In Search of Organic Software An Article by Pirijan Ketheswaran pketh.org Two different kinds of farms can grow vegetables. One is a factory farm built for scale, and the other takes the time to grow more expensive but healthier plants without pesticides. Will everyone appreciate the difference? Of course not, but the latter plants are labelled ‘organic’ to give us the information and the choice, so that those of us who do care can make better decisions. So maybe we should have ‘organic’ software as well, made by companies that: Are not funded in such a way where the primary obligation of the company is to 🎡 chase funding rounds or get acquired (so bootstrapping, crowdfunding, grants, and angel investment are okay) Have a clear pricing page Disclose their sources of funding and sources of revenue softwarebusinessfarming
How I Build An Article by Pirijan Ketheswaran pketh.org In 2014, I wrote about my belief that design and engineering are best when tightly woven together. That’s truer now than ever. If I’m feeling confident, I’ll jump right into my text editor…From here, more functionality is added and the code is tweaked until the feature looks and feels right to me. Whether it’s something simple like this, or prototyping a new interaction like multi-connect, there’s no substitute for designing with real code. In rare cases when I have ideas or plans that I’m less confident about, it’s time to break out the paper, pens, and markers, Because the Kinopio interface elements and aesthetic are full-grown, I almost never use traditional design software anymore. makinginteractioninterfaces
Why Software is Slow and Shitty An Article by Pirijan Ketheswaran pketh.org Roman empire militaryBuilding is never a straight lineConversations, not commandments Planning doesn't make for better software softwareperformance
You're Probably Using the Wrong Dictionary An Essay by James Somers jsomers.net As if a word were no more than coordinatesAnother mind as alive as yoursA soft and fitful lusterPathosAn affection for words Webster's Dictionary, 1913 Edition languagewriting
As if a word were no more than coordinates The New Oxford American dictionary, by the way, is not like singularly bad. Google’s dictionary, the modern Merriam-Webster, the dictionary at dictionary.com: they’re all like this. They’re all a chore to read. There’s no play, no delight in the language. The definitions are these desiccated little husks of technocratic meaningese, as if a word were no more than its coordinates in semantic space. words
Another mind as alive as yours In 1807, Webster started writing a dictionary, which he called, boldly, An American Dictionary of the English Language. He wanted it to be comprehensive, authoritative. Think of that: a man sits down, aiming to capture his language whole. Dictionaries today are not written this way. In fact it’d be strange even to say that they’re written. They are built by a large team, less a work of art than of engineering. When you read an entry you don’t get the sense that a person labored at his desk, alone, trying to put the essence of that word into words. That is, you don’t get a sense, the way you do from a good novel, that there was another mind as alive as yours on the other side of the page. Webster’s dictionary took him 26 years to finish. It ended up having 70,000 words. He wrote it all himself, including the etymologies, which required that he learn 28 languages, including Old English, Gothic, German, Greek, Latin, Italian, Spanish, Dutch, Welsh, Russian, Aramaic, Persian, Arabic, and Sanskrit. He was plagued by debt to fund the project; he had to mortgage his home.
A soft and fitful luster Who decided that the American public couldn’t handle “a soft and fitful luster”? I can’t help but think something has been lost. “A soft sparkle from a wet or oily surface” doesn’t just sound worse, it actually describes the phenomenon with less precision. In particular it misses the shimmeriness, the micro movement and action, “the fitful luster,” of, for example, an eye full of tears — which is by the way far more intense and interesting an image than “a wet sidewalk.” It’s as if someone decided that dictionaries these days had to sound like they were written by a Xerox machine, not a person, certainly not a person with a poet’s ear, a man capable of high and mighty English, who set out to write the secular American equivalent of the King James Bible and pulled it off. meaningwords
Pathos With its blunt authority the New Oxford definition of “pathos” — “a quality that evokes pity or sadness” — shuts down the conversation, it shuts down your thinking about the word, while the Webster’s version gets your wheels turning: it seems so much more provisional — “that which awakens tender emotions, such as pity, sorrow, and the like; contagious warmth of feeling, action, or expression; pathetic quality; as, the pathos of a picture, of a poem, or of a cry” — and therefore alive. Most important, it describes a word worth using: a mere six letters that have come to stand for something huge, for a complex meta-emotion with mythic roots. Such is the power of actual English.
An affection for words There’s an amazing thing that happens when you start using the right dictionary. Knowing that it’s there for you, you start looking up more words, including words you already know. And you develop an affection for even those, the plainest most everyday words, because you see them treated with the same respect awarded to the rare ones, the high-sounding ones. Which is to say you get a feeling about English that Calvin once got with his pet tiger on a day of fresh-fallen snow: “It’s a magical world, Hobbes. Let’s go exploring!” It's a Magical World wordsknowledgecuriosity