@mgorny@social.treehouse.systems2025-09-20 17:00:29
I've probably mentioned that I'm working on switching #Gentoo from our half-broken eselect-ldso logic to #FlexiBLAS. This also involves a transition period where both setups would be supported.
A good thing is that the switch is ABI-compatible with the previous state (or at least it's supposed to be — we're working with upstream on fixing function coverage). Since libblas.so, liblapack.so and the rest are replaced by symlinks, programs that link to them will simply start using FlexiBLAS. So far, so good.
Unfortunately, switching the other way doesn't work as well. Stuff newly built against our libblas.so & co. symlinks naturally reads FlexiBLAS's SONAME from them, and links to libflexiblas directly. So should you decide to switch back, some packages will stay linked to FlexiBLAS and will need to rebuilt.
In order to avoid this, I would have to replace the symlinks with wrapper libraries, having libblas.so.3 and so on SONAMEs, and linking to libflexiblas. Unfortunately, a dummy wrapper isn't going to work — the linker will complain about using indirect symbols from libflexiblas.so. So I would probably have to "reexport" their symbols somehow, and ideally split into appropriate libraries, so that `-Wl,--as-needed` wouldn't drop some of them. But how to do that?
Well, let's look at the existing logic for eselect-ldso — clearly both BLIS and OpenBLAS create some wrappers. So I've spent some time investigating upstream Makefiles, and literally couldn't find the respective targets. I mean, these are quite complex Makefiles, but I'm grepping hard and can't find even a partial match.
As it turns out, these Makefile targets are added by Gentoo-specific patches. And these patches are just horrible. In case of OpenBLAS, they create the wrapper libraries by linking all the relevant .o files from OpenBLAS build, plus the shared OpenBLAS library. So the OpenBLAS symbols relevant to each interface end up duplicated in libblas.so, liblapack.so, etc., and apparently the symbols needed by them are taken from libopenblas.so. The individual interface libraries aren't even linked to one another, so they expose their own duplicate symbols, but use the implementation from OpenBLAS instead.
BLIS is even worse — the patch is simply creating libblas.so and libcblas.so, using all BLIS objects directly, plus symbol visibility to hide symbols irrelevant to the library. So yes, libblis.so, libblas.so and libcblas.so are roughly three separate copies of the same library, differing only in symbol visibility. And of course libcblas.so doesn't use libblas.so.
Truly #GSoC quality.
@servelan@newsie.social2025-08-20 07:54:24
Russian Preschools Introducing Patriotic, War-Themed Lessons for Kids - Business Insider
https://www.businessinsider.com/russian-preschools-introducing-patriotic-war-themed-lessons-for-kids-2025-8
@gwire@mastodon.social2025-09-20 07:35:27
The right for companies to do this is in every web service Terms and Conditions you've ever ageed to.
https://www.theguardian.com/technology/2025/sep/20/parents-outraged-meta-uses-photos-schoolgirls-ads-man
@Mediagazer@mstdn.social2025-09-16 21:16:00
Some CBS News staffers say Paramount's David Ellison has lost the trust of the newsroom; some call him a liar because he said he wouldn't "politicize" Paramount (Justin Baragona/The Independent)
https://www.independent.co.uk/news/world/a
@midtsveen@social.linux.pizza2025-09-16 13:57:19
Trump proclaims he will strike against Antifa. Yet he cannot strike what has no head, what rejects the very principle of leadership. Antifa is not an institution but the spirit of resistance itself. It is the refusal of free people to bend before nationalism, capitalist rule, and authoritarian command.
He believes domination can be imposed upon liberty, as if coercion could extinguish solidarity. But our strength lies in direct action, in the free cooperation of equals, in the collecti…
@tiotasram@kolektiva.social2025-10-15 12:08:42
Day 22: Yuki Urushibara
I've got a few more mangaka left on my short list, and might very well get to at least one more, but Urushibara is the author of Mushishi and anyone who knows either the manga or anime understands immediately why she appears here.
