This article is more an overview of the entire issue rather than a summary that resulted in Google summarily firing their the co-lead of their ethics team, but it raises substantial questions about why Google objected to the paper so strenuously. The paper, in some important respects, makes points that have been made previously, and especially that the cost and scale of big-data AI benefits large companies disproportionately, while at the same time being nearly impossible to audit for built-in biases. Jeff Dean, the head of Google AI, said the paper didn't meet Google standards, and specifically, "it didn’t mention more recent work on how to make large language models more energy-efficient and mitigate problems of bias." But Google's internal review typically focuses only on "disclosure of sensitive material, never for the quality of the literature review." So this seems more and more like a special case, for some reason.
Web: [Direct Link] [This Post]Rolandt
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We read the paper that forced Timnit Gebru out of Google. Here’s what it says
Fetch: Cross-Origin Requests
In web pages Javascript-based requests to servers for data are limited by origin requirements; basically, the data must come from the same place the page did. So how do application programming interfaces (API) work? These gather data from multiple sources and display it on a single page. In the past, unsafe script hacks were used (this was how we built our referrer system in 2002). Modern Javascript functions use fetch() (released in 2017) and Cross-origin resource sharing (CORS). This article explains how it all works. Your browser sends a preflight request which includes an 'origin' statement, and if the server allows it, it sends a preflight response giving permission. Then the actual request is made. All this is invisible to the user, but just one of a million things web designers have to keep in mind. (Source for this article on GitHub).
Web: [Direct Link] [This Post]LinkedIn’s Alternate Universe
This is a devastating and dead-on accurate deconstruction of LinkedIn. "Reduced to its simplest form, LinkedIn is a digital resume," writes Fadeke Adegbuyi. "But we’ve long decided that there are better ways to showcase your ability... Developers have GitHub, designers use Dribbble, and Academics maintain their ResearchGate or Google Scholar profiles." The result is that LinkedIn has become a contradiction. Yet we use it because somehow we feel like we have to. "LinkedIn is bizarre because it tries to make this hostage situation fun. Even though it’s not." Via Doug Belshaw.
Web: [Direct Link] [This Post]Current optimization is long-term anachronism
I never tire of sharing this quotation by Clay Shirky:
I actually don’t want a “dream setup.” I know people who get everything in their work environment just so, but current optimization is long-term anachronism. I’m in the business of weak signal detection, so at the end of every year, I junk a lot of perfectly good habits in favor of awkward new ones.
I find that when I’m not tinkering with my digital environment, then I’m allowing my curiosity to atrophy, and I become stale in my habits.
This morning, even though I’ve been pretty happy for the last few years using DuckDuckGo as my default search engine, I’m trying searX. At the weekend, I replaced the Mi Fit app I’ve been using with my smartwatch with an open source one called Gadgetbridge.
The same goes with our physical environment. Moving things around and mixing things up keeps us sharp and prevents us from getting into a rut. I made a collage from old WIRED magazines recently, and put it on the wall next to my monitor. I’m thinking about replacing the Camus quotation above my desk and replacing it with one from Epictetus.
I agree with Shirky, who I had the pleasure of meeting this time last year: over-engineering the status quo leads to eventual irrelevance.
This post is Day 74 of my #100DaysToOffload challenge. Want to get involved? Find out more at 100daystooffload.com.
The post Current optimization is long-term anachronism first appeared on Open Thinkering.Dijkstra’s Truths about Computing Education Aren’t: The many kinds of programming
ACM Turing Award laureate Edsger Dijkstra had several popular pieces about computer science education. I did my Blog@CACM post on one of these (see post here), “On the cruelty of really teaching computer science,” which may be the most-cited computing education paper ever. Modern learning sciences and computing education research have shown him to be mostly wrong. Dijkstra encouraged us to avoid metaphor in learning the “radical novelty” of computing, which we now know is likely impossible. Instead, the study of metaphor in computing education gives us new insights into how we learn and teach about programming. So far, I’m not aware of any evidence of anyone teaching or learning CS without metaphor.
After my Blog@CACM post, I learned on Twitter about Briana Bettin’s dissertation about metaphors in CS (see link here). Briana considers the potential damage from Dijkstra’s essay on computing education. How many CS teachers think that analogy and metaphors are bad, citing Dijkstra, when the reality is that they are critical?
The second most popular of his computing education essays is “How do we tell truths that might hurt?” (See link here). This essay is known for zingers like:
It is practically impossible to teach good programming to students that have had a prior exposure to BASIC: as potential programmers they are mentally mutilated beyond hope of regeneration.
He goes on to critique those who use social science methods and anthropomorphic terms when describing computing. He’s wrong about those, too (as I described in the Blog@CACM post), but I’ll just take up the Basic comment here.
Today, we can consider Dijkstra’s comments in light of research on brain plasticity (see example article here). It wasn’t until 2002 that we had evidence of how even adult brains can grow and reorganize their neural networks. We can always learn and regenerate, even as adults. Changing minds is always hard. The way to achieve change is through motivating change — being able to show that change is in the person’s best interest (see example here). Maybe people stick with Basic (or for me, with HyperTalk and Smalltalk) because the options aren’t obviously better enough to overcome inertia. The onus isn’t on the adult learner to change. It’s on the teacher to motivate change.
There are computer scientists, like Dijkstra, who believe that innate differences separate those who can program from those who can not, a difference that is sometimes called the “Geek Gene.” An interview with Donald Knuth (another Turing Award laureate) last year quoted him saying that only one person in 50 will “groove with programming” (see interview here). We have a lot of evidence that there is no Geek Gene (see this blog post here), i.e., we have note yet identified innate differences that prevent someone from learning to program. Good teaching overcomes many innate differences (see blog post here making this argument).
Of course, there are innate differences between people, but that fact doesn’t have to limit who can program. Computers are the most flexible medium that humans have ever created. To argue that only a small percentage of people can “groove with programming” or that learning a specific programming language “mentally mutilates” is to define programming in a very narrow way. There are lots of activities that are programming. Remember that most Scratch programs have only Forever loops (if any loops at all), and Bootstrap:Algebra doesn’t have students write structures to control repetition. Students are still programming in Scratch and Bootstrap:Algebra. Maybe only one in 50 will be able to read and understand all of Knuth’s The Art of Computer Programming (I’m not one of those), and maybe people who programmed in Basic are unlikely to delve into Dijkstra’s ideas about concurrent and distributed programming (that’s me again). Let’s accept a wide range of abilities and interests (and endpoints) without denigrating those who will learn and work differently.
Logitech BRIO :: Eine 4k Webcam

