One Day More

May. 8th, 2026 04:34 am
[syndicated profile] walterjonwilliams_feed

Posted by wjw

What a difference 24 hours can make.

Maybe I should have waited before making my last post.

This morning I went to a doctor who specializes in veinology, or whatever the art is called. The first specialist I’ve been able to see. I was scanned again, and the blood clot is gone. Without a trace.

So all I have to do is keep taking the blood thinner for another couple months, to prevent the condition from returning, and then I’m free as a (slightly limping) bird. I feel lucky, both in my health and in my friends.

[syndicated profile] askamanager_feed

Posted by Ask a Manager

It’s four answers to four questions. Here we go…

1. Our exit interviews are emailed to all managers

I work for a small company with a one-person HR team. When a team member leaves the company by choice, the HR person conducts an exit interview. The transcription of the interview is then emailed to the entire management layer of the company — about a third of the company headcount — without any edits or redactions. Details of personal circumstances, raw feedback about supervisors or coworkers, all of it just out there in the open with names attached.

Many of us middle managers are horrified by this practice and object both on privacy grounds and because there is no clear indication that anything is being done to catalogue, analyze, or respond to the feedback provided in the exit interviews. What are the best practices around exit interviews, and how would you recommend middle management at my company press for something better?

Yeah, this is weird and a bad practice.

You don’t blast out raw exit interviews to a third of the company. I doubt the people who gave that feedback in their exit interviews would appreciate it being used that way — and if word gets out that that’s how they’re handled, exiting employees are going to start being way less candid.

Someone needs to be charged with assessing and synthesizing the info from exit interviews and identifying trends and areas for further evaluation or change; without that, there’s very little point to doing them at al.. Then, that should be shared with whoever has an actual need to know — generally HR and people in the management chain for whatever issues came up, not just “everyone gets to see all of it, all the time, regardless of relevance to them.” Often HR will share trends with the organization’s leadership quarterly, while addressing individual issues as they come up (such a manager needs more management training or a potential legal concern). But the best practice is to keep things as confidential as possible so that feedback can’t be connected with an individual person unless that’s unavoidable to get a problem addressed.

The way it’s being handled now is almost gossip-adjacent, rather than something being used constructively.

You and the other managers who are concerned should ask how the feedback is assessed and used beyond the email blasts you see, and then share the concerns above and propose more targeted use of the information. If you have some examples of sensitive issues that were shared far more widely than they needed to be, mention those and ask for the reasoning in doing that.

Here’s a decent article you could share on how employers can assess the data from exit interviews.

Related:
should I tell the truth in my exit interview?

2. How can I ask about AI use in a job interview?

I’ve started looking for another job for many reasons, but chief among them is my company’s increasing push for everyone to use AI (it’s gone from “this is a helpful tool to use as needed” to “we expect you to use this as much as possible” alarmingly fast). No judgment to those who use AI when needed but I personally try to limit my use as much as possible due to the environmental implications (and a small fear that I may one day be replaced with a robot).

What is the best way to ask a new company about how they’re using AI while you’re interviewing, both for the specific role and company- wide? In case it’s helpful context, I work in an admin/support role.

You can ask pretty directly: “I know AI is changing the way a lot of offices operate. Is it having an impact on the work of this role, and in the company more broadly?”

But the problem is exactly what you saw at the company you’re trying to leave: it can go from “this is a helpful tool to use as needed” to “we expect you to use this as much as possible” alarmingly fast. So the answer you get in an interview might not still be the case a couple of months from now.

You can still ask! You’d just want to be aware that that’s the case.

3. Do employers really distinguish between part-time and full-time work for years of experience?

Have you ever known employers to distinguish between part-time and full-time when checking experience requirements? I’ve never been asked this, but one of my part-time contracting gigs was disproportionately valuable in accruing apparent experience when life didn’t allow me to go full-time. So four years at 10 hours a month counts as four years of experience.

Rather than dropping out entirely to raise kids / go back to school / do a medical thing, why do more workers not just scale way back? (Or do they?)

Yes, some employers do distinguish between part-time and full-time work when they’re calculating how much experience you have, but it depends very much on the role, the type of experience, and how part-time you were — as well as whether they even know it was part-time because they might not.

I wouldn’t count 10 hours a month for four years as being the equivalent of four years of experience, but I’m also not deeply invested in calculating years of experience for most jobs; I’m more interested in your overall expertise. Years of experience can be a decent stand-in for that to some degree, but not the extent that I’d prioritize it over things like how deep your subject knowledge expertise is, the range of challenges you fielded / got exposed to during that time, and what you actually achieved in that time period. Someone could work 40 hours a week for 10 years and still not be better at the work than someone really talented who worked half-time for three years.

To the extent that employers are deeply focused on years of experience as an early-stage screening tool, you mainly see it with more junior-level jobs. A job that says they want two years of experience is communicating something about the general profile of candidate they’re seeking and that it’s not a new grad who interned for four hours a week for their last two years of college.

As to why more people don’t scale way back rather than dropping out of the workforce entirely when they have other things going on: one large reason is because there aren’t nearly as many part-time professional jobs available as people who would likely want them (particularly when you narrow it to their specific field).

Related:
how to calculate how much work experience you have

4. Does the Equal Pay Act apply if you’re both women?

My coworker recently referred her friend to a job opening on our team, and she was hired. As friends do, they compared their compensation numbers and found that the new hire was going to be paid more. They will have the same title and the same responsibilities. My coworker then went to her manager to address this discrepancy and was told that her compensation would not be brought up to match the new hire’s. I know this would be a legal issue if a man was being paid more for the same job, but since the issue is between two women, does the Equal Pay Act still apply? Does my coworker have any recourse to this obvious unfairness?

The Equal Pay Act only prohibits paying men and women differently for the same work; it does not apply if the differently paid employees are the same sex. That’s because the law’s goal isn’t salary parity in general; it’s specifically about sex discrimination.

So your coworker doesn’t have legal recourse, but she can still make the case for a raise based on her own performance and the new info she has now about the value of the work to the company. That said, she should also look at whether there might be legitimate reasons for her friend to be bought in at a higher salary, like a different or more advanced skill set, more experience, different education, stronger track record of achievement previously, etc.

The post our exit interviews are emailed to all managers, how to ask about AI use in a job interview, and more appeared first on Ask a Manager.

Stolen

May. 8th, 2026 04:01 am
[syndicated profile] dumbing_of_age_feed

Posted by David M Willis



The Dumbing Of Age Book 15 Kickstarter continues!

The good news is that we're finally better than computers at something!

but the bad news is that it's math

Those ZIL grammar flags

May. 8th, 2026 12:02 am
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Posted by Andrew Plotkin

A couple of months ago I referred to a quote from Infocom's internal ZIL manual:

The other four tokens—ON-GROUND, IN-ROOM, HELD, and CARRIED—are incredibly confusing, and no one really understands them except Stu, so he should probably write this bit.

-- Learning ZIL, chapter 9.6

That post was about the social context in which Steve Meretzky wrote those words. So I didn't get into what the ZIL tokens meant.

But this week the question came up on the Visible Zorker Discord. Let's get technical!

(This post is also available on my Patreon.)


What kind of tokens are we talking about? The manual again:

There are several tokens which can appear in parentheses within a syntax definition: HAVE, TAKE, MANY, EVERYWHERE, ADJACENT, HELD, CARRIED, ON-GROUND, and IN-ROOM. This parenthetical list appears after either or both OBJECTs:

<SYNTAX
  GIVE
    OBJECT (HAVE)
  TO
    OBJECT (ON-GROUND IN-ROOM)
  = V-GIVE>

(I've spaced out the <SYNTAX> line for clarity.)

This example defines a grammar line: GIVE ___ TO ___. The V-GIVE routine will handle the action. The parenthesized tokens define some behavior for the two object slots. The parser will use this information when searching the world for objects to match the player's command.

(Note: The manual dates from 1989. EVERYWHERE and ADJACENT were added with the "new" V6 parser used in Zork Zero, etc. I'm still dealing with the early games, so I'll skip EVERYWHERE and ADJACENT in this post.)

So how to figure out what ON-GROUND and IN-ROOM mean? Look at the parser code, right? Here we run into our first problem: the parser code and the syntax definitions use different names.

