTERM</a>, an ex­cel­lent pro­gram for graph­i­cal lo­gin to a 9front sys­tem, is avail­able in the repos­i­to­ries.</li> + <li><a href="http://litcave.rudi.ir/neatroff.pdf">neatroff</a>, though unavail­able in the repos­i­to­ries, com­piles and runs with­out has­sle.</li> + <li><a href="https://mtpaint.sourceforge.net/">mtPaint</a>, a pro­gram suit­able for dig­i­tal draw­ing and an­i­ma­tion, is avail­able in the repos­i­to­ries.</li> + <li><a href="https://man.openbsd.org/pkg_locate">pkg_lo­cate</a>, analagous to <a href="https://wiki.debian.org/apt-file">De­bian's apt-file</a>, greatly sim­pli­fies search­ing for cor­rect header files for source code com­pi­la­tion.</li> + <li><a href="http://www.eterna.com.au/ircii/">ir­cII</a>, <a href="https://en.wikipedia.org/wiki/IrcII">the most ma­ture main­tained <abbr>IRC</abbr> client</a>, is in­cluded in the repos­i­to­ries. So as to un­der­stand the myr­iad of com­mands spe­cific to <abbr>IRC</abbr>, the in­for­ma­tion ac­ces­si­ble through this pro­gram's /help com­mand is the best-written doc­u­men­ta­tion I've found. This <abbr>IRC</abbr> client is not only ca­pable of <abbr>DCC</abbr> file trans­fer, it fea­tures the orig­i­nal im­ple­men­ta­tion. Should the <abbr>DCC</abbr> file trans­fer give you trou­ble, as it has done for me, at­tempt us­ing <a href="https://irssi.org/">irssi</a>, that which is both ca­pable of <abbr>DCC</abbr> file trans­fer and avail­able in the repos­i­to­ries.</li> + <li><a href="https://openxcom.org/">OpenX­com</a>, a source port of <a href="https://en.wikipedia.org/wiki/X-COM:_UFO_Defense">X-COM: UFO De­fense</a>, is avail­able in the repos­i­to­ries. A clean copy of the game data may be found in <a href="https://www.gog.com/en/game/xcom_ufo_defense">the gog.com re­lease</a>, and then ex­tracted via <a href="https://constexpr.org/innoextract/">in­noex­tract</a>, the lat­ter of which is ad­di­tion­ally avail­able in the repos­i­to­ries. This be­ing my first and only ex­tended ven­ture into a strat­egy game, I thor­oughly en­joy it. Some well-produced cov­er­age of this game <a href="https://vid.puffyan.us/watch?v=gBu77h2FSCM">may be found here</a>.</li> + <li><a href="https://st.suckless.org/">st</a>, a rea­son­able ter­mi­nal em­u­la­tor, com­piles with­out has­sle. There are no “Gotcha!” mo­ments to be had here; the same <tt>con­fig.h</tt> and patches that work on Linux work in this con­text too. Us­ing a graph­i­cal ter­mi­nal em­u­la­tor re­quires a good monospaced type­face. Raph Le­vien's <a href="https://levien.com/type/myfonts/inconsolata.html">In­con­so­lata</a> is pop­u­lar for good rea­son. <a href="https://go.dev/blog/go-fonts">Go Mono</a> is an­other per­sonal fa­vorite. Mark Si­mon­son, a pro­fes­sional type de­signer with an im­pres­sive ca­reer, freely re­leased <a href="https://www.marksimonson.com/fonts/view/anonymous-pro">Anony­mous Pro</a>. Adrian Frutiger's <abbr>OCR</abbr>-B is <a href="https://en.wikipedia.org/wiki/OCR-B">a long-held stan­dard</a> in fixed-width text, and <a href="https://tsukurimashou.osdn.jp/ocr.php.en">this free adap­ta­tion</a> by mul­ti­ple au­thors works well in a ter­mi­nal. Maybe less im­me­di­ately at­trac­tive but un­de­ni­ably uni­ver­sally leg­i­ble is Courier, with its reg­u­larly avail­able de­scen­dants be­ing the purely com­mer­cial it­er­a­tions dis­tributed with Win­dows and MacOS, <a href="https://www.x.org/releases/individual/font/font-ibm-type1-1.0.4.tar.xz"><abbr>IBM</abbr>'s of­fi­cial dig­i­ti­za­tion of the orig­i­nal</a> – this one doesn't feel right, <a href="https://www.gnu.org/software/freefont/">FreeMono</a> – rea­son­able, <a href="https://quoteunquoteapps.com/courierprime/">Courier Prime</a>, and <a href="https://www.x.org/releases/individual/font/font-bitstream-type1-1.0.4.tar.xz">Bit­stream's freely dis­tributed Type1 it­er­a­tion</a> – this one's just right. <a href="https://typodermicfonts.com/downloads/">Ty­po­der­mic's fonts free for com­mer­i­cal use</a> in­clude <a href="https://typodermicfonts.com/nk57-monospace/">NK57 Monospace</a>, that which comes in a va­ri­ety of weights and widths. Mi­crosoft's <a href="https://github.com/microsoft/cascadia-code">Cas­ca­dia Code</a> is an­other suit­able choice, and those with ac­cess to Win­dows Vista or later – or maybe to <a href="https://aur.archlinux.org/packages/ttf-vista-fonts">a copy of Pow­erPoint</a>, or sim­ply <a href="https://www.fontshop.com/families/consolas">Fon­tShop</a> – may use Con­so­las, which is great. Fans of bitmap fonts may be pleased by <a href="https://int10h.org/oldschool-pc-fonts/fontlist/?1#top">The Ul­ti­mate Old­school <abbr>PC</abbr> Font Pack</a>, that which is com­posed of bitmap fonts ex­tracted from a wide va­ri­ety of decades-old per­sonal com­puter firmware. Some par­tic­u­lar stand-outs for 1920 by 1080 pixel dis­plays in­clude <a href="https://int10h.org/oldschool-pc-fonts/fontlist/font?ibm_ps-55_re"><abbr>IBM</abbr> PS/55 re.</a> and <a href="https://int10h.org/oldschool-pc-fonts/fontlist/font?cordata_ppc-400">Cor­data PPC-400</a>. <a href="https://www.cambus.net/spleen-monospaced-bitmap-fonts/">Spleen</a> 8x16, <a href="https://kaa.run.place/spleen-8x16.tgz">con­vert­ed</a> by means of <a href="http://plan9.stanleylieber.com/fonts/">bd­f2­subf</a>, has come to be my fixed-width re­place­ment for Pel­lu­cida Mono – see <a href="https://www.tug.org/TUGboat/tb26-3/tb84beet.pdf">TUGboat, Vol­ume 26, No. 3</a>, and <a href="https://tug.org/TUGboat/tb39-3/tb123bigelow-lucida.pdf">TUGboat, Vol­ume 39, No. 3</a>, and <a href="https://github.com/9fans/plan9port/tree/master/font/pelm"><tt>$PLAN9/font/pelm</tt></a> – when us­ing acme. <a href="http://viznut.fi/unscii/">un­scii</a> con­tains even more char­ac­ters. <a href="https://www.inp.nsk.su/~bolkhov/files/fonts/univga">uni­v­ga</a> is an oldie and a goodie. <a href="https://www.x.org/releases/individual/font/font-misc-misc-1.1.3.tar.xz">XOrg's misc 10x20</a> is work­able. <a href="https://tobiasjung.name/profont/index.php?fs=18&pf=on">ProFont OTB</a> has grown on me.</li> + <li><a href="https://www.victornils.net/tetris/">vitetris</a>, an im­ple­men­ta­tion of <a href="https://en.wikipedia.org/wiki/Tetris">Alexey Pa­jit­nov's Tetris</a> that will run in a usual ter­mi­nal em­u­la­tor, is avail­able in the repos­i­to­ries.