Here are this weekend’s Mac riddles to entertain you through family time, shopping and recreation.

1: Comfort for the organ cabinet and shows entries from 2.

2: Mass of wood measures a ship’s speed for the jottings of your Mac.

3: Guide points the way to measure performance in 2.

To help you cross-check your solutions, or confuse you further, there’s a common factor between them.

I’ll post my solutions first thing on Monday morning.

Please don’t post your solutions as comments here: it spoils it for others.

System logs seem to have been introduced with Mac OS X in 2000-2001, and I don’t recall any equivalent in Classic Mac OS, although individual apps such as databases often kept their own logs.

2000-2016 text logs

As Mac OS X presented itself as a derivative of Unix, it brought with it bells and whistles such as support for code to write to system-level logs including system.log, console.log and dozens of other more specialist destinations, and its own log browser in the Console app.

As is traditional, log entries contained unstructured plain text to which a datestamp and other data were added to expand each into a line of text in log files that were rotated daily. As entries were relatively infrequent, many users learned to read the log and to use it to diagnose problems.

The Console app gave ready access to all standard logs as well as app-specific ones, such as this for mail processes such as sendmail, and crash reports. These two screenshots are from Mac OS X 10.0 Cheetah in April 2001.

By Mac OS X 10.4 Tiger in 2005, Console had acquired some basic tools and a sidebar to select from the many logs. Because they were plain text, those for previous days were compressed and stored in archives until they were removed during routine housekeeping. This excerpt shows entries in the system log over a restart that took over 2 minutes from the last entry to the start of the boot process.

There has also been the rare substitute for Console: this is LogMaster from Bright Light Software, shareware for $14.50 in 2006 until it was abandoned.

Although much in Console remained the same until 2016, at some stage Apple structured log entries into fields, as shown here in Mac OS X 10.6 Snow Leopard. Log entries were still infrequent, with this excerpt covering a period of almost 20 seconds.

This is another restart, here in OS X 10.10 Yosemite in April 2015. This time, the period recorded for that restart has fallen to 39 seconds. System shutdown is marked by the shutdown process and SHUTDOWN_TIME, and startup begins with BOOT_TIME.

2016 Unified log

With macOS Sierra in 2016, that was all swept away and replaced by the Unified log. There had been warning signs that change was coming: in May of that year, I complained that the log consisted of a torrent of messages like
17/05/2016 21:04:40.175 storeassetd[531]: multibyte ASN1 identifiers are not supported.
or
17/05/2016 20:55:15.298 WindowServer[233]: _CGXRemoveWindowFromWindowMovementGroup: window 0x91 is not attached to window 0x92
Even when running a fairly clean installation of El Capitan, All Messages clocked up around 4000 entries every 8 or 9 hours. At its worst, the log could fill those 4000 message slots in a minute or two. Little did we realise how busy our logs were about to become.

Apple declared the goals of its new log system at WWDC in June 2016:

• a single efficient logging mechanism for user and kernel mode;
• to maximise information collection with minimum observer effect;
• the compression of log data;
• a managed log message lifecycle;
• as much logging on as much of the time as possible;
• for privacy to be designed into the logging system;
• a common system across macOS, iOS, watchOS, tvOS;
• all legacy APIs (NSLog, asl_log_message, syslog, etc.) to be redirected into the new unified log;
• to emphasise debugging of macOS and apps, not providing any facilities for system administration or audit;
• to link to the sysdiagnose tool for gathering information for bug reports etc.

To achieve this, a log entry is made using a new call that’s handled by the logd daemon and compressed into a buffer. From there it’s either retained in memory if ephemeral, or written out to a file.

There are two main groups of files that store log entries: those kept in /var/db/diagnostics/Persist/ in the form of tracev3 files containing regular log entries, and further tracev3 files in /var/db/diagnostics/Special/ containing additional shorter-life entries. Additional and lengthier log data can be stored in files named by UUID in /var/db/uuidtext/, and there’s also scope for high-volume collection.

tracev3 files use a proprietary compressed binary format that remains undocumented to this day, but has been partially reversed. Apple doesn’t provide direct access to their contents, only through closed-source utilities such as the log command tool. Where users want a more portable format, Apple recommends conversion to a logarchive package, although that’s also undocumented and only directly accessible using log and Console. Apple has in recent years given limited access to the active log for third-party apps, but that lacks many of the useful features of its own log command.

Privacy

Privacy features have caused problems from the start. Log messages containing potentially sensitive information have that censored by <private>. Like so many good ideas, this had unintended consequences as many log entries only contain the dreaded <private>, and in some cases meaningful content is lost altogether.

Ironically, the most embarrassing security problem in the Unified log occurred in early versions of High Sierra, when encryption passwords were leaked apparently as a result of incorrect string formatting. Apple subsequently added an entry field to make explicit the formatting used for that entry.

Until the release of Catalina, there was an undocumented switch to turn privacy protection off, through an option to the log config command. When you needed to view all those censored messages, you could turn protection off, perform the test, and the log then contained all the information you required. That changed in Catalina 10.15. In order to bypass this privacy protection, you had to run your Mac in a special diagnostic mode intended for use exclusively by Apple engineers. Apple later relented and allowed this to be controlled through a profile, although because entries already made don’t contain the censored data, it can’t be applied retrospectively.

When first released, access to the new Unified log wasn’t restricted to admin users, but that changed in macOS 10.12.4, when that restriction was applied, and normal users found they were no longer able to browse the log at all.

Problems

The biggest disappointment, though, has been the Console log browser, which has made only limited use of log entry structure, displays just a small selection of entry fields, provides little aid for the high volume of entries, and worst of all gives no access at all to recent entries in the live log. Apple’s decision to restrict Console to browse the live stream of entries and logarchives has rendered it useless for many of the most compelling reasons for the app, but it has ensured that Console and the log provide no “facilities for system administration or audit”. It has also deterred third-party developers from writing to the log, and made it the exclusive preserve of Apple’s engineers, which perhaps was the original intention.

Since its first release in macOS Sierra, the log has flourished if not grown like an invasive weed. The number of fields available has increased from 16 to over 25, many of them added to support Signposts, introduced in late High Sierra and Mojave. Those are used extensively in macOS primarily to measure performance.

As the log now rolls its tracev3 files to maintain a maximum total file size, rising rates of entries by macOS have limited the period covered by retained entries. What in the early days was sufficient for up to 20 days of entries may now last little longer than a few hours. This also ensures that Console has more limited usefulness, and it struggles to cope with logarchives of any size.

Collection and retention of entries from different subsystems is set in logging profiles, XML property lists stored in /System/Library/Preferences/Logging (in the System volume, so read only) and /Library/Preferences/Logging, which the user controls. You can create your own custom profiles, or modify them on the fly using the log command, although this appears unusual even among the few left who can and do still browse the log.

What used to be a primary tool in diagnosing problems has been abducted without replacement. At least it keeps those pesky system administrators and auditors away.

Politicians on both the left and the right have sought to change or limit what teachers can do inside classrooms. Teachers often ignore them.

© Joseph Rushmore for The New York Times

Ask anyone who has lived in the country and they’ll recall its idyllic moments. To end this series, I celebrate a few of those in paintings from the turn of the nineteenth to twentieth centuries.

This Ukrainian farm labourer is caught relaxing for a moment in the sun and flowers of early summer in Mykola Kuznetsov’s early In Celebration (1879-81).

The pair of ploughmen in Giovanni Segantini’s Ploughing may not have had time to study the fine mountain views near the Alpine village of Savognin, but they and the other labourers in the right distance are enjoying the fine weather.

A couple of years later, Segantini’s High Noon in the Alps (1892) catches this shepherdess enjoying a brief break in her work, in the intense summer sunshine of the high plateau.

Pascal Dagnan-Bouveret shows that even itinerant workers could sit together and eat to the music of a violin when living In the Forest in 1893. Behind them are two oxen, and the forest that’s currently their home.