Here's a set of definitions from Zork 1:

<CONSTANT SH 128>
<CONSTANT SC 64>
<CONSTANT SIR 32>
<CONSTANT SOG 16>
<CONSTANT STAKE 8>
<CONSTANT SMANY 4>
<CONSTANT SHAVE 2>

The initial S is ZIL convention for constants (perhaps "static"), followed by abbreviations. SOG is ON-GROUND, for example. Annoyingly, SH must be HELD rather than HAVE!

By the way, note Infocom's preference for numbering from the high bit down. Clearly HELD was defined first. SHAVE needed more letters because SH was already taken. And they haven't used the low bit at all (yet). You see the same thing with attribute flags and property numbers; all games start with the high value, but not all make it down to zero.

It would be smart to verify our understanding in, as it were, real life. Let's look at the GIVE TO grammar line in Zork 1. Turns out the manual example was simplified. Here's the real definition:

<SYNTAX
  GIVE
    OBJECT (MANY HELD HAVE)
  TO
    OBJECT (FIND ACTORBIT) (ON-GROUND)
  = V-GIVE PRE-GIVE>

Messier... We have both an action routine (V-GIVE) and a preaction routine (PRE-GIVE). The preaction routine checks prerequisites before the start of action handling proper.

We also have a different kind of object flag: (FIND ACTORBIT). This is well-explained in the manual. If the player omits the second object (by typing GIVE SANDWICH), the parser will try to fill in the blank by looking for an object in the room with the ACTORBIT attribute. That is to say, an NPC. If there's exactly one, great! If there's two or more, ask for disambiguation.

But back to the ON-GROUND stuff. We can rip apart the compiled game file to look at the grammar table. (I use the txd tool for this.) The grammar line is eight bytes:

[02 00 ff 00 1e 86 10 3f] "give OBJ to OBJ"

I'll spare you the full decoding. (See Michael Ko's document for that.) The relevant bytes are $86 for the first object (MANY HELD HAVE) and $10 for the second (ON-GROUND). Do those bits match up with the definitions above? Yes! Whew.

Let me rewrite the table, showing both the SYNTAX names and the CONSTANT labels:

HELD       SH     128  ($80)
CARRIED    SC      64  ($40)
IN-ROOM    SIR     32  ($20)
ON-GROUND  SOG     16  ($10)
TAKE       STAKE    8  ($08)
MANY       SMANY    4  ($04)
HAVE       SHAVE    2  ($02)
    (unused)        1  ($01)

Armed with this knowledge, we can dig into the mysterious tokens.

TAKE and HAVE aren't that mysterious. The manual tells us that TAKE means that we will try to automatically take a (portable) object before the action begins. HAVE means the object must be in the player's inventory for the action to succeed.

You'd think these would always go together. Not always! For example, the READ action has the TAKE flag but not HAVE. You'd prefer to be holding a book in order to read it, but a plaque bolted to the wall is still readable.

Conversely, the DROP action has the HAVE flag but not TAKE. You can only drop something you're holding, but it would be peculiar to auto-take something in order to drop it.

The rules point up some interesting corner cases. The EAT action has TAKE, but the DRINK action does not. Why? Because drinkables are liquids, and taking liquids always has special rules -- if it's possible at all. You should be able DRINK from a stream, or at least try, without executing TAKE WATER behind the scenes.

(Mind you, the rules aren't always clear. In Zork 1, lots of actions have TAKE, but only a few have both TAKE and HAVE. Looks like BURN, LIGHT, EXTINGUISH, and WAVE. Why those?)


Okay, let's get to the mysterious tokens.

SH, SC, SOG, and SIR are used in exactly one place in the parser code. It's this stanza:

<COND (,LIT
  <FCLEAR ,PLAYER ,TRANSBIT>
  <DO-SL ,HERE ,SOG ,SIR>
  <FSET ,PLAYER ,TRANSBIT>)>
<DO-SL ,PLAYER ,SH ,SC>)>

Notice that they are used in pairs: SH with SC, SOG with SIR. That's how they're handed off to the DO-SL routine, which is quite short. Feel free to look at it, but here's the gist:

DO-SL takes a container and two bit flags. If the slot has the first flag, we'll check the container's immediate children. If the slot has the second flag, we'll check the container's indirect descendants (those at the second level or below). If the slot has both flags, we therefore wind up checking all of the container's descendants, at every level. (There's a special case for this but it's just a shortcut.)

That may seem rather abstract, but think about how it works with the stanza above. The line <DO-SL ,PLAYER ,SH ,SC> simply means: Check the player's inventory. A SH (HELD) slot will match anything the player is directly holding. A SC (CARRIED) slot will match anything the player is carrying in a container. If a slot has both tokens (which is by far the common case), any object anywhere in the player's inventory will match.

The line <DO-SL ,HERE ,SOG ,SIR> does exactly the same thing, but checking the room contents, with the SOG (ON-GROUND) and SIR (IN-ROOM) flags. The first means directly on the ground; the second means things in containers in the room; both flags together mean anywhere in the room. Except for the player's inventory! We briefly set the player non-transparent, so this line doesn't search inside the player. That keeps the HERE search from getting mixed up with the previous PLAYER search.

Again, most verbs pair ON-GROUND with IN-ROOM. (It's odd for an action to apply to only things in containers.)

Oh, and the room search only runs if the location is LIT. Zork convention is that dropped objects are inaccessible in pitch darkness. You can manipulate your inventory in the dark, like a good spelunker should -- but only your inventory.


Well, now that we've dug through the details, it seems straightforward. Why did Meretzky say it was confusing?

Turns out I skipped over one tricky detail. The SH, SC, SOG, SIR tokens are suggestions, not requirements.

HAVE is a requirement. Some actions can only be done when you're carrying a thing; they need to fail when you're not. But HELD (SH) and company only come into play for disambiguation.

Let's go back to that original manual example:

<SYNTAX
  GIVE
    OBJECT (MANY HELD HAVE)
  TO
    OBJECT (FIND ACTORBIT) (ON-GROUND)
  = V-GIVE PRE-GIVE>

If you're carrying the lunch, you can type GIVE LUNCH TO TROLL -- that's fine. (The troll eats it.)

But you can equally well type GIVE TROLL TO LUNCH. That fails the HAVE test ("You're not carrying the troll") -- but before that point, it skims right by the HELD token for the troll and the ON-GROUND token for the lunch. Like I said, just suggestions.

Say you were carrying a spicy meatball and also a spicy pepper in a glass jar and there was a spicy burrito on the floor. Then the command GIVE SPICY TO TROLL would have three options. The HELD token would cause it to prefer the meatball, because you're holding it directly.

Similarly, in Deadline, GIVE HERRING TO WOMAN would prefer Mrs Rouke (standing in the room) to Ms Dunbar (sitting on the couch, and therefore not ON-GROUND).

Again, it's common for these tokens to appear in pairs. Zork 1 has the syntax

<SYNTAX LUBRICATE OBJECT WITH OBJECT (HELD CARRIED) = V-OIL>

So LUBRICATE HINGES WITH GREASY would prefer a greasy object anywhere in your inventory to one lying on the ground.

(Of course Zork doesn't have even one greasy object. That command is for the benefit of people trying a trick that worked in Colossal Cave!)

But look at this one:

<SYNTAX TALK TO OBJECT (FIND ACTORBIT) (IN-ROOM) = V-TELL>

This doesn't have the ON-GROUND token. So TALK TO WOMAN would disambiguate to a female NPC sitting on the couch, rather than one standing in the room. Why on earth would you want that behavior?

The answer is, you wouldn't! But this situation can't happen in Zork; the three NPCs never enter containers. So the mistake isn't noticeable. In fact the NPCs in Deadline don't sit on the furniture either, so it never comes up there either. (My example with Rourke and Dunbar was fake, sorry.)

Similarly:

<SYNTAX PUT ON OBJECT (IN-ROOM ON-GROUND CARRIED MANY) = V-WEAR>

This lacks HELD, so it prefers items you're carrying in containers to items you're holding directly. This is ridiculous. PUT ON HAT should not prefer the hat in your backpack to the hat in your hand.

The problem is, demonstrating these bugs is hard. You need to find two objects with a synonym in common, put one of them in a container, and then try a particular verb.