</li> + <li><a href="https://www.gnu.org/software/gtypist/">gtyp­ist</a>, a sin­cerely ben­e­fi­cial ncurses typ­ing tu­tor, is avail­able in the re­posories. + <li><a href="https://www.fluidsynth.org/">Flu­idSyn­th</a>, a util­ity for ren­der­ing <abbr>MIDI</abbr> data to <abbr><abbr>PC</abbr>M</abbr> au­dio, is avail­able in the repos­i­to­ries. So as to use this soft­ware, you will need at least one sound­font. Many com­plete op­tions are listed on <a href="https://github.com/FluidSynth/fluidsynth/wiki/SoundFont">the Flu­idSynth wiki</a>, <a href="https://musescore.org/en/handbook/3/soundfonts-and-sfz-files#list">the MuseS­core hand­book</a>, and <a href="http://www.synthfont.com/links_to_soundfonts.html">syn­th­font.com</a>.</li> + <li><a href="https://sox.sourceforge.net/">sox</a>, that which is par­tic­u­larly use­ful for mix­ing au­dio, is avail­able in the repos­i­to­ries.</li> + <li><a href="https://lmms.io/"><abbr>LMMS</abbr></a>, a graph­i­cal pro­gram de­signed for mu­sic pro­duc­tion, is avail­able in the repos­i­to­ries.</a> + <li><a href="https://fontforge.org/en-US/">Fon­tForge</a> and <a href="https://www.lcdf.org/type/">the LCDF Typetools</a> each fa­cil­i­tate in­spec­tion and cre­ation of dig­i­tal type­faces. They're both avail­able in the repos­i­to­ries.</li> + <li><a href="https://lldb.llvm.org/">lldb</a> and <a href="https://www.sourceware.org/gdb/">gdb</a> each may fill the essen­tial role of a de­bug­ger. lldb comes with the dis­tri­bu­tion's comp file set, and gdb is in the repos­i­to­ries.</li> + </ul> + <p>The pro­grams that come with the dis­tri­bu­tion and are de­vel­oped by the dis­trib­u­tors are ma­ture. <a href="https://www.gnu.org/fun/jokes/ed-msg.html"><tt>ed</tt></a> and <a href="https://man.openbsd.org/ksh"><tt>sh</tt></a> are each de­signed for hu­man use, as op­posed to busy­box's maimed <tt>ed</tt> im­ple­men­ta­tion, or <a href="https://en.wikipedia.org/wiki/Almquist_shell#Dash">De­bian's Almquist Shell</a>. The <tt>vi</tt> im­ple­men­ta­tion han­dles <abbr>UTF</abbr>-8 unicode, while also not tak­ing 20 or more MiB of bi­nary space. This is not the norm on mod­ern Unix; usu­ally, ei­ther the very large <a href="https://www.vim.org/">Vim</a> or the Unicode-mangling <a href="http://k.japko.eu/busybox-vi-tutorial.html"><tt>busy­box vi</tt></a> are used. For those who crave <tt>emacs</tt>, <a href="https://man.openbsd.org/mg">there is an orig­i­nal mi­cro emacs im­ple­men­ta­tion</a> in­cluded with the dis­tri­bu­tion. So as to pre­vent carpal tun­nel caused by re­peated use of <abbr>CTRL</abbr> on an <abbr>ANSI</abbr> or <abbr>ISO PC</abbr> key­board, I rec­om­mend remap­ping <abbr>CAPS LOCK</abbr> to the left <abbr>CTRL</abbr> key, <a href="https://www.openbsd.org/faq/faq7.html">as doc­u­mented here</a>. For those who have con­tent to host, <a href="https://man.openbsd.org/httpd">OpenBSD has its own <abbr>HTTP</abbr> server</a>, and <a href="https://www.libressl.org/">its own <abbr>SSL</abbr> im­ple­men­ta­tion to match it</a>. OpenBSD has <a href="https://sndio.org/">its own sound sys­tem</a>, <a href="https://web.archive.org/https://mandoc.bsd.lv/">its own man page pro­grams</a>, <a href="https://www.openbsd.org/faq/faq16.html">its own kernel-resident vir­tual ma­chine soft­ware</a>, and most fa­mously, <a href="https://www.openssh.com/">its own <abbr>SSH</abbr> im­ple­men­ta­tion</a>. Not only do these im­ple­men­ta­tions mark past cre­ative ef­fort, for their de­vel­op­ment is on­go­ing. Re­cent re­leases are an­nounced first by <a href="https://marc.info/?l=openbsd-announce">mail­ing list</a>, which are then often re-announced <a href="http://www.undeadly.org/cgi?action=front">on the web</a>. Devel­op­ment is con­sis­tently con­stant.</p> + <p>There was a sin­gle fea­ture that ce­mented my de­ci­sion to stick with OpenBSD. Aside from Xorg's in­stal­la­tion be­ing largely au­to­matic, the touch­pad driver <i>worked</i>. When us­ing De­bian, the de­fault touch­pad driver was … aw­ful. I found a sin­gu­lar al­ter­na­tive driver, that which worked about as aw­fully. De­spite hag­gling with xin­put, it never felt good to use. Months after the fact, I found some magic words which work to bet­ter the be­hav­ior of one of those drivers, Sy­napics: <tt>syn­client AccelFactor=0</tt>, and for those who like tap-to-click, <tt>syn­client TapButton1=1</tt>. I suf­fered the same is­sues on Alpine Linux, and have now con­firmed sim­i­lar be­hav­ior on CRUX Linux. And yet, upon in­stalling OpenBSD and then start­ing Xorg, and then mov­ing the mouse, it felt good! There was no chop­pi­ness; the move­ment was smooth. Though there was some mouse ac­cel­er­a­tion I did not like, that was sim­ple enough to dis­able via xin­put, after which the touch­pad be­hav­ior has been per­fect, far bet­ter than any­thing I've found be­fore or since.</p> + <p>OpenBSD pro­vides my best pre­ferred dig­i­tal work en­vi­ron­ments, both on lap­top and desk­top hard­ware. For many months, a 12-or-so year-old lap­top – <a href="https://gadgetaz.com/Laptop/Toshiba_Satellite_L755D-S5218--4332">of this make and mod­el</a> – dual boot­ing be­tween Alpine Linux and OpenBSD by means of <a href="https://www.gnu.org/software/grub/"><abbr>GRUB</abbr></a> has per­formed grace­fully – they re­ally don't make lap­top key­boards the way they used to! On a desk­top <abbr>PC</abbr>, a dual boot be­tween <a href="https://kaa.neocities.org/survival">Win­dows AME</a> and OpenBSD by means of <a href="http://www.rodsbooks.com/refind/">rEFInd</a> serves well.</p> + <br> + <a name="Envisioning"><h2>Envisioning Information</h2></a> + <p id="first">I found this book after hav­ing read about its au­thor, Ed­ward Tufte, <a href="http://fqa.9front.org/fqa8.html#8.2.7">in the 9front doc­u­men­ta­tion</a>. Hav­ing come to love 9front's text ed­i­tors – <a href="http://sam.cat-v.org/">sam</a> and <a href="http://acme.cat-v.org/">acme</a>, I felt in­clined to read some of the in­spi­ra­tional work. Un­der­stand­ing that sam and acme's de­signs were prod­ucts of the 1990s, I was drawn to­wards <a href="https://www.edwardtufte.com/tufte/books_ei"><i>En­vi­sion­ing In­for­ma­tion</i></a>, the work that Ed­ward Tufte pub­lished in 1990. I ob­tained a dig­i­tal copy, trans­ferred it to a 2013 iPad, and over the course of some weeks, read.</p> + <p>What I found within the pages con­tin­u­ally earned my at­ten­tion, and then earned my earnest thought. A ma­jor­ity of the pages fea­ture ex­am­ples of ei­ther ex­cel­lent or poor data pre­sen­ta­tion, along with dis­cus­sion and anal­y­sis of the given ex­am­ples. A purely tex­tual ex­cerpt that par­tic­u­larly struck me fol­lows.