silves89

I originally wrote 'fags' but thought I'd better re-phrase for the Americans amongst us.

My father was the dentist on St Helena from 1998-2022. I visited, taking a military jet from Brize Norton airbase in the UK to Ascension Island, and then a 3-day boat on the RMS St Helena. I never took the 5-day boat from South Africa. It's a hilly and rugged place, and very green. I was a student when I went there, and I was with my twin brother and we met another set of twins who were visiting at the same time. They were our age and we all got pissed and shared the cheap cigs. My bro and one of them climbed Jacob's Ladder late at night after many beers, and they took ages while we waited at the top. They kept having to stop to vomit. That was an excellent Christmas and new year.

I'm an experienced software engineer and ceramicist and I enjoyed this essay. I have stuff to say.

There are some wonderful industrial ceramic designs, e.g. Royal Copenhagen. But most of it is cold. Despite that people still become attached to their factory-produced porcelain mugs, because we want our daily objects to be our life-companions. We demand certain qualities that lead to intimacy. Studio pottery is a direct line to these deeper relationships, so when people own studio pottery for the first time they rarely want to go back. It's a red pill moment.

Studio pottery is not a luxury. You can buy a mug from one of the finest potters in the world for £50, and you can buy a beautiful piece for £25-£30. These might bring years of pleasure, and that registers with our customers as fantastic value. So there are plenty of studio potters all over the world who make a living with their craft.

However the product of craft-produced code and AI-produced code are, for a customer, mostly the same. So my fear is that writing code by hand will become little more than a challenging and pleasurable distraction, like a big-brained version of solving sudoku, whereas making pottery will always have a value that outstrips it's factory-produced counterparts.

But I think there is a parallel between clay and code here. There are night-school potters who just love making and getting away from their fucking screens. I have love for every one of these people. And there are those who take it much further, who read the books and design the kilns, who wood-fire in shifts over many days, who study glaze chemistry, who create objects no one has imagined before. And in software there are the line-of-business enterprise coders, and often they're handle turners who would really rather be doing something else but there are those who take it much further, who read the books and language specs, who work on foundational open source tools and study compiler design, who create idioms and paradigms no one has yet conceived of.

All that's very interesting. But for me the commercial side is prosaic and a bit dull. The pleasures of both are the creativity, which is itself a way of re-enchanting my materialist and bewildering late-capitalist way of life.

In the late 90s and early 2000s there was a bunch of academic research into collaborative multi-agent systems. This included things like communication protocols, capability discovery, platforms, and some AI. The classic and over-used example was travel booking -- a hotel booking agent, a flight booking agent, a train booking agent, etc all collaborating to align time, cost, location. The cooperative agents could add themselves and their capabilities to the agent community and the potential of the system as a whole would increase, and there would perhaps be cool emergent behaviours that no one had thought of.

This appears, to me, like an LLM-agent descendent of these earlier multi-agent systems.

I lost track of the research after I left academia -- perhaps someone here can fill in the (considerable) blanks from my overview?

That's a great question! It comes up for me a lot.

I can walk through my local woods and listen very carefully but I don't think I could read a recipe book and pay attention to an audiobook!

So for me and I guess for most people it depends on the intensity of the activity and on the nature of the book. I have gradually found where the balance is for me and I've learned to hit the pause button or rewind 30 seconds.

I also pick different types of books to read and to listen to. I _love_ having an engrossing story as an audiobook. And popular science is a great listen, e.g. I loved the audiobook of Stolen Focus. But with physical books I tend to choose more involved or complex novels (e.g. Deep Wheel Orcadia), poetry, and for non-fiction books that are more specific to my interests (psychotherapy, ceramics).

Can I read a physical book when I'm running? Can I read a physical book when I'm doing house work? Or throwing pots in my studio? Or knitting? Or cooking? Or driving?

Can I stay focused if I'm just sitting and listening instead of reading? Absolutely not.

There's no 'vs' here. They occupy different spaces. All hail text, whatever form it takes.

The Terms and Privacy Policy links at the bottom don't go anywhere.

Thank you! I'm on my 3rd draft of a novel so that's actually super lovely to hear.

I was en route to St Helena and I had several days of a raging fever on Ascension, and my memories of the place on either side of my illness are suitably strange. I remember walking through a landscape of sharp, anthracite grey volcanic rock and throwing a banana peel into the sea, to watch the fish churn around it like piranha. I remember going past a rock covered in paint -- everyone who was determined to never come back added a new splash of colour. I think it was right next to 'the worst golf course in the world'. I remember leaving the barren low-lands and climbing the mountain switchbacks, into rainforest-like verdancy. A very odd place.

Normal firebricks wouldn't withstand mid or high fire temperatures. They'd crack or melt or both. An iron grate wouldn't fare well either. You could probably make modifications to the fireplace that could make it possible, but that that point you'd probably decide to take the whole thing away from your wooden floor/carpets.

It's scary for me too! And way less economical in the UK than electric. My small electric kiln costs £5 to fire. My big (perhaps 4 times the size) gas kiln costs £70-£80.

I'd much prefer firing with wood. But I'm too suburban and firing with wood takes much more effort in prep and during firing, but it's a pleasant and exciting experience! Which gas firing is not.

The raw clay wouldn't be vitrified, so it would be porous and would seep or leak. A glaze is a glass, more or less, and to get the silica to melt you need a flux. There are different fluxes for different temperature firings, but suddenly things are getting a little more precise. Without substantially levelling up the kiln tech and design you'll be at best low-fired and probably using lead as a flux. E.g. terracotta and earthernware.

Early peoples would have used wax or fats to seal pots like these, to make them functional. People do that with modern pit-fired pots too, or use other sealants.

I designed and built my own high-fire kiln, but it uses industrially made light-weight insulating and refractory brick, and gas burners, and I use Orton cones to know when I've hit the right amount of heat-work, and a pyrometer to take temperature readings. But some brave souls make their own bricks, and look at the colour inside the kiln to know when they're at temperature.

You can eat as many fermented foods and do as much tai chi as you like, and you can get therapy and manifest and go on retreats. But nothing improves life as much as a 4-day week.