Podcasts about TextEdit

In this episode, Gaurav offers a hands-on walkthrough of PDFgear: PDF Editor & Reader for Mac OS — a free PDF reader available on the Mac App Store — spotlighting its AI-powered OCR (Optical Character Recognition) capabilities. This feature is especially handy for transforming PDFs composed mainly of images into editable, searchable text. The demo is performed on an M1 MacBook Air running the latest Mac OS Sonoma.Key Highlights:About PDFgear:A free PDF reader app available on the Mac App Store.Stands out with its AI-driven OCR functionality.Demo Setup:Conducted on a MacBook Air with Mac OS Sonoma.Uses a PDF titled Malaysia Wildlife Document, mostly image-based.Step-by-Step Walkthrough:Opening the PDF: Launch the document in PDFgear via the ‘Open with PDF Gear' option.Navigating the App: Use VoiceOver (VO) commands to explore the window spots menu and locate pages heavy with images.Running OCR: With VO, select the OCR button and choose ‘Current file OCR' to begin processing. The OCR completes quickly — about 15 to 20 seconds for 134 pages.Exporting Text: Export options include ‘Export to one file' or ‘Export to separated files.' Due to accessibility challenges with the save dialog, it's best to stick with default directories.Accessing Converted Text: Find the output text file in the ‘Downloads' folder and open it with TextEdit to review the OCR results.This detailed guide empowers listeners to easily convert image-based PDFs into accessible, searchable text, improving document usability across devices.Try PDFgear on the Mac App Store:https://apps.apple.com/us/app/pdfgear-pdf-editor-reader/id6469021132?mt=12TranscriptDisclaimer: This transcript was generated by AI Note Taker – VoicePen, an AI-powered transcription app. It is not edited or formatted, and it may not accurately capture the speakers' names, voices, or content.Gaurav: Okay, guys, so today I'm doing a brief audio demonstration on the PDF gear application. This is a free PDF reader on the Mac App Store, and its unique point is that it can use AI to convert or to OCR documents. So that basically means if you have a document, a PDF document, which is mainly in the form of images, you can use the AI-powered features in this application to convert it into text, which you can then read. So I'm going to demonstrate that feature for you today. I'm using M1-powered MacBook Air using the latest version of Mac OS Sonoma. I'm going to navigate to a PDF document on my Mac, which was sent to me by someone called the Malaysia Wildlife Document.Gaurav/VoiceOver: I'm going to V-O-Shift-M to open the context menu. Open with. Open with. Steam app. PDF expert app. PDF gear app.Gaurav: So I'm going to open with PDF gear.VoiceOver: With PDF gear. Malaysia wildlife. PDF window.Gaurav…

View this video at https://macmost.com/learn-how-to-use-textedit-in-5-minutes.html. TextEdit is a simple but powerful app that comes with your Mac to let you create and edit plain text and rich text documents. In many cases it is the right tool for the job over more complex word processors like Pages or Word.

Unlock the Hidden Power of Your Mac! Ever struggled with selecting text in columns? Discover a game-changing Quick Tip that lets you select rectangular blocks of text across multiple lines using the Option key. This trick works in BBEdit, TextEdit, Pages, Preview, and even Microsoft Word. It's been around for […]

