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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!
When I was glazing this v60-style cone, I was thinking of rising sea levels, eroding beaches, and melting ice caps. Trying to tackle large challenges like climate change is overwhelming in the best of times, and these are not the best of times. There are many things we can personally do to reduce our carbon footprints and fight climate change, but If we want to have any chance to succeed, we need to join together and organize. If you're new to organizing, connect with local groups already doing the work you're interested in, and don't forget to look for groups pushing for change outside of just the national stage. Creating more dense walkable, transit-oriented communities is one of our strongest tools for a sustainable, climate friendly future. Generally, the bulk this work in the US happens at the state and local levels. In addition to the climate benefits, it's essential work to keep communities together and fight displacement. I personally spend a lot of my spare time organizing locally around this issue to help ensure NYC and New York State stay places everyone can thrive. I focus especially on pro-housing policies and improving transportation options and reliability so climate-friendly, less car-dependent lifestyles - and New York's relative safety - can be for everyone.
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.
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Although it looks really good, I have not yet tried the Jujutsu (jj) version control system, mainly because it’s not yet clearly superior to Magit. But I have been following jj discussions with great interest. One of the things that jj has not yet tackled is how to do better than git refs / branches / tags. As I underestand it, jj currently has something like Mercurial bookmarks, which are more like raw git ref plumbing than a high-level porcelain feature. In particular, jj lacks signed or annotated tags, and it doesn’t have branch names that always automatically refer to the tip. This is clearly a temporary state of affairs because jj is still incomplete and under development and these gaps are going to be filled. But the discussions have led me to think about how git’s branches are unsatisfactory, and what could be done to improve them. branch merge rebase squash fork cover letters previous branch workflow questions branch One of the huge improvements in git compared to Subversion was git’s support for merges. Subversion proudly advertised its support for lightweight branches, but a branch is not very useful if you can’t merge it: an un-mergeable branch is not a tool you can use to help with work-in-progress development. The point of this anecdote is to illustrate that rather than trying to make branches better, we should try to make merges better and branches will get better as a consequence. Let’s consider a few common workflows and how git makes them all unsatisfactory in various ways. Skip to cover letters and previous branch below where I eventually get to the point. merge A basic merge workflow is, create a feature branch hack, hack, review, hack, approve merge back to the trunk The main problem is when it comes to the merge, there may be conflicts due to concurrent work on the trunk. Git encourages you to resolve conflicts while creating the merge commit, which tends to bypass the normal review process. Git also gives you an ugly useless canned commit message for merges, that hides what you did to resolve the conflicts. If the feature branch is a linear record of the work then it can be cluttered with commits to address comments from reviewers and to fix mistakes. Some people like an accurate record of the history, but others prefer the repository to contain clean logical changes that will make sense in years to come, keeping the clutter in the code review system. rebase A rebase-oriented workflow deals with the problems of the merge workflow but introduces new problems. Primarily, rebasing is intended to produce a tidy logical commit history. And when a feature branch is rebased onto the trunk before it is merged, a simple fast-forward check makes it trivial to verify that the merge will be clean (whether it uses separate merge commit or directly fast-forwards the trunk). However, it’s hard to compare the state of the feature branch before and after the rebase. The current and previous tips of the branch (amongst other clutter) are recorded in the reflog of the person who did the rebase, but they can’t share their reflog. A force-push erases the previous branch from the server. Git forges sometimes make it possible to compare a branch before and after a rebase, but it’s usually very inconvenient, which makes it hard to see if review comments have been addressed. And a reviewer can’t fetch past versions of the branch from the server to review them locally. You can mitigate these problems by adding commits in --autosquash format, and