I’ve been sewing for about a year now, and I’ve made a handful of button down shirts, some gym shorts, baby clothes for my niece, and a peacoat for my guy. But up until this weekend I hadn’t tackled… bottoms. That changed Saturday, when I traced out the Thread Theory Jedediah Pants pattern and set out to make a pair of shorts. About a month ago I found some beautiful navy corduroy; there were two yards left on the bolt, and I thought, ”shorts”. Having never made them, however, I wanted a practice round before using the “good” fabric. When I found this print corduroy in Stone Mountain & Daughters half price bin last week, I knew I had my practice material.
And they turned out great.
I’ve been making muslins for a while when I try a new pattern, and I have to say making my test garment out of “real” fabric is a lot more satisfying. I found myself less inclined to cut corners (“this is the test one; for the real one I’d actually set the lining”) and the process felt like more fun that chore. And that’s what this is supposed to be: fun.
Things I want to remember for next time:
* Flip the pocket stitching pattern so the pockets mirror one another
* Maybe experiment with a different pattern? Or no pattern at all?
* The inseam is way too long for my liking — whack off half from the start.
* Pay closer attention to the fly facings… it turned out fine, but it seems like I must have missed something.
Unecessarily upgraded to the Xs over the weekend. I think I now understand what people mean when they say it “reimagined” the iPhone.
I finished reading “Old in Art School”, by Nell Painter, this afternoon on my commute home. I felt a little sad: grief that I had to come back to the “real world”; which I’ve learned is a sign I truly loved the book. It’s also a little funny, since “Old in Art School” is a memoir.
If I had to sum up the theme of Painter’s writing, I’d say “authenticity”. Stories of pursuing authenticity, personally and artistically, weave throughout the book. And Painter wrestles with questions of authenticity and whether she answers intrinsically or extrinsically. Painter stretches for something she wants, something just beyond (or sometimes well beyond) her current mastery, and when she finds success wrestles with questions on authenticity: “am I An Artist artist?”
That push/pull (or perhaps leap/fall) dynamic is something I’ve felt in my vocation and avocation.
I feel like I gained a better understanding of my own artistic practice by reading about the development of hers.
I read that 2018 was the final year of Open Source Bridge. Reading that I felt sadness, as well as gratitude the organizers were able to choose that. I spoke at the inaugural Open Source Bridge, and my memory of that is that it was such a refreshing vibe compared to the other conferences I was attending at the time (OSCON, Semantic World). There was space for self care (yoga), for weird ideas, and for community in a way I didn’t experience at other conferences. I started to write this as a status update, and realized that these feelings about Open Source Bridge are part of a larger wave of nostalgia for the late aughts I’ve been feeling lately.
The first Open Source Bridge took place in 2009. I had been living in San Francisco for two years and was working at Creative Commons. My role at CC had morphed from “figure out what we could build to engage people with the commons” to “figure out our technical strategy and how we fit with the You Tubes of the world”. I was a lot better at the former; at the very least I enjoyed it more. But there was still something there that I felt energized being part of. There was a community that I appreciated and valued. I’ve reflected in the past that identi.ca formed the core of this online community for me. It also lived on blogs and in the #cc IRC channels.
So I guess it’s appropriate that some of this nostalgia is undoubtedly triggered by all the awesome Indie* work being done. Just this week I learned about Indie Book Club and Indie Web Ring. And while both are simple, that’s sort of the point: I’m happy they both exist, because [I hypothesize] they help me connect with a larger community while being my whole self online. Being my whole self means that I “show up” in a solid, singular way: you come to my blog and get printmaking, scifi quotes, Python advice, sewing; you get me.
My talk at the inaugural Open Source Bridge was entitled “A Database Called the Web”. It was the second and last time I presented that talk, which was a shame because I don’t think I ever really got the kinks worked out. Creative Commons was founded with this technical layer under girding the licenses, and “A Database Called the Web” was my attempt to articulate that decentralized, federated vision in a way that didn’t start with RDF, XHTML, etc. And that’s why in addition to feeling some nostalgia I also feel some hope: it seems like with ~ 10 years of time (and a lot of heartache) people have moved on to building decentralized things that they want to see exist in the world. And that makes me happy.
Currently reading: 84K by Claire North, ISBN: 9780316316804 📚
git config core.autocrlf auto on Windows side;
core.autocrlf input on WSL side and… it just sort of works like I expect.
Needed to replace my aging personal computer, decided to dip my toe in the Windows world again. WSL on Windows feels a little like black magic.
I had fun experimenting with Rust + WASM a few months ago, but ultimately didn’t ship; seeing what’s coming next, I’m excited about how much further I would get today.
Happy to work for a company that thinks about our impact beyond just revenue.
Back in frontend land, reminded today that
setState in React is aggressively asynchronous; need to verify a change? Use a callback.