Privacy & Security FAQ: Week Ending November 19th, 20241. What happened with T-Mobile and Chinese hackers? Chinese hackers, suspected of ties to Chinese intelligence, infiltrated T-Mobile as part of a larger cyberespionage operation. This attack targeted telecom companies to gather intelligence on high-value targets. While T-Mobile claims no significant impact on their systems or customer data, the breach raises concerns about the security of telecommunications networks and the potential for surveillance. Google is rolling out an AI-powered scam call detection feature for Android phones, starting with Pixel 6 and newer models. This feature analyzes real-time conversation patterns to detect potential scams and alerts users through audio, haptic, and visual warnings. The system operates entirely on the device, ensuring privacy by not storing or transmitting call data externally. India's competition watchdog fined Meta $25.4 million and ordered WhatsApp to stop sharing user data with other Meta units for advertising for five years. This action stems from WhatsApp's 2021 privacy policy update, which mandated data sharing with Meta companies without an opt-out option. The watchdog deemed this practice as an abuse of Meta's dominant position and coercive towards users. Legal documents from a US lawsuit between NSO Group and WhatsApp revealed that NSO Group, not their government clients, directly install and extract information from phones targeted by their Pegasus spyware. This contradicts NSO's claims that clients solely operate the spyware. The revelation raises concerns about the control and accountability of NSO Group's powerful surveillance technology. ChatGPT's desktop app for macOS can now read code from developer-focused apps like VS Code, Xcode, and TextEdit. This integration allows developers to directly send code snippets to ChatGPT for analysis and assistance without manual copy-pasting. While it currently lacks the ability to write code directly into apps, this feature marks a step towards streamlined AI assistance in coding workflows. DeFlock is an open-source project utilizing Open Street Map to map the locations of automated license plate readers (ALPRs) worldwide. Concerned about the proliferation of these surveillance devices, the project encourages crowdsourced reporting of ALPR locations, including details like camera direction. You can contribute to this initiative by reporting ALPRs in your area on the DeFlock website: https://deflock.me/report. Internal emails revealed that the US Secret Service debated the need for warrants when using location data from smartphone apps. Some officials argued that users' acceptance of app terms of service implied consent for data sharing, even if those terms didn't explicitly mention sharing with law enforcement. This raised concerns about government agencies accessing private location data without proper legal authorization. How can you enhance your privacy and security? For secure communication: Consider using encrypted messaging apps like Signal or Session. Protect against phone fraud: Be wary of suspicious calls and consider enabling Google's AI-powered scam call detection. Control data sharing: Scrutinize app permissions and privacy policies before granting access to personal information. Support privacy initiatives: Contribute to projects like DeFlock and advocate for stronger data protection laws. Stay informed: Follow reputable sources for news on privacy and security issues to make informed decisions about your digital life.

En este episodio Alf y Juan nos hablan, entre otras cosas, de informar de errores con vídeos, resumir texto con Textedit e instalar FacturaScripts. 

View in HD at . Pages has a pretty basic text search function, but with a few hidden tricks. TextEdit has a more robust pattern matching system and can even reorder text using replacements.

En esta quedada se hicieron las siguientes preguntas: Manejo del área de toque directo en iOS17 al abrir una fotografía en correo. Comentarios sobre navegadores web alternativos en iOS y Mac. Lectura de páginas web en diversos idiomas. Comportamiento de Safari con webs de bancos. En esta quedada se trataron los siguientes temas: Presentación de atajos transcriptor .BRA a TXT y Textedit por parte de Alberto Molinos.. Novedades de atajos y automatizaciones en iOS17. Comentarios sobre creación e impresión de códigos QR desde iPhone. Intercambio de experiencias sobre impresión en Braille. Novedades en accesibilidad de MacOS 14 Sonoma. Enlaces de interés: Controller for HomeKit para iOS en App Store: Enlace a App Store de Controller for HomeKit Auriculares Bluetooth Shokz OpenFit en Amazon: Enlace a Amazon de los auriculares bluetooth Shokz OpenFit

Hoy nos juntamos Juan y Alf para comentar cosas diversas que han pasado en nuestra vida. Entre otras cosas hablamos del eterno teclado con pilas de Juan (otra vez), las penurias de usar un teclado de PC cuando siempre has usado uno de Apple, un par de trucos para usar en TextEdit, y qué pasa cuando fabricas hardware y dejas que el software lo ponga otro: respuesta corta, que la cagas. También hablamos de que todo lo que tenga el nombre de apple en el titular vende más, lo fácil que es hacer catastrofismo con Apple -a pesar de que sus ingresos y sus beneficios sean estratosféricos, y qué casualidad, la suavidad inane con la que se tratan los resultados de otros (véase Samsung). Vamos, que el menú viene con platos de alta densidad ... y mucha intensidad recuerda, compartir es amar... vamos a hacer que más gente se aficione al FaqMac Chat!!!

View in HD at . While Notes has become a robust system on the Mac, using TextEdit has some advantages such as recovering deleted information, restoring from Time Machine, and being able to store information alongside other files in a project.

