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nullarysources:

Declan McCullagh, CNET:

“The innovation that we’re seeing is absolutely incredible,” [Lyn] Watts said. Kinect, he said, can allow advertisers to “go after that holy grail” — the living room.

Kinect’s unique capabilities to record and compile detailed biometric data raise some novel privacy issues. Kinect’s microphone array can record audio within earshot and transmit it to advertisers. It performs face recognition and can transmit video.

“How many people are in the living room? Are they taking any action based on the advertising they just saw?” Watts said. “Can we watch the customers’ reaction, and if we can, do we have the capability of showing a different ad, or the same ad, depending on what the reaction was?”

“Are they, for instance, fucking? What level of intimacy are the viewers engaged in? Is it just kissing, or has it progressed to heavy petting? Is anybody inserting anything into anyone else? Just how deeply are we engaging with our brand demographic?”

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"And making the current GCC core base modular is not easy (it might be impossible), because we cannot decide at a glance to what module a given current code should belong."

Basile Starynkevitch on the GCC mailing list.

This is why doing your architecture right from day one is important. If you just write code anywhere, without trying to uphold principles such as separation of concerns and the Law of Demeter, you’ll end up with a tangled mess that you can’t untangle.

Such code makes all maintenance work (not to mention adding features) harder, makes it harder to bring in new developers (and, in the case of an open-source project, will discourage people from volunteering), and makes it hard-to-impossible to give your program a plug-in or library API (which is what the linked thread is about).

This is why you need to uphold good code architecture at all times. And if a hack is truly necessary, file a bug on it against your next version—it’s technical debt, and it will hurt you more the longer you don’t pay it off.

(Disclaimers: (1) I have never gazed into the GCC code base, nor it into me, and (2) I am brazenly taking Starynkevitch’s words out of context here.)

(Source: twitter.com)

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Plenty of good stuff in this Steve Yegge post, but here’s one bit that pushed me over the edge into sharing it:

This brings us to the second obviously-bad thing that can go wrong with code bases: copy and paste. It doesn’t take very long for programmers to learn this lesson the hard way. It’s not so much a rule you have to memorize as a scar you’re going to get whether you like it or not. Computers make copy-and-paste really easy, so every programmer falls into the trap once in a while. The lesson you eventually learn is that code always changes, always always always, and as soon as you have to change the same thing in N places, where N is more than 1, you’ll have earned your scar.

I have said multiple times before that Xcode’s Paste command should come with a warning dialog.

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Accuracy vs. precision.

Accuracy vs. precision.

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Cory Doctorow:

If your strategy is to convince the public that the “real item” is reliable and the unauthorised ones are dodgy, then you must do everything in your power to increase the reliability of the real item, otherwise word will get around and the campaign will fail.

In this article, I take a first cut at a taxonomy of “value propositions for the purchase of digital goods” – that is, reasons you should spend money on digital files that you can get for free – and of the market strategies that enhance or undermine each strategy.

(Source: Boing Boing)

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The possibility and feasibility of moving post-music-ownership

This is going to be a bit stream-of-consciousness:

If I had a steadier supply of audiobooks and podcasts to listen to in the car, and a subscription to Pandora One (for the times when I program), I would no longer have any need for my vast music collection. Radio Paradise (for non-programming music) and Pandora would supply me with all the music I’d want to listen to whenever I’d want to listen to it.

I do have a backlog of Book’s Music (via cbarrett) and Codex (via Cathy Shive) to listen to. Perhaps they could fill in between non-music podcasts?

I’d probably still keep a collection of my favorites, which would be much smaller than my existing library. I’d have to give up a lot of discovery, since many of my favorites I found via my free-music sources.

I just checked, and I spent about $140 on music purchases on iTunes and Amazon last year. If I spent $36 on Pandora One and donated a matching $36 to RP, and bought little to no music to own, I’d come out way ahead.

Then again, I’m picky and patient (waiting for Amazon’s daily deals) anyway, so would I really save any money on purchases—that is, what would I be cutting out? Maybe I could cut it in half, but then that plus the Pandora sub and RP donation would add up to no change. I would have to cut out music purchasing entirely to actually save money.

Streaming also carries downsides. For one thing, it assumes the future presence of the streaming sources. For another, it assumes they’ll be reachable—i.e., that I’ll have internet access.

That’s the trade-off. With my collection, it’s finite (I can only hear new music by venturing outside my collection), but because I possess it, I can access it any time I want. With streaming, I hear anything it bubbles up, but I may sometimes be unable to access it, and it could go away, leaving me permanently without it.

