#Guide to computer

[islandlobster]

in light of switch 2 direct and as an advocate for playing windwaker: if you have a low-end laptop/pc and a wired controller you can play ww HD for free, let alone gamecube ww. download dolphin. go to r/roms. save yourself 600 dollars

[mostlysignssomeportents]

Kickstarting a book to end enshittification, because Amazon will not carry it

My next book is The Internet Con: How to Seize the Means of Computation: it’s a Big Tech disassembly manual that explains how to disenshittify the web and bring back the old good internet. The hardcover comes from Verso on Sept 5, but the audiobook comes from me — because Amazon refuses to sell my audio:

https://www.kickstarter.com/projects/doctorow/the-internet-con-how-to-seize-the-means-of-computation

Amazon owns Audible, the monopoly audiobook platform that controls >90% of the audio market. They require mandatory DRM for every book sold, locking those books forever to Amazon’s monopoly platform. If you break up with Amazon, you have to throw away your entire audiobook library.

That’s a hell of a lot of leverage to hand to any company, let alone a rapacious monopoly that ran a program targeting small publishers called “Project Gazelle,” where execs were ordered to attack indie publishers “the way a cheetah would pursue a sickly gazelle”:

https://www.businessinsider.com/sadistic-amazon-treated-book-sellers-the-way-a-cheetah-would-pursue-a-sickly-gazelle-2013-10

[Image ID: Journalist and novelist Doctorow (Red Team Blues) details a plan for how to break up Big Tech in this impassioned and perceptive manifesto….Doctorow’s sense of urgency is contagious -Publishers Weekly]

I won’t sell my work with DRM, because DRM is key to the enshittification of the internet. Enshittification is why the old, good internet died and became “five giant websites filled with screenshots of the other four” (h/t Tom Eastman). When a tech company can lock in its users and suppliers, it can drain value from both sides, using DRM and other lock-in gimmicks to keep their business even as they grow ever more miserable on the platform.

Here is how platforms die: first, they are good to their users; then they abuse their users to make things better for their business customers; finally, they abuse those business customers to claw back all the value for themselves. Then, they die:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

[Image ID: A brilliant barn burner of a book. Cory is one of the sharpest tech critics, and he shows with fierce clarity how our computational future could be otherwise -Kate Crawford, author of The Atlas of AI”]

The Internet Con isn’t just an analysis of where enshittification comes from: it’s a detailed, shovel-ready policy prescription for halting enshittification, throwing it into reverse and bringing back the old, good internet.

How do we do that? With interoperability: the ability to plug new technology into those crapulent, decaying platform. Interop lets you choose which parts of the service you want and block the parts you don’t (think of how an adblocker lets you take the take-it-or-leave “offer” from a website and reply with “How about nah?”):

https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah

But interop isn’t just about making platforms less terrible — it’s an explosive charge that demolishes walled gardens. With interop, you can leave a social media service, but keep talking to the people who stay. With interop, you can leave your mobile platform, but bring your apps and media with you to a rival’s service. With interop, you can break up with Amazon, and still keep your audiobooks.

So, if interop is so great, why isn’t it everywhere?

Well, it used to be. Interop is how Microsoft became the dominant operating system:

https://www.eff.org/deeplinks/2019/06/adversarial-interoperability-reviving-elegant-weapon-more-civilized-age-slay

[Image ID: Nobody gets the internet-both the nuts and bolts that make it hum and the laws that shaped it into the mess it is-quite like Cory, and no one’s better qualified to deliver us a user manual for fixing it. That’s The Internet Con: a rousing, imaginative, and accessible treatise for correcting our curdled online world. If you care about the internet, get ready to dedicate yourself to making interoperability a reality. -Brian Merchant, author of Blood in the Machine]

It’s how Apple saved itself from Microsoft’s vicious campaign to destroy it:

https://www.eff.org/deeplinks/2019/06/adversarial-interoperability-reviving-elegant-weapon-more-civilized-age-slay

Every tech giant used interop to grow, and then every tech giant promptly turned around and attacked interoperators. Every pirate wants to be an admiral. When Big Tech did it, that was progress; when you do it back to Big Tech, that’s piracy. The tech giants used their monopoly power to make interop without permission illegal, creating a kind of “felony contempt of business model” (h/t Jay Freeman).