Die Pandemie hat uns neue Einblicke beschwert. Ich weiß nicht, ob Euch das auch auffällt, aber ich finde es gruselig, was man da so an schlechten Videos und noch schlechterem Ton zu sehen und zu hören bekommt. Dabei ist das alles keine Zauberei.
- Ohne Licht gibt es kein gutes Kamerabild. Wenn man nicht genügend Tageslicht von schräg vorne (!) bekommen kann, braucht man Keylights, je großflächiger, desto besser. Wer Haare auf dem Kopf hat, wird noch ein Hairlight von hinten brauchen.
- Ohne Mikrofon in der Nähe des Mundes kein gescheiter Ton. Wenn ich es ernst meine, dann baue ich ein Kondensator-Mikrofon auf. Das geht ruckzuck per USB. Wenn es weniger wichtig ist, dann verwende ich ein Bluetooth-Headset mit Mikrofonarm. Ins Fernsehen würde ich damit aber nicht gehen.
Aber am Ende braucht es auch eine vernünftige Kamera. Und der Standardempfehlung "DSLR am Kabel" mag ich nicht folgen. Das ist mir zu viel Aufbau und ist wegen Überhitzung der Kamera auch nicht so einfach. Aber ich bin jetzt angekommen. Die Logitech BRIO spielt in einer ganz anderen Liga, als ich bisher gesehen habe. Selbst bei schummrigen Abendlicht zaubert die noch ein gutes Bild.
Ich habe aber noch einen kleinen Trick. Ich baue die Kamera immer in Augenhöhe vor meiner Konferenz auf, damit ich genau reinschaue:

IKEA stops printing catalogues
The IKEA Catalogue has a phenomenal 70-year legacy. Over the years it has become an iconic and beloved publication, and it has been an important success factor for IKEA to reach and inspire the many people across the world with home furnishing solutions and products. But times are changing. IKEA has become more digital and accessible while embracing new ways to connect with more people. Customer behavior and media consumption have changed, and fewer people read the IKEA Catalogue today than in years past. Inter IKEA Systems B.V., the worldwide IKEA franchisor, has therefore taken the emotional but rational decision to respectfully end the successful career of the IKEA Catalogue - and look to the future with excitement.
Paper has become all but obsolete in this household.
A Mom’s View: Online Learning Isn’t Working for Students, Parents or Teachers. Here’s What’s Happening in My Home
We keep to keep in mind that The 74 is an advocacy publication supporting 'school choice' (aka charter schools) and so has an interest in pushing back against online learning. Still, it's hard to deny some of the concerns raised in this article, even if the scenario seems extreme (caring for a 5-month old, working from home, and trying to make sure two school-age children do more than watch YouTube or TikTok videos). It should be easier to keep track of student work and there should be fewer e-learning applications. But also, it shows the danger of "the old days when we simply checked homework logs" - if compliance is based on oversight, rather than motivation, then taking away the oversight takes away the compliance.
Web: [Direct Link] [This Post]Cameras and Lenses
Fabulous explotable interactive essay by Bartosz Ciechanowski explaining how cameras and lenses work.
Via @theavalkyrie
Casting a Wider Blogging Net: Can You Help?
Can you help me find additional blogs to follow? I am looking to broaden the scope of blogs in my reader. That broadening has two main dimensions: language and geography.
Some specifications for the type of blogs I am looking for:
- Individual or group authored blogs, not company or organisational blogs. A blog maintained by a research group is an acceptable ‘in-between’ version. The reason is I see blogging as distributed conversations. Companies don’t have conversations. As a result I follow people, not blogs, in my feedreader
- Some thematic overlap with my interests is needed, something to have those distributed conversations around. Such interests are: making, open data/source/access/everything, agency, civic tech, ethics, digital transformation for all, climate adaptation, knowledge work, complexity, philosophy of science/tech, change, learning
The areas I am looking to extend my blog reading towards are:
- Indian bloggers, India based blogs in English
- Chinese bloggers, China based blogs in English
- EU based bloggers, in Spanish, French, Italian or German languages. Or Spain, France, Italy, or Germany based bloggers in English
- Middle-, South-American bloggers in Spanish/Portuguese or English
- Bloggers based in SE-Asia
- Bloggers based in Nigeria, Kenya, Tanzania, Uganda, South-Africa
Any pointers, or pointers to list- or aggregator sites to explore are appreciated.
Meeting Recovery Syndrome
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This is from 2019 but is, by far, the best summary I’ve seen yet of what this year has been all about, productivity-wise. And the pandemic has only made it worse.
The fact that today is a bank holiday for me and that I can marshal the required effort to put things into perspective is about as serendipitous as it is tragic given I’m well overdue a sizable break from the grind.
Meeting Recovery Syndrome
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This is from 2019 but is, by far, the best summary I’ve seen yet of what this year has been all about, productivity-wise. And the pandemic has only made it worse.
The fact that today is a bank holiday for me and that I can marshal the required effort to put things into perspective is about as serendipitous as it is tragic given I’m well overdue a sizable break from the grind.
Danziger Straße in Berlin 🚶♂️ 5km a day. Even...

Danziger Straße in Berlin
🚶♂️ 5km a day. Even during the short winter days, it’s my daily target to get out and walk 5km. If I can do that, not only have I done something good for my body, but my brain seems to be in better shape too – especially if I can manage to get out and walk before the sun goes down between 3 and 4 in the afternoon.
🌍 The ClimateAction.Tech community is organizing on TEDxClimateActionTech on December 16th to focus on actionable solutions to the climate crisis. I had a chance to talk with all the speakers a week ago, and I’m really looking forward to hearing them speak.
💉 The UK is going to experiment with mixing and matching vaccines. "Viral-based vaccines such as the Oxford jab, which is based on a chimp common cold virus, give a much greater cellular response… The mRNA vaccines, like Pfizer’s, tend to generate a bigger antibody response. So the idea is to combine them, in whichever order, to help the immune system respond more powerfully to Sars-CoV2.” It’s really amazing that we’ve got not just one or two, but three workable vaccines in less than a year.
🐘 What’s the future of the Republican Party? The Economist looks at Trump’s continued grip on the Republican Party and what we might be in store for in the next four years and why prominent party members have remained so quiet on his ludicrous post-election claims.
AirPods Max

Die AirPods Max sind für 597,25 Euro inkl. MwSt. erhältlich und können ab heute auf apple.com und in der Apple Store App in den USA und mehr als 25 weiteren Ländern und Regionen bestellt werden. Die AirPods Max werden ab Dienstag, 15. Dezember ausgeliefert.
Über die Technik erzähle ich was, wenn ich das Headset probiert habe. Bei Apple könnt Ihr lesen, was drin ist. Das muss ich nicht nachbeten. Um den atemberaubenden Preis einzuordnen, muss man den Kopfhörermarkt verstehen. Was bei 399 startet, landet schnell bei 260. AirPods Pro gingen mit knapp 300 ins Rennen und kosten aktuell unter 200. Das ist bei allen Herstellern so. Ein Beyerdynamic Amiron Copper geht für über 700 Euro, T1 und T5 liegen bei knapp 1000. Das Apple nicht bei 400 einsteigt, war mir vorher klar. Ich habe mit mehr als 500 und weniger als 600 gerechnet und lag damit gerade noch richtig.
Apple officially announces over-ear AirPods Max for $779

