Podcasts about spola

Ho ho ho nu kommer snart julen och här kommer VI med tips för en fröjdefull jul med hunden din! Spola till 08.28 för att slippa argt babbel om black friday och vad det har gemensamt med hundar hehe Om julens situationer som kan vara jobbiga för hunden (och en själv tbh) och hur man kan lösea dem, om återhämtning, berikning och några life hacks till och med! Och så rantar Lilly satan. Låter nästan som att hon skäller ut er lyssnare men det är inte åt ert håll kängan riktas! Lovar. God jul älsklingar! LÄNKAR till sånt vi säger att vi ska länka: Kong: https://youtu.be/hbUD0S0zriE?si=tCUu6Q5JprNTk9Er Filtträning: https://youtu.be/-H2HlSTmMQY?si=6fxYPwsZsJ7WmR3s Minikurs: https://www.lillyshundkurser.se/chilla (skriv PODDENHUNDSNACK för rabatt yay!) Presentpapper: https://www.instagram.com/reel/C1SM0LZoGD1/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== Hannas nyårsgrejer: https://www.instagram.com/p/CYEk63aI1nN/?img_index=1 Nästa avsnitt blir som en liten julklapp för dig som står mitt i stressen och med störiga släktingar. Skyll på hunden, stäng in dig eller gå ut, in med podd i öronen och play. Som en varm kram! Hörs om två veckor! ♡Följ oss gärna här också♡ Poddens instagram: https://www.instagram.com/poddenhundsnack/  Poddens fb-grupp: https://www.facebook.com/groups/119327454390683    Hannas instagram: https://www.instagram.com/hundhanna_/  Lillys instagram: https://www.instagram.com/hundtranarlilly/  Lillys youtubekanal: https://www.youtube.com/channel/UCdyGBKuQSIgRKzdm1e7naVg 

Hur ska vi få slut på åldersdiskrimineringen i Sverige? Visst borde vi uppskatta erfarenhet och kunskap, tänka lite mer som japanerna och börja umgås mer över generationerna? Och hur ska vi göra för att motverka åldersdiskrimineringen i arbetslivet? Vi intervjuar John Mellkvist som är generalsekreterare för Pluskommissionen, en av landets ledande röster vad gäller åldersfrågor. Åsa berättar om misstänkt ”prostitution” i hemtjänsten och Helena när hon råkade fylla en pensionär. Hosted on Acast. See acast.com/privacy for more information.

Hej Kalle! -------------------------------------- Avsnittsguide: Avsnitt 367 - Spola fram fem minuter Maila in till: kontakt@hallflabben.se Hemsidan: www.hallflabben.se Håll Flabben Merchandise Youtube Nytt avsnitt släpps varje lördag kl. 09.00. ----------------------------------------

Severnoirski režiser Marko Cousins je za svoj dokumentarec Nenaden uvid v globlje stvari na 58. festivalu v Karlovih Varih prejel glavno nagrado – kristalni globus. Film se posveča britanski abstraktni umetnici Wilhelmini Barns-Graham in prav o njej ter nagrajenem filmu se Mark Cousins in Petra Meterc največ pogovarjata.

Organizacija za gospodarsko sodelovanje in razvoj OECD je poleg bralne, matematične in naravoslovne pismenosti v letu 2022 v 64 državah prvič preverjala tudi ustvarjalno mišljenje 15-letnikov, pri tem so sodelovali tudi slovenski dijaki in dijakinje. Pedagoški inštitut je sicer rezultate raziskave PISA 2022 s področja matematične in naravoslovne pismenosti predstavil že decembra lani.Slovenski 15-letniki so dosegli nadpovprečne rezultate pri matematični in naravoslovni pismenosti, pri bralni pismenosti pa so bili pod povprečjem OECD. Prejšnji teden so na Pedagoškem inštitutu predstavili rezultate prve raziskave, ki se je pri nas torej ukvarjala z bralno pismenostjo 15-letnikov. V raziskavi je v Sloveniji sodelovalo 6721 dijakov, ki večinoma obiskujejo prve letnike srednješolskih programov. Sogovornici: dr. Klaudija Šterman Ivančič s Pedagoškega inštituta in dr. Mojca Juriševič s Pedagoške fakultete v Ljubljani Zapiski: Rezultati raziskave PISA 2022

Pred nami je evropsko srečanje krščanskih učiteljev, ki bo tokrat potekalo v Sloveniji. Osrednja tema pogovorov in predavanj bo vzgoja otrok za spol in spolnost. V oddaji Srečanja je o vdoru idelogije spola v šole in programu omenjenega kongresa spregovorila Helena Kregar iz Društva katoliških pedagodov Slovenije. Med osrednjimi predavatelji pa bosta pediater dr. Urh Grošelj ter gimnazijski profesor in voditelj inštituta Integrum Benjamin Tomažič. Oba sta bila tudi gosta zadnjega Hipokratovega srečanja in tako smo lahko njunemu razmišljanju prisluhnili tudi na Radiu Ognjišče. Spregovorila sta o tem, ali se sploh lahko otrok sam odloči, da bo zamenjal spol in česa si pravzaprav odraščajoči otroci najbolj želijo. Vabljeni k poslušanju!

Glad annandag nationaldag! Vi reder i juridiken kring Pontus Jansson-soppan med Jesper Ekstedt. Johan Kucukaslan berättar om sitt bästa Zlatan-minne och när Olof Lundh nästan sabbade hans relation med Ibracadabra Till sist kommer Robinson-vinnaren Olivia Lindegren till studion och avslöjar detaljer om finalen.

Helgen börjar med Spanarna! Häng med en skarpsynt och klurig trio och hör vad de tror om vår framtid. Den här veckan har vi bjudit in gästspanaren Thanos Fotas. Thanos är komiker och är just nu bland annat aktuell som medverkande i tredje säsongen av IFS - Invandrare för svenskar på SVT. Thanos spanar tillsammans med spanarveteranen och journalisten Jessika Gedin samt statsvetaren och docenten Katarina Barrling. Programledare är Kristian Luuk. Varmt välkommen in i radiovärmen! Lyssna på alla avsnitt i Sveriges Radio Play. Häng med Spanarna till framtiden i sällskap av den glada trojkan i programmet som alltid har blicken och siktet inställt på det som komma skall!Spanarna i P1 2024-03-22 – veckans panel:Thanos Fotas - gästspanare. Thanos är komiker och just nu aktuell med en egen standupshow samt som medverkande i tredje säsongen av IFS - Invandrare för svenskar på SVT. Thanos spanar under rubriken: Mellanmjölk 2.0. Jessika Gedin - spanarveteran, förläggare och journalist. Jessika spanar under rubriken: Spola lyckanKatarina Barrling - statsvetare och docent i statsvetenskap. Katarina spanar under rubriken: Konfliktbalans.Spanarna i P1 - programmet görs av:Programledare är Kristian LuukMusiken väljs av Berit NygrenTekniker: Victor UbeiraProducent: Ronnie RitterlandSpanarna i Sveriges Radio P1 är ett underhållningsprogram och en podd för dig som är nyfiken på vad vi har att vänta av framtiden på gott och ont och gärna hör det spekuleras om detta med glimten i ögat.Spanarna sänds i P1, fredagar klockan 15.04 och med repris på lördagar klockan 9.03. Programmet släpps som podd, fredagar i Sveriges Radio Play.

Det är... äntligen dags. Det ska handla om Mighty Max the Series (1993-94) och svenska dubben som gick på TV1000. Spola till 27.24 min om du bara vill höra om tv-serien direkt!

Kar 42 oddaj Med štirimi stenami se je zvrstilo v letu 2023, večino izmed njih smo predvajali v neposrednem prenosu oz. živo. Prvi dan novega leta je dan za počitek za vse naše goste, ki se bodo v tem letu še zvrstili med našimi štirimi stenami, zato smo se odločili, da danes predvajamo nekaj odlomkov iz lanskih oddaj, ki so se tako nas kot tudi vas najbolj dotaknile. Izbrale so jih avtorice Darja Groznik, Lucija Fatur in Cirila Štuber, ki jih je tudi povezala.

V Franciji bodo v uradnem sporazumevanju prepovedali inkluzivno pisanje z navajanjem obeh spolov. Predlog zakona je podprl francoski predsednik Emmanuel Macron, ki je poudaril, da je v francoščini moška slovnična oblika nevtralna. V francoski civilni družbi je sicer več pozivov, da bi bila francoščina manj 'seksistična', nasprotovanje inkluzivnemu pisanju pa izvira iz potrebe po razumevanju in lažjem branju francoščine. Kako se je uveljavljalo inkluzivno pisanje v Franciji in ponekod po svetu? Kaj pomeni napovedana prepoved in iz kakšnih argumentov izhaja? Gostja bo doktorica Metka Zupančič, zaslužna profesorica za francoščino, ki je kot predavateljica delovala na univerzah v Združenih državah Amerike, Kanadi in Sloveniji. Zdaj predava na primorski univerzi, saj znova živi v Sloveniji (Foto: EPA).

Dasha har varit på Edvin Törnbloms humorshow ”Bögen är lös”, och den var otrolig!Alexandra vaknade häromdagen med att hon hade tappat känseln i halva hårbotten. Detta leder henne till en nedåtspiral i symptomer för stroke och alla möjliga sjukdomar. Vidare diskuterar tjejerna om det är okej att köpa samma klädesplagg som någon av sina kompisar? Är det off limits eller är det fritt fram att bara köra på?Slutligen så tar vi del av hur Dasha råkat skicka ett sms till fel person, men som svarat otroligt otrevligt och tjejerna misstänker att detta antagligen var någon kriminell. Följ oss på instagram @ordochallavisor!‘Ord och alla visor' är producerad av Silverdrake Förlag via Acastwww.silverdrakeförlag.seKlippare:Patrik Sundén@patriksundenRedaktör:Marcus Tigerdraake, marcus@silverdrakeforlag.se@marcustigerdraakeKoordinator: Victoria Tigerdraake, victoria.tigerdraake@gmail.com@victigerdraake Hosted on Acast. See acast.com/privacy for more information.

Zgodb, v katerih najstniki opisujejo svojo stisko glede sprejemanja svojega spola, je danes vse več. Pri tem pa so njihove zgodbe presenetljivo podobne: nizka samopodoba, osamljenost, nesprejemanje svojega razvijajočega se telesa, občutek, da nikamor ne pripadajo. Družbena omrežja pa jih prepričajo, da za vsemi temi občutki stoji ena rešitev: prehod v drugi spol. O zgodbah otrok, ki svojo odločitev obžalujejo in nevarnostih ideologije Spola smo se pogovarjali s strokovnjakinjo s tega področja Mojco Belcl Magdič.

Ni hittar 6-årsavsnittet på vår Youtube-kanal "Imperiet podcast", firande inför livepiblik! Spola fram 44 minuter och kör!

Nyheterna Radio 12:00

Z nami so bila socialna pedagoginja Darja Vesel Barborič, tajnik Urada za družino ter zakonski in družinski terapevt Luka Mavrič in novinar ter skavt Peter Merše. Zanimalo nas je, kje vse se že pozna vpliv te ideologije, zakaj ji mlade tako lahko podležejo ter kakšna je pri tem vloga staršev in učiteljev. Vabljeni k poslušanju!

