My favorite thing about software development is the breadth and depth of the profession. On the one hand, there’s a ton to learn about computer science, programming languages, operating systems, databases, user interface, networking, and so on. On the other hand, there’s even more to learn about math, payments, sociology, team dynamics, finance, commerce, linguistics, business, design, etc. Pretty much the whole world around us!

Some folks tell you topics are off-limits. “Front-end developers don’t need to know databases”. “Back-end developers don’t need to know design”. “You only need to know Linux if you’re doing dev-ops”. “The humanities are a waste of your time.”

Those folks are wrong. 😡

You can pick up whatever ideas you want. You can study a topic at any depth. Choose your own specialization. Learn whatever you want, however you want.

Maybe you want to know just enough Fourier math to understand how imaging and audio systems work. Maybe you’re so hungry for clever math you work the problem sets from a college course. Either way is fine!

Several years ago I wanted to understand the jargon and mechanics of economics and finance. So, I listened to a bunch of podcasts, read a few books, and consistently read a magazine. I can throw around words like “negative externalities” or “financial instrument” now, but I’m no expert. I’m cool with that. I’m just here to understand the shape of things, not to become a professional.

Point is, all of these ideas could come in handy under the very large tent that is software development. Go learn economics, databases, design, or whatever. The more you know, the more likely you are to create a connection between adjacent ideas.

Beyond the languages, the libraries, and all the hype cycles, the ability to understand domains of knowledge is what sets great developers aside from good ones. And none of that knowledge, whether technical or otherwise, is off limits!

We could be problem-solving technologists. We could avoid getting wrapped up in programmer elitism and tribal competition.

We might solve more problems that way!

We can still find joy in certain technologies. We can still ply our trade in solving meta-problems with those technologies while solving increasingly interesting problems with the technology.

We might have more fun and worry less about the hype treadmill!

We’d have more mental space to consider how we’re solving problems. We could communicate better with our teammates and customers.

We might consider whether the thing we’re building is right for the world we live in!

Greater Los Angeles – Geoff Manaugh. Remember when an iPhone had trouble with cellular reception if you put your fingers in the wrong place and a response that was overblown and taken out of context was “you’re holding it wrong”? Los Angeles is a city which you cannot hold wrong. It is so vast and varied that everyone belongs in some way and yet everyone can be alone in some way. It’s not about where you came from or what you did, but what you’re making of it right now. The idea of moving to LA is daunting, but at least it’s a bit romantic.

Corporate Background Music Is Taking Over Every Part of Our Lives – Sophie Haigney. Apparently there’s a whole post-job/career industry of making and (royalty-free) licensing of music to play in the commercial spaces where we do our consumer society thing. Previously we would have called this Muzak, which was also the name of a company, which is also still a thing.

What Kurt Vonnegut’s “Slaughterhouse-Five” Tells Us Now – Salman Rushdie. My favorite phrase, “So it goes” is a bit more gallows than I remembered:

I had not remembered, until I reread “Slaughterhouse-Five,” that that famous phrase “So it goes” is used only and always as a comment on death. Sometimes a phrase from a novel or a play or a film can catch the imagination so powerfully—even when misquoted—that it lifts off from the page and acquires an independent life of its own. “Come up and see me sometime” and “Play it again, Sam” are misquotations of this type. Something of this sort has also happened to the phrase “So it goes.” The trouble is that when this kind of liftoff happens to a phrase its original context is lost. I suspect that many people who have not read Vonnegut are familiar with the phrase, but they, and also, I suspect, many people who have read Vonnegut, think of it as a kind of resigned commentary on life. Life rarely turns out in the way the living hope for, and “So it goes” has become one of the ways in which we verbally shrug our shoulders and accept what life gives us. But that is not its purpose in “Slaughterhouse-Five.” “So it goes” is not a way of accepting life but, rather, of facing death. It occurs in the text almost every single time someone dies, and only when death is evoked.

It may be impossible to stop wars, just as it’s impossible to stop glaciers, but it’s still worth finding the form and the language that reminds us what they are and calls them by their true names. That is what realism is.

