Wonderful animated short by Ben Barrett-Forrest. Via Coudal:
A simple example: the typical high school student applying to a range of colleges has very little risk of getting in nowhere. Apply to enough schools that match what you have to offer, and the odds are high indeed you’ll get in somewhere. Low risk but a very high uncertainty about which college or colleges will say yes.
That’s not risky. That’s uncertain. It takes fortitude to live with a future that’s not clearly imagined, but it’s no reason not to apply.
Interesting thought. I’d argue uncertainty is almost as difficult to handle as real risk, but he’s quite right in that sometimes it’s simply due to our own inability to understand the fundamental difference between the two.
The traffic playground is a public playground with a “kid-sized” traffic town where children learn to move in a safe environment. The playground is staffed during business hours and children can borrow go-carts, pedal vehicles with trailers and small bikes. The children are also welcome to bring their own bikes, roller skates and scooters.
For younger children (2-5 years), there is a small, fenced traffic lane where the little ones can borrow carts, tricycles and bicycles with trailers. Furthermore, the playground has a garage with go-carts, which are intended for children between 5 and 14 years. In the classroom, children can receive classroom teaching.
The traffic playground consists of small roads that wind in and out between lawns, shrubs and trees. Everything on the small rehearsal roads is reduced in size to match the children’s perspective. There are mini signals, driveways, road markings, sidewalks, crosswalks, bike paths, a gas station, a roundabout, bus stops, traffic lights and even trash cans tilted towards the cyclists - just like in real life (you can see one here in this earlier article).
This is so great. Coincidentally, there’s a remarkably similar traffic playground in my hometown (Spanish page, scroll down for the pictures). I have very fond memories of the many afternoons I spent riding my bike there as a child — with training wheels at first, then proudly on my own. It was a really fun — and useful — way to learn, and become accustomed to the rules of the road. Every child should experience it.
Sadly, the one in my hometown is now closed due to a lack of municipal funds for its proper maintenance and operation. I really hope it comes back to life at some point in the future, when the economy of the city allows for it.
All of this is a world — probably ten years away, maybe less — where you go to a theater to see a handful of films each year. The tentpoles. Everything else goes right to your living room. The tadpoles.
And if a tadpole hits it big at home, it could even turn into the next tentpole!
I suppose it makes sense. After all, every major industry will eventually need to adapt to the realities of technology and online video. But as a lover of cinema and everything it entails — from the popcorn to the sheer awe of a gigantic screen — I find this future to be utterly depressing.
It’s already happening, mind you, and there are other implications. What movie theater can survive with only “a handful of films each year”? Not ten years ago there were almost 10 movie theaters in Madrid’s Gran Vía. They were all beautiful, big old theaters, with red velvety seats and gorgeous marbled hallways. The Callao square was always dressed up in enormous, hand-drawn movie posters that made it look like a movie aficionado’s version of paradise.
All of that is almost completely gone now, and it’s but a memory of a seemingly distant past. Except it was practically yesterday. Today, only two movie theaters remain active in Gran Vía, and the posters are nowhere to be found. In their place, there now sit regular ads for cosmetic products, or whatever new fashion campaign that happens to be hitting the streets that week.
I don’t just love movies, I love going to the movies, but the whole experience is becoming so impractical and expensive that even I am going less and less as the years roll by. It pains me to no end, but I do agree with M.G. that the future looks bleak for movie theaters. And I will miss them dearly when they’re gone.
I have long been a fan of paperless work practices. Doing everything we can to minimize our paper trail is important: there are many benefits — instantly searchable archives, for one — and absolutely zero disadvantages, so trying to avoid filling our offices with dead trees is pretty much a no-brainer for me.
This great guide over at Tools & Toys gives you everything you need to get started on the transition to a pristine, paperless office. Of course, the real dream would be to not generate any paper to begin with, but unfortunately this is not yet feasible in todays’s world.
The problem seems to be quite simple: they’re doing too much, with unrealistic deadlines.
We don’t need major OS releases every year. We don’t need each OS release to have a huge list of new features. We need our computers, phones, and tablets to work well first so we can enjoy new features released at a healthy, gradual, sustainable pace.
This article deftly puts into words the general feeling of uncertainty we’re starting to see in the Apple community regarding the rapidly-declining quality of Apple’s software.
See also Guy English’s take on Marco’s article:
Marco is right but perhaps his framing is too narrow. This simply isn’t an issue that developers grouse about and move on from. This is something that, at least in my experience, has been affecting customers who have otherwise loved their Apple devices.
When these perceptions reach beyond the developer community and start affecting regular users, you know you have a serious problem.
Nice review overall, but I think they’re being unnecessarily harsh on the A7 II, especially on the matter of lenses — or lack thereof:
But many of the original A7’s faults remain: native lens options are still woefully limited and expensive (Sony offers a paltry seven, and a number of those overlap with each other), image quality at higher ISOs is not as good as other cameras, the autofocus system still lags behind, and battery life is still short. Though Sony improved many things with the A7 II, if you didn’t like last year’s camera, you’re not likely going to be satisfied with this year’s.
Sports photographers, portrait photographers, studio photographers, or anyone that just wants a lot of lenses to choose from are still better served by a DSLR than Sony’s A7 lineup.
I find it funny that they would choose that particular aspect to criticize, because in my mind lens selection is precisely one of the strongest selling points of the A7 system. There may not be many native offerings yet, but the few lenses available are all excellent, and it’s the only camera system in the world that’s compatible with all full-frame DSLR and rangefinder lenses out there — with the use of adapters, of course. So if your work requires you to shoot with many different lenses, how exactly would you be better served by a DSLR?
Via Josh Ginter.
Clever tip by Jason Snell:
Both Backblaze and CrashPlan offer iOS apps, as well, letting you access all your backed-up files from your mobile devices. So if you forgot an important presentation or document on your computer, and you couldn’t connect to that device remotely, you could still open a copy from your backups.
I’ve sometimes done this with Dropbox, where you can access any file ever stored on the service in the last 30 days — at least. It’s a nice feature to have but unlike Dropbox, both CrashPlan and Backblaze’s systems are designed with bulk data exports in mind, that is, to allow you to download a compressed copy of all your data. Access to individual files is also granted, but it’s clearly not what the system was designed for, and therefore I wouldn’t recommend relying on it on a regular basis.
Every photographer has to start somewhere; and when it comes to shooting photos every instructor will tell you to shoot in manual mode. The reason for this is because it gives you the most creative control. When combining this control with your creative ideas, you’ll be able to actually get the photo idea from your head into pixels from the camera.
I’m a huge believer in manual exposure - even in manual focusing. Besides my Olympus OM-D E-M10, I shoot with a Canon AE-1 Program, an old-school analog SLR. The AE-1 Program was one of the first autoexposure Canon SLR’s, but I much prefer to shoot it in manual mode. It’s a very different, much more deliberate form of photography that forces you to actually think before you do anything, and I love it.
Maddie Stone, writing for Motherboard:
If and when we finally encounter aliens, they probably won’t look like little green men, or spiny insectoids. It’s likely they won’t be biological creatures at all, but rather, advanced robots that outstrip our intelligence in every conceivable way. While scores of philosophers, scientists and futurists have prophesied the rise of artificial intelligence and the impending singularity, most have restricted their predictions to Earth. Fewer thinkers—outside the realm of science fiction, that is—have considered the notion that artificial intelligence is already out there, and has been for eons.
I could read these stories for hours on end. Via Kottke.