View in HD at . TextEdit is an app that comes with your Mac and allows you to create and edit simple text and word processing documents. You can use it to create notes that exist as files, to record information, to start writing, edit code, or open Word documents.

FROM:One American PlazaDowntown San Diego, CASTART TIME:Friday, 5:58 pmDear Friend,Alright, fine, here's the embarrassing thing I didn't dare to admit. I didn't have the courage yesterday...I was struggling to admit how effective analog note-taking was.In my notes to myself at the time, I wrote:"I [can't] help but feel like it may be best to move towards analog completely."Yet, there was one thing holding me back.Here's the next thing I wrote:"I must say, also, to be honest, the primary thing that makes me want to stick with Obsidian is the beautiful font and layout and style I spent this weekend creating."Yes. That's me being honest.What a pussy, right?!I mean, seriously, to spend your time and energy on... creating a beautiful theme for writing?!... On a theme that fits the style and aura of great copywriters?... A theme that is inspired by the style of Gary Halbert's legendary newsletter?!A theme, though... Yes, really... That's what was holding me back from moving from digital to analog?!The reality is this: No matter how excellent the software is, digital notes do not result in producing the genius-level work you're capable of. It does not increase your chances of creating work that helps people, even 200 years after you exit the planet. It means to unlock creative genius, even sexy themes in the Obsidian app, would have to come second.Thankfully, this was a relatively manageable decision.I went analog.Good news, though: despite this decision, I've Obsidian continues to experience an active role in my life. It's my preferred piece of software for one thing: writing content.Obsidian is NOT best for thinking, or developing ideas. Nor is it best for note-taking or linking ideas.Obsidian is for writing short-to-medium-form content. If you're a software developer, it's like switching from Notepad or TextEdit to a badass code editor.Obsidian is perfect for the writer who doesn't need all the bells and whistles of Scrivener[^1].Anyway...I was planning on sharing more today, but I spent over an hour writing and rewriting the message, "The First Time Visitors."I'm going to head off now.I shall continue cranking on more content to help you shift to a system where you can unleash genius-level work... an analog system.Until tomorrow,Always remember...To stay crispy, my friend.END TIME:Friday, 8:33 pmFootnotes:[^1]: Scrivener seems primarily useful for long-form content projects (like books).*Sincerely,*Scott P. Scheper