Here's a demonstration. Remember that all treasures in Zork, including the PAINTING, can be referred to as TREASURE...

> I You are carrying: A painting A brass lantern (providing light) A sword A brown sack The brown sack contains: A jewel-encrusted egg A clove of garlic

> PUT ON TREASURE You can't wear the jewel-encrusted egg.

See? Picking the egg over the painting is silly! But of course the command PUT ON TREASURE was silly to begin with. I guarantee that nobody at Infocom ever tested it. You need to spend a week staring at the parser logic to know how to even set this experiment up.

To perform the parallel experiment for ON-GROUND/IN-ROOM, drop both the sack and the painting and type TALK TO TREASURE.

The upshot is that if you're building a <SYNTAX> line with ON-GROUND and IN-ROOM, getting it wrong almost doesn't matter. You'll never get any feedback that you should have used the other one (or both). Thus, confusing. It's a detail which is almost impossible to learn.

The difference between HELD and CARRIED is a bit clearer, because inventory containers are common and you don't want to screw up the affordances of the DROP action. But the DROP syntax is the same in every game; they copied those basic verbs around. Most Infocom folks probably never needed to know why DROP is written the way it is.


In conclusion...

Nah, I'm not building up to a grand thesis here. I'm pointing out the ways that a design system can be opaque, even to the people who invented it.

I guess the lesson is that ZIL should have provided a simpler set of options for common use. Maybe define HELD and IN-ROOM for most verbs, and then fancier terms (HELD-DIRECT vs HELD-INDIRECT, IN-ROOM-DIRECT vs IN-ROOM-INDIRECT) for the few cases that really required them. If there were any.

Also, more regression tests. Create a "game" with a playground of objects, containers, and NPCs; run through every combination of actions and objects and containment setups. Or at least enough combinations to exercise every possible parsing outcome, plus all the weird experiments above.

As far as I know, ZIL never had this testing setup. Neither did the hobbyist IF systems of the 1990s. Inform 7 has a very large suite of unit tests, but I don't know if they're written to exercise the parser as distinct from the I7 compiler.

Future goals? Maybe.

Matt Carlson: Review of Unstoppable

May. 7th, 2026 11:32 pm
[syndicated profile] opinionatedgamers_feed

Posted by Matt J Carlson

A recent entry in the excellent Solo Hero series by Renegade Game Studios, Unstoppable is a unique combat-focused card-crafting game set in a dystopian future. It is a combat deck-builder where the focus of the game is to damage enemies … Continue reading
[syndicated profile] unsung_feed

Posted by Marcin Wichary

The Pixar animated short Lifted was released in front of Ratatouille in 2006:

I’ve always been amused by this imaginary interface, which is so clearly not how any sort of computer would work.

Or so I thought. These are photos I took in Melbourne in 2024 of CSIRAC, Australia’s first digital computer from about 1949:

This is a “console” of the computer, used to tactically probe or input specific memory addresses (in binary), and to control functions like stopping and starting the program. Any proper programming and eventually inputting data would happen using gentler I/O devices like typewriter keyboards, paper tape, and magnetic storage.

Physical consoles like this one were last seen in the 1970s on hobbyist home computers such as the Altair 8800, and the Console app on your Mac diligently spitting out logs is its spiritual and virtual successor. But even if a CSIRAC console feels hostile today, 75 years ago it was quite the opposite:

And [CSIRAC] helped there too. It could display all its working registers and the last 16 instructions executed. It could be given an address at which to stop (a “breakpoint”), and be stepped by one instruction at a time. It even had lights to show the computer’s internal states. This was a user-friendly computer.

CSIRAC stood for Commonwealth Scientific and Industrial Research Automatic Computer, a typical naming scheme of the era. We also got ENIAC (Electronic Numerical Integrator and Computer) in 1945, BINAC (Binary Automatic Computer) in 1949, EDVAC (Electronic Discrete Variable Automatic Computer) in 1946, ILLIAC (Illinois Automatic Computer) in 1952, and then SEAC, SWAC, ORDVAC, TREAC, AVIDAC, FLAC, WEIZAC, BIZMAC, RAMAC, and UNIVAC.

The story goes that the name of 1952’s MANIAC (Mathematical Analyzer Numerical Integrator and Automatic Computer) was chosen to highlight and put a stop to the goofy naming practice. Did it work? I am not sure. Not only two more MANIACs were produced, but we also got 1953’s JOHNNIAC (nicknamed “pneumoniac” since it needed a lot of air conditioning), and SILLIAC (Sydney ILLIAC) in 1956. The last computer I can find using that naming scheme was TIFRAC, operating in India between 1960 and 1965.

CSIRAC had real work to do, but today it is known chiefly for being the first computer to play music in real time. The quality is… I’ll let you judge, with links below pointing to short MP3s preserved by Paul Doornbusch and subsequently Internet Archive:

Do you miss your PC speaker yet?

Engineers working on other room-sized computers of that era did similar things; whether this was solely one of the first attempts to humanize the big scary machines, or a distraction from the computers’s typically military uses is left as an exercise for the listener.

Today, one of the 1960s machines still plays music, headlining a fascinating annual tradition – every December, the PDP-1 restoration crew at the Computer History Museum in California invites visitors to sing carols with the computer older than most of them.

The last photo takes us back to where we started. Neither CSIRAC nor PDP-1 might be user-friendly by today’s standards but damn, wouldn’t you want some of your computer’s interface to feel this way?

#history #sound design #youtube

Prolost Watches 1.0

May. 7th, 2026 09:27 pm
[syndicated profile] daringfireball_feed

Posted by John Gruber

Stu Maschwitz:

Prolost Watches is an iPhone app for managing your watch collection. It’s part database, part journal; designed for the detail-obsessed mind of the watch fanatic. As you log each day’s choice of watch, insights are revealed. Wear logs trace a path on the map. Events from the past are resurfaced at opportune times. Finances mange themselves as you buy and sell. Your entire collection lives in your pocket, and you get to enjoy all your watches, even the ones you’re not wearing. [...]

Prolost Watches is a one-time purchase. There’s no subscription, no ads, no account, and no server. Your data is secure and private, and never leaves your device. Pre-order now for US$14.99, with expected release on June 16 at US$19.99.

I’m friends with Stu, I have my own little obsessively curated watch collection, and, for some of my interests in life, I love keeping a log of activity. So I jumped at the chance to beta test Prolost Watches. And it turns out, my watches are not one of those things I want to track in a log or database. I just want to continue doing what I’ve been doing ever since I went from owning only one watch to two: I pick the one I’m in the mood for that morning and I wear it for the day.

I feel the same way about sleep tracking. I’m fortunate in that I sleep great every night. I’ve been sleeping better this past year than I have in my entire life. So while I have my Apple Watch(es) set to track my sleep overnight — because why not collect the data? — I don’t look at it or worry about it most days because all it tends to do is add a little stress to my mind over something I ought not have even an iota of stress regarding. (I like wearing an Apple Watch while I sleep not for the sleep tracking but because it’s easy to read in the middle of the night in the dark.)

But, that’s me. I obsessively track other things that most of you would think are a bit nutty to track. You don’t get to pick your obsessions, but you know what they are. If you’ve got a few watches and you think you’d be interested in tracking how often you wear each one, you should already have the above link to Prolost Watches open in a tab.

Interesting too, is how Maschwitz made Prolost Watches:

Bitrig has changed a lot since I used the iPhone version to create the ill-fated version of Drinking Buddy. It’s now a native Mac app that allows prompt-base creation of native SwiftUI apps for iPhone, as well as iPad, Mac, and Apple Watch. It has a built-in simulator, and can preview your apps on your device as well. If Lovable (which I used to create the shipping version of Drinking Buddy) is at one end of the spectrum — easy for anyone to use with little experience, and Claude Code running in the terminal is at the other, Bitrig is in a sweet spot right in the middle: a little nerdy, but with some well-considered creature comforts that, in my case, made it mostly a delight to craft and refine a complex app.

The iPhone version of Bitrig got swept up in Apple’s infuriating but unsurprising crackdown on iOS vibe-coding apps a few months ago. It’s still in the App Store, but hasn’t been updated in over five months. The Mac app is in active development. It’s kind of bananas that the iPhone is a nearly 20-year-old platform and you still can’t use an iPhone app to make iPhone apps. And when developers, like Bitrig, found ways to build atop LLM capabilities to make iPhone apps that can make iPhone apps, Apple put the kibosh on it.

