#Angular Interview Questions and Answers Book

[captainpankaj-blog1]

Angular is the most popular open-source JavaScript-based framework which is designed and developed by Google. It is a platform used to create single page application and makes it easy to build mobile as well as desktop application with the web. It is a framework which is used for building a web application in HTML, CSS and JavaScript/TypeScript. It provides a more flexible way of developing the application with its simpler, faster and modular design approach.

[thicctransboi]

Newspaper (Sam and Grizz)

Prompt by @bystudying @alliesrules

Monday, 3pm, One week before the Homecoming Game

Grizz was stood in front of his locker, gathering his books and supplies and loading them into his backpack. He made sure to grab his copy of "The Count of Monte Cristo" before heading to BookClub. His locker was sat directly across from the school newspaper's workroom, which is why he found himself every Monday lingering by his locker for 15 minutes before BookClub started. Not because he had a fascination with newspaper, but because of a particular student that was part of the school newspaper: Sam Eliot was a junior, about 5'8, and had auburn ginger hair. His eyes were so blue, they almost appeared translucent, and freckles scattered amongst his chiseled features. Sam was popular, but not in a prep sort of way. Sam was popular and well known for two reasons; He was deaf, and he also just so happened to be gay. West Ham's sole out and proud homosexual, who was part of the school newspaper, a ginger, and deaf. Basically, he was a target for attention. Negative attention.

But not from Grizz; Grizz had been pinning after the younger boy ever since his 7th grade year when he first laid eyes on him. He found the young man fascinating, not just because of his disability, which he had proved didn't enable him in any way, but because of his vibe. Sam Eliot had this magnetic pull to him, something about the ginger kid pulled Grizz in and made him want to learn more about him. But, he couldn't. If he were to befriend Sam, people would talk. They would assume. And Grizz wasn't sure if he was ready for people to assume the truth about him; he was gay. He worked hard to hide it; star athlete, in both football and hockey, dedicated bookworm and stoner, and had made sure to regularly date girls. None of which he had ever lusted after nor cared for in a romantic way. But oh, how he longed to get to know Sam, to have some excuse to talk to him. He had considered joining the newspaper, but he had chickened out last minute in fear of making an ass of himself in front of his crush.

Becca Gelb, Sam's best and only friend, and Sam had shown up to one Bookclub meeting, but never came to another one. Grizz had been so excited that first meeting, and horribly disappointed when they didn't return.

Checking the time on his phone, Grizz made his way to BookClub.

*

Becca and Sam sat side by side in their newspaper club meeting, Becca interpreting their next assignment to Sam:

The homecoming game was Friday, and the teacher was assigning roles. Sam was in charge of interviews, Becca in charge of photos. It made sense on Becca's part, she also did photos for the yearbook. But, Sam conducting interviews? With asshole, dimwitted, football players? Sam could speak, he often had to. But that didn't mean he wasn't insecure about his speech. He was often made fun of for it. But, Becca reassured him that she would help.

Becca began conducting a list of all of the football players, and assigning both of them players to interview. Becca had the majority, while Sam had Luke, Jason, Clark, and Gareth Visser, aka "Grizz".

"You picked him on purpose!" Sam signed to Becca, pointing at Grizz's name.

They had often resulted to signing and not speaking when talking to each other for privacy.

"Maybe I did, he's one of the few with a brain. Plus, he's totally your type. I want to see you turn red."

Sam waved a hand of dismissal at his friend, "He is not my 'type'. I don't have a 'type'. Even if I did, it wouldn't be him. Besides, why Clark? He's one of the dumbest of the bunch."

Becca laughed, "Yes but he's one of the nicer ones. I gave you the ones who I thought wouldn't give you any trouble. Grizz, definitely won't, especially considering he always checks you out."

Sam's eyes went wide, "What are you talking about?"

Becca rolled her eyes at her friends obliviousness, "He's always staring at you, either from across the hall by his locker right there," she pointed out of the hallway to where Grizz's locker was, "Or in the hallways, at school events. He's totally crushing on you. Which, of all the football players to have the hots for you, he's definitely the best one. Not only Is he hot, but he's actually super smart. He's on in NHS, leader of the book club, and attends every school play and musical. I have AP English with him, he's a total nerd. So, exactly your type."

Sam waved her away, "Whatever, you're delusional. lets come up with some interview questions."

***

Friday Night, Homecoming Game, West Ham's Football stadium.

"WEST HAM WINS! Gareth 'Grizz" Visser scores the winning touchdown!"

The stadium was alive with cheers, screams, and applause of joy and celebration at the sight and announcement of West Ham winning the homecoming game. Students faces painted in red and gold face paint, school flags wrapped around peoples shoulders, confetti flying through the air in flakes of red and gold; it basically looked like school spirit had thrown up all over them. But, Sam and Becca ignored the commotion, easier said for Sam, and they made their way through the crowd, down the bleacher steps, and towards the field to conduct their interviews.

Becca turned her nose up at the sight of the sweat soaked air head jocks all body slamming each other, some pouring gatorades over each other's heads, and Luke and Clark had Grizz on their shoulders; Sam couldn't take his eyes off of him in that moment, his long brown hair sticking up in every direction, some of it sticking to his face from sweat. His fist pumping in the air, and sweat pouring down his face, dripping down his angular jaw, and disappearing into his football jersey... Sam was snapped out of his thoughts by Becca roughly elbowing him.

"Snap out of it, you're drooling." Becca signed, a smirk on her face.

Sam rolled his eyes, "Come on, lets get started."

The interviews seemed to go on forever. They had to interview every player, even the ones who didn't make it onto the field. Most of them Becca took the reins, asking their questions while Sam held the voice recorder on her phone for her. Then snapping a picture of them at the end. Player after player, dumber and dumber, and the two were almost happy to finally get to the star players; Luke, Clarke, Jason, and Grizz. Sam suddenly felt anxious about having to speak, but Becca gave him a reassuring smile as she tugged him towards Clark.

Clark was nice enough, but it was obvious his head was full of rocks. Sam had resulted to writing down his simple answers, while Becca interpreted for him what Clark was saying. He didn't take Becca's note to speak slowly. His adrenaline was pumping too fast to do so.

Jason, who looked like a model out of Baywatch, was just as dumb as Clark it seemed, but he always spoke slowly, probably due to pot, so it helped Sam to understand what he was saying better.

Luke, on the other hand, was always kind. His girlfriend, Helena, at his side. While they both were a bit stuck up, they both still had a kindness to them that gave Sam some comfort. Helena bragged on Luke's behalf, unsurprisingly to Becca or Sam, and Becca snapped a picture of the couple before they departed to celebrate.

"Hey, I have to head out soon, mom wants me home. Will you be okay with me snapping a picture of Grizz first then you doing the interview yourself?" Becca asked Sam.

Sam suddenly felt sick to his stomach with nerves, "But I'll have to speak!" He hadn't had to speak once that night, Becca had done it for him.

She gave him a squeeze on his shoulder, "You'll do fine. I've talked to Grizz before, he's nice. Come on, he's over there."

Sam followed Becca as they approached Grizz; he was sat alone now on a bench, drinking water. His jersey and gear tossed aside, clad in only a pair of tights and a tank top. He was soaked in sweat, and Sam felt his mouth water. But he also couldn't help but wonder, why was he alone?

"Hey Grizz, We're from the newspaper. Well, the yearbook too. Mind if I take a picture and Sam here conducts a short interview?" Becca asks Grizz, signing along with her words for Sam to be able to understand.

Grizz perked up suddenly, glancing at Sam. He looked handsome tonight, Grizz thought. A pair of well fitted blue jeans, that hugged his slender legs perfectly. A red t-shirt, and a brown bomber jacket. His ginger hair slicked back slightly, and his eyes caught the fluorescent bright lights of the stadium beautifully.

"Uh, yeah. Yeah that's fine." Grizz stammered out, standing up to have his photo taken.

Becca crouched slightly to capture one picture, and stepped back to get the next. Grizz giving a large faux smile each time.

Becca checked her camera before placing it back in its case. "Perfect! I've gotta fly, but Sam here will be interviewing you for the paper." she turned to Grizz, "Speak slowly and with diction so he can read your lips, and be nice. You've been warned." She then turned to Sam and signed, "Don't nut too soon." Before departing.

Sam felt himself go red, but shook the feeling away as he approached Grizz, siting next to him on the bench. The football players were a few yards away, but were still yelling and whooping loudly, fans and students surrounded them, creating even more noise. It made Grizz's head hurt.

"Why are you not celebrating with them?" Sam asked, signing with his words.

"What?" Grizz asked, unable to hear him over the noise.

Sam sighed, suddenly feeling embarrassed, "Sorry, I don't speak very well. I asked why you weren't celebrating with the rest of the team." Sam spoke, forcing more air into his words to make them louder. Making sure to annunciate with his lips and tongue.

Grizz suddenly felt embarrassed himself, realizing he had insulted Sam unintentionally. "No, no you speak fine!" Grizz reassured, speaking slowly, "It's just really loud over here. To answer your question, I often get really overwhelmed after games, I don't like to involve myself in crowds if I can avoid it."

Sam took in his words, his heart being warmed by Grizz's comment on his speech. His compliment.

Grizz was a nervous wreck, finally talking to the boy he had been pinning after for years.

"We could go somewhere less loud if that will help you." Sam suggested.

Grizz gave a nervous glance towards his teammates. But they were all caught up in their own world.

"Okay."

[pristinaaa-blog]

The Story of the Perfect Human Being

When Rey first met the Perfect Human Being the guy was quite busy picking up cigarette butts from the ground. When - not entirely by accident - Rey also dropped hers, the Perfect Human Being picked that one up too and looked at her with such a fatherly disapproval that she has never seen on anyone's face before.

