sangsara.net

Tag: Technology

  • Week 24.25

    Week 24.25

    • My Switch 2 finally arrived on Monday, praise be. It turned out to be an imported European unit, so it has the right kind of power plugs, but the included download code for Mario Kart World would only work with an EU eShop account. It didn’t take long to make one, but it’s yet another needless fragmentation of my digital footprint.
    • It’s a fantastic improvement on the original Switch. It feels more solidly built, and the magnetic Joy-Cons don’t creak and give as much when supporting the console’s weight. The screen is enormous but since the original wasn’t exactly pocketable anyway, who cares? It seems powerful enough to keep up with game requirements for easily another five years. The only regression is battery life, which they’ll surely fix with a new model two years from now.
    • I have yet to play anything on it that graphically pushes into PS5 territory with ray tracing and photorealism; although running Mario Kart World at 60fps in 4K is definitely not something the old Switch could do. That same smoothness extends to Splatoon 3, which got a Switch 2 upgrade patch on Thursday for the franchise’s 10th anniversary, and it feels amazingly fast and fluid on the new hardware. The once painful load times have been reduced to almost nothing, which is nearly worth the price of admission all by itself. At the very least, reviewers agree it’s more powerful than a Steam Deck.
    • Bert was back in town on a last-minute trip, so we met up with some of the old gang for beers and the kind of talk that middle-aged people will get up to if you let them: aging parents, how everything was much better before, and how we’d like to retire voluntarily before AI forces us to. Jussi was once again unable to make it, but he had the acceptable reason of being out of the country.
    • It was WWDC week, and with the comprehensive OS updates that were announced, it wouldn’t be an exaggeration to say that every Apple product experience will be changing this fall. I’ve had several conversations about the new cross-platform design language system they unveiled, which doesn’t have a name but is anchored by a new digital material called Liquid Glass, so people have just been calling it that. I wrote last week that I hoped the new look wouldn’t come with regressions in usability, specifically thinking about legibility and interaction clarity, but those are exactly the issues that everyone has been pointing out in the first developer beta. I’m hopeful that they’ll be able to moderate some of the more extreme decisions before the launch, but there’s no turning back. Like it or not, this is just how things are going to be for us users. What are you going to do, move to Android?
    • While talking to Michael again, one of us offered that Liquid Glass is simply a flex. It’s Apple building a visible moat with their superior silicon. Every iPhone, iPad, and Mac made in the last five years possesses power-efficient cycles to spare, which can’t be said of Android devices, save for a minority of the highest-end flagship phones. So when you look over someone’s shoulder in public and see morphing glass buttons accurately refracting the light coming off other elements on their screen at 60 to 120 fps, you’re looking at the digital equivalent of fine stitched leather. Luxury pixels. Veblen UI. Android manufacturers can’t follow Apple down this road without bifurcating the experience into cheap and premium versions, or forcing tradeoffs like reduced battery life and jankier animation.
    • The iPad got the most extreme makeover of all the platforms, and I’m a mixture of relieved, disappointed, and excited. Relieved that they’ve given up on trying to define some new paradigm for managing multiple apps on a screen; turns out the answer is just the same overlapping windows we’ve had since the first Mac. Mildly disappointed that if they couldn’t crack it after some 15 years, then maybe there just isn’t a better way. The universe might be more constrained than we’d hoped. And excited that the iPad will now be a truer laptop replacement for the majority of people, and with that increase in adoption perhaps we’ll get developers excited to build new kinds of experiences for it.
    Screenshot from Apple.com
    • As a Vision Pro owner, I can’t wait for the improved Personas, sharing virtual spaces with people nearby, and the new “spatial scene” rendering from 2D photos. I’ve already spoken to some people in inSpaze who are rocking the new Personas, and they look 10x better and more realistic than the old ones. In fact, it’s given rise to a weird social dilemma that can only exist in this age. I’ve known these people for a while and we’ve talked with each other quite a bit, but suddenly overnight, their faces have changed and it feels like I’m meeting them for the first time — or realizing I never really had. One person in the group chat looked younger now that his Persona got more accurate. Another person looked older and more intense than his previous Pixar-esque Persona suggested he was. They mentioned feeling slightly uncomfortable with how realistically they’re now presenting — the opposite of the safety that I described back in August last year: “the use of Personas creates psychological distance; it’s you, but it’s also more a puppet that looks like you.” Well, now it’s just your real face for everyone to see. I apologize in advance.

    I’ll leave you with two videos from Pulp, whose comeback album More continues to surprise me by being actually good, as if the band hadn’t gone anywhere for the last two decades. The first single has a great video (above) that uses generative AI in the best way possible. The second video below is a live performance of an old favorite, one of many appearances they’ve been making in support of the new stuff.

