Anecdotally, working on an old Vue 2 app I found Claude would almost always return "refactors" as React + Tailwind the first time, and need nudging back into using Vue 2.
I've tried both and am currently using MathAcademy to learn new knowledge. It's very, very good at incrementally building out concepts and gradually adding complexity. I had no luck at all with Brilliant. MathAcademy practically forces you to bust out a pencil and paper and dive into problems, but Brilliant was more like watching a kind of neat YouTube video on a topic.
Fantastic resource! I actually stumbled across it organically a few months ago, and couldn't believe my luck. There's really nothing else out there as high quality that's CC0. So thank you.
Haven't been on 'the apps' in a good while, but it was my belief that they all work a bit like this, no? The algorithm sizes you up, you get put in a bucket, and you are matched with those who are in an equivalent bucket. Bucket hopping is then made available at a cost.
One of the main joys of being a contractor is that this dynamic can be turned on its head. No amount of bullshit can save you from not delivering on a task you have been explicitly paid to do, and people often assume the best (rather than the worst) if you shoot for 'silent success' as a delivery mode.
Ha! I made this exact same mistake. I think I lasted less than a week. It's the abstraction of the file system that did it for me. Something deeply unserious about it.
Interesting article. I landed on 'game development' as a way to keep some form of artistic practice alive while I have a 9-5 because they're affordable to make (albeit time expensive) and essentially act as gesamtkunstwerks that can absorb as many other hobbies and interests as you can cram in them. Photography? Analogue synthesisers? Geopolitics? Shader coding? All material for building your game world. There's also the slim but not impossible chance your creation sells a few copies. At the very least, you might pick up some useful skills for your dayjob.
My first game (not available anymore, but it was this: https://www.youtube.com/watch?v=cQfMHzbFL-w) sold maybe a few thousand copies, but it briefly hit the front page of reddit, indirectly led to some other fun opportunities, and got the chance to get a feature on the App Store (...though I didn't see the email until way too late), which was probably some of the most fulfilling stuff that has happened to me online, as someone that keeps a minimal online presence otherwise. But commercially? It would be considered an abject failure by any studio that had to keep the lights on. As far as hobbies you don't have to leave your desk for, game development carries with it so much possibility. Which is also what makes it so dangerous and alluring for so many, I think.
Find his work endlessly inspiring not just in terms of how good it is, but also in the way it has proved there's an audience hungry for the experimental and conceptually quite challenging games he makes, too -- carved a path and set the bar for artistically inclined game-devs (and game-dev inclined artists)
Clicked for me when I realised HN is compromised of the few for whom web2 has served quite nicely, so it's unsurprising that talk of web3 is received about as well as a brick through the Google bus window
I mean, maybe the original tulip buyers were doing so as they got genuine satisfaction out of supporting the growers themselves (ie their primary reason for buying was patronage rather than speculation), but that would be quite an amendment to the standard narrative
Witty, but ignores the artist <-> artwork <-> fan relationship dynamic that is at play here. To me the scene feels closer to a platform like Bandcamp than it does the more speculative world of Opensea.
I've yet to see that come up as an issue within this niche - it's mostly code based work, so a certain tolerance for forking/remixing is baked in. Unsurprisingly, highly derivative work doesn't raise much interest.
I have always followed a lot of generative artists on Twitter. Never have I see so many creatives I follow prospering at once, mostly thanks to the Tezos ecosystem.
The buyers seem happy to support the artists. The artists seem happy to receive this support. For all the cries of it being a scam/ponzi, I'm not quite sure who the victim is meant to be here - at least within this rather specific niche.
I don't think it's necessarily a concentrated effort on behalf of any one entity - anecdotally it just seems to be the new buzzword marketing departments have latched onto now that pitching blockchain/NFTs alone doesn't cut it anymore. Without checking, it wouldn't surprise me if Clubhouse is 50% "how to BUILD your BRAND in the METAVERSE" right now, even if nobody can quite pin down what it means, what it will be, or where it will come from
Totally agree - just watched a bit on Youtube out of nostalgia, and was taken aback by the charm of it for sure. There's a restraint that I don't think I appreciated when I was watching it as a young teenager - it's defined as much by the the places that it doesn't go (that other shows did, as you say) than the places that it does
It just means there's a physical artefact - the value becomes attached the piece of paper with the instructions on, as that can then be used to manifest "legitimate" performances/installations of the work (eg in a museum, or wherever)