More from Liz Denys
I've been biking in Brooklyn for a few years now! It's hard for me to believe it, but I'm now one of the people other bicyclists ask questions to now. I decided to make a zine that answers the most common of those questions: Bike Brooklyn! is a zine that touches on everything I wish I knew when I started biking in Brooklyn. A lot of this information can be found in other resources, but I wanted to collect it in one place. I hope to update this zine when we get significantly more safe bike infrastructure in Brooklyn and laws change to make streets safer for bicyclists (and everyone) over time, but it's still important to note that each release will reflect a specific snapshot in time of bicycling in Brooklyn. All text and illustrations in the zine are my own. Thank you to Matt Denys, Geoffrey Thomas, Alex Morano, Saskia Haegens, Vishnu Reddy, Ben Turndorf, Thomas Nayem-Huzij, and Ryan Christman for suggestions for content and help with proofreading. This zine is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License, so you can copy and distribute this zine for noncommercial purposes in unadapted form as long as you give credit to me. Check out the Bike Brooklyn! zine on the web or download pdfs to read digitally or print here!
I found inspiration for this pitcher's glaze design in the night sky. Whenever I feel lost, I know I can always look up and be under the same night sky, no matter where I am. Whenever I feel alone, I know I can always look up and feel connected to humanity, everyone else looking up at the same sky. Whenever I feel all is lost, the vast darkness in the night sky reminds me there are so many possibilities out there that I haven't even thought of yet. My studio practice is on a partial pause for an unknown amount of time right now; every piece I make is stuck in the greenware stage as I continue to save up to buy kilns and build out the glaze and kiln area. In some moments, this pause feels like a rare opportunity to take time to make more experimental and labor intensive pieces, but in other moments, I am overwhelmed by the feeling that pieces without a completion timeline on the horizon are just not worth doing. It's easy to bask in fleeting bursts of inspiration; it's harder to push through the periods where nothing feels worth doing. It's especially when the waves of anxiety about the unknown future of my studio practice and the waves of anxiety about the direction of the US government and the future of my country come at me at the same time. I try to ground myself, to keep myself from spiraling. I name things I can see, smell, hear. At night, I look to the dark sky. When I can, I reread Rebecca Solnit's Hope in the Dark: Hope locates itself in the premises that we don't know what will happen and that in the spaciousness of uncertainty is room to act. When you recognize uncertainty, you recognize that you may be able to influence the outcomes–you alone or you in concert with a few dozen or several million others. Hope is an embrace of the unknown and the unknowable, an alternative to the certainty of both optimists and pessimists. Optimists think it will all be fine without our involvement; pessimists take the opposite position; both excuse themselves from acting. It's the belief that what we do matters even though how and when it may matter, who and what it may impact, are not things we can know beforehand. We may not, in fact, know them afterward either, but they matter all the same, and history is full of people whose influence was most powerful after they were gone. May we all find hope in the dark and choose to act.