The Internet Con describes how this came to pass, but, more importantly, it tells us how to fix it. It lays out how we can combine different kinds of interop requirements (like the EU’s Digital Markets Act and Massachusetts’s Right to Repair law) with protections for reverse-engineering and other guerrilla tactics to create a system that is strong without being brittle, hard to cheat on and easy to enforce.

What’s more, this book explains how to get these policies: what existing legislative, regulatory and judicial powers can be invoked to make them a reality. Because we are living through the Great Enshittification, and crises erupt every ten seconds, and when those crises occur, the “good ideas lying around” can move from the fringes to the center in an eyeblink:

https://pluralistic.net/2023/06/12/only-a-crisis/#lets-gooooo

[Image ID: Thoughtfully written and patiently presented, The Internet Con explains how the promise of a free and open internet was lost to predatory business practices and the rush to commodify every aspect of our lives. An essential read for anyone that wants to understand how we lost control of our digital spaces and infrastructure to Silicon Valley’s tech giants, and how we can start fighting to get it back. -Tim Maughan, author of INFINITE DETAIL]

After all, we’ve known Big Tech was rotten for years, but we had no idea what to do about it. Every time a Big Tech colossus did something ghastly to millions or billions of people, we tried to fix the tech company. There’s no fixing the tech companies. They need to burn. The way to make users safe from Big Tech predators isn’t to make those predators behave better — it’s to evacuate those users:

https://pluralistic.net/2023/07/18/urban-wildlife-interface/#combustible-walled-gardens

I’ve been campaigning for human rights in the digital world for more than 20 years; I’ve been EFF’s European Director, representing the public interest at the EU, the UN, Westminster, Ottawa and DC. This is the subject I’ve devoted my life to, and I live my principles. I won’t let my books be sold with DRM, which means that Audible won’t carry my audiobooks. My agent tells me that this decision has cost me enough money to pay off my mortgage and put my kid through college. That’s a price I’m willing to pay if it means that my books aren’t enshittification bait.

But not selling on Audible has another cost, one that’s more important to me: a lot of readers prefer audiobooks and 9 out of 10 of those readers start and end their searches on Audible. When they don’t find an author there, they assume no audiobook exists, period. It got so bad I put up an audiobook on Amazon — me, reading an essay, explaining how Audible rips off writers and readers. It’s called “Why None of My Audiobooks Are For Sale on Audible”:

https://pluralistic.net/2022/07/25/can-you-hear-me-now/#acx-ripoff

[Image ID: Doctorow has been thinking longer and smarter than anyone else I know about how we create and exchange value in a digital age. -Douglas Rushkoff, author of Present Shock]

To get my audiobooks into readers’ ears, I pre-sell them on Kickstarter. This has been wildly successful, both financially and as a means of getting other prominent authors to break up with Amazon and use crowdfunding to fill the gap. Writers like Brandon Sanderson are doing heroic work, smashing Amazon’s monopoly:

https://www.brandonsanderson.com/guest-editorial-cory-doctorow-is-a-bestselling-author-but-audible-wont-carry-his-audiobooks/

And to be frank, I love audiobooks, too. I swim every day as physio for a chronic pain condition, and I listen to 2–3 books/month on my underwater MP3 player, disappearing into an imaginary world as I scull back and forth in my public pool. I’m able to get those audiobooks on my MP3 player thanks to Libro.fm, a DRM-free store that supports indie booksellers all over the world:

https://blog.libro.fm/a-qa-with-mark-pearson-libro-fm-ceo-and-co-founder/

Producing my own audiobooks has been a dream. Working with Skyboat Media, I’ve gotten narrators like @wilwheaton​, Amber Benson, @neil-gaiman​ and Stefan Rudnicki for my work:

https://craphound.com/shop/

[Image ID: “This book is the instruction manual Big Tech doesn’t want you to read. It deconstructs their crummy products, undemocratic business models, rigged legal regimes, and lies. Crack this book and help build something better. -Astra Taylor, author of Democracy May Not Exist, but We’ll Miss It When Its Gone”]

But for this title, I decided that I would read it myself. After all, I’ve been podcasting since 2006, reading my own work aloud every week or so, even as I traveled the world and gave thousands of speeches about the subject of this book. I was excited (and a little trepedatious) at the prospect, but how could I pass up a chance to work with director Gabrielle de Cuir, who has directed everyone from Anne Hathaway to LeVar Burton to Eric Idle?