Mushishi is a "seinen" anime, which means it's written for adults, not children or teenagers (although it's very accessible for all ages). It deals with a vast array of life's circumstances through the lens of a traveling mushi expert and the various whimsical supernatural creatures he is called on to deal with. He's not an exorcist though, instead understanding that humans must live in harmony with the mushi, and working like an ecologist to sort things out. As is probably obvious, Urushibara is an incredible world-builder; she's also a top-notch artist and above all, her stories are overflowing with kindness, humanity, and respect for the natural world.
Besides Mushishi, I've read "Suiiki", and it's one of the few manga I stumbled through in the original Japanese, which says a lot given my limited reading vocabulary (and the fact that it doesn't include rubi). It weaves the supernatural into a story of childhood innocence and curiosity in a lovely way.
Much like Shirahama who I mentioned earlier, Urushibara's stories are full of gentle wisdom for all ages, but Urushibara's work is quieter and less dramatic, with an adult main character confident in his expertise instead of a young-and-learning protagonist.
#30AuthorsNoMen
@Techmeme@techhub.social2025-10-06 15:25:45
Instagram launches Rings, an awards program recognizing 25 top creators; the judging panel includes Spike Lee, designer Marc Jacobs, and Adam Mosseri (Alex Weprin/The Hollywood Reporter)
https://www.hollywoodreporter.com/business/digital…
@Mediagazer@mstdn.social2025-10-15 18:40:51
Netflix is merging Scanline, the VFX company it acquired in 2021, with Eyeline, its virtual production and R&D unit, to form a one-stop shop for digital tools (Lucas Manfredi/The Wrap)
https://www.thewrap.com/netflix-scanline-vfx-eyeline-studios-m…
@mgorny@social.treehouse.systems2025-08-10 18:04:46
"""
But there is no certainty that madness was content to sit locked up in its immutable identity, waiting for psychiatry to perfect its art, before it emerged blinking from the shadows into the blinding light of truth. Nor is it clear that confinement was above all, or even implicitly, a series of measures put in place to deal with madness. It is not even certain that in this repetition of the ancient gesture of segregation at the threshold of the classical age, the modern world was aiming to wipe out all those who, either as a species apart or a spontaneous mutation, appeared as 'asocial'. The fact that the internees of the eighteenth century bear a resemblance to our modern vision of the asocial is undeniable, but it is above all a question of results, as the character of the marginal was produced by the gesture of segregation itself. For the day came when this man, banished in the same exile all over Europe in the mid-seventeenth century, suddenly became an outsider, expelled by a society to whose norms he could not be seen to conform; and for our own intellectual comfort, he then became a candidate for prisons, asylums and punishment. In reality, this character is merely the result of superimposed grids of exclusion.
The gesture that proscribed was as abrupt as the one that had isolated the lepers, and in both cases, the meaning of the gesture should not be mistaken for its effect. Lepers were not excluded to prevent contagion, any more than in 1657, 1 per cent of the population of Paris was confined merely to deliver the city from the 'asocial'. The gesture had a different dimension: it did not isolate strangers who had previously remained invisible, who until then had been ignored by force of habit. It altered the familiar cityscape by giving them new faces, strange, bizarre silhouettes that nobody recognised. Strangers were found in places where their presence had never previously been suspected: the process punctured the fabric of society, and undid the familiar. Through this gesture, something inside man was placed outside of himself, and pushed over the edge of our horizon. It is the gesture of confinement, in short, which created alienation.
"""
(Michel Foucault, History of Madness)
@Mediagazer@mstdn.social2025-10-06 15:15:40
Instagram launches Rings, an awards program recognizing 25 top creators; the judging panel includes Spike Lee, designer Marc Jacobs, and Adam Mosseri (Alex Weprin/The Hollywood Reporter)
https://www.hollywoodreporter.com/business/digital…