Following months of rumours, Apple’s over-ear headphones have officially launched and are called the AirPods Max.
The AirPods Max are available to order starting now for $779 and will go on sale on December 15th.
The headphones feature Apple’s H1 chip, Active Noise Cancellation, Adaptive EQ, audio sharing, hands-free Siri voice commands and spatial audio. The AirPods Max are available in five colours: ‘Space Gray,’ ‘Silver,’ ‘Sky Blue,’ ‘Green’ and ‘Pink.’
The tech giant says in a press release that the headphones feature “rich, deep bass, accurate mid-ranges, and crisp, clean high-frequency extension so every note can be heard.”
The AirPods Max feature a breathable knit mesh that Apple says helps distribute weight and reduces on-head pressure. The frame is made of stainless steel, which can be adjusted to fit a “variety of head shapes and sizes.”
Apple says it used a “revolutionary mechanism” to attach the ear cups to the headband in a way that distributes ear cup pressure and allows each cup to rotate for a better fit. The ear cups are cushioned with memory foam, which is meant to create an effective seal to deliver immersive sound.
The tech giant opted for an Apple Watch-inspired Digital Crown that offers volume control, the ability to play or pause audio, skip tracks, answer or end phone calls and activate Siri.
“Equipped with an Apple-designed H1 chip in each ear cup, a custom acoustic design, and advanced software, AirPods Max use computational audio to deliver the highest quality listening experience possible,” Apple notes in its press release.
The AirPods Max utilizes 10 audio cores in each chip, which Apple notes offer a “breakthrough listening experience.” They use Adaptive EQ to adjust the sound to the fit and seal of the ear cushions by measuring the sound signal delivered to a user while adjusting the low and mid-frequencies.
As for Active Noise Cancellation, each ear cup features three outward-facing microphones to detect environmental noise, while one microphone inside the ear cup monitors the sound reaching the listener’s ear. Noise-cancelling uses computational audio to continuously adapt to the headphone’s fit and movement.
Transparency Mode lets users simultaneously listen to music while hearing the environment around them. Users can switch between ANC and Transparency Mode with the press of a button.
With this latest launch, Apple is now competing with other premium brands like Bose and Sony, which all have years of experience in the over-ear headphone space. That said, the company also owns Beats, which sells several different over-ear headphones, including the Beats Studio 3 and Beats Solo Pro.
AirPods Max require Apple devices running iOS 14.3 or later, iPadOS 14.3 or later, macOS Big Sur 11.1 or later, watchOS 7.2 or later, or tvOS 14.3 or later.
It’s worth noting that this is an odd time for Apple to introduce yet another new product.
Source: Apple
The post Apple officially announces over-ear AirPods Max for $779 appeared first on MobileSyrup.
This three-wheeled EV has solar panels and a 1,600km range

Aptera is back with a solar-powered two-seater vehicle that it claims can travel over 1,000 miles (roughly 1,609km) on a single charge.
Calling the vehicle a car is a bit of a stretch since it can only fit two people and a pet. It also only features three wheels — two in the front and a single one in the rear.
Beyond the unique shape of the car, it also includes a solar panel array on its roof. The Verge says that the solar roof can add 45 miles (72km) per day, which should help people drive their car without having to charge it for shorter trips. There are also solar panel add-ons for the car’s trunk and hood that can add a bit more range per day from the sun.
There will be a few trim levels of the vehicle as well. The base-level has a 25 kWh battery pack, which only has a 250-mile range.
On the company’s website, there’s a map to help people decide if they’d be able to drive this car off of the power of the sun or if they’ll need to charge it sometimes. In Toronto, it suggests that if I drive less than 40km per day, the vehicle could only charge using the sun without plugging in.
You can find out more specs for the car on its website, but it’s important to look at this news skeptically in some respects.
This is Aptera’s second attempt at making an EV after being forced to shut its doors in 2011 following funding issues. It’s also claiming to have ultra-fast DC charging capabilities, with Aptera saying that the charge rate can hit 500 miles of range per hour. No other cars on the market can get close to this, so I’m skeptical that Aptera has been able to make it work.
Finally, if the vehicle actually makes it market, it’ll cost between $25,900 USD and $46,000 USD (roughly $32,000 to $58,000 CAD).
The post This three-wheeled EV has solar panels and a 1,600km range appeared first on MobileSyrup.
Twitter Favorites: [analogfusion] Flickr is running a 2020 Your Worst Shot photo contest. The problem is deciding which photo to choose among countless duds! #flickr
Flickr is running a 2020 Your Worst Shot photo contest. The problem is deciding which photo to choose among countless duds! #flickr
State of Mozilla 2019-2020: Annual Impact Report
2020 has been a year like few others with the internet’s value and necessity front and center. The State of Mozilla for 2019-2020 makes clear that Mozilla’s mission and role in the world is more important than ever. Dive into the full report by clicking on the image below.
About the State of Mozilla
Mozilla releases the State of Mozilla annually. This impact report outlines how Mozilla’s products, services, advocacy and engagement have influenced technology and society over the past year. The State of Mozilla also includes details on Mozilla’s finances as a way of further demonstrating how Mozilla uses the power of its unique structure and resources to achieve its mission — an internet that is open and accessible to all.
The post State of Mozilla 2019-2020: Annual Impact Report appeared first on The Mozilla Blog.
Commodore Ballroom – Granville Street

