Precise info about the PHP foundation is hard to find. They have an annual budget of ≈500k USD, half of it assigned to developers[^1]. From a 2024 presentation video, they claim that the foundation has a "language impact" of 43% on the PHP core, with 57% for "other developers" ; but the graph does not state the metric used[^2].
But I could not find an answer to the most obvious questions:
What did they do last year? There is no annual public report of their activity.
Do they pay developers to work on whatever they want on the PHP core? Or does the foundation have an internal roadmap and assign tasks to developers?
I'm not the GP, but I do remember why I rejected Kitty when I tried several terminal emulators last years: it broke quite a few of my workflows.
For instance, in vim the F3 key was broken[^1]. It was very surprising and weird, and a portable workaround required some arcane vim configuration.
Another important pain point was that the font rendering was different in Kitty to any other app, and very dependent on the screen DPI. IIRC, for a DPI around 100, I had to switch to "legacy rendering" because the default rendering was barely readable.
I also remember issues with SSH. And Kitty crashed at least once. And I wasn't a fan of Kitty's mix of C and Python. After a week or two of usage, my Kitty config file was big, with an extra hundred lines of Python for the tabbar. Despite some nice features (like the shortcut to put the output of the last command into a file), I got uneasy with all this mess. I tried Ghostty, which was as good as Kitty with much less oddities.
The weirdness is partly in JSON . In the JSON spec, the slash (named "solidus" there) is the only character that can be written plainly or prefixed with a backslash (AKA "reverse solidus").
0AD's web site is rather bad at describing the game, but Beyond All Reason is even worse. I rarely play, so I had never heard about it. Both focus on details, forgetting the main points.
After reading BAR's homepage and the FAQ, I still have no idea what to expect. It could be a purely online game with ads and in-game buys, through a central proprietary server. It could also have a single player campaign.
Good points, the BAR FAQ's first question is "Best Twitch Stream Settings for BAR (OBS)", and the Gameplay page talks about physics, terrain, economy, units and weapons but answers nothing like: is there a single player campaign? Are there AI opponents? what's even the theme/setting of the game?
There are single player scenarios in Beyond All Reason, though not yet a campaign with a narrative.
There are AI opponents and you can configure friendly and hostile AI players. There are also two dedicated "beat waves of enemies then final boss" pve modes.
There's not a real theme other than "robot armies built by commanders with exponentially scaling economy".
There is a lore/backstory/setting planned to be released on March 8th.
Most European people know about Odysseus, but few have read Homer, even in translation.
I one met a visiting Iranian academic just after I'd learned about the Shahnameh. I'd also read the opinion of a French scholar who thought its language was, for a modern Iranian, like Montaigne for a modern French. The Iranian woman told me that very few people in Iran actually read the book. It's very long, and hard to grasp for untrained readers. But most people know some of its stories and characters, because they are often mentioned in everyday life, and because the abridged prose books are widespread.
BTW, I don't know which editions are the most popular in Iran. Wikipedia says the Shahnameh was heavily modified and modernized up to the 14th century, when its most famous illustrated edition was created. The book most read today is probably not a scholar edition.
> The Iranian woman told me that very few people in Iran actually read the book. It's very long, and hard to grasp for untrained readers.
She makes a fair point. Reading and fully understanding Shahnameh is not straightforward. The difficulty does not primarily stem from drastic linguistic change, although the language has evolved and been somewhat simplified over time, but rather from the nature of Persian poetry itself, which is often deliberately layered and intricate *.
That said, Iranian students are introduced to selected passages and stories from Shahnameh throughout their schooling. Teachers typically devote considerable time to these texts, as the work is closely tied to cultural identity and a sense of historical pride.
* Persian, in particular, is often described as highly suited to poetic expression. Its flexible grammar and word order allow for a degree of intentional ambiguity, and this interpretive openness is frequently regarded as a mark of sophistication (difficult to master at a high-level for a layperson). A single ghazal by Hafez, for instance, can be read as a dialogue with God, a beloved man, or a beloved woman, with each interpretation leading to a different emotional and philosophical resonance. This multiplicity is the core part of the artistry.
Personally, I did not truly understand Hafez until I fell in love for the first time. My vocabulary and historical knowledge remained the same, yet my experience of the poetry changed completely. What shifted was something more inward and spiritual and only then did I begin to feel the full force of the verses.
For example, consider the following (unfortunately) translated lines:
O cupbearer, pass the cup around and offer it to me --
For love seemed easy at first, but then the difficulties began.
The Persian word corresponding to "cupbearer" may be read as a bar servant, a human beloved, a spiritual guide, or even the divine itself. The "wine" may signify literal intoxication, romantic love, mystical ecstasy, or divine knowledge. Nothing in the grammar forces a single interpretation, the poem invites the reader's inner state to complete it (and at the same time makes it rhyme).