</p> + <br> + <p id="quote">What about con­fus­ing clut­ter? In­for­ma­tion over­load? Doesn't data have to be “boiled down” and “simplified”? Th­ese com­mon ques­tions miss the point, for the quan­tity of de­tail is an is­sue com­pletely sep­a­rate from the dif­fi­culty of read­ing. <i>Clut­ter and con­fu­sion are fail­ures of de­sign, not at­tributes of in­for­ma­tion.</i> Often the less com­plex and less sub­tle the line, the more am­bigu­ous and less in­ter­est­ing is the read­ing. Strip­ping the de­tail out of data is a style based on per­sonal pref­er­ence and fash­ion, con­sid­er­a­tions ut­terly in­dif­fer­ent to sub­stan­tive con­tent. … So much for the con­ven­tional, facile, and false equa­tion: sim­ple­ness of data and de­sign = clar­ity of read­ing. Sim­ple­ness is an­other aes­thetic pref­er­ence, not an in­for­ma­tion dis­play strat­egy, not a guide to clar­ity. What we seek in­stead is a rich tex­ture of data, a com­par­a­tive con­text, an un­der­stand­ing of com­plex­ity re­vealed with an econ­omy of means. … But, fi­nally, the deep­est rea­son for dis­plays that por­tray com­plex­ity and in­tri­cacy is that the worlds we seek to un­der­stand are com­plex and in­tri­cate.<br> + — Ed­ward Tufte, <a href="https://archive.org/details/envisioninginfor00tuft/page/51/mode/1up?view=theater"><i>En­vi­sion­ing In­for­ma­tion</i>, page 51</a></p> + <br> + <p>After read­ing and thor­oughly en­joy­ing this book, I found my­self try­ing an es­say of his, ti­tled <a href="https://www.edwardtufte.com/tufte/books_pp"><i>The Cog­ni­tive Style of Pow­er­point: Pitch­ing Out Cor­rupts Within</i></a>. I found my­self en­amored in a way sim­i­lar to my re­cent ex­pe­ri­ence with <i>En­vi­sion­ing In­for­ma­tion</i>, though fo­cused on a new topic upon which I was also une­d­u­cated. It is here that I came to un­der­stand the value of real para­graphs. A tri­fecta of ex­cerpts fol­lows.</p> + <br> + <p id="quote">In the re­ports, <i>ev­ery sin­gle text-slide uses bullet-outlines</i> with 4 to 6 levels of hier­ar­chy. Then an­other multi-level list, an­other bu­reau­cracy of bul­lets, <i>starts afresh</i> for a new slide. How is it that each elab­o­rate ar­chi­tec­ture of thought al­ways fits <i>ex­act­ly</i> on one slide? The rigid slide-by-slide hier­ar­chies, in­dif­fer­ent to con­tent, slice and dice the ev­i­dence into ar­bi­trary com­part­ments, pro­duc­ing an anti-narra­tive with choppy con­ti­nu­ity. Medieval in its pre­oc­cu­pa­tion with hier­ar­chi­cal dis­tinc­tions, the Pow­erPoint for­mat sig­nals ev­ery bul­let's sta­tus in 4 or 5 dif­fer­ent si­mul­ta­ne­ous ways: by the order in se­quence, ex­tent of in­dent, size of bul­let, style of bul­let, and size of type as­so­ci­ated with var­i­ous bul­lets. This is a lot of in­se­cure for­mat for a sim­ple engi­neer­ing prob­lem. The for­mat re­flects a com­mon con­cep­tual er­ror in an­a­lytic de­sign: in­for­ma­tion ar­chi­tec­tures mimic the hier­ar­chi­cal struc­ture of large bu­reau­cra­cies pitch­ing the in­for­ma­tion. Con­way's Law again. In their re­port, the Columbia Ac­ci­dent In­ves­ti­ga­tion Board found that the dis­tinc­tive cog­ni­tive style of Pow­erPoint re­in­forced the hier­ar­chi­cal fil­ter­ing and bi­ases of the <abbr>NASA</abbr> bu­reau­cracy dur­ing the cru­cial pe­riod when the Columbia was dam­aged but still func­tion­ing … At the same time, lower-level <abbr>NASA</abbr> engi­neers were writ­ing about the pos­si­ble dan­gers to the Columbia in sev­eral hun­dred emails, with the Boe­ing re­ports in PP for­mat some­times at­tached. The text of about 90% of these emails sim­ply used sen­tences se­quen­tially ordered into <i>para­graphs</i>; 10% used bul­let lists with 2 or 3 levels. Th­ese engi­neers were able to rea­son about the is­sues with­out em­ploy­ing the baroque hier­ar­chi­cal out­lines of the orig­i­nal PP pitches. Good for them.<br> + — Ed­ward Tufte, <a href="https://www.edwardtufte.com/tufte/books_pp"><i>The Cog­ni­tive Style of Pow­er­point: Pitch­ing Out Cor­rupts Within, 2nd Edi­tion</i></a>, page 12 + <br> + <br> + Ger­st­ner's blunt ac­tion shut­ting down the pro­jec­tor sug­gests that there are bet­ter tools for do­ing busi­ness anal­y­sis than read­ing aloud from bul­let lists: “<i>Let's just talk about your busi­ness.</i>” In­deed, Ger­st­ner later asked <abbr>IBM</abbr> ex­ec­u­tives to write out their busi­ness strate­gies in long­hand us­ing the pre­sen­ta­tion method­ol­ogy of <i>sen­tences</i>, with sub­jects and pred­i­cates, nouns and verbs, which then com­bine se­quen­tially to form <i>para­graphs</i>, an an­a­lytic tool demon­stra­tively bet­ter than slide­ware bul­let lists. “<i>Let's just talk about your busi­ness</i>” indi­cates a thought­ful ex­change of in­for­ma­tion, a mu­tual in­ter­play be­tween speaker and au­di­ence, rather than a pitch made by a power pointer point­ing to bul­lets. Pow­erPoint is <i>presenter-oriented, not content-oriented, not audience-orient­ed</i>. PP ad­ver­tis­ing is not about con­tent qual­ity, but rather pre­sen­ter ther­apy: “A cure for the pre­sen­ta­tion jit­ters.” “Get your­self or­ga­nized.” “Use the Au­toCon­tent Wizard to fig­ure out what you want to say.”<br> + — Ed­ward Tufte, <a href="https://www.edwardtufte.com/tufte/books_pp"><i>The Cog­ni­tive Style of Pow­er­point: Pitch­ing Out Cor­rupts Within, 2nd Edi­tion</i></a>, page 4 + <br> + <br> + At a talk, pa­per hand­outs of a tech­ni­cal re­port ef­fec­tively show text, data graph­ics, im­ages. Printed ma­te­ri­als bring in­for­ma­tion trans­fer rates in pre­sen­ta­tions up to that of ev­ery­day ma­te­rial in news­pa­per sports and fi­nan­cial pages, books, and in­ter­net news sites. An ex­cel­lent pa­per size for pre­sen­ta­tion hand­outs is A3, 30 by 42 cm or about 11 by 17 inches, folded in half to make 4 pages. That one piece of pa­per, the 4-pager, can show im­ages with 1,200 dpi res­o­lu­tion, up to 60,000 char­ac­ters of words and num­bers, de­tailed ta­bles wor­thy of the sports pages, or 1,000 sparkline sta­tis­ti­cal graph­ics show­ing 500,000 num­bers. <i>That one piece of pa­per shows the content-equiva­lent of 50 to 250 typ­i­cal PP slides</i>.<br> + — Ed­ward Tufte, <a href="https://www.edwardtufte.com/tufte/books_pp"><i>The Cog­ni­tive Style of Pow­er­point: Pitch­ing Out Cor­rupts Within, 2nd Edi­tion</i></a>, page 30</p> + <br> + <p>It is through these para­graphs and others that I came to re­al­ize the inap­pro­pri­acy of deeply heirar­chi­cal lists, that re­al­iza­tion hav­ing prompted me to rewrite this page of ap­pre­ci­a­tions. For the sake of com­par­i­son, <a href="https://kaa.neocities.org/Previous/appreciated.html">a copy of the pre­vi­ous it­er­a­tion, last touched 2023 march 31</a>, is kept.