delay rebasing until just before merge. However that reintroduces the problem of merge conflicts: if the autosquash doesn’t apply cleanly the branch should have another round of review to make sure the conflicts were resolved OK. squash When the trunk consists of a sequence of merge commits, the --first-parent log is very uninformative. A common way to make the history of the trunk more informative, and deal with the problems of cluttered feature branches and poor rebase support, is to squash the feature branch into a single commit on the trunk instead of mergeing. This encourages merge requests to be roughly the size of one commit, which is arguably a good thing. However, it can be uncomfortably confining for larger features, or cause extra busy-work co-ordinating changes across multiple merge requests. And squashed feature branches have the same merge conflict problem as rebase --autosquash. fork Feature branches can’t always be short-lived. In the past I have maintained local hacks that were used in production but were not (not yet?) suitable to submit upstream. I have tried keeping a stack of these local patches on a git branch that gets rebased onto each upstream release. With this setup the problem of reviewing successive versions of a merge request becomes the bigger problem of keeping track of how the stack of patches evolved over longer periods of time. cover letters Cover letters are common in the email patch workflow that predates git, and they are supported by git format-patch. Github and other forges have a webby version of the cover letter: the message that starts off a pull request or merge request. In git, cover letters are second-class citizens: they aren’t stored in the repository. But many of the problems I outlined above have neat solutions if cover letters become first-class citizens, with a Jujutsu twist. A first-class cover letter starts off as a prototype for a merge request, and becomes the eventual merge commit. Instead of unhelpful auto-generated merge commits, you get helpful and informative messages. No extra work is needed since we’re already writing cover letters. Good merge commit messages make good --first-parent logs. The cover letter subject line works as a branch name. No more need to invent filename-compatible branch names! Jujutsu doesn’t make you name branches, giving them random names instead. It shows the subject line of the topmost commit as a reminder of what the branch is for. If there’s an explicit cover letter the subject line will be a better summary of the branch as a whole. I often find the last commit on a branch is some post-feature cleanup, and that kind of commit has a subject line that is never a good summary of its feature branch. As a prototype for the merge commit, the cover letter can contain the resolution of all the merge conflicts in a way that can be shared and reviewed. In Jujutsu, where conflicts are first class, the cover letter commit can contain unresolved conflicts: you don’t have to clean them up when creating the merge, you can leave that job until later. If you can share a prototype of your merge commit, then it becomes possible for your collaborators to review any merge conflicts and how you resolved them. To distinguish a cover letter from a merge commit object, a cover letter object has a “target” header which is a special kind of parent header. A cover letter also has a normal parent commit header that refers to earlier commits in the feature branch. The target is what will become the first parent of the eventual merge commit. previous branch The other ingredient is to add a “previous branch” header, another special kind of parent commit header. The previous branch header refers to an older version of the cover letter and, transitively, an older version of the whole feature branch. Typically the previous branch header will match the last shared version of the branch, i.e. the commit hash of the server’s copy of the feature branch. The previous branch header isn’t changed during normal work on the feature branch. As the branch is revised and rebased, the commit hash of the cover letter will change fairly frequently. These changes are recorded in git’s reflog or jj’s oplog, but not in the “previous branch” chain. You can use the previous branch chain to examine diffs between versions of the feature branch as a whole. If commits have Gerrit-style or jj-style change-IDs then it’s fairly easy to find and compare previous versions of an individual commit. The previous branch header supports interdiff code review, or allows you to retain past iterations of a patch series. workflow Here are some sketchy notes on how these features might work in practice. One way to use cover letters is jj-style, where it’s convenient to edit commits that aren’t at the tip of a branch, and easy to reshuffle commits so that a branch has a deliberate narrative. When you create a new feature branch, it starts off as an empty cover letter with both target and parent pointing