Reader, I fucking nailed it. I went back to those daily recordings fully prepared to hate them, but they were good — even great (especially after my engineer John Taylor Williams mastered them). Listen for yourself!

https://archive.org/details/cory_doctorow_internet_con_chapter_01

I hope you’ll consider backing this Kickstarter. If you’ve ever read my free, open access, CC-licensed blog posts and novels, or listened to my podcasts, or come to one of my talks and wished there was a way to say thank you, this is it. These crowdfunders make my DRM-free publishing program viable, even as audiobooks grow more central to a writer’s income and even as a single company takes over nearly the entire audiobook market.

Backers can choose from the DRM-free audiobook, DRM-free ebook (EPUB and MOBI) and a hardcover — including a signed, personalized option, fulfilled through the great LA indie bookstore Book Soup:

https://www.kickstarter.com/projects/doctorow/the-internet-con-how-to-seize-the-means-of-computation

What’s more, these ebooks and audiobooks are unlike any you’ll get anywhere else because they are sold without any terms of service or license agreements. As has been the case since time immemorial, when you buy these books, they’re yours, and you are allowed to do anything with them that copyright law permits — give them away, lend them to friends, or simply read them with any technology you choose.

As with my previous Kickstarters, backers can get their audiobooks delivered with an app (from libro.fm) or as a folder of MP3s. That helps people who struggle with “sideloading,” a process that Apple and Google have made progressively harder, even as they force audiobook and ebook sellers to hand over a 30% app tax on every dollar they make:

https://www.kickstarter.com/projects/doctorow/red-team-blues-another-audiobook-that-amazon-wont-sell/posts/3788112

Enshittification is rotting every layer of the tech stack: mobile, payments, hosting, social, delivery, playback. Every tech company is pulling the rug out from under us, using the chokepoints they built between audiences and speakers, artists and fans, to pick all of our pockets.

The Internet Con isn’t just a lament for the internet we lost — it’s a plan to get it back. I hope you’ll get a copy and share it with the people you love, even as the tech platforms choke off your communities to pad their quarterly numbers.

Next weekend (Aug 4-6), I'll be in Austin for Armadillocon, a science fiction convention, where I'm the Guest of Honor:

https://armadillocon.org/d45/

If you'd like an essay-formatted version of this thread to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/07/31/seize-the-means-of-computation/#the-internet-con

[Image ID: My forthcoming book 'The Internet Con: How to Seize the Means of Computation' in various editions: Verso hardcover, audiobook displayed on a phone, and ebook displayed on an e-ink reader.]

[vintageandroid]

So I've been annoying all my friends on facebook about Ghost as well, and I decided to make a guide. And it made me laugh so I'm also sharing it here. I worked harder than I should have on this. Please enjoy.

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[iwillstabyou]

TMAGP 31 - A Computer Nerd’s Breakdown Of The Error Logs

It’s round 3, bitches! (tumblr crashed twice when I was writing this so I’ve had to start again multiple times. I do in fact see the irony, considering the subject matter)

I was listening to TMAGP 31 and as a computer nerd, oh my god those error messages just HIT DIFFERENT. There are so many subtle details hiding in those lines that a typical non-computery person would probably miss, so I feel it is my duty to explain them and their possible implications. So that’s why I’ve decided to fully break down each part of the error report, complete with what they could potentially suggest — think of this as “the TMAGP theorist’s guide to deciphering Chester’s yapping”

So without further ado, let’s get this party started…

(NOTE: lines from the transcript are in red, ‘translations’ are in purple, jmj specific stuff is is green, explanations are in black)

