“To give Trump his due, he recognized a moment when a lot of Americans under pressure, feeling menaced by modernity, were ready to reconnect with their inner reptile: there’s nothing new about mass popular delusions or the madness of crowds. He has reminded us, at a time of shifting global power, that the world is a dangerous place. Underused assets bother Trump; that’s troubling when it comes to nukes. He has put truth in its place, elevating the lie to the center of political discourse, no small feat.”
“I watch Groundhog Day in the same way some people read the Bible. I have stated before that movies helped raise me; in many ways, they became my religion, the tapestry of images I used to understand my world. And Groundhog Day is my spiritual guide above all.”
“When wireless is perfectly applied the whole earth will be converted into a huge brain, which in fact it is, all things being particles of a real and rhythmic whole. We shall be able to communicate with one another instantly, irrespective of distance. Not only this, but through television and telephony we shall see and hear one another as perfectly as though we were face to face, despite intervening distances of thousands of miles; and the instruments through which we shall be able to do his will be amazingly simple compared with our present telephone. A man will be able to carry one in his vest pocket.”
It has been more than seven years now since Google released the first version of Android to the public. Despite numerous versions of Android being released since then and Wi-Fi technology and routers themselves improving, every version of Android is affected with some Wi-Fi related issues. Android 7.0 and 7.1 Nougat are no different here and show some of the same Wi-Fi issues that were found in the previous version of Android.
Continue reading →
Voilà un mois que le livre est sorti en librairies, et c’est l’occasion d’avoir une belle brochette de bonnes nouvelles.
La grosse actu, c’est qu’en tout juste un mois, les stocks sont quasiment vides et les ventes ne faiblissent pas ! Cela justifie qu’un 2eme tirage vient d’être lancé ! Certains lecteurs ont été perturbés par la présence de ligatures (petits traits entre le “s” et le “t” ou le “c” et le “t” par exemple). Du coup, le nouveau tirage sera sans ligatures ! Les amateurs de ligatures sont encouragés à se précipiter sur le premier tirage
On peut le commander Surveillance:// chez Amazon même s’il est listé “en rupture de stock” (c’est faux) mais on ne peut pas le commander du tout à la FNAC (je ne sais pas pourquoi). Commandez-le plutôt chez votre libraire de quartier, lequel a besoin de vivre, ou directement chez l’éditeur.
Autre bonne nouvelle, qui participe aux bonnes ventes, c’est que la couverture presse est incroyable ! J’essaye de tenir ça à jour sur la page Surveillance:// du blog, mais c’est pas facile. Voici ce que j’ai pour l’instant, blogs compris :
France Culture : Surveillance sur le web : comment retrouver le pouvoir d’agir. “c’est l’un des principaux enseignements de l’affaire Snowden, souligne Nitot, le profilage des internautes fait par des sociétés privées pour de la publicité ciblée rend économiquement possible la surveillance de masse par les Etats. S’ils veulent le faire, ils n’ont qu’à aller voir ces données collectées.” ;
Le blog de Takopix : Surveillance:// de Tristan Nitot. “ce livre est très bien ! (…) il est indispensable pour les personnes qui commencent à se poser des questions sur (…) la surveillance”. ;
Le blog d’Aymeric Lagier : Retours sur le livre surveillance:// de Tristan Nitot. Le livre “peut être lu et être utile aussi bien à un ingénieur en informatique qu’à une mère au foyer. Il n’est pas extrémiste, c’est à dire que le but n’est pas d’empêcher complétement la collecte des données et donc de se priver d’un outils formidable qu’est internet mais de prendre conscience et reprendre le contrôle” ;
J’imagine que vous détestez les DRM autant que moi, et je suis ravi de constater que le livre, même sans DRM, se vent bien, démonstration que l’absence de DRM ne nuit pas aux ventes \o/ (on le savait, mais ça fait toujours du bien de le démontrer). Attention : certains fournisseurs rajoutent des DRM (les fourbes !) là où il n’y en a pas à l’origine. Voir la partie DRM de la page du livre Surveillance:// où j’explique tout ça ;
Alors, avec toutes ces ventes, bientôt riche ? Bah non. D’abord, le travail d’écriture ne nourrit qu’une poignée d’auteurs, et avec un premier livre, sur un tel sujet, cela ne m’a jamais effleuré. En plus, très tôt dans le processus d’écriture, j’ai décidé, sans le dire à personne (ou presque que l’essentiel de mon avance sur droits d’auteur ira à une association que je soutiens depuis longtemps, la Quadrature du Net. Vivement mes premiers brouzoufs d’auteur, que je leur envoie un chèque aussi grassouillet que possible, d’autant que c’est le moment idéal pour donner !!!
It’s been a real struggle for me to talk about Donald Trump.
No, not because he’s an extremely unpleasant subject. I mean, that, sure. Though to be honest I’ve been talking about him a lot in various places. I wish I could ignore him – and the whole damn election – entirely, but this is not how I cope. Or my coping mechanism of choice isn’t altogether a healthy one, and it is to become totally and utterly obsessed.
Don’t ask me what my curated news feed largely consists of. Don’t ask me how many political podcasts I currently follow. Don’t ask me how frequently I check FiveThirtyEight, and how much emotional weight I attach to numbers which are, after all, not objective but instead mediated through and interpreted by human beings. The point is that I’m obsessed, which means that I’m immersed in the way you and I and we all talk about Donald J. Trump.
‘scuse me a sec.
*MUFFLED SCREAMING*
Okay. Anyway.
Something I’ve noticed we do especially much is talk about his mental health. This has been done in a serious, concerted way – attempts to “diagnose” him, usually though not always on the part of people who have received no mental health training in their lives, not that that’s the only thing that matters – but more often in a casual, offhand way – Trump is “insane”. “Nuts”. “Delusional”. “Crazy”. So are his adherents. We’re at a loss to explain the phenomenon that is Donald Trump, at least in any rational way, so we turn to the discourse of mental illness. In order to account for his existence and its nature, we medicalize him.
This is a problem, and the problem is twofold.
Firstly – and this is actually what I intended the sole focus of this piece to be – it’s ableist as hell. Taking someone like Trump, with his cruelty, his arrogance, his racism and xenophobia and misogyny, and making use of mental illness to explain it, connects mental illness with all of those things, which isn’t merely wrong and bad but dangerous. It’s part of a larger discourse that works to demonize people with mental illness, to present them as potentially dangerous. Because Trump is dangerous, and is frequently and explicitly referred to as such (and I wouldn’t for a moment disagree). Recall the ways in which we tend to explain rampage shooters with mental illness rather than things like toxic masculinity. It also constructs people with mental illness as fundamentally irrational to a hopeless extent; these people can’t be reasoned with, can’t be reached.