Slaugherhouse Five is not my favorite Vonnegut novel (Cat’s Cradle is, lets hear it for Bokonism), but it’s certainly the most consequential and the one I get the most out of re-reading (or have ever re-read?). I had no idea Hitchhiker’s Guide to the Galaxy is so intertwined with it (which I also could stand to re-read).

Best albums, singles of the years. Who is better, the Beatles or the Rolling Stones. Top 100 smooth jazz to fall asleep to. We love to put music into boxes and then rank the items in those boxes. So without further ado, ladies and gentlemen, I present to you: the string section of the orchestra, as rated by the string section.

There’s a bit of a tie for first place. The violins and cellos feel equally strongly that they are the best. The cellos and basses are equal mixes of ambivalence to these status games and envy that they are not in the violin or cello sections.

Here’s a sampling of the sentiment data our polling gathered, aggregated by section.

Violins: I’m better than everyone else or I’m better than that violinist over there.

Violas: I wish I played cello. Or, that I’d gone to that writing workshop.

Cellos: I am underrated, more composers should write good solo work for cello. I am going to use every minute of this melody to shine. I am overflowing with emotion, which you will hear through my extremely wide vibrato.

Basses: I wish I played cello. Or jazz. Or that this instrument was as loud as the brass section. Or that I was out at the loading dock, smoking.

I spent some time this weekend attempting to make front-end code with Tailwind CSS. Tailwind is a utility-first approach to CSS wherein styles are organized into classes by how they function, not what they style. Instead of avatar-image as a class name on a user’s photo, you would probably have m-4, roughly meaning “margin four”. It’s a bit cryptic at first!

Reading through all the documentation before getting started is a good idea! Once I read through it and tinkered with it (or any other utility-first CSS approach) for a bit, it was pretty easy to use. The point where it clicked for me was when I thought “hmm, this needs a little room on the top” and then “that means I want mt-2, perfect!” Having a good autocomplete for class names helps a lot too.

I started off trying to use Tailwind in a Code Sandbox, but it seems like the community hasn’t quite figured that one out yet. That said, once I cloned a not-quite-working sandbox locally and ran it, I was off to the races.

I’ll probably read more through the component gallery next. If I can get closer to being to thinking/sketching up a UI component and then coding it up in just HTML and utility CSS, that will be a huge step forward for my craft.

Onward and upward! 📈

I’m refreshing my understanding of mainstay Rails libraries lately¹. This week, it’s OmniAuth.

When you sign-in (authenticate) to website A (say dev.to) via website B (say GitHub), that’s delegated authentication and the protocol underneath it is OAuth2. OAuth2 is a bit tricky because there is a lot of back-and-forth between the service that the user signs into (GitHub) and the service that you’re signing into with that authentication (dev.to).

Once you’ve set it up set it up, OmniAuth encapsulates much of the back-and-forth with a Strategy class. A bunch of folks out on the internet have bravely contributed literally hundreds of strategies for various services that provide OAuth2 sign-in, e.g. omniauth-twitter or omniauth-github.

A nice thing about the Strategy implementation is that each phase of the OAuth2 callback scheme² is a method; you can overwrite each one to handle the particularities of the provider you’re integrating with. For example, the “callback phase” is the most common extension point since every app is likely to want to store user information and access tokens differently.

In the wild, OmniAuth is often used in combination with Devise for user models which in turn uses Warden for authentication.

Also nifty to note: the Rakefile for OmniAuth has developer tasks for benchmarking performance and measuring memory overhead. It’s pretty awesome that an essential gem like this has that level of detail in its maintenance.

The time required to do a simplistic OAuth verification is negligible; about as fast as a call to Redis:

% rake perf:ips
Warming up --------------------------------------
                 ips     1.210k i/100ms
Calculating -------------------------------------
                 ips     12.329k (± 5.1%) i/s -     61.710k in   5.019465s

I have no baseline to compare this with, but memory usage looks like this:

% rake perf:mem|head
Total allocated: 147317 bytes (831 objects)
Total retained:  60863 bytes (152 objects)

allocated memory by gem
-----------------------------------
     74492  lib
     52894  rubygems
     12659  omniauth/lib
      4200  rack-2.0.7
      2832  hashie-3.6.0

So that’s OmniAuth. If your Rails app is more than a few years old and integrates with other services, you’re probably already using it. Thanks, OmniAuth community!

