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Joined 1 year ago
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Cake day: July 5th, 2023

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  • Wanted to clarify that, while colors and spacing are customizable, I didn’t create or extensively modify the launcher apps, only the layout. It’s not rainmeter levels of remixing or anything. In particular, I don’t have as much control of the widgets as I’d like, and would probably tone down the calendar or picture gallery if I could.

    Though its not to diminish your read of it, I’m happy to explain my particular choices! You’re right that this layout is not visitor-friendly, but like you said, it’s a phone. Not really for sharing. That said, there IS a hierarchy of sorts, just not an obvious one - I’m left-handed, so anything I use with quick, one-handed input is in an arc from the bottom left (calculator, macronutrient tracker, checkbook). From there, apps in frequent or varied use, or with inline notifications, are larger. This way I can read a summary of a message or alert without opening the app or Notification Shade. From there, web browsing and social media is at the bottom for lots of thumb typing, while the morning routine (news, weather, traffic) is at the top for use on a desk.

    With a UI for general use, having to explain in such detail would be a sign of failure - I would indeed settle on a simpler rubric if it was a company tablet. But I love the little eccentric choices I can make with this launcher to make it just for me. Hope that proves interesting!


  • If it helps, I’m left-handed, so it’s grouped in a sort of arc from the bottom left corner - apps for quick one-handed use are inside the arc, and the rest is either informational or the start point for a more involved activity like web browsing. It looks ‘cluttered’ because I didn’t really lay it out as a generic or intuitive interface, but specifically to match my needs and habits. I think a home screen should be utilitarian - ‘pretty’ is for lock screens. Hope I didn’t send you down too deep a rabbit hole - Although sometimes that can be fun, so good luck!






  • OK, sure, except that Netflix is incentivized to say as much, regardless of public sentiment.

    I’m sure the hit they took to subscribers is worth it in terms of their balance sheets, else we would see a retraction, but there’s no real way for them to know what the subscriber base would look like in the absence of anti-consumer policies (or their increasingly unsatisfying content production policies), based solely on historical subscriber data.

    Users who got sick of it left, but we can only leave once, and Netflix wasn’t going to try and retain us unless the exodus was unprecedented. I’d argue the real proof of customer dissatisfaction will be the piracy numbers on their various shows. Customers who want their content, but not their costs or policy restrictions, represent actual money left on the table.

    As for their labor practices, well - like Adam Conover said, strikes are more effective than boycotts, and there are several ongoing. Won’t do much for the user experience, but maybe the long term consequence is fewer, better shows with actual completed stories.





  • The sequels trend towards fewer, longer stories with a bit more characterization as compared to Foundation, but it never really stops being a series about moments in a larger history. I’d say give either prelude to foundation or Foundation and Empire a try, but odds are if those don’t grab you, none of them will.

    (importantly for those who don’t know already, the publishing dates vary widely across the series - with Foundation, Foundation and Empire, and Second Foundation released in the 50s, and the surrounding prequels and sequels arriving decades later. This can manifest as a jarring shift in writing style if you read them in chronological order instead of publishing order.)



  • I’m reading Michael Crichton’s The Sphere. It’s an odd one - Crichton rarely spends a lot of time on character, but Sphere in particular is barely interested in the people at all. It’s situations and implications, a sense of mystery and dread, that the author is interested in, and he whips from one dilemma to the next so quickly its a little disorienting. that can sound like praise, but I’m not sure it is. This is an early work, and it feels rough now and then. Without strong characters, the only voice you really hear is Crichton’s, and his tech-terror-explainer ‘tone’ can be a little tough to swallow in large amounts. all the same, I’m desperate to see where it goes, even as I suspect it will all be over much faster than most of his later novels.