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Two more episodes of Loose Leaf Security are out, a series about securing your personal finances: Credit and debit card security An important part of your personal digital security is making sure your credit and debit cards are secure. In this episode, Liz and Geoffrey take a look at how attackers clone credit and debit cards, how newer cards resist these attacks, whether it's safer to use mobile payment apps, and how to keep an eye on your credit reports. Also, cell phone carriers continue to sell your location data, and phishing attacks against accounts with two-factor auth have become more powerful. Checks, mobile banking, cash transfer apps, and a bit more on credit cards Liz and Geoffrey take a closer look at the security of checks and bank account numbers - a timely topic after a fraudster attempted to steal thousands of dollars from Liz with a counterfeit check - and also at mobile banking, cash transfer apps, and a bit more about credit cards. Plus, better encryption for...
over a year ago

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More from Liz Denys

Bike Brooklyn! zine

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!

4 months ago 44 votes
The night sky and finding hope in the dark

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.

6 months ago 62 votes
Rising sea levels, eroding beaches, melting ice caps

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.

7 months ago 52 votes
Printable shrinkage rulers

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.↩

11 months ago 84 votes
Notes on cone 6 clay bodies, part 2

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.

a year ago 114 votes

More in programming

Benjie's Humanoid Olympic Games

A gauntlet thrown

23 hours ago 8 votes
Stumbling upon

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.

3 hours ago 3 votes
Some Love For Python

I really enjoyed watching Python: The Documentary (from CultRepo, formerly Honeypot, same makers as the TypeScript documentary). Personally, I don’t write much Python and am not involved in the broader Python community. That said, I love how this documentary covers a lot of the human problems in tech and not just the technical history of Python as language. For example: How do you handle succession from a pivotal creator? How do you deal with poor representation? How do you fund and steer open projects? How do you build community? How do you handle the fallout of major version changes? And honestly, all the stories around these topics as told from the perspective of Python feel like lessons to learn from. Here are a few things that stood out to me. Guido van Rossum, Creator of Python, Sounds Cool The film interviews Drew Houston, Founder/CEO at Dropbox, because he hired Python’s creator Guido van Rossum for a stint. This is what Drew had to say about his time working with Guido: It’s hard for me to think of someone who has had more impact with lower ego [than Guido] For tech, that’s saying something! Now that is a legacy if you ask me. The Python Community Sounds Cool Brett Cannon famously gave a talk at a Python conference where he said he “came for the language, but stayed for the community”. In the documentary they interview him and he adds: The community is the true strength of Pyhon. It’s not just the language, it’s the people. ❤️ This flies in the face of the current era we’re in, where it’s the technology that matters. How it disrupts or displaces people is insignificant next to the fantastic capabilities it purports to wield. But here’s this language surrounded by people who acknowledge that the community around the language is its true strength. People are the true strength. Let me call this out again, in case it’s not sinking in: Here’s a piece of technology where the people around it seem to acknowledge that the technology itself is only secondary to the people it was designed to serve. How incongruous is that belief with so many other pieces of technology we’ve seen through the years? What else do we have, if not each other? That’s something worth amplifying. Mariatta, Python Core Developer, Sounds Cool I absolutely loved the story of @mariatta@fosstodon.org. If you’re not gonna watch the documentary, at least watch the ~8 minutes of her story. Watched it? Ok, here’s my quick summary: She loves to program, but everywhere she looks it’s men. At work. At conferences. On core teams. She hears about pyladies and wants to go to Pycon where she can meet them. She goes to Pycon and sees Guido van Rossum stand up and say he wants 2 core contributors to Python that are female. She thinks, “Oh that’s cool! I’m not good enough for that, but I bet they’ll find someone awesome.” The next year she goes to the conference and finds out they’re still looking for those 2 core contributors. She thinks “Why not me?” and fires off an email to Guido. Here’s her recollection on composing that email: I felt really scared. I didn’t feel like I deserved mentorship from Guido van Rossum. I really hesitated to send this email to him, but in the end I realized I want to try. This was a great opportunity for me. I hit the send button. And later, her feelings on becoming the first female core contributor to Python: When you don’t have role models you can relate to, you don’t believe you can do it. ❤️ Mad respect. I love her story. As Jessica McKellar says in the film, Mariatta’s is an inspiring story and “a vision of what is possible in other communities”. Python Is Refreshing I’ve spent years in “webdev” circles — and there are some great ones — but this Python documentary was, to me, a tall, refreshing glass of humanity. Go Python! Email · Mastodon · Bluesky

20 hours ago 2 votes
btrfs on a Raspberry Pi

I’m something of a filesystem geek, I guess. I first wrote about ZFS on Linux 14 years ago, and even before I used ZFS, I had used ext2/3/4, jfs, reiserfs, xfs, and no doubt some others. I’ve also used btrfs. I last posted about it in 2014, when I noted it has some advantages over … Continue reading btrfs on a Raspberry Pi →

