Rehearsal: A Configuration Verification Tool for Puppet

Large-scale data centers and cloud computing have turned system configuration into a challenging problem. Several widely-publicized outages have been blamed not on software bugs, but on configuration bugs. To cope, thousands of organizations use system configuration languages to manage their computing infrastructure. Of these, Puppet is the most widely used with thousands of paying customers and many more open-source users. The heart of Puppet is a domain-specific language that describes the state of a system. Puppet already performs some basic static checks, but they only prevent a narrow range of errors. Furthermore, testing is ineffective because many errors are only triggered under specific machine states that are difficult to predict and reproduce. With several examples, we show that a key problem with Puppet is that configurations can be non-deterministic. This paper presents Rehearsal, a verification tool for Puppet configurations. Rehearsal implements a sound, complete, and scalable determinacy analysis for Puppet. To develop it, we (1) present a formal semantics for Puppet, (2) use several analyses to shrink our models to a tractable size, and (3) frame determinism-checking as decidable formulas for an SMT solver. Rehearsal then leverages the determinacy analysis to check other important properties, such as idempotency. Finally, we apply Rehearsal to several real-world Puppet configurations.Comment: In proceedings of ACM SIGPLAN Conference on Programming Language Design and Implementation (PLDI) 201

THE RECENT SITUATION OF PUPPET PERFORMANCE IN BALI

Leather puppet performance in Bali considerably so classical, either the figure of wayang (puppet) or the performance. The impression shows deeply that people has given a big appreciation in deed toward tradition culture. It is due to that tradition give a guarantee in regulation and quality such as awareness, belief, norm, and has been effectively used to inform and transmit all of values used today which come from the ideas and the thing in the past to build future. The big influence of tradition culture make them neglect to have an idea to change extremely, because tradition culture is supposed to have a power to obligate them in preserving the highly valued of Balinese culture to select many kinds of global influence. The global influence is impossible to avoided, but it has been creatively responded by art performance community, included here is a leather puppet, which make them able to keep “local wisdom” and “ local genius” which is taken from local culture. The dalang (puppet player) who come from academic institution or non-academic one, they are born from dalang inherited, or the mixture of both of tem, have been a big effort to make a reproduction of values and express them in contemporary and fresh puppet performance, but never leave Balinese logic, ethics and aesthetics. It seems that mentality of puppet performance doer and art performance keeper, have been in condition to keep taste of Bali as a strong foundation to make self expression. It is not too far if puppet performance to be one of manifestation as Balinese culture border

WAYANG KULIT BALI BERTAHAN DALAM TRADISI, BERGERAK MENGHADAPI GLOBALISASI

The bigger interest to create new idea in puppet performance, so more bigger also the puppet artist to take offence at many kind of aspect to considerred the beauty and logic. The idea which direct to all kind of beauty aspect, mean while has been restructure in the performance, while from the logic aspect willpersonalize through the preferenceinclude every social aspect to perform on the screen. The Founding puppet tale with the proletariatness themes give a big challenges to open actual fact which is happening right now and will happens in the socienty as the globalitation consequences. The power on the puppet art, has given historical value and as the source in art creation to increase as culture wealh to manners the society life. The development of the puppet’s art wishes to give direction because it has orientation direction because it has orientation in culture which is alive and could be a new souce in art work enrichment

The Puppets Look Like Flowers At Last

The urge to uncover aspects of human condition permeates my work, from the fundamental curiosity of a child tearing apart their doll to uncover what lies within to continuing a quest in uncovering basic human urges through my puppet animated dramas and tragedies. There is a controversial line between the childlike and the adult-like that can be ambiguous, and at some times more discernible while other times less. I create handcrafted stop-frame puppet animations that explore self-conscious emotions such as embarrassment, shame, and envy within unpredictable life scenarios. These are animations about inner life, attempting to resolve conflicting elements of the human psyche. At first glance, these puppets might appear scary, but upon closer observation the viewer may realize it is the puppet who is scared

Seni Gerak dalam Pertunjukan Wayang Tinjauan Estetika

Movement art in the puppet performances is often mentioned as sabetan. Puppet movement art, that contains rules, norms, guidance (orientation) is convention that is observed and referred to guidance the dalang artists when they move the puppets. One of the convention of movement in the puppet performance is udanagara. Udanegara, that contains ethics and aesthetic, is the rules of speaking, attitude, and action for actors in the puppet performance. Puppet movement include among others paying homage, walking, running, dancing, flying and fighting. That puppet movement is based on social class of puppet, age of puppet, class of puppet, and mood of expression of puppet. Therefore, the movement art of the puppet adopts basic wiraga (true or false action in the puppet movement), wirasa (true or false feeling of puppet movement), and wirama (true or false rhythm in the puppet movement). Method in this research will be conducted step by step: collection data (to watch of puppet performance on television, live performance, dialogue with dalang artist), analysis of data, literary research, conclusion and reporting of the research. This research concludes: puppet movement has of two meanings, large (totality of puppet movement) and narrow (fighting); puppet movement refers to the conventions (norms), oriented by dalang artists (udanegara); basic of puppet movement refers to social class of puppet, age of puppet, class of puppet, and mood of expression of puppet; now, puppet movement becomes more and more creative and dynamic. The development of puppet movement in line with the way of thinking of society that is more improved, critical, and dynamic.&nbsp

Children’s trust in previously inaccurate informants who were well- or poorly- informed : when past errors can be excused

Past research demonstrates that children learn from a previously accurate speaker rather than from a previously inaccurate one. This study shows that children do not necessarily treat a previously inaccurate speaker as unreliable. Rather, they appropriately excuse past inaccuracy arising from the speaker’s limited information access. Children (N = 67) aged 3, 4 and 5 years aimed to identify a hidden toy in collaboration with a puppet as informant. When the puppet had previously been inaccurate despite having full information, children tended to ignore what they were told and guess for themselves: They treated the puppet as unreliable in the longer term. However children more frequently believed a currently well-informed puppet whose past inaccuracies arose legitimately from inadequate information access

When do children learn from unreliable speakers?

Children do not necessarily disbelieve a speaker with a history of inaccuracy; they take into account reasons for errors. Three- to 5 year-olds (N = 97) aimed to identify a hidden target in collaboration with a puppet. The puppet’s history of inaccuracy arose either from false beliefs, or occurred despite his being fully informed. On a subsequent test trial, children’s realistic expectation about the target was contradicted by the puppet who was fully informed. Children were more likely to revise their belief in line with the puppet’s assertion when his previous errors were due to false beliefs. Children who explained this puppet’s prior inaccuracy in terms of false belief were more likely to believe the puppet than those who did not. As children’s understanding of the mind advances, they increasingly balance the risk of learning falsehoods from unreliable speakers against that of rejecting truths from speakers who made excusable errors

Intergenerational Narratives: The Personal is Professional

What began as a teacher-student relationship between educators Amy Brook Snider and Jodi Kushins has developed into a friendship and working partnership. At first, they did not consider their continuing long-distance connection as intergenerational. They shared experiences and exchanged ideas oblivious to the great difference in their ages. But as online tools, research, and communication emerged as a central focus of Jodi’s life and teaching, they became aware that this development might lead to an intergenerational digital divide between them. In order to explore their different responses to what has been called screen culture, they brought back their puppet alter egos for a presentation-cum-puppet show at the National Art Education Association conference in Chicago in 2016. This paper traces the history of the shifting relationship of two art educators, along with an extended excerpt from the script for their second puppet show