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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.
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.
Starlit sky on a clear night / the milky way / eternity / clarity / raindrops sticking to window glass
More in programming
One of the recurring challenges in any organization is how to split your attention across long-term and short-term problems. Your software might be struggling to scale with ramping user load while also knowing that you have a series of meaningful security vulnerabilities that need to be closed sooner than later. How do you balance across them? These sorts of balance questions occur at every level of an organization. A particularly frequent format is the debate between Product and Engineering about how much time goes towards developing new functionality versus improving what’s already been implemented. In 2020, Calm was growing rapidly as we navigated the COVID-19 pandemic, and the team was struggling to make improvements, as they felt saturated by incoming new requests. This strategy for resourcing Engineering-driven projects was our attempt to solve that problem. This is an exploratory, draft chapter for a book on engineering strategy that I’m brainstorming in #eng-strategy-book. As such, some of the links go to other draft chapters, both published drafts and very early, unpublished drafts. Reading this document To apply this strategy, start at the top with Policy. To understand the thinking behind this strategy, read sections in reverse order, starting with Explore. More detail on this structure in Making a readable Engineering Strategy document. Policy & Operation Our policies for resourcing Engineering-driven projects are: We will protect one Eng-driven project per product engineering team, per quarter. These projects should represent a maximum of 20% of the team’s bandwidth. Each project must advance a measurable metric, and execution must be designed to show progress on that metric within 4 weeks. These projects must adhere to Calm’s existing Engineering strategies. We resource these projects first in the team’s planning, rather than last. However, only concrete projects are resourced. If there’s no concrete proposal, then the team won’t have time budgeted for Engineering-driven work. Team’s engineering manager is responsible for deciding on the project, ensuring the project is valuable, and pushing back on attempts to defund the project. Project selection does not require CTO approval, but you should escalate to the CTO if there’s friction or disagreement. CTO will review Engineering-driven projects each quarter to summarize their impact and provide feedback to teams’ engineering managers on project selection and execution. They will also review teams that did not perform a project to understand why not. As we’ve communicated this strategy, we’ve frequently gotten conceptual alignment that this sounds reasonable, coupled with uncertainty about what sort of projects should actually be selected. At some level, this ambiguity is an acknowledgment that we believe teams will identify the best opportunities bottoms-up, we also wanted to give two concrete examples of projects we’re greenlighting in the first batch: Code-free media release: historically, we’ve needed to make a number of pull requests to add, organize, and release new pieces of media. This is high urgency work, but Engineering doesn’t exercise much judgment while doing it, and manual steps often create errors. We aim to track and eliminate these pull requests, while also increasing the number of releases that can be facilitated without scaling the content release team. Machine-learning content placement: developing new pieces of media is often a multi-week or month process. After content is ready to release, there’s generally a debate on where to place the content. This matters for the company, as this drives engagement with our users, but it matters even more to the content creator, who is generally evaluated in terms of their content’s performance. This often leads to Product and Engineering getting caught up in debates about how to surface particular pieces of content. This project aims to improve user engagement by surfacing the best content for their interests, while also giving the Content team several explicit positions to highlight content without Product and Engineering involvement. Although these projects are similar, it’s not intended that all Engineering-driven projects are of this variety. Instead it’s happenstance based on what the teams view as their biggest opportunities today. Diagnosis Our assessment of the current situation at Calm is: We are spending a high percentage of our time on urgent but low engineering value tasks. Most significantly, about one-third of our time is going into launching, debugging, and changing content that we release into our product. Engineering is involved due to limitations in our implementation, not because there is any inherent value in Engineering’s involvement. (We mostly just make releases