Somewhere, there’s an ideal balance for each person, and I don’t think I’ve found mine just yet.

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Perry Mason is a Dick:

Perry Mason, the famous fictional criminal defense attorney, is a dick.

Sometimes this extends merely to being a dick to other people. Other times, he actively subverts law enforcement.

This is a new thing I’ve started (yes, that’s me watching these old season-1 episodes and critiquing them). I’m thinking of publishing my first few over the next few days, and then doing about one a week after that.

All I currently have is season 1, which should last me awhile. We’ll see whether I still have enough interest in the show to continue on to later seasons after that.

Perry Mason is a Dick:

Perry Mason, the famous fictional criminal defense attorney, is a dick.

Sometimes this extends merely to being a dick to other people. Other times, he actively subverts law enforcement.

This is a new thing I’ve started (yes, that’s me watching these old season-1 episodes and critiquing them). I’m thinking of publishing my first few over the next few days, and then doing about one a week after that.

All I currently have is season 1, which should last me awhile. We’ll see whether I still have enough interest in the show to continue on to later seasons after that.

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My forthcoming courtroom-themed album

  1. Be My Voir Dire
  2. Exhibit B: My Heart
  3. Judges Do It On the Bench (with music video)
  4. Do You Swear to Tell the Truth, the Whole Truth, and Nothing But the Truth, You Lying Slut
  5. Jury Duty Lover
  6. Lunchtime Recess (instrumental)
  7. 12 Angry Exes
  8. Why Won’t You Hear My Appeal?
  9. Objection Overruled
  10. It’s Too Crowded In Your Jury Box
  11. Litigo Requiem (instrumental)
  12. Breakup On the Witness Stand

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The death of paper

I visited Borders on Monday, and bought a D&D Dungeon Master’s screen.

It is probably the last thing I will ever buy there.

Not because Borders itself sucks; it’s not great but not that bad, either. (I’m starting to like Barnes and Noble better, but I prefer Borders’s discount program.)

No, the reason why I’m not likely to buy anything at Borders again is because there is almost nothing there that I want.

I’m not talking about the content of the books and discs they sell; yes, 90% of it is crap, but that’s a universal law.

I’m talking about the books and discs themselves.

  • Fiction books? I’ll probably read it once and never again, after which point having the physical copy is a waste of space. My other options are to donate it to a library or donate it to Goodwill, but then I wouldn’t be able to read it again if I do want to.

  • Textbooks (such as programming books)? The big failure of these is in keeping the book open. Most books don’t lie open easily; O’Reilly’s do, in the middle, but you still have problems at the start and end of the book.

  • Music CDs? iTunes and Amazon.

  • Movies and TV shows? Netflix and Hulu.

Paper books—and other physical containers of informational and/or entertainment content—are dinosaurs. They are artifacts of a dying age.

I don’t think I need to go into the numerous advantages of electronic media. You’ve all used ebooks and online music stores and streaming video by now, I’m sure. You know what the future looks like.

I’m talking more about the requirements of physical space to store and sell and of physical materials—including fuels—to produce and ship. On the scale of the stocks of national bookstore chains in multiple countries, this is a tremendous waste.

There’s also all the effort expended on these physical objects. Printers, handlers, drivers, stockers. Necessary only because of the physical objects themselves; a transition from physical media to electronic media means we’ll no longer need people doing these things (for these things).

Not everybody in a publishing company will be obsolete. A forward-thinking publishing company will offer editing and proofing and maybe design services without requiring the production of paper books or metal-and-plastic discs. There will probably also be sales staff to get the content into (electronic) book/music/video stores and libraries, and get their products onto the front and category pages that replace the promotional shelves.

Those concerned with the production and distribution of the content will remain. Those concerned with the production and distribution of media will go away.

The hard part will be convincing publishers of this. When your company is founded on a specific business model, you naturally reject any attempt to take it away.

Publishers will fight to keep the paper book alive. They’ll try to sell you romantic notions of sitting by a fireplace (do you even have one?) with a pipe in your mouth, Scotch in one hand, and a paper book in the other.

They’ll also work the other direction, which is to (lightly) punish buying ebooks, to make paper books seem more attractive by comparison. We see this today: It’s called DRM. They’ll (they already do) restrict your ebooks; prevent you from selecting, copying, annotating, quoting. They’ll do the same things and say the same things as the RIAA and its member labels.