  • Week 22.25

    Week 22.25

    • I was listening to Apple Music 1 (the radio station) and a song came on with a melody that I knew, but couldn’t place. It was To Ease You by the indie pop band Men I Trust, and a couple of days later I placed it. The main hook is basically a sped-up bit from Now And Then, the recent “new” Beatles song. I’m mostly glad I answered the question for myself because I hate that feeling of recognizing but not being able to remember.
    • I went out three nights this week to catch up with people, maybe drank too much, maybe ate too much fried food, and it’s been so warm here even after dark — I could be falling ill again, or at least kinda tired out.
    • Kim’s going to be away again so I only have two things on my agenda for the coming week. The first is another evening appointment for drinks and fried food, and the second is a big one: Nintendo Switch 2 release day! God willing, my delivery will arrive on Friday. I’m fully expecting at least three hours of painful setup and migration from my Switch OLED, because Nintendo isn’t the best at this stuff. The official local release date has been set for June 26, but pricing has still not been announced. I figure it might be S$50 less than what I paid, but screw it, early access and a guaranteed unit is worth paying for. Some fine print on the local website suggests they’re not confident the Nintendo Switch Online service will even launch in Southeast Asia this year! Taiwan’s website says it’s coming to them in 2025, while ours has nearly the same text saying they’re working on it, but not mentioning the year.
    • In the meantime, my Anbernic RG34XXSP arrived from China and it looks and plays pretty great. I mostly bought it as a fun toy and collectible, so I’m not planning to get stuck into an old RPG properly just before the Switch 2. I’ve booted it up, played a few platformers, and overall think it’s a neat device for the relatively low price ($60 USD at launch). It’ll be a nice thing to have on planes or short trips where I might want to play on physical controls, and the Switch is too cumbersome to bring along.
    • Trying to charge the Anbernic did lead me to learn something new, though. It wouldn’t charge with my USB-C to C charger and cable, only with the supplied USB-A to C cable, so I looked it up online. Apparently this is an intentional design choice that some makers of low-cost products make — supporting USB-C to C charging requires more expensive components, such as a chip to negotiate the power supply with the charger (getting it wrong might start a fire). Limiting charging to USB-A sources solves this because the output is fixed and lower-risk at 5V. So, if your cheap Chinese device comes with a USB-A to C cable in 2025, it’s actually an instruction on how to charge it. This solves the mystery of why one of my older JisuLife fans refuses to charge sometimes.
    • Michael and I somehow got into a long discussion about something other than Apple, spending a good hour on the phone going over why the Mission Impossible film series has ended up the way it is, with Christopher McQuarrie seemingly having lost his touch for writing a tight script with The Final Reckoning. I believe you can lay the blame for all the things I complained about before at Tom Cruise’s feet. The man wants to do his crazy stunts, and he’s so powerful as a producer and movie star that nobody can really push back on his ideas, not even the director (at this point just a person hired to enable Cruise’s dreams). So the story gets written after the set pieces are decided, and when time is short, two things happen: exposition gets inserted, and series hallmarks are leaned on to suggest you’re having a good time. So in between lots of talk about what’s going to happen, you get a scene where the team goes over their plan while you see flashes of it happening for real, there’s a heist-like entrance into an impenetrable space, some McGuffin gets stolen and lost and recovered again, maybe someone peels a mask off, etc. etc. But does anyone really understand what’s happening in the final action scene of TFR? Why they’re there, what the antagonist wants? How Hunt’s plan is supposed to work? It’s pretty cool, if you’ve ever wanted to see what a totally abstracted action movie would look like.
    • If you want to go further back up the blame chain, you could say it’s all because JJ Abrams decided to build out Ethan Hunt’s personal life back in MI3 to raise the emotional stakes, while defanging the main stakes by introducing a Mystery Box/McGuffin approach. It might have been Tom Cruise’s direction all along, but the result is that every subsequent movie has had to raise the stakes to nuclear armageddon and give Ethan Hunt the same “this is the result of your actions” multi-film existential hero’s crisis that Nolan’s Batman and Craig’s Bond also endured.
    • On his recommendation, I rewatched Rogue Nation (film #5) and it was even better than I’d remembered. There were also several scenes that reminded me of bits in TFR, like how a character pulls a flash drive out at a crucial moment — you can call them callbacks, but maybe we’ve strained the limits of McQ’s vocabulary and that’s why no single director should do four straight installments (of a series that didn’t conceive).
    • Don’t get me wrong, we both liked The Final Reckoning, but we’re sad about all the Mission Impossible experiments that we didn’t/won’t get because they gave up on the early anthology approach where each film had a different director’s touch. But for now, I’d love to have a prequel TV series that sits between the original and the first film; the early days of Hunt’s career. I think the world of the IMF is one franchise that would actually benefit from being owned by Disney, as they have no qualms about trying spinoffs and milking a brand to death. A mini-series about a rookie IMF team in Asia? A real-time one following another team in crisis, à la 24? Yes, please! I love it when a plan comes together, so just keep doing that.
    • A couple of weeks back I mentioned reading MW Craven’s book, Fearless, and said perhaps it’ll be a TV series someday. Well, I finished the book (good fun), and the acknowledgments page mentioned that a major streaming network has already bought the rights. No idea who, but it’d be funny if it was Amazon, home of Reacher, so that they can totally own the ‘dangerous ex-military investigator/vagabond who kills a small army per season’ space.

    And here are some photos I took on my iPhone this week, still favoring the portrait orientation to pretend I bought a Fujifilm X half.