Starting off with Category: fatal programmer error, notice it says programmer, not program. There is nothing wrong with the code - the user has truly fucked up. Uh oh, Colin has made a big mistake…

Also, clever double meaning here with the word fatal. Obviously we know it was fatal to Colin (RIP king 🥲), but error logs also typically have a criticality level describing if immediate action needs to be taken. There are 6 commonly used levels, with the most critical being, yep you guessed it, ‘fatal’ - this means that whatever Colin was doing was a critical threat to the system. In other words, Colin had figured out the problem and was dangerously close to fixing it so Freddie just went “oh shit, we need to deal with this guy quickly or we are in serious trouble.”

Then we’ve got the next line, attempted host compromise (the Errno611 isn’t significant - error codes vary from system to system). When it comes to network terminology, a host is basically just any device on the network, so in full this line basically means “somebody’s tried to damage part of the network.” Importantly, “host” seems to suggest that the computers aren’t the source of this evil but merely a vessel for it. Freddie is just the mouthpiece for these supernatural forces - a bit like a non-sentient (as far as we know…) avatar. Whatever these forces are, they didn’t come from within/they weren’t created by Freddie.

(NOTE: I will come back to jmj=null in a bit)

The program traceback, Traceback <module> by extension BECHER, is rather interesting. A network extension is a way of providing network access to remote users (think along the lines of a VPN) by creating a personal direct ‘route’ to the network. Therefore if it’s the subject of an error report, it means there’s been an issue with data transmission along that path. So this bit means “there’s a problem with this specific network route that’s allocated to Colin.” However, the darker implication here is that Colin is an extension of Freddie. Although he wasn’t initially a part of all of this, he’s become tangled in the web (no pun intended) to the point that he and Freddie are inseparably intertwined. The OIAR employees may be able to quit their jobs, but they’ll still be a part of Freddie…

There isn’t much to say about Host=self.host in this context. It’s just convention when it comes to object oriented programming. Not important here.

Extension BECHER compromised isn’t just saying “there’s an issue here.” It’s saying “there’s an issue here that is a serious threat to network operation.” In other words, Freddie’s going “uh oh. Colin needs to be dealt with.”

The next bit is pretty self explanatory. I really don’t think I need to explain what <hardware damage_crowbar> means for you guys to understand. This bit made me laugh so hard. One thing that’s interesting though is that it gave it a DPHW, so Freddie processed this like it was an incident… Perhaps this fully confirms that the ‘thing’ controlling Freddie is of the same origin as the cases - it’s not something else entirely?

And now onto Administrator privilege revoked. This was the moment when I fully realised “oh no. Colin is fucked,” because any control that Colin may have had over the situation is now gone for good. Freddie’s basically just said “fuck you Colin. You’re not in charge anymore. I am.”

As you can probably guess, Unexpected data isolated/resolved just means that the crowbar’s been dealt with and the program can run as usual. Similarly, the Colin threat is fixed now he’s not an administrator i.e. he can no longer control the system. However, it then gets weird with Independent operation permissions revoked… It’s not saying Colin can’t use the network independently, it’s saying that Colin can’t be used independently of the network. Remember what I was saying earlier about Colin being a part of Freddie? Yeah, well now he purely is a part of Freddie. They’re turning our boy into data!

NOTE: I know in the audio it said everything was discarded but I’m going by the transcript. Idk why they’re different

You know it’s a bad sign when you hear Re config: self.host - Freddie’s evolving. The network is literally reconfiguring itself to now include Colin. And then Freddie goes through each of his alchemical elements one by one and fucking deletes them! How rude. You go and eat this man only to spit everything out!? I guess he’s feeling generous though, because he decides to keep the sulphur, which in alchemy, refers to the soul… If this isn’t just a coincidence, then that means Colin’s actual soul has been uploaded to Freddie. That could be really cool. And messed up. But mostly cool.

Starting with the final line, everyone knows what New administrator permissions assigned means, but we don’t know yet who they’ve been assigned to. Maybe it’s Gwen? Maybe it’s a new character? Maybe there is no system administrator anymore? It’s a mystery.

