One of the app's most universal 'native' advantages, revisited.
I've spent more cumulative time playing with my Obsidian configuration in the past 24 hour hours than the sum of the whole I'd spent doing so in the 3(?) years since I installed beta (or was it alpha?) one. While I still find it janky as hell and deeply untrustworthy – among far too many other woes – I must admit that the bulk of shear hype surrounding its existence has indeed resulted in enough developer attention to achieve some technically interesting capabilities. Naturally, most of these feel absurdly redundant in context and all rely on age-old dependencies, but... well, today I uploaded the text of my almost five-year-old Microsoft Surface Laptop 2 Review to its own dedicated Archive.org page in thirteen different formats rendered using Obsidian's (desktop-only) Pandoc integration!
I lambaste with the sincere intent, at least, of being genuinely constructive, and I began upon this post hoping to do so and finally get around to highlighting one of Drafts' most essential (and taken for granted, I suspect) powers in its entirely cross-platform, system-level integration with Mail on Apple Platforms.
One of Drafts' most immediately apparent advantages as a native iOS/iPadOS/macOS application is readily found in its integration with Mail. Though I've personally managed to almost escape my twenties having yet to endure an email-heavy job, I still find the practice of sending topical/sacred information to myself to be the upmost reliable and direct means of retrieving it.
As I've configured it, within Drafts on any of its 3 platforms, all I need do is press ^M to have the text of the current Draft sent instantly to an iCloud Mail alias I use for such things.
If I were sending to more folks than just myself on a regular basis, I'd definitely make use of Drafts' Mail Action Wizard to help simplify and solidify the process of creating a dedicated action, which almost certainly would not have the Send in Background toggle selected, as demonstrated, for the sake of giving myself a preview of outbound messages to... important folks. For macOS users, there's also a bespoke Catalyst app called Mail Assistant, which I've yet to try.
The current version of my personal Send-to-Self action sent this example result using the format represented in the Gist embedded above. If you'd like, you can wrap the [body] tag (or any part of the message, actually) in double %s and select the Send as HTML toggle to have the result rendered as HTML. (See this example.)
If – like me – you're an iCloud Mail user primarily from iOS/iPadOS, here's how to create an iCloud Mail rule for messages you've sent yourself from Drafts:
Open the Rules settings menu by tapping the gear icon in the upper left ⇨ Preferences ⇨ Rules.
Create a new rule with the “Add rule” link.
By default, the “If a message...” field selection should be “is from.” In the text entry field, enter drafts-mail@drafts5.agiletortoise.com.
By default, the “Then...” field selection is “Move to Folder.” I have personally set mine to “Move to Folder and Mark as Read,” but this depends on your preference. Select a folder or mailbox for Drafts messages to be moved to and click “Add.”
Publishing via Email
I've spent a lot of time this year working on integrating Drafts with NeoCities, Write.as, and other publishing services, but – for new users, especially – Drafts' mail integration offers a pathway to publishing with virtually zero configuration for those services who still offer mail-to-save/post email addresses. These include WordPress, Blogger, Write.as, LiveJournal, Evernote, Day One, Things, Todoist, and more.
Perhaps the easiest method of setting this up would involve finding your private email address for a given service(s), pasting them in the aforementioned Mail Action Wizard, titling the action by the name of the service, and installing. There's also an Email to Myself action on the Drafts Action Directory to get you started.
Drag and Drop to Formatted Markdown Hyperlinks from Apple Mail
Going the other direction, users of Apple Mail (the client) might find it pleasantly surprising that one can drag a message from Mail into Drafts in order to automatically create a markdown-formatted hyperlink that opens said message from anywhere.
*Or at least until I can regain a reasonable editorial perspective of current happenings.
As I touched on in my 2021 overview of The Psalms, this blog has undergone some very significant – and mostly involuntary – changes of late. This summer has abruptly brought some life happens which will inevitably contribute further changes to a degree that warrants a very bloggy sort of Update Post.
Most importantly, perhaps, is that I've found myself with a real, tangible, full-time Big Boy job as a nighttime custodian of my actual elementary school. Though I suppose it's never been revealed before, here, I actually love cleaning and love this school, particularly, so I'm more excited than I've ever been for any sort of documentable employment, but this means I will imminently be transitioning from a lifestyle with virtually zero time-bound obligations to working 3-11:15PM, Monday through Friday. Undoubtedly, this will have a profound effect on my recently-announcedconsultancy business, but I'll be making an effort to formally update the adjacent Fantastical Openings links with revised availability.
Adjacent to this news are the experiences I've had in the past few weeks helping a friend ready her third-grade, public school classroom, which have been particularly enlightening with regard to the extent that iPads have been integrated into the education of young children in this country. Some highlights from this discovery (in this particular, Title I Midwestern elementary school):
Every child will receive a 5th-generation, WiFi-only iPad (iPad6,11) which they will be able to take home over the course of the school year.
The district paid $299 per unit for said iPads, a mere $30 off their full retail price for the rest of us, $329.
The random device I picked up from the pile shown in the images embedded above had not been updated beyond iPadOS 15 (since March of this year.)
Responsibility for the maintenance, setup, and deployment of said iPads rests entirely on a single individual, who is also responsible for the “media center” (what many of us know as the Library.)
Responsibility for ongoing hardware considerations (charging and storage) is left entirely to individual teachers.
Net contributions from Apple, Inc. to this new aspect of childhood education reside some six or seven figures in the negative.
In the two weeks preceding our district's start date, I had the painful opportunity to tour some of my friend's colleagues' storage solutions for their student iPads. The image below is the one I chose to append to my appeal to the MacStories Discord, attempting to leverage workspace-obsessed yuppies' knowledge for the benefit of public education.
There were a few helpful replies, which made it clear that organizations with actual budgets for device storage have gravitated toward rolling carts.
I've been made intimately aware just how integral YouTube has become in public education, these past few weeks. believe it or not, there is not a program – to the educators I've spoken to's knowledge, anyway – that removes advertising from YouTube playback in this case.
The time I haven't spent in this medium has been redirected toward a few key sources. My Raindrop collections have continued to grow, including a particular one I'd like to highlight here, called Blessed Web Utilities.
With its new ownership, I've continued to pour more and more energy into Siri Shortcuts published on RoutineHub. I'm proud to have been asked to participate directly in the platform's upcoming aggregatory efforts. I've also established a reliable habit of sharing Shortcuts documentation/source files on the extratone Telegram channel, among many other aspects of my ongoing Online Life.
I've also restarted an Extratone-era habit of using redirects to simultaneously simplify and index topical URLs to both my own projects and external resources. My new, NeoCities-bound Redirection Index should be a robust way to keep up with David Blue, Online, therefore.
As always, I hope you'll freely contact me with comments/suggestions/feedback/rants/etc. As for this particular feed, I doubt there will be much noticeable change from its status quo in the past ~two years.
The most magical configurables I've ever created for iOS by a long way.
Though I don't believe I've ever discussed it, here, the continuance of the fandom for Houston music legend, DJ Screw, on into the 21st century is an issue I remain very invested in. I doubt you want to hear much about it, but the issue of actually obtaining audio files from the Screw collection is a worthwhile one to engage for context's sake. I was first introduced to the ~343-chapter collection by my high school best friend, who'd acquired it via an ancient Pirate Bay torrent some hero set up in the early 2000s[^1]. It was complete – probably – and more or less correctly organized by chapter, but that's about it as far as reliable metadata was concerned. The results one would find elsewhere on the web, from sites like DatPiff, were hardly any better – many, in fact, were obviously sourced from that same torrent.
In the interim, a lot has changed about music consumption. You know this, but – as you might've already imagined – none of the mainstream services you fuckers partake in have managed to do Robert Earl Davis III justice in the modern era. Apple Music and Spotify, both, will send you in neatly identical spirals pretty much regardless which of their pet vectors you choose to populate with His Name. As much as I've vouched for the former, it's perhaps the worst of them all in this context – departing the marque entirely into the (respectable but... incorrect) world of non-Davis SLOWED 'n” THOWED[^2] almost immediately.