Connected 602: Computer Too Good

May. 7th, 2026 09:03 pm
[syndicated profile] 512pixels_feed

Posted by Stephen Hackett

This week on the podcast:

Myke compliments Federico, and Stephen has gone down a rabbit hole with Casey Liss leading the way. Also: Apple continues to adjust its Mac lineup as the memory crisis drags on, and the guys have some jobs for John.

Rogue One: The Andor Cut

May. 7th, 2026 08:45 pm
[syndicated profile] kottke_org_feed

Posted by Jason Kottke

David Kaylor is re-editing Rogue One into what he calls “The Andor Cut”; the trailer seems pretty compelling and well-done. He says this is Rogue One if it was produced after Andor:

The original version is the events of Rogue One as seen through Jyn’s perspective, and this is through Cassian’s.

The remixed Rogue One will be out on May 25, available in 4K with 5.1 surround sound. Kaylor has previously produced cuts of all three original trilogy Star Wars movies, Star Wars: Episode III - The Siege of Mandalore & Revenge of the Sith (a combo of the third prequel and part of the 7th season of Clone Wars), and Star Trek: Picard: The Last Generation (a recut of Star Trek: Picard’s 3rd season).

This edit is not to be confused with Andor: The Rogue One Arc, which recuts Rogue One into an Andor-like three-episode arc, leaning heavily on Andor’s soundtrack to set the mood.

This edit is kind of an expression of that with a movie I generally really liked - moving its energy from emulating the jaunty, swashbuckling OT, to more in line with its prequel show’s feel.

Up front, I don’t actually think this elevates or changes Rogue One in any meaningful way. The movie is still the movie, still fast paced and action oriented, particularly compared to Andor’s fiercer, slower, and paranoid ethos. But I do think the elements Andor is rooted in become far more apparent foregrounded to this soundtrack. Where the movie somewhat failed to recapture the energy and excitement of traditional Star Wars (and not for lack of Giacchino effort), the places where it takes itself seriously should now feel less dissonant in a [tonal] context that seriously considers them.

I’ve watched The Rogue One Arc and am looking forward to comparing it to The Andor Cut. And I’ve been seriously contemplating yet another rewatch of the TV series.

Tags: andor · movies · remix · Rogue One · Star Wars · trailers · video

[syndicated profile] kottke_org_feed

Posted by Jason Kottke

A brief history: lessons from the rise and fall of Reconstruction. “Must America be forever defined by strict hierarchies of race, gender, religion, and wealth – or can the nation finally realize its promise of egalitarian pluralism?”

The Big Idea: Jill Rosenberg

May. 7th, 2026 06:43 pm
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Posted by Athena Scalzi

While it may seem like fantasy is as far from the real world as possible, author Jill Rosenberg suggests that indulging in fantasies and fiction actually connects people instead of isolating them from reality. Dive in to the Big Idea for her newest release, Now I’m Photogenic and Other Stories I Tell Myself, and see if our desires are really just human nature.

JILL ROSENBERG:

People often think of fantasy and the imagination as ways to escape reality, but I think there’s a more complicated and fraught relationship between the two. What we long for, the ways we wish to escape—this grows out of our real experiences of the world. But the reverse is true as well: our “real” experiences are colored by our fantasies. 

We might, for example, wish to be an Olympic-level athlete, as one of my characters does, but this wish highlights the absence of her athletic talent, which may not have shown up as an absence if she’d never longed to be an elite athlete. That feeling of absence and desire drives her behavior, which changes her reality, and the resulting experience changes her understanding of herself and what she really wants.

Our imagination can’t free us from the world because our imagination is made from the world.  But it can alter the way we see things and what feels possible. The first story in my collection is called “The Logic of Imaginary Friends.” This is where I present this big idea most directly. A single mother is left lonely and longing when her eleven-year-old daughter goes to sleepaway camp for the first time, so she reunites with her imaginary friend from childhood.

It’s great at first, until one imaginary friend is not enough, no matter how she morphs him in her mind to meet her shifting needs and desires. The fantasies are fun, but not satisfying, and she begins to feel that she’s choosing this fantasy life over her life with her daughter, but does she have to choose between the two?

As a child, I used my imagination to revise reality. Every Thanksgiving I’d feel so excited for my cousins to visit. I’d imagine myself gregarious, irresistible, rehearsing all of the interactions I’d have, writing their dialogue and mine. But when they arrived, I could never be that person or get the response from them I wanted.

Later that night, however, I could rewrite the dialogue to be more plausible but equally thrilling, given what actually happened. That was always my favorite part of the holiday, alone in my room, taking what happened and transforming it into the holiday I longed for. But the bigger the gulf between my fantasies and reality, the less I was able to enjoy the fantasies or the reality.

It’s this competing desire that compelled me to write these stories: the desire to be known, seen, recognized and special, to connect with those around us, and the desire to hide what makes us unique, to pretend we’re no different from everyone else.

On the one hand, my characters are often reminding themselves of their freedom. Maybe they really can be anything they want to be, but when they try to do it, out in the world, it’s not so easy. They can’t control reality or other people’s responses the way they can control their fantasies. But the more they shy away and hide from the real world, the more that fear of reality infects their fantasies, or, in the surreal stories, the events of their fantastical lives. As a result, their fantasies and their lives get weirder and worse. 

Of course, my strange characters and the unusual things that happen to my characters all stem from my own strangeness and my unusual thoughts and experiences. In my real life, I do not always feel like showcasing the ways in which I deviate from the norm, but I am happy and proud to put my strange and unusual characters out into the world because I do think that fiction shows us new and different ways of being. 

The role of fiction, even surreal fiction, is to bring us closer to the experience of being a human in the real world. That marriage between—and tension between—dream and reality is what I find most thrilling and ultimately satisfying in both my writing and my life.


Now I’m Photogenic and Other Stories I Tell Myself: Amazon|Barnes & Noble|Bookshop|Powell’s|Watchung Booksellers

Author socials: Website|Instagram

Read an excerpt of one story from the collection: The Logic of Imaginary Friends

The Abolitionist Map of NYC

May. 7th, 2026 06:58 pm
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Posted by Jason Kottke

The website for the Abolitionist Guide to NYC is just getting started, but the site does house an Abolitionist Map of NYC.

The Abolitionist Map of NYC offers a geographic survey of incarceration and anti-carceral resistance in Manahatta from the Dutch colonization of Lenapehoking to the present day. The map highlights some of the first jails and prisons to exist in the area, the movement of facilities from one place to the next, and sites of rebellion against the expansion of the prison industrial complex.

It is meant to serve as a tool for abolitionist resistance grounded in a long view of the struggle, tactics, and goals.

The map is available as a PDF and as an interactive version. (via @prisonculture.bsky.social)

Tags: maps · NYC · prison

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Posted by Ask a Manager

A reader writes:

I’m returning to the job-searching arena after several years and will be interviewing over the next few weeks.

A few years ago, I was interviewed by a panel who were quite hostile and clearly not impressed with my resume or my responses. Up until that point, I’d never come across any interviewer who was aggressive, disrespectful, or rude, so the nastiness directed my way was unexpected:

• belittling of my resume
• verbal expressions of frustration at my lack of specific experience (and then giving me a nasty look)
• patronizing remarks made about my responses to questions
• aggressive facial expressions, no smiles, and no basic civilities (not even hello, just a curt instruction to “sit down!”
• questions being asked in a hostile tone with a patronizing remark at the end
• I think I was told at one point, “You aren’t very good, are you?”
• Practically throwing a resume at me for me to refer to during the interview
• Eye-rolling and groaning at my responses

All of the above sounds like something from a movie, but it really happened.

Surprisingly, I was offered the job, and as I had few choices at the time, I accepted it. I think I lasted about eight weeks before leaving for a better opportunity.

If I were to be interviewed by a hostile, aggressive interviewer again, what is some wording I can use to quickly take myself out of the running and leave the interview with my dignity intact? Since my prior experience taught me that a hostile interviewer is indicative of employer culture, I’d rather give them a wide berth.