The Commodore Ballroom has been around for 90 years, and looks pretty much the same as it did when it opened. Here it is in 1967, before there were any residential towers on Seymour Street popping up over the roofline. The building was designed by H H Gillingham in a contemporary art deco style for developer George Reifel. When it was built it had a sprung dancefloor with horsehair lining, that supposedly absorbed some of the impact of dancers’ feet.
It opened briefly as the Commodore Cabaret in 1929, but quickly closed with a depressed economy, then reopened in November 1930. Over the years thousands of acts have performed at the Commodore, which has capacity for just under 1,000 patrons. The list of well-known bands who haven’t played the venue is probably shorter than the list of those who have. In its early days there was a resident swing band, led by Charlie Pawlett, who broadcast on CJOR Radio. The venue, like all the others in the city, couldn’t sell liquor. Patrons brought their own, carefully hidden whenever the band struck up ‘Roll Out the Barrel’ to indicate a visit from the authorities. That was appropriate behaviour for a venue funded by a well-known rum-runner.
Henry Reifel was president of Brewers and Distillers Ltd, owning Vancouver Breweries and the B.C. Distillery, and his sons, George and his brother Harry, worked for the organisation as well. During the 1920s when US prohibition was in place, their export operation was huge; they owned several ships capable of carrying thousands of cases of liquor. The ship’s papers would indicate the exports were heading to a port in Central America, but the ships would actually anchor in international waters off the US and be met by a fleet of much smaller fast delivery motorboats who would deliver the booze ashore, often at night. In 1934, after prohibition had ended, US Authorities sued Henry Reifel and his son George for smuggling $10m of alcohol and avoiding an additional $7.25m of duty. The press reporting the case said “At least one (of the boats) was equipped to throw out a smoke screen to shield speedboats, which ran illicit cargoes ashore. The complaint charged the fleet was directed by wireless from British Columbia.” The case was dropped in 1935 after they agreed to pay a $500,000 fine and forfeit the $200,000 bail they had to put up to get back to Canada.
George and Harry Reifel built two of Vancouver’s landmark mansions, Casa Mia and Rio Vista, as well as the Commodore Ballroom and the Vogue Theatre. Today the Commodore is run by Live Nation, but the building is now owned by local investors and developers Bonnis Brothers, who have recently replaced the storefronts and awnings to a simpler and consistent design. Under previous ownership the ballroom closed for renovations in 1996, and reopened in 1999 after extensive structural repairs and with a new hardwood floor. In the basement, the Commodore Lanes has one of the city’s few remaining bowling alleys.
Image source: City of Vancouver Archives CVA 780-51
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The Zoom Gaze
Since the pandemic began, the seemingly mundane protocols of Zoom have become a significant part of many people’s daily lives: finding the right link, setting up the peripherals, managing the glitches and slippages in this supposedly “synchronous” form of communication. At first, of course, video conferencing was a godsend — a way that things could continue to go on with some semblance of normal. But it quickly became clear that video conferencing is not simply a substitute for face-to-face encounters. It incurs effects of its own.
Not only did Zoom open our homes to unanticipated scrutiny and our schedules to an all-day influx of appointments, it immediately became clear how much more tiring it was to Zoom than to meet. As of this writing, the term Zoom fatigue returns almost 700,000 hits on Google, many of which are listicles on how to combat it. But others try to explain it. One theory is that the hiccups in synchronicity due to bad connections can cause false starts and interruptions, which create communicative friction and frustration that make it hard to maintain conversational etiquette. L.M. Sacasas speculates that the fatigue stems from dealing with reflections and projections of ourselves, making up for the work that bodies in space do. Zoom makes us work harder to convey and receive subtle signals from one another over video. Geert Lovink lays out a meta-analysis of proposed reasons, including what he terms “video vertigo,” a downward spiral that comes from compounding work and leisure in the same space: You need that planned happy hour video call with friends to re-up your energy from so many work calls, but you are too exhausted from work calls to get on another call for happy hour.
You watch yourself as you speak, as you move. You are self-aware and self-correcting in real time
But fatigue is not the only consequence. As Zoom shifts the nature of the relationship between viewing and being viewed, it also shifts our awareness of it: It makes us more conscious of how visibility is mediated by technologies in general. That is, it calls our attention to what theorists describe as “the gaze,” which analyzes the power relations in looking and being seen and how these are consolidated in a particular way of seeing that may come to seem natural. Right now, our new conditions call attention to the different power dynamics that come into play as face-to-face interactions shift to online video spaces — what we might call the Zoom gaze (though, of course, it would apply to video telephony in general). It is critical to understand the Zoom gaze now, before it becomes so familiar that it seems immutable — just the way things are.
Film scholar Laura Mulvey theorized a “male gaze” that was structured and reproduced through cinematography, presuming a male hetero viewer and depicting women primarily as sexual objects rather than subjects. In this interview, Toni Morrison describes how she rejected centering the “white gaze” in her fiction: the presumption of a white audience and the white perspective as neutral. If Foucault used the idea of a “medical gaze” to describe how doctors objectify patients’ bodies to treat them, and the “panoptic” gaze to explore how carceral discipline is internalized, what might we say the Zoom gaze accomplishes? Whose perspective does it seek to naturalize? Whose subjectivity does it center, and in what sorts of forms? What does it condition us to see?
Zoom, like most video-conferencing systems, defaults to presenting you with an image of yourself staring back at yourself (assuming you grant it access to your device’s camera). This immediately confronts you with your own visibility: That is, you are forced to see yourself being seen. In a sense, the screen becomes a mirror, invoking earlier encounters with mirrors that (according to Lacanian theory) lay the foundation for you to subjectively recognize yourself as an object for others. In a Zoom call, however, this effect is magnified, because other people are not theoretical but right there, seeing the objectified you as well. This reflected self persists, accompanying us through our interactions unless we deliberately dismiss it. You watch yourself as you speak, as you move … oops, that piece of hair is out of place. You are self-aware and self-correcting in real time. “Does my face look funny when I say “core competency”?
This foregrounded sense of our visibility can make us acutely conscious of matters of self-presentation, opening a gap between how we wish to be perceived and how we know ourselves to actually be. It can posit the idea of an “authentic” or “real” self that is showing a strategic or artificial self to others. This is one aspect of the Zoom gaze: By defaulting to and normalizing a kind of self-surveillance, the platform routinizes this kind of alienation.
But the objectification of the self doesn’t stop with the live image of you the camera captures. Being on camera turns the space you inhabit into a personal stage and everything that appears in it (including who you share space with) into props. The background you choose or the environment you are in inevitably communicates something about your identity; on Zoom these will likely be interpreted as deliberate choices. Even if you turn your camera off, your little square might become a profile picture — another choice.
At every turn, Zoom presumes that we wish to be persistent objects of perception and invites the idea that everything about our appearance can be customized and personally controlled. Its defaults create the impression that we are free to choose how we appear. We can even choose virtual backgrounds that widely expand what we might want to signal about our identity. But this technology is far from perfect. At times, virtual backgrounds in Zoom were erasing Black skin altogether. It is hard to be in control of how you’re perceived when the software renders your head invisible. But even when the tech works as expected, it can’t correct for how others see you. It can only expose you to endless interpretation. This is another aspect of the Zoom gaze: It imposes an illusion of individual control over conversational conditions that actually vary from person to person, and conceals some of the interpersonal dynamics and prejudices that may be in play.
Some of this plays out at the level of the interface. Although products like Zoom offer lots of choices about how to view ourselves and others — how we position the squares, how they are sized, who is full-screen and who is thumbnailed, who is pinned onscreen, who is spotlighted, whether someone is visible at all — this means that any participant has less control or awareness of how others are viewing them. There is no necessarily shared visual order to the conversation. On Zoom, the meeting settings alone consist of 68 different on/off switches, many of which, when activated, open additional options. Webinars and recording options further complicate matters. All these possibilities may be controlled by individual account holders, meaning that each time you enter a Zoom session, you are confronted by a new configuration of permissions, which may be based on how someone else assigns roles to participants.
Zoom presumes that we wish to be persistent objects of perception. Its defaults create the impression that we are free to choose how we appear
