epilys

Hi Rain, have you considered fuzzing? and if not, why?

(Thanks for cargo-nextest btw!)

> However, I haven’t found any such cards for Greek characters, so I think mine are the first in Greek.

Huh? A simple web search shows many, many, many results.

(2021).

Keep in mind that TCG API and internals have no stable guarantees, so if you cross-reference with current QEMU code you are bound to find differences.

Very little free time unfortunately... Haven't spent many hours on this project.

Writing a JIT and a disassembler are completely separate topics than emulating a system, don't you agree? :D (The article only talks about structuring a system emulator.)

The disassembler is my next step, since it's the easiest to tackle. Swapping binja for a custom solution on the existing code would be relatively straightforward.

The JIT is a completely different beast, it's essentially the IR -> codegen steps of a compiler (meaning without parsing, syntax/lexical analysis, object generation). Seeing as I wanted to target both x86_64 and aarch64 hosts, using an existing solution would get me started faster before I eventually write my own.

My plan is to split the JIT backends and keep cranelift for x86_64 support, but have my own aarch64 JIT also.

You have to pick your battles and assign priorities, you cannot re-invent everything at once.

(Author here)

Yes! I also started with using vm_memory traits in the beginning but delayed it till I refactor my memory subsystem. When we get that in upstream QEMU it might be possible to share this implementation as well as future devices.

Yes, it's possible and supported. QEMU can emulate an aarch64 system, and Google provides aarch64 Android builds for virtual machines specifically, called "Cuttlefish". Search for keywords "Android Cuttlefish QEMU" for instructions.

The only book I have that came with a barf bag. More books should do this.

First published in the Metropolitan Museum Journal, vol. 56, 2021, pp.160-73.

This study focuses on artist-designed frames at the end of the 19th century, many of which are preserved in the Havemeyer collection at the Metropolitan Museum, with a particular emphasis on a material known at the time as pâte coulante, unique in its ability to render extraordinary profiles, some of which could not have been realized by any other method available at the time. Although frames in pâte coulante can be seen surrounding the works of many late 19th century and early 20th century paintings, this study refers to the few superb examples available for study in the Metropolitan Museum and in private collections, which in many cases surround works by Edgar Degas. For artists like Degas, this method became crucial for executing radical frame designs. To reinforce the argument that the process of template-cut pâte coulante granted artists and framemakers the freedom to turn any design into a reliable and serviceable moulding, replicas of period mouldings were recreated using the available historic information, and the results gleaned from this technical study are included here.