Njemačka vlada dogovara reformu zakona o rodnom samoodređenju. U budućnosti će transrodnim i nebinarnim osobama biti mnogo lakše promijeniti oznaku spola u osobnim dokumentima. Do sada složena procedura bi trebala postati stvar prošlosti. Nenad Kreizer nam pojašnjava važne detalje iz ovog nacrta novog zakona, a Agata Milan Đurić, iz Geten centra za prava LGBTIQA osoba iz Srbije, objašnjava kakva su prava trans ljudi u regiji i hoće li u budućnosti i tu biti olakšana procedura samoodređenja. Von Maja Maric.

Idag:De märkliga halvsanningarna vi inte vill att nån ska slå hål på. Killar som kan alla huvudstäder.Alla hade coola livsöden i tidigare liv.Caroline Giertz eventuella kuckelur med medier på hotellet efter inspelning Ted Gärdestad avslöjar sin favoritfärg från Andra sidan.Pontus Gårdinger om sin udda gåva.Och så är jag nära att grina lite i sista partiet. Men höll mig. Ni vet. Kom in på min pappa och så mina barn på det och... Äh. Spola där om ni blir besvärade av sånt. Har inte ens pallat att lyssna igenom det där sista själv. Powered by Bokadirekt.se och ViD - Nikotingudarna. Hosted on Acast. See acast.com/privacy for more information.

Fredagsstämning på redaktionen! Vi diskuterar vett och etikett ute i offentligheten; får man äta picknick i kollektivtrafiken? Får man stinka ingrott svett i matbutiken? Mikael delar med sig av veckans STÖR, kängor ges till bland annat hörselskadade, grundskoleelever och de äldres matvanor. Annika Lantz svänger förbi och berättar allt det viktiga om livet på P3 - hur bjussigt är det egentligen med sprit på personalfesterna? Det blir även dejtingsnack-deluxe. Hur hade Lantz navigerat som singel i dagens djungeln av dejtingappar? Vi diskuterar tinderbios, tinderbilder och tinderchatt-taktiker. Häng med!Support this show http://supporter.acast.com/gott-snack-med-fredrik-soderholm. Hosted on Acast. See acast.com/privacy for more information.

Tokratna oddaja Srečanja je bila namenjena ozaveščanju o ideologiji spola v slovenskem prostoru. Gosta sta bila mag. Mojca Belcl Magdič in dr. Gabriel Kavčič, ki sta spregovorila o osnovnih pojmih LGBTRQ+ in o tem, kako v praksi prepoznati vdor te ideologije v šole in druge ustanove.

Tokratna oddaja Srečanja je bila namenjena ozaveščanju o ideologiji spola v slovenskem prostoru. Gosta sta bila mag. Mojca Belcl Magdič in dr. Gabriel Kavčič, ki sta spregovorila o osnovnih pojmih LGBTRQ+ in o tem, kako v praksi prepoznati vdor te ideologije v šole in druge ustanove.

Nico berättar om en bisarr bevakare, men i och med att han är ensam gäst så bjuder vi in Mattias som berättar om livet som TV-snickare. Merch-shop: https://bit.ly/3hMLwVS Mustaschkampen:  https://www.beijerbygg.se/privat/mustaschkampen

L'avventura imprenditoriale di Enrico Tomelleri è iniziata con l'apertura, quasi in contemporanea, di due ristoranti: Paski Vineria Popolare a Sydney e Casa a Perth.

Augustiavsnittet av Frisk utan flum-podden innehåller en salig blandning av ämnen. Maria klickade på en artikel från MåBra där fick man råd om att genast sluta använda bh - det finns tydligen sju skäl till det, vi går igenom dessa skäl och ger vår syn på saken. Vi svarar på en lyssnarfråga om hudutslag i samband med träning och pratar även om en nyligen publicerade forskningsstudie kring salt och blodtryck och en annan om alkohol och koppling till skador på hjärnan. Högt och lågt med andra ord, hoppas ni vill lyssna!  Länkar till studierna finns på: https://www.fortasana.se/fortasanabloggen/ 

Äntligen är den här! Poddius Castus efterlängtade sommarspecial! För andra gången är alla fyra poddmedlemmar med och presenterar varsin film eller tv-serie på temat antiken. Vi rör oss från ett New York fyllt av gangsters till den antika världens hetaste filosofiplats. Däremellan gör vi även uppehåll hos en och en annan gud och kanske hos en farao. Så poppa popcornet och plocka fram läsken, för bättre filmmys än så här blir det inte! Spoiler alert! Spola fram om ni inte vill veta hur det slutar.55 min, 23 sek --> 56 min, 15 sek1 h, 03 min, 15 sek --> 1h, 04 min, 07 sek See acast.com/privacy for privacy and opt-out information.

Spola in njune družbene vloge se z novimi časi intenzivno spreminjajo. Že uporaba dvojine je za najbolj občutljive lahko sporna. Občutljivosti teme se vse bolj zavedajo tudi proizvajalci dobrin in storitev, za katere se je izkazalo, da so v kontekstu sodobne prebujenosti lahko sporni. V tej maniri je proizvajalec keksov domačica - v prevodu gospodinja - izvedel komunikacijski harakiri: pojmu gospodinja so dodali veznik in ter prilepili kup alternativnih vlog, ki pritičejo sodobni ženski, ki ni samo gospodinja: umetnica, programerka, menedžerka... Seveda se je vsul plaz kritik, saj so keksi ravno s tem eksperimentom na prvo mesto postavili pralni stroj. Trendu prenove dojemanja spolov in njihovih vlog se je priključit tudi danski lego, ki je obljubil, da bo iz svoje ponudbe odstranil spolno pristranskost in škodljive stereotipe. Ob tej zavezi pa niso pojasnili, ali bodo legove gusarske ladje upravljale gusarke ali ljudem podobna bitja, ki bodo v namen korektnosti ostala brez spola in se jim ne bo reklo kapitan ali kapitanka. Kje pa vi najdete spolno pristranskost in školjdive stereotipe? Kak je vaš odnos do tega? Ali je kje meja, ko začnemo pretiravati?

Ett program om vattentoaletten och framtidens toaletter. Reporter är Karin Gyllenklev. Vi går dit - gör vår grej - spolar - sedan är skiten borta! Men vattentoaletten är långt ifrån optimal. Vi spolar iväg toalettinnehållet med rent dricksvatten samtidigt som vi har vattenbrist i flera delar av landet. Dessutom spolar vi iväg eftertraktad växtnäring som finns i vårt kiss och bajs. Växtnäring som vi importerar från andra länder för att lägga ut på våra åkrar.Men forskning pågår och det bubblar upp allt fler utmanare till den traditionella vattentoaletten. Vad sägs om att spola med regnvatten? Eller varför inte en toalett som torkar ditt kiss till ett gödselpulver? Eller en vakuumtoalett? Ni vet sådana där som finns på tåg och flyg. De börjar göra sig hemmastadda även i bostadsområden nu.Karin Gyllenklev Sveriges Radio Kronoberg karin.gyllenklev@sverigesradio.se

Bisogna sempre coltivare le nostre capacità insieme alla gentilezza.Voce narrante: Alice DeBaccoTesto dei Fratelli GrimmProduzione: Fondazione TRGProgetto e montaggio a cura di Claudia MartoreTecnico di registrazione: Mattia MontiAUDIO CREDITS:Free music for non-commercial use from Fesliyan Studios

Lång fredag! I dag blir det minst en påskrelaterad historia. I övrigt blir det ljuv hämnd, häftig action och smärtsamma fyllehistorier. Har du ett skvaller som fler borde få höra? Maila det till kafferepetpod@gmail.com
 Missa inte vår månatliga systerpodd Cigarrummet. Bli prenumerant på www.underproduktion.se/cigarrummet 7:02 - Röv-Emil 14:45 - Hemlighetsfulla kärringar 19:12 - Svärsonen 25:01 - Kanonen i Norrfors 30:11 - Spola kröken 39:31 - Ninjan från rättspsyk 45:57 - Air Force Balkan eller “finns det en svensk advokat på planet?” 59:16 - Chilenska batterier 1:06:34 - King Kong moment

Razstava na Ptuju in nagrada za najboljše še neobjavljeno književno delo v zvrsti roman za odrasle

Spola fram 10 minuter om ni vill slippa höra våra stream-of-consciousness galenskaper. Det är det som är kryddan emd julkalendern gott folk! De utsökta delikatesser som hade klippts från ett vanligt avsnitt får här ligga kvar och skvalpa. 10 minuter in blir det däremot mycket intressant om en historisk Pärsson. God Lyss!

1993: gli attentati al patrimonio artistico, il caso Lentini. Il Fatto Quotidiano ha lanciato la petizione sul sito del Fatto e su change.org: "Berlusconi al Quirinale? No, grazie". La campagna andrà avanti fino alla votazione per eleggere il presidente della Repubblica. Restate con noi. Per firmare la petizione vai su change.org: https://change.org/b-no-quirinale

I det här avsnittet så demonstreras en hemmabyggd äggpickare. Det pratas om England och deras märkliga maträtter. Siri meckar ihop en otrolig ägg och krassemacka med sina bara händer.. Okej, hon använder några redskap. Och Kristoffer han pickar på!Ägg- och krassemacka för fyra pers:6 ägg8 skivor bröd2 msk majonnäs1 tsk dijon1/2 tsk sambal el pecorino1 näve persilja1 ask krasseSalt PepparSå här gör du:1.Koka äggen i 7-8 min.2.Spola kalla och skala. 3.Separera äggulan från vitan. 4.Hacka vitan och gulan. 5.Blanda majonnäs med dijon, sambal olek, salt och peppar. 6.Vänd ned ägget och rör runt, smaka av!7.Vänd ned all krasse och lägg sedan upp röran mellan två bröd. 8.Skiva på mitten innan servering.Följ oss på instagram: @tack.fmTack för maten görs av Siri Barje, Karl Birgersson, Kristoffer Triumf och distribueras av Acast. För förfrågningar om samarbeten: influencermarketing@aller.com See acast.com/privacy for privacy and opt-out information.

Vi snackar alkohol och sport och försöker balansera på gränsen mellan allvar och alkoholromantik, utan att helt lyckas med det. Med oss på länk är ”Björn”, som faktiskt var han som kom på ”Spola Kröken”, och Charlie Sjöstrand och Tomas Axnér, som berättar om synen på alkohol inom tysk handboll. Dessutom: Säffle-Gunnars liv och död, Tony Adams liv och ansikte, världens sämsta Resumé- artikel samt Marcus dröm om att bli chef för Systembolaget. See acast.com/privacy for privacy and opt-out information.