slowly and inadvertently introduce bugs of our own.) We have a bunch of fairly clear ideas around improving the platform to empower the Content team to speed up releases, and to eliminate the Engineering involvement. However, we’ve struggled to find time to implement them, or to validate that these ideas will work. If we don’t find a way to prioritize, and succeed at implementing, a project to reduce Engineering involvement in Content releases, we will struggle to support our goals to release more content and to develop more product functionality this year Our Infrastructure team has been able to plan and make these kinds of investments stick. However, when we attempt these projects within our Product Engineering teams, things don’t go that well. We are good at getting them onto the initial roadmap, but then they get deprioritized due to pressure to complete other projects. Engineering team is not very fungible due to its small size (20 engineers), and because we have many specializations within the team: iOS, Android, Backend, Frontend, Infrastructure, and QA. We would like to staff these kinds of projects onto the Infrastructure team, but in practice that team does not have the product development experience to implement theis kind of project. We’ve discussed spinning up a Platform team, or moving product engineers onto Infrastructure, but that would either (1) break our goal to maintain joint pairs between Product Managers and Engineering Managers, or (2) be indistinguishable from prioritizing within the existing team because it would still have the same Product Manager and Engineering Manager pair. Company planning is organic, occurring in many discussions and limited structured process. If we make a decision to invest in one project, it’s easy for that project to get deprioritized in a side discussion missing context on why the project is important. These reprioritization discussions happen both in executive forums and in team-specific forums. There’s imperfect awareness across these two sorts of forums. Explore Prioritization is a deep topic with a wide variety of popular solutions. For example, many software companies rely on “RICE” scoring, calculating priority as (Reach times Impact times Confidence) divided by Effort. At the other extreme are complex methodologies like [Scaled Agile Framework)(https://en.wikipedia.org/wiki/Scaled_agile_framework). In addition to generalized planning solutions, many companies carve out special mechanisms to solve for particular prioritization gaps. Google historically offered 20% time to allow individuals to work on experimental projects that didn’t align directly with top-down priorities. Stripe’s Foundation Engineering organization developed the concept of Foundational Initiatives to prioritize cross-pillar projects with long-term implications, which otherwise struggled to get prioritized within the team-led planning process. All these methods have clear examples of succeeding, and equally clear examples of struggling. Where these initiatives have succeeded, they had an engaged executive sponsoring the practice’s rollout, including triaging escalations when the rollout inconvenienced supporters of the prior method. Where they lacked a sponsor, or were misaligned with the company’s culture, these methods have consistently failed despite the fact that they’ve previously succeeded elsewhere.
I used to make little applications just for myself. Sixteen years ago (oof) I wrote a habit tracking application, and a keylogger that let me keep track of when I was using a computer, and generate some pretty charts. I’ve taken a long break from those kinds of things. I love my hobbies, but they’ve drifted toward the non-technical, and the idea of keeping a server online for a fun project is unappealing (which is something that I hope Val Town, where I work, fixes). Some folks maintain whole ‘homelab’ setups and run Kubernetes in their basement. Not me, at least for now. But I have been tiptoeing back into some little custom tools that only I use, with a focus on just my own computing experience. Here’s a quick tour. Hammerspoon Hammerspoon is an extremely powerful scripting tool for macOS that lets you write custom keyboard shortcuts, UIs, and more with the very friendly little language Lua. Right now my Hammerspoon configuration is very simple, but I think I’ll use it for a lot more as time progresses. Here it is: hs.hotkey.bind({"cmd", "shift"}, "return", function() local frontmost = hs.application.frontmostApplication() if frontmost:name() == "Ghostty" then frontmost:hide() else hs.application.launchOrFocus("Ghostty") end end) Not much! But I recently switched to Ghostty as my terminal, and I heavily relied on iTerm2’s global show/hide shortcut. Ghostty doesn’t have an equivalent, and Mikael Henriksson suggested a script like this in GitHub discussions, so I ran with it. Hammerspoon can do practically anything, so it’ll probably be useful for other stuff too. SwiftBar I review a lot of PRs these days. I wanted an easy way to see how many were in my review queue and go to them quickly. So, this script runs with SwiftBar, which is a flexible way to put any script’s output into your menu bar. It uses the GitHub CLI to list the issues, and jq to massage that output into a friendly list of issues, which I can click on to go directly to the issue on GitHub. #!