In Poland, Teodor Axentowicz’s painting of Oberek Folk Dance in Front of a House from 1895 shows locals dancing the second most popular Polish folk dance after the polka. Most of these dancers are barefoot.

Edward Stott’s shepherd has stolen a moment of Peaceful Rest as his small flock drinks from a pond. He’s lighting a clay tobacco pipe, with his crook resting on his leg. Most of the painting uses a limited palette, with three splashes of colour standing out: the man’s face lit by the flame, the watchful sheepdog behind him, and a blue object protruding from the man’s jacket pocket.

Jules Bastien-Lepage’s Love in the Village shows a young couple on either side of a tumbledown fence, chatting intimately among the vegetable patches.

Idyllic moments indeed, but what happens in the country is often a far cry from the town.

Nikolai Astrup’s humorous painting of Early Courting from 1904 shows a young couple at the far left engaged in ‘clothed courting’ in the unromantic surroundings of a cowshed. He has a bottle of drink in his pocket; whether that’s to give him courage or to weaken the resistance of his girlfriend is unclear.

The couple have sought the privacy of the cowshed, out of everyone’s way, but the boyfriend appears unaware that they’re being watched by someone up in the roof. From the apparent direction of gaze of the girlfriend and the blush on her cheeks, she has just noticed the peeping tom or watchful relative. The setting is enhanced by the sunlight pouring through the far window, illuminating two rows of the back-ends of cows. The wood floor between the cows appears to be decorated with small sketches, but those are actually piles of cow dung. Courting in the country must have been a sensorily rich experience.

I hope that you enjoyed Saturday’s Mac Riddles, episode 286. Here are my solutions to them.

1: Keeps an eye on exercise for checking 2, 3, memory and more.

Click for a solution

Activity Monitor

Keeps an eye on (monitor) exercise (activity) for checking 2, 3, memory and more (what Activity Monitor does).

2: Champion’s reward in disarray for the heart of your Mac, shown in 1.

Click for a solution

CPU

Champion’s reward (a cup) in disarray (rearranged to cpu) for the heart of your Mac (its CPU), shown in 1 (it is).

3: Endless high status in hiding place for treasure can be shown in 1.

Click for a solution

Cache

Endless high status (cachet without the last letter) in hiding place for treasure (a cache) can be shown in 1 (when Content Caching service is enabled, it’s one of the tabs or panes in Activity Monitor).

The common factor

Click for a solution

The latter two are tabs or views in the first.

I look forward to your putting alternative cases.

Here are this weekend’s Mac riddles to entertain you through family time, shopping and recreation.

1: Keeps an eye on exercise for checking 2, 3, memory and more.

2: Champion’s reward in disarray for the heart of your Mac, shown in 1.

3: Endless high status in hiding place for treasure can be shown in 1.

To help you cross-check your solutions, or confuse you further, there’s a common factor between them.

I’ll post my solutions first thing on Monday morning.

Please don’t post your solutions as comments here: it spoils it for others.

In the days of Classic Macs, most of our concerns centred on memory rather than CPU, disk or network performance. Tools for managing memory flourished, and I don’t recall any utility provided in Mac OS that looked more broadly. That changed when Mac OS X arrived, and we started taking an interest in Process Viewer and CPU Monitor.

CPU Monitor, seen here in 2001 with its two floating chart views, was a first step in development. I suspect this was taken on my QuickSilver Power Mac G4 with its dual processors, hence the pair of CPU charts.

Process Viewer is a more obvious ancestor of the modern Activity Monitor, with its list of processes in a column view. Note the surprisingly few system processes running at the time: only 34, compared with today’s list of several hundred.

Activity Monitor integrated those features into its new app in Mac OS X 10.3 Panther in 2003, and is shown here in 10.4 Tiger from a couple of years later, where it’s surprisingly similar to the current app. There are still only 72 processes running, though, and most have less than 5 threads.

Here’s Activity Monitor with its CPU History window on an 8-core Mac Pro, running Mac OS X 10.7 Lion in 2011. The number of processes is still only growing slowly, and had reached 89.

Xcode’s Instruments added an Activity Monitor template for developers wanting to monitor further details as they tested and debugged their code. At this stage it was limited to presenting the same fundamental measurements as were available in Activity Monitor, but these have since flourished into much greater depth.

Two years later, in 2013 for OS X 10.9 Mavericks, Activity Monitor underwent revision to add a new tab for Energy. Unlike other panes, the ‘Energy Impact’ is given in arbitrary units rather than calculating Joules from power use over time. It was at about this time that the app also added a Cache pane analysing the performance of the Content Caching service, when enabled on the Mac.

Until 2020, Activity Monitor had dealt with CPUs with uniform cores. Above are the eight physical and eight Hyper-threaded cores in an 8-core Intel Xeon W in an iMac Pro from 2017, running a heavy load of over 700% CPU. With the first Apple silicon Macs, it had to display CPU use for two different types of core. Note how, by 2020, the total number of processes has shot up to 458.

This is an example from one of the first base M1 Macs, with 4 Efficiency and 4 Performance cores displayed neatly in its CPU History window. Although Activity Monitor doesn’t take core frequency into account when measuring % CPU, and can’t display cluster frequencies, it remains one of the essential tools for everyone, whichever age and architecture their Mac.

During the nineteenth century, paintings depicting ‘real’ life of ordinary people became increasingly popular, first in what has become known as social realism, pioneered by Jean-François Millet, then Naturalism, championed by Jules Bastien-Lepage until his untimely death in 1884. Among other themes, these put the case for the rural poor, and the desperate poverty that those living in the country had to endure.

Look carefully at many of their paintings, though, and the underlying stories aren’t as simple. One of the most evident problems is that many of those campaigning paintings used models who had been carefully posed. Look at their hands, feet and hair and you’ll often see someone who appears remarkably clean and kempt with no evidence of prolonged and arduous manual labour, even clothes that lack the dirt and mud so typical of those who work and walk on unpaved tracks and ploughed fields.

At the same time, photographic portraits of the poor became popular among some who sought to advance the art of photography. There are some notorious examples of early photographers who were caught posing carefully selected models in deliberately misleading circumstances, demonstrating how the camera can be made to lie.

My small selection of paintings of country people from the nineteenth century is an attempt to show some that appear most faithful records that weren’t intended to support political views or attract praise at a Salon.

Jules Breton had been born and brought up in the rural village of Courrières, and returned there to paint intimate portraits of those who continued to live there, including this Young Girl Knitting, seen in 1860. Many of these intimate works were sold to private collectors and have never been seen at exhibition.

His portrait of this Mother Feeding her Baby from 1863 shows her wearing clogs, and clothing that has seen better days. She is feeding a very young baby in front of a frugal fire in what can only be her normal domestic conditions.

Jean-François Millet had been born in the village of Gruchy, and was the first child of a farming family. Although his portrait of A Norman Milkmaid at Gréville from 1871 lacks fine detail to reinforce its authenticity, she’s clearly grubby and wasn’t painted in the studio.

Max Liebermann’s The Preserve Makers from 1879 shows a shed full of country women preparing foodstuffs for bottling and canning; the latter gradually came into use after 1810, but didn’t become popular until the First World War. This shows well the light factory work that was introduced to country areas in the late nineteenth and early twentieth centuries, and the women who provided its labour force.

Pascal Dagnan-Bouveret’s An Accident from 1879 is an exception among these, in that it was not only submitted to the Salon of 1880, but won the artist a first-class medal. It was also supposedly painted from memory, showing an incident that the artist witnessed with a medical friend who was similarly called to assist with an injury.

Despite that, it shows a country doctor cleaning and bandaging the injured hand of a boy, as the rest of the extended family looks on. Conditions appear primitive: the small bowl of water is heavily blood-stained, and the cloth by it looks filthy. It’s also rich in detail that appears authentic, from the boy’s shoe compared with that of the doctor, to the bald man standing in front of a treasured grandfather clock in the right background.