Triggervarning innehåller våld, sexuellt våld och hot. Spola fram till 19 minuter om du inte vill höra om gymnaiset med hot och våld.Hej välkommen till ett nytt avsnitt, sista avsnittet i säsong 3! i detta avsnitt så fortsätter jag att läsa mer i min bok. Om gymnasiet, våld och svenska kyrkan. Jag hoppas att ni gillar detta koncept när jag läser i min bok.Säsong 4 börjar 31/5-2021 med en helt ny säsong. Vill du vara med i säsong 4? Skriv till mig på instagram!Tack för att just du har lyssnat!kram!REKLAM:Vi klarar det tillsammans- Bara vi vågar finns nu att köpa på instagram eller facebook för 50:- och kommer att levereras till köparens mejl.https://www.facebook.com/elinangelinstagram@elinfridstromSOCIALA MEDIER:instagram@depressions.poddenfacebook@depressionspoddeninstagram@elinfridstromSong: Ikson - Harmony (Vlog No Copyright Music)Music promoted by Vlog No Copyright Music.Video Link: https://youtu.be/PwZX5hD2oJM

Časovnica, literatura in vso dodatno gradivo je rezervirano za naše člane. Prijavite se na platformi Patreon: https://www.patreon.com/znanostdobregapocutja   Sledite nam: Nenad na instagramu: @nenad.feelgood Matjaž na instagramu: @matjaz.feelgood Feelgood Skupnost na Facebooku: https://bit.ly/feelgoodskupnost Spletna stran: https://www.feel-good.si   Poslušate nas lahko na: iTunes: https://bit.ly/itunes-zdp Spotify: https://bit.ly/spotify-zdp Google Podcasts: https://bit.ly/google-zdp Podbean: https://bit.ly/podbean-zdp Stitcher: https://bit.ly/stitcher-zdp Pocket Casts: https://bit.ly/pocket-zdp Podcast Addict: https://bit.ly/addict-zdp Castbox: https://bit.ly/castbox-zdp Deezer: https://bit.ly/deezer-zdp

Sašo Hribar, Tilen Artač, Jure Mastnak, Nejc Mravlja, Aleksander Pozvek in Marko Cirman, strokovnjaki za nepredvidljiva presenečenja, se vsak petek vračajo v studio Prvega. Neugnani, nepredvidljivi, neizprosni, neodvisni in neponovljivo izvirni satiriki in imitatorji vam dajejo priložnost za kritičen in vedno aktualen skok v konec tedna. V petek po 10.00 na Prvem.

#DEKONSTRUKTIVKRITIK gästas av Mattias Svensson som är inbjuden för att tala om sin nya bok ”Så roligt ska vi inte ha det, En historia om Svensk alkoholpolitik”. Men så roligt ska vi ha det för det är en bok som på ett underhållande men träffsäkert vis prickar in vad som är fel, inte bara med vår alkoholpolitik, utan också den mentalitet som lurar där bakom. Den är inte lika rolig som Mattias bok. För mer info: https://bit.ly/DK_MattiasSvensson_SpolaSystemet STÖTTA DEKONSTRUKTIV KRITIK på: paypal.me/ARONFLAM Patreon: bit.ly/ARONFLAMDK SWISH 0046768943737 Bitcoin: 3EPQMEMVh6MtG3bTbGc71Yz8NrMAMF4kSH Edited by Marcus Blomgren Intro by: Intractable by Kevin MacLeod is licensed under a Creative Commons Attribution license (creativecommons.org/licenses/...) Source: incompetech.com/music/royalty-... Artist: incompetech.com

Časovnica, literatura in dodatno gradivo so na voljo članom na platformi Patreon: https://www.patreon.com/znanostdobregapocutja   Sledite nam: Nenadov instagram: @nenad.feelgood Matjažev instagram: @matjaz.feelgood Feelgood Skupnost na Facebooku: https://bit.ly/feelgoodskupnost Spletna stran: https://www.feel-good.si   Poslušate nas lahko na: iTunes: https://bit.ly/itunes-zdp Spotify: https://bit.ly/spotify-zdp Google Podcasts: https://bit.ly/google-zdp Podbean: https://bit.ly/podbean-zdp Stitcher: https://bit.ly/stitcher-zdp Pocket Casts: https://bit.ly/pocket-zdp Podcast Addict: https://bit.ly/addict-zdp Castbox: https://bit.ly/castbox-zdp Deezer: https://bit.ly/deezer-zdp

Varför stängde man egentligen destilleriet Brora och inte granndestilleriet Clynelish? En karatekvick koll på destilleriet Yamazaki och en hostile takeover på veckans ord – dimtest. Brora Broras historia finns väl beskriven av Serge Valentin här: http://www.whiskyfun.com/brorahistoryp1.html Bästa källan till varför destillerier lades ned är i böcker, och de två bästa om skotsk whiskyhistoria är: Charles MacLean, Scotch whisky: a liquid history (2005). Michael S. Moss & John R. Hume, The making of Scotch whisky: a history of the Scotch whisky distilling industry (1981). Lorry – Vi har ju ingen lokal (Spola till 21 minuter) https://www.oppetarkiv.se/video/5214994/lorry-sasong-1-avsnitt-4-av-7 Ballentine's signaturmalter Miltonduff: https://www.systembolaget.se/dryck/sprit/miltonduff-31801 Glenburgie: https://www.systembolaget.se/dryck/sprit/glenburgie-91101 Glentauchers: https://www.systembolaget.se/dryck/sprit/glentauchers-48001 Yamazaki Distillery https://www.suntory.com/factory/yamazaki/ Bästa boken om japansk whisky (det finns ganska många och en hel del av dem är inget vidare): Stefan Van Eycken, Whisky rising: A story in the making (Kennbunkport: Cider Mill Press, 2017) som är ofattbart billig, 219 spänn på Bokus: https://www.bokus.com/bok/9781604336979/whisky-rising/ Om detta med de icke-existerande eller väldigt sladdriga japanska whiskyreglerna: https://blog.distiller.com/japanese-whisky-rules/ https://scotchwhisky.com/magazine/features/19680/not-all-japanese-whisky-is-japanese-whisky/ Dimtest Galen hög nördnivå på destillering här, även om dimtestet bara nämns kort: http://whiskyscience.blogspot.com/2011/03/pot-still-distillation.html Även lite kort beskrivet här: http://masterclass.boxwhisky.se/sv/the-middle-cut Mer om den där första spriten som är mjölkig i sig själv: http://www.smogenwhisky.se/2015/04/dimmig-sprit/ Annars gäller att både onlinekällor och specialistlitteratur bara beskriver testet ungefär så kort som vi gjorde i podden. Dimholt är ju förstås den gamla skogen vid berget Dwimorberg som leder till Paths of the Dead och inget annat: https://lotr.fandom.com/wiki/Dimholt Här når du oss: En trea whisky på Facebook (https://ww.facebook.com/entreawhisky) Maila till oss på hej@entreawhisky.se Davids blogg tjederswhisky.se (https://www.tjederswhisky.se)

Att göra slut med sin bok, Ronan Farrows Fånga och döda, Systerklockorna av Lars Mytting och Männen i mitt liv av Sofia Rönnow Pessah. Lite om flexande recensenter och Sara Paborns Tistelhonung. Och varför folk som Matilda Gustavsson kan plana ut kurvan. See acast.com/privacy for privacy and opt-out information.

En julhälsning från Sveriges Radios korrespondent. Julafton i Peking är inte en speciell dag. När de flesta i Sverige är fullt upptagna med att öppna julklappar eller äta julbord, tar Pekingborna tunnelbanan hem efter ännu en arbetsdag. Det här kanske inte behöver sägas, tänker du, men du skulle bli förvånad av hur många gånger jag fått frågan om hur man firar jul i Kina. Det enkla svaret är: det gör man inte. Kommersen finns där. Galleriorna är fulla av tomtar och julgranar. Men att fira jul, nja. Faktum är att ett motstånd mot julen och andra så kallade högtider från Väst har vuxit fram på senare år. Julen har, som så mycket annat i Kina, politiserats. I förra veckan till exempel gick ett protesttåg genom staden Jining i östra Kina. Viftandes kinesiska flaggor skanderade det dryga hundratalet att de minsann inte skulle fira någon julafton. Demonstranterna krävde också bojkott av utländska produkter i allmänhet och ville uttrycka sitt stöd för kinesiskt producerade varor. Lite ironiskt kan tyckas, eftersom Kina producerar mycket av det som sedan blir julklappar hos oss där hemma. Inte minst julpynt, där en stad, Yiwu, uppskattas stå för över 50 procent av allt julpynt i världen. Och i Yiwu rullar affärerna på. Att exportera julen är big business. Men den kinesiska hemmamarknaden, däremot, ser betydligt sämre ut i år. Allt färre kineser bryr sig om julen, sade en av julpyntföretagens chefer till lokalmedia. Och visst är julfirandet lite mer sparsmakat nu. Några få kinesiska städer har till och med förbjudit julpynt. Däribland staden Langfang utanför Peking, där de lokala myndigheterna förra året beordrade ut vakter under julhelgen för att säkerställa att inga butiker i smyg ställde ut en gran på gatan. Det ska däremot sägas att julmotståndet än så länge är en parentes i den bredare kampen mot det som kallas för värderingar från Väst. Dessa värderingar har det styrande kommunistpartiet i Kina sedan några år tillbaka förklarat ideologiskt krig mot. 2015 till exempel, då utbildningsministeriet förbjöd läroböcker på universiteten som uppmuntrade till så kallade västliga värderingar. Spola fram till december 2019, då prestigefulla Fudanuniversitetet i Shanghai ändrade sina stadgar. En över hundra år gammal formulering om att universitetet skulle uppmuntra till tankefrihet ströks till förmån för en ny skrivelse om att följa kommunistpartiets ledarskap. Och på vägen mellan 2015 och 2019 finns många hållplatser. Bland annat ska religioner bli mer kinesiska, och anpassas till den överordnade socialismen med kinesiska förtecken. Även stadsbilden rensas upp. Tidigare i år rullade en kulturkampanj över landet där exempelvis bostadsområden med namn som bedömdes allt för västerländska pekades ut som problematiska. För kulturyttringar har blivit allt viktigare i ett Kina där patriotismen får gott om understöd från regeringshåll. Och när så kallade västliga värderingar tvingas på reträtt i det offentliga, skapas ersättare med kinesiska förtecken. Däribland den kinesiska drömmen som är president Xi Jinpings stora kulturella paraply och politiska maxim. I den kinesiska drömmens namn ska den mest traditionella av högtider, det kinesiska nyåret, nu firas år 2020 enligt nya regeringsdirektiv som kommunicerades häromveckan. Årets nyårsfirande blir startskottet på en ny kulturell landsomfattande kampanj där den kinesiska drömmen ska träda in i tio tusen hem och mätta folkets behov av nya socialistiska kulturyttringar. Lite grann som när jultomten klättrar ner i skorstenen. Björn Djurberg, Peking bjorn.djurberg@sverigesradio.se

Ameriška teoretičarka in aktivistka Shulamith Firestone je bila ena izmed ključnih figur feminističnega gibanja v sedemdesetih let dvajsetega stoletja. Po izidu svoje prve knjige Dialektika spola je nekoliko utonila v pozabo, danes pa s svojim premislekom o tehnologiji in njeni uporabi nagovarja mlajše feministke. Več o avtorici bo povedala filozofinja in publicistka Katja Čičigoj, prevajalka Dialektike spola in avtorica temeljite spremne besede. Nikar ne zamudite. Foto: Marko Golja

Att använda kända och populära personer i sin marknadsföring är sannerligen inget nytt. Dock är influencer marketing en digital version som kommit på senare år och som sannerligen har växt. Enligt institutet för reklam och mediestatistik, IRM, drog influencers år 2018 in 800 miljoner kronor. Och att privata företag samt organisationer inom offentlig sektor samarbetar med influencers blir allt vanligare. Men ska man samarbeta med influencers? Varför är det problematiskt - speciellt för offentlig sektor? Börjar vi se igenom influencers? Finns det någon framtid? Och så sörjer vi Zlatans utveckling... Ha en god lyssning! ----------------------- Vi är tacksamma för synpunkter och feedback. Vi tar även gärna emot tips på ämnen och gäster i vår podcast. Eller så kanske du vill att vi ska komma till din arbetsplats och snacka media och kommunikation? Kontakta oss på: svenssonmattisson@hotmail.com Följ oss på Facebook: http://facebook.com/svenssonmattisson

OBS: Ljudet vårat strulade första 10 typ men vi slänger med det ändå. Spola fram runt 10-strecket så hör ni våra stämmor i fin kvalité. Vi snackar Allsvenskan som vanligt, den skiktade tabellen och Ponta öppnar upp GAIS-lådan igen efter lång tids frånvaro. Även en comeback för det populära segmentet: "I baksätet på Bobbie Friberg Da Cruz BMW över Öresundsbron" God Lyssning!