Gorillaz, Demon Days – this one holds up, still a solid album.

News to me, Moby has been making extended ambient tracks in some manner of partnership with the Calm app. They make good “I need to focus and get stuff done” music, but aren’t particularly high energy, if that’s your thing. Says Moby, “my suggestion is to not approach this as music, but to approach it as a sleep aid or tool“. Okay!

I would like to some day learn enough piano to play and sing the songs of the original Van Halen line-up, e.g. “Panama”, “Hot for Teacher”, “Beautiful Girls”, and “Unchained”. My theory here is, the original Van Halen is very Vaudeville, except louder and more late-seventies. Corollary: played literally and with a little bit of a vaudevillian spin, they’d work perfectly. Case in point: “Ice Cream Man”.

Somehow, I’ve never mentioned Soulection Radio. It’s equal parts new R&B/hip-hop, classic soul, and a lot of sample culture. It’s one of the best things going on Apple Music, Spotify, and Soundcloud.

They’re on our phones, in our voicemails. Computers or sometimes even humans calling in massive volumes, funneling people into bad purchases. Questionable insurance at best, outright fraud at worst. Sometimes, depending on the state you live in, politics!

There’s no reason to pick up on an unknown number in 2019, or even 2009. For many of us, Dunbar’s number for phone calls is in the low single digits. Outside those few numbers, why answer an even remotely questionable number, ever?

If you squint right, robocalls appear they were  designed for the technological landscape of 1995, of _Friends_ and cordless, landline phones. Robocalls,  could have made sense in 1995. You get a call, it’s Friday, there are no repeats of your favorite show on, you’re a bit bored. Sure, maybe you’ll pick up. Or in 1992, when receiving a phone call was not only a big, exciting deal!, but also a social imperative. You can’t just let the answering machine pick up? It could be…someone. Probably a human!

Sadly, the technological landscape I just described is exactly folks who aren’t “technology natives”. I suspect that’s largely who Robocalls prey on: the bored and lonely, those who grew up before the pace of technological evolution surged and haven’t developed a layered defense to those who would prey on them.

Space isn’t a dead-end, it’s just taking us longer to figure out than our earliest trajectory. The New Yorker has a great look at The Race to Develop the Moon for industrial purposes:

Lunar construction projects now look feasible. “Down the hall, we have a telerobotics lab,” Burns said. “You could print components of habitats, of telescopes. You use the lunar regolith”—the dust of the moon—“as your printing material. You could print the wrench you need to fix something.” Fifteen years ago, the moon was believed to be a dry rock; now we know that there’s water there. Both private industry and national agencies regard the mining of water and precious materials as something that’s not too far off.

Only twelve people have walked on the moon, all of them between the summer of 1969 and Christmas, 1972. All the moonwalkers were men, all were American, all but one were Boy Scouts, and almost all listened to country-and-Western music on their way to the moon; they earned eight dollars a day, minus a fee for a bed on the spacecraft.

Buzz Aldrin had hoped, and briefly expected, that it would be he, and not Neil Armstrong, who would take the first human step on the moon. The astronaut Michael Collins, who manned the control module that orbited the moon while Armstrong and Aldrin walked below, has said of Aldrin that he “resents not being first on the moon more than he appreciates being second.” On the moon, Armstrong took photos of Aldrin posing, but Aldrin took none of Armstrong doing the same. One of the few photos that shows Neil Armstrong on the moon was taken by Armstrong himself—of his reflection in Aldrin’s helmet, as Aldrin salutes the flag. We are petty and misbehave on Earth; we will be petty and misbehave in space.

​Futurism isn’t dead, it’s just not all around us like Tomorrowland promised.