If an interviewer is just a little unpleasant but not openly hostile, much of the time it makes sense to stay and finish the conversation — since who knows, you might want to apply again there in the future for a job with a different manager and ideally you’d preserve the relationship with the employer generally (even if you’d never work for this manager).

But if an interviewer is openly hostile, you’re not required to just sit there and take it. If someone is flagrantly rude or antagonistic, there’s no reason you can’t say, “As we’re talking, I’m realizing this job isn’t quite what I’m looking for, and I don’t want to take up more of your time. I appreciate you talking with me, and I wish you the best in filling the role.”

If you think you’d have a tough time saying this, it helps to remember that your interviewer isn’t in charge of you — which I say because the power dynamics of interviews can make people forget that. While it’s true that the interviewer is deciding whether or not they want to offer you the job, that assessment is a two-way street: you are also deciding whether or not you’d want to work with them. You aren’t a supplicant waiting for them to bestow their blessing on you. Particularly once you’ve decided that you don’t want the job, you are peers in a business conversation, and you are allowed to decide to wrap up and leave. In fact, I’d argue the best interviews always feel like peers in a business conversation and that’s not a shift that should only come about after you’ve decided you don’t want the job.

Interview conventions tend to steer candidates away from feeling they can cut an interview short but you absolutely can, the same way an interviewer could also decide to do that if a you were clearly not the right match.

If you ever need to want to end an interview early and you’re worried about how your interviewer will react, it can help to put yourself in the headspace of other types of business meetings and how you would handle those: for example, if a prospective vendor was rude in a meeting, you’d probably have a much easier time ending the conversation. The power dynamics are different in interviews — but they’re not so different that you have to tolerate abuse.

The post how should I handle an openly hostile job interviewer? appeared first on Ask a Manager.

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Posted by Jason Kottke

Chess Peace is an iOS puzzle game where you have to place chess pieces on a board so that none of them attack each other. Simple + clever!

things I like

May. 7th, 2026 04:29 pm
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Posted by Ask a Manager

Years ago, I used to do occasional round-ups of things I like, just for fun. I haven’t done one in years, so here’s a new one.

1. Alyssa Limperis’s mom videos. Hilarious.

2. Riki Lindhome’s take on So Long Farewell from the Sound of Music. Also hilarious.

3. Catalog Choice. They unsubscribe you from catalogs and I love them.

4. This chicken and her kittens.

5. The charity Undue Medical Debt, which buys and erases the medical debt of people who can’t afford to pay it.

6. This illustrator.

7. The Bloggess’s mortification series.

8. Alley Cat Allies, which is an excellent charity helping cats without homes.

Feel free to share your own random sources of joy in the comments.

The post things I like appeared first on Ask a Manager.

Into the gap

May. 7th, 2026 08:13 am
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Posted by Mandy Brown

It is right that the murder of many people
be mourned and lamented.
It is right that a victor in war
be received with funeral ceremonies.

Tzu & Le Guin, Tao Te Ching, page 38

How are we to prevent war? asks Virginia Woolf in the winter of 1937, as photos of the Spanish Civil War pile up on her desk, with their broken bodies and broken buildings, and Hitler and Mussolini gather forces to the east, and her own government’s war budget reaches new extremes. War, she asserts—and you will agree—is a horror, a terror that must be stopped. As well we know, confronted as we are with real-time video of genocide in Palestine, the massacre of school children in Iran, a fascist leader not abroad but in our own demolished house, asserting his right to make war wherever he likes, whenever he wants, including in our own cities, as armies under other names murder and disappear our neighbors with impunity. But, Woolf asks, what is she to do, what are the daughters of educated men to do in the face of that horror? And what are we, generations later, working women and their allies, how are we to stop it? It’s a good question, and we must spend some time trying to answer it.

Woolf begins by considering how women might influence the decision to go to war and we may well begin with the same. To influence, we must have some knowledge to impart, some skill in speaking of it, and a listener who would hear us. We have some knowledge—the knowledge that war is a horror, the knowledge that when a missile falls from the sky and rends bodies into pieces that a terrible evil has been done. We can speak of this too, can point to the photos and videos that flit across our screens, children with missing limbs begging for food amid the ruins. These are images and reports of atrocity, undeniably and unequivocally. Yet who would listen, and how? Where can these words be spoken? Here we find we are in some trouble, for the supreme form of speech in our time is not words but money, both in legal doctrine and in fact of order, with our media controlled and manipulated by an obscenely wealthy few who have gobbled up platforms and papers and perverted them to their own aims, aims that seem very much in favor of war, for war has ever been the commander of wealth. When we speak against war we find our words drowned out, lost in the deepfakes and the advertising, the psyops and the slop, the stock market reports, the casual declarations of war crimes, the oil futures, the gilded festivities, the chattering and nattering among a purportedly progressive political class concerned with the appearance of civility but indifferent to its obligations. No knowledge moves through such mediums, only information, a ravening, unending stream of data in which knowing anything is nigh impossible.

And such is that information that it is frequently as odious as the war it both directly and indirectly leads to: racism, misogyny, eugenics, transphobia. (That last a word that implies fear or aversion when the reality is much more violent, both speech and act that seek to eliminate a people whose courage in seeking their own liberty is among our brightest beacons.) But are these notions not the collaborators and soldiers of capital, and so of war? Are not racism and misogyny the masked recruits who go door to door, kitchen to bedroom to workplace, demanding labor and loyalty and love from an underclass who are threatened with suffering and death if they do not deliver it? Toni Morrison, whose words we may yet remember, said: “And they never, ever thought we were inhuman. You don’t give your children over to the care of people whom you believe to be inhuman….They were only, and simply, and now interested in the acquisition of wealth, and the status quo of the poor.”1 Racism and eugenics were invented to justify the colonization of Black bodies just as sexism justified the enclosure of women’s.2 The racists and misogynists of today work the same power: they create a world in which a few wealthy men dictate the material conditions of the lives of millions of others who must serve them, who toil for scraps, whose every step, however small, towards more freedom is violently and immediately resisted, and with overwhelming force—an impulse that you will agree is very much like the impulse to war.

Look no further than the disproportionate attack on DEI, an effort that saw not to upend capitalism but merely to lightly expand the number of people who might not be entirely crushed by it, but which has been met with an extraordinary campaign to cancel huge swaths of scientific research, retract life-giving knowledge of medical care, hollow out our universities, purge career civil servants and leaders of the armed forces, and to eviscerate the federal workforce3—upending millions of lives and leaving our federal government, already poor from decades of neoliberal retreat, unable to deliver on the basic requirements for the life and liberty of its now abandoned public. That the federal workforce has long been one of the best chances for a comfortable life for Black and brown women excluded from comparable employment in the private sector is of course no coincidence. Meanwhile, the barons of the private sector have likewise backed down from even superficial concern for equality, and now demand such extreme fealty to their enterprises that only someone with no caretaking responsibilities whatsoever—with no care at all, not even for themselves—could possibly meet them.

“Influence must be combined with wealth in order to be effective as a political weapon,”4 Woolf concludes, and we grieve that the only change we can see in the century since is that the gap of wealth has widened, the effectiveness or lack thereof become only more extreme. Woolf was a member of the propertied class, but it was in her lifetime that women earned the right to their own property and were granted access to professional work, such that they might not be entirely in debt to their fathers and husbands. And yet in her time women secretaries were said to be routinely “fagged out” in the afternoons because they couldn’t afford a proper lunch.5 Today, our food pantries work overtime to feed the working poor, people who work full time and more but don’t make enough to buy bread. Those who do make enough to live on do so in awareness of their intense precarity, the knowledge that they are one illness or storm away from ruin. And even the wealthiest worker has little compared to the investor class pushing for war, those who see war not as an abomination but as yet another opportunity to increase their bloated purse. What is our wealth compared to the billions spent on fighter jets, the $2.5 million spent on a single Tomahawk as it tears through a school full of little girls? What is our wealth compared to the mind-boggling quantities spent on the drones and satellites that make death as easy as clicking a button from the safety of a desk on the other side of the world? The same flick of a thumb can reduce a hospital to rubble or post a racist meme, often one right after the other. What is our wealth compared to the record-breaking $1.5 trillion requested for the military, a military that is already the richest on the planet? Trump: “We have a virtually unlimited supply of these weapons. Wars can be fought ‘forever.’”