Of Bastien-Lepage’s many portraits of country people, his Nothing Doing from 1882 appears the most convincing. From his unlaced mud-caked boots to his filthy and frayed waistcoat, this young agricultural worker looks the part. Bastien had spent his childhood in the village of Damvillers, although he was the son of a local artist. He frequently returned to his home village to paint local characters, such as this boy.

The young woman in Breton’s Song of the Lark (1884) has detailed features that appear true to life, in her bare feet with grubby and battered toenails, and hands that have seen hard work with the hook she holds.

Évariste Carpentier had been born into a farming family near the small town of Kuurne in Belgium. The Turnip Washer from 1890 is among the last of his thoroughly Naturalist paintings. Alongside the farmyard birds, two figures are busy washing piles of turnips in a small and dirty pond.

Throughout the career of Léon Augustin Lhermitte he painted the working lives of farmworkers and country people. In his pastel of The Farmworkers’ Supper from 1913, he shows those who have been working outdoors during the long day enjoying a meal at its end.

Together these paintings build a dispassionate image of a countryside that might have been lacking in worldly goods, but was hardly starved and pestilent. And, as I’ll show in the next and concluding article, at times rural life could still be idyllic.

I hope that you enjoyed Saturday’s Mac Riddles, episode 285. Here are my solutions to them.

1: This Scot with a volume was a notebook closed in 2019.

Click for a solution

MacBook

This Scot (Mac) with a volume (book) was a notebook closed in 2019 (it was a notebook Mac discontinued in 2019).

2: Ledger for baptismal water manages typefaces.

Click for a solution

Font Book

Ledger (book) for baptismal water (a font) manages typefaces (what this app does).

3: Root -1 with bound paper as a companion to the iMac with a handle.

Click for a solution

iBook

Root -1 (in maths, i) with bound paper (a book) as a companion to the iMac (it was) with a handle (it’s one of the few computers that features a handle).

The common factor

Click for a solution

They each include the word book into their name.

I look forward to your putting alternative cases.

Here are this weekend’s Mac riddles to entertain you through family time, shopping and recreation.

1: This Scot with a volume was a notebook closed in 2019.

2: Ledger for baptismal water manages typefaces.

3: Root -1 with bound paper as a companion to the iMac with a handle.

To help you cross-check your solutions, or confuse you further, there’s a common factor between them.

I’ll post my solutions first thing on Monday morning.

Please don’t post your solutions as comments here: it spoils it for others.

The late nineteenth century brought great changes throughout Europe. Country areas were depopulated as cities attracted labour to work in their factories, lured by the empty promise of material comforts. Food markets became dominated by larger suppliers and merchants, and smaller farms with low yields found themselves unable to compete. Although mechanisation was developing rapidly, machinery cost money, and smaller farms were unable to benefit from the productivity improvements occurring on larger farms.

One substantial improvement that many could use was better drainage of arable land. Although hardly technological, as most land drains are made from baked clay, many areas across Europe had suffered waterlogging of their best fields during the winter. Land drains dug into the field to draw water to a ditch at the edge significantly increased areas under cultivation, as well as crop yields.

More substantial drainage works had already turned large areas of bog and marsh into productive farmland, throughout the Netherlands, and in areas like the Fens in England during the decades prior to 1820. Both remain among the largest civil engineering projects undertaken in Europe.

Steam engines came into agricultural use in the late nineteenth century. At first they were largely static, but from the 1860s they became self-propelled, now known as traction engines and still a popular feature of country fairs. Teams travelled the countryside hiring out the services of their steam engine for threshing and ploughing.

After the First World War, internal combustion engines replaced steam, and the first real tractors came into use.

Heinrich Vogeler’s Farmer Ploughing from the period 1930-42 shows a tractor with an internal combustion engine and its own tracks, towing a heavy plough.

Lighter wheeled tractors became popular during the middle of the twentieth century. Percy Shakespeare’s painting of December on the Downs, Wartime, made in the period 1939-44, is its own lesson in agricultural history. In the distance, on one of the rolling chalk downs in the south of England, are three horse-drawn ploughs tackling some of the steeper ground.

With a high proportion of men serving in the armed forces, the two tractors in the foreground are being driven and tended by young women, dubbed the Women’s Land Army. The further of the two tractors is drawing a lighweight wheeled plough, better suited to this land.

In 1942, when Frances Hodgkins was living in the south-west of England, at Corfe Castle in Dorset, she painted this gouache of Broken Tractor showing the mechanical disarray that overtook many farmyards during the twentieth century, as their ageing farm machinery fell beyond economic repair.

With networks of railways and later roads reaching deep into many country districts, agricultural produce could be transported in bulk and travel from producer to consumer in a matter of hours. Early morning trains carrying milk to cities became widespread.

JMW Turner was among the first painters to capture this in his Rain, Steam, and Speed – The Great Western Railway in 1844. This pioneering railway connected London with rich farming country across the south of England, down into western counties, eventually reaching Cornwall in 1859, fifteen years after Turner had completed this painting.

Giuseppe De Nittis here shows The Passing of a Train through productive French countryside between 1869-80.

The winners here though were those farmers who were already prospering. Smallholders and others who still farmed using traditional methods were left behind, in increasing poverty and neglect.

I hope that you enjoyed Saturday’s Mac Riddles, episode 284. Here are my solutions to them.

1: Unsolicited crypto, supplies by parachute, or wireless file transfer.

Click for a solution

AirDrop

Unsolicited crypto (an airdrop), supplies by parachute (an airdrop), or wireless file transfer (what it does).

2: Atmospheric schools of whales pop into the ears.

Click for a solution

AirPods

Atmospheric (air) schools of whales (pods) pop into the ears (they do).

3: Ethereal hardcopy is driverless press standard.

Click for a solution

AirPrint

Ethereal (air) hardcopy (print) is driverless press standard (what it is).

The common factor

Click for a solution

They all start with Air- and in their current releases can use wireless connections.

I look forward to your putting alternative cases.

Here are this weekend’s Mac riddles to entertain you through family time, shopping and recreation.

1: Unsolicited crypto, supplies by parachute, or wireless file transfer.

2: Atmospheric schools of whales pop into the ears.

3: Ethereal hardcopy is driverless press standard.

To help you cross-check your solutions, or confuse you further, there’s a common factor between them.

I’ll post my solutions first thing on Monday morning.

Please don’t post your solutions as comments here: it spoils it for others.

While memory and its management have been important in the history of all computers, they were nearly the downfall of the first Macintosh, the original 128K named because it came with just 128 KB of RAM. That proved barely sufficient for demonstration purposes, and by the autumn/fall of 1984 had been replaced by the ‘Fat Mac’ with 512 KB costing an extra $700. Apple proved quick to demonstrate that memory for its new Mac products was never going to come cheap, when it came at all.

It took another couple of years for the Mac Plus, the first that came with memory slots to increase its standard memory from 1 to 4 MB, and from then pretty well every Mac had slots to accommodate expansion. By the IIx of 1988, those slots could accommodate a maximum of 128 MB, a thousand times that in the 128K Mac.

In early 1989, Connectix introduced Virtual, the first implementation of virtual memory for System 6. Two years later, in May 1991, Apple provided its own implementation in System 7, but its use remained optional even in System 8.6 eight years later. Some apps required it, while others couldn’t run when it was enabled. Most users stuck with only enabling it when their software needed it, and made do with the limitations of physical memory of 384 MB or less.

The maximum my Blue & White Power Mac G3/350 could accommodate was just 1 GB. As apps were far more conservative in their memory requirements, this worked better than you might expect.

My Power Mac G3 worked well with Mac OS taking its lion’s share of just over 50 MB, my mail client with less than 7 MB, and the whole of Microsoft Word in under 20 MB. But apps could and did run out of memory, when they would simply quit with an error alert, something we grew familiar with.

Memory leaks still plagued Mac OS 8, and many users had to resort to utilities like R Fronabarger’s freeware Memory Mapper to track free memory and try to understand what was going on.