The publishers are what could fuck this up.

The publishers will work to screw us out of our future by trying to force DRM on us. Get stores (like Amazon) to enforce it; maybe even try via advertising to cast aspersions on DRM-free ebooks.

Our best hope is for new publishers to arise. Modern “publishers” in name only, or with a new name, that do as I said above: all the jobs related to the content, with none related to the media. No printing on paper, and no attacks or restrictions on ebooks; purely an editing and distribution service to make the book saleable and get it sold.

Competition. Short of legislating that business model out of the picture (certainly a possibility), there’s nothing the established publishers can do about it.

Well, there is one thing. Milk their cash cows. Their name authors, and whomever the publishers hire to write sequels after they die (think “Robert Ludlum’s The Bourne ________ by Eric Van Lustbader”). That could go on indefinitely, and in a world with greatly-reduced distribution costs (bandwidth instead of shipping; no more waste of physical space or materials), there’ll be room for it.

There’ll also be room for stores, but not like we see today. Same for libraries. As the paper book becomes obsolete, so will the shelves full of them.

The replacement would be stores/libraries built on the assumption that you have a book reader (iPad, Kindle, Kobo, Nook, whatever). You walk in and load up a web page on the local network. If it’s a library, you read the book from that web page. No download; there’s no need for it. If it’s a store, you preview it there in the store and buy it “online” there in the store, and download it there. Either way, you have a place to sit and read, and to ask staff for opinions and suggestions and help.

You could do this with music and movies, too, given a sufficiently smart music/movie player. (iTunes in the Apple Store?)

Again, the publishers can fuck this up. To a large extent, it’d require their cooperation, not only to supply the content but also to not interfere with the restriction-free reading and selling of it.

It won’t be easy, but it’s possible, and I really want to see someone do it.

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Coke vs. Coke vs. Coke.

In the United States, Coca-Cola—and nearly every other soda—is sweetened not with sugar, but with high-fructose corn syrup. Corn syrup is cheaper, and sugar more expensive, due to our corn subsidies and sugar tariffs. Everywhere else in the world, Coke is made with sugar (meaning sucrose).

A couple of developments happened recently that made this post possible.

First, Mexican Coke started showing up here in the US, in 12-oz glass bottles with special labels stuck on to meet US labeling requirements (mainly providing the Nutrition Facts box).

Second, this month, I was at a Ralphs supermarket and saw that they had a Passover display with Passover Coke.

Without getting into the full details, regular US Coke, which is kosher most of the year, is forbidden at Passover because of it containing corn syrup. To get around this and continue selling Coke to observant Jews through the Passover season, some bottlers switch back to the sugar recipe temporarily. As far as I know, this used to only be available on the East Coast; this is the first time I’ve ever seen it for myself, and I live in Southern California.

So now I have all three versions of bottled (as opposed to canned or fountain) Coke:

HFCS Coke. In the photo, this is in the 20-oz bottle in the front-left.

Mexican Coke. This is in the 12-oz bottle in the front-right.

Passover Coke. This is in the 2-liter bottle in the back. You can tell it’s Passover Coke because of the yellow cap with some Hebrew text printed on it.
Also shown in the photo is a Coke glass, which I bought at the 99¢ Only Store. (Yes, it’s really glass.)

First, I drank some HFCS Coke, straight from its bottle. Tasted the same as ever.

Next, Mexican Coke, straight from its bottle. I’ve had it before, so I knew what to expect: It tastes smoother than its HFCS cousin.

Third, Passover Coke, from the glass. From this, I learned two things:

It tastes nearly, if not exactly, the same as Mexican Coke.
The glass makes a big difference.
The difference in drinking from a glass is smell: Coke has an aroma that never reaches your nose when you drink straight from a bottle (or can, or from a fountain cup through a straw). When you drink from a glass, you get that aroma. You get, as Mitch Hedberg described something else, the full experience.

That inspired me to then pour and re-taste the Mexican Coke and the HFCS Coke (rinsing the glass with water each time, of course). With the smell added to the comparison, Mexican Coke and Passover Coke tasted even more similar, if not the same, and HFCS Coke tasted even more different.

It’s bitter. HFCS Coke is bitter where sugar Coke is smooth. Going from sugar Coke to HFCS Coke, the latter tastes terrible, enough to make you question whether you’ll ever buy a bottle of HFCS Coke again. (Hence the theory that New Coke was not merely a fumbled product relaunch, but cover for the change of sweetener to prevent people from revolting against that.)

