4897
It’s time to stop fighting about imaginary ‘isms’ - The Globe and Mail
In case I ever need evidence that Doug Saunders is an ideological tool.
neoliberalism 
4 weeks ago
Will Women In Low-Wage Jobs Get Their #MeToo Moment? | FiveThirtyEight
A macho workplace culture can normalize bullying, meaning men don’t act when they see women who are sexually harassed. “The overwhelming target of bullying is men against other men,”
sexism 
5 weeks ago
Students' Perceptions o Teacher Biases
Male students tend to bet less when assessed by a female
teacher than by an external examiner or by a male teache
r. This is consistent with female teachers' grading practices; female teachers give lower grades to male students. Female students bet more when assessed by a male teacher than when assessed by an external examiner or a female teacher. Female students' behavior is not consistent with male teachers' grading practices, since male teachers tend to reward male students more than female students.
sexism  education 
6 weeks ago
Thread Reader
The belief that GUIs are more intuitive is marketing for GUIs.
GUIs are in no way more intuitive than keyboard interfaces using function keys such as the POS I posted earlier. Nor do they need to be.
ui  design 
10 weeks ago
The KRACK wi-fi vulnerablility was in plain sight for 13y behind a paywall
Vulnerability not found for 13 years because the standard was not open.
security  open-source  open-access 
october 2017
Star Wars is a pastiche: How George Lucas combined Flash Gordon, Westerns, Kurosawa, The Dam Busters, Carlos Castaneda, and more into a postmodern masterpiece.
He literally cut together shots from old films. “Every time there was a war movie on television, like The Bridges at Toko-Ri, I would watch it,” he later explained, “and if there was a dogfight sequence, I would videotape it. Then we would transfer that to 16mm film, and I’d just edit it according to my story of Star Wars.” Lucas started videotaping off his TV as early as 1973, and the effects team later used his edits as a guide. Ken Ralston, who worked on the movie’s special effects, explained, “We matched frame-to-frame the action on that as closely as we could.”
copyright 
october 2017
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