Talking about someone like that dehumanizes them in a way we reeeeeeally don’t want to do. Because when someone can’t be reasoned with, a central element of their humanity is denied. It’s not a tremendous number of steps from that to some very ugly things.
This is especially ironic, because this way of speaking about mental illness is supposed to be kinder and more humane. But I’d argue that it ultimately has the opposite effect. With only a few exceptions, I haven’t seen this way of framing Trump elicit much sympathy for or desire to help him. It hasn’t humanized him. It’s served to remove him from those of us who are describing him in these terms, to draw hard lines between us and him. He isn’t like us. We’re better. We’re more rational. We’re sane. By extension, we’re better than everyone who likes him and/or is prepared to vote for him.
(I’m not sane, by the bye. Another thing you should not ask me about is all my medication. I’m on a lot of medication. No, it’s frankly not helping much with this.)
We’re also allegedly smarter. Intelligence is a thing. Trump is an idiot. He’s stupid. He’s a moron. I thankfully haven’t seen anyone call him “retarded” but in spite of my obsession I have largely remained in my little safe space with my safe people, and I know it’s being done. His people are the same. They’re not just crazy, they’re dumb.
Bringing someone’s intelligence into the conversation and using it to dismiss and dehumanize them is just as ableist as calling them crazy. We do it all the time, without thinking – and that’s a huge part of the problem.
I do it. I really try not to, but it’s deeply ingrained, so it happens anyway. Plus, yeah, it feels good. In a nasty way, but it does. It feels good to be superior – or to think you are.
Donald Trump frightens us. He confuses us. We don’t know what to do with him. So we try to explain him in medicalized, positivist terms that make us more comfortable, and we try to elevate ourselves above him and his Trumpians in order to feel a little better about everything.
But it’s not just that it’s ableist. It also doesn’t work. It isn’t sufficient or accurate, and we need to recognize that.
Using mental illness and/or intelligence to explain someone like Trump vastly oversimplifies the situation. It reduces it to those safe, comfortable terms. It requires no stretch on our part to understand the deeper complexities, because in spite of how many words people have spent on this, ultimately it’s dismissive – as I said above – and in dismissing someone or something, you absolve yourself of any greater responsibility to understand how they and the whole thing happened.
Again, it’s like writing off a rampage shooter as a “nutcase”. It means we don’t have to think about where that person actually came from and why they became who they became. We don’t have to think about the hideous effect of toxic masculinity on cisgender men who are raised in a fundamentally misogynist culture, and about how violence fits into the picture. That’s harder. It’s uncomfortable. Not least because it implicates us.
When we use mental illness to explain Donald Trump, among other things we don’t have to think about ideology. Mental illness discourse doesn’t allow us to think about ideology. But that’s only one thing among many.
When I was considering this the other day, it occurred to me that another form of discourse exists that does some of what mental illness discourse doesn’t. Once we explained (and a lot of us still do) things like this in terms of sin and evil. We used moral and ethical concepts that were grounded in spirituality, and the dominant forms of discourse largely abandoned this when we made the switch from one to the other, from believing that people with schizophrenia were possessed by demons to identifying them as suffering from an illness that could be scientifically treated as such.
Calling someone evil has the exact same dehumanizing effect I described above, only a lot more intense and a lot more direct. An evil person isn’t really a person anymore, at least not in the way that “good” people are. I personally think evil is a useful idea in some contexts, but even if that’s true, in this specific context its hazards are significant and whatever it does isn’t nearly sufficient to make up for mental illness discourse’s many shortcomings.
It’s also much too simple.
So how do we talk about Donald Trump, if very little of what we currently use is useful and is in fact harmful? From where do we get a different kind of discourse in order to describe Trumpishness? I honestly don’t know. I’m honestly not sure it can even be done. But I think we need to try, because we should strive not to harm people, and because as long as we’re failing in our attempts to articulate who Trump is and the social context that created the event that is his presidential campaign, and our place in all of it, we’re very poorly situated to do anything about it when it happens again.
And regardless of what goes down on Tuesday, you know it will happen again.
When trying to understand the strange and unhealthy direction our Province is heading, does this help?
First, Peter Ladner in Business In Vancouver, who commits the phrase “political corruption” to electronic form:
I have previously written about the baffling decisions to build the Site C dam and a 10-lane Massey tunnel replacement bridge. Site C, built with an exemption from scrutiny by the BC Utilities Commission, will lose money for 70 years, according to BC Hydro’s latest statements. It has wiped out the domestic B.C. clean energy industry, the biggest business opportunity of our time, while the government hugs the ghost of its failed LNG fossil-fuel dreams. The $3.5 billion Massey project is crashing ahead with scant consideration of the myriad other ways cross-Fraser River mobility could be improved for that price.
Why is our government so keen to see projects like these go ahead?
As we all do, they’re listening to their funders. IntegrityBC reports that almost 75% of Ministry of Transportation and Infrastructure contracts went to 52 companies that have collectively donated $1.2 million to the BC Liberal Party since 2005.
Then, Douglas Todd in Postmedia’s Vancouver Sun, who focuses on offshore money in BC politics, alongside local corporate money. He contrasts Australia’s current furor with BC’s seeming indifference:
Australia’s politicians are, in effect, finally facing censure for acting just like another outlier, the B.C. Liberal Party, which has also taken in millions of dollars from companies based in Europe, the U.S. and Asia. . .
. . . Despite international pro-democracy agencies warning against foreign political donations, the B.C. Liberals brazenly go their own way in Canada and rake in large donations from scores of companies rooted in China, Malaysia, the U.S., Dubai, Poland and Indonesia.
Here’s a new way to explain what “API” stands for: “a profit increase.”
Initial findings from groundbreaking research reveal that the amount of data that flows through an organization’s modern web APIs is positively and significantly associated with sales, net income, and market capitalization.
This shouldn’t come as a shock. Digital transactions, whether with Amazon or Netflix, Walgreens or the BBC, are powered by APIs. Visualizations by The Center for Global Enterprise enable us to literally see the scale of today’s public “API economy.”
But why have we been working with economists to create empirical quantitative benchmarks—and what does it mean to you?
Correlating digital leadership and competitive advantage
Our research agenda has always focused on helping our customers achieve more business impact, faster, while also accelerating growth of the overall API ecosystem.
We saw a need for new tools in the toolbox to drive change quickly as digital transformation was increasingly a priority in boardrooms and C-suites.
As recently as three years ago, simply meeting customer expectations for modern mobile apps motivated a lot of the interest in APIs at large companies.
