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    <title>playbit</title>
    <dc:date>2025-10-17T05:35:25+00:00</dc:date>
    <link>https://playb.it/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Playbit is an operating system & development environment which encourages playful learning, building & sharing of local-first software on a personal scale.

communal technology

playbit is built on a collaborative foundation with a shared file system and multiplayer. Building collaborative software together with other people should feel natural. 

Creating in a playful way leads to more interesting ideas;
playbit gives us a "safety net" for our software adventures.

approachable collaborative open playful powerful reliable safe human modular systematic simple flexible posix webgpu local-first 

Guiding principles

Approachable
Collaborative & Open
Playful
Powerful
Safe exploration
Human
Modular
Systematic
Simple & flexible
Balanced
Consistent

The zen of playbit

Playbit is delightful and invites exploration.
Exploration is always safe, but not at the expense of flexibility.
It is in many ways a tool for getting the job done; a means to an end, but not at the expense of delight or playful exploration.
Explicit is better than implicit.
Simple is better than complex.
Simple is better than easy.
Easy is better than having to make many choices.
Simplicity does not mean easy, but it may mean straight-forward or uncomplicated.
Just because something may be simple, don’t mistake it for crude.
Simplicity is a goal, not a by-product.
Choose simplicity over completeness. There is an exponential cost in completeness.
Complex is better than complicated.
Flat is better than nested.
Special cases aren't special enough to break the rules, although practicality beats purity.
Errors should never pass silently, unless explicitly silenced.
Mutable state is hard.
Immutable data can be safely shared and reasoned about.
Isolated data is safe.
Namespaces are a brilliant idea."]]></description>
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    <title>vocab lesson - by Sara Hendren - undefended / undefeated</title>
    <dc:date>2023-12-29T07:09:48+00:00</dc:date>
    <link>https://sarahendren.substack.com/p/vocab-lesson</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do you describe the design of the stuff all around you, beyond what you like or don’t like, beyond what’s interesting or cool or boring? Next semester I’ll be teaching a class called Writing About the Built World. We’ll examine a mix of academic and journalistic criticism — for architecture, design at all scales, and technology — and we’ll look for analysis of objects and environments in all kinds of unexpected places: podcasts, movies, fiction. We’ll practice finding the most precise language we can for all the stuff that’s around us, the better to both cultivate our own sensibilities and to see the choices designers make as choices — choices that could always be different. I usually offer a word bank to get students going:

[image]

And I often start by looking at several projects that have meals and eating as their subject, orchestrated in very different ways, as a lesson in contrast. For example:

[image]

The Manhattan restaurant Hearth, in the early days after they opened, had a box on every table like this to invite diners to keep smartphones out of their mealtime. How would we talk about this arrangement of choices? It’s a suggestion, not a policy, and the container is open, not closed. The box is embossed tin and printed with a demure floral, like something from the 1920’s—not an armed safe, and not a bag for the coat check. Is this a subtle, nostalgic nudging? Is it an elegant escape hatch from digital life? Or is it paternalistic? Overly precious, even twee? Finding the words for this designed object-and-experience helps you figure out the assumptions behind the choices and the origins of your reaction. Compare Hearth to something else:

[image]

Conflict Kitchen, in Pittsburgh, serves food from regions of the world with which the US is in conflict. So they have programs and lectures and “lunch with an expert” on offer. But notice the design of the actual structure: it’s a trendy modern kiosk, heavy on stylish graphics, and the signage is just their name and the cuisine you can (temporarily) purchase there. So we might say this project leads with approachability — no protest posters or policy recommendations out front, as you see here — and follows with an invitation to more information, more provocation, if you so choose. A design group interested in politics could do otherwise, of course, with some aesthetic and programmatic changes. They could have decided to employ the confrontational, DIY graphic style of the handmade stenciled typeface. They could have printed menus with foreign policy demands on the back. They could have foregrounded the conflict part of the project, but instead they foregrounded the kitchen — the feasting, the conviviality, the enterprise. These are all choices, and it’s worth asking why. Now add another to the mix:

[image]

Eenmaal (pronounced “ayn mahl” in Dutch) means “one meal” — a meal for one. Eenmaal was a temporary project designed as an experiment in solo eating as the only option available, as you see in these single-setting black cubes above. The beauty of the project is its indeterminacy: is it a destigmatized way to go out to dinner unaccompanied? Or is it a foreboding commentary on loneliness and atomization? The stark black-and-white aesthetics mimic the austerity of the minimalist art gallery, and the name “one meal” carries a kind of ominousness. But the press coverage was mixed: maybe it’s the dystopian present, or maybe it’s the reinvented future. The ambiguousness is designed—intended as a question, held aloft and unresolved. Now add one more:

[image]

In Jackson Hole, Wyoming, and other cities in the United States, Vertical Harvest brings agriculture to urban environments by way of hydroponics: vegetable gardens that grow up, rather than out. They assemble an unusual mix for their social mission, seeking out underutilized spaces in cities, using high-tech systems for cultivation, and employing people with physical and developmental disabilities in what they call a “grow well” model of making both food and jobs. Vertical Harvest is a pragmatic approach to urban agriculture, with an optimistic use of fast technology and slow investment in historically under-employed people. There’s a provocation here, but it’s not like Eenmaal’s enigmatic and haunting vibe. Vertical Harvest is a solutionist recombination of old and new.

