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 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

PERTUNJUKAN WAYANG KULIT DI TVRI DENPASAR : FUNGSI DAN MAKNANYA BAGI MASYARAKAT BALI

Abstract The performance of Wayang Kulit (shadow puppet theatre) in the TVRI Denpasar is an arrangement of traditional performance integrating traditional and modern technology. The performance of Wayang Kulit functioned as a media of information regarding the existence of the current shadow puppet theatre. In addition, the performance also had an educational function, preservation development, and documentation of traditional arts, entertainment and aesthetic function. The significance of this Wayang performance is refreshment of traditional performance in the era of modern technology, in addition to have other significance as symbolic significance, social significance, cultural significance and aesthetic significanc

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

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

WAYANG KULIT BALI DIANTARA TRADISI DAN PERUBAHAN: SEBUAH DILEMA DAN HARAPAN DALAM PELESTARIAN SENI BUDAYA BALI

Wayang leather puppet show is Balinese traditional culture art heritage, a creativity that formulates philosophy, religion, moral values and Balinese way of life. This honorable tapestry creates an identity of Balinese culture until it is sufficiently known by world society. Thus, wayang puppet theatre must be conserved as a guidance for further creativity. In this preservation appears dilemma between the impulse to remain tradition and tendency to be innovative. Thte later tendency has motivated the emergence of various spectacular wayang production employing electrnic and LCD, including a series of puppetry collaboration, so that several normative elements get lack of attentions. Wayang preservation is expected to reinforce the religious life by socializing traditional values and norms to guide and direct Balinese people in facing the modernization and globalization

The Comparison Between Chinese Puppet Show and Chinese-Javanese Blend Puppet Show in Indonesia

Since some centuries ago, Indonesia has been one of the destinations for immigrating Chinese. When the Chinese came to Indonesia, they also brought their cultures and customs. Some of them have a cultural-cross marriage with local Indonesian and brought their cultures to be introduced to local Indonesian. When the relationship between Chinese and Indonesian became stronger in some fields such as trade, education and politic, some of Chinese cultures has been adapted by local Indonesian or has been assimilated with local cultures. This adaption process was hindered when the New Order of Soeharto government had banned all Chinese culture, including anything closely related. So, the Chinese-Javanese blend puppet show that also brings Chinese culture couldn\u27t get any supports and its development faces difficulties. The writer using a qualitative methodology interviewed some of Chinese-Javanese puppet show artist and observation of the puppet show performance to make a comparison between Chinese puppet show and Chinese-Javanese blend puppet show in Indonesia. Chinese-Javanese puppet show or usually can be determined as Indonesian potehi puppet Show has some differences from Chinese puppet show. The differences can be found in the making of puppet, puppet profiles, performance way and stories