So if money is influence, our relative influence has waned with the rise of the billionaire class. Woolf, recognizing the same, turns her attention instead to education. For if perhaps enough money cannot be mustered to prevent war, then learning—with its values of intellect and reason and enlightenment—may work in our favor, inasmuch as learning grows those faculties of reason, and reason is quite the antidote to the unreason of war. But again we find a problem. In Woolf’s time, while women have ostensibly been permitted into the colleges, they remain excluded from universities, and the women’s colleges are beggarly compared to those gleaming towers. Nor have women been permitted to adorn their names with the same letters and credentials that the men claim, a factor that keeps them from competing for the jobs that require them. It seems that the colleges are less places of learning than they are places of acquiring prestige, a prestige that is fiercely defended and protected, for prestige is a strangely fragile creature who can live only in scarcity and when exposed to too many of its own kind withers and dies like a tree choked by vines.

And today? Well, women have torn down the gates to the universities, that much is clear. Women make up a majority of all college students in the US, and would be an even greater portion were it not for policies that directly work to balance the gender of student bodies. But that tearing down has been met by what can nearly be termed a war itself: a livid and indignant assault on places of learning from the men who want war, aiming at what has become the heart of the university, its beating and bloodied endowment. And the universities have, nearly to the letter, capitulated and retreated in the face of that assault, trading away centuries of purported intellectual freedom in order to protect the money needed to continue to operate, as if operating without that freedom was worth any money at all. Woolf writes:

Is that not enough? Need we collect more facts from history and biography to prove our statement that all attempt to influence the young against war through education they receive at universities must be abandoned? For do they not prove that education, the finest education in the world, does not teach people to hate force, but to use it? Do they not prove that education, far from teaching the educated generosity and magnanimity, makes them on the contrary so anxious to keep their possessions, that “grandeur and power” of which the poet speaks, in their own hands, that they will use not force but much subtler methods than force when they are asked to share them? And are not force and possessiveness very closely connected with war?

Woolf, Three Guineas, page 193

We see that same force and possessiveness in our own time: billions extorted from the universities, while the universities call in cops in riot gear—gear so named because when worn it inspires one to riot—to descend on students protesting genocide in Palestine. A great irony this would be, if irony were not the first casualty of war. For these brave students were met with war while exercising their right to protest the same, a right which past wars have been fought to defend but in which we seem to have retroactively declared defeat.

Places of learning are always the first target of the fascist, because they are places that might counter the propaganda and pseudo-culture that leave us either pacified and accepting of their scraps or else fighting each other instead of fighting those who would start a war. Learning and thinking—a skill the billionaires are trying to supplant with machines that purport to think for us—are a challenge to the illogic and madness of war. To see an image of the broken bodies and broken buildings, to hear the testimony of those who lived, to have the skill and fortitude to ask how this could have happened, who benefits from such a horror, and how they might be stopped—for they must be stopped—is to exercise a lively mind and spirit, one capable of making the imaginative leap between the way things are and the way things ought to be. That interrogative and thinking mind is a threat to the fascist, who needs you to see things only as he does, who needs you unthinking and unquestioning, because only an unthinking and unquestioning mind could possibly accept the horrors of war. Only a mind so subdued by slop and propaganda and advertising, a mind unpracticed in observation and inquiry and imagination—only such a mind could be complacent as its pockets are picked to fund that most terrible of horrors.

And so at last we turn to the workplace, as Woolf does, not in the hope that we might make enough money to counter the warmongers—for we have done the math, and no matter how hard we try, there is no chance of that—but because work is where we may, if we’re lucky, earn enough to keep a roof over our head and food in our belly, both of which are necessary to be able to think and act in the world. And we must be able to think, to remember that war is a horror, to resist being anesthetized by the memes and the vapid statements to violence. But here we find a curious contradiction: on the one hand, we are threatened with a lack of work, with our jobs taken over by machines who will never know that war is a horror, because they cannot know anything at all. On the other, high-pitched edicts that we must work so hard that there can be no time to think of anything else, no time to consider how these pictures of broken bodies and broken buildings came to be. (Musk: workers “need to be ‘extremely hardcore,’ logging ‘long hours at high intensity.’”) How can both of these claims be true? How can the investor class simultaneously threaten us with no work, and, at the same time, threaten us with too much? It seems they fear equality more than hypocrisy.

Perhaps we should also fear the disposition that the professions—which women fought so hard to enter, and now must fight so hard in which to stay—train us for. Here again is Woolf:

And those opinions cause us to doubt and criticize and question the value of professional life—not its cash value; that is great; but its spiritual, its moral, its intellectual value. They make us of the opinion that if people are highly successful in their professions they lose their senses. Sight goes. They have no time to look at the pictures. Sound goes. They have no time to listen to music. Speech goes. They have no time for conversation. They lose their sense of proportion—the relations between one thing and another. Humanity goes. Money becomes so important they must work by night as well as by day. Health goes. And so competitive do they become that they will not share their work with others though they have more than they can do themselves. What then remains of a human being who has lost sight, and sound, and sense of proportion? Only a cripple in a cave.6

Woolf, Three Guineas, page 258

It’s interesting to think with Woolf about our current march towards war, as the differences between her time and ours are revealing as much for what hasn’t changed. She wrote at a time when women were still largely excluded from professional work, from universities, from the armed forces. We read her today as women with one or more degrees, with careers, many of us carrying medals won in war zones and the scars to prove them, many of us with pips on our collar, credentials as long as those held by the men who guarded the libraries from the presence of women in Woolf’s time. But in both eras our presence in these places seems to have inspired an extraordinary, and extraordinarily violent, response. The assault against diversity programs is so out of proportion to those programs’ actual impact that we must admit something more elemental is going on: women’s presence in previously precluded spaces (and it is important to note that it is white women who have been the greatest benefactors of diversity initiatives, and Black and brown women who now suffer the greatest costs of their retreat) has inspired a level of violence among a small group of rich, insecure men that they will lay waste to the whole world before they will consider sharing their table with women as equals. Their own self-worth is so mean and spare that it withers when it comes into contact with those who do not bow and bend in their presence. The armed thugs marching through our streets, the speeches about force, force in our own cities, force elsewhere in the world, soldiers rechristened as “warfighters,” all of this is an assertion of manhood, a manhood reduced to nothing more than domination in all things, a masculinity that can see itself only in the violent oppression of others, whether that is other countries, other cultures, other races, other genders, or the more-than-human world. As Jamelle Bouie notes, “the vision of the world here is the vision of a rapist.”

We are forced to conclude that to be in possession of a great deal of money, to be in a position of great authority, whether over an institution of learning or of government or of business, is to be in favor of war. The prestige and power that accompany both rank and great wealth—wealth which in our own day has grown so large as to be incomprehensible—also engender an instinct to possession and to the violent and disproportionate defense of that wealth. While we, who have neither great rank nor great wealth, know war to be an abomination, a horror through and through. Yet we can never hope to compete with the warmongers in either arms or cash, in prestige or status. So what are we to do?

We must refuse to compete at all.


We, with our empty hands, know it is right to mourn and lament the murder of many people. And so we mourn, and we lament, and we demand that our would-be leaders stop this incessant and evil warmaking.

Are those demands enough? It would seem not. It would seem that despite great opposition to war, despite great risk to our economy, to our own safety as we shred our oldest and strongest alliances, that our demands for an end to war land on ears not deaf but blocked, stoppered with ego and greed and lust for domination in all its forms. And perhaps this should be no surprise. For why would a class of people so threatened by the mere presence of women in their schools and governments and workplaces ever open their ears to those women’s demands? Our speech must be a very great threat if they are so unwilling to hear it.

So to speak against war is necessary—necessary for us to speak so with one another, so that we do not forget that war is a horror—yet insufficient. It is not enough to speak against war, for the warmongers, with their infinite money and infinite weapons, cannot hear us against the drums they so loudly bang for war. We must look elsewhere for the path that leads away from here.