One memory problem never fixed in Mac OS 8.x occurred in many apps including Web browsers, Microsoft Office 98, and others. Using these led to a progressive reduction in the amount of contiguous free memory, until eventually the whole Mac crashed. This appeared worst in Macs with most physical memory, and although some patches were produced by third-parties, none was a complete solution. The only workaround was to keep an eye on memory, and restart the Mac before a crash occurred.

In those days, you had to set the amount of memory to be allocated to each app in the Finder’s Get Info dialog. Getting this right was usually a matter of trial and error.

Although Classic Mac OS had such a struggle managing memory, the first Mac to support proper virtual memory had been the Macintosh II in 1987. That required it to be fitted with Motorola’s 68851 paged MMU chip, an option needed to run Apple’s A/UX port of Unix. That chip was no longer needed in Motorola 68030 and 68040 processors, as its functions were then integrated into the CPU.

Mac OS X was completely different, with virtual memory a permanent feature, and greatly improved management by the kernel. But memory leaks continued, and we learned the pain brought by those in Mach zone memory, memory blocks allocated for use by the kernel and its extensions. That happened as recently as macOS Catalina 10.15.6, when they caused kernel panics. Memory leaks, fortunately not affecting Mach zones this time, also troubled macOS 12.0.1.

Physical memory continued to grow in size, by the last of the Power Macs reaching 8 or even 16 GB in high-end models. Intel models offered even more, and by early 2009 8-core Mac Pro models could accommodate up to 128 GB, although Apple officially claimed a mere 32 GB. The original MacBook Air of 2008 was the first to ship with fixed memory, 2 GB that couldn’t be upgraded, and that became more general among models released from 2015 onwards.

With the advent of Apple silicon Macs came the greatest change in memory management and use since the release of Mac OS X twenty years earlier: instead of having separate physical memory for devices like GPUs, M-series chips use Unified Memory, one pool for use by CPU cores, GPU, and much else apart from the Secure Enclave. Unfortunately, that has also brought RAM to be integrated into the M-series chip carrier, even in those fitted to the Mac Pro.

Macs have thus returned to one of the problems of the original 128K of forty years ago, and once again their memory can’t be upgraded.

For those working the land to grow crops, the start of the year was after the harvest was complete, when the first cooler days of autumn came in, before rain turned the fields and tracks to mud, and the winter’s frosts began. This was the time to start preparing arable fields for the growing season next year, with their first ploughing.

Robert Bevan’s The Turn Rice-Plough, Sussex from about 1909 shows two ploughmen turning a plough in a field in the south-east of England. Its title is probably a simple error for turnwrest, a dialect name used in Kent and Sussex to describe any type of one-way plough that needed to be turned at the end of a furrow as shown here.

Depending on the soil, weather and intended crop, this could be the first of more than five sessions with the plough, before the seed could be sown.

Pastures by rivers were often encouraged to flood during the winter, particularly in the month of February Fill Dyke as shown so well in Benjamin Williams Leader’s painting of country near Worcester in 1881. This both improved soil fertility and kept weeds at bay.

Jean-François Millet revisited his successful painting of a sower from fifteen years earlier in two pastel paintings with the same title, The Sower, from around 1865. In the distance to the right are two horses drawing a spike harrow, used following ploughing to prepare the surface of the earth for seed.

Once the young plants were growing vigorously, all that remained for the growing season was to keep them free from weeds, a laborious and back-breaking task commonly assigned to women.

Jules Breton’s The Weeders from 1868 is set in the fields just outside his home village of Courrières, where these labourers are pulling up thistles and other weeds until the moment the light becomes insufficient for them to work any longer.

Farmers with sheep or cattle usually timed the arrival of the lambs and calves for the spring, to give the young animals as much benefit as possible from the fine weather of the summer.

Rosa Bonheur’s Weaning the Calves (1879) is set in a glorious summer Alpine or Pyrenean landscape, with a dry stone herdsman’s hut at the left, where the menfolk lived while they were away from their families during the summer transhumance to upland grazing.

Anton Mauve’s Return of the Flock (1886-7) shows a small flock of unshorn ewes with young lambs, on the move in the late Spring or early summer.

In some cattle areas at least, once the Spring lambs and calves had been safely delivered into the care of their mothers, couples took the opportunity to get married, as confirmed by analyses of English parish registers. For those growing crops, though, there was little respite during the growing season, when fields had to be kept free of weeds before harvest.

By the end of the Spring or early summer, sheep and cattle were moved to summer grazing to allow the grass in hay meadows to grow ready for mowing during July or August, depending on the latitude and weather.

Mykola Pymonenko’s undated Haymaking shows women in Ukraine raking in the harvest to be transported by a hay wain drawn by a pair of oxen.

Samuel Palmer’s Shearers from about 1833-35 shows the seasonal work of a shearing gang, relieving these adult sheep of their fleece before the weather became too hot.

Meanwhile, the summer’s grain crop ripened and was ready for harvest.

Pieter Brueghel the Elder’s Harvesters from 1565 includes most of the outdoor stages from cutting the grain using scythes to transporting the harvest by cart for threshing.

Once the harvest was home, demands on the arable farmer eased, and some English parish records show a peak of marriages during the early autumn in areas predominantly farming sheep and grain. This was also the time for the harvest of fruit such as apples.

Camille Pissarro’s overtly Divisionist painting of Apple Picking, Éragny, was largely completed during the autumn of 1887.

This decisive phase of the year is shown well in Evelyn De Morgan’s Cadence of Autumn from 1905, here centred on the fruit harvest. Five women are shown in a frieze, against a rustic background. From the left, one holds a basket of grapes and other fruit, two are putting marrows, apples, pears and other fruit into a large net bag, held between them. The fourth crouches down from a seated position, her hands grasping leaves, and the last is stood, letting the wind blow leaves out from each hand. They wear loose robes coloured in accordance with their phases in the season.

The landscape behind them contains a watermill and surrounding buildings. At the left, the trees are heavy with fruit and the fields either green or ripe corn. At the right, the trees are barren, and the landscape hilly and more wintry. Soft blue-white patches of mist are visible in the foreground on the right. The passing of the season, and the fruit harvest, progresses in time from the left to the right.

By that time, the first fields were being ploughed in preparation for the following year.

Before the nineteenth century, when many farms either concentrated on sheep and arable, or on the raising of cattle, their economies were contrasting. The arable farmer was committed to labour-intensive work and investment throughout the year, with any cash return occurring once the harvest had been sold. Livestock farmers had lower labour requirements for much of the year, with their peak demand during Spring calving, and could spread the sale of animals more evenly over the year, with more immediate returns on their investment. This also enabled those involved in livestock farming to have more free time to engage in crafts and other sidelines.

I hope that you enjoyed Saturday’s Mac Riddles, episode 283. Here are my solutions to them.

1: Hidden folder of indexes for a beam of light on stage.

Click for a solution

Spotlight or .Spotlight-V100

Hidden folder of indexes (the .Spotlight-V100 folder) for a beam of light on stage (a spotlight).

2: Written exam preparations conceal saved versions.

Click for a solution

Document Revisions or .DocumentRevisions-V100

Written (document) exam preparations (revisions) conceal saved versions (the hidden .DocumentRevisions-V100 folder).

3: Invisible happenings record changes to files.

Click for a solution

FSEvents or .fseventsd

Invisible (hidden) happenings (events) record changes to files (in the hidden .fseventsd folder).

The common factor

Click for a solution

Each has its own hidden folder at the top level of each regular Mac volume.

I look forward to your putting alternative cases.

Here are this weekend’s Mac riddles to entertain you through family time, shopping and recreation.

1: Hidden folder of indexes for a beam of light on stage.

2: Written exam preparations conceal saved versions.

3: Invisible happenings record changes to files.

To help you cross-check your solutions, or confuse you further, there’s a common factor between them.

I’ll post my solutions first thing on Monday morning.

Please don’t post your solutions as comments here: it spoils it for others.