I’ve previously compared HFCS Pepsi to Pepsi Throwback and Mexican Pepsi. Pepsi have previously said that Pepsi Throwback is not the same as Kosher for Passover Pepsi, and I can tell you that it definitely isn’t the same as Mexican Pepsi. In fact, HFCS Pepsi and Mexican Pepsi taste practically the same to me, in contrast to the huge difference between HFCS and Mexican Coke. Pepsi Throwback tastes smoother than its cousins, just as the sugar Cokes taste smoother than HFCS Coke, but it doesn’t have the same thing going the other way: I have no problem drinking HFCS Pepsi, even after having (and preferring) Throwback.

TL;DR: Pepsi Throwback is better than both HFCS and Mexican Pepsi; both Passover Coke and Mexican Coke are better than HFCS Coke.

Coke vs. Coke vs. Coke.

In the United States, Coca-Cola—and nearly every other soda—is sweetened not with sugar, but with high-fructose corn syrup. Corn syrup is cheaper, and sugar more expensive, due to our corn subsidies and sugar tariffs. Everywhere else in the world, Coke is made with sugar (meaning sucrose).

A couple of developments happened recently that made this post possible.

First, Mexican Coke started showing up here in the US, in 12-oz glass bottles with special labels stuck on to meet US labeling requirements (mainly providing the Nutrition Facts box).

Second, this month, I was at a Ralphs supermarket and saw that they had a Passover display with Passover Coke.

Without getting into the full details, regular US Coke, which is kosher most of the year, is forbidden at Passover because of it containing corn syrup. To get around this and continue selling Coke to observant Jews through the Passover season, some bottlers switch back to the sugar recipe temporarily. As far as I know, this used to only be available on the East Coast; this is the first time I’ve ever seen it for myself, and I live in Southern California.

So now I have all three versions of bottled (as opposed to canned or fountain) Coke:

  • HFCS Coke. In the photo, this is in the 20-oz bottle in the front-left.
  • Mexican Coke. This is in the 12-oz bottle in the front-right.
  • Passover Coke. This is in the 2-liter bottle in the back. You can tell it’s Passover Coke because of the yellow cap with some Hebrew text printed on it.

Also shown in the photo is a Coke glass, which I bought at the 99¢ Only Store. (Yes, it’s really glass.)

First, I drank some HFCS Coke, straight from its bottle. Tasted the same as ever.

Next, Mexican Coke, straight from its bottle. I’ve had it before, so I knew what to expect: It tastes smoother than its HFCS cousin.

Third, Passover Coke, from the glass. From this, I learned two things:

  • It tastes nearly, if not exactly, the same as Mexican Coke.
  • The glass makes a big difference.

The difference in drinking from a glass is smell: Coke has an aroma that never reaches your nose when you drink straight from a bottle (or can, or from a fountain cup through a straw). When you drink from a glass, you get that aroma. You get, as Mitch Hedberg described something else, the full experience.

That inspired me to then pour and re-taste the Mexican Coke and the HFCS Coke (rinsing the glass with water each time, of course). With the smell added to the comparison, Mexican Coke and Passover Coke tasted even more similar, if not the same, and HFCS Coke tasted even more different.

It’s bitter. HFCS Coke is bitter where sugar Coke is smooth. Going from sugar Coke to HFCS Coke, the latter tastes terrible, enough to make you question whether you’ll ever buy a bottle of HFCS Coke again. (Hence the theory that New Coke was not merely a fumbled product relaunch, but cover for the change of sweetener to prevent people from revolting against that.)

I’ve previously compared HFCS Pepsi to Pepsi Throwback and Mexican Pepsi. Pepsi have previously said that Pepsi Throwback is not the same as Kosher for Passover Pepsi, and I can tell you that it definitely isn’t the same as Mexican Pepsi. In fact, HFCS Pepsi and Mexican Pepsi taste practically the same to me, in contrast to the huge difference between HFCS and Mexican Coke. Pepsi Throwback tastes smoother than its cousins, just as the sugar Cokes taste smoother than HFCS Coke, but it doesn’t have the same thing going the other way: I have no problem drinking HFCS Pepsi, even after having (and preferring) Throwback.

TL;DR: Pepsi Throwback is better than both HFCS and Mexican Pepsi; both Passover Coke and Mexican Coke are better than HFCS Coke.