Zoom already allows hosts to control whose faces get blown up to full-size or show up in the top left corner of everyone’s grid. In May 2020 the company removed the “unmute all” setting for hosts due to privacy concerns but now has brought it back as a nuanced “unmute with consent,” which allows a host to unmute an individual participant’s microphone at any time in any of the host’s meetings once given permission. But this framing of consent is problematic to say the least. Can you refuse if the host is your boss? What if they not only have authority over you but abusive intent? An upcoming feature promises to allow hosts to unilaterally establish an “immersive scene” for all participants — essentially, a shared cartoon environment. There seems to be no mention of consent or any ability to opt out, but its example use cases include classrooms and courtrooms, spaces where power dynamics are especially in play. All of this undercuts the control of the camera, microphone, and background you might otherwise believe you have.
The Zoom gaze institutionalizes such dynamics in ways that may be newly obscure or impactful. Think about the positioning around a conference table with the management always at the head: This power dynamic could be re-enacted and reinforced in an immersive scene, aided by a host selectively muting individual microphones and spotlighting cameras to enforce adherence to the agenda. Such features may obscure who is focused on the meeting and who can conceal their drifting attention. Reports accessible to hosts after meetings include “attention tracking,” which measures whether attendees clicked away from main Zoom window for more than 30 seconds. (Hope you didn’t need to reference that email with last quarters’ numbers!) Add layers of artificial intelligence that could track eye movements and speaking times to create engagement scores, and it becomes clear how disciplinary the Zoom gaze can become.
Also, there is no way to know who is having a side chat in another program (with someone in the meeting, or even someone inside or outside the organization) or who could be recording the meeting with additional software or an external camera. Unlike with face-to-face encounters, there can be meetings within meetings within meetings. So much is unknown and so much personal control taken away, it is easy for meetings to feel uneasy and anxious. The Zoom gaze instantiates an intensified paranoia about how conversations are administered, who is paying attention, and who will control the documentation of discussions that can no longer be off the record.
The power dynamics of a conversation are complex. In video conferencing, the software itself can assign power relations that may or may not map onto existing social relations. The Zoom gaze ultimately comprises how the software’s programmers see users in the abstract, a perspective that can condition all the other possible perspectives within a video conference. Software envisions us through the programmers’ decisions about what to allow and restrict, and what the defaults are. It encodes who the company regards as the primary customers for its product by prioritizing certain ways of seeing and normalizing certain assumption of how users should behave.
With Zoom, it seems clear that the technology is created for environments of hierarchical control. Those who created it decided to differentiate permissions between hosts, co-hosts, and participants. What if video conferencing tools worked more like a telephone in that everyone on the call has equal permissions? Big video conferencing platforms like Zoom always value and give the most power to those who established the meeting. The platform’s design seems to assume that this person is benevolent and has only the best of intentions, but there is no guarantee of that. The truth is that the host is simply the customer (or employee of the customer) who has purchased a tool to administer the control the software affords.
This plays out not only in who has permission to do what but in how the software normalizes particular postures of looking. Because we are typically looking at eyes on the screen instead of the camera, eye contact can be askew, which may send an unintentional message that we are inattentive, bored, and not engaging. Apple now offers a feature that autocorrects this physical reality of your gaze with augmented reality, imposing a norm of (simulated) eye contact. In a twisted bit of doublespeak, the language describing this setting in the interface claims it will “establish natural eye contact while on FaceTime,” even though this eye contact is not natural at all.
The Zoom gaze ultimately comprises how the software’s programmers see users in the abstract
But the gaze imposed by software is also a matter of the risks that engineers have overlooked. As the pandemic intensified and more people started videoconferencing, “Zoombombing” incidents rose. This form of trolling was often emboldened by default settings that allowed anyone to enter any room without a password or admittance from a host. “Join” links could be passed around on social media and discussion boards dedicated to Zoombombing, allowing for coordinated attacks. Bombers could even try to guess links randomly by trying different combinations of letters and numbers. Other default settings that allowed anyone in the call to screenshare enabled them to take over the visuals of a meeting, letting them effectively seize the desktop space of everyone by playing loud music or yelling into the microphone.
When these settings were called out as problematic, Zoom’s CEO Eric Yuan apologized and promised to make changes. But in the same breath he also pointed out that the product was being used in ways that the company hadn’t imagined, as if this were an excuse. The short-sightedness was a choice: Zoom anticipated only certain use cases and built the product for certain users — “large institutions with full IT support.” With some threat modeling and even a mild consideration of marginalized perspectives, some of the most problematic cases — which included incidents of racism, sexism, anti-Semitism, and homophobia — could have been avoided.
The various permutations of settings across different video platforms are virtually innumerable. When you enter a meeting will your camera and microphone automatically be on without notice? What if you mostly just want to listen and are in your PJs? Will you be able to text-chat during the meeting? Will it be recorded? It’s impossible to know in advance, and there are no established cultural norms that push meeting hosts to communicate such nuances beforehand. Instead, the Zoom gaze currently institutionalizes uncertainty as the norm.
Power dynamics shift over time as platforms are updated and the companies’ view of us changes. In a recent blog post, Zoom revealed new features, including a video waiting room that could introduce more asymmetries between the watchers and the watched. The company is developing a marketplace that may make money a more direct factor in who can afford which sorts of privileges within meetings. And artificial intelligence tools may soon be able to scrape details of recorded meetings to make “highlight reels” that can recontextualize performances in unanticipated ways and replicate existing biases — as machine learning techniques based on historical data inevitably do, as the many stories about AI’s replicating gender and racial biases show.
Although abuse and fatigue are facets, the Zoom gaze is broader than that. Yes, it is that light that we see in grandma’s eyes when she sees the grandchildren who can’t come visit and all the happiness that the commercials and advertising for teleconferencing promise us. But it is also the embarrassment, shame, and perhaps loss of employment that comes from doing something inappropriate when you thought the camera was off. It is the student sobbing after taking a video-proctored exam where the built-in artificial intelligence falsely flagged them for cheating. It is the judicial system that becomes more corrupt and less just due to remote video trials leaving out court watchers. It is the erosion of freedoms that come when teleconferencing corporations’ policies are used to make decisions about who gets to have a meeting and who does not.
Even though the Zoom gaze existed pre-pandemic, its effects are now amplified, thanks not only to the increased volume of video calls but also the diversity of situations in which they have been adopted. As the pandemic pushes us to use these technologies for what we can’t do in person, let’s not forget what we are giving up to do so. Thinking about the gaze — who is watching and how we are watched; who controls the watching environment and how power dynamics are systematized — allows us to look beyond how companies would like us to see their products. Zoom would like to habituate us to these new power alignments until we regard them as normal and natural, but we do not have to accept this uncritically. We should question these alignments and resist such habituation now, so that we may more thoughtfully shape what we want togetherness to look like when the social is no longer distant.
Precursor’s Mechanical Design
“Pocketability” is the difference between Precursor and naked PCB FPGA development platforms. We hope Precursor’s pocketability helps bring more open hardware out of the lab and into everyday use. Thus, the mechanical design of Precursor is of similar importance to its electrical, software, and security design.
We always envisioned Precursor as a device that complements a smartphone. In fact, some of the earliest sketches had Precursor (then called Betrusted) designed into a smartphone’s protective case. In this arrangement, Precursor would tether to the phone via WiFi and the always-on LCD for Precursor could then be used to display static data, such as a shopping list or a QR code for a boarding pass, giving Precursor a bit of extra utility as a second screen that’s physically attached to your phone. However, there are too many types of smartphones out there to make “Precursor as a phone case” practical, so we realized it would make more sense to make Precursor a “stand-alone device”.
As such, we wanted Precursor to be unobtrusive and thin in order to lighten the burden of carrying a secondary security device. Our first-draft EVT design had Precursor at just 5.7 mm thick, placing it among the ranks of the thinnest phones. Unfortunately, the EVT device had no backlight on the LCD, which made it unusable in low-light conditions. Increasing the final thickness to 7.2 mm allowed us to introduce a backlight, while still being slimmer than every iPhone since the iPhone 8.
To minimize the thickness of Precursor, I first divided the design into major zones, such as the main electronics area, the battery compartment, the vibration motor, and the speaker. I then estimated the overall thickness of components in each zone and optimized the thickest one by either re-arranging components or making component substitutions until another zone dominated the overall thickness.