Macs have used four different architectures for their Central Processing Units over the last 40 years. From their launch by Steve Jobs on 24 January 1984, for the first decade they used Motorola 68K CPUs, then switched to PowerPCs designed by an alliance of Apple, IBM and Motorola, which were used for 12 years. After 14 years being built around Intel processors from 2006, Macs most recently changed a third time to use Apple’s own Arm-based chips.

Over those 40 years, continuous improvements in capabilities and performance of CPUs have transformed Mac OS and the apps it supports.

Motorola 68K

CPUs execute instructions in synchrony with a clock whose frequency determines the rate of instruction execution. The Motorola 68000 processor in the original Mac 128K ambled along at a clock speed of just 8 MHz. The last 68K models featuring 68040 CPUs had raised that to 33 MHz, and added specialist Memory Management Units (MMUs) and floating point units. The latter first appeared as 68881 and 68882 maths co-processors, but were later integrated into the 68040.

MMUs were particularly important for the implementation of virtual memory. When the Macintosh II was introduced in 1987, it was the first Mac that could be fitted with Motorola’s optional 68851 paged MMU, required for it to run Apple’s A/UX port of Unix with virtual memory support. Strangely, Apple’s own MMU fitted in the standard Mac II didn’t support virtual memory. Its 68020 CPU was also the first in Macs to use 32 bits rather than the 16 of the original 68000.

AIM PowerPC

When introduced in 1994, the first Power Macs came with PowerPC 601 or 601+ CPUs running at frequencies up to 110 MHz, nearly 14 times faster than the original Mac 128K. Just over a decade later, the last Power Mac G5 raised that to dual two-core CPUs at 2,500 MHz, more than 20 times the clock frequency, and the previous model had offered dual 2,700 MHz CPUs.

PowerPCs had their origins in IBM’s high-end POWER architecture based on a reduced instruction set (RISC) intended to be run at higher frequencies. Initially, these CPUs used a 32-bit design, but progressed to 64 bits. Not only do they have integrated floating point units that were extended for Apple, but later models include AltiVec vector processing for single-precision floating point and integer operations.

High CPU frequencies bring higher power consumption and heat output. A dual-core G5 with a PowerPC 970MP CPU used a maximum of 100 W at 2,000 MHz, and some of the last G5 Macs used liquid cooling to cope with the heat generated at higher frequencies. Those didn’t prove long-lived, with coolant leaks a common and fatal failing.

Intel x86

In early 2006 Apple started releasing its new range of Macs using Intel CPUs. With the exception of a base model of Mac mini, those came with 2-core Core Duo processors running at up to 2 GHz, and were soon followed by the first Mac Pros featuring two 64-bit 2-core Xeon 5100 CPUs (Woodcrest) at up to 3 GHz. By the following year, the first 8-core Mac Pro was available.

Earlier increases in CPU frequency gradually petered out. The last Intel Mac Pro was available with cores running at 2.5-3.5 GHz, boosted to a maximum of up to 4.4 GHz. Instead, high-end models offered as many as 28 cores and drew power up to 900 W. More typical of late desktop Macs were Intel Core i9 CPUs with 6-8 cores at similar frequencies. Adding more processor cores has been an effective way to run more code at the same time. Tasks are divided into threads that can run relatively independently of one another. Those threads can then be distributed across several CPU cores.

Rising power consumption and heat output were becoming even more of a problem in MacBook Pro models.

Apple Arm

Well before Apple had joined IBM and Motorola in the AIM alliance, it had co-founded the company based in Cambridge, England, that was to become ARM (for Acorn RISC Machines). Its RISC processor was used in Apple’s Newton MessagePad of 1993, and in 2010 Apple released its first iPhone and iPad designed around a single-core 32-bit Arm CPU running at a cool and economical 1 GHz.

From before macOS Mojave in 2018, Apple was preparing for its next migration, to its own integrated Systems on a Chip (SoC), starting with the M1 in 2020. The first iPhone to incorporate two CPU core types was the iPhone 7 of 2016, in its A10 Fusion SoC. Rather than simply adding more cores, Apple had adopted the Arm big.LITTLE architecture, in which background threads are run on slower, more efficient CPU cores, and higher priority user processes run on faster, more performant cores.

The first two families of M1 and M2 chips have cores grouped in clusters of no more than 4, but Apple increased cluster size to 6 in the M3 and M4. While the M1 family consists of two designs, one for the base variant, and the second for both Pro and Max, and doubled in the Ultra, M3 and M4 families have distinct designs for their Pro and Max variants. For the M4, this offers a full range from 8 to 16 cores in total, with an anticipated Ultra extending to 32. In addition to CPU cores with built-in vector processing (NEON), these chips incorporate specialist co-processors such as a neural engine and a proprietary matrix co-processor, AMX.

Performance (‘big’) cores have increased in maximum frequency, from 3.2 GHz in the M1 to 4.5 GHz in the M4 four years later.

Trends

The period 1984-2007 was dominated by increasing CPU frequency, as demonstrated in the two charts below.

This chart uses a conventional linear Y axis to demonstrate that frequency rose rapidly during the decade from 1997. As the form of this curve is S-shaped, the chart below shows the same data with a logarithmic Y axis.

Since about 2007, Macs haven’t seen substantial frequency increases. Many factors limit the maximum frequency that a processor can run at, including its physical dimensions, but among the most significant in practical terms are its power requirements and heat output, hence its need for cooling. Thus, the period 2005-2017 became dominated by increasing core count.

This chart shows how the number of processors and cores inside Macs didn’t start rising until around 2005, just as frequencies were topping out. Thus, many of the CPU performance improvements from 2007 onwards have been the result of providing more cores. But there’s a practical limit as to how many of those cores will get used, which is where processing more data becomes important, as it has from 1998 onwards.

It’s remarkable how much of Mac OS has survived if not flourished over those 40 years that our Macs have gone from a pedestrian Motorola 68000 processor to the 12 performance cores capable of 4.5 GHz in an M4 Max chip.

Those living in the country succeeded largely by self-help. Many skills were common knowledge, augmented by advice and help from the more experienced. If your roof was leaky, then you didn’t normally call in a roofing specialist, but repaired it yourself with the aid of family and friends.

It’s unlikely that the people working on the thatched roof of James Ward’s Overshot Mill (1802-1807) were specialist thatchers, whose services could only be afforded by the more wealthy.

Most tools were simple in design and construction, and rustic. Sharpening the blade of a heavy scythe used for mowing was performed by beating it with a hammer, as shown in Léon Augustin Lhermitte’s painting of The Haymakers from 1887. Finer blades were normally brought to a keen edge using a whetstone.

Working in iron and other metals required not only specialist skills but equipment possessed by the local blacksmith, who made and fitted shoes on horses, put rims on wooden wheels, and fashioned iron hinges for doors.

Francisco Goya’s Forge from 1817 is a superb depiction of the physically demanding work of the blacksmith. Its extensive use of black is also a herald of the Black Period to come in Goya’s paintings at the end of that decade.

These had changed little in the latter years of the nineteenth century, as seen in Alfred Sisley’s Forge at Marly-le-Roi from 1875, although a little more light is being cast in through its glass window.

Ernst Josephson’s Spanish Blacksmiths from 1882 shows a smith in the shredded remains of his white shirt, and his ‘striker’ to the right in his black waistcoat, with a horseshoe hanging below the roof of their forge in Seville.

Döme Skuteczky’s painting In the Smithy from 1897 shows another smithy, this time in Slovakia.

With the industrial revolution, hammers grew too large to be wielded by a man, and relied on first water- then steam-power. Joseph Wright of Derby’s An Iron Forge (1772) is one of his series of faithful portrayals of the small-scale technological advances of the day. It shows a group of workers forging a white-hot iron casting, using a tilt-hammer powered by a water-wheel. Also present is the wife and children of the iron-founder, stressing the family nature of these small forges at the time.

Not all metal-working was heavy and large-scale. Jean-Eugène Buland uses his Naturalist style to depict The Tinker (1908), who repaired damaged pots, pans, and domestic metal objects in a cottage industry that predated the Industrial Revolution.

