If you're running the 4k display at 1440p, I'd agreed. But I run two 4k 60hz displays on a 16" MacBook Pro work laptop at 2880x1440 effective resolution and it looks fine to me. Yes, it doesn't look as good as the Studio Display I have on my personal Mac. But even though I have the MacBook Pro screen right next to the 27" monitors, I just don't notice the difference as I switch between them all day long.
I'm not saying there is no difference. But I suspect how one reacts to it is highly dependent on the person. I wear glasses that aren't perfectly focused for either screen, but they're good enough to get the job done - and mostly importantly, I get to use my two 4k 27" monitors to give me the same effective resolution as a Studio Display at far less money than two Studio Displays.
The opening to John McPhee's essay "Los Angeles Against the Mountains" is part of his book The Control of Nature. This first section of that essay is one of my favorite pieces of writing I've ever read.
In Los Angeles versus the San Gabriel Mountains, it is not always clear which side is losing. For example, the Genofiles, Bob and Jackie, can claim to have lost and won. They live on an acre of ground so high that they look across their pool and past the trunks of big pines at an aerial view over Glendale and across Los Angeles to the Pacific bays. The setting, in cool dry air, is serene and Mediterranean. It has not been everlastingly serene.
On a February night some years ago, the Genofiles were awakened by a crash of thunder--lightning striking the mountain front. Ordinarily, in their quiet neighborhood, only the creek beside them was likely to make much sound, dropping steeply out of Shields Canyon on its way to the Los Angeles River. The creek, like every component of all the river systems across the city from the mountains to ocean, had not been left to nature. Its banks were concrete. Its bed was concrete. When boulders were running there, they sounded like a rolling freight. On a night like this, the boulders should have been running. The creek should have been a torrent. Its unnatural sound was unnaturally absent. There was, and had been, a lot of rain.
The Genofiles had two teen-age children, whose rooms were on the uphill side of the one-story house. The window in Scott's room looked straight up Pine Cone Road, a cul-de-sac, which, with hundreds like it, defined the northern limit of the city, the confrontation of the urban and the wild. Los Angeles is overmatched on one side by the Pacific Ocean and by the other by very high mountains. With respect to these principal boundaries, Los Angeles is done sprawling. The San Gabriels, in their state of tectonic young, are rising as rapidly as any range on earth. Their loose inimical slopes flout the tolerance of the angle of repose. Rising straight up out of the megalopolis, they stand ten thousand feet above the nearby sea, and they are not kidding with this city. Shedding, spalling, self-destructing, they are disintegrating at a rate that is among the fastest in the world. The phalanxed communities of Los Angeles have pushed themselves hard against these mountains, an aggression that requires a deep defense budget to content with the results. Kimberlee Genofile called to her mother, who joined her in Scott’s room as they looked up the street From its high turnaround, Pine Cone Road plunges downhill like a ski run, bending left and then right and then left and then right in steep christiania turns for half a mile above a three-hundred-foot straightaway that aims directly at the Genofiles’ house. Not far below the turnaround, Shields Creek passes under the street, and there a kink in its concrete profile had been plugged by a six-foot boulder. Hence the silence of the creek. The water was now spreading across the street. It descended in heavy sheets. As the young Genofiles and their mother glimpsed it all in the all but total darkness, the scene was suddenly illuminated by a blue electrical flash. In the blue light they saw a massive blackness, moving. It was not a landslide, not a mudslide, not a rock avalanche; nor by any means was it the front of a conventional flood. In Jackie’s words, “It was just one big black thing coming at us, rolling, rolling with a lot of water in front of it, pushing the water, this big black thing. It was just one big black hill coming towards us.”
In geology, it would be known as a debris flow. Debris flows amass in stream valleys and more or less resemble fresh concrete. They consist of water mixed with a good deal of solid material, most of which is above sand size. Some of it is Chevrolet size. Boulders bigger than cars ride long distances in debris flows. Boulders grouped like fish eggs pour downhill in debris flows. The dark material coming towards the Genofiles was not only full of boulders, it was so full automobiles it was like bread dough mixed with raisins. On its way down Pine Cone Road, it plucked up cars from driveways and the street. When it crashed into the Genofiles’ house, the shattering of safety glass made terrific explosive sounds. A door burst open. Mud and boulders poured into the hall. We're going to go, Jackie thought. Oh my God, what a hell of a way for the four of us to die together.