</p> + <br> + <a name=Advent><h2>Advent of Code</h2></a> + <p id=first>Ad­vent of Code has taught me how to use a struct, why and when data struc­tures should be <a href="https://man.openbsd.org/calloc.3">cal­loc</a>'d in­stead of dumped on the stack, how to use <a href="https://man.openbsd.org/free.3">free</a>, what “<a href="https://r.nf/r/adventofcode/comments/1389362/2022_day_12_route_finding_using_cellular_automata/">Di­jk­stra's Al­go­rithm</a>” is, and a lot of lit­tle de­tails in-between. Par­tic­i­pat­ing has closed the gap be­tween the­ory and prac­tice, and for that I am very thank­ful. <a href="https://files.catbox.moe/uxd989.mp4">Linked here is a video snip­pet</a> of an even­tual so­lu­tion after three hours of at­tempt.</p> + <br> + <a name=miscellany><h2>miscellany</h2></a> + <ul> + <li>Ken Thomp­son par­tic­i­pated in <a href="https://vid.puffyan.us/watch?v=EY6q5dv_B-o">a cap­ti­vat­ing in­ter­view</a> by <a href="http://genius.cat-v.org/brian-kernighan/">Brian Kernighan</a>.</li> + <li><a href="http://herpolhode.com/rob/">Rob Pike</a> ir­reg­u­larly up­dates <a href="https://commandcenter.blogspot.com/">his blog</a>. <a href="https://swtch.com/~rsc/">Russ Cox</a> reg­u­larly up­dates <a href="https://research.swtch.com/">his series of ar­ti­cles</a>, and oc­ca­sion­ally shares <a href="https://vid.puffyan.us/watch?v=pESDfDGXdzg">videos of what ex­pert pro­gram­ming looks like</a>. Both he and <a href="https://vid.puffyan.us/watch?v=qT2Efjein68">David Given</a> can be down­right mes­mer­iz­ing to watch while dis­play­ing their prowess and ex­plain­ing their logic.</li> + <li><a href="http://genius.cat-v.org/doug-mcilroy/">Doug McIl­roy</a> con­cep­tu­al­ized Unix pipes. He re­cently gave <a href="https://vid.puffyan.us/watch?v=l03CF9_078I">some fas­ci­nat­ing con­text to Unix's up­bring­ing</a>, fea­tur­ing an ex­ec­u­tive with poor vi­sion and a he­li­copter.</li> + <li>Some time ago, <a href="http://herpolhode.com/rob/">Rob Pike</a> gave <a href="https://www.vid.puffyan.us/watch?v=5kj5ApnhPAE">a con­cise overview on where mod­ern com­puter lan­guages fail</a>. More re­cently, he gave <a href="https://vid.puffyan.us/watch?v=rFejpH_tAHM">a talk on his most re­cent so­lu­tion, Google's Go pro­gram­ming lan­guage</a>. In a sin­gle sen­tence: a healthy blend of sim­plic­ity, con­cur­rency, sta­bil­ity, garbage col­lec­tion, <abbr>UTF</abbr>-8, net­worked de­pen­dency man­age­ment, and high-level li­braries, and good tools sur­round­ing. For more than a sen­tence, see <a href="https://vid.puffyan.us/watch?v=YXV7sa4oM4I&listen=false">his most re­cent overview</a> on where Go fills a niche.</li> + <li>“Di­jk­stra said that com­put­ing was about con­trol­ling com­plex­ity. And we have failed mis­er­ably.”<br> + — Joe Arm­strong, <a href="https://vid.puffyan.us/lKXe3HUG2l4?t=2620"><i>The Mess We're In</i>, 43 min­utes and 40 sec­onds</a></li> + <li><a href="https://vid.puffyan.us/channel/UCmEmX_jw_pRp5UbAdzkZq-g">Posy</a> con­sis­tently pro­duces ar­tis­ti­cally and in­for­ma­tion­ally cap­ti­vat­ing audio-visual spec­ta­cles.</li> + <li><a href="https://st.tokhmi.xyz/">Sim­plyTrans­late</a> is Google Trans­late with an in­ter­face that feels good to use.</li> + <li><a href="https://2ton.com.au/">2 Ton Dig­i­tal</a> has pro­duced <a href="https://2ton.com.au/videos/tvs_part1/">a video</a> show­cas­ing the ben­e­fits that may be gained from ef­fort­ful assem­bly pro­gram­ming in a world full of high-level lan­guages.</li> + <li><a href="http://dict.org/bin/Dict">dict.org</a> fea­tures an ag­gre­ga­tion of sev­eral free dic­tionar­ies, that which is very re­spon­sive and with­out any ad­ver­tise­ments. I have writ­ten <a href="https://kaa.neocities.org/Program/dict.txt">a script</a> to search for a word via ei­ther st­din or a com­mand line ar­gu­ment, us­ing the ded­i­cated <a href="https://www.rfc-editor.org/rfc/rfc2229">DICT pro­to­col</a>.</li> + <li><a href="https://somafm.com">So­maFM</a> fea­tures in­ter­net ra­dio with­out ad­ver­tise­ments. <a href="https://somafm.com/illstreet/">Illi­nois Street Lounge</a> is my go-to.</li> + <li><a href="https://ngmi.work/home">ngmi.work</a> has a real sense of style.</li> + <li><a href="https://2bit.neocities.org/">2bit.neoc­i­ties.org</a> takes an artis­tic lim­i­ta­tion to its lim­its.</li> + <li>Read­ing <a href="https://typographica.org/typography-books/the-elements-of-typographic-style-4th-edition/">The Ele­ments of Ty­po­graphic Style</a> by Robert Bringhurst has pro­vided me with a whole­some in­tro­duc­tion to good ty­pog­ra­phy.</li> + <li><a href="https://en.wikipedia.org/wiki/Brief_Answers_to_the_Big_Questions">Brief An­swers to the Big Ques­tions</a> by Stephen Hawk­ing is a won­der­ful method of get­ting the mind to won­der­ing.</li> + <li><a href="https://en.uncyclopedia.co/wiki/Theo_de_Raadt">Un­cy­clo­pe­dia</a> is an en­cy­clo­pe­dia with a sense of hu­mor.</li> + <li><a href="https://www.devuan.org/">De­vuan</a> is De­bian with­out <a href="https://suckless.org/sucks/systemd/">sys­temd</a>. + <li><a href="https://copy.sh/v86/">copy.sh/v86</a> is a full <abbr>PC</abbr> hard­ware em­u­la­tor that runs in web browsers that sup­port Web Assem­bly.</li> + <li><a href="https://veir.neocities.org/angelD">veir.neoc­i­ties.org</a> fea­tures won­der­fully elab­o­rate works of graph­i­cal art.</li> + <li><a href="http://fqa.9front.org/fqa0.html">fqa.9front.org</a> is the only doc­u­men­ta­tion I've en­coun­tered with a good sense of hu­mor. Thanks, sl.</li> + <li><a href="https://tilde.institute">tilde.in­sti­tute</a> pro­vides free ac­counts to a network-connected OpenBSD in­stal­la­tion. Along with this, <a href="https://git.tilde.institute/kaa">git</a> and ded­i­cated sub-domain <a href="https://wiki.tilde.institute/w/bchs">ca­pa­ble of serv­ing <abbr>HTML</abbr> and run­ning <abbr>CGI</abbr></a> is pro­vided.</li> + <li>The progress of an in-devel­op­ment role-playing game with ex­cel­lent mu­sic may be found at <a href="https://murumart.neocities.org/g/gregrpg/greggame">mu­ru­mart.neocites.org</a>.</li> + <li>“It's a lit­tle ridicu­lous to have to trick my­self into be­liev­ing in my own work, and even more ridicu­lous that I can be tricked so sim­ply, like a child en­rap­tured at a magic act. But cre­ative out­put of any kind de­pends upon a steady stream of tiny self-delusions – guardrails to keep your­self from veer­ing into a pit of self-doubt and de­spair.”