While this was (and still is) important, we knew from our interactions with first-movers and visionaries that APIs were a vital part of bigger changes in business models.
So we invested in a program of survey research that did two things. It confirmed our hypothesis that companies with stronger digital capabilities were outperforming their weaker peers on business outcomes like revenue and profit. And it uncovered best practices for building and exploiting those capabilities.
We’ve since found ourselves in great company, with empirical research conducted by experts from the MIT Center for Digital Business and Harvard Business School also validating the connection between digital leadership and competitive advantage.
The time to sit on the sidelines is over
The days when a small, passionate mobile team might lack evidence to convince top management that APIs are more broadly relevant to competitiveness are behind us.
Today’s balance of risk is different. As boards and CEOs wrestle with digital transformation, the urgency of “getting in the game” of doing business with APIs might get lost in a larger change initiative that, for most, will take years to fully unfold.
We know from our customers that leaders learn by doing, accelerate growth by firing up an ecosystem, and discover more mash-up opportunities by having more APIs in play. Sitting on the sidelines leads to disadvantage, in both insight and assets.
Walgreens built their PhotoPrints API for their own app. Now more than 100 third-party apps generate revenue shared between Walgreens and its ecosystem. TicketMaster’s CTO describes the company’s API as growing over four years “from a $1MM/year business to a $1B/year business.” Some of our own engineers built an app that makes Philips Hue light bulbs and Uber better together, thanks to APIs.
Our research collaboration enabled Marshall and his team to map API usage data from the hundreds of billions of API calls that cross the Apigee cloud to financial information on public companies. Together we were able to benchmark the financial impact of APIs not at one or two or ten companies, but across more than 100. Getting great at creating and capturing value with APIs may absolutely entail all the organizational changes, large and small, subsumed under the phrase “digital transformation.” And that may entail a one- to three-year journey.
But data flow through modern web APIs is a key performance indicator (KPI) that cuts through all the complexity of organizational change to track progress toward a stronger bottom line. It is a lever for driving alignment and momentum.
API adoption leads to increased profitability in the short and long run.
The volume of data passing through a firm’s APIs predicts how much.
An open developer portal further enhances the gains from API adoption.
How was this research conducted?
Data from hundreds of billions of API calls that passed through Apigee’s cloud-based API management platform was married to financial data from public companies. The technical methods were an event study and “difference in difference.” In practical terms, this means firm performance was analyzed before and after API traffic and across firms with and without API traffic. All reporting is at an aggregated, anonymized level.
Why is this report full of a lot of complex math? Will there be further reports or slide presentations?
The core of this research is being conducted to a peer-reviewed standard. As we move forward, we will complement the rigorous econometrics at its foundation with practitioner interviews and content for business decisionmakers.
The report says: “For a firm of 13,500 employees, our preferred specification implies API adoption increases yearly net income by more that $250,000.” Why such a small number for such a large company?
This is the result of a regression analysis in which using APIs and the volume of data passing through those APIs predicts net income. In other words, as more data passes through APIs, the dollar figure will go up. For every firm, the dataset used in the analysis starts at the first month they have any API traffic at all. This point estimate reflects the average across periods when APIs' impact is undetectable (for example, the first month they launched) as well as periods where the impact is very large.
Why would data passing through APIs rather than API calls be associated with revenue and profit?
APIs may be designed to deliver larger or smaller payloads per call. But data is the bottom line as a measure of value exchange. It is a better measure of purchase, recommendations, or pieces of content moving between producers and consumers.
What’s next? Can I participate?
We will continue this analysis, conducting a survey, and conducting practitioner interviews, all with the goal of creating richer benchmarks to inform decision makers. Email the subject line “Participate” to institute@apigee.com to opt-in to receive more information. Or if you want to talk about it, let me know at bkirschner@apigee.com.
Good overview by Benjamin Mayo of all the Apple apps that will have Touch Bar integration on the new MacBook Pros. Apple certainly had the time to build extensive support for the new API while waiting for the new Pros to ship.
That’s a total of 23 Apple apps that live in the /Applications root folder with Touch Bar support as of the current macOS 10.12.1 build. The following apps have no Touch Bar integration as far as I could tell; App Store, Automator, Chess, Dashboard, Dictionary, DVD Player, Font Book, Image Capture, Photo Booth and Stickies. I expect all of Apple’s apps to flesh out their Touch Bar integrations in future macOS update.
According to a report from Business Insider, Slack CMO Bill Macaitis — who has been with the company since November 2014 — has quietly stepped down.
According to his LinkedIn, he stepped down in August 2016, and since September has been acting as an advisor to the $3.8 billion company and remains on its board of directors. “Bill continues to be closely engaged with Slack, and is also following a passion of his to mentor other high growth startups by serving as formal board members and advisor roles,” a Slack spokesperson told BI.
“Board and Advisor roles also give me a little more flexibility for time with the family while still allowing me to stay actively involved in the SaaS space which I love so much,” Macaitis said. “I have a deep passion for igniting and scaling growth at companies and it’s fun to mentor and guide other startups.”
Slack confirmed it has not yet replaced Macaitis. The change comes as Slack takes on major enterprises like Facebook and Microsoft, which recently announced their own Slack competitors. For its part, Slack published a full-page open letter in the New York Times welcoming the competition from Microsoft. Microsoft has referred to Slack as an “application du jour” that will fade away as Microsoft Teams grows.
Well, it’s certainly been an interesting week. For starters, this site had hundreds of thousands of unique visitors over the past few days (hundreds of gigabytes of traffic) converging upon my post on Elementary. But it being a Plan B wasn’t obvious to most people, so here’s what Plan A currently looks like – i.e., what my take on what a Pro machine ought to be.
Setting the scene, again
In a nutshell, I tested Elementary because I’m more concerned with upgrading my home desktop than my laptop, because for my current line of work all I need is essentially Docker, SSH, Visual Studio Code and Remote Desktop (the rest is all secondary) and because I prefer its looks over other Linux distributions (i.e., it’s where I need to do the least amount of tweaking to get a usable desktop).
I also need to have something to use that isn’t Windows at home to both keep an open mind and stay in the UNIX universe – which is how I got into OSX in the first place and started this site fourteen years ago.
But first, let’s tackle some fallacies; I’m particularly fascinated at the FUD from the hardboiled traditionalist Mac camp about touchscreens, so let’s go for that one.
On Touchscreens
I have a Lenovo Carbon X1 as my work laptop – which, incidentally, fits my personal definition of a Pro machine because it is a workhorse; a big, bulky workhorse with common expansion ports that is quite thin and light, and has a HIDPI display. And that display has a touchscreen that I actually use.
