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<![CDATA[I wrote Bitsnap, a tool in Interlisp for capturing screenshots on the Medley environment. It can capture and optionally save to a file the full screen, a window with or without title bar and borders, or an arbitrary area. This project helped me learn the internals of Medley, such as extending the background menu, and produced a tool I wanted. For example, with Bitsnap I can capture some areas like specific windows without manually framing them; or the full screen of Medley excluding the title bar and borders of the operating systems that hosts Medley, Linux in my case. Medley can natively capture various portions of the screen. These facilities produce 1-bit images as instances of BITMAP, an image data structure Medley uses for everything from bit patterns, to icons, to actual images. Some Lisp functions manipulate bitmaps. Bitsnap glues together these facilities and packages them in an interactive interface accessible as a submenu of the background menu as well as a programmatic interface, the Interlisp function SNAP. To provide feedback after a capture Bitsnap displays in a window the area just captured, as shown here along with the Bitsnap menu. A bitmap captured with the Bitsnap screenshot tool and its menu on Medley Interlisp. The tool works by copying to a new bitmap the system bitmap that holds the designated area of the screen. Which is straighforward as there are Interlisp functions for accessing the source bitmaps. These functions return a BITMAP and capture: SCREENBITMAP: the full screen WINDOW.BITMAP: a window including the title bar and border BITMAPCOPY: the interior of a window with no title bar and border SNAPW: an arbitrary area The slightly more involved part is bringing captured bitmaps out of Medley in a format today's systems and tools understand. Some Interlisp functions can save a BITMAP to disk in text and binary encodings, none of which are modern standards. The only Medley tool to export to a modern — or less ancient — format less bound to Lisp is the xerox-to-xbm module which converts a BITMAP to the Unix XBM (X BitMap) format. However, xerox-to-xbm can't process large bitmaps. To work around the issue I wrote the function BMTOPBM that saves a BITMAP to a file in a slightly more modern and popular format, PBM (Portable BitMap). I can't think of anything simpler and, indeed, it took me just half a dozen minutes to write the function. Linux and other modern operating systems can natively display PBM files and Netpbm converts PBM to PNG and other widely used standards. For example, this Netpbm pipeline converts to PNG: $ pbmtopnm screenshot.pbm | pnmtopng screenshot.png BMTOPBM can handle bitmaps of any size but its simple algorithm is inefficient. However, on my PC the function takes about 5 seconds to save a 1920x1080 bitmap, which is the worst case as this is the maximum screen size Medley allows. Good enough for the time being. Bitsnap does pretty much all I want and doesn't need major new features. Still, I may optimize BMTOPBM or save directly to PNG. #Interlisp #Lisp a href="https://remark.as/p/journal.paoloamoroso.com/bitsnap-a-screenshot-capture-tool-for-medley-interlisp"Discuss.../a Email | Reply @amoroso@fosstodon.org !--emailsub--]]>
<![CDATA[I initially used Linux from the mid 1990s to 2015, first as dual boot with Windows 95 and then as my only desktop operating system. Back then my PC had an Nvidia graphics card and system updates frequently broke X11 on Linux, leaving me at the text console with no idea what to do. At some point I stopped applying the updates as I dreaded change. In 2015 I had enough and switched to ChromeOS. Although I still used Crostini Linux on ChromeOS, over the years I increasingly bumped into the limitations of this containerized approach. The rumors of Google considering for ChromeOS a feature like Windows Recall eventually made the cloud operating system a deal breaker. So I decided to migrate back to Linux for good, bought a System76 Merkaat mini PC with no Nvidia hardware, and installed Linux Mint Cinnamon. It's been seven months since my switch back to Linux in July of 2024 and, despite some early issues, my experience with Mint has been smooth and uneventful. Linux supports all my hardware, system updates install seamlessly, and everything works. The system fades into the background and I can focus on running the programs I need. In my early Linux years I often upgraded to every major and minor version of my distro. There were good reasons as Linux evolved rapidly, significant features came out regularly, online updates weren't a thing, and getting online was costly and impractical. It helped that I was younger and eager to play with Linux. In January of 2025 Linux Mint 22.1 was released, the first minor version since my current Mint 22. But this time I'll defer upgrading until at least the next major release, or possibly for a year or two. I feel no pressure as system updates flow regularly over the support period of Mint 22 that ends in 2029. Besides, upgrading involves some preparation and work I don't look forard to doing. If some features I really want do come out I may consider upgrading. But, for now, I want to savor this newfound Linux stability. Linux has really come a long way. Linux a href="https://remark.as/p/journal.paoloamoroso.com/enjoying-the-stability-of-linux"Discuss.../a Email | Reply @amoroso@fosstodon.org !--emailsub--]]>