at the same commit. Alternatively, you might start a branch ad hoc, and later cap it with a cover letter. If this is a small change and rebase + fast-forward is allowed, you can edit the “cover letter” to contain the whole change. Otherwise, you can hack on the branch any which way. Shuffle the commits that should be part of the merge request so that they occur before the cover letter, and edit the cover letter to summarize the preceding commits. When you first push the branch, there’s (still) no need to give it a name: the server can see that this is (probably) going to be a new merge request because the top commit has a target branch and its change-ID doesn’t match an existing merge request. Also when you push, your client automatically creates a new instance of your cover letter, adding a “previous branch” header to indicate that the old version was shared. The commits on the branch that were pushed are now immutable; rebases and edits affect the new version of the branch. During review there will typically be multiple iterations of the branch to address feedback. The chain of previous branch headers allows reviewers to see how commits were changed to address feedback, interdiff style. The branch can be merged when the target header matches the current trunk and there are no conflicts left to resolve. When the time comes to merge the branch, there are several options: For a merge workflow, the cover letter is used to make a new commit on the trunk, changing the target header into the first parent commit, and dropping the previous branch header. Or, if you like to preserve more history, the previous branch chain can be retained. Or you can drop the cover letter and fast foward the branch on to the trunk. Or you can squash the branch on to the trunk, using the cover letter as the commit message. questions This is a fairly rough idea: I’m sure that some of the details won’t work in practice without a lot of careful work on compatibility and deployability. Do the new commit headers (“target” and “previous branch”) need to be headers? What are the compatibility issues with adding new headers that refer to other commits? How would a server handle a push of an unnamed branch? How could someone else pull a copy of it? How feasible is it to use cover letter subject lines instead of branch names? The previous branch header is doing a similar job to a remote tracking branch. Is there an opportunity to simplify how we keep a local cache of the server state? Despite all that, I think something along these lines could make branches / reviews / reworks / merges less awkward. How you merge should me a matter of your project’s preferred style, without interference from technical limitations that force you to trade off one annoyance against another. There remains a non-technical limitation: I have assumed that contributors are comfortable enough with version control to use a history-editing workflow effectively. I’ve lost all perspective on how hard this is for a newbie to learn; I expect (or hope?) jj makes it much easier than git rebase.
In my first interview out of college I was asked the change counter problem: Given a set of coin denominations, find the minimum number of coins required to make change for a given number. IE for USA coinage and 37 cents, the minimum number is four (quarter, dime, 2 pennies). I implemented the simple greedy algorithm and immediately fell into the trap of the question: the greedy algorithm only works for "well-behaved" denominations. If the coin values were [10, 9, 1], then making 37 cents would take 10 coins in the greedy algorithm but only 4 coins optimally (10+9+9+9). The "smart" answer is to use a dynamic programming algorithm, which I didn't know how to do. So I failed the interview. But you only need dynamic programming if you're writing your own algorithm. It's really easy if you throw it into a constraint solver like MiniZinc and call it a day. int: total; array[int] of int: values = [10, 9, 1]; array[index_set(values)] of var 0..: coins; constraint sum (c in index_set(coins)) (coins[c] * values[c]) == total; solve minimize sum(coins); You can try this online here. It'll give you a prompt to put in total and then give you successively-better solutions: coins = [0, 0, 37]; ---------- coins = [0, 1, 28]; ---------- coins = [0, 2, 19]; ---------- coins = [0, 3, 10]; ---------- coins = [0, 4, 1]; ---------- coins = [1, 3, 0]; ---------- Lots of similar interview questions are this kind of mathematical optimization problem, where we have to find the maximum or minimum of a function corresponding to constraints. They're hard in programming languages because programming languages are too low-level. They are also exactly the problems that constraint solvers were designed to solve. Hard leetcode problems are easy constraint problems.1 Here I'm using MiniZinc, but you could just as easily use Z3 or OR-Tools or whatever your favorite generalized solver is. More examples This was a question in a different