Kako je z branjem povezan spol? Temu vprašanju je bralno društvo Slovenije namenilo nacionalni posvet z naslovom: Katerega spola so knjižni molji? Zdi se, da je tehtnica branja na strani ženskega spola. Do konca osnovne šole naj bi odpadlo pri branju bistveno več fantov kot deklet, pri bralni znački za odrasle sodeluje več žensk kot moških, pa tudi nacionalnega posveta o branju se je udeležilo občutno več žensk kot moških. Ali to potrjujejo tudi raziskave in kako bistveno je za spodbujanje branja vprašanje spola? Gostja oddaje je mag. Marjeta Doupona, ki je sodelovala pri pripravi prve bralne strategije za pismenost, trenutno pa deluje na zavodu Familylab Slovenija. Med oddajo bomo predstavili dobre prakse spodbujanja branja v hokeju in vojski.

Många var gissningarna när vi retsamt på socialamedier la ut en "inför-bild" precis innan inspelningen av detta avsnitt. Lika spridda som era svar är nog våra funderingar i detta avsnitt som egentligen skulle handla om bara NASA, eller rättare sagt om den eventuella illusion som NASA är? För vad gör NASA egentligen? Har dem likt månlandningen 1969 fortsatt på inslagen väg att fabricera bilder och videoklipp eller landande Neil Armstrong och Buzz Aldrin faktiskt på månen? Varför har de då annorlunda skosulor än avtrycken på bild? Hur kommer det sig skuggor och ljus verkar bete sig annorlunda på månens yta? Hade man verkligen teknologin att göra detta på 60talet? Spola fram till 2000-talet, har vi ens teknologi nu? Är Van Allen bältet för farligt? Varför försvinner mikrofoner och hur kan kroppsdelar flyga rakt igenom balkar och objekt framför kameran i de påstådda rymdstationerna? Många är frågorna! Sen av bara farten tas miljöfrågor på allra största allvar, är det verkligen meningen att det ska vara dyrt att vara miljömedveten? Hur fan hamna Boris Johnsson i 10 Downing Street och hinner vi klämma in en filosofisk fråga till? Lyssna så får ni kanske svaren...

V oddaji smo predstavili novi vatikanski dokument o teoriji spola. Govorili smo tudi o temah, ki so se jih predstavniki Karitas z vsega sveta lotevali na srečanju v Rimu.

Od mnogih spolov pretekle oddaje tokrat k samo dvema

Att förstå våra personligheter har varit en riktig tankenöt i flera tusentals år. Så tidigt som 400-tal f.kr så tog Hippocrates fram fyra egenskaper för att förstå och förklara våra personligheter. Spola fram cirkus 2000 år så myntas ett begrepp som ska komma att dominera egenskapspsykologin - jag pratar såklart om the Big Five. Det kanske inte är det sexigaste ämnet så här dan före dopparedan, men Big Five är tamigfan ett ämne som SKA behandlas innan vi släcker lamporna. Så häng med och lär er något nytt! God lyssning See acast.com/privacy for privacy and opt-out information.

Helene Jelenc je antropologinja, popotnica in blogerka. Pravi, da so v slovenščini najtežje sklanjatve, najbolj pa smo občutljivi na rabo slovničnega spola.

Bilen, biffen och bostaden: tre saker som måste fixas om vi ska tackla klimatproblemet. I den här podden löser vi elegant problemet med bilen. Spola de fossila bränslena, strunta i de batteridrivna bilarna och gå istället in för väte för hela slanten! Redaktörer: Marcus "Besser" Rosenlund och Patrik "Wisser" Schauman.

En dagsåpa med Magdalena och Marie som har ett snickeri ihop, MADAM snickeri & restaurering. Det är kul, stressigt, irriterande, kärleksfullt, socialt, händelserikt, pressat, oförutsägbart och i n t e n s i v t, rena idyllen. Vi har medverkat i olika typer av sammanhang och nu är det dags för en podd i egen regi. Följ med oss i 10, ofta bullriga alltid oredigerade, minuter om dagen. IDYLLEN - din microinfluensa i poddetern!

Vi börjar med att prata om det hackande spelet i de senaste matcherna för att sedan ta fokus på derbyt mot Landskrona BoIS. Spola sopan och Derbyn vi minns hinner vi också med.

I den andra säsongens nionde avsnitt pratar vi om krysset mot Hammarby, om att spola i matcher och om att använda smeknamn på andra lag. Dessutom blir det quiz och uppsnack inför derbyt tillika rivalmötet mot IFK Göteborg. Och Marika Westerberg gör ett litet gästspel.

Tokrat se potapljamo s kiti in polži, razmišljamo z rastlinskimi možgani, menjujemo spol in navigiramo z eholokacijo. #Metamorfoza OPIS ODDAJE Novice 3:40 – Nov...

Tjeckiska naprapater. Hur gör Linus? Dyra dammsugare från Kirby/Hyla/Pro Aqua. Spola inte ner nånting i toaletten!

Vi snackar krök på golfbana, visad hänsyn, konstiga golfprylar och Max spanienresa.  Vi hinner med lite till där emellan.  Gå in på Svensktgolfforum.se och kom med förslag på vad vi ska prata om nästa vecka. Det ska ha med golf att göra. Såklart.  

OM AVSNITTET:Jag har bestämt mig för att aldrig vara den där personen som säger att det är omöjligt. Spola tillbaka ett par år och titta på en vecka i mitt liv. Kom igen, om man ska lyssna på dom där rösterna så är ju hela livet jag lever idag omöjligt för någon som mig.   › Johannes Live: http://bit.ly/2rrt2fk › Youtube: http://bit.ly/2p7oPNV › Instagram: http://bit.ly/1QcNuVz › Boken Tough Love: http://bit.ly/2Fyvkne Johannes Hansen är Sveriges främsta mentala rådgivare, och jobbar dagligen med flera av våra största stjärnor inom sport, musik och näringsliv. Han är författare till böckerna Fuck Your Fears (2014) och Tough Love (2018).

Många känner kanske igen uttrycket "Spola kröken" från 70- och 80-talet. Lyssnaren Samuel har skickat in en fråga om ordet som har med att dricka alkohol att göra - "kröka". Varifrån kommer det? Veckans språkfrågor:Förr i tiden hörde man ibland om elefanten i porslinsbutiken, numer hör man bara om elefanten i rummet; den har tydligen blivit mer tystlåten på senare tid. Vilken är historien bakom dessa elefanter?Varifrån kommer verbet kröka? Då inte i betydelsen att fysiskt böja något utan att dricka rikliga mängder alkohol i samband med någon festlighet som till exempel kräftskiva, eller som i kampanjen Spola kröken.Finns adjektivet kissnödig bara på svenska?Vilket är ursprunget till gos och gosa?Språkvetare Ylva Byrman. Programledare Emmy Rasper.

Regeringens populäraste minister får plumpar i protokollet. Vi kollar vilka som åkte dit och vilka som klarade sig i KU:s konsensuskanonad. Löfven och Kinberg Batra höll sommartal 6 juni - hur skiljer sig högerns och vänsterns nationalism? Sossar lyssnar på Bruce Springsteen, moderater på schlager och sverigedemokrater på Ultima Thule - eller? Ny unik undersökning när Liza Peterson från Novus presenterar partiernas musiksmak!Henrik Torehammar, Fredrik Furtenbach och Tomas Ramberg.

I dagens program hjälper Emma och Farah lyssnarkompisen Amanda att spola rätt och använda så lite toalettpapper som möjligt. Såklart tar dom uppgiften på största allvar och undersöker allt som har med torkning, borstning, spolning och fekalier att göra. Väl bekommen

Spola tillbaka bandet till februari 1993! Kommentarspår till ett avsnitt av gamla tv-programmet "Kär och galen". Koka ditt kaffe, ta ut bullarna ur ugnen och sätt dig i tv-soffan; Dags för Mange, Sebbe - och Lotta Engberg! Se avsnittet tillsammans med oss på följande länk: https://www.youtube.com/watch?v=AfcbtFaR0pE Vi kommer säga till när du ska trycka på PLAY, annars spola fram i podcastavsnittet till 5 min 27 sek.

Läkarna talar om få och lindriga biverkningar som illamående och diarré medan kvinnor som Kaliber talat med vittnar om blodbad hemma på toaletten, outhärdlig smärta och blodtransfusioner. Utländska myndigheter varnar för hjärnskador, dödsfall och livmödrar som brustit när medicinen använts vid förlossningar ändå väljer flera stora svenska sjukhus att använda den.