<![CDATA[It's a joy to use the Cardputer uLisp Machine, a nice little microcontroller system that runs uLisp. But after a short experience I had to put aside my Cardputer due to a showstopper issue that made it impractical to program the device. Since then a good workaround emerged and I learned how to improve the experience with the device. The showstopper is a buffer overflow when sending Lisp code from Emacs to the Cardputer over a serial USB line. If the receive buffer fills up too fast the device will crash and disconnect. Sending more than a few hundred bytes triggers the issue and makes it impractical to evaluate medium or large code blocks. This acknowledged Arduino issue reported in February of 2022 has not been addressed yet. Meanwhile, Dennis Draheim devised a workaround. He wrote some Emacs Lisp code to open a serial connection to the Cardputer and send an expressions or region for evaluation. The trick is to split the input into lines and send one line at a time, with a delay in between to keep the Cardputer's serial buffer from overflowing. Dennis' code works well and makes uLisp usable on the Cardputer. The only downside is the echoed input clutters the Emacs serial buffer. Our attempts at turning off echo failed as we don't know where Emacs handles this. The workaround enables running more substantial and interesting uLisp programs such as this nice surface of rotation graphics demo: 3D function plot on the display of a Cardputer uLisp Machine device. The Cardputer has a tiny built-in keyboard that is handy for short interactions. But it's prone to overtyping when entering a character that requires pressing two keys, such as shifted characters or the parentheses. I originally attempted to press at the same time the Aa shift key and the key with the desired symbol. But this often results in typing more than one character as hitting such tiny targets simultaneously is difficult. I later stumbled upon a way to consistently avoid overtyping: I press and hold Aa, then press the key with the desired character. #Cardputer #Lisp a href="https://remark.as/p/journal.paoloamoroso.com/making-ulisp-more-usable-on-the-cardputer"Discuss.../a Email | Reply @amoroso@fosstodon.org !--emailsub--]]>
<![CDATA[In 2023 I migrated my personal website from Squarespace to Blot. Blot is a static site generator that publishes as a website a folder stored on Google Drive, Dropbox, or a Git repository. Back then I set up Blot to publish a Google Drive folder but I recently switched the synchronization to a Git repository. It was necessary as Blot has been unable to access Google Drive since Google eventually imposed onerous and expensive auditing processes to use their API. This forced Blot and other small developers to drop support for Google Drive. Blot's developer is implementing a workaround that will allow to continue using Google Drive. But I decided to go with Git anyway as it's a better fit for my current tools and workflows. Switching to Git instantaneously and seamlessly created a repository I can clone and update to change the site. #blogging #Google a href="https://remark.as/p/journal.paoloamoroso.com/switching-blot-sync-from-google-drive-to-git"Discuss.../a Email | Reply @amoroso@fosstodon.org !--emailsub--]]>
<![CDATA[MattoF has tagged me for the Blog Question Challenge which asks bloggers questions about their background and motivations, tools, and workflows. It is a variation by Kev Quirk of a challenge originally created by Ava at Bear Blog. I have accepted this fun challenge and this is my entry. Why did you start blogging in the first place? I started in 2004 in the golden era of blogging. I enjoyed blogs and their community, wanted to experiment with the new medium and tools, and thought I had something to say. So I set up a blog to tap into and amplify this energy. What platform are you using to manage your blog, and why do you use it? For my blog Paolo Amoroso's Journal I use Write.as because it's a lightweight blogging platform with a clean design and excellent support for technical writing, which is what I mostly do. As a byproduct these features reduce friction in writing and publishing. I settled on Write.as after a long journey across blogging platforms. Have you blogged on other platforms before? Yes, and I used static site generators well before it was cool. My first platform was BlogMax, an Emacs package we would now describe as a static site generator. Back then I was a heavy Emacs user and it seemed natural to blog with Emacs. My first blog has been online since I started it in August of 2004, now an abandoned time capsule of what its name unambiguously hints has always been my obsessionpassion: Lisp Propulsion Laboratory log. For my blogs I later used Blogger, Micro.blog, and eventually Write.as. I also used the elephant in the