Scales of cities, scales of software An Article by Linus the Sephist linus.coffee American cities seem like a product of industrial processes where older European cities seem like a product of human processes. This is because most American cities were built after and alongside the car and the industrial revolution – the design of cities took into account what was easily possible, and that guided the shape and scale of everything. Software has similar analogues. There are software codebases that feel much more industrially generated than hand written, and they’re usually written in automation-rich environments fitting into frameworks and other orchestrating code. …But despite the availability of cars, I still much prefer the scale and ambiance of European, human-scale cities, because ultimately cities are places humans must inhabit and understand. In the same way, I still much prefer the scale and ambiance of hand-written codebases even in the presence of heavy programming tooling, because ultimately codebases are places humans must inhabit. urbanismsoftwarescaleindustry
evermore, and other beautiful things An Article by Linus the Sephist linus.coffee If all evidence of civilization on Earth was destroyed, and humans had to re-build society from the ground up, what would be different? Feynman reckons that pivotal scientific moments, like the discovery of the atom, will still happen in the same way. Perhaps mathematics will be similarly rediscovered. Someone told me once in response to this question, no artwork would ever be recreated. The art we create – music, stories, dance, film – isn’t a fundamental element of the universe, or even of humanity. It’s unique to each artist. If you choose to create art, you leave something in the world that has never had a chance to exist before, and will never again have a chance to exist. There will never be another Beatles or Studio Ghibli or Picasso. Art, in its infinite variations of originality, is cosmically unique in a way the sciences will never be. Art immortalizes human experiences that would otherwise vanish in time. artsciencehumanitysociety
Obsessed with absolute numbers Modernist planning was obsessed with absolute numbers, including the minimum dimensions of rooms, open space per capita, and the one-size-fits-all head counts of neighborhood units. This was often pegged at five to seven thousand and was used as a formula for determining the distribution of schools, shops, sports fields, and other facilities. The failure of such planning is not in its effort to be comprehensive or to equalize access to necessary facilities. It is, rather, the attempt to rationalize choice on the basis of a homogeneous set of subjects, a fixed grammar of opportunities, a remorseless segregation of uses, and a scientistic faith in technical analysis and organization that simply excludes diversity, eccentricity, nonconforming beauty, and choice. The utopian nightmare. Michael Sorkin, 20 Minutes in Manhattan Desired qualities of lightPredicted Mean Vote planningmetricsdiversity