Perhaps one day, I'll find it within myself to tackle this issue – DJ Screw in the Щ́̇͋ͯ̋̅Σ̾̒͋ͯͭ ̊ᄂ̋̈͐İͬV̏̆̊͛̍̌Σ̆ͣͣͭ͐ͫ̆̊ ͪͬ̿̈́̑ͤ̚IͫП̎̿͑ͦ͆̚ ͣͫ͌ͨ̈Λ̃͛̓ͦͪ͒̑̽ ͛̑ͤ͊ͭƬ̒I̅͌̊̑ͧͪM̈́̓Σ̋̏͂͐͊͆ͣ, generally – but I actually have extremely wonderful, urgent news. You see, dearest archive.org was actually provided the entire, impeccably tagged Discography by actual Culture Heroes some years ago. All of it, accessible in multiple file formats, embeddable, superbly shareable! This is the most important truth I have to impart to you today, really, but – for iPhone, iPad, and Mac users, there's even more...
Automation
As of right now, just two Siri Shortcuts – Download Random Screw Tape and DJ Screw Discography[^3]. The first is perhaps the most delightful – if all goes well, running it right out of the box should result in a random tape from the library downloaded in a folder of your specification (at install,) as well actual playback, in correct order, within the shortcut, itself.
This is magic, yes, but the second is true power. After picking folders at installation for 1) downloaded archive.org-sourced .zip files to live in temporarily before they are extracted and deleted and 2) your complete, correctly metatagged DJ Screw Tape library could – in theory, anyway – magically appear in a single, undoubtedly several hours-long run. I have yet to actually test the full bit myself, technically, but I can advise you to set Auto-Lock (Settings ⇨ Display & Brightness ⇨ Auto-Lock) to Never, make sure you leave the Shortcut open within the Shortcuts App, itself, and give it a shot, if possible.
[1] I attempted to find this torrent for the sake of this post and well... The Pirate Bay looks a lot different than I remembered.
[2] This is not criticism. If it was, it would be ridiculously hypocritical.
[3] If RoutineHub is struggling/you find it untrustworthy, the direct iCloud Share links are here and here. Pleasecontact me if you encounter any issues.
These two Base64-Bound Baddies might simplify your yuppie existence for another few weeks.
Somehow, I managed to find myself in possession of two Very Large image files: the(?) new dark/light wallpaper pair coming in macOS Ventura. (Here they are in full, light and dark, so we’ve got that out of the way.) I don’t actually remember where they came from, so I hope that doesn’t matter much to you. (Maybe don’t contact me if it actually does lol.)
Anyhow, I’ve actually had them for quite a while, but I’ve been meaning to do what I’m trying to tell you about for far, far longer. Basically, files (like images) can be stored within single Siri Shortcuts entirely in plaintext form thanks to the magic of base64 and the now quite familiar Base64 Encode action. I’ve been meaning to “”””ǝ ƃ ɐ ɹ ǝ ʌ ǝ l”””” this capability to simplify my own, sick, superficial, yet craven need to cycle through inordinately huge image files as my desktop backgrounds/wallpaper for literally years, now, but I finally just fucking did it, all for you.
They’re very simple (3 whole actions!) but please keep in mind that they are also gargantuan. Since I’m super smart in a way I definitely love very much, I happen to know that all of one’s Siri Shortcuts are actually stored in a single sqlite file that is constantly being prodded every which way by iCloud Drive’s mania… Keeping these around is not going to help.
A modified shortcut to query live program information from your NPR station.
This past month, MacStories hosted a community Siri Shortcuts contest called Automation April. One of its winners – a shortcut called “What's on KUTX?” credited to Jack Wellborn – caught my eye as a lifelong dependent upon National Public Radio. Via John Voorhees' comment:
The solution Wellborn came up with is ingenious. It turns out that KUTX uses a web API that can return information about the currently playing track. The API is used to drive an ‘On Now’ widget on the station’s website, but Wellborn discovered that they could query the API and get the track information back as JSON. So, they built a shortcut that queries the API when run, returning the info about the currently-playing song.
I began playing around with the NPR API Jack used and discovered quite accidentally that their shortcut could be modified to display current program information for those NPR stations that are not music-oriented, like mine. For the vast majority of the 24-hour cycle, KBIA – “Mid-Missouri's NPR station” – plays news programs, mostly from NPR, itself, supplanted by BBC news late at night.
After some trimming and the addition of the URL for KBIA's Apple Music Stream, I came up with What's on KBIA?, which displays upon run the current program's title as well as a hyperlink to open its distinct webpage. By way of a simple Choose from Menu action, it then prompts one with three options:
Open the program's webpage (again.)
Open KBIA's stream in Apple Music.
Open KOPN's stream in Apple Music. (KOPN is Columbia's community radio station.)
Creating a Shortcut for Your NPR Station
All I really needed to customize Jack Wellborn's original shortcut was my NPR station's “UCSID,“which, for reference, is 5387648fe1c8335046a1d4b4. Upon installation of my What's on NPR? shortcut, you'll be prompted to specify this. Unfortunately, retrieving it via NPR's API requires special authorization, for some reason, but – since we're retrieving data from an NPR station's playback widget already configured to use the API – it's actually as easy as opening your browser's “Dev Tools” or showing on your given station's homepage. If you're unfamiliar, here's a handy guide to doing so on some popular desktop web browsers.
Honestly, though, if you're already on your iOS/iPadOS device and you're willing to install a single, free Safari Extension, I believe you'll find Web Inspector to be the single, simplest method of retrieving your station's UCSID.
Finding your station's UCSID with Web Inspector
Navigate to your station's homepage (ex. kbia.org.)
Start playback of the live stream you'd like to query (may or may not be necessary, depending.)
In the DOM tab, use the search icon to filter for ucsid.
Your station's UCSID is the value for the data-stream-ucsid field.
Depending on how modern your station's website is (I think – I'm supposing, here,) you may or may not find this field. For reference, here is the HTML source of KBIA's webpage from which I drew in its entirety. If you're having trouble, please feel free to contact me however you wish, ideally with your preferred station's identifier/web url.
“Integration” with the Broadcasts app
Broadcasts is a very popular and highly-praised universal Apple application for internet radio streaming. By default, my What's on NPR? shortcut includes an action to begin streaming a station in Broadcasts, but it requires further configuration.
In all likelihood, a search of the Broadcasts Directory for your station's four-letter identifier should yield results. Once you've added your station to your library in Broadcasts, hold its icon (or ^ Tap) to present the context menu (shown in the screenshots embedded above) and select Edit. The exact value for the Name field in configuration menu that results must be supplied as the answer to the second configuration step of my What's on NPR? shortcut. If you do not wish to use Broadcasts, you need only delete or replace its single action in the shortcut's default configuration.
If you've followed along this far, you now have both values you're prompted for at installation of said shortcut, by default: your station's ucsid and its name in the Broadcasts app. You need only continue if you'd prefer to add options for Apple Music and/or VLC.
“Integration” with Apple Music
If you'd like to have a menu option to begin streaming your NPR station in Apple Music, begin by searching within the app for your station's identifier (as shown in the screenshot embedded above.) Use the triple-dot menu's Share Station option to copy its Apple Music URL. (WBEZ's, for example, is https://music.apple.com/us/station/npr-news-wbez-chicago/ra.872998937.) Replace or append to the Broadcasts option with a menu option pointing to an Open URLs action containing the resulting URL. (Refer to my What's on KBIA? shortcut to see this implemented.)
“Integration” with VLC media player
The VLC media player iOS app does not yet have its own Siri Shortcuts actions, but it does have a handy URL scheme which allows one to stream or download the contents of any raw media URL. Using Web Inspector as described above, I was able to find the raw stream URL for KBIA (https://playerservices.streamtheworld.com/api/livestream-redirect/KBIAFM.mp3) quite quickly in the Resources tab whilst streaming live.
To add an option to my shortcut to open the stream in VLC, I would add the following value in an Open URLs action:
Once again, if you have any trouble configuring What's on NPR? – whether that be with finding your station's UCSID and/or “integrating” playback with another app, please do reach out.