While it is true that most desktop UIs require some tweaking to take advantage of touchscreens, I find that it is a very welcome addition to my workflow in general, and rate the “gorilla arm” pushback from purists as utterly ridiculous – raising your hand from the keyboard to place the caret, move a window, scroll and zoom a web page, nudge a box on PowerPoint or just dismiss a dialog box are completely natural, effortless actions that I perform dozens of times a day, and macOS would certainly be a fair bit better with it on laptops.
And it is not hard to come up with “Pro” uses for it – like live music performances, for instance. That is, if you can actually do them without an extra dongle for digital audio, since it now became apparent that SPDIF is gone from the MacBook Pro’s audio jack despite Apple talking up that same jack as a Pro feature after removing it from the iPhone. But I digress.
Another non-argument against touchscreens on laptops is screen quality (brightness, saturation, etc.) degradation due to the touch layer, to which I merely point towards the iPad Pro – where, amusingly, business users sometimes complain about a lack of mouse support, which just goes to show you everything is relative (I will get back to this particular topic in another post).
The way I see it, Apple does not want to undo the iOS+touch vs Mac+trackpad split even though the rest of the industry is moving beyond it at a fair clip on portable devices, and they have accepted the risk of looking antiquated, foolish, or both by launching the Touch Bar. It’s their call.
As to the Surface Studio, I must say that despite being a Microsoft employee and liking the industrial design, it is not a machine I’d consider buying at this point. That may change, but is a good way to segue onto my next topic.
On Desktops
I’m not crazy about my work laptop (I prefer smaller, more portable machines, and plan to replace it with a Surface i5 at the earliest opportunity, solely because it’s the most compact and lightweight machine on the roster with a decent enough display and battery life). Getting a Mac at Microsoft (sadly) doesn’t make sense for my role, but then again the main reason I am disappointed with Apple is not their new laptops – it’s their desktop line.
I’m holding out for something like a new Mac mini (I prefer small machines, and like to pick my own displays), and at this point I am pretty sure I’m going to have to buy a bunch of dongles for it too (if it ever materializes) and that I will never be able to expand it – and the latter is one of the major anticipated pain points, right there.
I also find it frustrating that I can build a Hackintosh for half the price of a current Mac mini that has a comparable (larger, but bearable) volume, fully standard ports, vastly superior repairability and much better performance. This is not a pipedream, it exists and clocks in at around €700 with a more modern i5 CPU than the current mini SSD and 16GB RAM.
So what is a Pro machine, anyway?
That depends on what you do for a living, so I’m going to point out what makes sense for me, as a paying Apple customer: I want expandable hardware with commonly used standard ports and adequate performance for my needs.
I don’t need Kaby Lake, but I do understand that many people might be frustrated at the rate Intel has been delivering (which is not Apple‘s fault) and the lack of even minor CPU/GPU revisions over the years (which totally is).
Since I’m focused on upgrading my desktop, my take on a desirable Pro machine is something like what Chuq outlines – a standalone Mac desktop box (why not a Cube, again?) with a modern CPU, a proper NVIDIA GPU, at least some standard ports (and by standard I mean today’s standards, including SPDIF, an SD card slot and USB-A) and the ability to at least upgrade the RAM (if not also the storage and GPU).
Thunderbolt 3 might be a suitable expansion path (my six-year old Mac mini has survived this long largely thanks to my running it off an SSD in an external Firewire enclosure1, and PC gamers can now run powerful external GPUs in much the same fashion), but removing all “legacy” ports and shipping a design with nearly impossible to replace storage plus soldering RAM on the motherboard is, to put it quite bluntly, raising the middle finger to Pro customers.
Most people complaining about the MacBook Pro do so because it doesn’t match their requirements for performance (with or without Kaby Lake, GPU, battery or thickness compromises) or expandability (either aftermarket or lack of standard ports). But sure, they’re also doing it because expectations were too high regarding refreshes of all the Mac product lines (even though rumors only hinted at laptops).
And for the sake of argument, it wouldn’t have killed Apple to add a MicroSD slot to it – there most certainly is room for it, even on the MacBook 12”.
As a photographer who’s now standardized on 32GB Class 10 MicroSD cards (because I can also use them on my Android phone), I think that is completely ridiculous.
Moving away from macOS?
Even though macOS has evolved relatively little under the hood (the UNIX bits, in particular, feel unkempt) and recent versions have had a few more bugs than usual, it’s noteworthy that few complain about the ecosystem or the OS.
My personal use case for a powerful desktop is an outlier in the Mac universe – I need a very powerful UNIX terminal with the ability to run either VMs or native Docker for building Linux software, and wouldn’t mind having a decent GPU for doing some machine learning – but overall, to have lightning fast UI rendering across two 4K displays I plan to buy (which are much more important to me than the computer itself, and which I am still picking out).
But it is relevant to point out that if I do switch over to Linux to get this (and I believe I can endure the pains involved), then my investment in iOS becomes questionable, because the Apple ecosystem will stop making sense for me – and that is something many other people have already alluded to as well.
In the end, the only thing I cannot get on Linux right now that I would certainly miss is 1Password (and even then I was able to run it under WINE a while back).
What will Apple do?
It’s pointless to try to guess, really, and I’ve pretty much given up on reading tea leaves to replace the lack of a clear statement regarding their intentions for the Mac desktop line. It’s nice that they cut USB-C dongle prices (and monitors too) but, in the end, that only serves to offset the cost of the MacBook Escape (great moniker by the way, guys).
What will I do?
My original plan (and what I had budgeted for this year) was to upgrade my Mac mini with a new, revised model now (because my machine is clearly on its last legs) and upgrade my monitors just after Christmas during stock clearances.
After the keynote, I decided to spend last weekend looking for discount 27” iMacs simply because they are the single current desktop model that has upgradeable RAM (a good friend of mine snagged one), but my dislike for all-in-ones prevailed and retailers here are slow to take advantage of opportunities to shift old stock, so that was fruitless.
Turning things around and buying a MacBook Escape places me smack dab in the middle of a vortex of fresh, untested products, forces me to buy a decent Thunderbolt 3 to dual HDMI adapter to use my current monitors temporarily while I work up the nerve (and the cash) to replace them, and will cost me at least €2230 to get something I can use for a few years.
Waiting is a pretty tough call – especially now that I’ve started spending a big chunk of my “office” time in my home office. I might as well give up, plug my Lenovo into my monitors, and just use Azure VMs for the whole thing (which works fine, but that’s a completely different story).
All of a sudden that €700 Hackintosh seems like a great bet, not just because of the price and expandability but also because I’d have zero issues with ports or monitors (now or in the future) and I can always run Elementary on it instead; even if I retire it in favor of a “real” desktop Mac another few years from now, it’s still going to be a fast, useful machine.