Next time, she spotted him at a construction site, working hard while his co-workers seemed to have been in the middle of a perpetual lunch break, smoking and drinking something out of a flask, occasionally stopping to catcall to women passing by or laugh at the 'poor bastard' who can't take a break. The 'poor bastard' was indeed packing heavy bags of cement with a strength and will that looked almost supernatural. Rey's gaze lingered on the hint of muscles under the sweaty t-shirt and noted to herself that the guy must be bat shit crazy.

When she met him for the third time, the Perfect Human Being was sitting on the edge of the pavement in the pouring rain, trying to treat a dog with a broken leg. By then, Rey knew for sure that the guy had to have been a complete lunatic.

��And looks like he's not the only one here” she thought to herself as she pulled up her car at the nearest veterinary clinic slash animal shelter where, after being reassured by at least five nurses that the dog would be in good hands, they dropped off the Perfect Human Being's little friend.

There he was now, sitting in the front seat and looking out the window as if this was his first car ride ever. He looked like a giant 5-year-old except for the fact that 5-year-olds didn't have that dark shade of stubbles on their angular faces or those beautifully toned arms that were quite visible under the soaked clothes and the thick layers of dirt.

“Oh right, you just need to get laid” Rey thought to herself as she fumbled with the keys at the door of her apartment, the Perfect Human Being waiting patiently behind her.

“Make yourself at home, I will just go to the bathroom very quickly” she said, trying to suppress the faint tremble in her voice as she and her guest entered the impeccably clean living room. Rey was kind of a neat freak.

“You can do this Rey” she told her reflection as she closed herself inside the bathroom. “You've been wanting to shag this guy for at least a month now. Go get it girl!”

But she didn't manage to get anything. The Perfect Human Being was already in a deep slumber on her couch by the time she went back to the living room wearing her sexiest negligee.

She didn't get anything the next day either, though the Perfect Human Being made her breakfast and cleaned her kitchen to an almost unreal state of spotless. The following day, he did the same thing to her bedroom while Rey was at work, and waited for her with a home-cooked meal in the evening.

“Maybe I could just wait and let him stay here until he cleans the bathroom too. I can always shag him on the weekend” She mulled while eating a piece of asparagus wrapped in bacon when a thought suddenly struck her.

“What's your name by the way?”

The Perfect Human Being looked a bit surprised by the question but he put down his fork and answered in the most natural way possible.

“Where I come from, they called me ZX00098154.”

Rey almost choked on her food.

“Excuse me?” She asked, half-expecting the guy in front of her to suddenly burst into laughter. The other part of her was absolutely sure she would be murdered that night. “Is that something from prison?” She enquired in what she thought was a nonchalant tone, her fork picking up another piece of asparagus.

“No, this was my serial number” the Perfect Human Being told her as if it was the most evident thing in the world. “My creator gave me when I hadn’t been finished yet.” 

Rey didn't understand a thing. She now knew that she really did invite a lunatic to her home. A very handsome one, but still a lunatic. 

“Your creator?” She asked boldly, trying to mute a thought that kept popping into her mind, a thought about her thick blood slowly covering her kitchen floor, her immaculate kitchen floor. 

“Yes, my creator” the guy nodded, looking into Rey's eyes without blinking. “The person who invented and created the Perfect Human Being. I was sent here to help people. To educate them about what is right and to set an example to them. This is the purpose of my existence.”

Rey kept watching him for a very long time before she told him that he could stay at her place for as long as he'd wanted. Even though she did not believe in good deeds and charity. 

*

She regretted her decision almost immediately, and she cursed the day when she let the Perfect Human Being inside her apartment. She cursed herself even more though when walking home from the nearest metro station she noticed her guest standing on a box delivering something like a sermon to the folks passing by. Rey grabbed him by the sleeve of his shirt and dragged him away from the scene as fast as possible, high heels clicking furiously on the concrete floor. 

“What were you doing there, idiot?" she hissed, her cold blue eyes flashing with anger.

“Teaching people” the Perfect Human Being answered with his usual calm confidence.Rey dragged him home without a word.

*

By the following week, the Perfect Human Being somehow managed to get even more irritating. He kept asking questions about the "habits of humans", driving Rey crazy.

“How is it possible for the Perfect Human Being to be so uninformed about human beings?' she snapped eventually, after having to explain the concept of civil war and Kantian ethics.

The man apparently had no answer for this question, finally, Rey thought. He just stood there, looking at her with big innocent eyes, blinking in confusion, a quiet desperation slowly crawling into his mind and distorting his features. 

“So you think I'm not the Perfect Human Being after all?” he asked weakly, and for the very first time he seemed genuinely insecure. Rey almost started to feel sorry for him.

“I think you're an idiot” annoyed, she mumbled before heading out of the room, slamming the door behind her.

*

Another week passed and Rey started to look on the bright side of things that came with sharing her home with a crazy person. While the Perfect Human Being was still pretty frustrating with his never-ending queries about modern civilization, Rey was quite content with the delicious meals he made. And whenever she had to drag the insane prophet away from his sermon sessions in the subway, she comforted herself by thinking about the perfectly clean floors, and immediately felt less annoyed.

"How are you not fed up with being laughed at yet?" she asked him on the umpteenth occasion this took place, holding the arm of the Perfect Human Being tight as if she was afraid that he would escape and run back to his "herd".

"One day, they are going to hear me" she heard his reply from behind her, the soft confidence in his voice making her heart warm up. She snorted and shook her head to regain her composure, asking:

"Who are you, Jesus?"

"I don't know what that is" ZX00098154 replied calmly. Rey rolled her eyes and reminded herself of the cleanliness of her apartment. Shining clean floors. Without a single piece of dust.

"You know if you want people to listen to you, you should change a few things" she said absentmindedly, but it seemed to have caught the attention of the Perfect Human Being.

"What do you mean?" he asked.

Rey stopped in her tracks to turn around and took a good look at him.

"Well, first of all you should get a haircut."

*

"Don't you think I should learn some more about your ways before I start reaching out to such a huge audience?" the Perfect Human Being asked that evening in the kitchen, as they were hunched over what Rey called a marketing plan.

"No way" , Rey said. "Your childlike ignorance is adorable, I mean people suck that shit up all the time. They're going to love it."

"Why, do you?" the Perfect Human Being asked with complete innocence. Rey blinked and tried to hide the slight trembling in her voice as she said:

"Don't be delusional. My job is to find the best way to sell you. You're basically a product to me."

The Perfect Human Being nodded, but his face seemed to darken a bit.

"I see.” he said. ”Thank you for helping me anyway."

*

And she did sell him apparently, judging by the countless magazine covers featuring the face of the "handsome prophet" or "charming messiah" as they referred to him.

Rey wanted to puke as she was reading the headlines. She also wanted to slap the TV reporter who flirted with him during an interview and punch the guy in the suit who gave him his card and talked about lectures all over the world. She thought about massacres and hand-grenades while she was watching the flock of chirping women gathered around her protégé after his sessions. She wanted to shout out everything she thought and felt, "You are all fake, a month ago you basically laughed at him and now that he looks decent you're all over him! You wouldn't even like him now if it wasn't for me!" 

But she didn't say anything, nor did any of those things. She just suffered in quiet desperation as the Perfect Human Being came home later and later every night and began spending less time with annoying her overall. But no matter how busy he got he still found the time to cook dinner for his host, even if he had to do it at 3 in the morning. Rey wanted to cry each time she found the container full of delicious goodies in her fridge. Instead, she just chose to be even meaner to the poor tenant on the sparse occasions when they were in the same room. 

The Perfect Human Being reacted to her excessive viciousness with the same patience and benevolence as always. 

"You know, you can only achieve happiness if you can let yourself love others" he said once. Rey just threw a book at him as an answer and went out to the nearest bar to indeed show him how much she can let herself love others.

*

Another month passed and things got even worse. They barely saw each other anymore, while more and more fangirls seemed to have appeared lurking around Rey's home and there was a huge pile of love letters flowing out of the mailbox each day. The meals cooked by her protégé sparsed, then disappeared completely, making Rey's insides scream in pain. She decided there was only one solution to finally end her sufferings: she had to seduce the Perfect Human Being. 

She started with subtle hints and the usual tricks, a soft touch on the biceps, a lingering gaze, however, the idiot seemed completely oblivious to her advances. One day, Rey stepped in front of him and started to unbutton his shirt, from top to bottom, with nervous movements and fumbling fingers. The Perfect Human Being watched her for a while before quietly noting that his shirt did not need any cleaning right then. 

“Fantastic” Rey said and continued with her task without even giving him a glance. 

“I don't think you should be doing this” the soft voice of the man hit her as she sunk to her knees, making her lift her gaze to look him in the eye. He was watching her with a quiet determination and something else that made the blood in Rey's veins boil at once: pity. 

“Fuck you” she spat before rising to her feet as quickly as possible and storming off in shameful defeat.

*

Rey hated emotional farewells more than anything, so when the Perfect Human Being came up to her one day saying that they needed to talk, looking all sad and sheepish, she chose to practice hostility instead. 

"One day you will realise that your existence has no purpose, just like the rest of us do." 

Her spiteful words echoed in the empty room long after she'd closed the door behind the Perfect Human Being.

Weeks went by without knowing anything of his well-being. Although he did try to keep in touch with her former landlady, Rey never answered any of his messages or calls. She kept an eye on the press coverage though, reading every now and then about how the "Saint of Superstars" donated all his income from his sold out lectures to charity or how he built a homeless shelter or other very meaningful stuff. Rey was split between finding him utterly annoying and absolutely endearing. Mostly, she felt heartbroken and lonelier than ever. She blamed her genius mind and the stupid haircut that started everything. 

Then one day there were no articles anymore. The handsome face of her former protégé disappeared from the covers and the TV screens, and starting then, she had no idea whatsoever if the Perfect Human Being was still alive or not. She tried not to hear the evil little voice in the back of her mind that kept whispering to her about drug addictions and suicides and diseases that come wearing the mask of naked thighs with creamy colored skin and slowly eat you up from the inside. 

Rey eventually managed to find out that the Perfect Human Being was ditched by his manager and the agency that found a new potential celebrity/handsome face and decided to focus on him instead of the less profitable ZX00098154. 