Sorry I’m so late with this but I forgot I had something to contribute lol.
My first and only dedicated mp3 player was a first-generation iPod Shuffle — which was not only the most elegant looking USB drive one could find at the time, but — imo — remains the single highest-value mainstream consumer tech product I’ve ever owned. It was a 512mb stick with playback controls and a 3.5mm audio jack at one end. From what I remember, you could just freely store any combination of non-media files and media files in the root separated by a single directory. I was in 5th grade (11 years old) at the time (2005,) and public schools were just beginning to suggest students invest in a flash drive for carrying/storing digital school assignments.
I say highest value because got dang was that thing handy. Idk if I can communicate it, really, but it unified so many functions into one very high quality (and extremely tough) device. (I accidentally put it through the wash at least 3 separate times and it never actually stopped working.) It even came with a lanyard attachment!
Idk if there’s something wrong with me or what but I’m especially sentimental about this thing because I remember wholeheartedly believing and anticipating tech to progress along these lines — design priorities that especially made sense to me. Clever, lean permutations/amalgamations of once single-function products….
I took that photo during a tech podcast years ago — I was doing this same anecdote lol. I find it to be the best idea Apple, Incorporated ever had and yet looking at the everymac page now, I see it was discontinued less than 9 months after it came out. :cry:
The ideal means of On The Go participation in The Tildeverse.
I was completely unaware of the Tildeverse’s origin story – documented in a Medium post by WIRED Editor-in-Chief, Paul Ford – until this year, somehow, though I knew of its existence as far back as 2018. I was living in an unairconditioned Portland apartment, then, and had found myself stuck with Linux for the first time in my adult life. Consequentially, this period of my life became my first true introduction to the Command Line – a space about which I knew no more than the layest layman. Hopping between my ten-year-old, post-corporate system’s shell and the DOS machines I was emulating on it (exploring the history of word processors, mostly,) I believe I struggled through dare I say a Rite of Computing Passage, obtaining the capability (and eventually, the muscle memory) to navigate a filesystem with cd, ls, and (on DOS) dir. It wasn’t until I came home in ‘19 that I discovered the two primary emulated Linux shells on iOS: iSH Shell and a-Shell.
The former is designed to emulate Alpine Linux and has just recently added direct filesystem access via the Files app. The latter is, I’m told, quite extensible, and includes Siri Shortcuts actions that have enabled it to underpin powerful scraping shortcuts like SW-DLT – a sort of frontend for youtube-dl and now yt-dlp. Both are open source, but a-Shell is actually a fork of our subject app, now called “Blink Shell & Code” in the App Store.[^1]
Blink’s tag is “a professional, desktop grade terminal for iOS.” Its landing page touts a “first class iOS experience, with software and hardware keyboard, and the full edge-to-edge experience” experience. On iPad, Blink’s heyday was well documented by the likes of Paul Miller’s 2018 article for The Verge and Fatih Arslan’s 2019 “Using the iPad Pro as my development machine.” These pieces more or less detail different use cases of the exact sort Blink was designed for – “professional” work done using an iPad as the terminal for a remote Linux/macOS machine.
Since I’ve apparently ended up with a primary life mission of doing stuff on my iPhone originally meant to be done on iPads, I’ve managed to find myself an active member of the Tilde.Town community – a place exclusively accessible via SSH, aside from public pages – exclusively through my iPhone 12 Pro Max. I’m not the first to use Blink to do this – note Apreche’s reply to my thread, embedded above – but I suspect I’m the first to spend significant Town Time on my fucking phone, so I thought it might be worth laying out some of the particulars I’ve learned along the way.
It’s important to note that 99% of the use detailed in this guide/account involves the use of a paired Bluetooth keyboard.
Locally
First, Blink’s settings menu is accessed by typing config and/or ⌘,. Unfortunately, there’s no method of installing the entire selection of available fonts or themes – you’ll have to do so one at a time, though you can optimize the process by learning/copy-and-pasting the url scheme for the fonts/themes directories on their respective repos. I especially recommend CLRS, Man Page, and MonaLisa, but this Post is saturated with too many mocked up screenshots of Blink themes to reasonably continue that list any further.
Compared with its fork, a-Shell, Blink’s local UNIX command list is a bit sparse. It’s accessed exclusively with TAB. Where a-Shell has pickFolder, Blink has link-files, which does effectively the same thing: the Files app is opened, prompting you to select a folder, which will become visible and accessible in the command line.
Linking The Psalms’ GitHub Repository in Working Copy with link-files in Blink had profound results. I was offered a brief glance of that enhanced productivity command line evangelists always seem to be on about, if only because the files and directories were color-coded by type so distinctly. open also somehow lead to swifter previews than in Working Copy, despite that app’s brilliance.
Some other particularly intriguing standouts include say, which unfortunately does not use your preferred Siri voice to speak aloud text, but rather the oldest there is. facecam will open a manipulatable circle of your device’s front-facing camera view, as shown in the screenshot embedded above. openurl will instantly open a formally-formatted web URL in Safari, which can come in handy. pbcopy and pbpaste really do manipulate the iOS system clipboard, which I probably find more impressive than I should. code is the newest to the bunch and will open a local instance of GitHub Codespaces(?) If this is truly useful on iPad – which plenty of positive feedback on social suggests it is, to at least a few human beings – it is barely usable on iPhone, which is to be expected, really.
Blink’s own “UNIX Command Line Tools Roundup” does an okay job of outlining the rest of the basic networking and file management commands included that act locally, though I’ve still been unable to find out what skstore does. xcall opens x-callback-URLs, though I’m still trying to figure out what the command’s options are. ed the ancient command line text editor is available, though I’ve yet to learn to use it, and uptime appears to be actually accurate? Being able to run whois locally on iPhone has its uses, especially given the aforementioned support of pbcopy. whois bilge.world | pbcopy copies The Psalms domain registry information to the iOS clipboard in a flash.
Keyboarding
To its credit, I think Blink’s landing page represents the most explicitly pro-keyboard literature I’ve ever seen for an iOS app. From my fairly extensive use, its Bluetooth keyboard support fully reflects these declarations, even on iPhone. Out of the list of shortcuts you see in the screenshot embedded above, Share Selection is by far the one I use most, usually to open a link from the Tilde IRC chat. If I’m lucky/accurate, double tapping said link will select all of it and only it.
After a link is selected – which sometimes involves rotating the phone and/or zooming far out to get longer URLS in a single line – I’m able to call it up in the iOS sharesheet with ⌥U, then open it in Safari with a Siri Shortcut I’ve placed there entitled “O P E N.” Or – in the case of a direct link to a file – I could use another shortcut of mine just below it, called “DOWNLOAD,” which uses the Get Contents of URL action to download files directly to my Downloads folder in iCloud Drive. Googling a selection (⌥G) has come in handy once or twice. I tried the Stack Overflow shortcut for kicks, but was meant with an endless string of CAPTCHA requests.
An extraordinary feature of Blink’s which I originally misunderstood and have just begun to play with: custom key presses. In Config ⇨ Keyboard ⇨ Custom Presses, one can assign any text that can be hex encoded (Base16) to a keyboard shortcut. I’ve created a Siri Shortcut that requires the free version of GizmoPack to aid myself (and you, hopefully,) in quickly converting plain text commands to this format. In the screenshots embedded above, the shortcuts listed on the left correspond in order with the commands listed on the right. You’ll note I’ve begun to attempt assigning quick keys to my most commonly typed-out commands.
Remotes with SSH and Mosh
If you’re entirely new to SSH as a concept, I’ve found no better introduction than Tilde.Town’s own SSH Primer. I screwed up my first attempt at obtaining a key, but Town Maintainer vilmibm kindly responded to my Twitter DM in December of last year asking to instate a new key. I can’t remember whether or not I generated it originally within Blink, but regardless, the app’s key management is as intuitive as I’ve seen.