I had enough trouble dismantling it to upgrade the RAM, so when it came to upgrading the hard disk I decided I’d had enough and just bought a cheap enclosure. Both because I’ve had enough of dismantling minis for the past few years (I became quite the aficionado) but also because I’ve used external disks with Macs since the Mac II days and am comfortable with it. ↩︎
En terme d’équilibre entre vie privée et Intelligence Artificielle, il y a beaucoup à dire, mais pour faire court, c’est un faux compromis. Les gens voudraient nous faire croire qu’il faut abandonner notre vie privée pour que l’Intelligence Artificielle puisse nous être utile, mais nous, chez Apple, nous ne sommes pas d’accord. Ca va peut-être demander plus de temps, plus de réflexion, mais je ne crois pas que nous devrions abandonner notre vie privée. C’est comme cette vieille discussion entre la vie privée et la sécurité. Vous devriez avoir les deux. Vous ne devriez pas avoir à choisir.
Je parlais récemment de ce changement majeur de Google niveau vie privée, qui fait que le profilage de nos habitudes, jusqu’à présent prétendumment anonyme, est dorénavant nominatif. Voici donc un article en français sur ce sujet : Désormais, Google livre vos données personnelles aux publicitaires ;
Le blog d’Aymeric Lagier : Retours sur le livre surveillance:// de Tristan Nitot. Le livre “peut être lu et être utile aussi bien à un ingénieur en informatique qu’à une mère au foyer. Il n’est pas extrémiste, c’est à dire que le but n’est pas d’empêcher complétement la collecte des données et donc de se priver d’un outils formidable qu’est internet mais de prendre conscience et reprendre le contrôle” ;
AT&T accusé de vendre secrètement les données de ses clients à la police “Pas besoin d’un mandat, et donc d’un juge, pour y avoir recours.” (…) “Les « enregistrements détaillés des appels ». Local, international, via des services de voix sur Ip comme Skype… (…) SMS (et la) liste des contacts souvent appelés, ceux qui se trouvent à l’étranger.” ;
«Quel est le risque de ce fichier ? C’est qu’il soit utilisé pour permettre l’identification des gens à la volée, dans la rue. On attrape votre photographie via une caméra de surveillance ou on récupère votre empreinte digitale sur une scène de crime ou lors d’une manifestation et on les compare avec une base de données centrale», explique Isabelle Falque-Pierrotin.
«Il est évident que ce n’est pas du tout aujourd’hui dans les finalités du fichier qui a pour vocation de lutter contre l’usurpation d’identité», mais «cet outil de grande ampleur peut faire craindre qu’il puisse être utilisé à d’autres fins, peut-être pas aujourd’hui mais demain», souligne la présidente de la Cnil. Et, parmi les services de sécurité, «le nombre très large des personnes habilitées à consulter le fichier, en gros quelque 2 000 personnes, accroît potentiellement ce risque», a-t-elle ajouté, en pointant également les risques d’attaques de hackers.
One of the highlights of Mozfest this year was the privilege of being able to sit in (with my sketchbook) on a conversation between Ryan Merkley, CEO of Creative Commons, and John Bevan from the We Are Open Coop. They explored the commonalities and parallels that exist in the worlds of Co-ops and Commons.
What would that look like if it were a badge? I’ve long since thought about a badge prototyping machine that would take a person through the process of creating the badge on the fly, and easily create a prototype. There’s a danger that we start with the policy in mind, rather that going with the hunch that we have…
mkalus
shared this story
from Vancouver Real Estate Anecdote Archive.
“Berlin and Vancouver are very, very different cities. Just culturally, it’s extremely different. I went to Berlin because I was making music and art consecutively and it was a place where you could afford to have space and time, which was a tricky thing in Vancouver, and continues to be a very tricky thing as an artist. So Berlin allowed me time, more than anything. Time to work on my art because I wasn’t on this insane anxiety of the financial pressure of the city. So, the working is different. In Berlin you have to be quite self-motivated, because you can easily just go down a hole and not work, because of the lack of pressure to pay your bills. I still love Vancouver deeply and it’s where I’m from, but at the moment Berlin is where I call home.”
– Artist Jeremy Shaw, winner of the 2016 Sobey Award, in interview with Canadian Art magazine 1 Nov 2016
Slack wrote an open letter to Microsoft, ostensibly welcoming it to the market for workplace collaboration systems. It’s a weird hunk of prose, direct and honest on the surface, but fundamentally insincere. The choice to publish this letter — and to fill it with platitudes — makes me question the judgment of the company. Here’s what happened. … Continued
Soundview, a company that serves business people with book summaries and webinars, is putting me on in a free Webinar. This is unusual — they usually charge. It’s this Thursday, November 10, at 12 ET (9 PT). To sign up, click here.
Sending outIssue #235 of Doug Belshaw’s Thought Shrapnel, my weekly newsletter loosely focused on education, technology, and productivity. It featured, among other things, monsters of edtech, legacy ports, and daybook journaling. Many thanks to Makers Academy for sponsorship!
Recording and releasing Episode 67 (‘Working open’) of Today In Digital Education, my weekly podcast with co-host Dai Barnes. This week we discussed working ‘open’ (main topic) as well as our experiences of the 2016 Mozilla Festival, my new writing, the new MacBook Pro, the inevitability of being hacked, hypernormalisation, and working remotely. You can join the community to discuss this episode of TIDE in our Slack channel!
Recovering from a combination of MozFest and the clocks going back to GMT. I have to say that the period between now and Christmas is my least favourite of the year. This year it’s worse because we haven’t taken our usual holiday in Malta/Gozo to get some sunshine.
Cancelling my gym membership after they hiked the price up 50%. It’s not so much that the actual price is so high in comparison with other gyms, it’s just the lack of investment means I don’t think it’s necessarily good value. I guess it’s a protest. My wife has joined a different gym, I’m just going to do weights at home and run more (as I found the problem was actually around raising my heart rate too high, not running per se)
Composing a batch of NewCo Shift GSD posts which will be published over the next week or so.
Researching, recording, editing, and releasing Chapter 2 of #uppingyourgame: a practical guide to personal productivity. This update was all about nutrition which I’ve mostly got nailed, although the day before recording I actually managed to eat three egg custards in a row…
Running (with Bryan) a Thinkathon for Sunderland City Council around some plans they’ve got to build a consortium to design and deliver a badge-based skills passport.
Next week I’m working from home on Monday, attending VentureFest on Tuesday, travelling on Wednesday, and then working with Victoria College in Jersey on Thursday/Friday.