When Woolf was writing, women were precluded from the armed forces, and so could not refuse war by refusing to fight. We today are not subject to the same prohibition. We find ourselves among the ranks of soldiers both on our own soil and on many others. We have not earned the same respect, for many of our brothers seem to believe we have been put there solely for their use and abuse, and others—the same people who drive us to war, who claim no reason for war save war itself—work to exclude us once again. Yet women make up roughly a sixth of the armed forces, and perhaps as much of the forces in our streets.7 Here is perhaps our greatest opportunity to halt the march to war. For we have it within our power to refuse to fight. We who know that war is a horror must refuse to raise a gun or fly a jet or steer a drone heavy with death into homes and hospitals and schools. We must refuse to go door to door in our own cities dragging people without warrant or reason into filthy, inhumane, and hastily built camps—for as sure as killing is a part of war, so too is gathering people up and locking them away. We must drop guns and kevlar and gas masks and walk away from the field of war, whether that field is distant from our homes or just down the street. We may look here to the courage of those like Ella Keidar Greenberg, an Israeli who, at 16 years of age, signed a pledge refusing to enlist in the military and was then, at 19, jailed for that refusal. “Refusal is the imperative,” she speaks, and we who have not plugged up our ears to reason and wisdom can yet hear her, and agree. For to make the horror of war with your own hands is to become a horror yourself.8

This is easy to say for the great many of us who do not fight in war, who have not raised guns or donned armor or placed hands on keyboards and rained death on schools and hospitals from afar. But the imperative to refusal remains: we must refuse to lend our hands or minds to war, in whatever way we can. And so we must also refuse to work for war, to use our labor to make the technology of war, whether of weapons or of surveillance or of detention, whether that technology is used in our own streets or somewhere afar—for any technology used afar will come home soon enough, as we see with the militaries in our streets, outfit with cast offs from so many wars abroad.9 We must not lend our hand to the making of guns or missiles or drones, of targeting systems or intelligence databases, of satellites that scour the planet for schools and hospitals, of algorithms that prescribe processes for murder, processes that promise to scrub their operators clean of the blood that follows but which will haunt them, nonetheless.

Is this enough? It is not. For war is such an enormous undertaking—witness the trillions of dollars, an amount of money too big to think with—that it seeps into nearly every part of the economy. The same servers that summon servants to your door are used to surveil the people of Gaza; the same newspaper that brings details of the war to our eyes and ears also perpetuates a story that the greatest hardship of war is the price of gas at the pump. The same so-called AI that makes it easier to prototype a website is simultaneously being used to generate enormous quantities of racist and misogynist slop that treats war like a spectator sport. The same university that teaches the history of war also pays millions in bribes to the warmongers, while making a concerted effort to erase trans people from the very same history books. If we are truly committed to not working for war, we must not work for any of it. Not for the weapons manufacturers or the drone makers or the algorithm authors; not for the papers or the products or the schools.

Perhaps you will think I am being too harsh. Perhaps you will say, but this is my only way of making a living, of keeping a roof over my head and my children’s heads, of feeding and clothing my loved ones. After all, we have also noted how our publics have been decimated by the very same men who push for war, men who have likewise colluded to raise prices on milk and eggs, who have transformed homes into commodities, such that we who had so little money compared to them seem every day to have less and less. Already our food pantries work overtime feeding the working poor, and we rightly fear every cough and tooth ache, every flutter of our overworked hearts or tiny lump beneath our skin, for medicine is increasingly a privilege reserved only for the rich. How could we refuse work under such conditions, when work is increasingly scarce?

Here we must pause and again wonder at that scarcity. For it is a curious thing that work is becoming harder and harder to come by, that what work there is is often so poorly remunerated we must visit the pantries for bread at the end of the workday. Or, if it pays well, it does so under the constant threat that it could end at any moment, that it will end soon enough. Is it not the case that the men who loudly bang the drums for war, who build the technologies of surveillance that are used both to round people up and to aim missiles on their backs, who pollute our skies with satellites and insert themselves into the field of war as if they were heads of state themselves, states of ego and greed and impunity—are these not the selfsame men who declare we no longer need workers at all, that one machine can do the work of dozens? And do they not declare, out of the very same mouths, with the very same breaths, that those few workers who remain must work themselves to the bone, must work every waking hour they can, must eschew rest and play and leisure for the work is too great to put down for even a moment? And do they not also say—for as we have seen, those with more money have more speech, and seem ever to want us to hear them—that it is immigrants who are taking away all the jobs? (A dog-ate-my-homework excuse, if there ever was one.) And meanwhile there is so much work that needs doing but isn’t being done: our schools overcrowded, our farms short-handed, our streets and bridges crumbling, our parks neglected, our clinics overrun, our laboratories empty.

This is not to say that the scarcity isn’t real. It is real enough, as the lines at the food pantries attest. But it is manufactured; it is built bolt by chip by screw by a billionaire class who want workers who complain neither of their warmongering nor of their whip. On the one hand, they threaten us with no work at all, with the misery and penury that comes from a lack of work, and therefore a lack of the means of living. On the other, they demand endless work, a work that wipes out all other avenues for thinking and being, that leaves us programmable and programmed, no space left in our minds for thoughts they haven’t placed there. Are we to merely acquiesce, to accept their scraps and the miserable conditions attached to them? Surely not. For if we accept these conditions, will they not impose even worse upon us? Will they not keep increasing their demands and decreasing our pay until we are working ceaselessly, and for nothing? What would compel them to stop? Already we have seen that their greed for money and for power is so voracious it will tear through buildings and through bodies, it will murder many people, it will poison the air and the soil, it will bring great storms upon us. So there must be an end, and it is only we who can bring that end about.

So I say again we must refuse to work for war. But I do not wish you any hardship. If the only work available to you is the work of war, or work that has been perverted to the aim of war—and I am trusting that you have done your best to find other work, to make your living in a manner that does not end the lives of others—then there remain yet other avenues to take. Here you must gather with your colleagues and comrades, for the work against war is not solitary. You must first speak and be heard by each other, know that you are not alone in recognizing that war is an abomination, a great and terrible horror. For while speaking into the networks and the platforms is like speaking to the wind, your words tossed away from you before they can reach your own ears, we still have the ability to speak to our colleagues and to our neighbors, to speak unmediated and uncensored with each other. To speak with our mouths and with our hearts and with our lively, imaginative minds. To say, war is a horror, and I will not work for it, and are you with me? Can we speak together? Can we move and act against war hand in hand, and right here, where we stand?

Here we see a great many of our kith and kin already stepping up. We can look to workers at Amazon, Google, Salesforce, and others who demand that their work not be used for surveillance, mass deportation, drone warfare, or genocide. We can look to the hundreds of workers at Thomson Reuters who raised alarms after learning that their company was selling data to ICE, prompting shareholders to demand an investigation. We can look to the community in Monterey Park, California, who successfully organized in favor of a ban on the construction of data centers—after noting that in addition to being polluting, noisy, energy guzzlers, such data centers also fuel ICE’s violence against their own neighbors. We can look to the Harvard graduate students currently on strike, whose demands include protections for international students at risk of deportation. We can look to the twenty-four attorneys general who have filed more than seventy lawsuits aimed at stopping the administration from waging war at home.

And we can look to Luanne James, a librarian in Tennessee, who when asked to remove books from her library—books flagged for such transgressions as “female empowerment” and “following one’s dreams”—said, “I will not comply.” For is not censorship likewise a tool of war? Haven’t the book burners and the warmongers always been the same people, with the same aim? Are not slop and chatbots who care nothing for veracity the new tools for censorship—censorship by means of pollution rather than prohibition, but the ends are the same.

James was subsequently fired for her dissent.10 Refusal always invites consequences. But then so too does compliance, and often very grave consequences at that. Here we may heed the advice of the veteran scientists who resigned from the National Institutes of Health after it was gutted by the Trump administration. They implore, “Please decide where your red line is so you can choose to act before the line is already behind you.”