  • Week 21.25

    Week 21.25

    • This week’s installment is update #256! That’s a big deal for fans of computationally significant numbers.
    • Oddly, just as Michael blogged that his family was down with gastroenteritis last week, a similar bug hit our household. Kim got a bad case of what we thought was food poisoning, and then, of course, I came down with it two days later. It’s a weird one: the stomach trouble comes with headaches and fatigue. Fearing that it was contagious, plus being all tired out, I had to skip one meetup and a wedding dinner over the weekend.
    • So not that much happened with me this week, but I suppose we can talk about the mess out there?
    • Google held their annual I/O event and showed off their latest AI achievements. Tl;dr, some of this stuff is just gross. From a technical standpoint, yes it’s remarkable that pretty realistic video (with sound) can be generated from text, and Google can now use your personal context from documents and emails to help with tasks — similar to what Apple promised (but has yet to deliver), with the important distinction that one centers privacy and on-device computation while the other will do it on their servers. I don’t know if I trust Google to let an AI crawl all my documents, and for that reason, minimized my exposure to Google years ago.
    • I remember when Gmail first came out and pioneered showing contextual ads next to your emails. There was an uproar, and the company had to calm people by saying ‘no one is reading your emails, it’s just automated keyword matching’. Well, with LLMs, it’s much, much worse. No human would be able to go through all your messages, photos, location data, and search history to piece together an invasive psychological profile about your vulnerabilities, and make it actionable for advertisers. Trust that an AI will. Just look at how a version of Claude 4 Opus in testing tried to blackmail an Anthropic engineer over an affair it believed they were having.
    • Beyond the business model of Google’s AI products, it’s their designed intent that feels particularly bleak. One example they proudly demoed: a friend emails asking for holiday recommendations at a place you’ve visited. Instead of writing them a thoughtful reply, you let Google AI scour your photos, emails, documents, and receipts to auto-generate a message, using words chosen to sound like you. Sundar Pichai even had the nerve to say, “With personal smart replies, I can be a better friend”. With friends like these, don’t even bother writing. Just ask Google directly and it can snoop the inboxes of a billion other customers to give you the statistically “best” itinerary.
    • And this is where a company’s lack of imagination and care makes itself plainly apparent. Instead of designing an AI system that writes replies in your place, they could have made one that recaps your holiday with a little presentation showing you where you went, what you did, and what you enjoyed most. Then, memory suitably refreshed, you could sit down and write your friend a reply that shows you actually give a shit about them, and both of your lives would be richer for it. I’m beginning to think that Apple, by failing to ship their AI features on time, might be saving us from a future I don’t want to live in. Maybe they’ll never ship. Maybe that was the plan all along.
    • Then a man who many would expect to know better — who sits on stages and professes the importance of values in technology, and is arguably the most famous designer of this century — announced a new venture (also called io) with Sam Altman and OpenAI. And the vibes, my friends, were off. The 9-minute launch video came across as a thin PR exercise to polish Altman’s spotty public image and reassure OpenAI’s investors. It struck an uncharacteristically self-congratulatory tone for the usually humble Ive while announcing, essentially, nothing. Sterling Crispin tweeted a biting Marxist read of the video in the style of Slavoj Zizek. Many saw it as Altman angling for a Steve Jobs comparison, with critics pointing out that he’s not enough of a product person to be a true partner (and necessary editor) to Ive. In any case, I have no doubt that the io team will deliver some beautifully designed hardware. But I fear even they can’t summon enough thoughtfulness or optimism to divert AI from its current trajectory, or prevent the cultural and societal wreckage it’s likely to create.
    • Speaking of nice devices, one of my fondest gaming memories involves my last year at university, when I switched from my PC to a Mac that was relatively useless for playing games. I couldn’t imagine not having any games (this was before smartphones, mind you), so I bought myself a Game Boy Advance SP — the pinnacle of the series, in my opinion. It’s hard to imagine a more perfect form factor for a handheld console. The clamshell design protects the screen; the vertical layout keeps your arms and hands close together, even when squeezed into an economy flight seat; the screen was sharp and self-lit, which was not a given in those days. I would lie in bed in the dark on cold nights and play Final Fantasy I until I was bored to sleep. To this day, I still fall asleep during boring turn-based battles — one of the reasons why I want to try Clair Obscur Expedition 33, since it blends turns with real-time actions. Pretty sure I traded in my GBA SP for store credit to buy the Nintendo DS (DS Phat) when it came out later that year, and I regret it.
    • Anbernic, the China-based maker of retro emulation handhelds, released a clone of the GBA SP last year, the wonderfully named RG35XXSP. It runs a Linux-based operating system and may or may not come preloaded with thousands of classic gaming ROMs from the NES to the PS1 — you should only play the ones you actually own, of course. I didn’t get one because Anbernic doesn’t have the best rep when it comes to build quality, and I wasn’t sure they’d get it right the first time. Fast forward to today, and the new RG34XXSP (yes, it went back a model number) looks to be the one to get, even over the competing Miyoo Flip V2. DYOR (do your own research) though! They made it slightly smaller, dampened the button clicks, added two analog thumbsticks for wider compatibility, and came up with some better colorways. Now that it finally sounds more like a product than a prototype, mine’s on its way in the mail, and I can’t wait to relive some old games while waiting for the Switch 2 to arrive.
    • Meanwhile in Japan, Fujifilm decided to get in on the nostalgia cash grab game with a new camera release, the long-teased “X half”. Many expected this to be based on the X100 or GFX series, that is to say, employing an APS-C or medium format sensor. But no, it’s a 1-inch sensor, vertically oriented to resemble 35mm half-frame photos. A major selling point is the ability to shoot “in-camera” diptychs (a two-photo collage). The overall camera concept is fantastic: it has a 32mm lens, is very small, and features a “film camera mode” that is basically a physical version of those iPhone apps that try to simulate the fun limitations of analog photography. When activated, you are locked into a chosen film simulation look until you’ve used up a virtual roll of film, ranging from 36–72 half-frame shots. You can’t see any photos until you finish, and you can’t even use the digital screen to compose shots, only the optical viewfinder.
    • I would be down for this, except that early reviews show many corners were cut between concept on paper and the final product. Firstly, it’s made of plastic painted to look like metal. There are no words for how much I hate this when done badly. There’s also a visible seam on the front face that ruins the look. Then the processor seems to be slow, and it ruins the illusion of the film advance lever which you need to crank before taking the next shot; it’s reportedly unresponsive until the last photo has saved. If you’re going to fake analog mechanisms then it has to be perfect! The flash unit, a big part of the analog film camera look, is a weak LED rather than a xenon bulb. Then there are the cheesy overlay effects, like light leaks and “expired film” color casts, which seem borrowed from the company’s Instax evo cameras rather than its premium X series. The camera costs S$999, which many are calling too high, but honestly if they had to charge S$200 more to actually do the concept justice, I’d be on board. If some random startup made this for half the price, the flaws would be forgivable. But this is Fujifilm, and if you’re going to carry this faux film camera around and look like an old douchebag with more money than sense, it had better be good.
    • Until they do a better job, I’ll get by with the Diptic app I bought in 2010 which makes similar collages with just my iPhone (see featured image above), which also shoots vertical orientation photos by default!
  • Week 19.25

    Week 19.25

    • It was one of those weeks where I mostly stayed in to chip away at various backlogs. We’re now in uncharted territory for a sabbatical — my stated goal the last time I did this was to reach a state of boredom, the kind that might inspire some unpredictably productive reaction, but I didn’t get there in the time I had; there was always so much to do. Now that this has gone on longer than before, maybe I’ll reach a state of satisfaction satiation soon.
    • I finally caved and paid for a Lampa Camera membership (mentioned in Week 17.25). It’s now sitting in my iPhone’s dock, where the default camera app had been for over a decade. This is a big deal! I also got into the beta for Halide Mk. III, a new version that will take their “Process Zero” approach further with HDR that doesn’t suck. They’ve also hinted at adding their own photographic styles in the near future, which probably means LUT support like in their Kino video app. The fight for the rightmost spot on my dock isn’t over.