My students in design pick up the skills for a strong sense of agency. Design is inherently forward-looking — it’s driven by proposals, by what-if questions, by the intentional arrangement of parts, people, and interactions in a hundred possible variations. I want them to have more words for the responses they have to others’ work, but also to recognize just how many choices they have as they make things of their own. One reliable A/B test helps distill the matter in class, and that’s Fiona Raby and Anthony Dunne’s comparison list from Speculative Everything:

[image]

After showing them the projects like the ones I’ve laid out above, I often ask students to choose a disposition from this A/B scenario. Not as a commitment, but as a temperature-taking exercise. Are they A-trained, but B-curious? And so on. Design does lots of things, and the word bank is a way of opening up new vistas when students are stuck.

Thanks for reading. I’ve got a reported piece in the December issue of Harper’s, about a radical and imaginative partnership between professional artists and adults with cognitive disabilities at a day center outside Edinburgh. Intelligence, authorship, eugenic histories, and the beautifully inefficient vitality of making art as an encounter between people.

[image]

I’d love to know what you think. There’s more to say about all that, and I will, soon. Wishing you a beautiful end to 2023 and plenty of new vistas opening up in the new year."]]></description>
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<item rdf:about="http://blogs.scientificamerican.com/roots-of-unity/contrasts-in-number-theory/">
    <title>Contrasts in Number Theory - Scientific American Blog Network</title>
    <dc:date>2015-12-30T20:14:10+00:00</dc:date>
    <link>http://blogs.scientificamerican.com/roots-of-unity/contrasts-in-number-theory/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Respected research math is dominated by men of a certain attitude.” So starts the prologue to The Equidistribution of Lattice Shapes of Rings of Integers of Cubic, Quartic, and Quintic Number Fields: an Artist’s Rendering (pdf), mathematician Piper Harron’s thesis. 

The entire prologue is fantastic, so instead of trying to describe it, I might as well quote it.

<blockquote>“Even allowing for individual variation, there is still a tendency towards an oppressive atmosphere, which is carefully maintained and even championed by those who find it conducive to success. As any good grad student would do, I tried to fit in, mathematically. I absorbed the atmosphere and took attitudes to heart. I was miserable, and on the verge of failure. The problem was not individuals, but a system of self-preservation that, from the outside, feels like a long string of betrayals, some big, some small, perpetrated by your only support system. When I physically removed myself from the situation, I did not know where I was or what to do. First thought: FREEDOM!!!! Second thought: but what about the others like me, who don’t do math the “right way” but could still greatly contribute to the community? I combined those two thoughts and started from zero on my thesis. People who, for instance, try to read a math paper and think, “Oh my goodness what on earth does any of this mean why can’t they just say what they mean????” rather than, “Ah, what lovely results!” (I can’t even pretend to know how “normal” mathematicians feel when they read math, but I know it’s not how I feel.) My thesis is, in many ways, not very serious, sometimes sarcastic, brutally honest, and very me. It is my art. It is myself. It is also as mathematically complete as I could honestly make it.

“I’m unwilling to pretend that all manner of ways of thinking are equally encouraged, or that there aren’t very real issues of lack of diversity. It is not my place to make the system comfortable with itself. This may be challenging for happy mathematicians to read through; my only hope is that the challenge is accepted.”</blockquote>

What follows is a math paper, filled with real number theory but written in an informal style, with clearly labeled sections for laypeople, mathematicians who want a general overview of the ideas, and people who want to see some of the gory details. She explains concepts using unicycles and groups of well-behaved children. There are comics about going into labor while writing a thesis. The content of the paper is not easy, but the presentation is entertaining and refreshing.

Harron, whose website is called The Liberated Mathematician, writes, “My view of mathematics is that it is an absolute mess which actively pushes out the sort of people who might make it better. I have no patience for genius pretenders. I want to empower the people.”

Harron has a reluctant maybe blog on her website and has written a great post on mathbabe.org. In both places, she says things a lot of us are afraid to say about the attitudes we feel like we have to pick up in order to fit into the mathematical community. Based on the way her thesis and blog posts have gone through my Facebook and Twitter, I think I’m not alone in identifying with many of the feelings she describes. I certainly felt the same pressure to conform that she felt as a beginning graduate student. As she puts it: “Please tell me the rules I must abide by in order to make no waves!”"