Rey assumed that having donated or lost all of his money, he was back on the streets once again. Or at least that was the impression she got when she noticed him on a bench, covered in dirt and feeding a stray cat with some milk. She walked up to him, knees weak and stomach trembling, and when the other finally took notice of her presence she was met with the most radiant smile that somehow even managed to make the surrounding dirt more tolerable.

*

The Perfect Human Being was sitting on her couch once again with a troubled face. 

"I may not be the Perfect Human Being after all" he said. "I'm more likely to be just a prototype, a test project before the real deal."

Rey didn't know what to say. She knew that this day would come, she just never thought she'd be a part of it after everything that had happened between them. 

"I think I should go back to my creator" ZX00098154 continued. "I didn't manage to complete my task so I probably should be eliminated."

Despair came over Rey as a cold, lifeless hand grabbing her throat. She gulped and sat down beside the Perfect Human Being before she started talking in a soft voice, her gaze glued to the immaculate floor. 

"You know people in this world don't always manage to fully complete their tasks" she said. "So sometimes they need someone else to help them or eventually to take the task over from them. So, some kind of a successor."

"Successor?" 

"Yes, but you know, one that's worthy of carrying on the task. So in order to have such a successor it is better to keep an eye on them from the very beginning. To be able to give them all the knowledge and to help them grow into a person who will be able to succeed at completing the task." Her cheeks started to turn red she spoke.

She kind of expected the Perfect Human Being to start asking stupid questions, but he understood right away. He nodded, asking in a soft and warm voice:

“Do you think I could train such a successor? And on my own?”

Rey’s cheeks grew hotter as she answered, not daring to look at the man sitting beside her, but feeling the warmth of his gaze on her face all the while. 

“They say it's best if you raise the successor yourself from a very early age but with a partner who can help and support you and maybe even love you.”

The silence was unbearable in the room as Rey slowly raised her head to take a look at the face of the Perfect Human Being. His expression was serious but immediately softened as his eyes met Rey’s and he gave her the smallest of nods before gathering her in his arms.

[credosystemz]

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[thefabulousfulcrum]

Pablo Picasso was never called an asshole....ok maybe once.

The Rediscovery of Picasso’s Designs for a 100-Foot-Tall Bust in Florida

Pablo Picasso’s “Bust of a Woman” was once slated to appear on the campus of a Tampa-area university, and it would’ve been the world’s tallest concrete sculpture.

via Hyperallergic

by Claire Voon

Miami may be the art capital of Florida, but its less glitzy neighbor of Tampa was once set to be home to the world’s tallest concrete sculpture, designed around 1971 by none other than Pablo Picasso. Envisioned to reach a height of 100 feet, the piece, titled “Bust of a Woman,” was approved to tower over the campus of the University of South Florida (USF), with its single cutout eye gazing blankly at its surroundings. The project — which also involved construction of a new art center — had an estimated cost of $10 million, however, and university officials ended up killing it due to lack of funding. Picasso passed away in 1973, and his angular, hard-edged figure never came to fruition.

Small-scale model of “Bust of a Woman”

The Spanish artist had actually originally designed the concrete sculpture for a museum in Sweden. But when those plans were scrapped, he donated the small maquette he had produced to USF in 1971 after the university expressed interest in realizing the project on Florida soil. The finished work would have been the tallest cement statue in the world at the time, according to local reports. It would have been twice the height of the concrete Picasso that stands in Kristinehamn, Sweden (dedicated in 1965), or twice that of Chicago’s steel Picasso (dedicated in 1967).

While the maquette has spent years on a shelf in the USF Special Collection Library, the story of its creation and unfulfilled fate has long remained murky. Recently, researchers at the school’s Center for Virtualization and Applied Spatial Technologies have rediscovered material in the library’s archives that answer many questions about this failed project. They are now working on a book that compiles all their findings, but they also have a compelling plan to finally fulfill Picasso’s vision, for the digital age: the team intends to recreate the 100-foot-tall “Bust of a Woman” in virtual reality.

Art historian and archaeologist Kamila Oles has been gradually digging into this history since last February, examining old newspaper clippings, photographs, and other documents from the time. Her breakthrough came in November, when she came across an audio reel of an interview between a local journalist and Carl Nesjar, the Norwegian artist who worked as Picasso’s fabricator for nearly two decades. (Nesjar used a sandblasting technique he invented called Betograve to give monumental, textured form to Picasso’s sculptures.) In the April 4, 1974 recording, Nesjar describes his role as a “delegate” for the university, and how he had approached Picasso to explain the school’s proposal to build his sculpture near a new cultural center.

Read the story and see more pictures here.

[t-baba]

An interview with the author of 'JavaScript: The Definitive Guide'

#490 — May 29, 2020

Unsubscribe  :  Read on the Web

👀 This week we have a fun bit of bonus content at the end of the issue — an interview with David Flanagan, someone who's written more JavaScript books than I've had hot dinners. 😆

JavaScript Weekly

Snowpack 2.0: A Build System for the Modern Web — Say bye-bye to your bundler and let modern browsers’ ES module support do the heavy lifting with Snowpack. Or if you need to target more than just modern browsers, you can always just use it to speed things up in development. This talk by Ryan Lanciaux introduces the idea of escaping using bundlers, if you’re new to this area.

Fred K. Schott

The Process of Making Vue 3 — We know a lot of you are excited about the next major version of Vue.js – the final release is due soon (betas available here) and here Evan talks about the process and how it differs from Vue 2 at a high level.

Evan You / Increment

New Course: Design Systems with Storybook & React — Learn to create a design system from scratch using React, and document the design system to share with your team using Storybook.

Frontend Masters sponsor

A First Look at Records and Tuples — An introductory look at two new compound primitive value types in the ECMAScript spec: Records and Tuples.

Axel Rauschmayer

▶  What's New in TypeScript — You might know Daniel better from all his TypeScript release posts, but here he is in video form with a brief TypeScript introduction followed by essentially a code and example-heavy ‘state of the union’ about where TypeScript is at and where it’s headed.

Daniel Rosenwasser (Microsoft)

htmx: Build Dynamic Pages Using HTML Attributes — Billed as the ‘successor to intercooler.js’, htmx lets you add dynamic Ajax-y elements, Server Sent Events (SSE), WebSockets and more to a site using just HTML attributes.

Big Sky Software

⚡️ Quick bytes:

🎉 Node.js is 11 years old this week.

💰 The company behind the React-based Gatsby framework has raised $28m in series B funding.

🎧 The TC39er podcast has continued to interview TC39 delegates and is at episode 4. Worth listening to if you want more 'inside baseball' of the JavaScript world.

💛 In the latest Stack Overflow survey results, JavaScript remains the most popular language. However, TypeScript is higher on the 'most loved' list.

💻 Jobs

JavaScript Developer at X-Team (Remote) — Join X-Team and work on projects for companies like Riot Games, FOX, Coinbase, and more. Work from anywhere.

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📚 Tutorials and Opinions

Analyzing the Performance of Notion's Electron App — I was going to save this for our React newsletter but it’s too good! A real deep dive into analyzing the performance of a desktop JavaScript app for a popular note taking service and some basic optimizations that can be done.

Ivan Akulov

ECMAScript 4: The Missing Version — If you were around the JavaScript world in the early 2000s, you might recall how long discussion around ES4 rumbled on before it ultimately fizzled out. Some of the ideas were picked up by ActionScript, as used by Flash, but it felt like we lost a lot of potential progress in that decade.

Evert Pot

3 Hacks to Level Up Your Dashboards — Watch this webinar to learn about three elements that will help you build better dashboards for your application.

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Some Causes of Memory Leaks in JavaScript and How to Avoid Them — A primer on the basic ideas.

Ekaterina Vujasinović

How To Create Better Angular Templates with Pug — Pug is a template engine that allows you to write cleaner templates with less repetition.

Zara Cooper

A (Mostly) Complete Guide to React Rendering Behavior — Details on how React rendering behaves, and how use of Context and React-Redux affect rendering. There are a lot of concepts compressed into this article.

Mark Erikson

▶  A 50 Minute Deno Crash Course — A lot of people are cranking out Deno videos right now, but Traversy Media has a solid reputation for getting these things right. In 50 minutes we get a nice, balanced approach to Deno’s plus points, tooling, building an API, etc.

Traversy Media

Today’s JavaScript, From An Outsider’s Perspective — Lea is a JavaScript expert, of course, but she was trying to help a computer scientist friend work with JS and commented on the frustrations along the way.

Lea Verou

10 JavaScript Quiz Questions and Answers to Sharpen Your Skills — Lots of tidbits here to sharpen your skills and understanding, but keep in mind that not all JavaScript interviews will be like this(!)

Nick Scialli

🔧 Code & Tools

RoughNotation: A Small Library to Create and Animate Rough Annotations — Uses Rough.js for the handdrawn look. Lots of nice interactive examples on the page showing the diversity of annotation types.

Preet Shihn

AudioMass: A Full-Featured Web Audio Editing Tool in JavaScript — Runs entirely in the browser with no backend or plugins required. Impressive. Source here.

Pantelis Kalogiros

See Runtime Values Right in Your Editor as You Type — Quokka.js is a rapid prototyping playground for JavaScript & TypeScript. Code runs immediately as you type and results display in your editor. Discounted by 40% for the next few days.

Wallaby.js sponsor

Fluor.js: A High Level Way to Add Interactions and Effects to Pages — Think a modern jQuery-lite. Pretty short and sweet for what it is.

François Vaux

Angelfire: Add Custom Context Menus to Any Page Element — Hands up if the name of this project takes you on a nostalgia trip to the 90s.. 🙋‍♀️

Rishabh Anand

number-precision: Tiny Library for Basic but Precise Arithemetic — For when you don’t want 0.1 + 0.2 to equal 0.30000000000000004 😏

NEFE

Perspective: Streaming Pivot Visualization Via WebAssembly — An interesting use for WebAssembly here. Originally built for J P Morgan, Perspective is for building real-time high performance interactive visualizations, powered by a C++ engine compiled to WASM under the hood.