Now that’s out the way, let’s get on to the real juicy stuff…

The top few lines are pretty simple - it’s Freddie’s way of saying “Colin was a problem. We ate him. Now he’s not a problem anymore.” The next line, however, is a reminder that none of this is simple” - .jmj error not resolved. There it is again. The infamous jmj error. What does it mean? Jon? Martin? Jonah? Is that you???? Nobody knows. One thing we do know though is that jmj=null (from the start of the error log). Now when it comes to interpreting values, null is weird. It’s not zero, it’s not empty, it’s sort of nothing but it’s not nothing. It’s just null. It means no value, but it doesn’t mean that the variable doesn’t have a value (if that makes any sense to you guys???). Ooh I think I know how to explain it?? Imagine you’re Jonathan Sims, head archivist of the Magnus Institute and you’re digitising some archived ID photos when you find one without a name. The recorded name in the database would be null - you can’t put anything in particular, but that doesn’t mean the person in the photo doesn’t have a name. I guess null means unknown or missing here. So basically, what jmj=null means is that the jmj is unknown and that is a problem because it can’t get ignored/it is important. So what it’s basically saying is that jmj is a mystery not only to us, but also to Freddie.

Take a look at Data integration cycle ongoing <0.02%> - Data integration is the process of combining data from multiple sources into a single source of truth. There are 4 stages: data ingestion, cleaning, transformation, and unification. Thanks to the whole Colin ordeal, I’m sure you are all quite familiar with these stages by now (and that, students, is what we call a case study!). The peculiar thing here though is that we’ve just witnessed most of the data integration cycle - surely it should be higher than 0.02%? Yes, that’s correct. It should be far higher than that. It makes no sense. UNLESS this isn’t about Colin. Most of Colin’s data has probably already integrated. This is something else entirely - something so much bigger and foreign than these computers were designed for (the only comparison I can think of is trying to run the sims 4 with all expansion packs on a 15 year old laptop. It really shouldn’t work, and it probably won’t, but it’s gonna try regardless). This seems to follow on nicely from the jmj=null comments above, because Freddie is clearly struggling to integrate something (hence System function margins down to 82%), and when you try to read data that hasn’t been fully integrated with the system, you end up with a lot of missing & unknown values. Sound familiar? Yep, that’s right - until more data is synchronised, many values will be null, like our good friend jmj. Why is it taking so long to integrate jmj? We don’t know. Perhaps its origins are so supernatural and otherworldly that it’s simply not tangible enough for Freddie to process it? That’s what I think at the moment, at least.

So yeah, that’s my line by line analysis done! Hope you found that helpful/interesting. This podcast is so well written I’m actually going insane! Jonny and Alex, you are the guys of all time! As I’ve already said, feel free to expand on any of this - I’d love to hear your theories

Signed, your friendly neighbourhood computer nerd who is very autistic about TMAGP :)

[kirby-the-gorb]

[callmehere-iwillappear]

art from chapter 7 of idiot's guide! twins my beloved <3

(id in alt)

[mysweetpianospace]

How I make gif stamps in GIMP!

Hi! So I thought I would make a tutorial on how I personally make my animated stamps in GIMP! With images to help!

Firstly, have your stamp base, I use old stamp templates I found or from my own stamps. Then you want to add your gif as a layer.

Once you've opened it as a layer, all the gif layers will appear! You want to first resize the background layer by scaling the layer.

This stamp has an interior width and height of 95x50 pixels, so I make sure to scale the layer to fit. Make sure width and height aren't linked because not all gifs will fit that size naturally.

Then it is very important to merge the background layer with the stamp template layer, this way when you make the gif it looks like a stamp!

Once that's done scale all your other layers to the same width and height so that they too will fit in the stamp! Then what you want to do once that is finished is to open filter > animation > optimise (for gif).

Then once you've done that you can click playback to see if the gif is all right!

Once that's done it is time to export it by going export as, now I always have to change my file to a .gif type in order for it to work. Once you've done that hit export.

Then it will show a pop up window, it is very important you hit check on animation! Otherwise it won't work!

