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Web Audio Modem
How to build a modem in the browser using the Web Audio API, allowing data transfer via audio.
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yesterday by gilberto5757
Refusing to Tolerate Intolerance – Julia Serano – Medium
Most free speech absolutists have a huge blind-spot that they stubbornly refuse to acknowledge: They have generally lived lives where virtually everything that they think or say falls within the realm of tolerated discourse. Perhaps a few of their opinions or word choices are considered by some to be “unsavory” or “edgy,” but none of it dooms them to the status of abomination or pariah. So they are unable to see constitutive intolerance — the fact that some people and ideas (such as trans identities and perspectives several decades ago) have been excluded from that discourse a priori. Then, when the status quo eventually shifts, and things that people could previously freely say (such as making transphobic remarks) are suddenly met with protest, it feels like an attack on “free speech” to them. And they imagine themselves as the “good guys” defending “free speech” against the “bad guys” (i.e., people using their “free speech” to protest transphobic remarks), when in reality, all of us are doing the exact same thing: Making personal choices and pronouncements regarding what we are willing (or unwilling) to tolerate, in an attempt to slightly nudge the world in our preferred direction.
yesterday by lehmannro
Tolerance is not a moral precept – Extra Newsfeed
The title of this essay should disturb you. We have been brought up to believe that tolerating other people is one of the things you do if you’re a nice person — whether we learned this in kindergarten or from Biblical maxims like “love your neighbor as yourself” and “do unto others.”
But if you have ever tried to live your life this way, you will have seen it fail: “Why won’t you tolerate my intolerance?” This comes in all sorts of forms: accepting a person’s actively antisocial behavior because it’s just part of being an accepting group of friends; being told that prejudice against Nazis is the same as prejudice against Black people; watching people try to give “equal time” to a religious (or irreligious) group whose guiding principle is that everyone must join them or else.
yesterday by lehmannro
To Connect with Your Audience, Be Vulnerable | LinkedIn
To Connect with Your Audience, Be Vulnerable
Published on Published onOctober 15, 2017
Adam Grant
Adam Grant
Follow Follow Adam Grant
Author: GIVE AND TAKE, ORIGINALS, OPTION B; Wharton professor; NYT writer
98 articles
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Earlier this week, I was sitting backstage when my heart started fluttering. That’s not supposed to happen anymore. I’ve given hundreds of speeches in the past few years. But this audience was seriously intimidating. I was supposed to give the opening talk after dinner at the TED staff retreat. These people curate great talks for a living.

I started thinking about what I could do to wow them. But then I remembered something I learned from Mohamed El-Erian, a brilliant economist and the undisputed king of humility among executives.

Mohamed was asked recently to give a speech about the global economy to a group of traders. Just before taking the stage, he was warned by the organizers that the group tended to have a short attention span, had already been drinking at a cocktail reception, and had even thrown bread rolls at one speaker in a prior conference.

When he stepped on stage, he did something unusual. He said “I’m scared.”

Then he told them why. “I’ve heard you wouldn’t be interested or engaged for long. You might be a rowdy audience. And since you threw rolls at a prior speaker, I’m ready to use the front table as a shield.”

Then he said he was ready to put them to sleep with 62 slides.

They laughed. He said he was just kidding and then started telling them not only what he would want to know about the economy if he were in their position, but also how they could think about the unusually world we are all living in.

They sat riveted for over half an hour. Then, after the 20-minute Q&A period, there were still many hands up.

Mohamed understood that the people who make the best impressions aren’t aiming to impress others. They’re focused on connecting with others. By acknowledging that he was scared, he made himself human and vulnerable. He showed that he cared about what the audience thought of him and understood their perspective.

Good communicators make themselves look smart. Great communicators make their audiences feel smart.

It took me a while to appreciate how central the audience's emotions are to communication. Last year, I was preparing to speak at TED when a question from a coach stopped me in my tracks: “What do you want the audience to feel?”

At first I was offended by the question. I don’t want the audience to feel. I want them to think. My favorite definition of persuasion comes from Chris Anderson: “the act of replacing someone’s worldview with something better.” I was hoping to reason with the audience’s worldview, not emote with it.

But looking back, I can’t think of a more important question about communication. On issues that people hold dear, to change what they believe, you have to change what they want to believe. That means I had to appeal to passion and reason (if you’re a disciple of Hume), pathos and logos (if you’re an Aristotelian), heart and mind (if you’re a speaker of plain English).

So I sat down begrudgingly (only later did I lament that I was emoting) to decide what I wanted my audience to feel. Inspired? No. I’m a teacher, not a preacher. Leave inspiration to gurus leading people on spirit walks across hot coals and then trying to inspire their second-degree burns to heal in a flash. Confident? Definitely not; too Stuart Smalley. Moved? Nope, not comfortable with anyone breaking down into tears.