The Fintech Open Source Foundation

AppSignal Adds Next.js Integration - Automatically Adds Web Vitals Monitoring

AppSignal sponsor

Autopilot: A Cross-Platform Desktop Automation Library for Deno — Another example of where using Rust for dependencies opens up some fun options to Deno. If you’re using Deno, don’t forget our Deno Weekly newsletter where we’ll be focusing on things like this :-)

Divy Srivastava

vue-list-scroller: A Vue Component for Efficiently Rendering Large Lists — Uses the ResizeObserver API to help with creating a Twitter-like feed that has thousands of items, and supports infinite scroll.

Ivan Safonov

Notable Improvements to the Profiler in React DevTools 4.7.0 — This tweet thread from Facebook developer Brian Vaughn distills out the highlights from the changelog.

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💬 A Q&A with… David Flanagan Author of JavaScript: The Definitive Guide

David has been programming since 1981 and getting paid for it since 1985. In 2011, he started working at Mozilla. Since then he's worked as a full-stack engineer on MDN and at Khan Academy. He currently works on cloud software at VMware and is in the process of releasing the seventh edition of JavaScript: The Definitive Guide, a hugely popular JavaScript book published by O'Reilly.

Why a seventh edition now?

I allowed the sixth edition to become badly out of date (sorry!). So the seventh edition is a major, and long-overdue, update. Importantly, it covers ES2020 and even mentions some features expected to be formalized in ES2021. Also new in this edition is a detailed chapter on Node, reflecting the reality that JavaScript isn't just for web browsers anymore.

(Ed: David has written more on what's new in the seventh edition here.)

What was the story behind writing the first edition?

I started on it shortly after I wrote Java in a Nutshell. In those days the buzz around Java was that Java "applets" could add dynamic content to web browsers. JavaScript seemed like a promising alternative and I remember talking to an engineer from Sun Microsystems (the company that created Java) about what I was going to work on next. When I told him I thought JavaScript might become more important in the browser than Java, he scoffed. But seven editions of my book later, I'm starting to think I was right(!)

What's your favorite chapter?

Most interesting JavaScript code is asynchronous, and now that Promises are a core part of the JavaScript language, I dedicate chapter 13 to asynchronous programming with callbacks, events, Promises and async/await.

Promises are a revolutionary addition to JavaScript, but once you move beyond the simplest examples, it becomes very easy to misuse them and you need to understand them deeply in order to use them correctly and with confidence. So I devote more than 20 pages to explaining them in depth. These are some of the most complicated pages in the book, but if they increase the understanding of Promises, I'll feel I've provided an important service to the community.

You've spent so much time writing books about JavaScript, but what other technologies interest you?

I'm intrigued by both Go and Rust and would enjoy documenting those languages. I've thought about writing short books about React and Angular. And I've wondered whether it is possible to write an interesting book about coding for a non-technical audience.

What's the secret to being able to write so many programming books?

No secret, really: from about 1991 to 2011 I was self-employed and for most of that time, writing books was my primary job. This 7th edition of JavaScript: The Definitive Guide is the first book I've written while also working a regular software engineering job.

You can find David on Twitter @__DavidFlanagan or more about JavaScript: The Definitive Guide at O'Reilly Media.

by via JavaScript Weekly https://ift.tt/2BilxR3

[elliegratrick-blog]

Virtual studio visit

Saskia Cameron- Email Conversation!

Me and my friend had organised a trip to go visit Saskia Cameron in Banks Mill Studio. I had found Saskia’s work on the Banks Mill website when looking what creators were based there. Her work instantly drew me in. I particularly like her  series of woodcut illustrated train tickets, following the West coast line. The blocky shapes, quite angular shapes used still show a sensitivity and sense of tranquility. The medium of printing means marks and textures come from the screens and lino which gives her work a lovely tactile feel. Unfortunately this visit was planned just around the time corona virus really became serious. It was safer for all our sakes to do the interview over email. It’s disappointing as I would have liked to see the space she works in and what is on offer after you graduate but not much can be done! 

How did you get into illustration? I studied illustration at Edinburgh College of Art - I had done a foundation before that and honestly I don't think I really got the opportunity to try enough stuff there, I wish it had been a bit less narrow! I knew I liked drawing and I was good at it, and I was too impatient to do animation at the time, so I picked illustration! But I think overall it was a good choice - what I really love about illustration is how good it is at transcending boundaries, and now I dabble in textiles, graphic design, all sorts. Top 3 illustrators that inspire you? Oh man this is a hard question. I love Sophy Hollington's work - I work a lot in woodcut and lino myself and it's great seeing that someone else is out there doing that too. It's a weird medium to work in nowadays as it can really restrict how you work to a deadline, but usually if a client wants it they're willing to put up with those restrictions. Roman Muradov is a really great illustrator in the truest sense of the word - his work is clever and clearly communicates concepts visually. Jesus Cisneros is brilliant, his work always pushes me to loosen up and open my horizons about what drawing and narrative can be. Honestly although I do look at a lot of illustration, I think the most important thing is to have people who AREN'T illustrators to inspire you, don't get stuck in an echo chamber of your own discipline. Other creative people who really inspire me are: Jon Zabawa (graphic designer, illustrator, art director, allsorts man) Braulio Amado (graphic designer artist type - he's prolific and so creative) Palefroi (this is arguably illustration, but they're a collective of two, and focus on print, art, installations, small press and animation) Ako Castuera (artist and ceramicist) Ali Smith (writer) And that's just contemporary people - I like to look at a lot of stuff from the past as well, and if you asked me next week I'd probably have a different list of people! When you create a new illustration, what is your process? Research > rough exploratory sketches > thumbnailing > work up a couple ideas > pick one and refine it into the final thing. What's your favourite thing to draw right now? I'm really into drawing people's gardens at the moment, especially those ones that are really overly 'done' you know, with sculpted hedges and garden gnomes and stuff. I just think they're really weird. Is illustration your sole income or is it managed around another job? Nope! My illustration work has always always been wrapped around at least one other job. This has varied from cafe/bar jobs, to admin jobs, to teaching. At the moment, I teach part time on the graphic design course at Nottingham Trent. Most illustrators I know work other jobs most of the time - it's pretty standard, especially at the start of your career. Personally I like this, I think I'd go a bit crazy if I was working alone on my own work all the time. I try and stay open to what my working week looks like, because at the end of the day I need an income, and freelance work can come and go. For me, I don't plan to ever go full-time freelance - I don't like the pressure it puts on my work, it can suck the joy out of it when you need it to provide all your food and shelter. Honestly I still consider myself fairly early career, I'm only 26 and it can take a really long time to carve out a creative career, particularly if you don't come from a wealthy background that can offer you a safety net. I worked full time my first year out of uni as a studio assistant, then went from that to working 3 jobs, then did a masters at Glasgow School of Art and now I've moved back home to Derby and until recently I've been working 3 jobs again! Wrapping an illustration career around that has been tough going, so for me it's only now that I feel I have the time and space to start making this all work properly. If illustration is an income, is the work you produce mainly through commissions/selling prints/etc? Mostly commissioned work! I need to develop more of a passive income, and I'd like to get into selling work more. So far it's mostly practicality that's been stopping me, as I've moved every year for the past 4 years. I'm hoping to be a bit more settled soon! Do you find putting your work out there on Instagram helps? And what’s your attitude towards social media? There's no good answer to this. Yes, it helps. I've had a fair bit of work come through Instagram - and most art directors/clients out there look at it even if its not their main way of finding illustrators. But it's not the be all and end all, the work I've had through it is just a product of having my work out there in the world for people to see - that's the important part. So exhibitions, physical and digital mailouts, networking in person, all of those things are just as likely to find you work. Social media is good for getting seen, but it can be a bit of a sinkhole. My attitude is to use it but not get too reliant on it - really I should be a lot better at updating mine, but I find real life gets in the way a lot! Thanks for reminding me to actually get organised with that. Do you find it more productive having a separate studio space vs working from home? Oh my god yes. But as a caveat - I have never had the luxury of a dedicated space at home. I think if I lived somewhere with a spare room I could convert to a studio it would have a pretty similar effect. Studios vary a lot too - I'm on my own in this one, but usually they're shared spaces. I think my dream scenario is to find shared studio space so I have other creative people around me to bounce ideas off and keep me motivated! I think however you work, it is important to get out now and then. Either for a walk or for your second job, whatever it is. If you can say What are your ambitions or future projects? My current plans are a bit up in the air at the moment with the corona virus! As I was saying above - I'm finally getting into a position to push my illustration career a bit, so I'm working on getting some new, self-directed work together. I'd like that work to be a bit multi-discliplinary, and to involve making work to sell so my income is a bit more diverse. I have a lot of big ambitious plans, but for this week I'm just focusing on keeping alive the commission that came in last week - I know it could be a difficult few months ahead and it could be my last in a while. After that, at least I'll have a lot of time to work on personal projects, so hopefully at least my portfolio will benefit! I have a collection of illustrations that I'm working on putting into a book of some kind, and I'm starting to work on getting a collection of prints, textiles and objects together over the next 6 months to start an online shop! I'm looking to get into a more permanent work/home/life set up soon, but who knows - life looks like it's being put on hold for a while. It’s really interesting to hear from an young illustrator and relieves my own internal pressure of having to ‘have my shit together’ as soon as I graduate. I am particularly interested in the people who inspire her as they are from a variety of disciplines. It motivates me to expand my horizons and not be so narrow focussing on work by illustrators. The rebellious and chaotic style of Bráulio Amado is something I’m really drawn to. It welcomes me to accept my own mistakes and be more loose and free with my drawings. Not worrying so much if a hand looks like a hand! The colours are vibrant and full of life. 