Once that is done, you can now hit the final export and your gif stamp will be made! See my final product below!

[lost-coder]

The Zen of Python

Beautiful is better than ugly.

Explicit is better than implicit.

Simple is better than complex.

Complex is better than complicated.

Flat is better than nested.

Sparse is better than dense.

Readability counts.

Special cases aren't special enough to break the rules.

Although practicality beats purity.

Errors should never pass silently.

Unless explicitly silenced.

In the face of ambiguity, refuse the temptation to guess.

There should be one—and preferably only one—obvious way to do it.

Although that way may not be obvious at first unless you're Dutch.

Now is better than never.

Although never is often better than *right* now.

If the implementation is hard to explain, it's a bad idea.

If the implementation is easy to explain, it may be a good idea.

Namespaces are one honking great idea -- let's do more of those!

[agstudio9]

She could fix them I think

(I have decided to become more annoying about my interests)

[weheartstims]

hello!!! id like to request a stimboard of The Guide(the tv head fellow) from cheesy hfj's 'paregui', with neon blue and old tech themes! i only ask for no soap cutting

The Guide (Paregui) with neon blue retro technology!

🟦|◾|🟦 ◾|🟦|◾ 🟦|◾|🟦

[xofflow]

I thought you guys might enjoy Chris Riddell’s Eddie

[lizzybeanbutt]

now that you mention it, yeah kabru is kind of an ibex

trying to pin it down but I don't feel confident on my grasp of kabru's characterization (depsite him being my favourite guy. you know how it is) but like. Kabru is a nicer ibex. Ibex is kabru but he's no longer asking. Ibex is a kabru but he's not afraid to let outright enemies stay on the board if he knows he'll win the overall battle. I think Kabru would make a better candidate of rightousness. I need a two way au and we're gonna send the dunmeshi cast to divine cycle space and we're throwing the kingdom crew in a last ditch dungeon crawl

@arcnoise tagging just in case

[mostlysignssomeportents]

Madeline Ashby’s ‘Glass Houses’

I'm coming to BURNING MAN! On TUESDAY (Aug 27) at 1PM, I'm giving a talk called "DISENSHITTIFY OR DIE!" at PALENQUE NORTE (7&E). On WEDNESDAY (Aug 28) at NOON, I'm doing a "Talking Caterpillar" Q&A at LIMINAL LABS (830&C).

Glass Houses – published today by Tor Books – is Madeline Ashby's terrifying technothriller: it's an internet-of-things haunted house story that perfectly captures (and skewers) toxic tech culture while also running a savage whodunnit plot that'll keep you guessing to the end:

https://us.macmillan.com/books/9780765382924/glasshouses

Kristen is the "Chief Emotional Manager" for Wuv, a hot startup that has defined the new field of "affective computing," which is when a computer tells you what everyone else around you is really feeling, based on the unsuppressible tells emitted by their bodies, voices and gadgets.

"Chief Emotional Manager" is just a cutesy tech euphemism for "chief of staff." The only person whose emotions Kristen really manages is Sumter William, the boyish billionaire CEO and founder of Wuv. Sumter hired Kirsten because they share a key developmental trait: both were orphaned at an early age and had to raise themselves in a media spotlight.

Both Sumter and Kristen had been in the spotlight even before their parents' death, though. Sumter was the focus of the intense attention that the children of celebrity billionaires always come in for. Kristen, though, was thrust into the spotlight by her parents: her prepper cryptocurrency hustling father, and her tradwife mother, whose livestreams of Kristen's childhoods involved letting the audience vote everything from whether she'd get dessert after dinner to whether her mother should give her bangs.

Kristen's parents died the most Extremely Online death imaginable: a cryptocurrency price-spike sent her father's mining rigs into overdrive, and when they burst into flame, the IoT house system failed to alert him until it was too late. The fire left Kristen both alone and horribly burned, with scars over much of her body.

Managing Sumter through Wuv's tumultuous launch is hard work for Kristen, but at last, it's paid off. The company has been acquired, making Kristen – and all her coworkers on the founding core team – into instant millionaires. They're flying to a lavish celebration in an autonomous plane that Sumter chartered when the action begins: the plane has a malfunction and crashes into a desert island, killing all but ten of the Wuvvies.