Discuss this episode in the Muse community Follow @MuseAppHQ on Twitter Show notes 00:00:00 - Speaker 1: One of the luxuries of industrial research is that you’re not bound to the traditional rigor and neutrality required of academic research or just science in general. We’re allowed to have an opinion. We had a number of people who are reviewing the essay comment, what’s what the feelings, take this feeling section out, it’s not defensible, and I felt like it needed to be addressed, because to me, that’s the most important part. 00:00:30 - Speaker 2: Hello and welcome to Meta Muse. Muse is a tool for deep work on iPad and Mac. This podcast isn’t about Muse product, it’s about the small team and the big ideas behind it. I’m Adam Wiggins, joined by our guests today, James Lindenbaum. Hey there. And Shimon Kjeski. Hello, both from Ink and Switch. And James, you and I have been colleagues and friends for a pretty long time now, so I happen to know that similar to Muse team member Yula, you are a huge cocktail nerd. Any experiments in that area these days? 00:01:04 - Speaker 1: Oh, there’s always ongoing experiments. Yeah, I recently decided to move to keging cocktails when you have a bunch of guests coming over. I often will batch up a cocktail. So it’s faster to serve, and you can also be really persnickety about, you know, micro adjustments to amounts and things like that and really dial in the recipe, and I decided to move to kegging the cocktails on low pressure nitrogen, so they could be cold and pre-diluted and ready to drink. It’s basically front loading the work so that I don’t have to do much. I can actually hang out with my guests, but there’s always interesting things you learn when you start changing things around like that. 00:01:40 - Speaker 2: And I do feel like the cocktail preparation is part of the experience of being a host or something like that. I guess if you have a lot of people there and then you’re doing nothing but being heads down in your bar, then that’s not really being a very good host, but there also is something to the, yeah, the prep tool, I guess. 00:01:59 - Speaker 1: Well, as you well know, I’m a bit of a perfectionist. I enjoy having the time to really like try to perfect a cocktail, really dial it in. And one of the ones I made recently, I stole from this really awesome bar in San Francisco called Kona Street Market, and there’s this drink called the Banana stand. It’s an Arrested Development reference. 00:02:18 - Speaker 2: It’s the first thing that popped into my mind, always money in the banana stand. 00:02:23 - Speaker 1: And it really blew my mind when I had it, and then I’ve talked to the guys there about it, and then I’ve been just like gradually trying to recreate it on my own and get it dialed in. But I think we’re there, I think we’re close enough to perfection. We’re certainly close enough that you would have made me ship it at this point. 00:02:37 - Speaker 2: It’s a little inside joke there for the listeners, James and I have a long time, let’s call it productive tension, usually productive of, I like to ship stuff, and he likes to make it perfect, and hopefully somewhere in the middle of that is sort of an ideal place to be. And we’d love to hear a little bit about both your backgrounds, maybe Shimon, you can start us out. 00:02:57 - Speaker 3: Yeah, sure. So, for the last 2 years or so, I’ve been principal investigator at GSwitch and occasionally doing consulting research projects. Before that, my background is I’ve been running a small R&D studio and we’ve been basically working on unusual interface problems, things like designing and building the Spola acting engine for European Space Agency or some kind of like interface for exploring machine learning for molecular synthesis. And before that, my background was in actually creative coding. I was doing work on museum art pieces, doing for interactive art, data visualization, stuff like that. What I do also, other than work, I make a little bit of experimental music and various computing projects for fun. 00:03:40 - Speaker 2: Yeah, I feel that the music experiments that you do and performances sometimes, right? Also bleeds into your, yeah, creative coding, artistic interfaces, a little bit. And I think I personally take a lot of inspiration from the prosumer world of like audio gear and the interfaces there that are sort of designed to create art but also intended to be pragmatic, right? You’re doing a performance or something like that and those knobs. You gotta be able to grip it in the right way or whatever, so I feel like you often bring your music world, electronic music world stuff, and you work in I can switch, and I always enjoy that personally, but I’m also a person with a little bit of an electronic music background, so maybe that’s why it appeals to me. 00:04:21 - Speaker 3: Yeah, the word there is definitely a little bit different and interesting, so I know if there are any UI designers listening to this, I encourage you to just browse Pinterest for music stuff. There’s a lot of interesting differences there. 00:04:33 - Speaker 2: And James, you and I have worked together for a very long time, including perhaps most notably in co-founding Hiroku, and we also created the In Code Switch Research Lab together with some other great folks, but maybe you can fill in a little more of the story there. 00:04:48 - Speaker 1: Sure, yeah, well, I have always been, as I like to say, constitutionally unemployable, so I started a number of things over the years, but yeah, most notably was probably Hiroku with you and our other co-founder O Ryan. After that, I found that there were a lot of people coming to me, founders of developer facing companies who, you know, wanted help, and I ended up advising and sitting on boards and whatnot, and eventually starting what is now a venture capital firm called Heavy Bit, which specializes in, you know, developer facing infrastructure kind of stuff. And so I’m still there, I spent a lot of time there, though I’ve kind of worked my way from being a founding full-time partner there to being a more part time. Yeah, and then you and I co-founded the lab and can switch, which is where I spend, let’s say more of my time these days. I’d like to spend all of my time there, but, you know, there’s so many things to do. 00:05:39 - Speaker 2: Well, let’s be honest, when it comes to paying the bills, investing in developer tools companies is probably a better gig than weird research. 00:05:47 - Speaker 1: Yeah, I mean, you know, the path to money is more clear, that’s certainly true. It’s still enjoyable though, there’s so much innovation happening on that front, it’s still intellectually interesting, and there’s a lot of fun stuff happening there, but it certainly feels a lot closer in than the weird stuff we’re doing at the lab. 00:06:04 - Speaker 2: And you both recently published an essay on your latest research project called Ink Base. Of course, I’ll like that in the show notes, but can you give us an overview for folks who haven’t read the essay yet? 00:06:14 - Speaker 1: Sure, yeah. So, in the lab, we have a research track that is all about programmable ink, sort of a combination of doing stuff on tablets, thinking about digital ink, and thinking about end user programming. And this project Inkbase, it was basically the 5th, depending on how you count the 5th project in that track of 8 that we are now that we’re currently working on project number 8. Yeah, in that track, and we’re publishing this essay a little bit out of order because we wanted to take the time and this one to sort of lay a little bit more of the groundwork, sort of define what the problem is, what we’re trying to do. So we spent a little bit more time writing it than some of the write-ups of projects that came subsequently, like Crosscut and Untangle. But yeah, we’re happy to have this out there and have people, you know, start to grok what it is that we’re doing here with this weird program of link stuff. 00:07:05 - Speaker 2: Yeah, so this whole track of end user programming is certainly one that, I mean, you know, that concept is something that even fed into Hiroku. It was something that was a kind of founding idea that we knew we wanted to bring into the lab. The three of us worked on an essay titled End user Programming that kind of touched on a history of that field and some light experiments, some of the first work you had done with the Lapshaman. But part of what I like about this ink-based project specifically is this is taking the idea of sketches and trying to kind of take what do we like about spreadsheets and the rough computation that you can do there kind of on the fly interacting with the document in a way to take advantage of the dynamic medium, but not something that’s writing an app per se. Certainly has much in common with, for example, potluck. We had Maxson. Jeffreon just recently, but they were very focused on OK, classic plain text and the searches, etc. and I feel like this is almost a complete other take on that tablets, stylus, sketching, kind of very loose and informal, but informal and programming are not things that we normally think of as being combinable and indeed it is that for me, at least observing this kind of track of research from the outside in this specific project, it is that tension between the formality of programming. And the systems thinking and so forth that we want from our computational tools and the looseness, sketchiness, I’m just figuring it out, I’m not sure yet, messiness that is part of thinking tools, tools for thought. So I think it’s a very evocative idea to start with and then the resulting project itself, which you can see some videos of in the essay also is only further teases that. 00:08:49 - Speaker 1: Yeah, that’s one of the reasons we like working with digital ink. I mean there’s a number of reasons, but one of them is that it sort of forces you into this sort of sketching, informal, loose, fast and loose kind of mindset, and It just underscores how not fast and loose most of our programming capabilities are. And so it kind of forces us to think about, you know, what are the right affordances, how could we design a system that would let you stay in that sort of frame of mind but still get some of the benefits of a dynamic medium. This sort of weird analogy that was sort of the prompt for the Inkbase project was, you know, we look at spreadsheets and I personally am a huge fan of spreadsheets, as I think many of us are, and I think about the analogy, you know, if you think about spreadsheets as we have them today, as they compare to their analog predecessors, you know, a giant pad of paper and a slide rule or a calculator, it’s not just that modern spreadsheets let you do what you would have done with the analog version a little bit faster, it’s that they actually let you have thoughts you wouldn’t have had. Using the old version, because you can see this dynamic model and you can get intuitive understanding of how it works. You can play what if scenarios, it sparks new ideas. And so, we think, OK, you’ve got the traditional sort of actual spreadsheet, you know, the paper analog version, that is to modern spreadsheets as sketching in a notebook is to Question mark, right? Like, what is the thing that goes in that box? And I don’t feel like we know what it is or have really seen it. And so, Inkbase was sort of a little bit of a study or an experiment around that prompts. Like, what would that thing look like? What would it feel like? What would it be like to be able to work in that spreadsheet like way, but with ink. 00:10:28 - Speaker 2: Now I think a question that might be in the audience’s mind is how this prompt that you just described relates to visual programming, which visual programming is something where, yeah, maybe it’s more accessible to the average person or requires less programmer brain, less symbolic manipulation. Do you see it as related to that world of things or is it its own beast? 00:10:51 - Speaker 3: So I have a little rant. 00:10:53 - Speaker 2: I forgive you that. 00:10:54 - Speaker 3: Yeah, that might be too early in the podcast for a rant, but I don’t think a lot of these projects that people mention as visual program are really visual in the sense that we talk about or we think about, uh, things like, like not to taxonomize the whole field, but there’s things like projection editors, maybe scratch comes to mind where you have blocks of code that just snap together or maybe things like Max MSP for musicians, which is Basically nodes and wires interface. So, these kinds of interfaces. Still require thinking in this very like abstract symbolic way. You just manipulate the code, not in a text buffer, but on a screen, like moving it around in dimensions. What we think about in this thread is more about visual programming as a way of working with like actual embodied objects that you can see on the screen and interact with. So you’re not thinking symbolically, but concretely about the domain, the problem at hand, and this is kind of the thread we’ve been following. So, In a sense, both are visual, you could argue that code in a text box is also visual, but the meaning of visual is kind of different, the way we think about this and the way these sorts of projects think about it. 00:12:05 - Speaker 2: Right, when you think of one of those nodes and wires, kind of visual programming languages or something like Scratch, which I think is a great product for kids to learn to program, it is really about sort of taking a conventional program and making it not text, not pure text, but something that’s a little more gooey, point and clickable. There’s a lot of value to that and there’s many domains where that makes sense, but that does seem like almost a different realm from I have the sketch and I want to bring it to life using the dynamic medium of computation. 00:12:36 - Speaker 1: Yeah, there’s a really important distinction between programming with ink versus programmable ink, right? So, you know, what we’re not trying to do is help you write programs with the use of ink. What we’re trying to do is just use ink, you know, for the properties that ink has, digital ink, but also allow it to be dynamic in the ways that you would expect from, you know, the dynamic digital medium, and so, The programming is not the end, it’s the means to have ink that does more interesting things than just, you know, sit statically on the page. You know, a lot of times we have these amazing devices and we have this pen and all this computational power in the iPad, let’s say, but a lot of the iPad apps that make use of that basically just let you paint pixels on the screen with the pen. And it’s just, there could be so much more there. And that’s a big part of, you know, what we’re thinking about with digital ink in general at the lab, and then with the programmability in particular, you know, what if that ink could respond the way that a spreadsheet does reactively to other things on the canvas, or, you know, what is the nature of digital ink even at all, right? I think that’s a question that we’re still kind of asking ourselves and doing studies around, you know, what if it worked more like string that you could pull around the page, or what if it worked more like paper clips, right? Like a little wire thing. Where you, you drew it, but then it wants to retain its shape. So when you pull on it or bend on it, it tries to retain some of its shape so it preserves a little bit more of the intention or of the movements of the person who made that mark, right? A fun prompt that I like is thinking about digital ink as a byproduct of someone moving their hands. It’s more the moving of their hands that’s interesting and the ink is a byproduct. And if you think about it that way, then you start thinking about totally different kinds of affordances and ways to treat ink. So there’s a whole realm there that we’re kind of thinking about that sort of intersects in this Venn diagram with sort of end user programming and dynamic behavior. 