She mentions a shared studio space which something I hope for in the future.  Working on your own, I often get in my own head and overthink my pieces. Being in a space with other creatives definitely boosts your own creativity and you can ask questions. It gives another opinion on your work and ways to improve. A shared space opens up avenues for collaboration and collectives. Hopefully I will stay in contact with friends from uni and could be something we all do together!

Action plan:

definitely look at manicured gardens and draw my own! there needs to be a poodle or worm shaped bush

explore more artists from different avenues possibly looking at film/ book festivals for directors, authors

read more books (i have the time now we are quarantined)

[bleederziine]

Reaching Out: An Interview w/Pool Holograph

The first time I saw Pool Holograph they were opening for The Walters at their famed (at least in my tiny Chicago/surrounding suburbs college student music scene) show at Lincoln Hall. As someone who was there specifically for The Walters, to give Luke a sweater that anyone who ever reads this tiny blog already knows about, I was surprised by what a great show they put on. It was artful, chaotic, immersive, and for a first band on a lineup of four, I thought it was quite impressive that they gave it their all, instead of phoning it in like many other openers I’ve seen who are too caught up in the construct of not being the “headliner.” Read more in the interview below and enjoy some of my favorite photos I’ve taken so far to hear about their often entertaining thoughts on art, music, and themselves.

Paul: How was the tall boy?

Zach: I chugged it down as fast as I could. It was not great.

Wyatt: I chugged mine really fast because I was really excited to come over but now I’m kinda drunk right now.

SUB/VERSE: You’ll be more honest!

Wyatt: Yeah, right…

Paul: Well Wyatt’s a compulsive liar

Wyatt: I’m more like a ridiculous liar. I accidentally tell the truth and overtly falsify everything else.

SUB/VERSE: So how did the band start?

Wyatt: We were just talking about this recently! I feel like us getting together was we had a good little start with me and Zach having a collaborative element, but now its this new band that has stemmed from this little stream that I think ended up flourishing through that kaleidoscope effect when you get more people in the room. Going from there it just elaborates on ideas. We were just saying that you can do your own thing, but you can’t possibly capture what everyone else is doing, I couldn’t manufacture what anyone else does in the band, and i think everyone else feels the same way about themselves in the band. Pool Holograph kind of started with the self titled “Pool Holograph” album I put out, in 2009-10. I just put it on the internet without any plans to perform. That as a project was the first songwriting project I did, which was something about openness and exploring. Its kind of how life goes, it comes in kind of unexpected ways that give you motivation. I like to look at it as the band started when we all decided to get in the same room. When I think about Pool Holograph now I think about all of us. I like to think about it as a state. This artist Philip Guston was asked why he made art, and he was like, I just want to stay in this state. He’s saying that state is about a moment, about getting back to that state, not thinking about all the shit you’ve been through. I don’t know if that’s too long an answer, but I just get really excited about this stuff. Music is crazy!

SUB/VERSE: What do you write most about in the band?

Zach: Thats all Wyatt really. I think the reasons we’re all interested in music, there’s sort of a movement in each release of music. We want to keep exploring different ideas and figuring out what it means to do that.

Wyatt: I think recently its been about more lucid authorship, being more tangible, more direct. I’ve seen songwriting in the past a lot like a diary, just venting and trying to get outside of your head. Being like, this is me! I totally relate! Its the same reason you make art as a kid, like a Avril Lavigne collage or something, like “yeah, sick! I totally get you and you get me!” The artists we really like are ones that are kind of reaching outside themselves, or what they know themselves to be. But more to answer you question, the kind of stuff this album is about is the outside world, and relating to the outside world, and things you don’t understand, and relating to others. With each song, its not a different struggle for each one, its not that concrete like a concept album, but Transparent World  is about being able to see through everything in a way, and being able to see into yourself and to… its really tough to describe. On a concrete level, you can be like, this one is about car rides, or a spooky dream, or an argument…

Paul: I feel like there’s a lot of anxiety in the songs, and your relationship with the outside world, and dealing with your inner self.

Wyatt: Anxiety is a word we see in a lot of reviews for the music. I hate the idea of being super cryptic. With this album, I tried to, like, pick a color, like how do you want to describe this? And make some sort of effort to be more specific so people can relate to you.

Jake: I feel like its a constant struggle to describe what  the music means to us. You think you have an idea about what it might be, but its not easy to just nail down. Playing wise I think its like an airplane, like you’re on the runway and you speed up and then you’re in the zone and you understand it or you don’t but you’re with all your friends and you know what each other’s doing.

Wyatt: You kind of have a feeling for the parameters and discussion of the song. Talking about a specific song, the first one, Codex Hammer,  the way that was written is it was supposed to be very thin and light and see through. Its kind of a precursor to the rest of the album, like here’s your debrief: you’re in this place right now where no one will be able to understand you and you can’t necessarily understand anyone else. Hammer codex, or Hammer lee caster is Leonardo da vinci’s diary. I thought by switching around the words, codex being a book, and hammer being like a forceful objector, a book as a forceful object. Thats kind of how you experience life, you’re constantly barraged. The part of the song where its like, “expecting a hand on your palace gates/ expecting physical contact on your palace gates/but you had a hammer coming” is like, the forces of the world have no regard for your intake. So what you do with it is up to you and within your faculties. Its important that as an individual, what you do is sacred.

Zach: Part of remaining active is staying malleable to whatever facets of your life are hitting you the hardest. Those are the things you have to deal with the fastest.

Wyatt: I think malleable is a good word, because we all like to have fun when we’re writing, and kind of mess with each other. I’m pointing to Jake because I mess with him a lot! I get in his face a lot and climb all over his drums. I don’t really see that as a rock n roll kind of thing anymore. I see myself as a mountain goat, just propping myself up and feeling good. I don’t know why! About two years ago, almost to the day, we played a Halloween show. We were a custoomed band, as the nihilists from the Big Lubowski, all in black, and I had a fake ferret. When I jumped on Jake’s drums, I jumped on him because my shoes were too slippery and while I was jumping I got scared and just jumped on him. Then I kicked out the drum set, and realized it wasn’t our drum set! I had to get on the mic and apologize, which is the most un- rock n roll thing ever! It was fun for other people though. I hate the idea that you have to listen back to this, I just keep rambling!

No its fine! When I called Alex from the Modern Vices the first thing he asked was whether the interview would be published as a podcast because he was nervous about how he’d sound! I was like you’re a singer but okay!

Paul: We had a really painful Chirp interview that I can’t listen back to…

Zach: We were so stressed out.

Wyatt: I started talking about Bob Dylan and i had no idea what I was saying.

SUB/VERSE: Well I hate listening back to these because I sound like a pre pubescent boy on recordings!

Wyatt: You gotta own that! I sound like Peter Pan’s dog, like the character no one wants to hear from.

Jake: I don’t hate my voice.

SUB/VERSE: So I read that some guys in the band went to Saic? When do you think music is art, what makes it not art…?

Wyatt: Thats a good question...its all in tandem, its all the same exact thing. Same process, although they have different limitations with the way society sees it. You can do really socially unacceptable things on stage, and you can do different socially unacceptable things on a page. I didn’t mean for that to rhyme, or sound like a quote or anything! (in gruff Keith Richards type voice) Whether its on a stage or a page, I rock the show! Make sure you include the stogie puff. Anyway I don’t think its dogmatic to say they have to be in the same place, because sometimes you’re in a really sweaty room and you’re coming up with something and coming up with ideas. I mean, the activities are different but their from the same well.

Paul: I think all music is art, whether its a perfectly constructed pop song or an experimental 20 minute track. It can all affect someone.

Wyatt: Thats not to say the trajectories aren’t different. Its really beautiful how music has its own place, like, I’m going to go to a record store and put it on this device and experience it. As a listener, the experiences aren’t the same, but the authorship comes from the same primal place. I think the way we as society antiqaute these things is beautiful. I think its cool that music in some ways is off limits because theres a pull to it. I think art and music have their own worlds and angular relationships, and there are crossovers. But the clarity of those crossovers isnt necessarily for enjoying them. What do you think?

SUB/VERSE: Well I definitely think music is art. I really like thinking about people who don’t write their own music but have an interesting way of performing.

Wyatt: Yeah… there are some Andy Warhol works that he never saw or touched, and I think that was a part of his art.

Zach: I think people like that can be the vehicle for the music, and I think thats an important part of the performance part of music. Music can contextualize a moment and explain how it felt, or the time period it was written. For each person you were doing very specific things when you heard certain songs. I think thats a big part of music as an art form, its community based, and a theatrical thing.   

Paul: Its crazy how some of these songs you wrote two years ago still feel weird or uncomfortable when we’re playing, or  feel new. Its great when you can get a crowd going, like that Walters show was awesome, because they got everyone going crazy. Being able to strike that emotion in people is the ultimate goal of performing.

SUB/VERSE: I think its crazy when you’re at a show and the performer is directing everything, like someone jumps off a stage at specific moments or whatever.

Wyatt: But the weird part is that the performer is also being provoked by the audience! You see performances fall apart because the crowd is dead. Its bigger than all of us. And i like that. For any performer, no one is a master of it. Its a sort of intangible, unstable…

Paul: Just reacting to everything around you, taking things as they come.

Wyatt: Yeah, I like looking at music all in that same sphere. Sometimes it strikes at the right moment, and thats really cool, but its like any chemical reaction. Like oh there’s a cloud, a group of molecules, and its in the shape of a rabbit, and thats really cool! Thats phenomenal I’m going to take a picture of it!

Paul: We just stand in the formation of a rabbit onstage.

Wyatt: Its basically just us looking like a rabbit for people on nights that it works. I like to look at it like its that surrendipitous. Like Pool Holograph is a mistaken name. Turns out a holograph is a body of text, which is a weird coincidence. But its like the top of the pool, basically, and its this sort of amorphous thing, and its this one thing to look at. And its never the same for everyone, and there’s a lot of depth underneath it that no one sees. Its striking, and its going away. Its about fleeting things and I want to keep in that zone. I never want to be like, nailed it, write it down, put it in the history books! We live in a really great time to play with other great live bands and be a part of this community, and thats all you can really ask for.