A performer’s electroencephalogram (EEG) brain waves manifest into an assemblage of colored bubbles in the "first-ever" brain opera. Noor: A Brain Opera debuted on May 16th at the International Society of Electronic Arts in Hong Kong, a fully immersive, 360-degree theater, completely surrounded by projector screens. The opera asks a simple question, “Is there a place in human consciousness where the surveillance cannot go?” One performer is linked up with an Emotiv EEG headset that monitors brain activity. As the performer’s emotional state changes, their brain waves launch randomized databanks of abstract video footage as well as colored bubbles that signify different emotions: yellow for excitement, pink for interest, turquoise for meditation, and red for frustration.
Ellen Pearlman, director and curator at the Volumetric Society, acts as the show’s libretto. In conversation with the performer, Pearlman tells the story of Noor Inayat Khan, a covert wireless operative inside Nazi occupied France during WWII. The violent tale is meant to trigger different emotional responses. Throughout the narrative, the audience looks on at the performer’s brainwaves in real time through an eclectic assortment of videos and sounds—an abstract visual representation of what is going in someone’s head. Sometimes the performer’s emotional thresholds weren’t high enough, and the theater went dark. Watch a video of the performance below:
For more information about the Noor: The Brain Opera, head over to the show’s Facebook page.
EyeEm magazine cover. Images courtesy the artists and EyeEm
EyeEm is a photography community and marketplace of over 18 million photographers. It also publishes a magazine, also called EyeEm. For its fourth issue, Machina: A Curation of Real Photography by a Machine, the company turned to an artificial intelligence powered by computer vision, EyeEm Vision, to curate the magazine, selecting the photographs it feels are the best aesthetically and most impactful.
Now, before the inner smartphone photographer in you rolls your eyes, understand that it is pretty neat that a machine can, in some ways, learn to identify photographic aesthetics like a human. Sure, an A.I. cannot truly exercise a similar series of complex calculations of why an image might be great or resonant, but it’s certainly intriguing to see where humans are in imbuing machines with mental processes. And that is where the A.I-curated issue of EyeEm is conceptually and aesthetically interesting.
Paul Aguirre-Livingston, EyeEm’s Associate Creative Director, tells The Creators Project that EyeEm had been interested in how A.I. can be used to augment and simplify creative workflow for photographers and editors alike. On a curatorial level, they wanted to understand what makes a photo beautiful or interesting. On a technical level, they wanted to know how to better index photos for discover and concepting as well as editing and buying.
“[It] only felt natural to put our own technology to the test using our 18 million photographers—an amazing talent pool on its own,” says Aguirre-Livingston. “The magazine itself was conceived as a way to further showcase the visual stories within our community, and EyeEm Vision really mirrors that effort. Both projects, in my eyes, have the a similar mandate: To surface the best, the hidden, the unseen.”
EyeEm Vision recognizes thousands of objects and concepts like feelings, moods, and so on. It can also recognize the potential aesthetics of a photograph. To do this, it assigns each photo an aesthetic score from 0 to 100, which Aguirre-Livingston explains more or less “predicts” the “curatorial preference of that photo”—so, whether it’s “good” or “bad.”
“Of course, this score isn’t a definitive assessment and photographers are beautifully sensitive beings,” he explains. “It’s meant as more of a guideline, a starting point for discussion or evaluation.”
“Since the training set of the default version of our aesthetic algorithm is trained by curators inside EyeEm, it has strong rooting in EyeEm, giving high scores to authentic moments in our community photographers' demography,” adds Appu Shaji, Head of EyeEm’s Research & Development, whose sight.io became EyeEm Vision. “For example, there is an emphasis on travel photos being preferred. The original motivation of building personalized aesthetics is rooted in it, since aesthetics is subjective, it is core to understand the user's motive and inner thoughts.”
The A.I.’s curation also depends on the feature. The cover shot, photographed by the surrealist Japanese photographer Horoyoi, was chosen from a pool of users that had created some of the best portrait photos uploaded in the last six months. The A.I. then selected the five best of these 213 uploads before making the final decision.
“We did a larger profile with London-based photographer Lucy Ridgard, who shot a series of portraits of the next generation of teens emerging from her little hometown,” Aguirre-Livingston says. “To find her, we applied a wide net to find the best from "all new users in the last year" based on the average aesthetic score of their entire profile.”
This resulted in another list of five stunning profiles (one of which was, shockingly, an EyeEm intern). Lucy had joined the EyeEm community five months ago to participate in the site’s annual photo competition, and the curatorial team (which didn’t include EyeEm Vision) did not select her as a finalist. But EyeEm Vision found her work.
“To say she was a hidden gem is a true understatement, and her story and creative process is quite fascinating,” says Aguirre-Livingston. “Lucy still doesn’t know how or why we selected her, I’m waiting until she gets our copy or reads this. But, the remaining four photographers not selected for print will be profiled in a series on our blog in the coming weeks.”
For Aguirre-Livingston, an A.I.-curated issue of EyeEm was a chance to examine the intricacies and interactions of the technology from different points-of-view, and with different exercises. Apart from personal views of A.I., beauty and curation, the issue is aimed at understanding if the technology will be helpful to people.
Shaji sees the issue as a humble call for action from the magazine’s readers to envision a bigger photographic tomorrow facilitated by the technology. “[We should] ponder upon the potential negative impact of technology, and how to stay clear of it,” he says. “In short, imagine a better future for the photographic medium together collectively.”
Factory of Electric Assembly - Industria de Montaje Eléctricos, Don Benito, Spain, Architect: José María Sánchez García, photo by Roland Halbe. All images courtesy of XIII BEAU
This November, The Cooper Union is hosting the Spanish Biennial of Architecture and Urbanism (BEAU). The exhibition, Alternativas / Alternatives, highlights the use of innovative architectural techniques developed during Spain’s financial crisis.
Spanish design has never been defined by one architectural style, having had a long history of multicultural influences. The exhibition reflects this, proving that Spain has become a prominent international space for architectural innovation featuring installations constructed from local Spanish materials. Reinventing and resilient, contemporary Spanish design draws upon its prolific history to develop new designs with scarcity of means.
Recovery of Caminito Del Rey - Recuperación Del Caminito del Rey Málaga, Spain, Architect: Luis Machuca Santa-Cruz, photo by Juan María Álvarez Espada
As Nader Tehrani, dean of The Cooper Union’s The Irwin S. Chanin School of Architecture tells The Creators Project, “The Iberian Peninsula, as a geographic entity, is linked to Europe and yet separated by the Pyrenees; historically its culture has been as much impacted by the mix of Muslim and Jewish influences as its Christian roots. This heterogeneity has made its design culture quite resilient to transformations of historical periods, absorbing them as much as adopting them for inventive hybrids.“
104 House - Casa 1014, Barcelona, Spain, Architect: HARQUITECTES, photo by Adrià Goula
BEAU presents an overview of current urban production and architectural work via small scale and large-scale interventions. Alternativas/Alternatives features 3D printed models of 22 jury-selected projects, varying from schools, public parks, and residential homes—each project displays the use of substitute architectural processes developed over the last two years. Each model has a specific barcode, that when scanned, presents audiovisual commentary on the exhibition screens, introducing the advantages of each alternative design.