00:14:27 - Speaker 2: I think you already teed up our topic there, which obviously is programmable ink, and I always like to start with definitions. I think we’ve gotten into it a little bit, but yeah, you’ve mentioned digital ink, and I assume here maybe the first thing that comes to mind there is I scribble on an iPad or potentially another tablet and stylus, and yeah, some ink like marks appear on my screen, and that’s it. Is that basically what you mean by digital ink or is there more nuance to it than that? 00:14:56 - Speaker 1: Yeah, I mean, I think that working out that definition is sort of part of the work that we’re doing that, you know, I expect to take a while, so I, I don’t have a crisp answer on that. When I say digital ink, yes, I’m mostly thinking of, you know, the things that appear on the screen when you move a, you know, pen or stylus around on an iPad or a a remarkable or, uh, you know, some kind of device like that. But I think there is this interesting question of, aside from those pixels, you know, what is it really that’s there? What is ink in general and certainly what is the digital version? I think those are really interesting questions. 00:15:29 - Speaker 2: And then, how would you define programmable link? 00:15:33 - Speaker 1: Well, you know, again, I think, or maybe taking a very shallow stab at it with this ink-based essay, but, you know, when we think about programmable objects or dynamic objects, we often think about objects that they have some behavior, you know, they respond in some way, or they change in some way, or they’re able to be changed by some part of the system. And so that’s mostly what we’re thinking about when we think about programmable ink or dynamic ink is just something that is aware of its environment and can be manipulated either by itself or by something else, you know, on the canvas or in that environment, or even by the user. I mean, a lot of ink that you make in these tablet programs are It’s sort of dead, ink, it’s difficult then to pick that ink up and move it around, you know, some will allow you to have selections or drag some things, but even basic things like scaling or deforming ink in a way that’s smart, like a classic example is you draw an arrow from one thing to another in your notebook, and then you wanna move. One of those items around, the arrow doesn’t follow. You then have to manually move the arrow yourself and reposition it and rotate it and scale it. And when you scale that arrow, it scales proportionally, sort of naively, and it no longer looks like an arrow, right? Or it no longer points in the right direction or the arrowhead, you know, isn’t facing the right way or whatever. And so, That’s a very difficult problem to solve from a sort of computer science perspective, from just like a human doing stuff on a screen perspective, it seems crazy that that doesn’t work correctly. And so, we try to look for places where there is that strong sort of dichotomy, where it seems like we’ve just gotten used to something being a certain way, but it actually seems kind of terrible from just a human experience perspective, especially when you get in the context of tools for thought, where I think The tools have a really huge impact on the thoughts that we have and the work that we do, and the output of that work. And so these small differences or small bits of friction, or small biases that the tools create actually are really important. 00:17:31 - Speaker 3: I think it’s hard not to mention McLuhan at this point, right? Like, first we make the tools and then they make us. I think we really believe in this feedback loop of how the things you use impact what you can do. And this is like a hope of being better at sketching, being able to sketch dynamic models. 00:17:48 - Speaker 2: Yeah, maybe one way to think about the, it’s called the current implementation of digital link, of which Muse, you know, counts in with us, but I think it’s something we’ve thought about a bit more than others, probably because I think it’s pretty clear if you’re procreate, you know, you’re a pure art tool and it’s just like you want nice brushes, so you can create a beautiful picture. And maybe if you’re a diagramming tool, it’s really clear that it’s important that your arrows and boxes connect to vertices on the thing, and you don’t want to just like draw a rough circle around something or underline something. But one of my favorite small examples that I certainly hope we’ll implement at some point is the idea if you highlight something with a highlighter, and then you go in and like, type in that text, as the highlight kind of stretch out the way that it would if you had selected the text and, you know, right click, select highlight, something like that. And that does get into the realm of, OK, how much do you want it to like automatically detect what you’re doing and make inferences about it. But if we do think of today’s digital link as mostly being just a direct transliteration of well I could draw on a sketchbook before, now I’ve got an iPad or a remarkable or a Android tablet and that more or less looks like a sketchbook and I can load an app that gives me a blank page that probably looks like a sketchbook and I can draw things and yeah, maybe I have a few more tools for manipulating. I can erase, I can undo, I can select and move things, I can duplicate, that’s nice, but it’s a pretty direct thing, maybe in the same way that the first word processors were essentially just, hey, what if we had a typewriter on this computer thing? And it was only later on that we started to get into much richer things like say hypertext, where you could never, yeah, that concept doesn’t make sense in a tight document, but once you’re in the virtual realm and the dynamic medium of the computer, now you can do more, but you start with that transliteration, and then over time you figure out how it can grow into something that goes beyond its kind of analog roots. 00:19:39 - Speaker 1: Yeah, I mean, I think there’s a lot of shared roots obviously between Muse and this track of work, you know, they have kind of shared roots philosophically and some of the ideas of the lab, and I think one of those big areas is when we talk about tools for thought, I think there are a lot of questions around what is thought work, right? What is thinking, what is thought work, what is the product of thought work. A lot of our current tools today don’t really respect the work product of thought work. You know, just a basic example that I’m always ranting on is browser tabs. One thing that a lot of people spend a lot of time doing these days in the course of thought work or knowledge work is basically curating their own sort of research path, right? Whether you’re researching, you know, a new toaster to buy or doing real serious academic research or whatever. A lot of times it starts in a browser and you click a bunch of links and open a zillion tabs, and then you go through those tabs and you decide, you know, each of these tabs, is it interesting or not, is it? relevant or not, you close some, you leave some open. Maybe you open some additional tabs from links that you see in there. And that is actually work that you’re doing. And then you end up with this sort of browser window full of tabs or multiple windows full of tabs, and that’s your work product. You just spend a bunch of time and used your brain to produce that work product, and you may want to come back to that or do something with it, or pause or whatever, but most of our tooling. With the exception of some interesting, you know, newer experiments, most of our tooling does not respect the placement of those windows or the locations of those tabs or the fact that they’re open or not as your actual work product. And so, it’s treated as ephemeral, it gets lost, it’s very difficult to manage. When we make notes in a notebook, most sort of personal note taking apps treat your notes as like this very important sacred thing that they shouldn’t lose. But to me, they have the same value, the same amount of work has gone into them as, you know, these browser tabs that are open, for example. And so, I think when we start thinking about what is thought work, what is work product, we start to get into these questions of what would tools look like that are more respectful of these different stages of thinking. And to me, you know, rumination, I always thought was an interesting word that was used around a lot of the muse idea, you know, there’s this point where you’ve piled all your stuff, at least for me. I think that there is a point where I’ve kind of gathered all my stuff, laid it all out on the floor, and I just want to stare at it for a while, and just like, move it around with my hands. And that’s a really important step that most people can relate to, but it’s not really supported directly as a first class thing by most tools. That are available today digitally. And I think similarly sketching, not the art version of sketching, like you might do with Procreate, but sketching, as in thinking with your hand, you know, sketching by putting marks on a page, whether it’s words or drawings or doodles, or whatever, that is also, in my opinion, a very under-supported activity. That is a really critical activity. And the earlier you are in the process of having an idea, the more fragile that idea is, and the more sensitive to your tooling. Those ideas are. So, you know, imagine trying to do that thinking type of sketching in a tool like Adobe Illustrator. It’s basically impossible because the interface is designed for this high precision, high fidelity outcome, and so, you just wanna like, stick a box in the corner and keep going, but in order to make that box, you’ve got to select the right tool, you’ve got to decide which kind of box, you gotta decide what kind of corner radius you want. Does it have a drop shadow? By the time you’re done with all of that, You’ve lost, at least for me, maybe this is ADD brain, but I’ve completely lost the idea by then, you know, ideas are like these little wisps that you’re trying to capture quickly before they, you know, dissipate. And so the nature of that tooling is really important. 00:23:09 - Speaker 3: Yeah, I’d like maybe to add two things to this, both kind of tangential. Like one thing that we started talking about, or maybe being able to like vocalize lately at the lab is this idea of the same way we have like napkin math or back of the envelope like mathematics, just figuring out orders of magnitude or something or whatever. And interesting parallel is back of the envelope computation, like how do you make these little interactive things with the same approach of like roughly just hand waving at the thing. And another idea bookmark maybe here is I lost it. 00:23:41 - Speaker 1: So you’re just proving my point. 00:23:45 - Speaker 2: Well, actually one thing I’d love to hear from you, Shimon, is, you know, there’s been a number of projects in this track. thinking base is certainly a very notable one, but you have become pretty accomplished. Obviously you were instrumental in creating the tool, but you also are probably the most accomplished user of these various research tools, you know, prototypes in the world, and indeed you’ve given some good talks including recently. Strange loop where you kind of give live demos or maybe they’re videos, I’m not sure, but in any case, it shows your depthness with these different tools. So I guess I have to just ask like, what does it feel like? What does it feel like to have programmable link at least in this early stage? 00:24:26 - Speaker 3: The phenomenology of to use. It’s kind of maybe hard to describe, right, like. It definitely feels distinctively different to how you approach doing things on your computer. So like, for example, like one thing that comes to mind is an idea we play around with crosscut, like a different paper in the same thread, where we basically create like a little drum machine, just about connecting a couple of dynamic objects together. We have one that moves left to right. We connect the line that says vertical, a box that finds things inside that box and that controls a drum rhythm. So working this way is completely different to how like, Create my own drum machine if I wanted to, which I did a couple of times, which often means I have to turn on my Max MSP or like Python or whatever, figure out what is the correct like MIDI signal to send somewhere, basically switch to this logical thinking, Oh, I will have like 16 steps, so there’s an array that I need to care about now. And this array has values in it and whatever and start thinking about very symbolically. I’m trying to solve versus kind of the tinkering pre-college like approach of the other things we’re doing. And there’s a lot of parallels like that to me where I have a very strong maybe programmer brain because I’ve been doing it for a while where The way you approach solving problems in these tools is totally different. Like, you explicitly tried not to have these things that feel wrong in programming. Like one example often comes to my mind is this spooky action at a distance, where you say, oh, there’s this database over there. It has like an abstract ID. I’m gonna grab that entity. And bound it, whatever, like grab a property from it, and so on. Where in inkbase, you say, oh, this thing the left, make it red. And that feels like very concrete. You can see results of your actions immediately and you also think it is very humane spatial way where like something to the left is much more obvious that ID with like UI ID that has 64 characters or whatever, right? Like there is a different way you use your brain and think about things and that really left a strong impression on me. 00:26:27 - Speaker 2: I think that is somewhat how research works, right? If you were starting with like a really burning pain point to solve in the kind of classic sense, you’d really be starting a commercial product. Whereas research, I think is, at least for me, is driven by a sense of how things can be different. You see the capabilities of the computational medium, particularly maybe emerging new technologies like tablet, you know, low stylus latency as one example that I think was an inspiration for us. And you think about how you would like computers and our computing tools to be, and you see what the potential is with either the way technology is today or the way it’s evolving, and you can kind of extrapolate out and think of some end state. You you’re not really starting with a specific use case, you’re starting with a vision of how things could be, so necessarily use cases do get a little bit kind of backed in there. To me that seems natural. 