room, WordPress, for contributing to other blogs. How do you write your posts? I just use the online Markdown editor of Write.as as I don't need anything fancier. When do you feel most inspired to write? I mostly do technical writing and my blog is a sort of lab log. It's usually clear what to write about and inspiration is rarely involved. In general I write when I complete a project, am stuck with a technical issue, or I just want to record the progress and experience with a project or something I do. Do you normally publish immediately after writing, or do you let it simmer a bit? I never publish immediately. I'm a slow writer and do lots of editing rounds, especially as a non native English speaker. Letting it simmer improves the final result. What’s your favorite post on your blog? My favorite is My encounter with Medley Interlisp, which captured my exhilaration at approaching and exploring Medley Interlisp. I was beginning to dive deep into this 1980s Lisp workstation environment I had always dreamed of, and blogging the experience seemd a natural way of sharing my excitement and explaining what's unique about Medley. This is apparently also the favorite post of my readers. It's the most visited of the blog and received over 38K views, most of which when it was shared on Hacker News. Any future plans for the blog? No, which is a feature. Everything is going so smoothly I just want to continue blogging without worrying about tools and platforms. Who's next? I nominate Fabrizio Ferri Benedetti, Kevin Tofel, and Rob Roland. I hope they will accept as they have interesting blogs and diverse stories. blogging a href="https://remark.as/p/journal.paoloamoroso.com/i-accepted-the-blog-question-challenge"Discuss.../a Email | Reply @amoroso@fosstodon.org !--emailsub--]]>
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Denmark has been reaping lots of delayed accolades from its relatively strict immigration policy lately. The Swedes and the Germans in particular are now eager to take inspiration from The Danish Model, given their predicaments. The very same countries that until recently condemned the lack of open-arms/open-border policies they would champion as Moral Superpowers. But even in Denmark, thirty years after the public opposition to mass immigration started getting real political representation, the consequences of culturally-incompatible descendants from MENAPT continue to stress the high-trust societal model. Here are just three major cases that's been covered in the Danish media in 2025 alone: Danish public schools are increasingly struggling with violence and threats against students and teachers, primarily from descendants of MENAPT immigrants. In schools with 30% or more immigrants, violence is twice as prevalent. This is causing a flight to private schools from parents who can afford it (including some Syrians!). Some teachers are quitting the profession as a result, saying "the Quran run the class room". Danish women are increasingly feeling unsafe in the nightlife. The mayor of the country's third largest city, Odense, says he knows why: "It's groups of young men with an immigrant background that's causing it. We might as well be honest about that." But unfortunately, the only suggestion he had to deal with the problem was that "when [the women] meet these groups... they should take a big detour around them". A soccer club from the infamous ghetto area of Vollsmose got national attention because every other team in their league refused to play them. Due to the team's long history of violent assaults and death threats against opposing teams and referees. Bizarrely leading to the situation were the team got to the top of its division because they'd "win" every forfeited match. Problems of this sort have existed in Denmark for well over thirty years. So in a way, none of this should be surprising. But it actually is. Because it shows that long-term assimilation just isn't happening at a scale to tackle these problems. In fact, data shows the opposite: Descendants of MENAPT immigrants are more likely to be violent and troublesome than their parents. That's an explosive point because it blows up the thesis that time will solve these problems. Showing instead that it actually just makes it worse. And then what? This is particularly pertinent in the analysis of Sweden. After the "far right" party of the Swedish Democrats got into government, the new immigrant arrivals have plummeted. But unfortunately, the net share of immigrants is still increasing, in part because of family reunifications, and thus the problems continue. Meaning even if European countries "close the borders", they're still condemned to deal with the damning effects of maladjusted MENAPT immigrant descendants for decades to come. If the intervention stops there. There are no easy answers here. Obviously, if you're in a hole, you should stop digging. And Sweden has done just that. But just because you aren't compounding the problem doesn't mean you've found a way out. Denmark proves to be both a positive example of minimizing the digging while also a cautionary tale that the hole is still there.
