Drupal Summit in Vancouver

There's a scene in Eurotrip, where a group of dudes heads to a nude beach expecting to see girls, only to find that the entire beach is filled with dudes, also expecting to see women.

Every summit/convention/expo I've been to for tech has this feel to it. It's as if everyone going there is looking to connect and make this break in their career with a new contact, see a new product or company. Maybe finally get that real coding job they've wanted for so long. But with everyone there with the same objective, it's hard to make any progress.

I'm not sure what I was looking for when I went to the Drupal Summit in Vancouver this last month. I wanted to present, which I I did - Stealing from the Core and Elsewhere. I hoped this presentation would be a challenge to me and involve me with perhaps with some more serious Drupal developers. 

Unfortunately, I may have put too much into my session, which lesson learned I suppose. Because I presented on application development in JavaScript, folks (some) thought I was just a Node.js geek and this system was just imitating it. Given the fact that my application was not an asyncronous server tool, even explicitly saying my server side code was handled by PHP, I found this frustrating, but perhaps I should have been a better presenter. 

But how can I actually be annoyed? Drupal is a divided community. With those who are serious backend folks and those who are serious GUI-end folks looking for the next module / theme that they feel will give them the edge or at least the final amount of control without needing to code. On the edges are folks like me who use it tangentially so don't really geek out about it. 

Given that divided ground, it makes me worry about the future of Drupal. Because its curators aren't all in the same place mentally, it's difficult to drive towards synced goals on the code and feature levels, unlike what I've seen in the Rails community. However, maybe this makes Drupal have a bright future, because it's end users (the GUI-folks) are so demanding of the coders to come out with things that work better together. 

Does the real guts of Drupal really lie in the salt of the earth conferences, or is it at the big conventions each year? I typically trust salt of the earth, actual use day to day, but perhaps that is much like the quickly stated, poorly thought out, immediately downvoted answers on Stackoverflow.

In order to see the real state of Drupal, it's not in everyone who uses it, but those who do so the best. Maybe Austin and Amersterdam might be worth it to change my mind. 



10 Print

10 Print
 is boring, code fetishist, smary, unbalanced and probably worth a read. 

Officially titled some long string of code I won't bother to repeat, the collection, part of MIT's Software Studies series, is made up of small essays surrounding a one-line program that when run on a Commodore 64 produces an infinite random maze.

Hitting on the general topics of mazes, the hardware of the 64, porting the program to other platforms, the nature/history of BASIC, randomness and traversing the maze produced, the book does a fine job of trying to hit this topic from every possible angle. Doesn't hurt that the cover is pretty freaking cool and the nods to the platform itself (64-style font for page numbers, listing chapters like BASIC line numbers, and the emblatic Blue of the 64 system) are also fun, especially, I imagine, if you were learning about those elements for the first time. 

The technical discussions, the historical tangents and the play with the program are the goods of the book. Showing the program in various 3D formats using the Processing language, porting it to the Atari and explaining path traversing in BASIC would really on point and carefully walk the line of exploring a technical subject with the aesthetic value of its output. 

The writers do a fine job of drilling down technical topics, emerging why subtle details of chip design, BASIC and business decisions have large reprecussions on computer function and expressiveness.

I insulted the book at the beginning of this post, and I should explain it. The book is aware that it's both smart and cool. While I enjoy feeling smart and cool, the subject is actually very interesting on its own and doesn't need attachments of hipness. Unfortunately, a lot of the chapters read like grad student responding to a writing prompt, pulling in complexity and reach as much as possible. While the authors never overreach, there's a lack of what makes good computer enjoyable which is genuine interest and exploration of a machine or language. 

There's already so much to say and go into, that reaching far out isn't necessary and is detrimental to the actual work ahead. A discussion on the history of mazes, regularity and randomness in art, while interesting, are essays about those matters that touch on the 10 Print program or use it as a jumping off point simply because that's what the book is about. While this makes the book far richer and posed for general audience acceptance, they clash with the books later more technical chapters and come off as "Look at all the tangents I can go off this small subject." 

I don't feel the authors failed in answering the prompt, but unfortunately this isn't about grading. The chapter on grids in art definitely turned me onto to new artists and have enriched my appreciation of organization in art, but they told me nothing new about the core subjects of the book. Essentially, they were out of scope.

But what is on about this book is spot on. 


Three Books I Read on Simulated Realities

As with all rapidly losing-blooded Americans, I want a global virtual reality network.

Much as I was excited about diving into a few novels (Snow Crash Neal Stephenson, Ready Player One Ernest Cline, Rapture of the Nerds Cory Doctorow & Charles Stross) in a row about this type of thing, every imagining of some form of Virtual Realm (VR) has problems. Annoying ones:

  • The rules are badly defined. 
  • Virtual characters do things that make no sense.