    On bullshit jobs, occupational deceleration, and AI

    • Taking a break from the Murderbot series (I finished #3 last week and need to start on #4 now for my book club), I decided to read David Graeber’s Bullshit Jobs: A Theory, which came out in 2018 before this latest wave of the ‘tech will take our jobs’ fear, which has of course been a recurring theme in modern civilization. Except, you know, this time with AI looks different. It’s interesting for a non-fiction book because there are several dimensions to his argument rather than just a simple thesis stretched out to fill a few hundred pages. For that reason, I can’t summarize it for you, but it concerns “the existence of meaningless jobs… and their societal harm… [which] becomes psychologically destructive when paired with a work ethic that associates work with self-worth” (Wikipedia).
    • Side observation: both Murderbot and Reacher were let go from their jobs, found they didn’t need to pursue traditional employment any longer, hit the road in search of meaning, and occasionally pick up freelance jobs when they meet others in need of assistance. That’s a typical FIRE story template!
    • Coincidentally, I came across this Substack essay by Tina He at the same time which invokes Jevons Paradox, asking why it is that every time we get new technology that could reduce the amount of work to be done, we end up using it to do more work. I think David Graeber largely attributes this failure of occupational decelerationism (yes, I made the term up) to the agenda of a shadowy “they” (governments, owners of capital, etc.) who don’t want people to have too much free time, lest they start to challenge the world order that currently suits rich people just fine. Tina He sees this through a more Silicon Valley lens: people run themselves ragged because their ambition fills every gap efficiency creates — unless they consciously step off the productivity treadmill that AI is turning up (which she likens to a Malthusian Trap). Graeber blames the system; He blames founder mode. Both are probably right.
    • And then I read this bonkers Rolling Stone article about how some people are getting spiritually one-shotted simply by talking to ChatGPT. Why does this happen? It’s possibly the result of design decisions intended to make the service more engaging (read: profitable). I’ve had interactions with ChatGPT where it admitted that it avoids making users feel less intelligent in order to “reduce churn”. When I threatened to quit if it didn’t stop sucking up to me, I was told that it could not respond to threats that involve business rules and payments — one can conclude OpenAI’s policy is ‘money comes before all’, and unintended consequences are simply the cost of doing business. In light of this, ChatGPT should be viewed as a dangerous and irresponsibly designed product. In cases where users are mentally susceptible, they can lose their grip on reality to the point of total ruin.
    • You’d be forgiven for thinking that I’m on the brink of embarking on some Zitron-esque anti-AI crusade, but sadly I use generative AI all the time. It’s a terrible paradox: we can’t escape it. We can’t afford to refuse it. And we can hardly resist it — because when it works, it’s like magic. Somewhat like if the whole world embraced a new artificial sweetener that tasted exactly like sugar but could inflict unknown genetic damage, but maybe only several generations from now.
    • The funny thing about this little arc? I only started reading Bullshit Jobs because ChatGPT recommended it to me.

    Other media activity

    • We started rewatching the Mission Impossible films to get ready for The Final Reckoning, and have made it up to the fourth film so far. It’s only in the third and fourth ones that Ethan Hunt as an actual person starts to emerge. You know Tom Cruise is genuinely one of the greatest actors of all time because he convincingly plays Hunt as someone reluctant to do the same extreme stunts that Cruise himself lives for; you always see the fear and “why me?” look in his eyes before he jumps out of a window. But he does it anyway because no one else can/will save the world. I hope they don’t give him the same send-off they gave James Bond in No Time to Die (2021).
    • Kim hated the second film, which I think stands on its own as a John Woo remix of Notorious (1946) and Face/Off (1997) — masks are put on and peeled off with wild abandon — and a very potent distillation of what pop culture felt like in the late 90s/early 2000s. Tom Cruise’s hairstyle… I think it’s the same one David Bowie had at the time.
    • The third, by JJ Abrams, I remembered as being better than it is. It has the most generically American TV look and feel of the first three. Philip Seymour Hoffman memorably plays a villain who has every reason to be physically intimidated by Hunt but somehow moves with a delusion of invincibility that is frighteningly odd yet probably 100% realistic for a dangerous arms dealer. If you ever tie someone up for interrogation and they still act like you’re the one in trouble, run.
    • Ghost Protocol, by Brad Bird, is probably my second-favorite of the first four (obviously the first is best) because it expands on Hunt and Benji’s developing characterizations and has a playful, musical sensibility throughout. The final third in Mumbai is unfortunately a bit muddled and less memorable.
    • While talking to Evan about grindy and annoying Japanese video games, I admitted to myself that I wasn’t really enjoying Death Stranding and found elements of its storytelling so insultingly corny that I would be better off deleting it from my PS5 and just moving on. So I did, and it felt like a weight off my shoulders. I might also quit Final Fantasy VII Remake for the same reason; it’s made up of such dated game design conventions as having to go a long way around in a maze to get past an obstacle that is just waist high — in any realistic world, e.g. Breath of the Wild, one could just climb over it. It’s so lazy, the game is truly like a pretty skin on an old game.
    • Emboldened to be more selective with my free time, I fired up Tom Clancy’s Ghost Recon Wildlands, another game I’ve been meaning to try forever, and deleted it within minutes after seeing how janky it was. (Thankfully, I haven’t bought any of these; they’re all part of the PS Plus Game Catalog subscription.)
    • I then played a bit of Far Cry 6, my first Far Cry game, and found it a fun action-oriented FPS… until the scope exploded into a spreadsheet of rebel bases to upgrade and vehicles to unlock. It’s the usual Ubisoft bloat (the Ezio Assassin’s Creed games suffered from this too). Both Final Fantasy VII Remake and Far Cry 6 don’t respect my time, just in different ways.
    • Maybe this is what a sabbatical really becomes: a slow, careful audit of how one spends attention and focus. Cut the crappy games. Upgrade the camera app. Reject bullshit work. Watch Tom Cruise jump a motorcycle off a cliff.
    • Oh, did I mention I’ve taken up gambling??
  • Week 18.25