Clay shrinks as it dries and even more as it's fired, so it's useful to have a way to estimate the final size of in-progress work - especially if you're making multiples or trying to fit pieces together. One way to do this is with shrinkage rulers. I figured I'd design my own shrinkage rulers and provide a way for folks to make them themselves since ceramic tool costs can add up. To make your shrinkage rulers: Download either the colorful printable shrinkage rulers or black and white printable shrinkage rulers. Print at 100% size. (These files are both 400 dpi.) Verify that the 0% shrinkage standard ruler at the top matches the size of an existing regular ruler you have. This quick calibration step will make sure nothing out of scale during printing! Cut out your rulers. Optionally, laminate or cover in packing tape to help them last longer. To use your shrinkage rulers: If you're using commercial clay, look up how much your clay is estimated to shrink. If you're using a blend of clays or custom clays, you'll have to calculate how much your clay shrinks. An easy way to do this is measure the length of a wet piece right after you form them and again after it's been through its glaze firing. You can then calculate the estimated shrinkage rate: Pick the shrinkage ruler that corresponds to your clay's shrinkage rate. If you're between shrinkage rates, you can estimate with a nearby size. Remember that shrinkage rates are estimates, and a piece's actual shrinkage depends on many variables, including how wet your clay is and how close it is to it's original composition (this can change with repeated recycling). Measure your wet piece with the shrinkage ruler! The length shown is the expected length your piece's dimension will be when fired. The fine print: Reminder that shrinkage rulers only give estimated lengths! You're welcome to print these shrinkage rulers for yourself or your business. You may use the printed shrinkage rulers privately, even in commercial applications (I hope they help your ceramic art and business!), provided you do not redistribute or resell the shrinkage rulers themselves in any form, digital or physical. Footnotes If you're working on a jar or something else that needs to fit together tightly, it's better not to rely on shrinkage rulers to get a perfect fit. In my experiences, you ideally want to make the vessel and the lid as close in time as possible and have them dry together and fire together through as many phases as possible.↩
I'm continuing my clay body reviews series with two very heavily grogged "sculpture" clays I've used. Note that I currently practice in a community studio that glaze fires to cone 6 in oxidation, so my observations reflect that. Standard 420 Sculpture: Cone 6: average shrinkage 8.0%, absorption 1.5% Light straw when fired to cone 6: more yellow/beige than most white stonewares so the color is something to consider in your final vision (or engobe in something else) So much grog that it’s best described as working with wet sand, non-derogatory I've made complicated open coil-based structures with this clay that have been formed across many studio sessions over a couple days, and they've survived without cracking! Wet clay attaches readily to leather hard and even slightly dry clay. Wrapping my works in dry cleaning bags until done and dry before bisque was enough - I was worried I'd have to make a damp box, but not with this clay! The grog is white and grey, and it comes in a variety of sizes, including some that is visually rather large. The grog really shows if you sand to smooth the surface. I typically dislike how this looks - the result ends up looking more like concrete than clay. If you use this for functional ware or anything you move around a lot, you'll certainly want to sand the bottom since the groggy surface is extra rough to protect tables and counters. Burnishing alone doesn't usually make this clay smooth. Can be thrown when very soft, but your hands will feel scratched if you're not used to it! Angled slab joins join readily, and support coils press in quickly and easily. Some members of my studio prefer to make plates with this clay because the high level of grog significantly reduces warping. I personally prefer to make plates with clays with far less grog that I dry very slowly. High palpable grog content means a weaker object, and I prefer more strength in objects that are handled frequently. Can be marbled with 798, but needs to dry slowly. Standard 420's straw color shows in the unglazed section of this planter's drip tray, and there's also some flashing from the glaze near the edges. I sanded the base of this piece so the slightly rough surface of Standard 420 wouldn't scratch tables, and you can see the contrast between the sanded bottom (outside) layer where the varied grogs are revealed and the rougher surfaces of the other layers where they are still covered by clay particles. This handbuilt planter was made of Standard 798 over multiple studio sessions. The sculptural coil structures attached readily with my regular slip and score process, and it dried evenly enough to not crack with my regular process of drying under a single plastic dry-cleaning bag. This coiled wall art piece was made out of equal parts Standard 112 and Standard 420 wedged fully together. There's still ample grog in this hybrid clay body to work the same as the Standard 798 planter's coiled structure. Standard 798 Black Sculpture: Cone 6: average shrinkage 10%, absorption 1.0% Dark brown when wet, fires to a gorgeous black at cone 6 when unglazed. Clear glazes will make this clay look brown, so you need to use a black like Coyote Black or Amaco Obsidian to preserve the black color if you want to glaze it. So much grog that it’s best described as working with wet sand, non-derogatory. The grog is white, and provides a lovely contrast when on the surface or sanded to be revealed. Like 420, you'll probably want to sand the bottom of anything you'll pick up and put down more than once. Very similar working qualities to 420 - a true joy for handbuilding! Can be marbled with 420, but needs to dry slowly.