00:27:21 - Speaker 1: I also think we often have, at least for me, I have a lot of use cases that I want to have a tool like this for, but you need to have a pretty full fledged version of this tool in order to actually carry out that use case and experience it, and we’re quite a long ways from being there, I think. And so, with some of these projects, we’re trying to see how one of these use cases could be implemented. In some of them, it’s really more about the feeling of the tool, and Inkbase is one of those projects. We explicitly said with Ibase. OK, we’re gonna kick the can down the road on, like, what is the right programming model and what is the right interface for doing this programming and all that, and we just want to get to a place where we have dynamic ink that we have programmed, that’s on the screen that we can interact with, just so we can get sort of a little glimpse, a little vignette of that and see what it feels like. And I found the results to be very compelling, but again, these feelings are very sort of subtle and nuanced, and I think important for when you put them in context of the way that the tools you use bias the results, I think the nuanced differences and feelings of tools are really important, but they’re also kind of hard to describe, and we’re kind of grasping at that in this essay, one of the things we’ve started to talk about in the lab when we think about the design of different tools, is sort of the quote unquote natural grain of the tool. And we give a little definition in this essay, we think about how tools, most tools, physical hand tools as well as digital tools, have some sort of natural grain. A way or set of ways that the tool can be used that are easy, fluid, efficient, sort of encourages you to use the tool that way, and then there are ways to use tools that are against that grain. And not that you can’t use them for those things, but they just don’t work super well. Think, you know, using a machete as a screwdriver instead of as a machete, or think using Microsoft Excel to do artwork, you can absolutely do that. It’s just kind of against the grain of the tool, and so a lot of times we ask, what kinds of use, what kinds of feelings do we want to be with the grain? Like, what direction do we want this grain to go? And for example, With sketching and sketchy ideas, and early thoughts, we want the grain to be very much encouraging you to keep thinking and not get distracted with, you know, high fidelity thoughts, you know, is this thing pointing to the other thing? Is my square, you know, a perfect enough square, whatever. Another thing in that bucket in terms of trying to develop a sense of what things feel like we’ve started to talk about, I think this is one of Simon’s originally, is working with the material. Sort of a phrase we talk about, which sort of evokes this. More physical thing you might experience, like, like in art, if you’re working with, let’s say, clay or some medium charcoal, it has a very specific kind of feel, and certain things that it wants you to do and certain things that are difficult to do, and just having your hands on those materials kind of shape the outcome. You kind of just let the material in some ways guide where you’re going. And I think that we found that this ink base has a little bit more of that working with the material feeling, which is what we were going for, where you’re actually It’s sort of like, we talk a lot in the sort of end user programming world about direct manipulation. You know, where you’re working on something directly versus indirectly from some program on the side or whatever. This is sort of a flavor of that, but even more direct, where you’re not only directly touching the thing that you’re trying to manipulate, but you’re actually being influenced by how it feels. And ink, I think, is one of those things where when you interact with it, the way you move it around, the way you create it, you’re having something change color or change shape while you’re drawing on it, and not after you finish your stroke, but live while you’re doing it as a very specific working with the material kind of feel. And it’s hard to put my finger on exactly what that means, or it’s hard for me to describe exactly how your results would be different with that feeling versus another, but it is quite distinct, and it’s something that I personally am drawn to, and it’s something that I like about the real world that I feel is missing in a lot of our digital tools. And so I think part of this is a quest to obtain some of that in the digital realm. 00:31:24 - Speaker 2: I support your quest. The feelings or obviously you used that word a lot, how does it feel or what feeling does it create or what things does it encourage in that direction. You had an interesting aside in the essay titled Research and Feelings, which I’ll just read the first sentence of here. It says, perhaps controversially. At the lab, we believe, seeing what it actually feels like to play with an imagined system is itself a valuable research result and goes on to talk a bit more about that. And actually I think that is an interesting, I don’t know, meta learning or something like that site contrarian insight of the lab and something we were able to do because we’re somewhat unique, not quite academic, not Quite industry position, and I, I think it was Martin Klepp and I feel like was the first one that called out when he first started working with us, which is he said, basically the fact that we are not constrained by the conventional definition of rigor, which is, OK, we user tested this with 10 people, and with this P-value of whatever they were able to complete the task in 2 seconds less. Which is a very good reason science focuses on those kinds of very concrete, measurable, rigorous findings, but I think that misses something huge in the computing tool space. 00:32:40 - Speaker 1: I do think that’s a really interesting aspect of what we do at the lab, and the lab is engaged in what we call industrial research, which, you know, has been talked about a bit before on this podcast, and To me, one of the luxuries of industrial research is that you’re not bound to the traditional sort of rigor and neutrality required of basic or academic research or just science in general. You know, we’re allowed to have an opinion, we’re allowed to chase intuitions, and I, in fact, put that into the essay as sort of a defense or an explanation because We had a number of people who were reviewing the essay for me comment on, you know, what’s what the feelings, like, take this feeling section out, it’s not defensible. And I felt like it needed to be addressed, but I wasn’t going to cut it because to me it’s, that’s the most important part. So I kind of wanted to add a little side note, defending having a research result that says something about feelings. But, you know, I do think that that’s a schism that we often see where in sort of academic circles. Oftentimes it’s about novelty, and if an idea has been described before, then working on it further is not interesting. It’s not an interesting result, and we disagree with that. We think actually taking some idea for how something might feel different or work differently and actually building it and seeing if that is in fact true, is actually valuable. And sometimes we do that and we are compelled by the result and it directs, you know, further research, and sometimes it’s a disaster, and that’s surprising. It doesn’t work and we learn things about why it doesn’t work, and sometimes the results are sort of meh. You know, it’s, we have these great expectations about how this thing could feel different and then we make a thing and then it’s like, yeah, it’s kind of a hassle and it’s really not that much better. And I think all that’s really interesting fodder for understanding the nature of this problem and where we’re headed. I also think conversely, on these sort of more pragmatic sort of startup engineering, product oriented side of the spectrum, people build things all the time, but they often don’t stop to think for long enough about, you know, why they’re building them, or what the nature of those things are, or what the most important aspects of those things should be. You know, it’s sort of in the quest for ever closer to to use. To research, doing what the users are asking for, you kind of start to get away from these first principle kind of based approaches. So at the lab, we’re trying to strike this balance between this sort of overly pragmatic staring at your feet, just doing the next step kind of thing, and this overly, you know, impractical sort of ivory tower pontificating without actually seeing what the results are. We’re trying to be somewhere in the middle. And I think our research hopefully reflects that, and I think our talking about feelings is sort of part of that quest. 00:35:30 - Speaker 3: So if I can expand on this just a little bit, maybe from a different perspective, I think it might be on the metal. I think maybe a common critique of HCI as a field is that you’ll get what you measure kind. So if your focus is on making things that are measurable, there’s a bunch of research that you just won’t do because you, you can’t really measure it. Like I think that’s why a lot of people think that’s the problem with focusing on measuring mouse click speed or like how quickly you can get to a task done or whatever. Which prohibits this very like exploratory programming system kind of style of research, which is very hard to measure because what do you even measure and against what else which has its own problems. The Second thing that comes to mind is we keep research logs as we work at the lab on the mental level, and a lot of things in these projects start with like this specific approach just feels correct or feels right. For example, one of the recent ones in the project we’re on right now were about like measuring angles of things and someone made this example of just making like a little thing that you snap to the angle and that turns into a number that just felt good. That’s why we’re pursuing this further and I think this following feelings at some level is, is kind of correct of like leads to very interesting places, places that academia would go to basically because, yeah, again, how do you measure that? 00:36:49 - Speaker 1: Yeah, I mean, maybe back to this sort of the right tool for the job idea. Most of the things that we’re trying to do with these tools are certainly things that you can do with other tools, right? You can make a sketch a number of ways, you can think a number of ways, you can do calculations a number of ways. It’s more about You know, sort of having the right context, having the right tool, bringing the tool to the problem rather than the problem to the tool, those kinds of things. You know, maybe a concrete example, just yesterday, I was trying to get the square footage of a small space, and I made a sketch of the shape of the space, and then I went around with my Little laser, you know, measure and measured the lengths of all the walls. And I did this as a sketch because it’s very difficult to walk around a room with a computer and then put those numbers in and describe which wall those numbers are associated with. It’s much easier to just write those numbers on a sketch of the shape of the room. And it doesn’t feel right to sit down and open up a graphics program and try to make a perfect version of that room before measuring it. It really feels like a thing that wants to be a sketch on a napkin or whatever. However, once you have done that, I then need to break that shape up into a bunch of squares and calculate the area, and that starts to feel like a spreadsheet problem. Because once I do that, I often, when you measure things in the real world, they often don’t entirely add up. You know, the two segments of the wall on the left side don’t add up to exactly the wall on the right side, and you kind of need to figure out if you made a serious measuring error or if it’s just, you know, the world isn’t perfect. And so, you need to do this math, but then you need to check the math against the other side, and you may need to make some adjustments. It feels very spreadsheet like and that you want the machine to sort of help you check your math versus Pulling out a calculator and doing these things like 30 times. And so now I’m suddenly sitting here with this thing that should be a sketch with some numbers on it, wanting to do a little bit of math, which I want the sort of power of the digital medium for, but my options are basically, I have to set the sketch down and look at it while I open up a spreadsheet and do it in a spreadsheet, sort of disembodied from the sketch where I can’t associate this set of numbers being multiplied with this area on the diagram. Or I’ve got to do it with a calculator, and I don’t get the power of the spreadsheet, and it’s hard to check my math. This isn’t an important problem. It’s not like a thing I can’t solve. It’s not a thing that people don’t solve every single day. You can open up a sketchup, and then you can put all the numbers in there, and it’ll tell you the area, for example, but it just doesn’t feel like the right tool for this job. It feels like you should be able to sketch this thing out on your iPad, walking around with it, and then You know, do that math, and like, draw the boxes on there yourself, and then, you know, do the multiplication and see what it adds up to, and maybe jiggle the drawing a little bit. That’s when you realize that, you know, they don’t add up. And I think having tools like that, it’s hard to imagine exactly what we would do with those things, but I find personally that I have uses, little use cases like that every day. That I would reach for this tool if I had it. And then you start thinking about situated software and the way spreadsheets, one of the things I think is interesting about spreadsheets is that often a piece of software evolves out of that process. So you do that once and then you throw it away, it gets lost in your, you know, Google Drive or whatever, but then you go to do it again, and perhaps you want to, you know, rework some of that logic. An example from my life is batching cocktails, which we we talked about a bit earlier. You know, often when you want to scale up a cocktail, certain things don’t scale linearly and you start doing a bunch of math and you need to convert units, and it’s easier to weigh things than measure volumes when you’re doing large amounts and Blah blah blah. So, you end up building a little spreadsheet to do this thing and you throw it away after you make your cocktail, but then maybe you go to do this again a week later, and it saves you time to open that thing up and duplicate it, and then adjust it for a different cocktail. And then after you’ve done that 2 or 3 times, you might start to say, you know what, this seems to be a thing I keep doing over and over again. Why don’t invest a little bit of time cleaning the spreadsheet up, making it a little bit clearer, making it More, you know, sort of input output driven, so I can just paste in the ingredients and have everything turn out the right way. Maybe I’m going to invest in adding a table that does unit conversions from ounces to, you know, milliliters to weights or whatever, and you eventually end up with this little piece of situated software. And this is a true story from my life. I have this thing, and then a friend sees it, and then they’re like, Oh man, I have the same problem all the time. Will you send me your spread? Sheet so I can start using it. And now we’ve basically made a piece of software. And I think that’s a really important sort of flow that this is something we call gradual enrichment in the lab for lack of a better name, we’re still grasping at what the right name is for this, but this idea that you start out loose and sketchy like you would on a napkin and you end up with a piece of software, and at no point did you sit down to write a piece of software. You just keep incrementally adding little bits of behavior over time. And only as the payoff is obvious. You’re only investing little bits at a time when you’re gonna get an immediate sort of payoff for that investment. And we would like to see that same gradual scale up with sketching, staying right in place where you make that sketch, like having to stop and change tools to throw away the sketch, move to your laptop, open up Illustrator or whatever, that feels very discontinuous. And I would really like to be able to just do this continuous thing. I think the reason this happens in spreadsheets is that you’re doing the whole thing in the spreadsheet in the same place the whole time with the same tooling, and I think you need the same ability. To start with the sketch, stay in that sketch app, stay on that device, indefinitely come back to it in the future, keep adding little bits until you eventually have what is effectively a piece of software that started as a sketch, but all stayed in that one place. And I think, you know, for me, that’s the grand vision that we’re trying to get to eventually, and figuring out what that looks like in each of these steps. It’s sort of the aggregate of the research, right? You know, if we look at the first step, the middle step, the end steps, some of the end steps of this are a little bit more clear, you know, how do you add complex behavior to a big complicated thing already in an app. We know what that looks like. What we don’t know. Is what does it look like at the beginning? You know, we, we, we know you, you start with a blank canvas, you break some marks on there, and then fast forward a year, you’ve got a piece of software running in this canvas app. What’s the dot dot dot in the middle? And I think that’s sort of a set of questions that we’re working on in this track. 