One rabbit hole I can never resist going down is finding the original creator of a piece of art. This sounds simple, but it’s often quite difficult. The Internet is a maze of social media accounts that only exist to repost other people’s art, usually with minimal or non-existent attribution. A popular image spawns a thousand copies, each a little further from the original. Signatures get cropped, creators’ names vanish, and we’re left with meaningless phrases like “no copyright intended”, as if that magically absolves someone of artistic theft. Why do I do this? I’ve always been a bit obsessive, a bit completionist. I’ve worked in cultural heritage for eight years, which has made me more aware of copyright and more curious about provenance. And it’s satisfying to know I’ve found the original source, that I can’t dig any further. This takes time. It’s digital detective work, using tools like Google Lens and TinEye, and it’s not always easy or possible. Sometimes the original pops straight to the top, but other times it takes a lot of digging to find the source of an image. So many of us have become accustomed to art as an endless, anonymous stream of “content”. A beautiful image appears in our feed, we give it a quick heart, and scroll on, with no thought for the human who sweated blood and tears to create it. That original artist feels distant, disconected. Whatever benefit they might get from the “exposure” of your work going viral, they don’t get any if their name has been removed first. I came across two examples recently that remind me it’s not just artists who miss out – it’s everyone who enjoys art. I saw a photo of some traffic lights on Tumblr. I love their misty, nighttime aesthetic, the way the bright colours of the lights cut through the fog, the totality of the surrounding darkness. But there was no name – somebody had just uploaded the image to their Tumblr page, it was reblogged a bunch of times, and then it appeared on my dashboard. Who took it? I used Google Lens to find the original photographer: Lucas Zimmerman. Then I discovered it was part of a series. And there was a sequel. I found interviews. Context. Related work. I found all this cool stuff, but only because I knew Lucas’s name. Traffic Lights, by Lucas Zimmerman. Published on Behance.net under a CC BY‑NC 4.0 license, and reposted here in accordance with that license. The second example was a silent video of somebody making tiny chess pieces, just captioned “wow”. It was clearly an edit of another video, with fast-paced cuts to make it accommodate a short attention span – and again with no attribution. This was a little harder to find – I had to search several frames in Google Lens before I found a summary on a Russian website, which had a link to a YouTube video by metalworker and woodworker Левша (Levsha). This video is four times longer than the cut-up version I found, in higher resolution, and with commentary from the original creator. I don’t speak Russian, but YouTube has auto-translated subtitles. Now I know how this amazing set was made, and I have a much better understanding of the materials and techniques involved. (This includes the delightful name Wenge wood, which I’d never heard before.) https://youtube.com/watch?v=QoKdDK3y-mQ A piece of art is more than just a single image or video. It’s a process, a human story. When art is detached from its context and creator, we lose something fundamental. Creators lose the chance to benefit from their work, and we lose the opportunity to engage with it in a deeper way. We can’t learn how it was made, find their other work, or discover how to make similar art for ourselves. The Internet has done many wonderful things for art, but it’s also a machine for endless copyright infringement. It’s not just about generative AI and content scraping – those are serious issues, but this problem existed long before any of us had heard of ChatGPT. It’s a thousand tiny paper cuts. How many of us have used an image from the Internet because it showed up in a search, without a second thought for its creator? When Google Images says “images may be subject to copyright”, how many of us have really thought about what that means? Next time you want to use an image from the web, look to see if it’s shared under a license that allows reuse, and make sure you include the appropriate attribution – and if not, look for a different image. Finding the original creator is hard, sometimes impossible. The Internet is full of shadows: copies of things that went offline years ago. But when I succeed, it feels worth the effort – both for the original artist and myself. When I read a book or watch a TV show, the credits guide me to the artists, and I can appreciate both them and the rest of their work. I wish the Internet was more like that. I wish the platforms we rely on put more emphasis on credit and attribution, and the people behind art. The next time an image catches your eye, take a moment. Who made this? What does it mean? What’s their story? [If the formatting of this post looks odd in your feed reader, visit the original article]
When the iPhone first appeared in 2007, Microsoft was sitting pretty with their mobile strategy. They'd been early to the market with Windows CE, they were fast-following the iPod with their Zune. They also had the dominant operating system, the dominant office package, and control of the enterprise. The future on mobile must have looked so bright! But of course now, we know it wasn't. Steve Ballmer infamously dismissed the iPhone with a chuckle, as he believed all of Microsoft's past glory would guarantee them mobile victory. He wasn't worried at all. He clearly should have been! After reliving that Ballmer moment, it's uncanny to watch this CNBC interview from one year ago with Johny Srouji and John Ternus from Apple on their AI strategy. Ternus even repeats the chuckle!! Exuding the same delusional confidence that lost Ballmer's Microsoft any serious part in the mobile game. But somehow, Apple's problems with AI seem even more dire. Because there's apparently no one steering the ship. Apple has been promising customers a bag of vaporware since last fall, and they're nowhere close to being able to deliver on the shiny concept demos. The ones that were going to make Apple Intelligence worthy of its name, and not just terrible image generation that is years behind the state of the art. Nobody at Apple seems able or courageous enough to face the music: Apple Intelligence sucks. Siri sucks. None of the vaporware is anywhere close to happening. Yet as late as last week, you have Cook promoting the new MacBook Air with "Apple Intelligence". Yikes. This is partly down to the org chart. John Giannandrea is Apple's VP of ML/AI, and he reports directly to Tim Cook. He's been in the seat since 2018. But Cook evidently does not have the product savvy to be able to tell bullshit from benefit, so he keeps giving Giannandrea more rope. Now the fella has hung Apple's reputation on vaporware, promised all iPhone 16 customers something magical that just won't happen, and even spec-bumped all their devices with more RAM for nothing but diminished margins. Ouch. This is what regression to the mean looks like. This is what fiefdom management looks like. This is what having a company run by a logistics guy looks like. Apple needs a leadership reboot, stat. That asterisk is a stain.