One of my unexpected favorite bits about Blink is its autocomplete feature which applies to both “commands and hosts” as quoted from its singular mention in the docs. There very well could be a better means of typing out absurdly long filenames in other terminal emulators, but I’ve personally not come across anything remotely like this magic of Blink’s. Especially for someone newish to the command line like myself, its autocomplete occasionally borders on “intelligent autosuggestion” without actually crossing the threshold in an irritating way. Once I configured Tilde.Town as a host (with the local name Tilde.Town,) all I need do to connect is begin to type ssh T or mosh T (ssh keys == mosh keys, which I wish I knew weeks ago) and TAB to complete the full ssh Tilde.Town or mosh Tilde.Town commands.
Once you’ve connected to Town, you should take advantage of Blink’s Files app integration by adding a location at the bottom of its entry in the Hosts menu. This adds Blink to the master, root list of file providers in the app. From there, all of the Files app’s features (including drag-and-drop) will apply to Tilde.Town as long as you’re sustaining at least one connection via ssh or mosh.
To illustrate, here’s a wee, one-take tutorial on uploading images this way:
The IRC client TildeTown uses is called WeeChat and – especially if it’s been as long for you as it had been for me – you might find (as I did) learning the ropes to be a bit dubitable. I’ve duplicated the full User Guide for your consideration. I got stuck at the concept of switching buffers, so my Big Pro hint is to start off running /buffer 1 followed by help. In order to display the chat even remotely readably in portrait mode on an iPhone, you’ll need to remove the buffer list by hiding it. (Try /help bar in the first buffer.) You’ll also need to zoom out a bit and set the display mode to Fill via the menus that appear with a three-finger tap anywhere on screen. To achieve the look shown in the screenshot embedded above, you’ll need to hide a few things, but I’ll come back to those specific commands in a sec.
Assuming you intend to stay connected to Town IRC On The Go, I’d advise always starting your intended chat window with mosh, which – through a whole bunch of alchemy I’m incapable of understanding – establishes a much more flexible sort of connection that’s actually realistically dependable from within the uncertain world of a backgrounded iPhone app. Optionally, the geo command can be used to force iOS into allowing Blink a more genuine background running state with geo track. Additionally, geo current displays a nicely-formatted set of location information:[^2]
As you’d expect, the persistence allowed by this feature – which does, indeed, extend to remote files access in the Files app as you move about the world – comes at a significant consumptive power and resource sacrifice. If you parse the slapdash language in the docs, the implication is that you should only need to use the geo command to make ssh connections persistent, not mosh connections. Since encountering this wording, I’ve yet to have an opportunity to explore the real world truth of this supposition because I have only my rotting legs to propel me around, these days.
If I remember correctly, I once found a surprisingly capable (for the time and circumstances) iPhone IRC app in Colloquy’s iPhone OS offering, though it appears to have fallen far, far out of support, now. LimeChat’s iPhone app isn’t listed on the App Store anymore and its landing page proudly touts support for iOS 4 multitasking!
Connections are kept in 10 minutes after going to background.
My memories of computer use from that time are ever so vague, but after just a brief junket to the era’s surviving app literature, some abyssal images within me were stirred. I suspect I tried every possible solution as I’ve always tended to, even back then, on my first generation iPhone and then my 4S. I remember Colloquy being the most tenable, but far from persistent, of course. As I recall, one could maintain a conversation as a passenger on a car trip, for instance, but remaining ambiently, eternally Logged In – as is the ancient custom of Internet Relay Chat – was too far out of reach to even be of consideration.
To be honest, I still find the whole idea unnatural, and I’m not alone, but I can promise you that running Blink on a recent iPhone with the average American cellular connection is as close to the full WeeChat experience as is possible on a handset, today, for whatever that may be worth to you. Thanks to some incredibly helpful new TildeTown friends, its copious configurability pivoted from an insurmountable, puzzling ordeal to a never before conceived of solution. If you haven’t already, skim the actual conversation contained within the pre-header screenshot, above.
WeeChat Configuration
The following is the precise set of commands involved in making WeeChat look as the screenshot does, though in no particular order. As m455 pointed out, fset is the tool that lists available configurable options and their current status in a linear way. The default of the second option in the list is apparently 11, but I fiddled quite a bit to find 9 more optimum.
fset
/set weechat.look.prefix_align_max 9
/bar hide bufflist
/bar hide fset
/bar hide title
/bar hide nicklist
/set weechat.look.buffer_time_format "%M"
If you eliminate the value of the very last command (so just “”) and add /bar hide status to the list, you’ll end up with a more minimal-looking, timestamp-less experience:
If indeed there is a “reasonable” configuration for command line IRC display on a telephone in the year 2022, surely, this is it.
Town Television
Due largely to its primary market of iPad-bound developers living and working in remote Digital Ocean droplets, significant effort (I assume) has been expended in making Blink Shell one of the few iOS apps which usably supports external AirPlay displays, even, yes, on iPhone. As far as I can tell, all of the iPad options in the appearance settings menu seen below have also functioned in my tests on iPhone, casting an entirely separate set of Blink windows to my mom’s Huge Ass Samsung television in ten-eighty pee.[^3]
If you’ve somehow found yourself this far, you’re probably looking for the keyboard shortcut⌘O, which switches your currently active cursor between the device and the external display. “You can also move windows between iPad and External Display with ⇧⌘O,” say the docs. Other considerations I’ve discovered through experiments with this: You can lock the phone with the external display running, but it won’t update, even with mosh or withgeo track. AirPlay will also cease after a period I couldn’t be bothered to determine, so if anything, this is more of an inconvenience than a feature.
Other Considerations
Blink has a URL scheme – blinkshell://run?key=[YourKey]&cmd= – but it’s not particularly useful, largely because it’s for the moment left without any real documentation. I was able to create a Drafts action that runs one’s current selection as a command in Blink, but the app doesn’t appear to like it very much, if you know what I mean. Blink also integrates with iOS system notifications – as exemplified in the screenshot embedded above – and they do work consistently with mentions in town chat, even outside the app, though I’ve yet to see one including any useful information. You’ll know that something happened, maybe. Recently, the app has taken to displaying a nondescript notification every time I re-open WeeChat, even without new messages since the last time I opened it.
Somehow, upon logging into macOS for the first time since installing all the aforementioned themes in Blink, I found the same themes available in the Mac Terminal. I’m sure there’s an explanation involving hidden iCloud Drive folders – and I can’t imagine being anything but pleasantly surprised to find oneself flush with more Terminal themes – but it’s still worth a heads up.
Philosophically, one might declare the practice I’ve outlined here to be definitively against everything the Tildeverse is about – the small web, Linuxy stuff. Bringing this up in TildeChat a few times, I was met only with acceptance. In fact, acceptance, curiosity, and support is all I’ve been met with throughout my first few months as a townie, and I hope this Post encourages/aids more folks to come join me in this shared computer. You can find the sign-up form for TildeTown here and the corresponding GitHub Issue for this post (with a bunch more screenshots) here.
[1] Blink’s icon is perhaps my most favorite of any application, ever.
[2] Yes, that is my real location information and yes, I did include it intentionally. Please come kill me as soon as possible. Also, “DOR” is apparently an acronym for “Dilution of Precision,” which is a mildly interesting measurement to read up on.
[3] As the screenshots I captured suggest, anyway. Obviously, I do not posess the means to test the true resolution display to mine eyes.
Imagine running shortcuts from anywhere you can place a link.
There seemed to be a bit of confusion regarding a shortcut I posted on RoutineHub a few days ago entitled “Generate Shortcuts Run Links List,” so I thought I’d attempt to overview how I’ve come to use Shortcuts’ URL scheme as my primary method of calling shortcuts across both iOS and macOS.
The basis of the whole shit is shortcuts://run-shortcut?name= and shortcuts://x-callback-url/run-shortcut?name=. Using these along with URL-encoded shortcuts titles (for those containing a space,) we can create links that will run shortcuts from anywhere on iOS or macOS as hyperlinks. These days, this is how I run most of my even semi-regular-use shortcuts, largely from my first Dot in Iconfactory’s Tot.