00:42:52 - Speaker 2: That very beginning moment with software creation, there’s a lot of ceremony, right? It isn’t, let me first make the sketch and add a computation, for example. And I would say potluck, another project I referenced there earlier, has some of this coming at it from a text angle, but you’re sort of starting with data that you collected or something you’ve written down in some format, and then you’re adding bits of computation to that, and the programming world is really built around the complete opposite flow, which is I am writing a program now and I begin with, I’ll say. new. I’m sure the kids these days have something sexier, but whatever it is, you’re creating the new project in the IDE and you’re initializing it and you’re setting up your unit tests or your models and setting up your database schema and it’s actually quite a while and quite a lot of super abstract programmer things before you get to the point of your specific data and Or specific problem that you’re going to work on. And of course I think is part of the reason we reference spreadsheets so often when talking about end user programming is this really is one of the few cases of successful commercial software or successful kind of end user application where you really don’t start with, I’m going to write a program, you start with, I’m going to enter my data, I’m going to type in a couple of numbers and then you can add computation to that. 00:44:14 - Speaker 3: It’s interesting that you mentioned potluck and not to put words in Jeffrey’s mouth. There’s been some interesting cross pollination from this project and that inba. So historically in based predates potluck and from a couple of conversations I had with Jeffrey, some of the ideas around like spatial matches and thinking about problem in a way where you find things on the canvas in a text document and enhance them with additional dynamic behavior. It’s interesting to see the parallels between these two projects, what I’m trying to articulate maybe. And have the same ideas in the lab keep like appearing in different places. 00:44:47 - Speaker 1: Yeah, potluck is a really interesting project, and certainly all these projects have influenced each other quite a bit. I think one of the most interesting things about potluck is this related problem that you don’t have structured data when you’re starting to do something in one of these tools, whether it’s something like Inkbase or something like potluck, which is based on plain text. Whether you’ve got a bunch of ink marks or a bunch of plain text, the goal with potluck was, you know, to take something that you would otherwise The way you would normally do something, like tracking your, you know, recipes or tracking your workouts or whatever in a plain text file where there’s no fixed format, and you can kind of enter them however you want, and maybe you’re not 100% consistent about the way you enter those things, and you stick little notes in there, use different units, don’t leave the units off some days cause you know what they are. That’s not very acceptable to a program, the way we normally do programming, but you don’t want to have to clean all those things up and normalize them, standardize them in order to be able to do something with them. And same with, there’s this analog in Inkbase where you want to do something like, I don’t know, you wanna attach something to the left side of an object, but if you have like a squiggly mark that you made with the pen, what is the left side, right? You want to align things or snap them together, but, you know, the bounding box and the actual shape of the rectangle that you drew are completely different. You didn’t even close the rectangle, it’s not even a closed polygon, it’s, you know, non-orthogonal, it’s probably not even a quadrilateral, whatever. So, It’s a very similar problem where you need to be able to work with semi-structured data or data that’s sort of evolving slowly from being totally unstructured towards being totally structured. Maybe it never gets to totally structured. And you know, I think the spreadsheet is another example of this where often you start out just throwing numbers in boxes all over the place and it’s kind of a mess. And maybe eventually you kind of Things up into columns and you make sure they’re all the same type or formatted the same way or whatever. But spreadsheets are very tolerant of this semi-structuredness. You know, if you sum a column of numbers in the spreadsheet and one of them is text, it doesn’t break. It doesn’t just break, the whole thing explodes, gives you a bunch of errors. Generally, it just coerces that text into a number or it ignores that. It has some Fault behavior where it still allows you to get an answer. And maybe it shows you that there’s this weird thing happening and you need to go fix it or whatever, but it’s very tolerant of this sort of looseness and this semi-structuredness. And I think that’s one of the interesting things explored with potluck is how do you do computations on a thing where some of your ingredients are structured as ingredients and some of them aren’t, or some of them have units and some of them don’t. And I think there’s a very significant parallel to what we’re doing. In Inkbase, and I think the sort of querying is one of the solutions that we’re both grasping at in Inkbase, you’re doing spatial queries, you know, find this thing to my left, find this thing inside of my bounding box, find this thing that I, it’s overlapping with me, and in potluck, you’re doing a text query, you know, find this thing that looks like this, that, you know, has these letters or whatever, and then you could do something and build on the results of that query. 00:47:40 - Speaker 2: And importantly in both systems, it’s a live query, so this isn’t run a query, look at the results, then iterate. I think you hinted at this earlier, Shimon talking about as you’re drawing and as your dynamic behavior is being applied, so something like turn this checkbox green when I check it. It happens as you’re going, and if there’s a problem with the dynamic behavior, or if there was a problem with your check that it didn’t land inside the box or something like that, you’ll really see that right away. It’s not an iteration process, it’s a just a completely live process. 00:48:15 - Speaker 3: Yes, interestingly, this also opens up a different way of solving problems, right? It’s like, You could fix your program so it catches the check mark a little bit off the side or whatever, or you could just wiggle it and move it into the checkbox because it will turn green as long as it’s like as quickly as it matches or finds the solution or whatever. Like this way of basically seeing responses from the machine as you interact with it, like promotes this different way of solving problems. You don’t always have to think in this very programmary way, you can feel this very like loose, sketchy vibey way where I’m just gonna wiggle some things until the machine does what I, what I wanted to do. 00:48:52 - Speaker 1: Yeah, we have a little saying on that team, just jiggle it a little bit. You know, it’s sort of like the old fix the TV reception by banging on the side. It’s sort of like, uh, just jiggle it a little bit. But it’s a really interesting interaction because, you know, you do a query, let’s say you’re trying to recognize the shape and it doesn’t recognize that shape. You could try to rewrite the recognizer, but you could also just like jiggle that line segment. Little bit, so the path looks a little bit more like what it’s looking for. And now, bam, it gets recognized and the thing starts happening. And this does lead into a way of solving problems. We were just the other day talking about this little sort of geometry problem. It stems from a real world use case where you’ve got like a counter sunk hole and you’re trying to figure out what angle the hole is at, so you can order the right screws with the right angle screw head. And it’s a similar to my example of the area of a floor plan. You sort of draw the thing and take a couple of measurements, but then you need to do some trigonometry to figure out what the angles are. And you’ve now got this sort of semi-structured information where you’ve got a sketch, which is not the scale, and you’ve got some numbers which are correct, and you’ve got to do a calculation, and there’s this question of, you know, different ways to solve that problem. One is to just do some math on the side. Next to this drawing, but another is to actually attach the functions that take, let’s say, the angle, you know, read out the angle of a sketch of a shape, attach those to your sketch, and then manipulate the sketch until the lines are to scale. Basically drag the lines around until the computer says that they are the lengths that you measured. And then you will know that the angle is correct. It’s a very different approach, but it feels very natural, if you’re working sort of with pen in hand, and you’re just kind of working in this sketchy way, and you can sort of just jiggle this around. Or there’s also examples that Simone demonstrated from the Untangle project, where it’s looking for matches against things, and sometimes it doesn’t catch one, and you just kind of jiggle the model a little bit until it does, and then you move on, and it’s just a very interesting way of working. 00:50:44 - Speaker 3: So this is maybe an interesting drawback to when we started talking about feelings, which is a lot of these interesting ways of using these things like are like second order, basically, you have to working in some way, you start interacting with it, and you realize that this is the way to do something in it, which is not a fault I would have one step back, right, without working with the material, working with the concrete thing that feels a certain way. 00:51:09 - Speaker 2: And wasn’t there also a concept in another project in the same research track around the bidirectional connection, that is to say in the sketch example there of like you have a number and you have a line and you want to make the number and the line the same size, and typically in programs you have a one way flow. I rate the HTML and that gets rendered by the browser. I can’t scribble on the screen in my browser and have that get reflected back in the HTML code to take one example. And there’s, I think, a world of bi-directional linking research that I think you folks did some with, and some of the prior argue list for Inkbase as well includes apparatus, now there’s cuddle, which I think was a good example of this of trying to make it so that you have these two ways to represent something, the line and the number, for example, and that you can change either one and they each update each other. 00:52:03 - Speaker 1: Yeah, I think it’s a really interesting way to work, and it feels very natural. Things that only flow one direction feel a little bit strange sometimes. You know, you imagine you draw this little sketch of, let’s say, a triangle, and you write some numbers from your real world measurements on there, you then tell the system this line segment is, you know, 27 units long. Well, what happens, right? Are you asking the system to make that line 27 units long, or are you asking to just leave it alone, but think of it as 27 units long, and then what happens to the other lines on the page? Are you rescaling the drawing based on that line, or are you mixing structured and unstructured data? You know, in spreadsheets, spreadsheets obviously are very one directional in their flow. Things get very confusing if you try to, you know, sum numbers and then change what the sum result is and have that back propagate into the column. But it also can be very powerful, and the number of people have made bidirectional spreadsheets, which are quite interesting to play with. But in this case where you’re associating sort of some freehand work with some numbers or something else structured, it feels very much like they should stay in sync. And you should be able to edit either place. It feels very strange not to be able to change your drawing that you’ve made, or not being able to change the number that you’ve associated with it. So it feels almost necessary for it to be bidirectional in order to not feel like you’re constrained arbitrarily by the tool. But then you get into these interesting questions of, you know, you’re creating error in the system when you change one of those things, and what do you do with it? Do you push it, do you back propagate it to the other side? What does it mean to change a drawing to match some numbers that you put in there? And I think those are really interesting questions, and and even just exploring the affordances, you know, what kinds of UI elements do you want to have on the screen for doing that sort of thing is a really interesting question and a sort of focus of work for us. 00:53:51 - Speaker 3: Yeah, and to add to that, this way of thinking is maybe very foreign to software developers like discovering these techniques or reading about them, like definitely felt very alien at first to me. It definitely feels interesting and more correct to work in this meeting where you have two representations for a thing to be able to manipulate each one of them. The problem is, of course, in the details and this leads to. Some very strange artifacts, a lot of technical problems or things like doing a lot of calculations on these values. Not everything is clearly solvable backwards in a way that feels natural, and then you start thinking about how do I adjust my calculations so the system does the thing that I wanted to do. And at that point, you’re lost doing the abstract symbolic thing again that we want to avoid. So there’s a lot of dials that we need to turn in proper ways for the system to make sense. 00:54:40 - Speaker 1: One of our early projects in this track was called Rectoverse, and it was a relaxation-based constraint solver, and, you know, you’d put things on the canvas and then you’d specify these constraints,