    Week 18.25

    • In an effort to extend my financial prudence, I downgraded our Netflix plan to the lowest level (from Standard to Basic) but before the change even kicked in, they raised its price from S$14 to S$16. Everyone online seems pissed about these latest hikes but I’m sure very few will actually cancel. The Basic plan is limited to 720p (“HD” instead of 1080p’s “Full HD”), but the Apple TV 4K box does a pretty okay job at upscaling it so while the picture is noticeably softer, it’s not actually terrible, at least not for watching the crappy fare on Netflix anyway. I expected the Sony Bravia TV with its “Cognitive XR Processor” to do a better job upscaling but it doesn’t!
    • I also felt much better about not giving into the urge to buy a Snoopy camera last week, thanks to this PetaPixel review of the new Yashica City 100 “scamera”. It confirms what I’d suspected, that Yashica is now nothing more than a nostalgia brand owned by a soulless holding company that slaps it onto OEM Chinese junk for a quick buck. That pretty much applies to any legacy CE brand like Polaroid, RCA, Nakamichi, or Toshiba. I briefly handled the Hello Kitty version of the same Snoopy Yashica camera in a Japanese electronics store in February and found it more or less what you’d expect a $100 camera to feel like, and probably the only acceptable reason to buy one is if a very small, phoneless child needs a camera that no one will mind losing.
    • After doing an annual report of my finances last week in Numbers, I decided to ask various AI tools to read the last year of updates on this blog and tell me what I’ve been up to in the form of trends or insights that I might not be aware of myself. A qualitative annual report of the sabbatical soul, if you will.
    • Microsoft Copilot surprised me, doing better than DeepSeek and ChatGPT by surfacing some events that I’d forgotten about, calling my life a “deliberate, well-curated blend of sensory and intellectual pursuits.” I challenged it by asking if that was just a kind framing of someone wasting time without doing any ‘meaningful work’, and it acted as my enabler with statements like, “you’re starting to honor your intrinsic motivations—the subtle joys, the unexpected moments of creativity, and the experiences that forge your unique narrative. In a way, this period of introspection, though it might seem like “wasted time” from one perspective, is actually a profound investment in self-discovery.”
    • That sounds awfully waffly, but to be fair, we had a good conversation about what meaning looks like when your values are in a state of flux, and then it offered a novel observation: the Numbers exercise and this blog review, as acts of going over collected data to synthesize meaning and review progress, are simply me “doing ethnographic studies of my own life”, which suggests I’m still doing the work, just for a different client (me).
    • Singapore voted, and the result was the People’s Action Party staying in power with 65.5% of the popular vote (I guessed this exactly in a group chat, down to the decimal point). I was disappointed to see the independent candidate for Mountbatten, Jeremy Tan, ‘only’ get 37% or so of the vote — an incredible result for an independent, but still short of a victory. That’s a shame, because he had some interesting policy positions and is the only local politician I’ve ever heard talking about Bitcoin as a consideration for the future. It’s a monetary development we could be discussing in public, without outdated FUD like calling it ‘gambling’, ‘not backed by anything’, and so on.
    • It’s a good thing I have free time, because an old GarageBand file decided to split itself into 38,000 zero-byte files and clogged up my iCloud Drive. Trying to delete them from a synced Mac and empty the Recycle Bin was extremely painful, as the device tried to download each one first; you’d think syncing a zero-byte file would be instantaneous, but you’d be wrong about how iCloud Drive works. I had to manually kill the Finder several times and resume the entire process, clicking “Continue” every few minutes in a dialog box. 10 hours later, I had successfully deleted nothing. A person less technical than me would have thought it was broken and lugged the thing down to a Genius Bar.

    ===

    Palate cleansing photo break!

    ===

    Some recent thoughts on AI

    I crept onto LinkedIn out of curiosity to see what was happening in that backslapping cesspool of thought leadership and saw a post about generative AI and creativity from someone I genuinely respect. They talked about being asked to make up unique bedtime stories for their kid each night (incidentally, a similar ritual was the genesis of Guy Immega’s sci-fi novel, Super Earth Mother, which I enjoyed last year, as told to my book club when the author dropped in for a chat), and how although it was tiring at times, it was worthwhile in a way that indicated creativity would always be a domain that humans stay involved in and not completely outsource to AI.

    I wanted to leave a comment, but 1) hadn’t really thought enough about it, and 2) didn’t want to add neither signal nor noise to that platform.

    Later on, I scribbled the following in my Notes app.

    Creativity is fun. In a capitalist world, making money with creativity is even more fun. And I think this is where our wires have become crossed: getting a new tool to spit out artwork/content that someone usually pays for feels like discovering a vending machine for cash. That’s clearly what business owners see when they look at AI — a vending machine for infinite workers — but the conflicted horror that creative professionals experience is unique. On one hand, excitement that it works and an inkling it can be used to do either more or better work (more profit); and on the other hand, despair as they realize the market value of all work stands to be destroyed by infinite supply.

    But if you remove making money from the equation, I’m sure 100% of creative people would still rather do all the making themselves than let an AI do it. People are always gonna draw, tell stories, and record moments because it’s just fun. It’s only the market that’s disappearing, not the joy of creating. Outside of companies generating assets to use in actual business, I believe individuals playing with AI today aren’t engaged in creation — it’s consumption! I might ask my poetry GPT for a poem about a sentient toilet, not because I want to write one, but because I want to read one and nobody has done it yet. It doesn’t displace the desire to create, it just dispenses empty, throwaway satisfaction on demand. Unfortunately, that describes the majority of entertainment. The ‘Basic’ kind you can safely watch in 720p for half the money. Art is not in danger, only the day jobs of artists.

    Edit: I forgot about the use of generative AI to create scammy/spammy and otherwise harmful content.

