| Commit message (Collapse) | Author | Age |
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The patch made shared attach unconditional; these make it a policy.
multi_attach false restores the classic displacing attach
(EXIT_REPLACED, which old clients already understand). size_follows
picks whose size the shared screen takes: active (the patch's rule),
smallest (the tmux rule: filler, never a crop), or largest. The size
fold lives in apply_canvas, so any attach, resize or departure can
move the canvas under the folding policies -- including a non-active
client leaving, which under smallest may have been the very client
holding the floor down. A config reload re-applies both knobs to the
running session.
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Last input wins, canvas size is adjusted to active connection.
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The demo's Makefile said VERSION := 0.1.0 by hand, so the in-browser
slosh announced a release two tags old no matter what was built into
it. It now derives from contrib/version like every other artifact,
suffixed +webdemo so the guest build names itself. And ship gains a
website step: the site (demo included) is rebuilt from the tag
checkout and published as part of a release, so the demo cannot fall
behind again.
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The static musl release builds cannot dlopen -- musl compiles it out
-- so loadable shader plugins were a feature most shipped binaries
could not use. Nothing we ship used it either: every shader in
contrib/shaders is an expression. Gone: the dlopen/glob loader in
shader.c, shader_dir in the config, the plugin ABI table and entry
macro, the Windows dl*/glob shims that existed only for it, the
contrib/shader-plugin skeleton, its tests, and every doc mention.
shader_abi.h stays as the shader model (cell_t, shade_ctx_t,
shader_t) with a note about what it used to be.
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The coming-soon gate (FULL=1) and its page go: the site is finished
enough to be the default. web/publish (make www-publish) builds,
refuses to sync a tree that does not look like the site, and rsyncs
to /opt/slosh -- around /arch, which contrib/ship owns, and around
the served demo when a NO_DEMO build has none to offer.
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GitHub releases host the binaries now; installing is a package
manager (brew, pacman) or a manual download from the releases page.
The curl|sh script and slosh.foo/dist are gone -- one less channel
to keep in sync, one less thing to trust.
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contrib/release cuts the tag and stops -- publishing is on purpose.
ship is that purpose: push, artifacts (linux/windows here, macOS on
the builder), the GitHub release, the brew tap, the arch repo, the
paperwork commit. Each step skips when its result already exists, so
a run that died mid-way resumes instead of rebuilding artifacts whose
checksums are already published. Preflight checks every credential
and machine before anything is cut, because half-published is the
failure mode this exists to remove (v0.1.2 shipped while the arch
repo still served v0.1.1).
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The three commands were a link away in contrib/arch; a repo whose
packages refuse to install without the key should hand them over
where the repo is advertised.
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GitHub is the public interaction point now. The formula and PKGBUILD
fetch GitHub's /archive/ tarballs (same git-archive bytes, per-ref
stable); the PKGBUILD is bumped to 0.1.2 while at it, and its cd's
drop the v -- GitHub tag archives extract to slosh-X.Y.Z/. The cgit
remote stays for pushing; only published URLs change.
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The landing page now shows the releases page for direct downloads and
only lists package manager tabs (homebrew, arch, source). The linux
installer script and the windows curl recipe are gone — the releases
page is the single place for prebuilt binaries.
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brew auto-resolves GitHub taps, so the explicit URL is no longer
needed: 'brew tap sl0p-foo/slosh' is all users type.
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Android reports arrived of the logo rendering shattered, and the cause
is the ascii itself: the default monospace there has no block glyphs,
so every ▀▄█ falls back to whatever font volunteers, each with its own
metrics, and the grid comes apart. No font stack fixes a missing
glyph, and shipping a font is against the house rules.
So the logo stops being text: web/gen-logo-mask turns logo.txt into an
SVG of merged rects, inlined into site.css as a data URI and used as a
CSS mask on an empty element. The animated background layers show
through the mask exactly as they showed through background-clip: text,
so every effect survives -- gradient slide, shine, hue, glow -- and
two old hacks retire with the fonts: the letter-spacing pinstripe fix,
and (after one round of seams at fractional mask scales) a vertical
overlap baked into the rects. Same 318x84 box, same placement math,
and a hero that reads as role=img with a label instead of seven rows
of block glyphs.
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Proximity snapping, even with the doorway steps freed, still catches
some people's scrolling in ways worth no tour polish -- input devices
and browsers disagree too much about what proximity means. The
clickable steps and the smooth scrolling stay; a reader's wheel is
theirs again, everywhere.
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The page gets its colophon back, at a fraction of the old footer's
size: one centred mono line in the floor's own greys, the link a shade
brighter and pink under the pointer.