These books aren't annoying as stories. They're exciting adventures. 

Snow Crash combines ancient religion, computer hacking, rival corporate gangs and the urban virtual world, the Metaverse, in a violent action story that takes a humble katana-wielding pizza delivery man to the root of all human language. It's a satire of corporate idealism, American evangelicalism and post-Nuclear politics (there's a dude rolling around on a motorcycle with a warhead), but the only element without the humorous play up is the Metaverse.

Stephenson coined the term and since then it's been every geek's dream to bring it into existence in various forms, such as SecondLife. The MetaVerse is an urban landscape and for the most part people interact and act much like they do in reality from a first person perspective. Of course, you can make your avatar look however, many folks resorting to cheap duplicate avatars similar to Barbie and Ken dolls.

In contrast, the hero of Doctorow/Stross's book, Rapture of the Nerds is staunchly anti-technology and horrified of upload himself up into the cloud. It's a virtual reality, but you go there once and you stay. For most of the world, it's a gateway to immorality; for Huw, the story's protaganist, it's dying. It takes a while for the book to get up in the cloud, in point of fact, it's a pretty wild undertaking of Apocalyptic Christians living in a giant anthill, bizarre cyborg infections, multi-genitaled religions and repeated betrayls. 

Once in the cloud, Huw's reality is completely virtualized and controlled, down to his own emotional reactions, which have buffers, filters and dials to adjust. He can fork his own self repeatedly to aid him in processing or trying different realities at different speeds. It's a strange form of conciousness to describe, but nicely matching with how we currently view computer programs own operations and manipulations. 

Ready Player One is the most familar virtual universe. The OASIS is a gaming environment turned virtual world. School classes are now held there as does most socializing, and of course there are thousands of adventure worlds of every imaginative ilk - sci-fi, fantasy, hybrid or simply friendly places like SecondLife - to explore. The real world is a bit of a shithole, so the book makes no satire - it's just better to leave the real world and enter the OASIS, where the book spends most of its time.

Each book has its own successes and failings as novels, but none of these really annoy me and when they are flagrant, it's typically because the story needs to move on. It's sci-fiction after all. But on the technology stuf - well, that's worth taking a look at.

The main issue with the majority of these proposed virtual worlds is the inefficiency. I get the literary motivation for the avatars - a VR is just an excuse to have a fantasy world that plays by whatever arbitrary rules that satisfies the story's need for excitement. Better than any fantasy world too, because the author can just decide whenever that previously stated rules don't apply.

Why the emphasis on rules? When you have wizards inside of Cyberpunk planets fighting starships (as in Ready Player One), you need rules so you can understand what is important or what is at stake. Stories without stake are pretty boring. 

But back to inefficiency. In the movie Hackers, there's so massive hack at the end where the characters are all using these virtual reality headsets to navigate some database. It really doesn't make sense - why can't they just type some macros into in a command line and get what they need immediately? It's the same in these literary VRs.

Why spend a bunch of time walking, actually walking, to your friend when you can just message they instantly. We do that now. Why make a rendezvous in some secret location when you can just email a person? I think it's easier to encrypt a simple text message over encrypting instant voice communication and digital rendering of several characters simultaneously as happens repeatedly in Ready Player One.

It's a problem of motivation. The author's need to play in a sci-fi world makes sense, the reader's desire to be in that sci-fi world makes sense, but why the characters would operate in this made up world that humans made and then elected to be a part of doesn't.

Since I've picked on Cline's book a bit, I'll say at least his has small caveat that the VR was originally a gaming environment, but in general, when the modern day Web user has more instaneously and efficient modes of communication than folks in a vast global virtual reality network in the future, the author's imaginings at this point are akin to fiction of modern magic, not because of the level of technology required to produce a VR environment, but because we know that VR realms just don't operate in the manner's described as we've had some taste of it with online communities and gaming.

It's sort of like one of those images where you see what the future looked like to folks 100 years ago 

It takes a couple core concepts of what "technology" is and pushes them to extremes. Ships were the most powerful form of technology at some point, so therefore the future will be dominated by ships of war that can go on land. Watch out!

It's unfortunate, but Stephenson's Metaverse style fiction isn't all that enthralling and the need for a full digital rendering of a person in the other novels is not a breakthrough in a science fiction sense (I doubt the author's think so or care). It is just another fantasy world erected in order for characters to do cool things and have fun. 

Quiet frankly, you do have fun and perhaps because you aren't struggling with a mind altering concept of reality just to turn the pages, you can enjoy that. 


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