The parents' bedroom was on the far side of the house. Bob Genofile was in there kicking through white satin draperies at the paneled glass, smashing it to provide an outlet for the water, when the three others ran in to join him. The walls of the house neither moved nor shook. As a general contractor, Bob had built dams, department stores, hospitals, six schools, seven churches, and this house. It was made of concrete block with steel reinforcement, sixteen inches on center. His wife had said it was stronger than any dam in California. His crew had called it "the fort." It those days, twenty years before, the Genofiles' acre was close by the edge of the mountain brush, but a developer had come along since then and knocked down thousands of trees and put Pine Cone Road up the slope. Now Bob Genofile was thinking, I hope the roof holds. I hope the roof is strong enough to hold. Debris was flowing over it. He told Scott to shut the bedroom door. No sooner was the door closed than it was battered down and fell into the room. Mud, rock, water poured in. It pushed everybody against the far wall. "Jump on the bed," Bob said. The bed began to rise. Kneeling on it--on a gold velvet spread--they could soon press their palms against the ceiling. The bed also moved towards the glass wall. The two teen-agers got off, to try to control the motion, and were pinned between the bed's brass railing and the wall. Boulders went up against the railing, pressed it into their legs, and held them fast. Bob dived into the muck trying to move the boulders, but he failed. The debris flow, entering through the windows as well as the doors, continued to rise. Escape was still possible for the parents but not for the children. The parents looked at each other and did not stir. Each reached for and held one of their children. Their mother felt suddenly resigned, sure that her son and daughter would die and she and her husband would quickly follow. The house became buried to the eaves. Boulders sat on the roof. Thirteen automobiles were packed around the building, including five in the pool. A din of rocks kept banging against them. The stuck horn of a buried car was blaring. The family in the darkness in their fixed tableau watched one another by the light of a directional signal, endlessly blinking. The house had filled up in six minutes, and the mud stopped rising near the children's chins.
I don't think I'd ever seen that document. Thank you!
I worked on the Basic Workstation team; my part was the desktop and folders code. As I recall, the whole BWS rewrite was the result of Robert Ayers coming along and trying to rewrite the bottom layers of Star from scratch. The framework he came up with became the basis for BWS.
Federico Viticci of MacStories has created S-GPT, a free shortcut that allows you to submit queries to ChatGPT. The shortcut works on iPhones, iPads, and MacOS devices, and allows integrations with the native device OS. Example: you can ask ChatGPT to create a list of songs, and S-GPT can create the playlist in Apple Music.
Using the shortcut requires a paid account and an api key from OpenAI, but as Viticci points out, he spent only $1.50 during his entire time testing the shortcut.
Yes! When I was a junior or senior in college, I went through the list of PARC reports and made a list of perhaps 20 or more of them I might like. I was very surprised to eventually get a book-sized box full of reports.
That lead me to an interest in Xerox, and when I got out of college I went to work for Xerox in El Segundo on the Star project.
I stayed there for 7 years, so I'd say the company got their money's worth out of sending a college student a bunch of tech reports.
"Courage" is a reference to Apple executive Phil Schiller's use of that word to describe Apple's removal of the headphone jack from the iPhone 7 last Fall.
Said book - Annals of the Former World - is only $5.99 in Kindle form at Amazon. It's far from my favorite work of McPhee's, but $5.99 is quite a bargain.
There were in fact at least two GopherCons ('92 and '93) focused on the Gopher protocol. I worked at the time for CICNet, and we hosted one of the conferences in Ann Arbor.
Whoops! Context lost when I posted that. What I was saying was .. I was a programmer on Star from 82-89. I went straight from college to Xerox - and it was like working in a time machine. Network based file and print servers, email, directory services, mouse, GUI, etc etc. All on machines that had at most 1.5 megabytes of memory.
I'm not saying there is no difference. But I suspect how one reacts to it is highly dependent on the person. I wear glasses that aren't perfectly focused for either screen, but they're good enough to get the job done - and mostly importantly, I get to use my two 4k 27" monitors to give me the same effective resolution as a Studio Display at far less money than two Studio Displays.