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The floating logo's dress on the big one, cut to the brand: no hue
rotation -- that is what walks the little one off into blues -- just a
4s slide through the palette's own pinks and orchid and --dead's
sunset orange, the most retrowave colour the theme already owns, with
the shine crossing once a loop and a soft pink glow underneath.
Reduced motion gets the gradient standing still.
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The body gradient's ground passes --panel by, and a box darker than
its floor reads as a hole. The poster steps up to --code-bg -- the
same raised step the install boxes beside it use -- and its border
moves to --faint, since the old border colour is now the fill.
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A gradient on the body, whose box is the whole document, so the fade
maps to scroll distance: near-black held through the hero and the tour,
then a slow climb to a grey that stops shy of the panels' own colour --
the floor lightens, the boxes on it stay boxes. html keeps the solid
top colour, so over-scroll rubber-banding stays dark.
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A band of light sweeping the glyphs once a loop -- the logo running
slosh's own shine preset, which is a better advertisement than a
signal fault. The band is a second background layer on the same
text clip, parked off the ink for 86% of the loop and crossing in the
closing 0.7s; one set of keyframes drives both layers, the colour
slide holding its linear pace through every stop. The glitch keyframes
go, and reduced motion still keeps only the hue.
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A signal that is fine, fine, fine, and then for a third of a second is
not: torn into bands by clip-path, shoved and sheared by transform --
the two properties the other animations left free, filter being the
hue's and background the slide's. Doubled keyframe percentages make
the cuts hard instead of smeared, and 7s against the 5s slide and 4s
hue lands the burst somewhere new in the colour every time. Reduced
motion never sees it: the glitch is nothing but motion, and the
reduced lane already keeps only the hue.
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Clicking anywhere in a dimmed article glides it to the centre and so,
through the observer, switches the recording. Three guards keep the
click meaning navigation: the active step does not react (clicks there
are for reading and selecting, not going where you already are), a
selection is not a click, and a link is a link. The pointer cursor and
the title's breath of pink now belong to dimmed steps only -- the
active one is just prose.
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Proximity snapping traps at the edges: between steps, adjacent fields
hand you from magnet to magnet, but at the first and last there is no
next field -- a wheel tick toward the hero or past the final demo ends
inside the boundary step's radius and is pulled straight back, forever.
The interior steps keep their snap-align; the doorways go without,
because a doorway that grabs is worse than a step that does not snap.
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scroll-snap-type: y proximity on the root, snap-align: center on the
steps and nothing else: a scroll that ends near a step is settled onto
its centre -- the exact spot the tour activates it, so the rest
position and the lit step agree -- and momentum, half-reads and every
snapless section are left alone, by spec. Proximity, never mandatory:
the mandatory kind on a page that also has prose is a trap, and the
JS kind is worse. Off in the one-column layout, where the sticky
stage covers the upper viewport and a centred step would sit half
beneath it.
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Clicking an article's h3 glides it to the middle of the viewport --
the exact spot where the tour's observer activates it, so the click
also switches the recording, through the same door scrolling uses
rather than a second mechanism. The pointer cursor and a breath of
pink on hover say clickable.
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Two overlaps the section observers missed. The show opened on the big
logo leaving, but the hero's buttons sit below it, so there was a band
of scroll with the little logo arriving on top of install/try/docs --
observe the whole hero instead. And at the tour's exit the stage
unpins and is dragged up through the logo's air before the try section
crosses its line -- no section boundary says so, but two rects do: a
rAF-throttled collision check against the pinned player's rect, and
whenever the terminal would touch the logo, the logo yields.
Verified by sweeping fifteen scroll positions: shown through the whole
tour, hidden over the buttons, the rising terminal, the demo box and
the install tabs, with zero overlapping frames.
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padding 1 2 was still in force when compact arrived, and the dense
school reads best with the panes flush against its dividers. The cast
now takes the padding back first -- cc rewrites the line to padding 0
on camera, one more save applying live -- so the compact beat lands on
the layout it was designed around.
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vim -u NONE kept the render machine's dotfiles out of the cast, but
NONE also switches off filetype detection and syntax -- so the config
demo was editing kdl in monochrome, underselling vim and the file both.
The demo now authors its own six-line vimrc instead: syntax on,
habamax (the webdemo's own look), shortmess for the column. The cast
depends on vim's runtime and nothing personal, which is what NONE was
protecting in the first place.
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C-a e arrived as a strip along the bottom, and a 66-line config in a
twelve-row strip reads like a keyhole. A quarter turn (C-a Space)
right after it opens makes the editor a column with the height the
file deserves -- and shows off the rotate while at it.