INTERVIEW AND PHOTOS BY CHLOE GRAHAM

[siva3155]

300+ TOP HIGHWAY ENGINEERING Interview Questions and Answers

HIGHWAY ENGINEERING Interview Questions for freshers and experienced :-

road construction interview questions 1.What is Highway Engineering? Highway engineering is an engineering discipline branching from civil engineering that involves the planning, design, construction, operation, and maintenance of roads, bridges, and tunnels to ensure safe and effective transportation of people and goods. 2. What Is The History Of Highway Engineering? History of highway engineering : The history of highway engineering gives us an idea about the roads of ancient times. Roads in Rome were constructed in a large scale and it radiated in many directions helping them in military operations. Thus they are considered to be pioneers in road construction. In this section we will see in detail about Ancient roads, Roman roads, British roads, French roads etc. 3. Explain About Ancient Roads? Ancient Roads : The first mode of transport was by foot. These human pathways would have been developed for specific purposes leading to camp sites, food, streams for drinking water etc. The next major mode of transport was the use of animals for transporting both men and materials. Since these loaded animals required more horizontal and vertical clearances than the walking man, track ways emerged. The invention of wheel in Mesopotamian civilization led to the development of animal drawn vehicles. Then it became necessary that the road surface should be capable of carrying greater loads. Thus roads with harder surfaces emerged. To provide adequate strength to carry the wheels, the new ways tended to follow the sunny drier side of a path. These have led to the development of foot-paths. After the invention of wheel, animal drawn vehicles were developed and the need for hard surface road emerged. Traces of such hard roads were obtained from various ancient civilization dated as old as 3500 BC. The earliest authentic record of road was found from Assyrian empire constructed about 1900 BC. 4. Explain Roman Roads? The earliest large scale road construction is attributed to Romans who constructed an extensive system of roads radiating in many directions from Rome. They were a remarkable achievement and provided travel times across Europe, Asia minor, and north Africa. Romans recognized that the fundamentals of good road construction were to provide good drainage, good material and good workmanship. Their roads were very durable, and some are still existing. Roman roads were always constructed on a firm - formed sub grade strengthened where necessary with wooden piles. The roads were bordered on both sides by longitudinal drains. The next step was the construction of the agger. This was a raised formation up to a 1 meter high and 15 m wide and was constructed with materials excavated during the side drain construction. This was then topped with a sand leveling course. The agger contributed greatly to moisture control in the pavement. The pavement structure on the top of the agger varied greatly. In the case of heavy traffic, a surface course of large 250 mm thick hexagonal flag stones were provided. A typical cross section of roman road is given in Figure 1 The main features of the Roman roads are that they were built straight regardless of gradient and used heavy foundation stones at the bottom. They mixed lime and volcanic puzzolana to make mortar and they added gravel to this mortar to make concrete. Thus concrete was a major Roman road making innovation. 5. Explain French Roads? The next major development in the road construction occurred during the regime of Napoleon. The significant contributions were given by Tresaguet in 1764 and a typical cross section of this road is given in Figure 1. He developed a cheaper method of construction than the lavish and locally unsuccessful revival of Roman practice. The pavement used 200 mm pieces of quarried stone of a more compact form and shaped such that they had at least one flat side which was placed on a compact formation. Smaller pieces of broken stones were then compacted into the spaces between larger stones to provide a level surface. Finally the running layer was made with a layer of 25 mm sized broken stone. All this structure was placed in a trench in order to keep the running surface level with the surrounding country side. This created major drainage problems which were counteracted by making the surface as impervious as possible, cambering the surface and providing deep side ditches. He gave much importance for drainage. He also enunciated the necessity for continuous organized maintenance, instead of intermittent repairs if the roads were to be kept usable all times. For this he divided the roads between villages into sections of such length that an entire road could be covered by maintenance men living nearby. 6. Explain British Roads? The British government also gave importance to road construction. The British engineer John Macadam introduced what can be considered as the first scientific road construction method. Stone size was an important element of Macadam recipe. By empirical observation of many roads,he came to realize that 250 mm layers of well compacted broken angular stone would provide the same strength and stiffness and a better running surface than an expensive pavement founded on large stone blocks. Thus he introduced an economical method of road construction. The mechanical interlock between the individual stone pieces provided strength and stiffness to the course. But the inter particle friction abraded the sharp interlocking faces and partly destroy the effectiveness of the course. This effect was overcome by introducing good quality interstitial finer material to produce a well-graded mix. Such mixes also proved less permeable and easier to compact. 7. Explain Modern Roads? The modern roads by and large follow Macadam's construction method. Use of bituminous concrete and cement concrete are the most important developments. Various advanced and cost-effective construction technologies are used. Development of new equipments help in the faster construction of roads. Many easily and locally available materials are tested in the laboratories and then implemented on roads for making economical and durable pavements. Scope of transportation system has developed very largely. Population of the country is increasing day by day. The life style of people began to change. The need for travel to various places at faster speeds also increased. This increasing demand led to the emergence of other modes of transportation like railways and travel by air. While the above development in public transport sector was taking place,the development in private transport was at a much faster rate mainly because of its advantages like accessibility, privacy, flexibility, convenience and comfort. This led to the increase in vehicular traffic especially in private transport network. Thus road space available was becoming insufficient to meet the growing demand of traffic and congestion started. In addition, chances for accidents also increased. This has led to the increased attention towards control of vehicles so that the transport infrastructure was optimally used. Various control measures like traffic signals, providing roundabouts and medians, limiting the speed of vehicle at specific zones etc. were implemented. With the advancement of better roads and efficient control, more and more investments were made in the road sector especially after the World wars. These were large projects requiring large investment. For optimal utilization of funds, one should know the travel pattern and travel behavior. This has led to the emergence of transportation planning and demand management. 8. What is the Highway Planning In India? Highway planning in India : Excavations in the sites of Indus valley, Mohenjo-dero and Harappan civilizations revealed the existence of planned roads in India as old as 2500-3500 BC. The Mauryan kings also built very good roads. Ancient books like Arthashastra written by Kautilya, a great administrator of the Mauryan times, contained rules for regulating traffic, depths of roads for various purposes, and punishments for obstructing traffic. During the time of Mughal period, roads in India were greatly improved. Roads linking North-West and the Eastern areas through gangetic plains were built during this time. After the fall of the Mughals and at the beginning of British rule, many existing roads were improved. The construction of Grand-Trunk road connecting North and South is a major contribution of the British. However, the focus was later shifted to railways, except for feeder roads to important stations. 9. Explain Jayakar Committee? The first World war period and that immediately following it found a rapid growth in motor transport. So need for better roads became a necessity. For that, the Government of India appointed a committee called Road development Committee with Mr.M.R. Jayakar as the chairman. This committee came to be known as Jayakar committee. Jayakar Committee : In 1927 Jayakar committee for Indian road development was appointed. The major recommendations and the resulting implementations were: Committee found that the road development of the country has become beyond the capacity of local governments and suggested that Central government should take the proper charge considering it as a matter of national interest. They gave more stress on long term planning programme, for a period of 20 years (hence called twenty year plan) that is to formulate plans and implement those plans with in the next 20 years. One of the recommendations was the holding of periodic road conferences to discuss about road construction and development. This paved the way for the establishment of a semi-official technical body called Indian Road Congress (IRC) in 1934 The committee suggested imposition of additional taxation on motor transport which includes duty on motor spirit, vehicle taxation, license fees for vehicles plying for hire. This led to the introduction of a development fund called Central road fund in 1929. This fund was intended for road development. A dedicated research organization should be constituted to carry out research and development work. This resulted in the formation of Central Road Research Institute (CRRI) in 1950. 10. What About Nagpur Road Congress? Nagpur road congress 1943 : The second World War saw a rapid growth in road traffic and this led to the deterioration in the condition of roads. To discuss about improving the condition of roads, the government convened a conference of chief engineers of provinces at Nagpur in 1943. The result of the conference is famous as the Nagpur plan. A twenty year development programme for the period (1943-1963) was finalized. It was the first attempt to prepare a co-ordinated road development programme in a planned manner. The roads were divided into four classes: National highways which would pass through states, and places having national importance for strategic, administrative and other purposes. State highways which would be the other main roads of a state. District roads which would take traffic from the main roads to the interior of the district . According to the importance, some are considered as major district roads and the remaining as other district roads. Village roads which would link the villages to the road system. The committee planned to construct 2 lakh kms of road across the country within 20 years. They recommended the construction of star and grid pattern of roads throughout the country. One of the objective was that the road length should be increased so as to give a road density of 16kms per 100 sq.km.

HIGHWAY ENGINEERING Interview Questions 11. What is Bombay Road Congress? The length of roads envisaged under the Nagpur plan was achieved by the end of it, but the road system was deficient in many respects. The changed economic, industrial and agricultural conditions in the country warranted a review of the Nagpur plan. Accordingly a 20-year plan was drafted by the Roads wing of Government of India, which is popularly known as the Bombay plan. The highlights of the plan were: It was the second 20 year road plan (1961-1981) The total road length targeted to construct was about 10 lakhs. Rural roads were given specific attention. Scientific methods of construction was proposed for the rural roads. The necessary technical advice to the Panchayaths should be given by State PWD's. They suggested that the length of the road should be increased so as to give a road density of 32kms/100 sq.km The construction of 1600 km of expressways was also then included in the plan. 12. Define Lucknow Road Congress ? Lucknow road congress 1984 : This plan has been prepared keeping in view the growth pattern envisaged in various fields by the turn of the century. Some of the salient features of this plan are as given below: This was the third 20 year road plan (1981-2001). It is also called Lucknow road plan. It aimed at constructing a road length of 12 lakh kilometres by the year 1981 resulting in a road density of 82kms/100 sq.km The plan has set the target length of NH to be completed by the end of seventh, eighth and ninth five year plan periods. It aims at improving the transportation facilities in villages, towns etc. such that no part of country is farther than 50 km from NH. One of the goals contained in the plan was that expressways should be constructed on major traffic corridors to provide speedy travel. Energy conservation, environmental quality of roads and road safety measures were also given due importance in this plan. 13. What Is The Sequence Of Four Stages Of Survey In A Highway Alignment? map study reconnaissance prelimi­nary survey detailed survey 14. What Is The Effect Of Grade On Safe Overtaking Sight Distance? To increase it on both descending and ascending grades. HIGHWAY ENGINEERING Questions and Answers Pdf Download Read the full article

[thebandcampdiaries]

An interview with Morte Villana.