A cross-section view of the final Precursor design, calling out the dimensions of the various vertical height zones of the design.
After considering about a dozen or so mechanical layout scenarios, we arrived at the design shown above. Like every modern mobile device, when viewed by size and weight, Precursor is basically a battery attached to a display.
The practical limit on battery thickness is driven by the overhead of the protective wrapping around the battery. Lithium-polymer “pouch” batteries rapidly decline in energy density with decreasing thickness as the protective wrapper around the battery starts to factor appreciably into its overall thickness. The loss of energy density becomes appreciable below 3.5mm, and so this fixed the battery’s thickness at 3.5mm, plus about 0.2mm allowance for any swelling that might happen plus adhesive films.

Teardown view of Precursor’s LCD with backlight attached. Note that to inspect the transistors inside the LCD, the backlight module needs to be removed.
Display thickness is limited by the thickness of the liquid crystal (LC) “cell”, plus backlight. Fortunately, LC cells are extremely thin, as they are basically just the glass sheets used to confine a microscopic layer of liquid crystal material, plus some polarizer films – in Precursor’s case, the LC cell is just 0.705mm thick. The backlight is substantially thicker, as it requires a waveguide plus a film stack that consists of two brightness enhancing films, a diffuser sheet, adhesives, and its own protective case to hold the assembly together, leading to a net thickness increase of roughly 1.3mm. The backlight itself is actually a full-custom assembly that we designed just for Precursor; it’s not available as an off-the-shelf part.
With the display and battery thicknesses defined, the final thickness of the product is determined by the material selection of the protective case. We use aluminum for the bottom case and FR-4 for the bezel (we discuss the bezel in a previous post).
Using aluminum for the bottom case allows us to shave about 1 mm (~15%) of thickness relative to using a polymer like ABS or PC at the expense of a fairly substantial increase in per-unit manufacturing costs. Although polymers are about twice the cost of aluminum by weight, an aluminum case costs about 10x as much to produce. This is because polymers can be molded in a matter of seconds, with very little waste material, whereas aluminum must be CNC’d out of a slab in a time-consuming process that scraps 80% of the original material. Surprisingly, the 10x cost-up isn’t the waste material; there is an efficient market for buying and recycling post-machining aluminum. Most of the extra cost is due to the labor required to machine the case which is orders of magnitude longer than the time required for injection molding.
Thus, while we could have made Precursor cheaper, we felt it would both be more pocketable, as well as more desirable, with the machined aluminum case: it would look more like a high-end mobile device, instead of a cheap plastic toy or remote control.
Using aluminum also allows us to play some fun tricks with the fit and finish of the product, thanks in part to the transformative effect Apple had on the mobile phone industry. Their adoption of CNC machining as a mass production process sparked a huge investment in CNC capability, making once-exotic processes more affordable for everyone. A good example of this is the single-crystal diamond cutting process for making shiny beveled edges. This used to be a fairly expensive specialty process, which you can read more about in this great thesis on “Precision and Techniques for Designing Precision Machines” by Layton Carter Hale which, on page 27, describes the Large Optics Diamond Turning Machine (LODTM). The LODTM relies on the raw precision achievable with a diamond bit to create geometries for mirrors without the need for post-polishing.

A single-crystal diamond bit, courtesy of Victor from Jiada
I first learned about this technique in 2017, when I brought a Xiaomi aluminum mouse pad with a mirror-finish bevel.
Despite a sub-$20 price tag, the mirror-finish bevel gave it quite an expensive look. Polishing to a mirror finish is a time consuming task, so I became curious about how this could be economical on a humble mouse pad. I bought another mouse pad, and brought it to Prof. Nadya Peek, and asked her how she thought it was fabricated. Readers who are familiar with our Novena laptop may recall her name as the designer of the Peek Array for mounting accessories inside the Novena. I’ve been lucky to have her mentorship and advice on all things mechanical engineering for many years now. So many of my products are better thanks to her!
She took one look at the bevel and immediately guessed it was cut by a single-crystal diamond bit, but she could do even better than making a guess. At the time, she was still a graduate student at the MIT Center for Bits and Atoms, where she had a Hitachi FlexSEM 1000 II equipped with the X-ray composition analysis option at her disposal. So, she took the mouse pad to the machine shop, chopped a corner off with a band saw, and loaded it into the SEM.

Viewing the output of the composition analysis.
If you zoom into the screen on the right, you can see the X-ray composition analysis reveals an unusually high amount of carbon on the aluminum surface (~10% by weight). Unlike iron, carbon is not commonly used in alloying aluminum. In this case, the chief alloying element seems to be magnesium, implying that the mousepad is probably a 5000-series alloy (perhaps 5005 or 5050). Given this, it seemed reasonable to conclude that the carbon residue on the beveled surface is direct evidence of a diamond cutting bit.

The shiny beveled edge on Precursor is brought to you by a single-crystal diamond milling bit.
Armed with this knowledge, I was able to work with Victor, the owner of Jiada – the primary CNC provider for Precursor – to specify a diamond-bit beveling process that brings you the nice edge finish on the final Precursor product. I also count Victor as one of my many mechanical design mentors; he’s one of those practicing-engineer-as-CEO types who has applied his extensive knowledge of mechanical engineering to open his own CNC and injection molding business. He always seems up for the challenge of developing new and interesting fabrication processes. That’s why I’ve been working closely with Victor to develop the campaign-only omakase version of Precursor.
Because Precursor’s case is CNC, we’re not limited to aluminum as the base material. It’s primarily a matter of cost and yield to manufacture with other materials. We could, for example, machine the case out of titanium, but the difficulty of machining titanium means we would likely have to machine two or three cases to yield a single one that passes all of our quality standards. This, combined with the high cost of raw titanium, would have added about a thousand dollars on to the final price of the omakase Precursor and we felt that would be just too expensive. Thus, Victor and I are currently evaluating two material candidates: one is physical vapor deposition (PVD)-finished stainless steel, the other is naval brass. These material choices were heavily influenced by Prof. Peek’s opinions. (It’s a coincidence the recently launched iPhone 12 uses PVD stainless steel for its case, as we have been working on this project since well before the details of iPhone 12 were publicly known.)
While both the PVD steel and naval brass are much more expensive than aluminum, they have a terrific hand feel and excellent machinability. Aesthetically, the main difference between the two is the color: for the stainless steel PVD, we’d be going with a high-gloss, polished black look, and for the naval brass we’re considering a brushed finish. The naval brass is more distinctive, but the soft metal is easy to scratch; a highly polished brass surface starts to look much less nice after a week or two of banging around in your pocket. A brushed finish hides such scratches and fingerprints better and over the course of years it should develop a handsome patina.
The major downside of the naval brass is that it’s highly conductive. Both the PVD stainless steel and anodized aluminum inherently have a tough, non-conductive surface layer; the naval brass does not. This is particularly concerning because if any of the internal battery connections get frayed, it could lead to a fire hazard. I’m currently working to see if I can find a surface coating that adequately protects the inside of the naval brass case from short circuits, but if I can’t find one, that may definitively rule out the naval brass option, leaving us with a PVD stainless steel case for the omakase version.
While good looks and a nice hand feel are significant benefits of going with a CNC process, another important reason I picked CNC over injection molding is anyone could build a full-custom version of a Precursor case in single quantities, with no compromise on finish quality or durability. Unlike the situation of injection molding versus 3D printing, which either use radically different base materials (for SLA 3D printing) or processes (for FDM 3D printing), your custom case can be made in single quantities with the exact same metal alloys and the exact same processes used in production Precursors.
This trait is particularly important for a mobile device and not just because the design works better when it’s built using its originally intended material system. It’s also because mobile devices don’t have a lot of extra space to devote to expansion headers and breakout boards. While it is beyond the level of a weekender hobby project to make a custom case, it’s probably within the scope of an undergraduate-level research project to undertake the necessary revisions to, for example, thicken the case and incorporate a novel medical sensor or a new kind of radio. In order to facilitate easier modifications to the case’s native Solidworks design file, I use a “master profile” to define the case body, bezel, and “ribbon” (the outer band that defines the height of the case). Helena Wang, another friend to whom I turn to for advice on mechanical design, taught me about the general technique of top-down modeling and using master profiles. Top-down modeling pushes a lot of design work into the up-front structure and planning of the 3D body in exchange for being able to revise the model without having to resolve dozens of conflicting downstream mechanical constraints. For example, when I realized I had to modify the case to be 1.5mm thicker to accommodate the backlight for the LCD, I was able to make the necessary change by just adjusting a single dimension in the ribbon height master profile, followed up by perhaps a half hour of cleaning up the offsets on structures which were defined outside of the master profile, such as the mounting points used to support the keyboard and the polymer radome that allows the WiFi signal out from the metal case.