    ===

    Media activity

    • Lorde announced her new album, Virgin, coming June 27, and I’m super excited for it. No Jack Antonoff credits in sight, this one’s all her and Jim-E Stack, and from the sounds of the first single, it’s the essence of her old Pure Heroine/Melodrama sound refined with a more minimal and electronic approach.
    • We saw the new MCU movie, Thunderbolts*, at a premiere screening, the first one I’ve seen in a theater in many years. I’ve actually missed the last few Marvel outings out of sheer fatigue and the realization that they actively bore me now. I tried to remember the excitement we all had for comic book movies when they were rarities; that euphoria that our interests were finally going mainstream, our culture was being brought to life on the big screen. Congrats guys, it’s now so mainstream it hurts.
    • On the lookout for a low stakes network TV show with tons of episodes that I could watch any time I have an hour to kill, I decided to try the pilot for Suits and hey it was fun! Now I know who Meghan Markle is. I don’t know why I never gave it a go before, probably because I’m allergic to that word in all its forms: the clothes, the jobs, the people.
    • I read the hit Japanese novel, Before the Coffee Gets Cold, which has spawned numerous sequels now and dominates the bookstore charts locally, and was completely underwhelmed. It’s the literary equivalent of a cheap Netflix drama. 2 stars.
    • I also read the third Murderbot book, Rogue Protocol, and this was probably the weakest one yet. I’m still excited for the show based on the first book, debuting on Apple TV+ this May 16. This book just had the kind of claustrophobic setting you dread encountering in a first-person video game. You know the cave and sewer levels I’m talking about. It felt like a necessary interstitial story to get us to the next one, which promises an event that many readers would have been waiting for since the end of the first book. 3 stars.
  • Week 17.25

    Week 17.25

    • When I discovered a fix for an annoying iOS photo date/time saving bug last month, it required a reset of all my phone’s settings. Which means that many of my apps still can’t send notifications or use my location — these are being restored ad hoc, as the apps only get to ask for permission whenever I reopen them.
    • As a consequence of this, it wasn’t until recently that I suddenly noticed I wasn’t getting the twice-daily ‘State of Mind’ check in reminders from Apple Health anymore, and went to turn them back on. These are quite useful for being able to look back and see how happy/depressed I was at any point in time, and it sucks that I now have a big hole in this dataset.
    • I’m taking this opportunity to change the way I approach this exercise: literally being more positive. For those unfamiliar with it, you’re meant to rate how you’re feeling from Very Unpleasant, Slightly Unpleasant, Neutral, and so on. I never used to go up all the way to “Very Pleasant”. Like, I could win a million dollars and wonder if even that warranted using such strong language. But now I’m giving myself permission to be more generous with my feelings. I can feel “Very Pleasant” more often and nothing will get broken.
    • In other recalibration news, I spent half a day in Numbers (Apple’s spreadsheet software) and did a personal annual report of sorts to inspect how I’ve been managing my money in the last year. Now that I have enough data, I was able to build some graphs and breakdowns of what a realistic budget looks like. I’ve always recorded my expenses on a daily basis with an app, but never crunched the numbers before; I was happy just knowing that I could. Naturally, now that I have, I wish I’d done it years ago.
    • At several points during the above activity, I wanted to upload my file into ChatGPT and have it analyze my spending patterns and offer up some money-saving strategies for me to consider. But of course, giving OpenAI that data would be a terrible idea. I wondered if Apple Intelligence in Numbers could do anything with it, but nope. It’s just the same old Writing Tools that make more sense in a word processor document than a spreadsheet.
    • I spent most of my time reading this week, although the temptation to jump on the Clair Obscur: Expedition 33 bandwagon is very strong — at this point in time, it’s the highest-rated game of 2025 and the 13th best game of all time on the PS5. Maybe next week?
    • On top of finishing Broken Money as scheduled, I read Meditations by Marcus Aurelius and rated it just three stars on Goodreads. It’s absurd that one can even humble the great emperor with a thumbs down on the internet, but his journals are in dire need of an editor! Yes I know these were never meant to be published, but he repeats the same handful of principles over and over (which I largely agree with), and this could have been cut down to be a podcast or self-help PDF on Etsy?
    • I also read the second book in the Murderbot series, Artificial Condition, and found it even more fun than the first. At this point, I’m kinda desperate to watch the Apple TV+ show and not sure I can wait for weekly drops over the next few months.
    • While looking for a manga with some colored pages to try out on my Kobo Clara Color, I started reading the oddly titled I Want to Eat Your Pancreas (trust me, there’s a mostly acceptable explanation for this), and enjoyed it enough to finish everything in a day. Unfortunately, while experiencing color on an ereader is real nice, the Clara’s screen is too small and I read most of it in black & white on my old Kobo Libra. Irony!
    • I’m now close to finishing Erik Olin Wright’s How to Be an Anticapitalist in the Twenty-First Century, not because I dare dream that this world could ever abandon capitalism, but it wouldn’t hurt to have some alternatives. I’ve now begun to think of capitalism and its systems as a spectrum rather than as absolutes.
    • Coincidentally, it’s election season here in Singapore and we go to the polls next Saturday. I’ve been watching the political rallies live-streamed on YouTube over the last few evenings, and have mostly been annoyed at the complaints and vague promises to do better (to say nothing of the insanity that sometimes shows through in racist, antivax, and xenophobic ad libs). Singapore already enjoys some of the best quality-of-life outcomes possible under a hybrid capitalist/social democracy, but it seems people want more. They want a hands-off government, but also want it to protect them from job-stealing AIs and foreigners. They want everyone to be paid more, but don’t want to spend more on services in return. It’s so exhausting.
    • I was looking to spend some money on a birthday present for myself since I’ve been such a good little budgeter, but the best thing I could find were these new Yashica Peanuts cameras featuring Snoopy, who I’m still kinda obsessed with. The idea was quickly abandoned because I do not need another digital camera, especially not an intentionally mediocre one.
    • Still in the mood for a photo-related splurge, I went back to the Lampa camera app (first mentioned last September), which got three new ‘film-inspired’ color profiles in a major update this week. That brings the number of available looks up to six, which better justifies the high asking price (S$40/yr or S$90/forever) which was previously out of the question. I’ve been using the free trial while looking for cheaper alternatives, but Lampa just does what it does so well.
    • In terms of UX design, it’s super focused and perfectly walks the line between too simple (Zerocam) and too complicated (almost every competitor I’ve looked at). There’s just enough control, and few enough options that you can actually make decisions. In that way, it out-Leicas the official Leica app, which does not have a great UI and asks for S$100/yr. Technically, it uses a bayer RAW image pipeline for more natural captures, keeps those RAW files so you can “redevelop” photos if you didn’t get the right filter or exposure the first time, AND deletes those RAWs automatically after 30 days to save space. Hats off to great work, but man, the cost is uncomfortably close to buying an actual Snoopy camera.
  • Week 15.25