As the survivors explore the island, they discover only one sign of human habitation: a huge, brutalist, featureless black glass house, which initially rebuffs all their efforts to enter it. But once they gain entry, they discover that the house is even harder to leave.

This is the setup for a haunted house story where the house seems to be an unknown billionaire prepper's IoT house of horrors. As the survivors of the crash suffer horrible injuries and deaths on the island, the remaining Wuvvies bolt themselves inside, setting up a locked-room whodunnit that runs in parallel.

This is a fantastic dramatic engine for Ashby's specialty: extremely pointed techno-criticism. The ensuing chapters, which flip back and forth between the story of Wuv's rise and rise to a top tech company, and the company's surviving staff being terrorized on a paradisaical tropical aisle, flesh out Ashby's speculation and the critique it embodies.

For example, there's the political culture of Ashby's future America. Wuv are a Canadian company, headquartered in Toronto, and we gradually come to understand that Canada is the beneficiary of an exodus of tech companies from the US following a kind of soft Christian Dominionist takeover (Kristen and Sumter often have to wrangle rules about whether women are allowed to enter the USA in the company of men they aren't married to and who aren't their brothers or fathers).

The flashbacks to this America are beautifully and subtly drawn, especially the scenes in Vegas, which manages to still be Vegas, even amidst a kind national, legally mandated Handmaid's Tale LARP. Ashby uses her futuristic speculation to illuminate the present, that standing wave where the past is becoming the future. Like everything in the shadows of a haunted house tale, this stuff will make the hair on the back of your neck stand on end.

I'm a big Madeline Ashby fan. I have the honor of having published her first story, when I was co-editing one of the Tesseracts anthologies of Canadian SF. I've read and really enjoyed every one of her books, but this one feels like a step-change in Ashby's career, a leveling up to something even more haunting and brilliant than her impressive back-catalog.

Madeline and I will be live at Chevalier's Books in LA on Aug 16 as part of her Glass Houses tour:

https://www.eventbrite.com/e/book-talk-madeline-ashbys-glass-houses-tickets-965286486867

Community voting for SXSW is live! If you wanna hear RIDA QADRI and me talk about how GIG WORKERS can DISENSHITTIFY their jobs with INTEROPERABILITY, VOTE FOR THIS ONE!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/08/13/influencers/#affective-computing

[fallenclan]

your blog is so cool and it inspired me to start playing the game and drawing more!

Unfortunately I’ve only been able to play the mobile version since downloading instructions are hard to understand. (Also I do have a computer, I’m not trying to use the computer version on my phone to clear it up)

Anyways, I wanted to ask if you could recommend a resource for how you learned to download clanged or simply how you did it?

(sorry this is so long, thanks for posting so much! I love all your little kitties and their stories!)

let's see if i can remember lol

I downloaded my version from here.

scroll down to the Downloads section, which looks like this:

go ahead and click the green button next to whatever your computer is running on. mine is windows 10.

after that (and this is just from memory bc i didn't want to download clangen twice lol) it'll download into your Downloads folder. it takes a couple of minutes. go ahead and find the file, right click it, and unzip (the process is also called Extracting on some computers)

once it's unzipped, move the unzipped folder to wherever on your computer you want it to stay. the downloads folder is fine if you want to leave it there, but i like to move all my apps into certain places

open up the folder whenever you're ready. there'll be another folder inside that's labeled Clangen, go ahead and open that one, too. go ahead and find the app! it'll look like one of the two below, depending on how you sort your files

it should stand out, it's the only file in there that has that icon.

that's it! the game should be set up now. i have found that pinning clangen to my computer home screen makes it bug out, but pinning it to the bar at the bottom is fine, and what i prefer, so i dont have to go rooting through my files every time. have fun!

[retrocgads]

UK 1982

[penguinfordprefect]

nothing prepared me for learning that the ‘OK Computer’ album by radiohead is a hitchhiker’s guide to the galaxy reference