Gallery view of the XIII Spanish Biennial of Architecture and Urbanism at The Cooper Union’s Arthur A. Houghton Jr. Gallery, photo by Marget Long and The Cooper Union
Featured is Recuperación del Caminito del Rey, designed by Luis Machuca Santa-Cruz, a reconstructed walkway, fastened along the vertiginous walls of a gorge in Málaga. Only recently restored, it had been closed for over a decade. Also exhibited is Wind House-La Casa de Los Vientos, designed by José Luis Muñoz Muñoz, a holiday home constructed with far less than the initial budget—without falling short on comfort and space. Andamio House, designed by bosch.capdeferro Arquitectures, presents a set of buildings transformed by lightweight constructions that provide solar protection, increase privacy, and support local plant life.The Factory of Electrical Assembly and the School of Architecture in Granada showcases how Spain's current generation of architects are imaginative in inventing alternative design solutions.
As co-director of the BEAU, Begoña Díaz-Urgorri tells The Creators Project, “We highlight the presence of a young generation of architects who stand out with interesting proposals, for which the crisis is not a problem but an incentive and encouragement to provide qualified responses that improve our places of life,” says Díaz-Urgorri.
Wind House - La Casa de Los Vientos, Cádiz, Spain, Architect: José Luis Muñoz Muñoz, photo by Javier Callejas
School of Architecture in Granada - Escuela Técnica Superior de Arquitectura en el Antiguo Hospital Militar de Granada, Granada, Spain, Architect: Víctor López Cotelo, photo by Lluís Casals
Andamio House - Casa Andamio, Girona, Spain, Architect: bosch.capdeferro arquitectures, image by José Hevia
Gallery view of the XIII Spanish Biennial of Architecture and Urbanism at The Cooper Union’s Arthur A. Houghton Jr. Gallery, photo by Marget Long and The Cooper Union
To learn more about the Spanish Biennial of Architecture and Urbanism (BEAU) at Cooper Union, click here.
A combination of digital screen prints, chemical dyes, beadwork, and Swarovski crystals become narrative textile collages in the work of UK artist Henry Hussey. With embroidery as his medium, Hussey crafts vividly beautiful psychedelic narratives that range from the personal to the geopolitical.
Voices (detail)
Hussey collages and manipulates his imagery to create a variety of scales and colors. In Voices, he crafts a large head that is dissected by various lines. In the middle of the head are a hallucinatory jumble of smaller heads composed of various media. Hussey addresses state and perhaps religious control in Gestation, in which two disembodied heads in profile (connected at their backs) sit amidst flames and Nazi symbols. Hussey’s text is simple: “You can make people live under control but you can’t force them to change their ways.”
Hussey went to London’s Royal College of Art where he studied textiles, exploring the narrative properties of the medium. He tells The Creators Project he found a “forceful and dramatic medium” in textiles that proclaim authority and grandeur. Yet they’re ideal for the masses reclaim in voicing their discontent.
Eclipse (2015)
“My engagement with embroidery comes from ecclesiastical and Christian vestments that have a significance embedded into the garments giving them a sense of magnitude,” Hussey explains. “Equally military and masonic regalia has been a source of inspiration as they carry the reoccurring visual tropes and compositions of religion. These pillars in our society interweave with an aim to empower the wearer with a presence and hierarchy.”
Hussey’s introduction of words into his embroidery work began when he directed a performance piece between his grandfather and the actor Chris Brandon. This became the source of a wealth of stories and revelations he has used in his work; many of which focus on power and usurpation in personal relationships and national politics, but also with the loss of loved ones through death or separation.
‘Eclipse’ (Detail)
Ideally, Hussey wants the imagery and the text to be direct. The strength of the word is all about the intention with which they are spoken in the performances, but Hussey accents them with bold color and text. He only makes a few of these per year, so they are usually full of thoughts that need to be cathartically expelled.
“My work for the past couple of years has dealt with my own turmoil and concerns, yet I have reached the conclusion that mine are inconsequential to those that are in dire need,” says Hussey. “This has since forced me to pursue making politically conscious pieces and interrogate the systemic issues we feel as a society. It is my intention to push this further by travelling to cultures removed from western fundamentals that we see as dangerous.”
Expulsion (2016)
While many of Hussey’s works are large-scale, they often deal with his most intimate moments and greatest insecurities. He uses these as fodder for artwork so they no longer have any power over him. Hussey generates these thoughts by staging performance pieces between himself and actors, then amplifies these narratives with his materials and processes.
“I use chemical dyes which have a vividness that could never be achieved with natural dyes and have a radiating quality,” Hussey says. “Humans have an inherent response to tactility. It is a primal sensation—we all innately know the feeling of cloth on our skin.”
Expulsion (detail)
The artist says this is why embroidery has such a hold on humans. Throughout history, its process has stayed relatively the same, playing a big part in the stories we tell of events, whether personal or collective.
In future pieces, Hussey would like to work more with gesture and physicality by revealing remnants of each embroidered contour and manipulation. He would also like to create glass, bronze and aluminum works.
Scalping (2015)
Scalping (detail)
“I find it thrilling and thrive upon working in new mediums and disciplines, so I have an innate desire to expand my creative practice,” he says. “This avenue of inquiry should equally be reflected in the subject matters I engage with, and I have every plan to travel to the Middle East to question my own views and assumptions.”
Every week thousands of new games are released on the App Store. As I set up my new iPhone 7 Plus recently and scrolled through the Purchased tab in the App Store, I realized that there's another 'new' category - new to me. I download a lot of apps, including games, and sometimes they get lost in the shuffle. That's exactly what happened to Alone, a fantastic endless runner by Laser Dog released about two years ago. Alone may not be new to you, but even if you've played it before, Alone is worth rediscovering.
Alone, adds a sci-fi twist to the endless runner genre. You’re a spacecraft navigating thorough collapsing caves. Rocks fall as you maneuver your ship through the tunnels. The design of the game echoes its name. Your ship feels small and isolated in the harsh space environment. You can take a couple of small hits from debris, but more than that, or a collision with a wall, and it’s game over. Make it far enough in a world and you'll be rewarded by unlocking new environments to explore.