With the Age of Enlightenment, former associations of butterflies became obscure, and they were most often included in increasingly faithful paintings of natural history.

Painted in 1804, Johann Amandus Winck’s magnificent still life of Flowers and Fruits on a Stone Ledge with Butterflies and Mice makes good use of two butterflies, a housefly (perhaps a vanitas reference), a mouse and a snail.

For William Holman Hunt, in his Our English Coasts, 1852, native species of butterfly were a symbol of the British countryside. Composed from several passages from different motifs, it was assembled in a similar way to the Pre-Raphaelites’ figurative works. Hunt went to great lengths to work from nature: the peacock butterflies at the lower left were one of the last details to be completed, and were painted from a single live specimen the artist examined indoors after the rest of the painting was all but complete.

One of the few paintings that captures the experience of dense clouds of butterflies is Gustave Doré’s Summer from about 1860-70. Set in what appears to be an upland or alpine meadow, its butterflies look like large flowers that have taken to the air.

In Charles Edward Perugini’s undated Ephemeral Joy, a young woman who has been picking flowers in a garden pauses with a brimstone butterfly on the back of her hand. This species was seen as quintessentially British, although it’s widespread throughout Europe, Asia and North Africa.

Although numerous paintings of butterflies had been made from dead specimens, some of the earliest to attempt to show them in realistic environments appeared in the late nineteenth century, thanks to new wildlife artists like the masterly Bruno Liljefors. Redstarts and Butterflies, from 1885, shows what the artist called ‘five studies in one frame’, five separate studies from nature combined into a single image, including this very dark small tortoiseshell butterfly, which is about to become a meal for one of the insectivorous redstarts.

Late in his career, Vincent van Gogh painted the largest European species of moth, the giant peacock moth, in 1889. Its wingspan can reach 20 cm (8 inches).

The following year, van Gogh painted Butterflies and Poppies (1890), showing what are probably two clouded yellow butterflies rather than brimstones. This appears to have been painted on unprimed canvas.

The Japanese Western-style artist Fujishima Takeji 藤島武二 painted Butterflies in 1904, just before he travelled to Paris to study at the École des Beaux-Arts. Like Doré’s painting above, this shows a dense cloud of butterflies gathering around flowers.

In the twentieth century, butterflies provided an opportunity for artistic invention to take flight. Odilon Redon’s Butterflies, from around 1910, shows a highly imaginative collection of butterflies, flowers, plants, and rocks, many being outlined to emphasise their form.

In Anastasiya Markovich’s recent Effect of Butterfly, the insect’s wings are breaking up into shreds of unreality.

My final painting of this selection is in many ways the most fascinating, based on scenes from one of William Shakespeare’s plays set in faerie style by Richard Dadd during his confinement in London’s Bethlem hospital for the mentally ill.

Dadd’s Contradiction: Oberon and Titania from 1854-8 develops his early faerie paintings into a new and unique style, and was painted for the hospital’s first resident Physician-Superintendent, William Charles Hood.

Dadd takes its theme from Shakespeare’s Midsummer Night’s Dream, and there’s hardly a square millimetre of canvas into which he hasn’t squeezed yet another curious detail. Like other great imaginative painters such as Bosch before, Dadd’s dense details dart about in scale: there are tiny figures next to huge leaves and butterflies, and towards the top of this tondo these distortions of scale generate an exaggerated feeling of perspective.

The contradiction of the title refers to the battle of wills between Oberon and Titania centred on an Indian boy. Titania, inevitably somewhat masculine, stands just to the right of centre, the boy bearing her skirts. To the left of centre is the bearded figure of Oberon, an elfin lad holding him back by his right arm. At the right are Helena and Demetrius whose love remains unrequited despite Helena’s efforts. Beyond those central figures is an overwhelming mass of detail, miniature scenes and stories involving hundreds of extras, flowers (including the ‘Morning Glory’ convulvulus at the feet of Titania), leaves, an ornate swallowtail butterfly, a floating jade egg, fungi, and far more.

I think that’s the best place to end.

I hope that you enjoyed Saturday’s Mac Riddles, episode 282. Here are my solutions to them.

1: Scrambled coach or underwater vessel came with the first iMac.

Click for a solution

USB

Scrambled coach (‘bus’ rearranged) or underwater vessel (‘sub’ rearranged) came with the first iMac (it was first introduced with the original iMac in 1998).

2: Burning telegraph was best with DV cameras but couldn’t compete with 1.

Click for a solution

FireWire

Burning (fire) telegraph (wire) was best with DV cameras (it was standard with most of them) but couldn’t compete with 1 (Macs abandoned it in favour of USB and Thunderbolt).

3: Could sound seedy or sexy, so it was terminated by 2000.

Click for a solution

SCSI

Could sound seedy (it’s pronounced the same as the word ‘scuzzy’) or sexy (it had originally been intended to be pronounced like that), so it was terminated (one of the bugbears with SCSI is using its special bus terminators) by 2000 (Apple discontinued support in 1999).

The common factor

Click for a solution

In their day, they were each high-speed external interfaces for Macs.

I look forward to your putting alternative cases.

Here are this weekend’s Mac riddles to entertain you through family time, shopping and recreation.

1: Scrambled coach or underwater vessel came with the first iMac.

2: Burning telegraph was best with DV cameras but couldn’t compete with 1.

3: Could sound seedy or sexy, so it was terminated by 2000.

To help you cross-check your solutions, or confuse you further, there’s a common factor between them.

I’ll post my solutions first thing on Monday morning.

Please don’t post your solutions as comments here: it spoils it for others.

Like most computers, Apple’s Macs have had five main types of port to allow them to be connected to external devices: low speed intended commonly for keyboards and other input devices, high speed often for connection to external storage, display, network, and audio. This brief history concentrates on the first of those.

The original 128K Macintosh launched in 1984 came with a good range of ports, including two RS-422 serial ports and a DB-19 supporting external floppy disk drives. It had separate mouse and keyboard ports, DE-8 and RJ-11 respectively. In 1986, Apple’s IIGS brought the first implementation of a new type of port, Apple Desktop Bus or ADB, that was introduced to the Mac SE and II the following year, replacing the original mouse and keyboard ports.

ADB

At the time, ADB was unique to Apple’s computers, although it was later adopted by NeXT. This uses a 4-pin mini-DIN connector to hook up a daisy-chain of peripherals. The theoretical maximum speed of ADB is 125 Kb/s, although around 62 Kb/s was closer to that experienced in practice. Among these ADB devices came dongles, used to enforce software copy-protection. Devices on an ADB chain each have an address, defaulting to $2 for keyboards, and $3 for mice.

This is ADB Parser, analysing its traffic. Note both Keyboard and Ext. Keyboard initially shared the original address of 02, and the Mouse has 03.

Perhaps the greatest shortcoming of ADB was that it wasn’t intended to be hot-swappable, and the Mac was supposed to be shut down before any changes were made to its connected ADB devices. Although many of us ignored that, it was at our peril. Occasionally, hot-swapping ADB devices fried a fuse that was soldered into the motherboard; although there was a workaround, for most that required a trip to the local authorised Apple dealer and a replacement motherboard, at considerable expense.

ADB and serial ports underwent the transition from Motorola 68K processors to the PowerPC in 1994, and it was another four years before their replacement came, in USB 1.

USB

The first iMac, released in 1998, was also the first Mac without an ADB port, and came with two USB ports for its mouse, keyboard and other peripherals. The first version of USB had only been introduced in 1996, and brought with it new USB-A connectors, although those were initially complicated by a different USB-B format on printers.

The move to USB opened up many new possibilities for external devices including storage, and hubs quickly became needed to support the profusion. Performance was also greatly improved over ADB, leaping from 62 Kb/s to 12 Mb/s at what was appropriately known as Full Speed. That improved again when USB 2.0 (released in 2000) appeared in the 15-inch iMac, iBook and PowerBook G4, and Power Mac G5 of 2003. These reached 480 Mb/s in what was justifiably called High Speed.

