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Response Times: The 3 Important Limits
There are 3 main time limits (which are determined by human perceptual abilities) to keep in mind when optimizing web and application performance.
1993  user-experience  software-design 
7 weeks ago by bignose
Revisiting Mike Davis' case for letting Malibu burn - Los Angeles Times
"During fire season, I always think about Mike Davis, author of one of the most — pardon the pun — incendiary essays in the annals of SoCal letters: “The Case for Letting Malibu Burn.” I return to this chapter from his book “Ecology of Fear” any time that the Santa Ana winds howl and thousands flee raging infernos — a ritual that used to happen every couple of years but now seems to happen every couple of months.

“The Case for Letting Malibu Burn” is a powerhouse of history, science, Marxist analysis — and a certain amount of trolling. Its main point is that Southern Californians will never accept that fire is not only common here, but part of our ecology going back centuries. To spend millions saving homes in areas never meant for neighborhoods and power lines is not just folly, but a waste of public resources.

This time around, as California burned from the north to the south, I checked in via email with Davis, now professor emeritus at UC Riverside. He’s best known for his literary double whammy against Los Angeles exceptionalism: 1990’s “City of Quartz” and 1998’s “Ecology of Fear.” Those books made the Los Angeles of “Chinatown” seem as sinister as Mayberry. Davis’ tales of racism, poverty, corruption and other sins — backed by copious footnotes — inspired a generation of radical historians and writers, including yours truly. He also riled an army of detractors who so hated his apocalyptic warnings that they ridiculed everything from his scholarship to his marriages to the fact that he was born in Fontana.

But as the years go on, Davis’ bleak words read more like revelations than rants. Just as he argued, we build deeper into canyons and foothills, daring Mother Nature to give us her best shot — and then are shocked when she does.

The Woolsey fire has already scorched more than 96,000 acres in Ventura and Los Angeles counties, destroying 435 structures in Malibu and other cities. It’s yet another “fire of the century” for the beach city.

“Maybe 10 or 20 years ago, you stayed in your homes when there was a fire and you were able to protect them,” Ventura County Fire Chief Mark Lorenzen said during a news conference this weekend. “We’re entering a new normal. Things are not the way they were 10 years ago.”

In other words, we now live in Mike Davis’ world. He has ascended to the pantheon of Golden State visionary authors like Helen Hunt Jackson, Upton Sinclair and Carey McWilliams who held up a mirror to us that we have ignored at our own peril.

“The Case for Letting Malibu Burn” depicted Malibu and other wealthy cities built in the boonies as created not for “love of the great outdoors or frontier rusticity,” but rather as “thickets of privacy” against L.A.’s working classes and people of color.

We enable this white flight into the mountains, he argued, by not just allowing development where there shouldn’t be any, but also subsidizing those affected by the inevitable wildfire in the form of cheap fire insurance and squadrons of first responders deployed around the clock at the hint of an ember.

He went through a litany of Malibu blazes over the last century, concluding with the Old Topanga blaze of 1993 — which consumed about 18,000 acres but destroyed 323 structures. Throw in climate change, Davis noted in a version of his essay that appeared in the L.A. Weekly, and the catastrophe “marked a qualitative escalation in fire danger, if not the actual emergence of a new, post-suburban fire regime.”

And, almost exactly 25 years later, here we are again.

Davis’ work on Malibu’s flames has aged far better than the criticism of it. Chapman University urban studies fellow Joel Kotkin, for instance, said of “Ecology of Fear” back in the 1990s that it “basically mugs Los Angeles” and is “truly nauseating stuff.” Yet by 2007, Kotkin told the Economist, in an article about the fires that fall that wreaked havoc from San Diego to Santa Barbara, that “nature still has a lot of power” in the once-unspoiled areas where we build homes — which is what Davis contended all along.

Then there’s former Malibu real estate agent Brady Westwater, who refashioned himself as a downtown L.A. booster. You couldn’t write about “Ecology of Fear” for years without mentioning Westwater, who hounded reporters with screeds and stats about Davis’ real and alleged errors until the press finally began to cite him as a legitimate critic.

In his own 1998 essay (whose titled described Davis as a “purposefully misleading liar”), Westwater predicted that “fire damage will decrease over the years” in Malibu because of better infrastructure and better-built homes. Of the Old Topanga disaster, he plainly declared: “That kind of fire can never happen again.”

And yet here we are again.

Davis remains persona non grata in Malibu, from Neptune’s Net to Pepperdine University. Malibuites took “The Case…” as a direct attack on their beliefs and ways of life.

Davis takes no satisfaction in seeing his analysis come true all over again. But the author, who’s recovering from cancer, stands by what he wrote.

“I’m infamous for suggesting that the broader public should not have to pay a cent to protect or rebuild mansions on sites that will inevitably burn every 20 or 25 years,” he told me. “My opinion hasn’t changed.”"
mikedavis  2018  malibu  losangeles  california  fires  whiteflight  suburbs  nature  wildfires  socal  class  race  racism  development  1990s  1993  1998  bradywestwater  helenhuntjackson  uptonsinclair  careymcwilliams  joelkotkin  inequality 
november 2018 by robertogreco
Game Theory: The Hunt for Super Smash Bros. LOST STAGE! - YouTube
An interesting (and inadvertent) deep dive into the history of video games, computer graphics, and one "Caffe Verona" in Palo Alto.
tech_history  tech  youtube  video  history  nintendo  tomb_raider  reflection_mapping  computers  california  1993  2016  cafe  opengl 
november 2018 by chritter