A screenshot of the CAD tool view of the Precursor case, highlighting the master profile that defines the outer dimensions of the case.
Of course, making edits to the master profile requires access to a copy of Solidworks, which is not an open source tool; but FreeCAD users are welcome to redraw the design in their native format! I’ve heard good things about FreeCAD, but I just haven’t had the time to learn a new design tool. For smaller modifications that don’t involve changing major dimensions of the case – such as adding some extra through-holes for sensors or internal mounts for additional circuit boards – the case design is also available in a tool-neutral STEP format. Every CAD tool I know of can accept STEP format and, since it is actually the format used for CNC fabrication, it’s by definition sufficient for creating copies of the case.
If you’ve read my posts over the years, you may have noticed that I’ve never taken a formal course on mechanical engineering. Everything I know has been either gleaned from taking things apart, touring factories, scouring the Internet, and perhaps most importantly receiving advice from friends and mentors like Nadya, Victor, and Helena. It’s been a wonderful journey learning how things are made, I hope posts like this and the associated design files will aid anyone who wants to learn about mechanical design, so they may have an easier time of it than I did. Most of all, I’m hoping applying my experience and making Precursor pocketable and hackable will enable more open source technology to make it out of the lab and into everyday use, without requiring anyone to learn about mechanical design.
Thanks again to all our backers for bringing us closer to our funding goal! At the time of posting, we’re just at 90% funded, but we’re also getting down to the last week to wrap things up. We need your support to get us over the 100% mark. We recognize that these are difficult, trying times for everyone, but even small $10 donations inch us toward a successful campaign. Perhaps more importantly, if you know someone who might be interested in Precursor, we’d appreciate your help in spreading the word and letting them know about our campaign. With your help, hopefully we’ll blow past our funding goal before the campaign ends, and we can begin the hard but enjoyable work of building and delivering the first run of Precursor devices.
Lambda: The Ultimate GOTO
In this episode, I read from Lambda: The Ultimate GOTO. We learn whether avoiding GOTOs makes your code better and how to make function calls fast.
The post Lambda: The Ultimate GOTO appeared first on LispCast.
The Best Fast Chargers for Every Device
The outdated USB chargers clogging store shelves and online listings won’t charge your latest gear as fast as possible. New fast chargers are safe, affordable, and up to three times faster than the old ones many people have had lying around for years.
We’ve tested the best fast chargers and collected our recommendations — no matter what phone, tablet, or computer you use — on this page.
LCBO pauses partnership with SkipTheDishes after Ontario government intervenes

The LCBO has put its partnership with SkipTheDishes on hold after it was asked to do so by the Ontario government.
“Following direction from the Ontario government, LCBO’s partnership with SkipTheDishes is paused until further notice,” the company said in a statement on December 6th.
“We are proud to continue offering a safe in-store shopping experience and our expanded Same-Day Pickup option and will continue to look for new ways to increase choice and convenience for our customers.”
The LCBO launched the partnership with the delivery service on December 4th. The partnership faced backlash from restaurants that are partly relying on the sale of alcohol through takeout and delivery to pay their bills.
Ontario Finance Minister Rod Phillips said in a tweet that he and Premier Doug Ford asked the LCBO to pause the partnership to show support for restaurants.
“Restaurants have been hit hard by COVID, so we are supporting them, including by allowing them to sell alcohol w/ take-out & delivery. Restaurants still need our support, so Premier @fordnation & I asked LCBO to pause their recently announced delivery plans with Skip the Dishes,” he tweeted.
Under the partnership, SkipTheDishes planned to start on-demand delivery to customers starting with 15 stores in Toronto. Customers would have been able to order wine, beer and spirits from their local stores.
SkipTheDishes said in a statement that it “respects the decision of the Ontario Government and remains focused on supporting our restaurant partners.”
Source: LCBO
The post LCBO pauses partnership with SkipTheDishes after Ontario government intervenes appeared first on MobileSyrup.
Apple reportedly creating 32-core chip for iMac and MacBook Pro