With a few exceptions, all the links you see in the above screenshot above “Drafts Instrument Panel” are shortcuts run links of the same type. Most of these, I typed out by hand with a TextExpander snippet. Here’s what the mess looks like underneath:
I had a bit of an issue creating the shortcut, itself. Though Shortcuts includes a native URL Encode action, I couldn’t seem to get it to reliably generate URL-encoded shortcuts names, which is why I inserted the Text Case action, instead.
A quick review of Apple, Inc’s first venture as a textile company.
Now that Apple, Incorporated is a textile company, I thought it might be pertinent of me – someone with incredibly filthy hands – to review its first textile product, the Rag. Back in my day, we were taught not to touch the screen. It’s not good for it, they’d say. Now, that’s all we do, and it makes me profoundly uncomfortable. I have used a fleet of microfiber cloths (ashamedly sourced from Amazon until recently) to rigorously scrub away the CRUD that results from my disgusting, gorgeous hands touching anything for any duration. I also use Vinegar-based Windex (which is just vinegar,) which has definitely eroded my 12 Pro Max’s Oleophobic coating away entirely. It smells wonderful, though.
What’s brought me great grief since the Apple Rag’s debut, notably, have been the discussions I’ve heard on Apple-adjacent podcasts like Connected[^1] post-release of the Rag, detailing just how sparsely Touchscreen Pros like Federico Viticci actually clean their Pro Screens. Less than once per week, if I recall correctly. I asked this question in the MacStories Discord to only a single response:
Never, really. Sometimes with the side of my hand, but that's only when I really notice the screen being dirty.
I’m assuming silence from the rest of the crowed indicates embarrassment. I clean my 12 Pro Max’s screen once every two hours, bare minimum.
Methodology
I must admit – it took me a bit to understand the correct methodology for the Apple Rag. At first, I was trying to use the Rag like I’ve used other microfiber cloths, but it’s uniquely suited to flat rubbing upon mostly already cleaned glass screens, which makes sense, I suppose. Unlike regular microfiber cloths, its surface does not lend well to liquid cleaning solutions or scrubbing non-glass surfaces. Nor does it to cleaning truly grubby surfaces. As far as I know, it’s not washable – I probably shouldn’t have thrown the packaging away, but I didn’t expect to review it.
— David Blue ※ (ɥ̶͇͖͉̠̰̟͔̒́̆ͧ͋̀̀ ????) (@NeoYokel) February 26, 2022
I would advise a strong, rotational approach under moderate pressure when using the Rag on your device’s screen. I would not advise you use it on your face or hands. I also would not advise you use it to clean your dog’s paws after a muddy bout. More reasonably, it’s not even all that great for cleaning glasses lenses. (It might just be that mine are particularly dirty.)
Conclusion
It sounds a bit silly, but $20 is actually a ridiculous amount of money to spend on a single microfiber cloth. I’d link you alternatives, but I’m committed to never sharing Amazon links on this here blog. For what it’s worth, the Apple Rag appears to have a strong resistance to liquids (they just fall off,) and a truly unique competency at cleaning glass screens.
Make no mistake — I did virtually nothing to create the following themes, nor do I know anything about Telegram theme development, generally. Frankly, I shouldn’t have even taken the time to whip *these* up, but I wanted to at least dip my toe in the experience for [a strangely sentimental essay I’ve been working on](https://github.com/extratone/bilge/issues/228) about the service’s service in my working life.
The one thing I *did* do is track down the most accurate translation of [iOS’ core system colors](https://developer.apple.com/design/human-interface-guidelines/ios/visual-design/color/) in hex I could find, which I spammed in each reasonably-generateable format all over every dead end group chat and channel I once created and have (shamefully) subsequently neglected and forgotten on this service.
— color-pink: #ff2d55;
— color-purple: #5856d6;
— color-orange: #ff9500;
— color-yellow: #ffcc00;
— color-red: #ff3b30;
— color-teal-blue: #5ac8fa;
— color-blue: #007aff;
— color-green: #4cd964;
I originally started using the [Big Boy Editor](https://themes.contest.com) and immediately realized that there is no apparent means of translating the iOS themes I’d found recently into .tdesktop themes without 1.) implementing an unofficial, but highly tedious translation matrix between the entirely different formats, or just 2.) fuckin eyeballing it.
I started with [perhaps the best light theme for this app I’ve ever found](https://t.me/addtheme/tgbetacore) in terms of ultimate legibility in blinding sunlight, loading its (apparently early iOS-inspired?) style as a duplicate in the Bitch Mode “editor” found within the iOS app, itself. Then, I simply replaced its singular hex color asset with the equivalents you see above in the three classes to which it was assigned…
…and now I’m a real life Software Developer™! How amazing is tech in 2021, right???
Please do feel free to act upon literally any sort of compulsion to contact me however you wish. [This link](https://bit.ly/whoisdavidblue) will pull up my full VCF contact card on a mobile device.
in This Present Time I can have regular interactions with my adolescent celebrity crush that I *actually* would not be able to convince my 14-year-old self are real. not because of their significance but the opposite.
calling her mom is like... the only even remotely reasonable outcome, btw. she *is* a mom several times over, now. and 46.
and by "crush," i mean... at least 30% of my total cumulative mental energy was spent repeating "I am so in love with Sienna Guillory" for *years.*
imagine telling that person "one day, you're gonna wish her happy mother's day every year in a text box. she will call you 'bub.'"
I'm pretty sure it would make him suicidal.
(but the outfits would save his life at the last moment.)
Writing the Definitive Guide For Using an iPhone With a Bluetooth Keyboard
When I graduated high school in the Spring of 2012, my mom offered me a choice: I could go to Community College with a new laptop, or a new iPhone. I was still on the kick that’d started with my first-generation iPhone, four years earlier, and decided to take the bet. Instead of a new laptop, I entered my first vaguely-collegiate experience armed with an iPhone 4S and an original Magic Keyboard, beginning an experiment that’s more-or-less ongoing (there have been intermittent pauses, notably.)
Over the years since, I have accumulated a lot of evidence to suggest that number of iPhone users who’ve used a hardware keyboard with their phone is extremely tiny (which I believe to be entirely reasonable and inevitable,) but I think also believe it’s a dynamic that’s still worth documenting properly. Frankly, I can say definitively that it absolutely has not been, thus far.
As you may have observed, even the association of iPad and keyboard in the past few years has actually made it worse — lookup any given iOS app’s keyboard shortcuts and you’ll return a list for iPad and nothing else. Over the years, I’ve maintained a habit of going down the iPad list, testing each shortcut on iPhone, noting down which of the iPad shortcuts respond on the latter in a table, and then emailing said list to the app’s developers. (Naturally, they almost never respond. Shout out to Tapbots for being the only recent exception.) After refocusing the bulk of my attention back on iOS and its adjacent communities, this year, I’ve looked around and come to a conclusion: if ever there is going to be a consolidate reference for those who regularly use a bluetooth keyboard with their iPhones, I am going to have to write it, myself.
Currently, my end target draws influence from the ebooks published by the MacStories team — like Tim Nahmuck’s Drafts 5 “Review” (which is closer to a User Manual than an App Review) — but it’s most important that it be in the form(s) which add maximum value to readers/users. In that vein, I must acknowledge that I cannot accomplish it entirely on my own, yet am fairly inexperienced with the sort of collaboration I’d imagine will be involved.
So…
If anyone would like to advise on this in any capacity, I would very much appreciate hearing from you via any method you’d like (see the info below.)
Anyone who has used a Bluetooth keyboard with their iPhone at any point, I’d actually beg you to share any thoughts/requests/suggestions you may have.
Just FYI, this hyperlink is broken. We’re 8 days out and still haven’t heard back about downloading broadcasts. Sorry to be pushy but… I feel like nobody is watching this account and there are a lot of Periscope users with questions.
Reclaiming tastemaking for listeners in the Spotify era.