…

"This is why Harron’s work is all the more necessary. As she writes in her thesis, she wishes to relay to students that “1) you are not expected to understand every word as you read it, 2) you can successfully use math before you’ve successfully understood it, and 3) it has to be okay to be honest about your understanding.” I wish more young mathematicians learned these lessons and weren't afraid to reveal their ignorance.

Another thing I thought was interesting about these two stories is who reported and shared them. My math friends shared the heck out of Harron’s thesis, and I saw more about the abc conjecture from nonmathematicians who follow popular science. This wasn’t a binary thing; mathematicians shared articles about the abc conjecture, and nonmathematicians wrote about Harron's thesis, but for the most part, it was the other way around, at least in what I saw.

I’m not quite sure what conclusions to draw from the way the stories were shared, but it feels important. I think it says something about how mathematicians present themselves allow others to present them. On some level, we want others to put us on a pedestal. We don’t really mind it when someone gets the message “oh, it's too complicated—you wouldn’t understand.” 

On the other hand, the strong positive reaction to Harron’s work within mathematics shows that many in the mathematical community are hungry for something different. Even people for whom the status quo has worked (after all, they’re still there) recognize that mathematics loses when we build barriers for some groups of people or encourage people to adopt the “certain attitude” Harron writes about in her thesis.

Does the abc conjecture represent a dying old guard, and does Piper Harron represent the way of the future? I'd guess nothing that dramatic is going on. But mathematicians should think about how they want to explain mathematics and who they are inviting in or leaving out in the process."]]></description>
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    <title>Week 2 - Weekly Dispatch</title>
    <dc:date>2012-02-20T01:21:54+00:00</dc:date>
    <link>http://weeklydispatch.tumblr.com/post/17508286191/week-2</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["a blog post by Tag Savage [http://sexpigeon.org/post/16729718345/path-puts-a-silly-amount-of-trust-in-its-avatars ] about Path’s user interface choices in their app. Central tennent: if a place is too pristine and planned, it can’t be colonized. Tag’s words:

"Path is pretty in the same designy way as our modern museums. […] These museums are very exciting when they open. You show up and marvel along with all of the other fans of architecture. Maybe you return for one of those nights where they stay open late and there is a band and drinking. “A great space,” you think. […] The art doesn’t get talked about so much at these museums."

Path is a monument to Path. It is no place to scribble in. I wish it longevity so that it might find shabbiness.

A tricky balance, to be sure, but one that must be navigated if a product is dependant on user’s content. Part of the product must be left undone to provide the opening for the user to contribute."
]]></description>
<dc:subject>pristineness usefulness architecture ownership space place museums over-planning planning tagsavage frankchimero wabi-sabi comfort approachability shabbiness 2012 colonization path</dc:subject>
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<item rdf:about="http://www.kampman.nl/quotes/2010/12/it-should-remind-you-of-something-youve-never-seen-before/">
    <title>Marcel Kampman » &quot;It should remind you of something you’ve never seen before.&quot; — Brendan Dawes</title>
    <dc:date>2011-01-01T23:50:56+00:00</dc:date>
    <link>http://www.kampman.nl/quotes/2010/12/it-should-remind-you-of-something-youve-never-seen-before/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>invention familiarity approachability quoates brendandawes design creativity nostalgia glvo making</dc:subject>
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<item rdf:about="http://liftlab.com/think/nova/2010/02/19/matt-jones-on-mujicomp-and-mujicompfrastructures-at-technoark/">
    <title>Pasta&amp;Vinegar » Matt Jones on mujicomp and mujicompfrastructures at Technoark</title>
    <dc:date>2010-02-20T04:38:10+00:00</dc:date>
    <link>http://liftlab.com/think/nova/2010/02/19/matt-jones-on-mujicomp-and-mujicompfrastructures-at-technoark/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Matt Jones gave a talk called “people are walking architecture“...he introduced the notion of “Mujicomp”, a portmanteau word made of “Muji” (the japanese retail company which sells a wide variety of household and consumer goods) and “Computing”. What does it mean?

According to Jones, the idea of “mujicomp” revolved around the notion that ubiquitous computing needs to “become sexy and desirable… able to be appreciated as cultural design objects rather than technology… they should be tasteful, simple, clear, clean, contemporary, affordable in order to be invited into the home“. If designers and engineers want to “make smart cities bottom up with products and not academic ubiquitous computing which are always postponed“, he argued that ubicomp will need some “muji”. And of course, as shown by Jone’s use of the quote from Eliel Saarinen, “always design a thing by considering it in its larger context… a chair in a room, a room in a house, a house in an environment“."

[See also: http://berglondon.com/blog/2010/05/18/people-are-walking-architecture-or-making-nearlynets-with-mujicomp/ ]]]></description>
<dc:subject>mattjones nicolasnova mujicomp cities architecture ubicomp design muji janejacobs infrastructure clayshirky data accessibility approachability culture objects simplicity elielsaarinen urban urbanism perma-net nearly-net systems</dc:subject>
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