jamesear

I’ve written this. My goal of 2024 is to remove all emails, alerts, notifications that don’t truly deserve my attention.

Me too. Even "We updated our T&Cs" is too many.

I went on an account deleting spree:

* accounts where guest checkouts are an option: eBay, Mouser, bandcamp, booking.com

* accounts of once-used online stores

* old email accounts

* Amazon, Airtasker, Uber, frequent flyer, ...

I'm down to ~100 passwords in my password manager which is still too many, but good enough.

Cloudflare work on some cool stuff! It's a shame they don't hire for software engineer positions in Australia.

I feel like it would be a lot more straightforward if people just came out and said that they think piracy should be legal.

I don't think Yuzu advocates are actually advocating piracy.

I think they think an illegal use of a tool should not mean the tool is banned.

"Emulators don't pirate games, pirates do."

I think our echo chamber will surface views amenable to this viewpoint. Emulation news is quite literally hacker news.

But we deceive ourselves with such a bubble, when the outside world doesn't lean our way. Downplaying piracy usage doesn't do us any favours when trying to build an accurate model.

I understand your argument, and perhaps a similar one will be made to the courts.

For some people, if a tool has a single legitimate user, and otherwise haa illegitimate users, then the tool should be allowed.

For others, if the tool is mostly used for illegitimate means, then the tool should be banned.

Where the law lands in this case will be partly based on these values, and the benefits/harms to all parties.

I don't know enough about the case, but I don't think it's as clear cut as a hammer.

I think MyFedora is suggesting that even if Yuzu's primary usecase is piracy, that's because it's so difficult to use Yuzu in the legit manner (due to Nintendo's DRM on the console/game you own).

The only comment of someone saying they had used Yuzu for piracy has been flagged, and is no longer visible.

This might HN readers a skewed perspective on how much Yuzu is used for piracy.

I have many acquaintances/friends in different circles, with the means to pay, who use Yuzu for piracy.

There are dedicated forums of people who coordinate on how to do this.

Emulation is great as a means to study or play backups, but its also fair that Nintendo has legitimate business interest in curtailing this.

IANAL, and have no idea how their case against Yuzu developers will go.

I like the signal-to-noise ratio of interested commenters searching for related posts.

I fear something automated would be too spammy for most posts.

Excuse my ignorance, I'm about to ask stupid questions.

* What type of person uses this? I guess the intersection of people interested in composing and people able to typeset? I would have thought it wasn't that popular, but it has the polish of a popular tool. What am I missing?

* Do people typically use this to compose their own music, or are they recreating music they know?

* How similar is sheet music to source code? Does any software interpret it to output audio?

* Are there any open git repos where people collaborate on an open collection of sheet music?

* How expressive is sheet music? How constrained do you feel trying to convey your idea onto this format? Does it support abstraction, or making your own abstractions?

The "different files" you refer to are likely just different distros ways of configuring scripts that use netlink/ip. Each distro will do something differ, or use something like systemd-networkd/networkmanager. There's no one way.

netlink is the API, and `ip` is the canonical CLI tool for interacting with the tool.

I know this isn't a practical option for many, but there are still many simple audio players for self managed music collections.

I use VLC on Android, and Amberol on Linux. They're both folder oriented, and stay out of the way.

For context, this looks to be https://newsroom.spotify.com/2020-05-19/the-joe-rogan-experi...

should've been yours too

Different people like different things. That's okay.

The post notes that Spotify pays $0.003-$0.005 per stream, and compares that to the average exec making $200k/year.

If Spotify diverted all that exec money to artists, I wonder whether the $0.003-$0.005 figure would change, or if that would be too only amount to <$0.0005 difference.

It might be fair to criticize Spotify's deal with rights holders of music, but the above line of critique doesn't hold so strong to me.

As it happens, $200k/year for an exec seems low?

Disclaimer: I don't use Spotify and instead manage my own collection.

Sometimes when I load Twitter, even to view a single, it requires sign in.

I don't know why it sometimes does and sometimes doesn't.

Make an account. Only follow those guys. You don’t even need to include your real name man.

I understand this is easy, and others won't mind doing this. That's fine.

I object to the idea of needing an account solely to read heavily linked, otherwise free, content.

Besides, my browser doesn't store logins/cookies, so it'd be another login I have to do on each session.

You want to use twitter no account in the age of AI. It don’t work like that anymore

So be it, I guess? The content isn't that valuable to me anyway.

Yes, that's it. I don't want an account.

+1. I wasn't happy to have to use Nitter to access Twitter, but I accepted it. I'm not jumping through any more hoops for Twitter. Random Twitter links become random FB/Medium/LinkedIn: a closed world I'm not interested in.

I only ~followed two people's content:

* Dan Luu, available on https://mastodon.social/@danluu

* Paul Graham, available on https://mas.to/@paulg but he doesn't post anymore. I'll live without this.

How do you reconcile your thoughts with what the CEOs of these AI companies keep telling us? I.e. "the present is the most amazing time to be alive", and "the future will be unimaginably better". I'm paraphrasing, but it's the gist of what Sam Altman recently said at the World Government Summit[1].

Three ways:

* It's the job of CEOs to advocate the benefits of what they're doing.

* Those things might be true, for them.

* Those things might be true, from a global perspective, even if there are some people who are worse off. White-collar workers might just be those people worse off.

The bar for writing in games is surprisingly low.

I'll not mention any in particular, but IME even games noted for their writing have generic stories.

Maybe there's something in the medium that constrains stories? A story explored through the eyes of a protagonist with limited actions (repeated an abnormally large number of times), who you know will eventually succeed.

Fantastic. It would be nice if there was a column for the track, so I can more easily filter.

Yes.

TIL https://en.m.wikipedia.org/wiki/WorkChoices

Australia has strong labour laws, but my impression is that its culture is losing its historic comradery, possibly in response to density beyond what its cities can handle, and the housing crisis.

This news is a welcome win for labour laws.

7digital has a decent FLAC catalog.

Millions just get on with it, without a fear. If one streaming site goes bust, they'll switch. If all streaming sites go bust, the world will be united in finding solutions. It'll be fine.

But fair enough to those that want to curate their own local collection.

Full disclosure: I rely solely on my local collection, but I also think the loss of streaming is not a worry people should have.

First few months are tough, but it gets better. Look out for you and your partner's mental and physical health.

Keep newborns to a schedule.

Don't worry too much, nothing is that difficult, it's just a lot of work, done on interrupted sleep.

Your child is only a newborn once, try to cherish the time when you have opportunity.

Welcome to the club. :)

I agree and I'd like podcasts to remain open. Compared to video, the comparatively low cost of recording, production, and serving of audio has led to the flourishment of podcasts, without centralisation.

But centralisation has a way of creeping in, so I wouldn't be surprised if a platform came about to attract podcast creators with convenient revenue streams, in the same way Substack has for blogs. There's opportunity on the table.

I dropped my Spotify subscription when it started getting exclusive rights on podcasts. A worrying trend.

Or maybe the open podcast world has enough momentum to remain decentralised? What would lead to the practical decentralisation of video? Peertube has not made a dent yet.