We had the chance to talk to Morte Villana, a group with a unique attitude and a very strong creative identity. Keep reading to learn more about them and their beautiful music! Their new release, “The Future,” is a striking collection of songs, and it is now available on Spotify. Follow them and support their music!

I love how you manage to render your tracks so personal and organic. Does the melody come first, or do you focus on the beat the most?

We just want to make it easy. We do the music, but also we make interpretations of it. Music comes together.

I love what you just said about “Music comes together,” it feels like a really fresh way to look at the creative process. Could you elaborate a bit more on that? How does a typical songwriting session work for you?

(Johan La Morte): It is not that easy sometimes. Each song requires unique and special steps to complete, and when you are done with it, then you realize it’s a crappy one.  So I don’t have the formula.

But I could tell you how I composed the songs that you can hear in “The Future”. First, you need something you’d love to express (it can be complex or simple, deeps or surface). Second, you must design your concept - order of the songs, how many tunes need your work, and technical issues –  third and most importantly, fuck you don’t need nothing but a melody, so grab your guitar and play until it comes a piece of nice music to hear. (At least, nice for you)

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Morte Villana is a live - and living – Band, so your question is pretty simple: we feel fucking nice while watching the people descending into madness every time we play live.

If you could only pick one song to make a “first impression” on a new listener, which song would you pick and why?

Fuck, this one is tricky. Don’t know. Will tell him/her to choose someone randomly, and then pick another one.

But if you really want me to answer, then I’ll pick “Things to do”. Or “Time Past”. It depends on what type of listener, I suppose. I don’t mind either…

What does it take to be “innovative” in music?

Danger. It takes Danger. Many ppl trying to get you down, maybe local fellows, or dirty old-men playing fucking versions all the time.

You mention that “Danger” is an important part of being innovative these days. What are some interesting artists today you think show some danger in their creativity?

JLM: Nice question here. In this category, I have to mention The Voidz.  There’re many more I guess, but not at their level of “risk-taking” and innovation.

Any upcoming release or tour your way?

We’d just released our first EP “The Future”. We have one bullet to be fired in the revolver, but it still taking shape. And we would love to do a tour if the possibility arises.  

If you could give people one reason to listen to your EP, “The Future”, what would it be?”

JLM: Listen to it because it might help you to understand some negative facts about humankind – and their interactions

How does the EP differ from the music you made in the past?

JLM: It is different. Completely new art. The structure of the EP is very unusual, because it’s a conceptual release, but the first two songs have their own pace – are you listen to it, first comes “Time Future” and after that,  “Time Past”, which is based on the story of Antioco’s crime (introduction of the Apollonio’s book) and it’s the angular stone of “The Future”. We already described the actual human behavior in history, past, and future.

So the three other tunes change it all and bring the quest so near, so present, now we all have things to do.

Anywhere online where curious fans can listen to your music and find out more about you?

Morte Villana is available on all platforms. You need to follow us on Spotify first. This is just to let us think we are reaching more people than yesterday. The other thing you need to do is research on our Instagram page, really interesting publications there to find.

[jblinxanimation-blog]

I had a look around W.H.Smith’s this week, trying to find some reading material about Animation, and it was honestly harder than expected to find any periodicals or magazines dedicated to the medium of animation. I did, however, manage to find a magazine called ‘ImagineFX’, which, luckily for me, has recently run an issue titled ‘animation artist’, featuring some excellent interviews with members of the teams who worked on Disney’s ‘Moana’, Dreamworks’ ‘Trolls’, Laika’s ‘Kubo and the two strings’, and Pixar’s ‘The Good Dinosaur’ as well as a bunch of really interesting and helpful ‘workshop’ articles, which go through a step by step process of some technical aspect of the animation process, for example, character design, cinematic lighting, and the use of visual contrast. It also included a URL, where I could download all knids of helpful resources, such as custom photoshop brushes from professional artists, and example projects to look at and work from. The one that particularly caught my eye, was the workshop article, detailing the character design process of Indonesian artist, David Adinarya Lojaya, as he creates the concept for a Jazz Musician character. Starting off with some very basic shapes, based on Musical Instruments, Lojaya anthropomorphises the shapes, with wildly exaggerated proportions, then the process of finding characteristic and interesting poses, and finally turning the design into a fully rendered image which can be presented to a client, or used as a style guide. Character design is actually something that I find myself struggling with at times, and, feeling particularly emboldened by this article, I decided to have quick, rough go at it myself, following Lojaya’s steps. Above, you can see my process. Since Lojaya was drawing a jazz musician, I decided to try a musician as well, but something a bit heavier. I came up with the idea of a Punk hero, since I feel like most of the time, Punks are usually the bad guys of whatever story they appear in, and it didn’t seem fair. The pointed, angular guitar that I started with seemed like a natural fit for a Punk. From there, I used the shape of the guitar’s body as the general torso shape, with the larger points being parts of a stylish leather coat. The rest is fairly self explanatory. The guitar’s neck became the punk’s legs, then just add a couple of arms and a head, and you’ve got a human. Next, I had to fiddle around with the proportions of the character to get him looking a bit more appealing and making a bit more sense. I began filling in the details of his coat, and his face. Trying to come up with a facial expression which looked cheeky and anti-authoritarian, without looking ‘villainous’ was a bit of a challenge. I originally had him scowling more, but it didn’t quite fit the character I had envisioned, so I softened up his eyes a little bit to make him look a bit friendlier. I also moved his head and neck to be coming forwards from his torso, and put his hands behind his back, because I think this is a bit more interesting of a posture, and more fitting for the character, as if he’s leaning in to you, after asking a question you don’t want to give the answer to. He’s cheeky like that. Once I was happy with the line work, it was just a matter of laying down some colour, and topping it off with shading. Shading the leather turned out to be a huge pain. I just couldn’t figure out how light interacted with leather. After using a bunch of different brushes, and references, I finally managed to figure out a nice texture. Not photorealistic, by any means, but I think you can tell what it’s supposed to be. Once I had the actual design down, the article suggested putting him in some different poses, to display his character. For now, I’ve only given one, with him shouting out to an unseen audience from a stage, but I’d definitely like to continue drawing this character. I’ve included some photos of the magazine and the article I used as well, just for your reference.  I really enjoyed this exercise, and I’m super happy with the outcome. As I said, coming up with unique design elements for my characters was something that I have been struggling with, and I think this method is a fantastic way to find inspiration. I’ll definitely be using it in my future work. ‘Computer Arts Magazine’ also captured my attention, since my work is almost exclusively in digital media, so I’d like to pick that up at some point. There’s also ‘Comic Heroes’, which focuses on the art and stories of Comic books. I think that reading over comic books could be very helpful for me in a few ways. Mostly in helping with my storyboarding skills (Since a storyboard is essentially kind of a graphic novel.), but also in general visual story-telling, and pose drawing. Other issues of ImagineFX’ would definitely be valuable reading as well, to help me learn general digital art / painting skills.

[cool-ajit-samal]

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[georgiamrobertscop3-blog]

Conclusion

My initial concept changed from wanting to explore how gender neutral photography had the capacity to change people’s opinions on non binary identity, to assessing how gender neutral photography influences social perceptions on non binary identity. The intent of the project became more considered and developed due to the difficulty in assessing how gender neutral can change opinions, and alternatively to how on the whole gender neutral photography can influence social perceptions, as researched within the dissertation aspect. 

The initial inspiration came from attending two exhibitions, Made You Look: Dandyism and Black Masculinity and the Essence of Gender exhibition. These two experiences allowed me to find practitioners who are pushing the gender boundaries through their creative practice, and therefore influenced the techniques used within my work e.g. documentary style, angular photography including neon lighting to portray pride of self. David Bowie, a gender fluid icon, provided me with the historical element to my initial research as he represented a new type of individual, in the same way that Michael is pushing the gender boundaries. Gender neutral is becoming more and more evident within the fashion industry, from gender neutral collections to campaigns by brands such as Diesel. This was an aspect explored within my dissertation with quotes such as, “in the past couple of years, the lives and experiences of non-binary individuals have become increasingly visible across facets of media and community. While individuals have always chosen to be referred to as they, rather than associating themselves with a gender through the use of he or she, this year the choice has sparked global debate” (Syfret, 2016). 

Producing my own gender neutral photography presented its challenges as it was determined that gender neutrality does not yet have a set aesthetic, as discovered from my varied focus group results. Therefore I attempted to create a gender neutral aesthetic through an authentic muse who represents these contemporary, fluid views on gender. By focusing on Michael’s styling and the composition of the photograph, I was able to control the aesthetic of the final series of images without producing a controlled, contrived aesthetic. Previous to this, I adopted the techniques of Hassan Hajjaj of whom I did a case study. It was deemed that I was being too literal in my approach of photography as I was merely adopting Hajjaj’s style, instead of including my own personal creative aesthetic in order to create an innovative result. Therefore I considered my own creative aesthetic, combined with various creative influences. 

The initial 6 muses provided me with an insight into contemporary views on gender. It was interesting to photograph people with varied opinions on gender and identity, however all muses considered that the future looked more non binary that it ever has previously. These are all positive connotations of the non binary identity, proving that perceptions on identity are changing positively and it is slowly becoming the norm. From here I determined that Michael Savage would become my final authentic muse as he is the only person who recognised himself as fluid instead of determined by his sex. He showed me his free approach towards his identity and styling, and this was made more visible through his possessions within his favourite location, his bedroom. This authentic approach to my photography was influenced by Kristin-Lee Moolman.