More in programming
I've never seen so many developers curious about leaving the Mac and giving Linux a go. Something has really changed in the last few years. Maybe Linux just got better? Maybe powerful mini PCs made it easier? Maybe Apple just fumbled their relationship with developers one too many times? Maybe it's all of it. But whatever the reason, the vibe shift is noticeable. This is why the future is so hard to predict! People have been joking about "The Year of Linux on the Desktop" since the late 90s. Just like self-driving cars were supposed to be a thing back in 2017. And now, in the year of our Lord 2025, it seems like we're getting both! I also wouldn't underestimate the cultural influence of a few key people. PewDiePie sharing his journey into Arch and Hyprland with his 110 million followers is important. ThePrimeagen moving to Arch and Hyprland is important. Typecraft teaching beginners how to build an Arch and Hyprland setup from scratch is important (and who I just spoke to about Omarchy). Gabe Newell's Steam Deck being built on Arch and pushing Proton to over 20,000 compatible Linux games is important. You'll notice a trend here, which is that Arch Linux, a notoriously "difficult" distribution, is at the center of much of this new engagement. Despite the fact that it's been around since 2003! There's nothing new about Arch, but there's something new about the circles of people it's engaging. I've put Arch at the center of Omarchy too. Originally just because that was what Hyprland recommended. Then, after living with the wonders of 90,000+ packages on the community-driven AUR package repository, for its own sake. It's really good! But while Arch (and Hyprland) are having a moment amongst a new crowd, it's also "just" Linux at its core. And Linux really is the star of the show. The perfect, free, and open alternative that was just sitting around waiting for developers to finally have had enough of the commercial offerings from Apple and Microsoft. Now obviously there's a taste of "new vegan sees vegans everywhere" here. You start talking about Linux, and you'll hear from folks already in the community or those considering the move too. It's easy to confuse what you'd like to be true with what is actually true. And it's definitely true that Linux is still a niche operating system on the desktop. Even among developers. Apple and Microsoft sit on the lion's share of the market share. But the mind share? They've been losing that fast. The window is open for a major shift to happen. First gradually, then suddenly. It feels like morning in Linux land!
Snippets are a useful addition to Svelte 5. I use them in my Svelte 5 projects like Edna. Snippet basics A snippet is a function that renders html based on its arguments. Here’s how to define and use a snippet: {#snippet hello(name)} <div>Hello {name}!</div> {/snippet} {@render hello("Andrew")} {@render hello("Amy")} You can re-use snippets by exporting them: <script module> export { hello }; </script> {@snippet hello(name)}<div>Hello {name}!</div>{/snippet} Snippets use cases Snippets for less nesting Deeply nested html is hard to read. You can use snippets to extract some parts to make the structure clearer. For example, you can transform: <div> <div class="flex justify-end mt-2"> <button onclick={onclose} class="mr-4 px-4 py-1 border border-black hover:bg-gray-100" >Cancel</button > <button onclick={() => emitRename()} disabled={!canRename} class="px-4 py-1 border border-black hover:bg-gray-50 disabled:text-gray-400 disabled:border-gray-400 disabled:bg-white default:bg-slate-700" >Rename</button > </div> into: {#snippet buttonCancel()} <button onclick={onclose} class="mr-4 px-4 py-1 border border-black hover:bg-gray-100" >Cancel</button > {/snippet} {#snippet buttonRename()}...{/snippet} To make this easier to read: <div> <div class="flex justify-end mt-2"> {@render buttonCancel()} {@render buttonRename()} </div> </div> snippets replace default <slot/> In Svelte 4, if you wanted place some HTML inside the component, you used <slot />. Let’s say you have Overlay.svelte component used like this: <Overlay> <MyDialog></MyDialog> </Overlay> In Svelte 4, you would use <slot /> to render children: <div class="overlay-wrapper"> <slot /> </div> <slot /> would be replaced with <MyDialog></MyDialog>. In Svelte 5 <MyDialog></MyDialog> is passed to Overlay.svelte as children property so you would change Overlay.svelte to: <script> let { children } = $props(); </script> <div