Apple System Profiler here shows five USB devices, each with its own driver, connected to a hub. These include a third-party mouse, and a USB-to-serial adaptor.

Third-party mice and other input devices thrived with USB, although driver support was variable. This is a Microsoft IntelliPoint mouse that was popular.

USB was far more complex than ADB, as seen here in ADB Prober. This is a selection of the data in a basic powered USB hub. One of the lasting mysteries was why some peripherals worked more reliably when connected to powered hubs, while others didn’t work at all unless connected direct to a port on the Mac.

USB continued to develop, and with it a profusion of different plug and socket formats. Several different Mini and Micro versions came to fill our drawers and boxes with their cables and adaptors. By the time of USB 3.0 and its 5 Gb/s SuperSpeed and USB-C format, we were all hoping for a reprieve and the return of simplicity. Those hopes were dashed with USB 3.1 in 2013, and its Gen 1 and Gen 2 with their confusion of different terms.

Bluetooth

The last transition for input devices was to do away with cables (almost) altogether, and in 2017 Apple dropped its last models of wired mice and keyboards. At first their wireless replacements required USB-A ports for their charging cables, and have most recently switched to USB-C. Bluetooth had its origins in 1999-2001 in headsets and mobile phones, and by the time our input devices had gone wireless they were achieving data rates upwards of 1 Mb/s over a short range. Few of us now rely on ports and cables to support our keyboards, mice and trackpads.

Wikipedia

ADB
USB

Markets rose to become an important feature of many towns during the Middle Ages. Initially they provided the opportunity for farmers with excess to trade that for other produce or money, and for trades like bakers to ensure their supply of flour. By 1600, many across Europe were strictly regulated to prevent the involvement of intermediary traders, speculation and hoarding. In some, bells were rung to mark the start and end of trading, and doing deals outside that period was punishable by substantial fines. Both parties involved, producers and consumers, were keen to deal directly.

As some farms increased production to generate regular income from sales at market, samples of grain were brought for the buyer to inspect, and in larger towns and cities markets came to specialise in classes of produce, such as grain, fruit and vegetables, or meat. By the start of the nineteenth century, local laws and rules were relaxed to allow middlemen, dealers, who quickly became merchants, and often richer than either producer or consumer.

Smaller markets in towns remained more traditional, but most produce was then traded by increasingly affluent merchants in cities. In some European countries, the businesses of some merchants grew to enormous size, controlling commodity markets during the twentieth century.

Constant Troyon’s magnificent On the Way to Market from 1859 shows a couple driving their few cattle and a flock of sheep, with wicker panniers being used to transport young lambs. Judging by the trees, this is set in the autumn, when their livestock were in peak condition.

Petrus van Schendel’s Market by Candlelight from 1865 shows a town market in the late afternoon when the nights had drawn in. This young woman is selling small quantities of fruit and vegetables, probably from the family farm.

Smaller local markets were also dominated by seasonal produce. Léon Lhermitte brought this scene of an Apple Market, Landerneau, Brittany (c 1878) to life with his detailed realism. With a cart on the move in the background, and sellers ready with their scales, it shows the small-scale bustle of an otherwise quiet country town. Precious few men are in sight as these farmers’ wives sell small quantities of their fruit to locals.

Lhermitte’s later pastel of the Vegetable Market in St-Malo (1893) shows a wider range of farm produce, again largely being traded between women. Arcades like this were common alongside indoor markets selling anything from fish to crockery.

By this time, large cities such as Paris had famous markets.

This painting by Léon Lhermitte of Les Halles in 1895 shows the central market in Paris, described so well by Émile Zola in his novel Le Ventre de Paris (The Belly of Paris, 1873). This market is thought to have been founded in the eleventh century, and moved indoors into its halls in 1183. It grew steadily in size and importance as the main food market for Paris, and was housed in glass and iron in the 1850s. Most of its markets moved away in 1969, and the remains were demolished during the 1970s.

Larger markets gained their own indoor areas where regular traders could establish permanent stalls.

Harold Gilman’s oil painting of Leeds Market, from about 1913, shows an everyday view of one of England’s northern cities. This building had only been constructed in 1901-04, and housed the fruit and vegetable stalls next to a grand central hall. This was a far cry from markets of just a few decades earlier, let alone those of the seventeenth century.

I hope that you enjoyed Saturday’s Mac Riddles, episode 281. Here are my solutions to them.

1: Second major version in 20 years came from the south near Carmel.

Click for a solution

Big Sur

Second major version in 20 years (it was the first increment to the Mac OS version number since Mac OS X 10.0) came from the south (Spanish ‘sur’) near Carmel (Big Sur is a section of rugged coast near Carmel, California).

2: Last stand for 32 is the desert with the valley of death.

Click for a solution

Mojave

Last stand for 32 (it’s the last version of macOS to support 32-bit code) is the desert (it’s one of the major deserts in North America) with the valley of death (it’s where Death Valley is located).

3: Fastest and first of ten sounds like a fraudster.

Click for a solution

Cheetah

Fastest (it’s the fastest land animal) and first of ten (first version of Mac OS X) sounds like a fraudster (a cheater).

The common factor

Click for a solution

They were each prominent versions of Mac OS X and later.

I look forward to your putting alternative cases.

Here are this weekend’s Mac riddles to entertain you through family time, shopping and recreation.

1: Second major version in 20 years came from the south near Carmel.

2: Last stand for 32 is the desert with the valley of death.

3: Fastest and first of ten sounds like a fraudster.

To help you cross-check your solutions, or confuse you further, there’s a common factor between them.

I’ll post my solutions first thing on Monday morning.

Please don’t post your solutions as comments here: it spoils it for others.

For the first 15 years of Classic Mac OS, right up to Mac OS 9 in 1999, Macs remained fundamentally single-user, and privacy wasn’t an issue of much concern. In those halcyon years of desktop publishing and HyperCard, users were more excited by opening information up than keeping it private, and the internet was in its infancy. It was Mac OS 9 that first integrated multiple user accounts and started to secure information using keychains.

Mac OS X brought the first full multi-user operating system to the Mac, but as internet connections became increasingly common and lasting, little attention was paid to privacy. By 2011, the Privacy tab in Security & Privacy, then in System Preferences, contained just three items: Location Services, Contacts, and Diagnostics & Usage. While privacy features developed elsewhere, for the sake of simplicity I’ll here focus on that pane in System Preferences, and its successor in System Settings.

Four years later, in OS X 10.10 Yosemite (2015) and still in 10.12 Sierra (2017), those three items had grown to eight, with the addition of Calendars, Reminders, Accessibility, and two social media platforms, Twitter and Facebook.

Then at WWDC in 2018, Apple revealed its new privacy architecture, putting it at the forefront in macOS 10.14 Mojave, and eventually reversing the order to Privacy & Security.

Mojave protected information in the following 15 categories:

• Location Services,
• Contacts (address books),
• Calendars,
• Reminders,
• Photos (Photos libraries),
• Mail,
• Messages,
• Safari browsing history,
• HTTP cookies,
• Call history (iOS),
• Time Machine backups,
• iTunes backups,
• camera input,
• audio input through the built-in microphone,
• automation (AppleScript and others).

Its new protection system was dubbed TCC, for Transparency Consent and Control, and has since become prominent in the nightmares of developers, those who support Macs and many who use them. At its worst, it crashes apps that don’t comply with its rules, as shown in the diagram below for macOS 10.14.

Various classes of protected data are shown at the left, those in red being covered explicitly in Privacy controls. The first step was to determine whether the app trying to access protected data was signed by Apple: if it was, access was determined by private controls, and sometimes regular controls as well.

Apps developed by third parties were checked to see whether they already had access to that particular class of protected data according to Privacy settings. If they had, access was then granted without further dialogs. Note that the effect of adding an app to the Full Disk Access list was to give it access to all protected data, but not services or hardware, without any further consent being sought.