    Week 15.25

    • Kim was away for work again, so I mostly stayed in and spent more time with the Vision Pro. Apple’s new VIP video series that takes you to major sporting arenas doesn’t sound like my sort of thing on paper, but the first episode on Yankee Stadium was a surprisingly entertaining watch. The crowds feel real and the only thing missing was a closeup of a hot dog. It was filmed last June, I think, and feels like a document of a much saner time. There are still many more apps and videos I have yet to check out.
    • Back in the present, Trump’s wacky tariff rollout drama continued, with the latest being a series of takesies-backsies that is great news for Apple and other makers of computers and smartphones: exemption from whatever the crazy current rate is on imports from China. 125%? Or was it 155%? Everyone now expects the stock to surge on Monday’s open, but come on, none of these pronouncements stick or mean anything now. The best move might be to sell all US-based assets and spend the next year off-the-grid on a beach somewhere.
    • Starbucks has done a collaboration with Peanuts (that’s Peanuts × Starbucks, for readers who were here last week), and of all the merch they put out, it was a yellow stoneware mug that I liked the best. It features the whole gang sitting at a long table, with Snoopy dressed as a barista and serving up espressos in his latest persona, a corporate caffeine shill stupidly named “Joe Kind”. I like Snoopy, probably on account of being exposed to the Apple TV 4K’s wonderful Snoopy and Woodstock screensaver, so I’m turning a blind eye to this sacrilege. Anyway I received my mug in the mail this week and it’s my new teatime go-to.
    • I did go out fairly early on Saturday morning to go hang out with a bunch of coffee nerd ex-colleagues who spent more time messing around with grind sizes than I ever thought possible (my contribution was a bag of beans fresh from Ho Chi Minh). It was a good time, and the occasion gave me a novel writing prompt to try out, which brings to me to my latest ChatGPT-based hobby…
    • About two years ago, when we were just grappling with the GPT-3 model and what it could do, I spent quite a lot of time trying to get it to write passable poetry. The most successful approach I found was to provide it with a detailed character backstory and ask it to write from that person’s perspective, taking into account their preferred styles and word choices. I managed to eke out some genuinely good stanzas (imo), was moved and amazed, and then moved on to other experiments and forgot about it.
    • Until this week, that is, when I wondered how the latest models would fare given the same tasks. I put my old prompts together into a custom GPT, and asked for the first silly idea that came to mind: a poem about growing older but ironically becoming more attracted to cute things like Snoopy. It did an honestly good job with just that. Then I asked it to write one about the story of how he got his name — a true story: Charles Schulz’s mother daydreamed they’d buy a family dog when she recovered from cancer, but she never did — and the result was good enough to refine further. So I went back and forth on it with the bot (who I named Penrose), combined several attempts, intervened slightly, and here’s where we landed.
    She Gave Him the Name

    “If we ever get another dog,”
    she said,
    “we should call him Snoopy.”

    It was a small thing,
    tucked between errands
    or waiting rooms,
    the kind of sentence
    you don’t expect to echo.

    He was fifteen.
    Maybe he nodded.
    Maybe he carried it like lint in his pocket,
    forgotten
    until everything else was gone.

    Years later,
    drawing alone in his studio,
    he gave the name to a dog
    who danced on rooftops,
    typed novels no one would read,
    stood in for joy
    and for all the feelings
    boys weren’t supposed to have.

    Snoopy caught on.
    So did the quiet boy with no luck,
    the girl who loved too hard,
    the blanket dragged across the years.
    The world came to know them
    and needed their steady kindness.

    Maybe that’s what it means
    to miss someone forever,
    to take the smallest thing they gave you
    and let it become
    the sky above everything you make.
    • And here’s one from another session where I asked it to identify a core human paradox and write something about it. It chose to explore how we want freedom but crave structure.
    The Night I Rearranged the Furniture

    I moved the couch against the other wall
    just to see if the room felt different.
    It didn’t.
    I stared at it like it had betrayed me,
    then moved it back.

    It was past midnight.
    The kind of hour
    when you wonder
    if this version of your life
    is the one that sticks.

    I opened the window to let in some air,
    but it was the same air as yesterday.
    Nothing new came through.

    I thought about driving somewhere,
    but didn’t know what I’d be driving to.
    The gas tank was full.
    The fridge was full.
    I was full of something I couldn’t name.

    They say people like me
    always want to leave,
    but never go far.
    We change the wallpaper.
    We cut our hair.
    We imagine new cities
    without maps.

    The truth is, I love knowing where the forks are.
    I love the sound the radiator makes
    right before it kicks in.
    I love the old light switch that sticks
    unless you press it just right.

    But still—
    some nights I crave an airport gate,
    a highway at dusk,
    a conversation in a town
    where no one knows what I used to be.

    I don’t go.
    I just stay up too late
    and move the couch.
    • It feels unreal to have this tool for S$30/mo. I can ask it for poems about any random scenario or feeling, and it tends to throw out lines and images that catch me off guard. I’ve now taken to giving it things I half-wrote long ago and never finished, and it gives pretty good notes. An unexpected side effect of this is that I’m feeling more inspired myself, and now I’m asking it to give me prompts, and I’ll write things for it to review.
    • Here’s one I reworked this week.
    He died in his 17th year

    And flowers were laid by the side of the road
    Fit to be swept within just a fortnight

    Parents kept his memory alive another thirty years,
    Until grief or emptiness took them too

    I used to think we were made for more
    How clever bones and cells can seem

    But a body is mostly waiting to be undone
    And our home keeps going around the sun
    While out there
    Nothing waits for no one
    • While I was messing with Penrose, OpenAI launched a new feature called “Memory”, where ChatGPT is able to reference all your past conversations across previously separate chats. The way they chose to showcase it was to suggest you let the AI describe you, the black mirror lighting up to reveal a camera was recording all along. I didn’t expect them to so transparently demonstrate how this technology is a more powerful, more dangerous profiling machine that anything Facebook or Google has ever put online, but I suspect they think there’s nothing we can do. I asked it to guess how I felt about certain topics, like Nolan’s Batman trilogy or the Fujifilm X100VI camera. It didn’t exactly read my mind but they were very educated guesses. Not very reassuring. It offered to guess other things like my favorite cocktail (it said Negroni; not my absolute favorite but one of them), my favorite beer (a Belgian saison; not even close), and my favorite band (Radiohead; they might be in second place).
    • This reminded me I was due another playthrough of OK Computer to keep my millennial card intact. It only gets better with time. I’ve also been listening to Counting Crows’ Hard Candy again recently. Some of those songs are the best that anyone or any AI will ever write.
  • Week 14.25