/bin/bash # <xbar.title>GitHub PR Reviews</xbar.title> # <xbar.version>v0.0</xbar.version> # <xbar.author>Tom MacWright</xbar.author> # <xbar.author.github>tmcw</xbar.author.github> # <xbar.desc>Displays PRs that you need to review</xbar.desc> # <xbar.image></xbar.image> # <xbar.dependencies>Bash GNU AWK</xbar.dependencies> # <xbar.abouturl></xbar.abouturl> DATA=$(gh search prs --state=open -R val-town/val.town --review-requested=@me --json url,title,number,author) echo "$(echo "$DATA" | jq 'length') PR" echo '---' echo "$DATA" | jq -c '.[]' | while IFS= read -r pr; do TITLE=$(echo "$pr" | jq -r '.title') AUTHOR=$(echo "$pr" | jq -r '.author.login') URL=$(echo "$pr" | jq -r '.url') echo "$TITLE ($AUTHOR) | href=$URL" done Tampermonkey Tampermonkey is essentially a twist on Greasemonkey: both let you run your own JavaScript on anybody’s webpage. Sidenote: Greasemonkey was created by Aaron Boodman, who went on to write Replicache, which I used in Placemark, and is now working on Zero, the successor to Replicache. Anyway, I have a few fancy credit cards which have ‘offers’ which only work if you ‘activate’ them. This is an annoying dark pattern! And there’s a solution to it - CardPointers - but I neither spend enough nor care enough about points hacking to justify the cost. Plus, I’d like to know what code is running on my bank website. So, Tampermonkey to the rescue! I wrote userscripts for Chase, American Express, and Citi. You can check them out on this Gist but I strongly recommend to read through all the code because of the afore-mentioned risks around running untrusted code on your bank account’s website! Obsidian Freeform This is a plugin for Obsidian, the notetaking tool that I use every day. Freeform is pretty cool, if I can say so myself (I wrote it), but could be much better. The development experience is lackluster because you can’t preview output at the same time as writing code: you have to toggle between the two states. I’ll fix that eventually, or perhaps Obsidian will add new API that makes it all work. I use Freeform for a lot of private health & financial data, almost always with an Observable Plot visualization as an eventual output. For example, when I was switching banks and one of the considerations was mortgage discounts in case I ever buy a house (ha 😢), it was fun to chart out the % discounts versus the required AUM. It’s been really nice to have this kind of visualization as ‘just another document’ in my notetaking app. Doesn’t need another server, and Obsidian is pretty secure and private.
At a conference a while back, I noticed a couple of speakers get such a confidence boost after solving a small technical glitch. We should probably make that a part of every talk. Have the mic not connect automatically, or an almost-complete puzzle on the stage that the speaker can finish, or have someone forget their badge and the speaker return it to them. Maybe the next time I, or a consenting teammate, have to give a presentation I’ll try to engineer such a situation. All conference talks should start with a small technical glitch that the speaker can easily solve was originally published by Ognjen Regoje at Ognjen Regoje • ognjen.io on April 03, 2025.
A large part of our civilisation rests on the shoulders of one medieval monk: Thomas Aquinas. Amid the turmoil of life, riddled with wickedness and pain, he would insist that our world is good. And all our success is built on this belief. Note: Before we start, let’s get one thing out of the way: Thomas Aquinas is clearly a Christian thinker, a Saint even. Yet he was also a brilliant philosopher. So even if you consider yourself agnostic or an atheist, stay with me, you will still enjoy his ideas. What is good? Thomas’ argument is rooted in Aristotle’s concept of goodness: Something is good if it fulfills its function. Aristotle had illustrated this idea with a knife. A knife is good to the extent that it cuts well. He made a distinction between an actual knife and its ideal function. That actual thing in your drawer is the existence of a knife. And its ideal function is its essence—what it means to be a knife: to cut well. So everything is separated into its existence and its ideal essence. And this is also true for humans: We have an ideal conception of what the essence of a human […] The post Thomas Aquinas — The world is divine! appeared first on Ralph Ammer.
My April Cools is out! Gaming Games for Non-Gamers is a 3,000 word essay on video games worth playing if you've never enjoyed a video game before. Patreon notes here. (April Cools is a project where we write genuine content on non-normal topics. You can see all the other April Cools posted so far here. There's still time to submit your own!) April Cools' Club