If they hadn’t already been given access, the next check was to see which version of the SDK they were built against. If they were built against 10.13 or earlier, then Mojave didn’t expect them to have support such as usage information, so it should have displayed a dialog inviting consent to the requested access. That would normally only contain the standard text information.

If consent was given, then that app was added to the appropriate class in Privacy settings; if it was declined, then it was denied access, but wasn’t put on any blacklist, so consent could still be given on another occasion.

If the app was built against the 10.14 SDK, then stricter rules were applied. It was then required to have a usage statement for the class of data it was trying to access, where that was in the class-specific list at the top, or a protected device or service. If the app didn’t provide the appropriate usage statement, TCC considered the request to access protected data was unintended, and crashed the app as an ‘unexpected quit’.

If the app did contain a usage statement appropriate for that class of protected data, then Mojave displayed the consent dialog, this time containing the text from that usage statement as well. If consent was then given, the app would be added to the list in Privacy.

Since Mojave, TCC has been a fertile source of vulnerabilities for third-party researchers to discover, and the malicious to exploit. Three were reported shortly after the initial release of 10.14. Two, discovered by Patrick Wardle and Jeff Johnson, weren’t disclosed, to allow Apple to address them, and the third, in ssh, wasn’t so much a vulnerability as a feature that could be exploited.

Each successive major version of macOS has added further to that list from Mojave. Catalina (10.15, 2019) added new locations that required user intent or consent to access, including:

• ~/Desktop, widely used for active documents
• ~/Documents, main document storage
• ~/Downloads, the default location for downloaded files
• iCloud Drive, now widely used for shared working documents
• third-party cloud storage, if used
• removable volumes
• network volumes.

This is one of the late Security & Privacy panes from macOS Catalina in 2019.

By the time that macOS 13 Ventura was released in 2022, its shiny new Privacy & Security section in System Settings listed 20 categories. Some, like Full Disk Access and Files and Folders, overlapped, while others like Accessibility appeared to have been misnamed. Controls provided varied between different categories, and many users dreaded having to tinker with them.

At this rate of growth, Privacy will soon have its own app alongside System Settings.

One important staple crop has been largely forgotten from both agricultural and rural history: the humble potato. First imported from South America to Europe in the latter half of the sixteenth century, for the first couple of centuries it was considered exotic eating. It quietly became increasingly important during the eighteenth century, and is now widely credited as the food that enabled the population boom in much of Europe in the nineteenth century.

For several years from 1845, a fungus-like organism late blight caused widespread crop failure in the poorer parts of Ireland, Scotland and elsewhere, causing the Great Irish Famine, with at least a million dying from starvation.

The potato is unusual for storing large amounts of starch in its tuber. Although starch is only about one fifth of the potato by weight, the remainder being water, it came be the staple food for much of the working population, in both country and city. Overton has calculated using estimated crop yields from the early nineteenth century that an acre of potatoes would have provided about 2.5 times as many calories as an acre of wheat.

Like wheat, growing potatoes is a process of amplification. Tubers from the previous crop are sown in the ground, and multiply to yield many times the weight originally sown. Production is thus not dependent on conventional seed, but on seed potatoes with a more limited life. If a whole crop is destroyed by blight, not only is there nothing to eat that year, but the seed potatoes for the following year are also lost. Blight remains in the soil, and once affected that land has to be used for crops other than potatoes.

However, potatoes had other advantages in a war-torn and taxed Europe. While troops rampaging in foreign countryside would often raid or burn fields of grain, damaging or stealing potatoes proved more resistant to invaders. They were also likely to escape taxes or charges levied on other arable crops.

During the eighteenth century, labourers fortunate enough to have a little land they could farm for themselves started to grow potatoes, to supplement their limited diet. Small potato patches sprung up in the countryside, and around towns. Production at scale remained unusual until the following century, when some English counties including Lancashire and Middlesex devoted significant areas to supply the growing cities. That in turn depended on transport such as canals and then railways to deliver sacks of potatoes to urban consumers.

When Vincent van Gogh was living in Borinage in Belgium, he was among labourers whose staple food was potatoes, in one of the areas that had grown them for longer than most. His Still Life with Potatoes, painted in September 1885, is his tribute to the humble vegetable.

Potato production was painted extensively by social realists including Jean-François Millet, in the middle of the nineteenth century.

Millet shows this back-breaking work in his Potato Planters from about 1861.

The Potato Harvest from 1855 is another more substantial work developed from Millet’s drawings. In the foreground, a man and woman are working together to fill sacks with the harvested potatoes, to be loaded onto the wagon behind them. The other four work as a team to lift the potatoes using forks and transfer them into wicker baskets, a gruelling task. Although the fields in the left distance are lit by sunshine, the dark scud-clouds of a heavy shower fill the sky at the right. Being poor, none of the workers has any wet-weather gear. The soil is also poor, full of stones, and yields would have been low despite the full sacks shown at the right.

Millet’s most famous single work, The Angelus, was completed around 1857-59. This had been commissioned by the American collector Thomas Gold Appleton, as Prayer for the Potato Crop, but underwent modification before Millet renamed it. At some stage, it’s thought to have included a child’s coffin, but that was overpainted.

It shows a couple, praying the Angelus devotion normally said at six o’clock in the evening, over the potatoes they have been harvesting. It’s dusk, and as the last light of the day fades in the sky, the bell in the distant church is ringing to mark the end of work, and the start of the evening. Next to the man is the fork he has been using to lift potatoes from the poor, stony soil; his wife has been collecting them in a wicker basket, now resting at her feet. Behind them is a basic wheelbarrow with a couple of sacks of potatoes on it, ready to be taken home.

Twenty years later, Jules Bastien-Lepage painted what’s now sometimes known as October or Potato Gatherers (1878), but was originally shown as October: Potato Gatherers.

Vincent van Gogh painted Woman Lifting Potatoes (1885) and similar scenes during his time living with his parents in Nuenen, in North Brabant, the Netherlands.

János Pentelei Molnár’s The Potato Harvest from 1901 takes this theme into the early years of the twentieth century, in Hungary.

Laurits Andersen Ring’s A Man Digging Potatoes from 1901 is pure social realism, as this smallholder uses his spade to lift the potatoes that are his staple diet. I believe that the plants shown here have suffered from potato blight, which also swept Europe periodically causing more famine and death.

Although the girls shown in Léon Frédéric’s Three Sisters from 1896 are clean and well dressed, they’re sat together peeling their staple diet of potatoes in a plain and barren farmhouse. A glimpse of the shoes of the girl at the left confirms that they’re neither destitute nor affluent.

Vincent van Gogh’s The Potato Eaters (1885) is another revealing insight into the lives of poor labourers in Nuenen, who are about to feast on a large dish of potatoes under the light of an oil lamp.

Émile Friant’s The Frugal Meal (1894) continues the social theme, as a poor family with four daughters sits down to a meal consisting of a bowl piled high with potatoes, and nothing else. More worryingly, the pot on the floor at the left is empty.

Further reading

Christopher Shepherd’s brilliant essay on the history of the potato in The Oxford Handbook of Agricultural History (2024), ed. Jeannie Whayne, Oxford UP, ISBN 978 0 19 092416 4.

I hope that you enjoyed Saturday’s Mac Riddles, episode 280. Here are my solutions to them.

1: Third prime should run at twice three or four, and four times two.

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(Thunderbolt) 5

Third prime (5) should run at twice three or four (Thunderbolt 5 should deliver 80 Gb/s speed, twice that of TB3 or TB4), and four times two (and four times that of TB2).

2: The third of XV brought AI for some.

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(macOS) 15.1

The third (version of macOS 15, which is shipping in last week’s new M4 Macs) of XV (macOS 15) brought AI for some (it did).

3: If E > P and E + P = GPU what does E equal?

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6

If E > P (6 > 4) and E + P = GPU (Macs with the full base M4 chip have 10-core GPUs) what does E equal? (6, the number of E cores in the full base M4 chip.)

The common factor

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They are properties of the new M4 Macs announced last week.

I look forward to your putting alternative cases.