https://github.com/ominitay/zig/tree/xtensa
Edit: I see you are the same kassane from the GitHub thread. Thank you for your efforts on Xtensa support! Would be great to have it out-of-the-box at some point.
1,531 karma · joined September 6, 2017
https://github.com/ominitay/zig/tree/xtensa
Edit: I see you are the same kassane from the GitHub thread. Thank you for your efforts on Xtensa support! Would be great to have it out-of-the-box at some point.
I have been following https://github.com/ziglang/zig/issues/5467 for a while and progress seemed to have slowed significantly
It seems like this method at least keeps the secret key inside 2FAS backups, so it's probably slightly better opsec.
Yes, agreed. This doesn't stop an adversary who knows your phone number and identity (such as a surveillance state) from linking communications under your username with your real identity.
It just means that people don't need to give their phone number to someone just so they can communicate via Signal.
I think this can lead to people having a false sense of security.
Out there question:
Do you guys have any plans on releasing a tool which could be used for diffing filesystems?
eg. Run the tool, run an arbitrary program which modifies the filesystem, run the tool again and it reports on what has changed?
Using existing diff tools for this right now is clunky. I'm surprised there's not a go-to tool used by security researchers (or perhaps there is and I don't know about it).
The other issue I have with this particular GitHub spam is the notifications persist even after the spam has been removed. You get notified and subscribed to some random thread because you were previously tagged in it.
After GH removes the spam (which is currently too slow) they should also retract any notifications or subscriptions that were made as a result of the spam comment.
I believe in one such case, the original StarCraft would run with really buggy colors using the official Windows DLL files and a drop-in DLL replacement would fix the issue (these days I think Blizzard has shipped their own fix for this issue).
If you could make comprehensive clone of a game that depends on a paid engine from another studio, I can see how that could be seen as a threat to Valve IP.
I wonder if they took issue with s&box coming from Facepunch, which might be something that is eventually profited from, thereby a TF2 remake in s&box could drive sales for s&box.
The solution we employed was a "dumb" fail2ban like script to ban any abusive IP address. It worked wonders and practically completely neutralized the attacks. We received zero complaints from any legitimate users of the service.
If I recall correctly, even after the attacks subsided (CVEs was patched etc.), we still kept a toned down version of the script in place.
> at best, fail2ban: does nothing
This is just plain wrong. Even if you're only using key based auth and there's no way an attacker could have your keys, fail2ban will still block the abusive traffic.
I have no issues with blocking abusive traffic instead of letting the attackers beat their fists against my armored doors.
> at worst, fail2ban: causes you massive inconvinience or total lockout
The authors main criticism seem to be that you might lock yourself out of your own server one day. This hardly seems fair because the author is saying "just setup SSH correctly and you won't have any issues" while also saying "if you don't setup fail2ban correctly, you'll have a whole bunch of issues!" OK, so shouldn't we just setup fail2ban correctly as well?
Having said all that, my recommendation for people who are going to use an indiscriminate fail2ban setup on SSH access would be to have some out-of-band access in case you do happen to ban yourself, even if it's less convenient to use than SSH.
Are you planning to add a proper license at some point?
For example, this[1] work is entirely derivative, created only using cuts from another piece of media and yet the resulting work is a complete departure and loses practically all meaning from the original. If Disney had done something like this years later using Steamboat Willie, I don't think there'd be any question that it should be considered a copyrightable piece of work and exceeds the threshold of originality.
According to the Copyright Alliance[2]:
> There is no requirement that the work be novel (as in patent law), unique, imaginative or inventive. A work need only demonstrate a very small amount of creativity in order to meet the originality requirement.
If J.K. Rowling replaces the word "wand" with "wang"[3] in the Harry Potter series and publishes a new revision, has she created a new work? According to your link, yes, she has. If you upload Harry Potter "wang" edition to the internet after the original edition enters the public domain, have you violated the copyright on the "wang" edition? Well, I think it could be argued that you have!
[1]: https://www.youtube.com/watch?v=694_jtbvJuY
[2]: https://copyrightalliance.org/education/copyright-law-explai... basics/requirements-for-copyright-protection/
[3]: https://web.archive.org/web/20080618113626/http://www.bash.o...
Sometimes the removal of certain scenes from a movie could completely change the way you think about that movie, or completely change the overall tone.
I wondered if that puts the Corridor version in jeopardy in any way, given that the version they have posted was produced many years later. In my few minutes of research, it seems like the answer could be quite complicated and it would depend on whether or not the censorship process exceeds the threshold of originality.
For example, I imagine if Disney had engaged in a significant colorization process of the original footage in the 50s that the resultant colorized footage would still be under copyright today.
I do think that the process of removing footage could be considered a sufficiently creative endeavour. For example, if Kubrick released a re-cut version of Odyssey 5 years after the original, I would not expect the re-cut to enter public domain until 5 years after the original (even if the only difference was removal of certain scenes). If anyone could argue that censoring a film constitutes as an editorial creative process and thereby should be granted copyright protections, it's Disney.