<br> + — R. E. Haw­ley, <a href="https://www.nytimes.com/2022/02/01/magazine/garamond.html"><i>Write It in Gara­mond</i></a></li> + <li>“If you aren't sure which way to do some­thing, do it both ways and see which works bet­ter.”<br>— John Car­mack, <a href="https://games.slashdot.org/comments.pl?sid=25551&cid=2775698">2002 jan­uary 2 slash­dot.org post</a></li> + <li>“DON'T TRY”<br>— Charles Bukowski, <a href="https://bukowski.net/dont-try.php">his grave</a></li> + <li>“Matisse does a draw­ing, then he re­copies it. He re­copies it five times, ten times, each time with cleaner lines. He is per­suaded that the last one, the most spare, is the best, the purest, the defini­tive one; and yet, it's usu­ally the first. When it comes to draw­ing, noth­ing is bet­ter than the first sketch.”<br>— Pablo Pi­casso, trans­lated by Brassaï, <a href="https://archive.org/details/conversationswit00bras/page/66/mode/1up?view=theater"><i>Con­ver­sa­tions with Pi­cas­so</i>, page 66</a><br><a href="https://en.wikipedia.org/wiki/Second-system_effect">Se­cond sys­tem syn­drome</a> ap­plies to more than com­put­ing alone.</li> + <li>“The pri­mary is­sue with racism is that it Stops. Peo­ple. From. Think­ing. … peo­ple turn off their brains, when they choose to be racist … it's some­thing that a lot of us are guity of at some point in our lives or an­other. Any­body who's ever laughed at a racist joke is guity of it. I can't say I'm not guity of hav­ing turned off my brain at points in my life, and I can't say +that I haven't made a silly snicker at a racist joke, whether it's about my race or some­body else's at some point in life, and most peo­ple watch­ing this video that are hon­est with them­selves prob­a­bly … +you prob­a­bly didn't go through twenty, or forty, or sixty years alive and never hear a racist joke and laugh, or snicker at one point. +… The racist is go­ing to look at the three peo­ple that <i>do</i> fit the stereo­type and say, ‘see, I'm right!’ And that's where this is re­ally f***ing stupid and re­ally f***ing dumb. +… The is­sue here is that peo­ple de­cide to just turn off their brain. And here's the real shame­ful s*** when it comes to turn­ing off your brain. Here's the part that re­ally f***in' sucks, is that you start to pro­ject that out into the world, is that you be­lieve your­self. So now you're be­liev­ing your own bull­s***; and by the way, one of the most dan­ger­ous things you can do in the world is to Believe. Your Own. Bull­s***. The most dan­ger­ous s*** that you can do is be­lieve the crap that comes out of your mouth is cor­rect. You should say the stuff that you say, but then I want you to think about it. I want you to think, re­ally hard, about +whether what you ac­tu­ally said, is true. Be­fore you just be­lieve it just be­cause you said it. You're gonna say a lot of stuff that's not true.”<br>Louis Ross­man, <a href="https://vid.puffyan.us/watch?v=gJNigLJA9Fg">A word on racis­m(and why it's bull­s***)</a><br>When one stops be­liev­ing their own BS, one can stop be­liev­ing any­one else's too.</li> + <li>“Suc­cess is dan­ger­ous. One be­gins to copy one­self and to copy one­self is more dan­ger­ous than to copy others.”<br>— Ac­cord­ing to <a href="https://en.wikiquote.org/wiki/Pablo_Picasso">wik­iquote.org</a>, stated by Pablo Pi­casso in "<i>The Artist, Vol. 93</i> (1978) p. 5"</li> + <li>“I can't come back, I don't know how it works … Good­bye, folks!”<br>—Oz in <a href="https://archive.org/details/the-wizard-of-oz-1080p"><i>The Wizard of Oz</i> 1939 film</a>, 1 hour 35 min­utes 16 sec­onds</li> + <li>Alice: “Oh no no no … thank you, but–but I just wanted to ask you which way I ought to go.”<br>Cheshire Cat: “Well, that de­pends, on <i>where</i>, you want to get to…?”<br>Alice: “Well, it re­ally doesn't mat­ter. As long as I c—”<br>Cheshire Cat: “Then, it <i>re­ally doesn't mat­ter</i>, which way, you go!”<br>— <a href="https://archive.org/details/AliceInWonderland1951"><i>Alice in Won­der­land</i> 1951 film</a>, 39 min­utes 41 sec­onds</li> + <li>“At the same time that Thomp­son and Ritchie were on their black­board, sketch­ing out a file sys­tem, I was sketch­ing out how to do data pro­cess­ing on this black­board by con­nect­ing to­gether cas­cades of pro­cesses and look­ing for a kind of pre­fix no­ta­tion lan­guage for con­nect­ing pro­cesses to­gether, and fail­ing be­cause it's very easy to say "cat into grep into …", or "who into cat into grep", and so on; it's very easy to say that, and it was clear from the start that that was some­thing you'd like to say. But there are all these side pa­ram­e­ters that these com­mands have; they don't just have in­put and out­put ar­gu­ments, but they have the op­tions, and syn­tac­ti­cally it was not clear how to stick the op­tions into this chain of things writ­ten in pre­fix no­ta­tion, cat of grep of who [i.e. cat(­grep(who …))]. Syn­tac­tic blin­ders: didn't see how to do it. So I had these very pretty pro­grams writ­ten on the black­board in a lan­guage that wasn't strong enough to cope with re­al­ity. So we didn't ac­tu­ally do it. And over a pe­riod from 1970 to 1972, I'd from time to time say, "How about mak­ing some­thing like this?", and I'd put up an­other pro­posal, an­other pro­posal, an­other pro­posal. And one day I came up with a syn­tax for the shell that went along with the pip­ing, and Ken said, "I'm go­ing to do it!" He was tired of hear­ing all this stuff, and that was – you've read about it sev­eral times, I'm sure – that was ab­so­lutely a fab­u­lous day the next day. He said, "I'm go­ing to do it." He didn't do ex­actly what I had pro­posed for the pipe sys­tem call; he in­vented a slightly bet­ter one that fi­nally got changed once more to what we have to­day. He did use my clumsy syn­tax. He put pipes into Unix, he put this no­ta­tion [Here McIl­roy pointed to the board, where he had writ­ten f >g> c] into shell, all in one night. The next morn­ing, we had this—peo­ple came in, and we had—oh, and he also changed a lot of—most of the pro­grams up to that time couldn't take stan­dard in­put, be­cause there wasn't the real need. So they all had file ar­gu­ments; grep had a file ar­gu­ment, and cat had a file ar­gu­ment, and Thomp­son saw that that wasn't go­ing to fit with this scheme of things and he went in and changed all those pro­grams in the same night. I don't know how … And the next morn­ing we had this orgy of one-liners.”