Last week, Spotify users were treated to the service’s annual “Spotify Wrapped” feature: a visual summary of an account’s listening habits throughout the year, including their most listened-to artists. New for 2020 are “in-app quizzes,” a chronological “Story of Your 2020,” and detailed podcast listening statistics. For premium users, “badges” will “crown listeners with various titles based on the ways they listened.”
For example, if a number of your playlists gained significant new followers, you’ll be a Tastemaker. If you listened to a song before it was cool (aka hit 50,000 streams), you’ll get the Pioneer badge. And based on the number of songs you added to playlists this year, you just might become a Collector.
Their use of the term Tastemaker is particularly interesting. “Tastemaking” — a function once relegated to magazines — has taken a concerning bent in the Algorithmic Age. Very much contemporary terms like “filter bubble” and “echo chamber” — applied more and more often to social platforms like Facebook and Twitter, now — can also be associated with music streaming services like Spotify, who’s “playlistification” of content has had a number of alarming effects on American culture.
New “badges” for Premium users.
In 2018, The Baffler’s Liz Pelly explored Spotify playlists’ gender bias in “Discover Weekly:”
On Today’s Top Hits, I found that over the course of one month, 64.5 percent of the tracks were by men as the lead artist, with 20 percent by women and 15.5 percent relying on collaborations between men and women artists. When all features were taken into consideration, I found that 85.5 percent of tracks included men artists, while only 45.5 percent included women. This was one of the highest percentages of women artists out of all the playlists I examined.
She also quotes a LinkedIn post by “Jerry Daykin, the Head of Media Partnerships at Diageo,” in which he observes, “The most popular tracks on Spotify get featured in more playlists and become even more popular as a result.” In January of the same year, the online music magazine Pitchfork published an op-ed by musician Damon Krukowski entitled “How to Be a Responsible Music Fan in the Age of Streaming,” which provided concrete statistics on this phenomenon (emphasis mine:)
According to the data trackers at BuzzAngle Music, [on Spotify,] more than 99 percent of audio streaming is of the top 10 percent most-streamed tracks. Which means less than 1 percent of streams account for all other music.
“While streaming media is pitched to us as tailored to our taste, or at least to our browsing history,” Krukowski goes on to note, “the business of it is in fact closer to one-size-fits-all.” Clearly, this is an issue, but technically only insofar as Spotify advertises itself as a means to discover new music, which it does consistently.
The company has faced criticism in other areas, most recently by The New Yorker’s Alex Ross in a widely-read review of “Decomposed: The Political Ecology of Music,” a new book by University of Oslo professor Kyle Devine, entitled “The Hidden Costs of Streaming Music.” Ross first cites a statement by Spotify CEO Daniel Elk, “The artists today that are making it realize that it’s about creating a continuous engagement with their fans,” arguing the true meaning of his words to be “to make a living as a musician, you need to claw desperately for attention at every waking hour.” His most original (as in, yet to be considered in the mainstream discourse) argument, though, involves the service’s environmental impact. He cites Devine’s depiction of a profound cultural delusion surrounding the consumption of music, suggesting that music is “seen as a special pursuit that somehow transcends the conditions of its production.”
In a chapter on the digital and streaming era, Devine drives home the point that there is no such thing as a nonmaterial way of listening to music: “The so-called cloud is a definitely material and mainly hardwired network of fiber-optic cables, servers, routers, and the like.” This concealment of industrial reality, behind a phantasmagoria of virtuality, is a sleight of hand typical of Big Tech, with its genius for persuading consumers never to wonder how transactions have become so shimmeringly effortless.
Also noteworthy are questions of Spotify’s viability as a business, which Ross includes by citing a July article in Barrons quoting Spotify Technology’s second-quarter earnings report: “The streaming music company lost $418 million, or $2.24 per share, versus analysts’ expectations for a 41-cent loss.” Spearheading this year’s news conversation surrounding the company, though, were its widespread acquisitions in the Podcasting industry, including Anchor, Megaphone, Gimlet Media, and — most controversially — the exclusive rights to the most listened-to property in the medium, The Joe Rogan Experience. Though details of their implications are beyond the scope of this essay, it is reasonable to assume its concerns — if not its proposed solutions — should apply to the future of podcasting as well.
Responsible Curation
For solutions to address Spotify’s overwhelming skew toward rewarding popular music with even more popularity, we can first look within its own history to just a few years earlier, when human curation was more equally matched in its fight against algorithmic curation. In 2015, the company claimed that “Half of Spotify users stream from other users’ playlists at least monthly.” Pitchfork’s Marc Hogan profiled a number of “power users” within the upper percentile in terms of followers and personal playlist popularity. Notably, all of his examples are male.
Generally, human curation should hypothetically combat its algorithmic counterpart in terms of favoring already commercially successful content, if not its gender disparity. The industry’s other biggest player, Apple Music, has invested heavily and successfully in the former. (Disclosure: I have been an Apple Music subscriber since its launch.) Fast Company addressed this contrast in a 2018 long read entitled “Spotify’s $30 billion playlist for global domination:”
Cook’s words embody Apple’s longstanding critique of Spotify, which is that its algorithms are eroding music’s spiritual role in our lives. Cook doesn’t mention Spotify by name but says, “We worry about the humanity being drained out of music, about it becoming a bits-and-bytes kind of world instead of the art and craft.”
Then again, the same article also quotes Tim Cook — the CEO of the most valuable company in the history of the world — as insisting “We’re not in it for the money.” In turn, Daniel Elk is quoted, saying “Music is everything we do all day, all night, and that clarity is the difference between the average and the really, really good,” though what exactly he is quantifying as “really, really good” is not entirely clear. In context, the words of both leaders seem untrustworthy — vague, at best.
In tremendous and relevant contrast to the voices of these CEOs is that of Ethan Diamond, CEO and co-founder of Bandcamp, a music streaming service unlike any other. In an interview with Music Tech Fest director Andrew Dubber this May, Diamond exemplifies an entirely different mentality in running a for-profit service for independent music artists.
In 2007, Diamond and former colleagues Shawn Grunberger, Joe Holt, and Neal Tucker set out to build the equivalent of blogging services like Blogger, WordPress, MovableType, etc. for musicians. As Holt bemoaned in a 2008 interview with The HTML Times, creating an online presence for one’s music had long been “a pain in the ass:”
You need to find a place to host it, you’ve gotta get the metadata right, it’s just hard. So we just decided we would do that hard part for musicians so that they didn’t have to be so nerdy.
We keep your music streaming and downloading quickly and reliably, whether it’s 3am on a Sunday, or the hour your new record drops and Pitchfork gives it a scathingly positive review. We make your tracks available in every format under the sun, so the audiophilic nerderati can have their FLAC and eat mp3 v2. We adorn your songs with all the right metadata, so they sail into iTunes with artwork, album, band and track names intact. We mutter the various incantations necessary to keep your site top-ranked in Google, so when your fans search for your hits, they find your music long before they find bonkersforlyrics.com or iMyFace. We give your fans easy ways to share your music with their friends, and we give you gorgeous tools that reveal exactly how your music is spreading, so you can fan the fire.
In the years since, Bandcamp has demonstrated time and time again the sincerity in its commitment to artists through programs like “Bandcamp Fridays,” when the service waives its cut of artists’ revenue (ten percent on physical releases, fifteen percent of digital.) In 2017, the company donated a Friday’s share of proceeds to the Transgender Law Center in response to the Presidential Administration’s proposal to ban trans people from serving in the U.S. military. This year, throughout the Coronavirus pandemic, the company has repeatedly brought back the program in recognition of its impact on independent artists, and the results have been profound. On March 20th, for a specific example, $4.3 million worth of purchases was distributed.
Unlike Spotify, Bandcamp is a profitable company, and has been for nearly a decade. In Dubber’s interview, Diamond explains their financial origins:
In 2007/2008 we took a little bit of VC funding and then focused on getting to profitability. So we did that and got there in 2012, and that’s helped us maintain the mission, maintain the vision that we’ve had for the company for a long time.