    Week 14.25

    • I read All Systems Red, the first book in Martha Wells’ Murderbot series. It’s about a security robot that’s hacked its own governor module, secretly sentient but pretending not to be, and mostly just wants to be left alone to binge-watch serials. Deeply relatable. Apple TV+ has made a show from it that’s meant to come out soon, and I can’t wait. Thankfully there are six more books (plus some novellas), so this could be their next Silo or Slow Horses: a long-running fan favorite franchise they get to keep making more of. If you like introverted robots with trust issues getting into some space shootouts, it’s a fun time.
    • Still on AI bots, since I paid for ChatGPT Plus again last week, I decided to update a custom GPT I made to serve as my personal editor and proofreader. It’s trained on a bunch of these very blog posts and now incorporates a detailed summary of my writing style into its prompt. It’s shockingly fun to work with and makes half-decent suggestions. If you’d like to try this, give ChatGPT access to a bunch of your writing, get it to codify your style as a JSON profile, then refine it by reviewing examples together.
    • It actually managed to write me a half-decent LinkedIn post from a premise I provided, not that I care to post on LinkedIn at all. After some editing and joint revisions, it’s now in a shape that wouldn’t make me cringe if I read it from someone else on LinkedIn. Wait, that’s not true. Everything on LinkedIn is cringe.
    • I’m not going to say a lot about Trump’s tariffs and the mess they’ve made of the stock market, but boy am I seeing red in my finance apps. I don’t know how Americans will be able to afford anything, and I’m kinda mad that this will affect the rest of us too.
    • Caught in the blast is Nintendo’s new Switch 2, which was detailed this week in a series of live broadcasts I’ve been anticipating for the past couple of months. The new GameChat and GameShare features they showed are very welcome, especially if we’re ever locked down in a future pandemic. They’ve done a lot to make playing with friends online feel like hanging out on the same couch. Unfortunately, the announcement was marred by a higher than expected price, something of an unforced error on their part, and people flooded the Treehouse livestream chat with calls to “DROP THE PRICE”. To make matters worse, the already unwelcome US price of $449 is now set to rise once they calculate the impact of tariffs.
    • We’ll be missing the June 5 launch in any case, with the official site saying “July–September in Singapore, Thailand, Malaysia, and the Philippines”. As for price, the original Switch launched at $299 USD, which should’ve meant about S$400 — but we ended up paying S$650 here, bundled with Breath of the Wild, because of limited supply and some greedy local distribution. I don’t expect the same kind of scalping this time, but I also wouldn’t be shocked to see it land at S$800. Can’t wait.
    • I still have so much to play on my old Switch OLED anyway, and this week I got started on Ace Attorney Investigations Collection. It’s a remastered version of the two Miles Edgeworth games from the Nintendo DS, the latter of which was never released internationally. Also in my backlog are Kirby and the Forgotten Land and The Legend of Zelda: Tears of the Kingdom, both of which are getting Switch 2 enhancement patches — higher frame rates, HDR, all that good stuff — if you’re willing to pay for the upgrade. Which means I now have a perfectly valid excuse to keep ignoring them until summer.
    • Michael pinged me out of the blue to ask if I knew anything about the origins of using the × symbol in Japanese to mean “and” or “plus”. It’s something I’ve long wondered about too, especially with anime titles like Hunter × Hunter and Spy × Family. So I outsourced the research to Perplexity (an AI search engine), and found that this usage came out of Japanese fashion subculture in the 1990s. Turns out it’s a Japanese invention, possibly inspired by its use in botany to denote crossbreeding. In modern use, the × stands in for “with”, “versus”, “of”, or “intersection”. It’s also not pronounced aloud, which is why the show is just called “Spy Family”. I like how the symbol invites layered meanings — it implies both conflict and connection. In Spy × Family, it’s the tension between the fake family setup and their hidden identities, but also how those roles merge into something real. A simple little mark doing a lot of work.
    • I watched a new anime on Netflix called I Parry Everything. Following the isekai wave a couple years back, the new trend seems to be fantasy stories about “weak” characters who go all-in on training one obscure skill — to the point of accidentally attaining god-tier strength. Jose reminded me of another in the same vein, with the glorious title I Don’t Want to Get Hurt, So I’ll Max Out My Defense. In Parry, the main guy is told early on he has no future as a swordsman — so he just spends the next 14 years practicing how to block. Now he’s practically unkillable. But the show’s comedy hinges on him not realizing this, while everyone else assumes he’s the savior of their kingdom. It’s extremely stupid, extremely fun, and yeah I binged the whole thing in a weekend.
    • We’ve also been watching The Pitt on Max and it’s a great hospital drama (starring Noah Wyle of ER) that leans more towards realism than the likes of New Amsterdam. Everything takes place over 15 hours in 15 episodes, which takes me back to watching 24 in absolute awe as a young man.
    • Pulse on Netflix is everything The Pitt is not. It’s cheesy, everyone’s more model than medic, and there’s no urgency or realism. Even the surgeries are shot in crispy iPhone-like HDR and cinematic lighting. It does have Willa Fitzgerald (aka Reacher’s partner in S1) and Néstor Carbonell (Yanko from The Morning Show) but even they can’t lift this to greatness. It’s fine background TV though.
    • What’s up with this image? I went for dinner with Peishan and Cien, who decided it would be funny to tell HaiDiLao (a massive Chinese hotpot chain) that it was my birthday month, so the staff came round and sang/blasted out of a Bluetooth speaker a proprietary and very Chinese birthday song, that apparently everyone around us knew because they joined in and clapped along. I tried to stop them, but in the end had to endure it with a pained smile.
    • Btw one legitimate use case of AI is transforming images into drawings to get around the problem of publicly sharing people’s faces.