class="overlay-wrapper"> {@render children()} </div> children property is created by Svelte compiler so you should avoid naming your own props children. snippets replace named slots A component can have a default slot for rendering children and additional named slots. In Svelte 5 instead of named slots you pass snippets as props. An example of Dialog.svelte: <script> let { title, children } = $props(); </script> <div class="dialog"> <div class="title"> {@render title()} </div> {@render children()} </div> And use: {#snippet title()} <div class="fancy-title">My fancy title</div> {/snippet} <Dialog title={title}> <div>Body of the dialog</div> </Dialog> passing snippets as implicit props You can pass title snippet prop implicitly: <Dialog> {#snippet title()} <div class="fancy-title">My fancy title</div> {/snippet} <div>Body of the dialog</div> </Dialog> Because {snippet title()} is a child or <Dialog>, we don’t have to pass it as explicit title={title} prop. The compiler does it for us. snippets to reduce repetition Here’s part of how I render https://tools.arslexis.io/ {#snippet row(name, url, desc)} <tr> <td class="text-left align-top" ><a class="font-semibold whitespace-nowrap" href={url}>{name}</a> </td> <td class="pl-4 align-top">{@html desc}</td> </tr> {/snippet} {@render row("unzip", "/unzip/", "unzip a file in the browser")} {@render row("wc", "/wc/", "like <tt>wc</tt>, but in the browser")} It saves me copy & paste of the same HTML and makes the structure more readable. snippets for recursive rendering Sometimes you need to render a recursive structure, like nested menus or file tree. In Svelte 4 you could use <svelte:self> but the downside of that is that you create multiple instances of the component. That means that the state is also split among multiple instances. That makes it harder to implement functionality that requires a global view of the structure, like keyboard navigation. With snippets you can render things recursively in a single instance of the component. I used it to implement nested context menus. snippets to customize rendering Let’s say you’re building a Menu component. Each menu item is a <div> with some non-trivial children. To allow the client of Menu customize how items are rendered, you could provide props for things like colors, padding etc. or you could allow ultimate flexibility by accepting an optional menuitem prop that is a snippet that renders the item. You can think of it as a headless UI i.e. you provide the necessary structure and difficult logic like keyboard navigation etc. and allow the client lots of control over how things are rendered. snippets for library of icons Before snippets every SVG Icon I used was a Svelte component. Many icons means many files. Now I have a single Icons.svelte file, like: <script module> export { IconMenu, IconSettings }; </script> {#snippet IconMenu(arg1, arg2, ...)} <svg>... icon svg</svg> {/snippet}} {#snippet IconSettings()} <svg>... icon svg</svg> {/snippet}}
I realize that for all I've talked about Logic for Programmers in this newsletter, I never once explained basic logical quantifiers. They're both simple and incredibly useful, so let's do that this week! Sets and quantifiers A set is a collection of unordered, unique elements. {1, 2, 3, …} is a set, as are "every programming language", "every programming language's Wikipedia page", and "every function ever defined in any programming language's standard library". You can put whatever you want in a set, with some very specific limitations to avoid certain paradoxes.2 Once we have a set, we can ask "is something true for all elements of the set" and "is something true for at least one element of the set?" IE, is it true that every programming language has a set collection type in the core language? We would write it like this: # all of them all l in ProgrammingLanguages: HasSetType(l) # at least one some l in ProgrammingLanguages: HasSetType(l) This is the notation I use in the book because it's easy to read, type, and search for. Mathematicians historically had a few different formats; the one I grew up with was ∀x ∈ set: P(x) to mean all x in set, and ∃ to mean some. I use these when writing for just myself, but find them confusing to programmers when communicating. "All" and "some" are respectively referred to as "universal" and "existential" quantifiers. Some cool properties We can simplify expressions with quantifiers, in the same way that we can simplify !