Also in contrast to Spotify, Bandcamp explicitly invests in less popular, fringe content, through its online publication the Bandcamp Daily:
The mission of the Daily, it’s our editorial arm, and it’s just to highlight this incredibly diverse world of music that’s on a site where anybody can upload anything. And the result of that is that you have weird subgenres and a lot of music, I think, that wouldn’t necessarily be covered anywhere else.
Bandcamp has long demonstrated an anthesis to the business models technology companies have been so criticized for upholding and has done so in relative obscurity from the media. In his interview, Dubber asks Diamond one of the primary questions prompting the creation of this essay: “how come Bandcamp doesn’t get mentioned in all these press articles about music services?” In answer, Diamond offers his own business decisions out of “[his] personal preference:”
I like the idea that Bandcamp hangs out in the background and just makes all of this stuff work, and also, hopefully, helps the artist promote themselves, and it’s not about “Bandcamp, Bandcamp, Bandcamp.”
As a Tastemaking enterprise, Bandcamp has combined magazine-style editorial publishing with user-created content in the form of Collections — which allow listeners to display music they’ve purchased on a customizable web page — and Artist Recommendations, which extend from a creator’s Collection to those who follow them. This system has demonstrably lead to community and cultural wellness by genre via responsible commentary and selection from curating creators with authority, while still profiting its parent company tremendously. Bandcamp has grown from four to seventy employees in its 13-year lifespan, while helping artists earn $634 million as of December 2020. In the music industry, it is unquestionably an outlier. Diamond inadvertently explains Bandcamp’s success in response to a question from Dubber on the company’s comparatively slow pace in terms of technological features (emphasis mine:)
Deciding what to work on next, that has always felt like the easiest part of the job because it’s whatever benefits artists the most. Because the way Bandcamp makes money is if artists make a lot more money, so that’s what we try to spend every day doing.
The solution to the “debacle” of streaming music, then, is not necessarily charity or socioeconomic revolution. It would seem that all it takes is a sincere investment in the real people who create music.
I am so fucking sick of Freedom. Freedom sucks. Freedom doesn't work. I'm tired of trying to figure out what I'm supposed to be doing. PRISON would be refreshing!!!
swap me out for a family of immigrants. it is long past my turn to serve some time.
you are all screaming about how you feel your "Freedom of Expression" is in danger so much that it has become the entirety of what you have to express. am I really gonna have to be the one who shuts you up?
here's a VC pitch that actually aligns with the public interest: give me $20 million and I will erase the digital presence of hate groups on the web within 18 months via weaponized DDoS. the free exchange of ideas has fucking failed dude. it's time to try a muzzle.
the UK doesn't have these issues. their response to the WBC? *banning them from the country and blocking their website* cbsnews.com/pictures/banne…
somehow "Personal Freedom" equates to "you must give me what I want or you're breaking the law."
sorry I'll stop...
i just don't know how folks continue to dwell on these ridiculous abstracts from 250 year old documents. they should have been allowed to turn to dust.
Notably missing from both the film and this interview: not only have these issues been discussed and researched for decades, now, but a biome of alternatives to EVERY SINGLE CRITICIZED COMPANY/SERVICE EXISTS and HAS EXISTED for years. bit.ly/3fd3Xxn
there is a search engine that is basically just Bing except most of the profit generated by the adtech goes to PLANTING TREES. (Ecosia)
there are decentralized social networks (Mastodon, Diaspora) that often OUTPERFORM the proprietary big boys because they're still incentivized to craft the HIGHEST QUALITY experience rather than the most lucrative.
the only reason you haven't heard of them is that the Big Bad Monopolistic Incs OWN AND OPERATE the tools you'd normally rely on to search them out and Tech Journalism has literally moved in with the people they're needed to keep in check. (they all live in California)
it's ridiculous that we're still listening to the people who created the problem as they ruminate on solutions to the problem. (I would've just commented on Medium, but OneZero is paywalled so... sorry.)
and uh yeah... once again, I did my best to articulate these arguments and more in my most recent Post. bilge.world/the-social-dil…
The pop culture discussion of tech’s greater issues missed in (at least) two major ways
For those of us who’ve written about technology, generally, for quite a long time, any injection of the broader metaphysical/”ethical” conversation regarding the impact the industry has had/is having/is expected to have on our species into popular culture is inevitably an emotional event. The Social Network had an almost comical disregard for any potential function as a substantial critique of its subjects. Not that it’s particularly supportive of that argument, but Mark Fuck, himself, recently said in court, essentially, that he didn’t know what the movie was about. I’m not particularly sure, either. I suppose the dramatic film industry has no particular obligation to be critical of the times, but documentaries certainly should, in my estimation, and The Social Dilemma could’ve done better, in that regard.
First, the actively misleading: As thoroughly as I enjoyed Peter Campbell’s casting as the master-manipulating triplets behind the dramatized young man’s screen, the film’s depiction of this very human invasion of privacy is blatantly false imagery. The Privacy Problem is not that Facebook or Google employees are directly and actively viewing and manipulating your use of their services in real time. In fact, it is ridiculously unlikely that human eyes will ever see your individualized information. One could go so far as to describe the whole film as “ridiculous,” as did one of my favs, Casey Newton:
The dramatized segments include a fictional trio of sociopaths working inside an unnamed social network to design bespoke push notifications to distract their users. They show an anguished family struggling to get the children to put their phones away during dinner. And the ominous piano score that pervades every scene, rather than ratcheting up the tension, gives it all the feeling of camp.
The Verge’s official review of the film — written by Adi Robinson and as cited by Casey — is an important read, as well. Robinson makes use of some very intelligent language and cites some very interesting bits (including a Wikipedia article about a series of Hogarth paintings?) for The Verge’s audience, who already knew all of this. What I hoped to do by writing about this at all was speak to those distinctly separate tech media — grandmothers, retirees, etc. — who are both directly affected by the subjects covered by The Social Dilemma and particularly susceptible to its delusions about “privacy” — a term which I would argue is not particularly relevant to the conversation. Personally, I define my privacy in a way that is not violated by the simple collection of “my data,” regardless of how detailed said collection may or may not be, but would be by individual examination with human eyes, which — while possible — is extremely unlikely if for no other reason than a lack of business incentive. While Google may have access to the data it would need to determine whether I am currently showering or not, there is absolutely zero monetary gain to be had in one of its employees (or outsourced contractors) knowing this.
Now, on to the notably missing: Perhaps most important to note before I go on is that the film was produced by — and directly promotes on several occasions — one particular organization, called the Center for Humane Technology, which notably has a .com rather than a .org domain… hm. Immediately after watching the film, I complied with its direction to its website, where I was specifically looking for “solutions” to the issues it presented. Aside from Wikipedia (sortof,) it neglected to mention the abundance of alternative organizations and projects who’ve been building against the adtech-funded web for ages — some for decades. Unfortunately, neither the organization’s website nor the film’s webpage list any of these alternatives, whatsoever, which personally leads me to believe the whole thing is bullshit, for lack of a better term.
The film essentially argues for a single choice: using social media and other adtech-sustained services, or not using them. What I’m here to tell you: you have a choice of services. For every single individual service criticized in the film, I guarantee there exists at least a handful of alternatives across a spectrum of sin. If you’ve followed my work for any length of time (you probably shouldn’t still be reading,) you know I’ve advocated exhaustively for Mastodon — the open web, decentralized social network outpacing Twitter in every single way. Two years ago, I spent an entire summer arguing that Bandcamp is the only music streaming service who’s business model benefits both platform and artist. I’m still finishing up a massive essay that discusses alternatives to Facebook, which has been an exhausting but educational journey, as you can probably imagine, namely that leaving a platform as all-consuming as Facebook for an open-source and/or federated alternative requires a certain amount of bravery. Essentially, the evidence suggests that the alternatives discussion is a particularly important one to me, as is finding a way to evangelize it that isn’t immediately off-putting to “the average person.”