Navigate your tiny spaceship through an unforgivingly bleak environment.
Alone requires concentration and fast reflexes. Even though I’m not great at twitchy arcade games, I’ve had a lot of fun playing Alone. The focus it requires makes it easy to get absorbed in the game.
As you progress, Alone’s pace increases and additional obstacles, like rockets, are introduced, making for an even more harrowing journey. The controls are sensitive, which requires focus and concentration to make it very far. By default, dragging your finger down on the screen makes your ship rise and dragging it up does the opposite. If this feels counterintuitive, you can reverse the controls in the settings. The sensitivity of the controls would be more frustrating, but by building in the ability to survive small collisions, Alone has struck a good balance that makes it fun without being discouraging.
The fast pace of Alone and the relentless electronic beat of the soundtrack are a great combination. Endless runner games are by their nature somewhat one-dimensional, but Alone sets itself apart with its design and unique gameplay. Whether you’ve played Alone before or not, take it for a spin this weekend. Some of the best iOS games are hidden beneath a mountain of new releases.
This is cool. Karen is teaching one of her Victorian literature classes in the Taylor Institute, and redesigned the course to take advantage of the flexible space and collaborative technologies. Awesome. I can’t wait to hear more about how it goes (as well as learning from the 20 other instructors and ~2000 students working in the TI this semester, and even more queued up for W2017!)
This semester I decided to do something a little different. I have the privilege of teaching my Victorian literature class in one of the fancy new classrooms at the Taylor Institute for Teaching and Learning at the University of Calgary. My 40-person class has six big touch screens, and as a result we’ve been able to do a lot of hands-on work in small groups leading into discussions with the whole class.
I have always wanted to write an extensive “Twitter Guide for Academics”, but I actually don’t have the time, so I’m just going to quickly point out to three things that may make your Twitter experience better if you’re an academic.
1) Threading conversations.
Twitter is an ever-evolving platform. It’s really annoying that whenever one seems to master a feature that this social network provides, it screws up again. One good thing I’ve noticed, lately, is it’s ability to thread conversations. To thread a conversation (specifically, to make sure that your tweetstorm actually makes sense and follows a logical thread) you need to tweet, then respond to that tweet, erase your Twitter ID, then continue typing. Here’s a thread of mine:
I'm the first one to criticize my discipline, but as @JustJen2015 pointed out (a) political science is a BROAD field (b) this is atypical
If you click on the date that the tweet was posted, a Twitter window will open showing my original tweet with the continuing tweets in the thread.
2) Muting people
I am a heavy-volume tweeter. I know that for many people, I’m the person to go to with questions about whom to contact in different fields. I also find a lot of interesting stuff that I may not be working on, but that my followers might. Or I simply want to amplify the voices of marginalized academics. So, because I’m a heavy-volume tweeter, I tell people they can mute me. Yes, if you click the little nut icon besides the “Follow” button (or if you’re following the person, the button indicating “Following” all filled with blue), you will find a host of things you can do to that profile’s Twitter ID. One of them, most effective, is muting them. You can’t tell what they’re saying because they’re muted and you can’t see them.
3) Customize your experience, don’t let Twitter customize it for you.
Because Twitter aren’t stupid (and they love changing their interface until they find a way to make money off of you), they make it horrendously hard for you to find an easy way to edit your settings and personalize your experience. Luckily, if you just go to https://twitter.com/settings/account, you can easily access them and personalize your account. First, you can decide if you want to read all your tweets, or just the Top Tweets that Twitter’s algorithm decides they want to show you.
When a platform is free, they're not the product. YOU ARE. Here is Twitter, again, fiddling with MY settings. pic.twitter.com/xJW61VC3gP
Twitter automatically sets these, and it will ask you for your password to make any changes and validate them. Hmmhmm, that’s right. You’re basically hostage to whatever THEY want to set your account. Except, you CAN make changes. Here’s another change I made. Under the Notifications tab, I removed the possibility that Twitter sends me emails for everything, except new follows and DMs.
Getting too many emails from Twitter? That's because they automatically send you emails for EVERYTHING. pic.twitter.com/7udFHOJCfH
By turning off (under Notifications) the “Quality Filter”, you allow yourself to actually see who interacts with your tweets instead of letting Twitter’s algorithm decide for you.
And finally, you can decide whose notifications you get (Twitter automatically decides to only show you "best tweets") pic.twitter.com/m0OBifxVR9
I wish I had tricks to hide promoted tweets and those “in case you missed these” and “So-and-So liked this tweet so we thought you might like them too” but I don’t know them. If anybody does, I’m all ears!
It has been more than seven years now since Google released the first version of Android to the public. Despite numerous versions of Android being released since then and Wi-Fi technology and routers themselves improving, every version of Android is affected with some Wi-Fi related issues. Android 7.0 and 7.1 Nougat are no different here and show some of the same Wi-Fi issues that were found in the previous version of Android.
Continue reading →
Vancouver Real Estate Anecdote Archive.
Images courtesy the artist
EyeEm magazine cover. Images courtesy the artists and EyeEm
Factory of Electric Assembly - Industria de Montaje Eléctricos, Don Benito, Spain, Architect: José María Sánchez García, photo by Roland Halbe. All images courtesy of XIII BEAU
Recovery of Caminito Del Rey - Recuperación Del Caminito del Rey Málaga, Spain, Architect: Luis Machuca Santa-Cruz, photo by Juan María Álvarez Espada
104 House - Casa 1014, Barcelona, Spain, Architect: HARQUITECTES, photo by Adrià Goula
Gallery view of the XIII Spanish Biennial of Architecture and Urbanism at The Cooper Union’s Arthur A. Houghton Jr. Gallery, photo by Marget Long and The Cooper Union
Wind House - La Casa de Los Vientos, Cádiz, Spain, Architect: José Luis Muñoz Muñoz, photo by Javier Callejas
School of Architecture in Granada - Escuela Técnica Superior de Arquitectura en el Antiguo Hospital Militar de Granada, Granada, Spain, Architect: Víctor López Cotelo, photo by Lluís Casals
Andamio House - Casa Andamio, Girona, Spain, Architect: bosch.capdeferro arquitectures, image by José Hevia
Gallery view of the XIII Spanish Biennial of Architecture and Urbanism at The Cooper Union’s Arthur A. Houghton Jr. Gallery, photo by Marget Long and The Cooper Union
Voices (2016). Images courtesy the artist
Voices (detail)
Eclipse (2015)
‘Eclipse’ (Detail)
Expulsion (2016)
Expulsion (detail)
Scalping (2015)
Scalping (detail)
Solidarity (2016)
Solidarity (detail)