There is risk here, of course. Organizing is, in theory at least, a protected activity and legally you may not be retaliated for it, but we have seen who the law protects and who it bends and breaks for and have no confidence in it protecting the likes of us. But there is risk no matter what we do or do not do. To be alive, to have a body vulnerable to gun and missile and chemical weapon, to famine and to thirst, to penury and hardship, is to be at risk; only the dead are relieved of the risk of harm. Your employer may punish you for organizing, but what is that risk compared to the risk of being complicit in war? The risk of knowing yourself to be someone who helped rain death on schoolchildren, who helped imprison your fellow workers in filthy detention camps, who helped program people’s minds to be numb to atrocity and horror? For you will know what you have done. Even if your daytime self can wrap you up in comforting excuses and justifications, can be lulled by the distractions and the advertisements and the television that anesthetizes your conscience, you will know it in the dark of the night. Our dreams know where we have gone wrong and they will never let us forget it.11

But perhaps even this risk seems too great. You know your circumstances, and you know the ways the investor class has of keeping your head down. You cannot be fairly asked to put your own life, or your kin’s lives, on the line. And yet you are not without the ability to work against war, even in these difficult times. For you can work against war while seeming to work for it. Perform your work diplomatically while leaking information to the press, so that those on the outside who are safe from retaliation may organize in your stead.12 Look for ways to gum up the works; raise concerns and questions and show where plans are short, where steps have not been thought out, where coordination is insufficient. Do not meet expectations but dash them, show them to be shortsighted or foolhardy, lacking sufficient detail; make those who set them doubt their own understanding of the world (as they try to sow doubt in you). They have made this easy on you, the warmongers and profiteers, by foisting unpredictable and inconstant machines upon you and mandating their use, by setting irrational milestones that could never have been met even by those who tried. Right there is a ready-made excuse for why the work could not be delivered as asked—your hands were tied. Do the work if you must, but do it dragging your feet, do it always on the lookout for ways to slow down the march to war and so give others the time to stop it.

Does this gall you? It galls me. We ought not to have to spend our energy, what little and precious time we have on this earth, denigrating and diminishing our own skills. It is a violence to the self to do our work poorly. But against the alternative—against setting those same skills in the making of war—it seems a small sacrifice, and a necessary one. For it is not only your skill in, say, design or management or engineering that you may exercise. It is also the skill of refusal, the skill of refraining from making war in all its many and terrible forms. And that too is a kind of work, a good work, work that all of us can do.

For there is one weapon that only we possess and which the billionaires and the warmongers can never take from us. One weapon which so frightens them they will twist their words into knots, they will spend the entirety of their vast fortunes trying and failing to convince us that we don’t possess it at all, they will claim over and over and without evidence that it is vanishing before our eyes even as it remains right there in our hands, clear and plain to hearts yet open to the world: the refusal to work.


To refuse is a creative act. What is created in a refusal is a gap, a space, a moment in which something else makes ready to emerge, something that waits upon our invitation and a bit of water or sunlight to pop itself out and set down roots. To refuse is to create that which can only exist in the shade of that refusal, the refusal giving shelter to the choice that appears behind it. To refuse is to choose.

In that choice, we find ourselves in the gap, in the place where no one has programmed our thinking, no one has told us what to do, no one has left any instructions or orders that we must follow. No one stands ready to answer our questions or to assign us tasks or to relieve the anxiety of being alive to uncertainty, for this has always and ever been the only way to be alive. In this gap is not one choice but many, a myriad of choices, for from here on out there can be no prescription, no map or plan or diagram. Only one step, and then the next.

Yet we are not without skill or art. In fact, it is our art which is most at need here, our art that helps us imagine how things could be different, how we could work not for war but for peace, and for liberty, and for care for all our kin in all the kingdoms. How we could live with one another if prestige and missiles and extreme wealth were relegated to the history books, where they belong. It is our art, the art of painting or drawing or sculpting or dancing or making music or writing—and while all the arts are needed here, I will make a special plea for writing as that which so often gives us new worlds to think with—that we can think with the question of what we are to make with one another when we refuse to make war.

For to refuse the work of war is to choose to see things as they really are, and as they yet could be. This is a choice we make most strongly when we make our art, when we bring our keen attention to the world and do not flinch from it, do not numb ourselves to it, but rather look at it squarely and know that however things are, they can—they will—be otherwise.

What could our work become when it isn’t the work of death, of domination, of separation and detention and surveillance? What is our work when we give up seeking wealth and prestige—which no matter how hard we work, we can never have enough of? What is our work when we do not accede to orders from above but make choices with each other? What is our work when we see it not as a way to make a wage but a way to make more life, not only for ourselves, but for everyone? What becomes of our work if we work for the living?

To refuse is an ending; an ending to our work being used to rend buildings and bodies, to massacre schoolchildren, to surveil and capture and detain. To refuse is a beginning. To turn away from the work of war is to turn toward the work of making a living world, work that does not answer to the billionaires, with their slavering, unending greed, but which only answers to each other. The gap that we create with our refusal is not void but potential, not emptiness in the sense of want but empty as a bowl or bag is empty, as an ear cocked to a speaker, a pair of hands cupped and raised to the roiling and darkening sky.

  1. From A Humanist View, a speech given at Portland State University in 1975. Quoted in Táíwò, Reconsidering Reparations, page 6. Táíwò adds, astutely, “Racism was only ever a smoke screen.” ↩︎

  2. “[I]n pre-capitalist Europe, women’s subordination to men had been tempered by the fact that they had access to the commons and other communal assets, while in the new capitalist regime, women themselves became the commons, as their work was defined as a natural resource, laying outside the sphere of market relations.” Federici, Caliban and the Witch, page 97 ↩︎

  3. For just some examples of these efforts, see Unbreaking’s explanations of the assaults on the federal workforce, medical research funding, and trans healthcare↩︎

  4. Three Guineas, page 170. ↩︎

  5. Ibid, page 404. ↩︎

  6. This is clearly a reference to Plato’s cave, and the comparison hits a little harder in our own time: the shadows on the cave wall have been compressed to the mirrored screens we hold in our hands. ↩︎

  7. A since-deleted page on the ICE website says that women made up 15% of law enforcement officers employed by ICE as of 2023 (archive link). That the page has been deleted perhaps says something about how little ICE cares for the women in its employ. ↩︎

  8. The Center on Conscience and War reports that it has seen a 1,000% increase in US service members interested in becoming conscientious objectors since the start of the Iran war. Mike Prysner, the Center’s director says, “I haven’t heard from a single caller who said, ‘I’m scared of dying in a war I don’t believe in.’ All of them are scared of killing people in a war they don’t believe in.” ↩︎

  9. Aimé Césaire termed this the “boomerang” effect↩︎

  10. A legal defense fund has been set up to help James contest her termination. ↩︎

  11. In The Third Reich of Dreams, Beradt reports that those who worked against the Nazis had dreams of fierce hope, while those who collaborated and capitulated were wrought by nightmares of terror and humiliation. ↩︎

  12. The Freedom of the Press Foundation maintains some good advice on how to protect yourself while sharing information with the press—including the counsel to avoid visiting this link from a device your employer controls. ↩︎


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Posted by Ask a Manager

It’s the Thursday “ask the readers” question. A reader writes:

I have been with my current employer for 20 years. We have been fully remote since 2020, though we do have in person meetings roughly once a quarter. And I travel for business frequently so also often spend times with colleagues this way. I have very close friends at my current role, but that is a reflection of my long-term tenure and the old days of lunch in the cafeteria and chats by the photocopier.

I’m starting a senior manager level position next month at a new company and I’m looking for advice on how to develop relationships with coworkers. I will lead high profile cross-functional projects and will need to have strong relationships with various teams (marketing, sales, product, etc.). And on top of that, I know I will be more successful if I have coworkers who I can call work friends, and I know I will enjoy my work environment if I have friendly relationships with coworkers. I’m not looking for friends to hang out with outside of work or looking for a new bestie, just colleagues I can chat with socially sometimes during the work week here and there.

I don’t know if that is a realistic expectation in this WFH world. I know there are many who prefer not to be social at work and that’s totally fine — I wouldn’t want to intrude. I just want to be able to say, “Hey Susie, how are the kids?” or “Hey Susie, how did your last marathon go?” The idea of not having a friendly chat once in a while seems so isolating.

In my current role, I have found that new joiners struggle because they feel very isolated not knowing anyone very well and feel like they are an outsider because there are others at our work that know each other very well. I worry this will be the case me.

Any advice on how to fit in (or reality check that I’m expecting too much)?

You aren’t expecting too much. Lots of us want to have warm, friendly relationships with colleagues and be able to talk about things besides work. Readers, what’s your advice?

The post how can I get to know coworkers better when we’re remote? appeared first on Ask a Manager.

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"Jazz Fish, a saxophone playing wanderer, finds himself in Mamboland at a critical phase in his life." --Howie Green, on his book Jazz Fish Zen

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