Apple has plans to move beyond the eight-core M1 MacBook Air, 13-inch MacBook Pro and Mac mini, according to a new report from Bloomberg.
The tech giant is reportedly testing chips for higher-end desktops, including a “half-sized” Mac Pro that could feature as many as 32 high-performance cores.
These more powerful processors could also make their way to the iMac and the 16-inch MacBook Pro, though Bloomberg says this version of the chip will feature 16-inch high-performance cores and four high-efficiency cores. It’s also reportedly possible that Apple could opt for eight or 12 cores for these devices based on its chip production capabilities.
On the GPU side of things, Apple is also reportedly testing 16-core and 32-core GPUs for the iMac and higher-end MacBook Pro. On the other hand, the Mac Pro would get between a 64-core and a 128-core GPU. These higher-end GPUs won’t arrive until 2021 or 2022, according to Bloomberg.
It will be interesting to see how Apple’s GPU hardware compares to architecture featured in high-end PCs. While the tech giant currently has an advantage in the laptop space with its new M1 chip, it’s unclear if it will make the same gains in the desktop space.
Several months ago, Apple revealed plans to transition its entire lineup to its own ARM-based processors over the next two years. The first M1-powered Mac devices, including the MacBook Air, 13-inch MacBook Pro and Mac mini, launched last month.
While there are some issues related to the M1 Macs’ ability to emulate Intel-based apps, Rosetta 2, Apple’s emulation software, is generally excellent. The new chips also benchmark well above what current Intel and AMD laptop processors are capable of.
Source: Bloomberg
The post Apple reportedly creating 32-core chip for iMac and MacBook Pro appeared first on MobileSyrup.
S14:E6 - What is Typescript and when should you use it (Dan Vanderkam)
In this episode, we talk Typescript with Dan Vanderkam, principal software engineer at Sidewalk Labs, and author of Effective TypeScript. Dan talks about the difference between working on a personal project versus a project at scale, what typescript is, and how it can help you once you move to those larger projects.
Show Links
- Code Comments (sponsor)
- IRL (sponsor)
- TypeScript
- Sidewalk Labs
- Effective TypeScript
- The Secret Guide To Computers
- BASIC
- Mount Sinai
- Alphabet Inc
- AlphaGo
- JavaScript
- Type Systems
- C#
- Turbo Pascal
- Effective C++: 55 Specific Ways to Improve Your Programs and Designs, Third Edition
- TypeScript Handbook
- Basarat's TypeScript Deep Dive
- Basarat's T
- Programming TypeScript
- TypeScript Quickly
Dan Vanderkam
Dan Vanderkam, a principal software engineer at Sidewalk Labs, has built engineering teams and processes for all of its products and spinouts, all of which use TypeScript. He previously worked on open source genome visualizations at Mt. Sinai's Icahn School of Medicine and on search features used by billions of users at Google (try "population of france" or "sunset nyc"). He has a long history of working on open source projects, including the popular dygraphs library and source-map-explorer, a tool for visualizing JavaScript code size. He is also a co-founder of the NYC TypeScript meetup.
Venison
Since the start of the catastrophe, Linda and I have been avoiding grocery stores and having everything delivered. That changes some habits and tradeoffs; in particular, we’ve been eating less meat and indulging in better (and better-raised) meat, much of it delivered from D’Artagnan, a wholesaler and restaurant supplier. They’re bound to be hard hit by the catastrophe and they’d be hard to replace, so this seems a useful indulgence.
Anyway, to fill out an order I’d bought a pair of venison tenderloins, and this weekend we had a Zoom party with friends in England — lunch for us, dinner for them. This was great fun; I haven’t done any company cooking since the disaster began.
I did the venison sous vide, 2 hours at 219°F, seasoned with ground pepper, ground juniper, and a liberal quantity of kosher salt, then seared 30 sec/side in a very hot pan.
For a sauce, I took 1 cup of duck stock (which is what I had on hand; chicken or beef would be fine) and reduced it to about ¼ cup. Actually, I reduced it even farther, making a glace, but I saved it easily enough with a little extra stock. While the seared venison was resting a melted some butter in the venison pan, cooked a handful of minced shallots briefly, and deglazed with the stock reduction plus (off heat) a shot of gin. Take this down just a touch, turn off the heat, and add a couple of ounces of creme fraiche.
This preparation is said to be Belgian, but nobody seems to record its name. Anybody know? bernstein@eastgate.com or @eastgate.
Raspberry Pi Minecraft V1.12 Server – Excellent Performance Guide
The Minecraft world of color update 1.12 has finally arrived! This walk through will show you how to set up a playable Minecraft server running on the Raspberry Pi. ATTENTION: New 1.14 guide is available! Many things in this guide have changed and no longer apply. View the updated version I have read many tutorials on Google about how to set up a “great performing” Minecraft server on your...
Overclocking Samsung Pro Plus MicroSD to 99MHz on Raspberry Pi
In my quest for maximum performing MicroSD cards in the Raspberry Pi I decided to purchase the top performing card in most benchmarks which is the Samsung Pro Plus. However, the common overclock for the Raspberry PI SD port to 100MHz does not seem to work with these cards and they become unstable. However, through a little bit of tweaking and experimentation, I found that these cards can be...
You don't have to be busy to be prolific
I get a couple emails every week asking how I manage to “do it all” or “balance my schedule”, or how I find the time and motivation to work on so many projects, which makes me think people have a really weird picture of how I spend my 24 hours. My calendar is actually pretty empty most of the time, though I’m pretty protective of my free time. I like having free time because it lets me make sure I read and consume more than I create, which I think is critical to creativity.
I also leave space on my calendar because I don’t like feeling busy. “Busy” is what you are when you’re hopping from meeting to meeting, sprinting through a filled calendar or running up against a deadline. None of that is conducive to following spontaneous creative ideas or working on large interesting projects. When I feel at my productive best, what I feel is momentum. I like feeling like I’m on a roll, hopping from one interesting project or idea to the next, not wanting to put down the interest or inspiration. When I feel momentum, everything else – motivation, focus, efficient use of my time – comes naturally. Conversely, when I lose momentum, it takes me a few days of kicking against the ground to get back up to speed.
Having momentum is different than simply working a lot. Busy-ness, what some people think of as “productivity”, comes from volume of work. A day spent answering 100 emails and a day spent publishing one great blog post could feel equally productive. Momentum isn’t really about volume of work, but about rhythm of work. When I feel creative momentum, it means there’s something interesting or meaningful getting done every day, even if it’s something small. A day spent answering emails is monotonous. It has no rhythm. Even if I only work for two hours in a day, if those two hours produced something meaningful and kept the rhythm of my work going, I feel the momentum continue to the next day.
A busy schedule is like a cacophonous garage band. There’s a lot of volume, but it doesn’t really keep you in the music.
Working with momentum is more like Jazz. There is sound, but mostly in service of forward movement. There’s a groove you can ride, something that keeps you stepping forward. You don’t have to make yourself follow the beats, because it comes naturally. That rhythm and leisure also lets you improvise on top over the music.
Building creative momentum
How do you find a sense of momentum in your work?
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Try to get at least one meaningful or significant thing done every day, even if that’s the only thing you do. You want to wake up with a clear idea of what that task might be for that day, and go to sleep knowing that you haven’t fallen off your rhythm.
When I have a day not hampered by school schedules or meetings I usually try to publish a blog post, solve a major problem for a side project, or create and share some small unit of work, whether that’s a piece of music or writing or something else. Occasionally, I’ll just spend a day catching up on email and errands, and that’ll be my “project” for the day, but I’m conscious of when I risk going too many days (4-6 days) without “shipping” anything, because that’s how I lose momentum, and it’s hard to regain that lost forward motion.
This might be challenging when working as a solo founder or writer or maker, but especially when you work alone, I think it’s important to draw yourself clear boundaries and say it’s okay to respond late to things if it means you get to protect your creative momentum, because that forward inertia is the heartbeat that keeps you moving forward day after day.
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Leave something unfinished when you stop working, so when you come back you can pick up right where you left off and get in the same mental state again. When I’m deep in the middle of an interesting project, I’m usually dead focused on that task until I finish. I’ll take pauses to take care of myself, but I usually stay off email and messages, and any spare cycles I have goes towards that task. This means I lose less momentum and “working state” of my mind to context-switching.
Authors sometimes talk about how they begin a writing session by reading the last 1000 words they wrote. When you must switch off of a task, leave some trail you can follow when you return to pick up right where your mind left off.
Neither of these habits are about working more or working any harder. Instead, they both try to help you stay in the rhythm of work that your mind can ride. They help you build momentum towards a consistent habit of forward motion, which is what really fuels prolific people. These pieces of advice are also about protecting your momentum as a priority. If you value the momentum behind your work, you should prioritize staying in the rhythm, and make few excuses to miss beats. A song that slips every other note falls apart quickly, but if you hit all the right beats, you rarely need strict discipline to stay in time.
You don’t have to be busy to be prolific. In fact, having a full calendar gets in the way, because it robs you of the free time and mental space you need to follow interesting ideas and help you replenish your creative taste. To create consistently, don’t work constantly. Instead, find a rhythm on which you can build a momentum that fuels you to keep going right where you left off every time you return to your creative zone. Building on momentum – staying in-rhythm – is the easiest, most enjoyable way to keep creating.