I think it depends a lot on the history of the language. My native language is French, and since long ago various authorities try to normalize and "purify" the language. This is why the gap between spoken French and written French is so wide. Now my experience as an avid reader...
Books written in the 17th century or later are easy to read. Of course, the meaning of some words can change over time but that's a minor trouble. I believe Molière and Racine are still studied in school nowadays, but the first name that came to my mind was Cyrano de Bergerac (the writer, not the fictitious character).
Books from the 16th need practice, but I think anyone who tries hard will get used to the language. I enjoyed Rabelais's Pantagruel and Gargantua a lot, and I first read them by myself when I was in highschool (I knew a bit of Latin and Greek, which helped).
Before that, French was much more diverse; the famous split into "langue d'oc" and "langue d'oïl" (terms for "oui" — yes — at the time) is a simplification, because there were many dialects with blurry contours over space and time.
I've read several 11th-12th novels about the Round Table, but I was already experienced in Old French when I started, and I think most readers would struggle to make sense of it. It may depend on the dialect; I remember "Mort Artur" was easier than "Lancelot, le chevalier à la charette".
"La chanson de Roland" (11th century, Old French named anglo-normand) is one of my favorite books of all times. Reading it for the first time was a long process — I learned the declensions of Old French and a lot of vocabulary — but it was also fun, like deciphering some mystery. And the poesy is a marvel, epic, incredibly concise, surprising and deep.
Before that (9th-10th), Old French was even closer to Latin.
> That seems a bit too optimistic to be a valid argument.
I think you misunderstood, since that's not about optimism. Years ago, smart students from all over the world could hope for a successful career in American research. Now, in the USA many doors are closing in most academic domains, and few (potential) researchers dare plan any success story.
Wikidata is a FRBR-compatible public database of books. I don't know if it's good enough for the kind of books the author wants, but in recent years the quality of wikidata greatly increased for the books that deal with (about 1000 items).
BTW, they misunderstood their own example of "Hotel Iris" by Yoko Ogawa when they wrote "the same work is duplicated four times." In fact, those four entries in the list point to distinct works.
One of these is a French publication by the publisher Actes Sud. Translations are not the same work as the original. They are derived works.
But it's true this list is a mess. Another entriy has 3 editions, one in English and two in Spanish, so it's obviously an error that mixes two distinct works.
I'm not sure I like merging translations together. They really make a difference, not like merging irrelevant things like paperback vs hardcover. A lot of classic literature from non-English originals (and I assume vice versa) suffers from old, dry translations -- I remember reading Dostoevsky in high school and not liking it much but that's because it was using translations from the early 20th century. More modern translations feel much more alive.
So an abridged or bowlderised or annotated or illustrated version are collected under the same work, even though people might have good reasons to want one over another (the language used and the specific translator being just two important attributes)
But summaries or adaptations or plays and screenplays are not.
There's always gray areas, but note the edition info isn't lost, it just lives in a subordinate position that is linked directly from the work.
> Translations are not the same work as the original. They are derived works.
Which adds yet another layer. Because you still want them to be considered as part of a larger single entity. If you're performing a search, you want to find the single main entity, and then have different translations listed the same way you have different editions listed.
My comment was trying to suggest that some of these types of searches would allow you to link resources or works together because of how tightly coupled they'd be when you produced vectors from the metadata.
Your link is irrelevant.
It points to OpenBSD which uses rc, not sysv.
The 3 lines of this rc startup script use a file of 400 lines of shell with commands that don't exist in SysVinit.
With sysv, the difficulty depended on the local tools because the launching scripts could not be shared across Linux distributions. Debian used the compiled helper `start-stop-daemon` while Redhat did not.
With sysv, some sysadmin tasks require external tools. Try to write a launching script with a smart autorestart in case of crash. Make it work even when the daemon forks. Do not assume that the daemon writes its initial PID anywhere. IIRC, to get this feature, we had to drop sysv for runit, two decades ago. Now it's just 2 lines in a systemd unit.
Init and run control aren't the same thing. Which is part of what's nice about sysv (which, yes, OpenBSD's init is based on). OpenBSD's run control system is particularly nice, and it's the sort of thing you can use with an init system that isn't constantly eating everything.
But I could not find an answer to the most obvious questions:
What did they do last year? There is no annual public report of their activity.
Do they pay developers to work on whatever they want on the PHP core? Or does the foundation have an internal roadmap and assign tasks to developers?
[^1]: https://opencollective.com/phpfoundation#category-BUDGET
[^2]: https://www.youtube.com/watch?v=XE4g1Tl6RQw at 06:45
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