In order to adopt a more creative and innovative approach, I looked at photography from books including ‘No Fashion Please!’ and discovered fluid expression of gender in photographs by Erwin Olaf and Vivienne Westwood which displayed a more shocking approach to styling by featuring men in women’s clothing. I adopted this to Michael’s styling and asked him to wear his more eccentric pieces, without having to provide any clothes myself as I still wanted to create an authentic image. The final photoshoot intention was to display Michael’s contemporary views on gender representation through his styling and location, in order to influence views on non binary identity. 

In developing ideas through the shoots I determined that locations that weren’t Michael’s bedroom were unsuccessful in portraying Michael’s interests, views and opinions on identity. However I could have developed other locations more in order to make a more informed decision. I could have undertaken actual shoots within Michael’s favourite locations such as various cafes in Leeds, to assess the aesthetic. Although I am happy with the location within the final images as they are authentic of Michael’s aesthetic, I could have used props and styling to portray Michael within other locations. I did not want the composition of the photograph to look to contrived though, which may have been the evaluation of other locations. In addition, it may have been good development to consider the use of the neon light in various other spaces to consider its aesthetic. 

In order to provide primary research for both my practical and dissertation work, I asked Romily Alice and Megan Helyer questions regarding their practice. In addition, I interviewed Michael Savage twice to show consideration of his views. In addition this provided me with confirmation of Michael’s contemporary views on gender representation, which was included in the layout of my final consolidated zine. The zine is a good representation of the ideas produced throughout this project, assessing whether the photography can influence people’s social perceptions on non binary identity. This is a factor I considered within my dissertation with the quote, “the fashion magazine and fashion photograph tend to be regarded by many historians and critics as ephemeral and exiguous forms of cultural production”, (Jobling, 1999, p. 1). Therefore by including my photographs in combination with tactile elements explored throughout the project such as Michael’s photographs, I am able to create a zine to portray current views on gender representation and therefore current societal and cultural breakthroughs. This contributes towards the normalisation of topics such as non binary identity which changes perceptions on it. 

Was my intention met? By contributing to the already visible collections of gender fluid or gender neutral photography, I am adding to the normalisation of non binary gender. This in turn, changes observers perceptions as it is no longer a shocking concept to them. However, as explained earlier, gender neutral does not yet have a set aesthetic that can be determined by everyone. Therefore my photography can be taken in any way, as proved within the varied answered to masculine and feminine posing within the focus group. Therefore, by portraying an authentic view on gender representation through Michael, and providing his interview within the zine, the combination of photographs and words will more likely provide the observer with the gender neutral aesthetic. However, although gender neutral does not yet have a set aesthetic, it is evident that the future is becoming more fluid.

- Georgia Roberts.

[captainpankaj-blog1]

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[agilewaters-consulting]

What is the difference between Software Teams vs Product Teams in 2020?

In April this year, I gave a talk on the journey of our team at Siemens from being completely new to being a full-fledged product team here. One of the topics that I delved in, and which I believe in, is the difference between Software Teams vs Product Teams. I’m going deeper into the differences in the following article of Software Teams Vs Product Teams.

India has excelled phenomenally in the field of Information Technology. But generally, our role has been limited to being a software team where we work on the given requirements and deliver the code. But we don’t get credit in the market for the product. We don’t own the success or failure of the product.

I feel that to move to the next level in ownership, we need to start working as Product teams. The below points can also act as a road map for the shift.

I’m presenting some caveats so that the context of the articles and the limitations are set.

Caveat #1: In the articles, I’m going to present the advantages of a Product team. But I do not want to disparage the Software teams. It has its own set of strengths and weaknesses.

Caveat #2: A lot of the points presented are contextual to what I’ve observed in my career in India and may not be relevant across the globe.

Caveat #3: When I say a software team, I don’t mean teams in software or services companies. The differences between these teams stems from what drives them, and their core principles. There can be a product team in a services company, and a software team in a product company.

1. “Why should this product exist?”

As developers, testers or project managers, we tend to focus on the final deliverable, which is usually the next release, or delivery, or milestone. The team has to deliver the code, binaries, documentation, and other artifacts needed as part of the release. The team works hard to ensure that all the metrics and KPIs are achieved. The developers receive the requirements and they ensure that all the requirements are met.

The testers also ensure that they have found as many bugs as possible and got them rectified before the final release. The project manager monitors and tracks the process and documents every step.

At the end, the team does an extraordinary job, sometimes under pressure of delivery or management. They work as a team and achieve a milestone that some thought impossible.

But … the product didn’t make it to the market!

How many times have we been in such situations? We ask ourselves (or at least should ask) what went wrong. Whose fault was it? Was it the project manager’s fault? Or developers’ fault? Or testers’ fault? Or was it the Product Manager who should’ve come up with better requirements or done a better research?

Instead of assigning blame, we need to ask, “How we could’ve prevented this?” I know that the team alone could not have prevented the failure. There are other factors at play here, but I’m going to focus on the role of the team.

As a software team, our job is to finish the deliveries. When a contract is signed between the company asking for the product and the company developing it, both parties agree upon a set of deliverables, quality and budget. (You could substitute ‘company’ with ‘divisions’, ‘business units’ and still have the same situation.) The development team focus remains the deliverables. The project manager, once having taken on the project, has to ensure that the costs remains within the budget, deliveries are on time and with the agreed-upon quality.

But the team doesn’t ask the rationale of the product. No one asks the questions: “Is this product needed?”. If yes, then are we even building for the right people?

These questions are critical for a product to be successful. The product manager, the higher management need to provide the raison d’être for the product. A product team asks these questions and ensures that they are answered to their satisfaction. Many times, they also provide the answers themselves. Once it has the answer, then it believes in the product and is driven by the passion for the product.

But if the team isn’t satisfied by what they hear from the management, then they must be empowered to call a stop to the product.

2. What is your Passion?

About 10 or 12 years ago, I wrote a function for my project, that contained nearly hundred string compares (and this was a C code), to determine the exact property of the input. The function behaved like switch-case for strings. I wanted to optimize it, so I came up with an algorithm that would, at least theoretically, do the same operation in much lesser time. I was very proud of the algorithm and its implementation. The function was efficient when executed.

But the overall impact was much less as it wasn’t executed that often. I was too focused on the code and missed the fact that it didn’t deliver much value.

I’ve seen the above scenario lot of times. The developers are proud of the code that they have written, the various optimizations and algorithms that they have used. Their code is beautiful and follows all the coding guidelines. The testers are proud of the automation tests, the complex scenarios they have tested, the reports showing how many bugs they discovered.

The project manager is proud that the project achieved the scope, was within budget and was able to deliver on time. He or she created complex Excel reports, beautiful Powerpoint presentations to showcase their achievements, and diligently documented every step of the project.

Members of software team are too focused on their area of expertise. Their pride stems from their brilliance on the code, testing, sometimes even just the beautiful drawings that they have created for the project. They look for brilliant solutions, not necessarily the simplest ones.

A product team, on the other hand, is not driven by code or test cases or algorithms. It is driven by the product – the problems it solves, the value that it provides to clients or end users. A complex code, if it doesn’t add any value, is not exciting enough. On the other hand, a simple function that solves a bigger problem generates more enthusiasm in the team.

Another passion of a software team is Design. I’ve heard many developers, architects, testers defend design and say that a feature cannot be implemented because it does not fit in the design. They are in love with the design, which was created after a significant effort in the early phases of the product.

However, for a product team, the feature takes precedence. There are some practical limitations for feature implementation, such as efforts needed and if they fit in the roadmap. But the feature trumps design considerations. Once the team agrees that the feature is needed for the customers and understands the rationale, they go ahead and develop it.

“I do not love the bright sword for its sharpness, nor the arrow for its swiftness, nor the warrior for his glory. I love only that which they defend,” said Captain Faramir!

The above quote is taken from the book ‘The Two Towers’, of the Lord of the Rings trilogy, by J.R.R. Tolkien. It can be modified for software context as “I do not love C for its effectiveness, nor Java for the object-oriented methodology, nor python for its ease of coding. I love only that which they deliver.”

Developers and testers are focused on the technology, or the language or the tools that we use. I understand that in the beginning of the career of any software engineer, she or he wants to work on languages or technology that has the highest salary potential. However, such people also want to move to the latest language because it is in vogue. I’ve heard many people in the Indian IT industry that they want to work on the latest technology.

Developers want to work on the latest version of Java, or take up languages or frameworks like Golang, Angular JS, Django, Flask, etc. or take up new technologies such as Machine Learning, Artificial intelligence. A few months back an engineer rejected our interview call because we aren’t working on the latest version of Java; he wasn’t even interested to know about the product or the domain. I heard of another interview, where the candidate actually tried to convince the interviewer to change the current bug tracking tool to one that the candidate is more comfortable with.

Our interview processes too are language or tech oriented. Interviewers ask about what she has worked on, or the intricacies of a chosen language. They judge the candidates on how much the person knows about the language. This is a legitimate method to determine if the candidate has good hands-on experience, but that is also a limited view of the candidate.

This process doesn’t tell us whether she can deliver in our projects or how she can handle unknown scenarios. We should, instead, look for people who can learn quickly and adapt, and are able to solve problems. We hardly ever try to judge people on such skills.

A Product team, on the other hand, learns and adapts to whatever tools/technology/language solves their problem. I’ll explain with an example. We have a spreadsheet/table implementation in my current product. However, it has its limitations, and we are trying to solve the issues that arise due to the limitations. My team quickly moved to SQLite as the backend for the table to try and solve the problem.

Instead of trying to solve the problem using the current language (C++/QT) only, they quickly moved to integrate SQLite. A Product team has high adaptability and learning skills. Their aim is to deliver the product using any tools available.