<br>Doug McIl­roy, <a href="http://web.archive.org/web/20230317134313/https://www.princeton.edu/~hos/Mahoney/expotape.htm">The Unix Oral His­tory Pro­ject</a></li> + <li>“In­tel­li­gence is pos­i­tively cor­re­lated with be­ing nice to others.”<br>— Sal­va­tore San­fil­ippo, <a href="http://invece.org">a per­sonal site of his</a></li> + <li>“I think mod­ern art's al­most to­tal pre-occup­a­tion with sub­jec­tivism has led to an­ar­chy and steril­ity in the arts. The no­tion that re­al­ity ex­ists only in the artist's mind, and that the thing which sim­pler souls had for so long be­lieved to be re­al­ity is only an il­lu­sion, was ini­tially an in­vig­o­rat­ing force, but it even­tu­ally led to a lot of highly orig­i­nal, very per­sonal and ex­tremely un­in­ter­est­ing work. In Cocteau's film <i>Orpheé</i>, the poet asks what he should do. 'As­ton­ish me,' he is told. Very lit­tle of mod­ern art does that – cer­tainly not in the sense that a great work of art can make you won­der how its cre­ation was ac­com­plished by a mere mor­tal.”<br>— Stan­ley Kubrick, <a href="http://visual-memory.co.uk/amk/doc/interview.aco.html">1980 in­ter­view with Michel Ci­ment re­gard­ing <i>A Clock­work Orange</i></a></li> + <li>“At first glance opera would seem to make im­pos­si­ble de­mands on the credulity of the spec­ta­tor. +It pre­sents us with hu­man be­ings caught up in dra­matic si­t­u­a­tions, who sing to each other in­stead of speak­ing. +The rea­son­able ques­tion is (and it was asked most point­edly through­out the his­tory of opera by lit­er­ary men): +how can an art form based on so un­nat­u­ral a pro­ceed­ing be con­vinc­ing? +The ques­tion ig­nores what must al­ways re­main the fun­da­men­tal aspi­ra­tion of art: +not to copy na­ture but to heighten our aware­ness of it. +True enough, peo­ple in real life do not sing to each other. +Nei­ther do they con­verse in blank verse, as Shake­speare's char­ac­ters do; nor live in rooms of which one wall is con­ve­niently miss­ing so that the au­di­ence may look in. +All the arts em­ploy con­ven­tions that are ac­cepted both by the artist and his au­di­ence. +The con­ven­tions of opera are more in ev­i­dence than those in po­etry, paint­ing, drama, or film, but they are not dif­fer­ent in kind. +Once we have ac­cepted the fact that the car­pet can fly, how sim­ple to be­lieve that it is also ca­pable of car­ry­ing the prince's lug­gage.”<br>— Joseph Mach­lis, The En­joy­ment of Mu­sic Fourth Edi­tion, pages 160 through 161</li> + <li>“In any­thing at all, per­fec­tion is fi­nally at­tained not when there is no longer any­thing to add, but when there is no longer any­thing to take away, when a body has been stripped down to its naked­ness.”<br>— An­toine de Saint-Exupéry, <a href="https://archive.org/details/windsandstars00sain/page/46/mode/1up?view=theater"><i>Wind, Sand and Stars</i>, page 46</a></li> + <li>“At all costs I wanted to avoid what­ever is shape­less, ir­reg­u­lar, ac­ci­den­tal; even in sub­ject mat­ter, I wanted to con­fine my­self within a given frame; I have tried for a con­crete, fi­nite pres­ence. A true rev­e­la­tion, it seems to be, will only emerge from stub­born con­cen­tra­tion on a sin­gle prob­lem. I have noth­ing in com­mon with ex­per­i­men­tal­ists, ad­ven­tur­ers, with those who travel in strange re­gions. The surest, and the quick­est, way for us to arouse the sense of won­der is to stare, unafraid, at a sin­gle ob­ject. Sud­denly – mirac­u­lously – it will look like some­thing we have never seen be­fore.”<br>— Ce­sare Pavese, trans­lated by Wil­liam Ar­row­smith; D.S. Carne-Ross, <a href="https://archive.org/details/dialogueswithleu00pave/page/n8/mode/1up?q=adventurers&view=theater"><i>Dia­logues with Leucó</i>, Fore­word</a> + <li>“Why did not any of the chil­dren in the first group think of this faster method
of go­ing across the room?
It is sim­ple. They looked at what they were given to use for ma­te­ri­als and, they
are like all of us, they wanted to use ev­ery­thing.
But they did not need ev­ery­thing. They could do bet­ter with less, in a dif­fer­ent way.”<br>— Fred­erik Pohl, The Gold at the Star­bow's End, <a href="https://archive.org/details/goldatstarbowsen0000pohl/page/29/mode/1up?view=theater&q=faster">page 29</a> + <li>“At­ten­tion is the reader's gift to you. That gift is pre­cious. And fi­nite.” … “Once a reader re­vokes the gift of at­ten­tion, you don't have a reader any­more. Then you be­come a writer only in the nar­row­est sense of the word. Yes, you put words on some pages. But if your reader has dis­ap­peared, what was the point? How is your writ­ing more valu­able than a ran­dom string of char­ac­ters? Like the prover­bial tree falling in the woods, no one's there to no­tice the dif­fer­ence. Un­for­tu­nately, many pro­fes­sional writ­ers adopt a high-risk model of reader at­ten­tion. In­stead of treat­ing reader at­ten­tion as a pre­cious com­mod­ity, they treat it as an un­lim­ited re­source. "I'll take as much at­ten­tion as I need, and if I want more, I'll take that too." Writ­ing as if you have un­lim­ited reader at­ten­tion is pre­sump­tu­ous, be­cause read­ers are not do­ing you a per­sonal fa­vor.” … “I'll even go one bet­ter: I be­lieve that most read­ers are look­ing for rea­sons to stop read­ing. Not be­cause they're ma­li­cious or aloof. They're just be­ing ra­tional. Read­ers have other de­mands on their time. Why would they pay more at­ten­tion than they must? Read­ers are al­ways look­ing for the exit.”<br>— Matthew But­t­er­ick, <a href="https://practicaltypography.com/why-does-typography-matter.html"><i>Prac­ti­cal Ty­pog­ra­phy</i>, why does ty­pog­ra­phy mat­ter?</a></li> + <li>“The in­put prob­lem is tech­ni­cally the least in­ter­est­ing but per­haps emo­tion­ally the most im­por­tant of the prob­lems of con­vert­ing a sys­tem to an in­ter­na­tional char­ac­ter set.”<br>— Rob Pike; Ken Thomp­son, <a href="https://plan9.io/sys/doc/utf.pdf"><i>Hello World or Καλημέρα κόσμϵ or こんにちは 世界</i></a></li> + <li>“The func­tion of a kern­ing table is to achieve what per­fect side­bear­ings can­not. A thor­ough check of the kern­ing table there­fore in­volves check­ing all fea­si­ble per­mu­ta­tions of char­ac­ters: 1213141516 … qwqe­qrqtqyquqiqo­qpq … (a(s(d(f(g(h(j(k(l … )a)s)d)f)g … -1-2-3-4-5 … TqTwTeTrTtTyTuTiToTp … and so on. This will take sev­eral hours for a stan­dard <abbr>ISO</abbr> font. For a full pan-European font, it will take sev­eral days.”