Eventually I settled on three emotions: surprised, fascinated, and amused. It’s probably not a coincidence that these are my three favorite emotions to feel when I’m sitting in an audience—we all want to deliver the talks we most love to watch. Surprise appeals to me because we learn the most when our assumptions are challenged. It also resonates because I used to be a magician (though my wife is fond of reminding me of a Family Guy mantra: magicians are on the second-to-last rung of the hierarchy of entertainers, right between ventriloquists and mimes). Fascination matters because it means we’re not just awake but jazzed to learn more. As for amusement, laughter is as much fun to give as receive—and it’s also the most audible and visceral cue that the audience is on board.

The cardinal rule of humor at work is to make fun of yourself, not others. Self-deprecating requires vulnerability. So I started making a list of my favorite moments of vulnerability. The entrepreneur who included a slide in his pitch deck on the reasons not to invest. The job applicant who was underqualified for a position but landed it after her cover letter opened, “I’m probably not the candidate you’ve been envisioning.” And the American president who was accused in a debate by his opponent of being two-faced. As the story goes, Lincoln replied, “If I had another face, do you think I’d wear this one?”

I decided to surprise the audience in an amusing way by admitting one of my biggest mistakes: failing to invest in a company that’s now worth over $1 billion.

And this week, when I was nervous about my talk to the TED staff, I asked myself what Mohamed El-Erian would do. He wouldn’t be afraid of telling the audience that he’s afraid.

So I walked onstage and opened, “If there’s one thing more nerve-wracking than speaking at TED, it’s speaking to TED.”

The audience laughed. It broke the ice and put me at ease.

Considering what you want your audience to feel makes vulnerability less terrifying. It’s not about you. It’s about them.


Adam Grant is the New York Times bestselling author of Give and Take, Originals, and Option B with Sheryl Sandberg. He shares new insights each month in GRANTED, his free newsletter on work and psychology:
psychology  public-speaking  communication  influence  persuasion 
2 days ago by enochko
Close Reading — Real Life
"In transitioning ambient intimacy from one mode to the other, it turns out that our desires are more ambient in text and more intimate when visual. Even among the rather ordinary set of people I follow on Instagram, there is an undercurrent of the erotic more immediate and obvious than on places like Twitter. An ambient sense of social desire is something else when it is visual; we aim to be seen, and are thus asked to be seen in certain ways. And if the camera asks you to be seen, it also offers a chance to determine how you are seen and by whom, this new insistence on the scopophilic turned back against the viewer. I have watched people I know who long seemed to avoid being looked at settle into a new idea of who they are: The ego, once pinched, releases and expands from the center to the skin, a kind of warm fluid of confidence, a body now radiating a newly-minted sense of self-possession. A watchful eye once avoided is reclaimed, welcomed, relished — and so of course, the connective tissue of our communication came to include the image of the body.

There is a tension in this, though. It is hard to separate visual culture from economies of various sorts, from systems of circulation and exchange. The demand to place yourself into the swirl of images comes with certain rules. These are the boundaries of our particular modal shift. One can, for example, embrace body acceptance, can challenge regimes of corporeal domination, but it helps to do so symmetrically, in fashionable clothing, against well-lit backgrounds, engaging in the logic of the rectangular image, augmenting one form of desire with another. When intimacy is a thing to be as much seen as felt, one must, if not contort oneself, at least turn one’s life to the camera. The lens is like a supportive mother believing she is simply doing the right thing: “Be who you are, dear, but at least make yourself presentable.”

Yet there is warmth in the feed of images, too: a steady cavalcade of tiny, precious detail, a gentle flood of affection for both others and ourselves. For the lonely, sitting by themselves in quiet rooms and apartments, it represents an emergent social field, a kind of extra-bodily space in which one communes. The modal shift of ambient intimacy from text to the image is itself a minor analog of the broader one, from mass media to the network, from the body to its holographic pairing. There is in it surveillance and self-surveillance, the insistent saturation of capital down to our most private core. In its most ideal state, the collection of stories on otherwise faceless platforms is like an auditorium of holograms, a community of bodily projections. In those rare moments, one does not find oneself simply alone in the dark and cold, barely lit by a glowing phone. Instead, if only for a fraction of time, it is a field of light made full by incandescent strands of connection, staving off a colourless abyss, an intimate ambience that is — temporarily at least — just enough."
ambientintimacy  socialmedi  twitter  instagram  clivethompson  2017  socialmedia  intimacy  capitalism  capital  loneliness  smartphones  bodies  presentationofself  communication  media  news  photography  imagery  imagessurveillance  self-surveillance  economics 
2 days ago by robertogreco

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