interview (which I thankfully passed): Given a list of stock prices through the day, find maximum profit you can get by buying one stock and selling one stock later. It's easy to do in O(n^2) time, or if you are clever, you can do it in O(n). Or you could be not clever at all and just write it as a constraint problem: array[int] of int: prices = [3, 1, 4, 1, 5, 9, 2, 6, 5, 3, 5, 8]; var int: buy; var int: sell; var int: profit = prices[sell] - prices[buy]; constraint sell > buy; constraint profit > 0; solve maximize profit; Reminder, link to trying it online here. While working at that job, one interview question we tested out was: Given a list, determine if three numbers in that list can be added or subtracted to give 0? This is a satisfaction problem, not a constraint problem: we don't need the "best answer", any answer will do. We eventually decided against it for being too tricky for the engineers we were targeting. But it's not tricky in a solver; include "globals.mzn"; array[int] of int: numbers = [3, 1, 4, 1, 5, 9, 2, 6, 5, 3, 5, 8]; array[index_set(numbers)] of var {0, -1, 1}: choices; constraint sum(n in index_set(numbers)) (numbers[n] * choices[n]) = 0; constraint count(choices, -1) + count(choices, 1) = 3; solve satisfy; Okay, one last one, a problem I saw last year at Chipy AlgoSIG. Basically they pick some leetcode problems and we all do them. I failed to solve this one: Given an array of integers heights representing the histogram's bar height where the width of each bar is 1, return the area of the largest rectangle in the histogram. The "proper" solution is a tricky thing involving tracking lots of bookkeeping states, which you can completely bypass by expressing it as constraints: array[int] of int: numbers = [2,1,5,6,2,3]; var 1..length(numbers): x; var 1..length(numbers): dx; var 1..: y; constraint x + dx <= length(numbers); constraint forall (i in x..(x+dx)) (y <= numbers[i]); var int: area = (dx+1)*y; solve maximize area; output ["(\(x)->\(x+dx))*\(y) = \(area)"] There's even a way to automatically visualize the solution (using vis_geost_2d), but I didn't feel like figuring it out in time for the newsletter. Is this better? Now if I actually brought these questions to an interview the interviewee could ruin my day by asking "what's the runtime complexity?" Constraint solvers runtimes are unpredictable and almost always than an ideal bespoke algorithm because they are more expressive, in what I refer to as the capability/tractability tradeoff. But even so, they'll do way better than a bad bespoke algorithm, and I'm not experienced enough in handwriting algorithms to consistently beat a solver. The real advantage of solvers, though, is how well they handle new constraints. Take the stock picking problem above. I can write an O(n²) algorithm in a few minutes and the O(n) algorithm if you give me some time to think. Now change the problem to Maximize the profit by buying and selling up to max_sales stocks, but you can only buy or sell one stock at a given time and you can only hold up to max_hold stocks at a time? That's a way harder problem to write even an inefficient algorithm for! While the constraint problem is only a tiny bit more complicated: include "globals.mzn"; int: max_sales = 3; int: max_hold = 2; array[int] of int: prices = [3, 1, 4, 1, 5, 9, 2, 6, 5, 3, 5, 8]; array [1..max_sales] of var int: buy; array [1..max_sales] of var int: sell; array [index_set(prices)] of var 0..max_hold: stocks_held; var int: profit = sum(s in 1..max_sales) (prices[sell[s]] - prices[buy[s]]); constraint forall (s in 1..max_sales) (sell[s] > buy[s]); constraint profit > 0; constraint forall(i in index_set(prices)) (stocks_held[i] = (count(s in 1..max_sales) (buy[s] <= i) - count(s in 1..max_sales) (sell[s] <= i))); constraint alldifferent(buy ++ sell); solve maximize profit; output ["buy at \(buy)\n", "sell at \(sell)\n", "for \(profit)"]; Most constraint solving examples online are puzzles, like Sudoku or "SEND + MORE = MONEY". Solving leetcode problems would be a more interesting demonstration. And you get more interesting opportunities to teach optimizations, like symmetry breaking. Because my dad will email me if I don't explain this: "leetcode" is slang for "tricky algorithmic interview questions that have little-to-no relevance in the actual job you're interviewing for." It's from leetcode.com. ↩
I’ve long been interested in new and different platforms. I ran Debian on an Alpha back in the late 1990s and was part of the Alpha port team; then I helped bootstrap Debian on amd64. I’ve got somewhere around 8 Raspberry Pi devices in active use right now, and the free NNCPNET Internet email service … Continue reading ARM is great, ARM is terrible (and so is RISC-V) →
Something like a channel changer, for the web. That's what the idea was at first. But it led to a whole new path of discovery that even the site's creators couldn't have predicted. The post Stumbling upon appeared first on The History of the Web.