Poke around the film’s official website a bit and you’ll discover a variety of heavily-branded “resources” for “taking action,” all awash with a certain irony, including a fucking Bingo game (hosted on Google Drive, no less,) which the site actually suggests you post on your Instagram story! Also under the “Take Action” vertical are links to Moment CEO Tim Kendall’s tips for reducing your screen time, the “Data Detox Kit,” which advocates for Firefox as the private browsing solution (among an indigestibly huge link tree,) a “Join Now” button, and — most ironic of all — a link to download the “Ad Observer plugin,” in order to “share with researchers the ads you see on social media as they work to expose micro-targeting techniques & hold political advertisers accountable.” In other words, the very same data collection the film condemns, albeit for the “Online Political Transparency Project” instead of the greater adtech monstrosity.
No, it’s not a scam. Using The Markup’s shiny new Blacklight tool, I found thesocialdilemma.com to be entirely free of any malicious tracking aside from the inevitable accompaniment to their Google Drive embeds. (Here’s the report in full.) All at once, we can be virtually certain there is no malice in this particular destination, at least, which leaves… incompetence? I’m afraid so. It is not revolutionary to suppose that the people who conceived of these ruthlessly effective systems of adtech and figure out how to implement them in the real world — regardless of what they believe now, or then — that these folks should not be our first call when we’re searching for “solutions.” You know this, they know it, and they explicitly acknowledged it at least twice in the film, itself, and yet the fact of it remains.
Would you care to guess what Chapter 1 of the Digital Detox Kit is about? I can’t imagine you’d be correct… Under the heading “CONTROL YOUR SMARTPHONE DATA,” step 1 is literally just renaming your phone:
At some point, you may have “named” your phone for Wi-Fi, Bluetooth or both — or maybe the name was automatically generated during setup.
This means that “Alex Chung’s Phone” is what’s visible to the Wi-Fi network owner and, if your Bluetooth is turned on, to everyone in the area who has their Bluetooth on as well.
You wouldn’t announce your name as you enter a café, restaurant, or airport, so neither should your phone.
Now, I’ve always considered the ability to change a computer’s name an immense privilege. My first “real” computer’s name was Clementine, then there was Bertha, two Sophies (probably my favorite traditionally female name, so I excuse myself,) Silas, Linus, Uel, Jehoshaphat, Temba, Knot, and now Hildur. My iPhone 8 Plus’ name is Gravel. However, I realize that most users could care less, and I think that’s completely rational. Technically, suggesting you change your phone’s common name to that of “your favorite television character” (Hildur Odegard is my favorite character in Fortitude, so…) is not bad advice, even within its own privacy-centered argument, it’s just that it’s ridiculously low priority (or should be) compared with doing just about anything else along this vein. A conundrum is presented: I cannot imagine these people sitting down and seriously jotting down “change device name” as step 1 in their strategy, but I also cannot fathom an incentive for them to expend such effort facetiously or maliciously. Again, incompetence/ignorance is the only remaining explanation.
A notification I received while literally typing this out.
I have to backtrack, now, and confess that I did find an “Alternative Apps Centre” within the Data Detox Kit, which contains some genuinely smart recommendations like ProtonMail, Riot, Signal, and DuckDuckGo surrounding a bunch of privacy-enhancing browser extensions. However, the “detox” seems to have been lost at some point along the way. No amount of privacy (yes, I do think it’s hilarious that I can freely refer to “privacy” as a commodity with a positive quantity) can detoxify one’ social media addiction. The savvy reader notes the “Supported by Mozilla Firefox” badges all over the website and asks me “well, what did you expect?” My answer: something “more” than promotion, I suppose.
I suspect this is another case of don’t go to those who created the problem for the solution. More privacy is a more tangible vector upon which to “innovate” than simply putting down the fucking phone, but the interviewees in the film at least touched upon a very important insight in that regard: turn off all your notifications. I genuinely believe turning off all notifications is a good way to proceed, especially if this film (or anything else, for that matter) has made you feel uncomfortable about your relationship with your phone. I realized that I’d somehow allowed YouTube to clutter my notifications unconsciously for years, which is disturbing. In general, the apps who’s notifications I’d probably value the most (Bandcamp!) are the ones who use the feature the least/the most subtly.
Leaving your phone in a different room while you sleep is a good idea, though it seems a bit excessive when you could just turn it off, instead. (Displaced from your bed or stone dead, your chances of making use of your handset in an emergency are about the same, I’d wager.) I suspect it’s long overdue for a reboot, anyway. As far as “Email Addiction” goes, I suggest you first take an afternoon to go through your inbox and make use of GDPR’s greatest gift: the single-click opt-out, most often found in very small text in a given email’s footer. If you’re really serious, unsubscribe from even the newsletters you do read and make yourself resubscribe to them. Make use of your preferred email platform’s archives feature — or don’t — but clear everything from your inbox itself. Mark it all as read. Then, you’ll be ready to seek out other Email Wellness methodologies like the recently-trendy Inbox Zero.
If quitting social media cold turkey is not viable in your personal or professional life, a set daily time to check your notifications is a very good start. Yes, it’s okay to announce on Facebook that you’re taking a break from Facebook. There is a very good reason: accountability, to both yourself and your friends. If you are interested in the alternatives I mentioned before, genuinely contact me literally any time. My personal phone number is (573) 823–4380. I would be elated to discuss some of the services I’ve discovered with you.
My own advice on “privacy:” don’t worry about installing browser extensions, or using a different browser for that matter. Aside from a password manager, there is no need to download or install any additional software to protect your information. All the “privacy tools” you need are already present on your device, and they mostly consist of geolocation settings. If you’re an iOS user, you’ve already been confronted with them in the past few months. If you are still genuinely bothered by automated data collection unseen by human eyes, your only next step — if we’re really honest with ourselves — is figuring out how you’re going to go without the internet. Untracked browsing is no longer a realistic option.
still working on my post about Facebook. it's over 7500 words now...
sorry.
so far, I've used the word "Facebook" 135 times.
I'm pretty sure I'll have it up before the end of the week. and then I will never have to write about Facebook again...
10,000 words now... I think I need to take a break. definitely should be able to wrap up, polish, and publish tomorrow.
I COMPLETELY missed the Twitter hack... guess this means I'm already doing much better about not getting distracted.
well... I forgot to discuss VK, so it might actually be tomorrow before I get it up... I know hundreds of thousands of you were counting on this essay... I know you've spent three whole days now just refreshing my blog... I'm so sorry.
update:
so I was just about ready to conclude what I had to say about VK when it occurred to me that I should try searching for the original Russian expression of the word (ВКонта́кте,) which revealed a whole new story...
turns out, the only conversation about VK in American media, at least, is as a haven for Nazis who've been banned from Facebook. apparently their pilgrimage began around 2016. theatlantic.com/technology/arc…
this investigation by bellingcat (which is absolutely CHOCK FULL of Nazi imagery - please take care) examines a whole host of neo-Nazis who maintain profiles on both sites, and are just way more explicit about their ideology on VK. bellingcat.com/news/2020/02/1…
imo, the fact that NONE OF THIS was visible in search results for "VK" and "VKontakte" indicates that search engines are still kindof dumb.
to be honest, I have no idea what to do now. literally all of the Facebook alternatives I've argued for have an association with terrible people for one reason or another.
in some cases, it's the fault of the services, I agree. VK should definitely not be allowing some of those fucking images.
in Mastodon's, though, articles like this really let it down. Gab stole the PLATFORM - the SOFTWARE, not the network. the vast majority of instance admins came together within hours of the announcement to make sure their servers didn't federate with Gab. vice.com/en_us/article/…
and yet the headline still uses the term "home." something like this would've been way less misleading: "The Biggest Far-Right Social Network Moves to Nazi-Free Twitter Alternative's Platform."
very discouraged. as of this moment, retirement looks great.
what is the best answer, going forward, to combat the tendency for alt-right, neo-Nazi, and other hateful groups to seek refuge on "alternative social media?"
well, I took a break from writing about Facebook... to write about why I'm taking a break from writing about Facebook. extratone.vivaldi.net/covering-faceb…
WELL. I do love the burn in this comment:
"Complaining about how it operates is a little like going to someone’s house party because all the cool people were there and then complaining that the bathroom isn’t ergonomic or you wish their pool was deeper and had a diving board."