<br>— Robert Bringhurst, <a href="https://www.amazon.com/Elements-Typographic-Style-Version-3-0/dp/B008LZLYR4">The Ele­ments of Ty­po­graphic Style Ver­sion 3.0</a>, page 203</li> + <li>“Data struc­tures in com­puter science needn't be ho­mo­ge­neous, and al­go­rithms can in­volve many dif­fer­ent kinds of steps. Some­times that is a weak­ness of com­puter sci­en­tists, be­cause we don't try as hard as we should to find uni­for­mity; but some­times it is a strength be­cause we can deal flu­ently with con­cepts that are in­her­ently non-uniform.”<br>— Don­ald Knuth, <a href="https://www.jstor.org/stable/2322871"><i>Al­go­rith­mic Think­ing and Math­e­mat­i­cal Think­ing</i></a>, <abbr>PDF</abbr> page 13</li> + <li>“<abbr>UTF</abbr>-8 was de­signed, in front of my eyes, on a place­mat in a New Jersey diner one night in Septem­ber or so 1992.”<br>— Rob Pike, <a href="http://doc.cat-v.org/bell_labs/utf-8_history"><i><abbr>UTF</abbr>-8 His­to­ry</i></a></li> + <li>“Now I have come to the cross­roads in <i>my</i> life. I al­ways knew what the right path was. Without ex­cep­tion, I knew. But I never took it. You know why? It was too. Damned. Hard.”<br>— The Colonel, ex­cep­tion­ally played by Al Pa­cino, 1992 film <i>Scent of a Wo­man</i>, <a href="https://vid.puffyan.us/watch?v=Jd10x8LiuBc">The De­ci­sion</a></li> + <li>“I can make my­self happy, then I should be able to do the same for some­body else.”<br>— Slick Rick in <a href="https://web.archive.org/web/20111219225750/https://insomniacmagazine.com/2010/02/hip-hop-icon-classic-interview-with-slick-rick/">2010 febru­ary 7 in­ter­view with In­som­niac Magazine</a></li> + <li>“I'm tired of us­ing vi.”<br>— Bill Joy, <a href="http://xahlee.info/comp/interview_with_bill_joy.html">1984 au­gust in­ter­view with Unix Re­view magazine</a></li> + <li>“I'm pretty sure the con­cept of a hid­den file was an un­in­tended con­se­quence. It was cer­tainly a mis­take. How many bugs and wasted CPU cy­cles and in­stances of hu­man frus­tra­tion (not to men­tion bad de­sign) have re­sulted from that one small short­cut about 40 years ago? Keep that in mind next time you want to cut a corner in your code.”<br>— Rob Pike, <a href="https://web.archive.org/web/20170903224737/https://plus.google.com/101960720994009339267/posts/R58WgWwN9jp">2012 febru­ary 8 plus.google.com post</a></li> + <li>“Bor­ing damned peo­ple. All over the earth. Pro­pogat­ing more bor­ing damned peo­ple. What a hor­ror show. The earth swarmed with them.”<br>— Charles Bukowski, <a href="https://archive.org/details/pulp0000buko/page/181/mode/1up?view=theater"><i>Pulp</i>, page 181</a></li> + <li>“Ar­gu­ing that you don't care about the right to pri­vacy be­cause you have noth­ing to hide is no dif­fer­ent than say­ing you don't care about free speech be­cause you have noth­ing to say.”<br>— Ed­ward Snow­den, <a href="https://r.nf/r/IAmA/comments/36ru89/just_days_left_to_kill_mass_surveillance_under/crglgh2/">2015 may 21 red­dit com­ment</a></li> + <li>“"Of course I can­not un­der­stand it," he said. "If your heads were stuffed with straw, like mine, you would prob­a­bly all live in the beau­ti­ful places, and then Kansas would have no peo­ple at all. It is for­tu­nate for Kansas that you have brains."”<br>— Scare­crow in Ly­man Frank Baum's <a href="https://gutenberg.org/cache/epub/55/pg55-images.html#chap04"><i>The Won­der­ful Wizard of Oz</i>, Chap­ter IV</a><!-- Also available at http://www.huzheng.org/bookstore/TheWonderfulWizardOfOz.pdf --></li> + <li>“"I was hired to work on MULTICS. … Bell Labs quit the pro­ject when it de­cided that it wasn't gonna sat­isfy their needs, and then, I was al­most like out of a job. And no real thing to do so I just did what I wanted to do from then on. Games and op­er­at­ing sys­tems … I did some po­si­tional as­tron­omy, some au­dio … ab­so­lutely any­thing that I wanted to do. … That got us into the PDP-7, into re­ally run­ning it. Then on the PDP-7 we wrote the first ver­sion of Unix. … We bought a PDP-11, to … the ex­cuse was text pro­cess­ing, but the real rea­son, was, to, you know, to play more, to play.”<br>— Ken Thomp­son, <a href="https://vid.puffyan.us/watch?v=wqI7MrtxPnk">Oral His­tory of Ken Thomp­son</a></li> + <li>“And re­mem­ber, my sen­ti­men­tal friend…that a heart is not judged by how much <i>you</i> love, but by how much you are loved by others.”<br>— Oz in <a href="https://archive.org/details/the-wizard-of-oz-1080p"> <i>The Wizard of Oz</i> 1939 film</a>, 1 hour 31 min­utes 58 sec­onds</li> + <li>“Free soft­ware that peo­ple value adds wealth to the world.”<br>— John Car­mack, <a href="http://www.bradcook.net/games/articles/2009/02/johncarmack/">2009 febru­rary in­ter­view with Brad Cook</a></li> + <li>“Even from the out­side, a truly beau­ti­ful book can­not be a nov­elty. It must set­tle for mere per­fec­tion in­stead.”<br>Jan Tschi­chold, The Form of the Book, <abbr>PDF</abbr> page 27</li> + <li>“It took about two hours in all – 10 min­utes to do the sketch and the rest to ren­der it. On my Mac, I could have done the whole thing in a cou­ple of min­utes – and with no mis­takes. But it would have been much less sat­is­fy­ing when I was fin­ished. And I'd be tempted to fid­dle with it end­lessly. … The dig­i­tal world has its place. You can do amaz­ing things in it (like pub­lish­ing a blog post). But don't spend all your time there. It's not the real world.”<br>— Mark Si­mon­son, <a href="https://www.marksimonson.com/notebook/view/1979">1979</a></li> + <li>“Stan­dards, even though they are sup­posed to be stan­dard, are sub­ject to change.”<br>— Charles Bigelow; Kris Holmes, <a href="http://cajun.cs.nott.ac.uk/compsci/epo/papers/volume6/issue3/bigelow.pdf">The de­sign of a Uni­code font</a>, <abbr>PDF</abbr> page 13</li> + <li>“If some­body said what ad­vice would I give to a… a young per­son – they al­ways ask that funny kind of a ques­tion. And… and I think one of the things that… is… that I would… that would sort of come first to me is this idea of, don't just be­lieve that be­cause some­thing is trendy, that it's good. I'd prob­a­bly go the other ex­treme where if… if something… if I find too many peo­ple adopt­ing a cer­tain idea I'd prob­a­bly think it's wrong or if, you know, if… if my work had be­come too pop­u­lar I prob­a­bly would think I had to change. This is, of course, ridicu­lous but… but I see the… I see the… the other side of it too… too often where peo­ple will… will do some­thing against their own gut in­stincts be­cause they think the com­mu­nity wants them to do it that way, so peo­ple will… will work on a certain… a cer­tain sub­ject even though they aren't ter­ri­bly in­ter­ested in it be­cause they think that they'll get more pres­tige by work­ing on it. I think you get more pres­tige by do­ing good science than by do­ing pop­u­lar science because… be­cause if… if you go with… with what you re­ally think is… is im­por­tant then it's a higher chance that it re­ally is im­por­tant in the long run and it's the long run which… which has the most ben­e­fit to the world.”