El 31 de octubre de 1993, Maradona volvía a la selección argentina para jugar el Repechaje vs Australia y clasificar para el Mundial de Estados Unidos 1994. Sin Diego, los argentinos hicieron una mala fase de clasificación que culminó con un humillante 0-5 vs Colombia. El regreso de D10S hizo posible que Maradona jugase su cuarta Copa del Mundo.
1993  history  worldcup  worldcup.1994  football  sports  maradona  spanish  tv  video  youtube 
september 2018 by ezequiel
Especial completo que emitió el Gol Caracol de Caracol Televisión, a través del canal público "Señal Colombia", posterior al 5-0 contra Argentina en Buenos Aires, el 5 de septiembre de 1993, con una doble transmisión efectuada por:
1-Caracol Televisión de COL: William Vinasco y Adolfo Pérez
2-Canal 13 de ARG: Marcelo Araujo y Enrique Macaya Márquez
1993  football  sports  spanish  worldcup.1994  worldcup  argentina  tv  video  youtube  history 
september 2018 by ezequiel
Discogs - Dieter Feichtner
"just 1:1 recordings with fixed settings"

"Dieter Feichtner 1943-1999
a poet of sound

It was in the hot summer of 1982 when I once again invited Dieter Feichtner to my house in Waldviertel to make recordings for a planned solo album. At that time he still had his caravan, which we parked in a meadow between a shed and an old, dilapidated skittle alley. (Consequently, he also began hearing nightly skittle matches from days long past). Dieter's instruments were set up in my studio room - in such a way that he couldn't see the rotating tape recording reels from his place at the keyboards. Such things always irritated him very much. It was an experiment and an adventure in every respect. Our general agreement was: no other musicians, no listeners, no usual studio work, just direct, blunt recordings.

At the beginning, everything went very sluggishly. Dieter doubted that he could get away from his stylistic imitations and would fall back into "playing ditties," as he put it. He searched for a wholly different approach. After days of torture and excessive evasion, I made the suggestion to forego any echo and other external effects and to look the pure, unflattering sounds of his electronic instrumentarium straight in the eye. The success was stunning: the first recording, later called "Fliegenpilz I" (a truly furious piece of music that continued to unfold out of nothing), set a development into motion that was to go on for over two decades and which immediately went beyond the scope of a simple recording. From then on, Dieter regarded it as his "opus," as his musical legacy that he bequeathed unto me right from the start.

Such recording sessions then took place at irregular intervals, however, always in the summer months: in 1982 in Irnfritz, in 1986 at my temporary domicile, the old school in Allentsgschwendt, and later at my estate in Rastenberg in 1988, 1989, 1993 and 1997. Dieter was given his own room. If it was warm enough, it was usually the Tatersall (a small, half-open hall that was earlier used for horses), in which he set up his whole electronic instrumentarium. Here he could play uninterruptedly at any time of the day or night and shout it out to the world. That was very important, because sealed off rooms, which are otherwise common in recording studios, were never his cup of tea and fixed working times went totally against the grain of his intuitive being.
In hindsight, it is amazing that such a thing was even possible.

In an urban setting we would have been bombarded with complaints, because Dieter liked to get the most out of his equipment and the whole valley echoed from it - often at midnight or at four in the morning.
The main output of his equipment was directly connected to the recording machine in my studio room, meaning Dieter was online 24 hours a day. My task was merely to start the recording, sometimes in the middle of the night, and to occasionally change the reels.
Once the volume setting was found, it remained unchanged the whole time, so that the whole dynamic range of his playing, from the intimate revocation to the full orchestral impact, was retained in the original recordings. We listened to these recordings from time to time and then decided very quickly what should be kept and what could be immediately erased.

I am still glad today that I could initially convince Dieter to forego any of the blessings of modern studio methods: no subsequent effects, no sound cosmetics, no overdubs and mixing - just 1:1 recordings with fixed settings. If we had approached the matter in a more sound engineering sense, we would now have a collection of more or less impressive, nostalgic sound documents.
Therefore, we have the authentic music that we can listen to through the speakers exactly as Dieter himself played them through the speakers at the moment of their conception!

In 1989, together with Dieter, I released a number of the recordings he had made up to then under the title EUPHORISMEN, in the form of a 2-CD subscription.
A breakthrough, in a trivial sense, it wasn't. Nevertheless, we could recover our costs and win over a new group of music lovers who were instantly convinced about the uniqueness of this music. Some in the large circle of Dieter's friends and acquaintances, however, behaved reserved to hostile. That wasn't the same Dieter they knew and honored, loved and also hated. Some of them didn't like these recordings, Dieter's other side. (Less sensitive people expressed it blatantly). Dieter himself commented on these circumstances, which couldn't have escaped him, if at all, in a very dry and unemotional way, devoid of resentments. The undertaking 'life's work' continued onwards without inconsequence and without any false considerations.

Today it is different: a young generation of sensually and stylistically open music lovers is currently rediscovering Dieter Feichtner. Dieter's admirable human aspects, like his feared uninhibited vitality, are today revealed through the titanic quality of his music, not the other way around. Some like to hear the countless anecdotes, even the terrible ones, but it is the music that stands in the foreground.

An important lesson was learned through the experience that such a musical giant could be denied media exposure for decades. It shames the crooked world view of artistic values that are at the mercy of the media, and rather warns us to seek the valuable things in life on our own, unperturbed by pushed trends and phony culture.

August 2005
Günther Rabl
(translated by Brian Dorsey)"
music  Discogs  DieterFeichtner  synth  1982  1993  Austria 
august 2018 by cosmic

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