(x && y) to !x || !y. First of all, quantifiers are commutative with themselves. some x: some y: P(x,y) is the same as some y: some x: P(x, y). For this reason we can write some x, y: P(x,y) as shorthand. We can even do this when quantifying over different sets, writing some x, x' in X, y in Y instead of some x, x' in X: some y in Y. We can not do this with "alternating quantifiers": all p in Person: some m in Person: Mother(m, p) says that every person has a mother. some m in Person: all p in Person: Mother(m, p) says that someone is every person's mother. Second, existentials distribute over || while universals distribute over &&. "There is some url which returns a 403 or 404" is the same as "there is some url which returns a 403 or some url that returns a 404", and "all PRs pass the linter and the test suites" is the same as "all PRs pass the linter and all PRs pass the test suites". Finally, some and all are duals: some x: P(x) == !(all x: !P(x)), and vice-versa. Intuitively: if some file is malicious, it's not true that all files are benign. All these rules together mean we can manipulate quantifiers almost as easily as we can manipulate regular booleans, putting them in whatever form is easiest to use in programming. Speaking of which, how do we use this in in programming? How we use this in programming First of all, people clearly have a need for directly using quantifiers in code. If we have something of the form: for x in list: if P(x): return true return false That's just some x in list: P(x). And this is a prevalent pattern, as you can see by using GitHub code search. It finds over 500k examples of this pattern in Python alone! That can be simplified via using the language's built-in quantifiers: the Python would be any(P(x) for x in list). (Note this is not quantifying over sets but iterables. But the idea translates cleanly enough.) More generally, quantifiers are a key way we express higher-level properties of software. What does it mean for a list to be sorted in ascending order? That all i, j in 0..<len(l): if i < j then l[i] <= l[j]. When should a ratchet test fail? When some f in functions - exceptions: Uses(f, bad_function). Should the image classifier work upside down? all i in images: classify(i) == classify(rotate(i, 180)). These are the properties we verify with tests and types and MISU and whatnot;1 it helps to be able to make them explicit! One cool use case that'll be in the book's next version: database invariants are universal statements over the set of all records, like all a in accounts: a.balance > 0. That's enforceable with a CHECK constraint. But what about something like all i, i' in intervals: NoOverlap(i, i')? That isn't covered by CHECK, since it spans two rows. Quantifier duality to the rescue! The invariant is equivalent to !(some i, i' in intervals: Overlap(i, i')), so is preserved if the query SELECT COUNT(*) FROM intervals CROSS JOIN intervals … returns 0 rows. This means we can test it via a database trigger.3 There are a lot more use cases for quantifiers, but this is enough to introduce the ideas! Next week's the one year anniversary of the book entering early access, so I'll be writing a bit about that experience and how the book changed. It's crazy how crude v0.1 was compared to the current version. MISU ("make illegal states unrepresentable") means using data representations that rule out invalid values. For example, if you have a location -> Optional(item) lookup and want to make sure that each item is in exactly one location, consider instead changing the map to item -> location. This is a means of implementing the property all i in item, l, l' in location: if ItemIn(i, l) && l != l' then !ItemIn(i, l'). ↩ Specifically, a set can't be an element of itself, which rules out constructing things like "the set of all sets" or "the set of sets that don't contain themselves". ↩ Though note that when you're inserting or updating an interval, you already have that row's fields in the trigger's NEW keyword. So you can just query !(some i in intervals: Overlap(new, i')), which is more efficient. ↩
In the previous article, we peeked at the reset circuit of ESP-Prog with an oscilloscope, and reproduced it with basic components. We observed that it did not behave quite as expected. In this article, we’ll look into the missing pieces. An incomplete circuit For a hint, we’ll first look a bit more closely at the … Continue reading The missing part of Espressif’s reset circuit → The post The missing part of Espressif’s reset circuit appeared first on Quentin Santos.