<br>— Don­ald Knuth, <a href="https://vid.puffyan.us/watch?v=75Ju0eM5T2c&list=PLVV0r6CmEsFzeNLngr1JqyQki3wdoGrCn&index=92">a sec­tion of an in­ter­view fea­tur­ing his ad­vice to young peo­ple</a></li> + <li>“The time has come!”<br>— Wal­rus in <a href="https://archive.org/details/AliceInWonderland1951"><i>Alice in Won­der­land</i> 1951 film</a>, 19 min­utes 54 sec­onds</li> + </ul> + </div> + </body> +</html> diff --git a/ext/es/hyph_es.dic b/ext/es/hyph_es.dic new file mode 100644 index 0000000..861a61c --- /dev/null +++ b/ext/es/hyph_es.dic @@ -0,0 +1,862 @@ +UTF-8 +LEFTHYPHENMIN 2 +RIGHTHYPHENMIN 2 +.s2a5b2 +.s1a2 +.s1e3d2 +.s2e3l +a1a2 +2a3b2 +4a5bor2i +ab2o1 +abo1r 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+3t1r2a1r +4t1ra1r4r +3t4ra3t4 +3tra3y +3trá +3tr2i +3tr2o1 +2tú +2u +u2ba1l +u1b2 +ue1n4a +uena3v +ue1s2a2 +ui3n2o1 +u2i +ui1n +u1s2a2 +usa3t4 +u1se +2u3u +ú2l +ú1n +1v +3v2a1r +ve1s +vé3a +vo3h +v2o1 +1x +3xa +3x2u +3y +ye1s +2y2u +1z +z4a5re +z2a1r +2z1c2 +2z1g2 +2z1m +2z1n +3z2o1 +4zo1g2 +z2o4o2 +3zó1 +4zó1g2 +2z1t4 diff --git a/ext/es/readme b/ext/es/readme new file mode 100644 index 0000000..37154d1 --- /dev/null +++ b/ext/es/readme @@ -0,0 +1,2 @@ +Stolen from https://github.com/sbosio/rla-es/releases/tag/v2.7. +Despite the strange spelling, the '.oxt' file is really just a zip archive. diff --git a/ext/hyphen-2.8.8.tar.gz b/ext/hyphen-2.8.8.tar.gz Binary files differnew file mode 100644 index 0000000..0e07e26 --- /dev/null +++ b/ext/hyphen-2.8.8.tar.gz diff --git a/ext/sources b/ext/sources new file mode 100644 index 0000000..5878774 --- /dev/null +++ b/ext/sources @@ -0,0 +1,2 @@ +hyphen-2.8.8.tar.gz: https://downloads.sourceforge.net/hunspell/hyphen-2.8.8.tar.gz +es: https://github.com/sbosio/rla-es @@ -4,7 +4,9 @@ #include <hyphen.h> #include "config.h" -extern char *dictfile; +/* Set in config.h */ +extern const char *en; +extern const char *es; /* Read a tag into a character array and return its length. */ int @@ -183,7 +185,8 @@ hyptag(FILE *in, FILE *out, int skiplen, char *tag, HyphenDict *dict) fputc(ch, out); /* A simple way of working around HTML character codes. Each is 5 ( epsiv ) - or 6 ( hellip ) characters long, plus '&' and ';'. */ + or 6 ( hellip ) characters long, + plus '&' and ';'. */ i = -3; } /* Check for closing tag. */ @@ -208,44 +211,73 @@ hyptag(FILE *in, FILE *out, int skiplen, char *tag, HyphenDict *dict) } } +void +usage() +{ + fprintf(stderr, "%s\n", "hyp [-l language] [input] [output]"); +} + +void +fail(char *error) +{ + fprintf(stderr, "%s\n", error); + usage(); +} + /* Hyphenate HTML input via `­'. hyp [in] [out] */ int main(int argc, char **argv) { - FILE *in; - if (argc < 2) - in = stdin; - else { - in = fopen(argv[1], "r"); - if (in == NULL) { - printf("%s %s\n", argv[1], "inaccessible."); - return 1; + FILE *in = stdin; + FILE *out = stdout; + char *dictpath = calloc(pathbuf, sizeof(char)); + for (argv++; *argv != NULL; argv++) { + if (strcmp(*argv, "-l") == 0) { + argv++; + if (*argv == NULL) { + fail("Incomplete language argument."); + return -1; + } + if (strcmp(*argv, "en") == 0) { + sprintf(dictpath, "%s/%s", + buildpath, en); + } else if (strcmp(*argv, "es") == 0) { + sprintf(dictpath, "%s/%s", + buildpath, es); + } else { + fail("Unknown language."); + return -1; + } + } else if (in == stdin) { + in = fopen(*argv, "r"); + } else if (out == stdout) { + out = fopen(*argv, "w"); + } else { + fail("Too many arguments."); + return -1; } } + if (in == NULL || out == NULL) { + fail("Inaccessible file."); + return -1; + } - FILE *out; - if (argc < 3) - out = stdout; - else { - out = fopen(argv[2], "w"); - if (out == NULL) { - printf("%s %s\n", argv[2], "inaccessible."); - return 2; - } + /* Default language. */ + if (*dictpath == '\0') { + sprintf(dictpath, "%s/%s", buildpath, en); } if (findbody(in, out) == 0) { - puts("There is no body."); + fputs("There is no body.", stderr); return 3; } - HyphenDict *dict = hnj_hyphen_load(dictfile); + HyphenDict *dict = hnj_hyphen_load(dictpath); if (dict == NULL) { - puts("Dict not readable."); + fputs("Dict not readable.", stderr); return 4; } - dict->utf8 = 1; int tagamt = 0; while (taglist[tagamt][0] != '\0') @@ -257,8 +289,9 @@ main(int argc, char **argv) while ((ch = fgetc(in)) != EOF) { fputc(ch, out); if (ch == '<' && (len = readtag(tag, in, out)) > 0 - && checktag(tag, tagamt, in, out) != -1) + && checktag(tag, tagamt, in, out) != -1) { hyptag(in, out, skiplen, tag, dict); + } } return 0; } @@ -1,25 +1,23 @@ CC = cc #CC = tcc -CFLAGS = -Wall -I/usr/local/include -CFLAGS += -std=c89 -LDFLAGS = -L/usr/local/lib -lhyphen -LDFLAGS += -static -bindir = /home/kaa/bin +CFLAGS = -Wall -I/usr/include +CFLAGS += -static -std=c89 -Iinclude +LDFLAGS = +DEST=$$(pwd)/bin all: hyp -hyp: - $(CC) $(CFLAGS) $(LDFLAGS) -o $@ en.c hyp.c -hyp-es: - $(CC) $(CFLAGS) $(LDFLAGS) -o $@ es.c hyp.c +ext/hyphen-2.8.8/README: + cd ext && tar zxf hyphen-2.8.8.tar.gz +lib/libhyphen.a: ext/hyphen-2.8.8/README + cd ext/hyphen-2.8.8 && ./configure --prefix=$$(pwd)/../.. && make install -clean: - rm -f hyp hyp-es +hyp: lib/libhyphen.a + $(CC) $(CFLAGS) $(HYPFLAGS) $(LDFLAGS) -o $@ -DBUILD_PATH=\"$$(pwd)\" hyp.c lib/libhyphen.a +clean: + rm -f hyp hyp-es && rm -rf lib include bin && cd ext/hyphen-2.8.8 && make clean install: all - cp hyp $(bindir)/hyp - cp unhyp $(bindir)/unhyp - -uninstall: - rm -f $(bindir)/hyp - rm -f $(bindir)/unhyp + strip hyp + cp hyp $(DEST)/hyp + cp unhyp $(DEST)/unhyp diff --git a/share/hyphen/hyph_en_US.dic b/share/hyphen/hyph_en_US.dic new file mode 100644 index 0000000..d802f3b --- /dev/null +++ b/share/hyphen/hyph_en_US.dic @@ -0,0 +1,11110 @@ +UTF-8 +LEFTHYPHENMIN 2 +RIGHTHYPHENMIN 3 +.a2ch4 +.ad4der +.a2d +.ad1d4 +.a2f1t +.a2f +.a4l3t +.am5at +.4a1ma +.an5c +.a2n +.2ang4 +.an1i5m +.an1t4 +.an3te +.anti5s +.ant2i +.a4r5s2 +.2a2r +.ar4t2ie4 +.ar1ti +.ar4ty +.as3c +.as1p +.a2s1s +.aster5 +.a2tom5 +.a1to +.au1d +.av4i +.awn4 +.ba4g +.ba5na +.ba2n +.bas4e +.ber4 +.be5r1a +.be3s1m +.4bes4 +.b4e5s2to +.bri2 +.but4ti +.bu4t3t2 +.cam4pe +.1ca +.ca4m1p +.can5c +.ca2n +.capa5b +.ca1pa +.car5ol +.c2a2r +.ca4t +.ce4la +.2ch4 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