The column brought back vim's hit-enter stall (the file-info message
wraps at 49 columns), so the recording's EDITOR gains the same
shortmess the webdemo's vimrc already carries.
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window.SLOSHCAST_SPEED, multiplied into each mount's own data-speed:
the front page sets 1.25 and every recording plays a quarter faster
than authored, the scripts under demos/ untouched -- their pacing is
theirs, and how much of it a visitor's attention span gets is the
page's call. The clock keeps counting cast-time, so the timestamps
mean the same thing at any speed.
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The title drag had one beat -- drop in the middle, trade places --
which undersells the feature: carried over a pane, the target
subdivides into a centre and four edge bands, a band meaning "in
beside it, on this side", filling the half it would hand over while
every other candidate greys out. The cast now lingers over the centre,
steers into a band, and drops -- and the drop restacks the whole tab,
a rearrangement no swap could produce, chosen so the release visibly
changes the layout (the first cut dropped a pane beside the neighbour
it already had, and proved nothing).
The band is aimed by its entry in the compositor's hit list, like
every coordinate in these demos: the rect the program promised is the
rect the pointer hits. The panes article's bullet follows suit.
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The tour-width breakout belongs to the machine, not to the offer of
one: unbooted, the panel now sits flush with the prose and the install
box; booted, it still takes the tour's width and most of a viewport.
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A real ghost button centred under the running machine, in the hero
buttons' own dress -- ghost on purpose: booting stays the loud verb,
stopping the quiet one. The caption drops to a side note beside it.
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A caption under the running machine offers the off switch, dressed as
a link inside a sentence. Dropping the iframe out of the DOM tears the
whole VM down -- emulator, kernel, disk cache, the lot -- the stage
shrinks back into the poster (the original nodes come back from a
stash, listeners and all, so the boot button is immediately live
again), and the scroll follows both ways.
Reload always did this; the button does it without taking the rest of
the page with it.
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Two logos in quick succession -- the splash's, then the welcome
float's -- reads as a glitch, not a greeting, technically correct or
not. splash_ms 0 in the guest config; the comment leaves the knob
visible for anyone editing their way through the playground.
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A try section between the tour and the install box: a modest poster
with one button, and the machine only when the button is pushed -- the
front page keeps costing two files, which is the decision the README
recorded when the demo got its own page, still being honoured.
The click grows the stage to most of a viewport *before* the iframe
goes in (the guest reads its geometry from the room exactly once, at
boot), then glides the scroll to land the machine centred. An iframe,
not the demo's scripts inlined: the emulator's emscripten glue owns
its globals by name, and isolation is what keeps this page and that
blob out of each other's namespaces. ?embed=1 makes the demo page
drop its own header and footer inside the frame; standalone it is
unchanged, and phones navigate to it rather than embedding -- wasm
under a soft keyboard in an iframe helps nobody.
The floating logo learns the tour's edges properly while at it: the
try section arriving closes the show (measured with a -45% rootMargin,
because the tour's exit margin lets the section ride high while the
last step is still centred), and a section scrolled past counts as
arrived, not gone.
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Fewer colours at once, more per second: the gradient slims to three
stops -- pink, orchid, blue -- and the hue rotation takes over the
variety, a full wheel in 4s (5s in the reduced-motion lane, colour in
place, still nothing travelling). The slide drops to 5s with it.
And a drop shadow, inside the hue keyframes because the filter
property is the animation's to own -- a static filter would lose to
it -- and listed before the hue-rotate so the glow is rotated with
the letters and always matches their current colour. Soft and low:
on a near-black page a shadow can only read as a faint underglow.
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Both of the owner's browsers showed the cycle frozen, and the culprit
was neither of the browsers: the OS asks for reduced motion, both pass
it on, and the media rule here answered by killing every animation.
The preference is about motion -- patterns that travel, the vestibular
kind -- not about colour, so the position slide goes and the in-place
hue rotation stays, at half speed. Nothing moves, everything still
breathes, and a visitor who asked the OS for stillness gets exactly
the stillness they asked for.
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More of the wheel -- the gradient now walks pink, orchid, blue, cyan,
mint and back, all colours the demo's own terminal palette already
speaks -- and a faster walk, 8s to the position slide's loop.
And a second motion: WebKit caches a text-clipped paint and never
repaints it for a background-position animation, so on Safari the wash
sat frozen, pink on the left, cyan on the right, which rather defeats
a colour cycle. A hue rotation runs alongside (12s to the full wheel):
filters apply post-paint on the compositor, so every engine animates
it over the cached clip. Chrome and Firefox get both motions, WebKit
gets the rotation alone -- either way, nothing stays pink.
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