an hour ago 1 votes
chapter seven: nudge

“Why are you here on a Sunday?” “John’s in town,” I said. “And he knows I’m looking for him.” I’ve carried this case for five years. When Operant moved its compute out to Long Island—cheaper power, easier permits—it landed in my world by accident. Detective James Reese, Nassau County Police. Since then, every time I think I’ve got a straight line, the story bends. People call it “mind control.” That’s the wrong phrase. You hear that and you start hunting for sci-fi. What you should be hunting for is timing. There are the clean facts. It started with a private investigator caught at night inside Jane Street’s office. He was there to plant a device. Not a camera, not a mic. A flat plastic square the size of a drop ceiling tile, featureless, no lens, no obvious grill. If you tapped it with a knuckle it sounded dead, like dense foam. The FBI took the evidence, said as little as possible, and then Trump dissolved the Bureau and the chain of custody with it. The PI pled to B&E, did eighteen months, swore a friend offered him ten grand and a location. The friend never existed long enough for us to find. While the tile vanished, Operant didn’t. They grew. They put their name on the Ducks’ ballpark, donated to everyone they should, and pushed eight percent of Long Island’s power through their meter. Every time I asked questions, a lawyer answered them. I still have a job mostly because I don’t stick my questions in microphones. But the corporate espionage wasn’t the hook. The hook’s name was Tom Park. Young, gifted, on Operant’s “research” payroll. He died off the roof of their building. We asked for the CCTV. They delayed until the delay became its own story, and when the files came they were grainy enough you could convince yourself resolution had gone out of style. We couldn’t prove a cut. We couldn’t prove a lie. We could see a silhouette on the roof with a phone in his hand, see him put it away, and watch him walk forward like he’d decided to walk forward an hour ago. We pulled his phone records. The carrier said the device never left his parents’ house that night. The family’s router logs said the same thing—MAC associated all evening, steady signal, Netflix on the downstairs TV. At the time of death the rooftop access point didn’t record a roam. No one found a phone with the body. If you’re generous, you call that “inconsistency.” If you’ve been around long enough, you call it “choreography.” I didn’t see the tile again, but I kept a copy of the photos and I stared at the connector pads until I’d memorized the geometry. Four edge pads, power bus shape. Months later, a fire inspection at an Operant satellite site flagged “non-listed luminaires with integrated driver boards.” That’s code for “custom lights.” The brand on the sticker didn’t exist in any registry. It matched nothing you could buy. What does a ceiling tile do if it isn’t a ceiling tile? You can guess: a planar array under plastic, phaseable, a clock inside that doesn’t drift. You don’t need to read thoughts. You need to make the room keep time. We ran a small experiment in our squad room. Nothing that requires approval. We set up a tapping game on a laptop—left or right as quickly as you can when a cue appears. We added a desk lamp we could modulate in the last hundred milliseconds before the cue—no visible flicker, just PWM phase changes—and a piezo disc under the mouse pad that could make a vibration too soft to notice unless you were trying to notice. We told the script to wait until the model thought the subject was likely to pick left, then line up the lamp phase and the tick so “left” felt a hair earlier. The hit rate shifted eight points. The officers said it felt like the computer was “on it” that round. No one said they felt pushed. That’s the thing about timing: when it works, it feels like you were going to do it anyway. I went back to Tom. We subpoenaed what we could: badge swipes, elevator logs, building automation schedules for lights and HVAC. The elevator cabin he rode at 23:41 ran a “door nudge” cycle at floor 35—exact term in the manual. Not a stop, a shove. At the same minute the east conference rooms above ran a luminance ramp—35 to 50 percent and back down—logged as a “pattern test.” Two minutes later the air handlers kicked a “night purge,” unscheduled. The lobby mic’s spectrogram shows the change as a clean band sliding up. None of those facts make a person move. Together they draw a rhythm line through a building. We never found what Tom had in his hand, his “not a phone,” but a year after his death, one of their contractors quit and dumped an issue tracker on a public repo by accident. It was up for an hour before it vanished, but the internet is full of raccoons, and one of them sent me a ZIP. Half the issues were boring—install scripts, driver mismatches, bad GPIO pull-ups. The other half had words like “phase,” “latency,” “confidence gate,” “avoid visible artifacts,” “EEG-free,” and the tag “ROOM.” There was a set of comments on a bug titled “End Token Misfires.” The engineers were arguing about whether printing the full predicted sequence at the start of a session biased the subject into making it true. One person said that was the point. Another said if your only wins are the ones you can cause you aren’t measuring prediction anymore, you’re measuring control. The thread ends with a “resolved—won’t fix.” Mind control isn’t the right term. It makes people look for sci-fi. The right term is “nudge,” the one the elevator manuals use. You put your thumb on the timing. You don’t push the person; you lean on the moment. Tom stood on a roof with a clock in his pocket that belonged to the room, and a room that belonged to the company, and a company that had learned you can make a person look like a prediction if you take away all the moments where they would have surprised you. Sometimes I think the real trick isn’t the tile or the lights. It’s the bookkeeping. You arrange your systems so that there’s nothing to subpoena. The carrier shows a phone at home. The Wi-Fi shows a phone at home. The building shows a test pattern and a purge cycle and a polite door. Nothing is illegal in a log file. I keep a copy of that ZIP on a USB stick in my desk. There’s a folder called “SAFE_GATES” with a README someone wrote in plain English. “Do not schedule interventions if subject arousal > threshold. Do not schedule end token if subject mentions self-harm. Cooldown after consecutive errors.” Half the rules are commented out. The most recent commit message is just a shrug emoji. The worst part is how ordinary it all is. The elevator nudge. The lamp nudge. The HVAC tone. The not-a-phone. If you want to find the devil, you don’t go looking for horns. You go looking for clock edges. I told my sergeant I was taking the rest of the day. I stopped by a hardware store and bought a dimmer I knew I could open, and a roll of white tape. Back at the office I put a strip of tape on the lamp in interview room two, covering the LED that the supplier put there to indicate “smart mode.” We don’t use smart mode. We don’t use anything with a mode. When I left, the room looked like every other room. That’s the point. You only notice the timing when it slips. On the way home I drove past the Ducks ballpark. Operant’s name on the sign looked like every other naming deal. Families walking in, kids with foam fingers, warm light over the field. If you didn’t know to look, you’d think it was all just baseball.

yesterday 2 votes