Se volete supportare il podcast vi chiediamo con il cuore di fare una recensione su Apple Podcast. In questo fase iniziale tante recensioni ci permetteranno di essere visti da più persone possibili. Se volete sapere come fare una recensione trovate il link nelle note dell'episodio (https://www.avvocati-e-mac.it/podcast/itunes). Potete anche scriverci a scrivi.a@a2podcast.it 1. Un po' di storia Il markdown (https://daringfireball.net/projects/markdown/) nasce da un'idea di John Gruber di DaringFireball (https://daringfireball.net) e con li cotributo di Aaron Swartz (morto suicida). Markdown is a text-to-HTML conversion tool for web writers. Markdown è uno strumento di conversione da testo a HTML per gli scrittori del web. John Gruber introduzione al markdown (link (https://daringfireball.net/projects/markdown/)) Gruber all'epoco aveva iniziato a scrivere il proprio blog e non c'aveva voglia di scrivere tutto in HTML (altro linguagigo di markup alla base del web). Così pensò di implementare (aiutato poi da Swartz che dei due è il vero programmatore) un interprete Perl per scrivere in modo semplice e solamente testuale i suoi post del blog che poi, grazie allo script Perl, venivano convertiti in formato HTML e pubblicabile poi sul web. La caratteristica peculiare del markdown è che il testo scritto in questo formato è facilmente leggibile da qualsiasi persona che non lo conosca. I file .MD sono dei semplici file TXT ovvero di testo semplice che sono alla base di qualsisasi sistema informatico. Gruber ha posto le base agli elementi di base (vedremo dopo quali sono) poi ha reso il markdown open e gratuito. Nel tempo, soprattutto nel mondo Apple di cui Gruber è una voce e commentatore importante, l'utilizzo di questo formato si è ampliato a dismisura. In particolare con l'avvento degli iPhone questo tipo di formato e le applicazioni che lo rendevano più semplice hanno resto la scrittura sugli smartphone prima ed i tablet di Apple molto più semplice. Wikipedia italiana (https://it.wikipedia.org/wiki/Markdown) Nel tempo, tuttavia la “semplicità” del markdown ha dato poi il là ad altri formati tra cui degni di nota: Multi-markdown (https://fletcherpenney.net/multimarkdown/) di Flatcher Penney Markdown di GitHub Pandoc (che usa Filippo quotidianamente per lavoro … ma questo meriterebbe una puntata a parte …) Ora non è solo possibile creare con il markdown della pagine web ma, praticamente, qualsiasi cosa da PDF, si usa anche in Todoist e molte altre applicazioni Obsidian. 2. Le caratteristiche Perché il markdown è qualcosa che, se non lo conoscete, dovreste conoscerlo? Semplice: imparare a scrivere in markdown richiede pochi minuti (per le regole di base) Altamente portatile (multipiattaforma) Sincronizzazione in un lampo (file di testo di pochi kb) Universale (possibile convertire facilmente da e per markdown) 3. Le regole di base Fare riferimento per la spiegazione Pagina di Daringfireball sulla sintassi del markdown (https://daringfireball.net/projects/markdown/syntax) (in inglese) Markdown: Guida Completa 2019 (https://informaticabrutta.it/markdown-guida/) di Informatica brutta (in italiano) Markdown: guida al linguaggio di mark up (https://www.html.it/articoli/markdown-guida-al-linguaggio/): di HTML.it infarcita di pubblicità e tracciamenti … ma ben fatta. Markdown: guida al semplice linguaggio di markup (https://www.ionos.it/digitalguide/siti-web/programmazione-del-sito-web/markdown/) Elementi principale del markdown: Intestazioni (i titoli di ) grassetto e corsivo (c.d. enfasi) link immagini Paragrafi Elenchi: puntati e numerati Citazioni Codice Se volete provare markdown editor (https://markdown-editor.github.io), applicazione web. 4. Le applicazioni Un file in markdown può essere letto comodamente in Notepad (https://it.wikipedia.org/wiki/Blocco_note) su Windows o TextEdit (https://it.wikipedia.org/wiki/TextEdit) su macOS … tuttavia esistono svariate applicazioni gratuite e non che fanno molto di più. Drafts (https://getdrafts.com) (consigliatissima fa molto di più di utilizzare il Markdown) nvALT (https://brettterpstra.com/projects/nvalt/) Servizi per macOS di Brett Terpstra (https://brettterpstra.com/projects/markdown-service-tools/) Ulysses (https://ulysses.app) iAWriter (https://ia.net/writer) 1Writer (https://1writerapp.com/) Bears (https://bear.app/) gli sviluppatori sono italiani ByWord (http://www.bywordapp.com/) Zettlr (https://www.zettlr.com/) (che Filippo usa per preparare le scalette): caratteristiche carine il folding (il ripiegamento) dei vari livelli di intestazione, conversione trasparente attraverso Pandoc in altri formati (docx e PDF in primis) Typora (https://typora.io/) Obsidian (https://obsidian.md/) Roby workflow: icloud per i file di testo condiviso tra Per mac MacDown (https://macdown.uranusjr.com) Per iOS Blockquote https://apps.apple.com/it/app/blockquote-markdown-editor/id1396620426 Notion https://www.notion.so (https://www.notion.so/product?fredir=1) Dove ci potete trovare? Roberto: Mac e architettura: (https://marchdotnet.wordpress.com/)marchdotnet.worpress.com Podcast settimanale Snap - architettura imperfetta (https://www.spreaker.com/show/snap-archiettura-imperfetta) Filippo: Avvocati e Mac punto it (https://www.avvocati-e-mac.it/) Ci sentiamo la settimana prossima.

View in HD at . There are many ways to take notes with your mac whether it is in a school lecture or at a work meeting. You can use built-in apps like Notes, TextEdit or Pages. You can get third-party apps like OneNote, Noted, Bear or GoodNotes. There are many also ways to record audio while taking notes.

View in HD at . Some advanced fonts have alternative versions of characters called glyphs that are used automatically with specific letter combinations. You can also access these special glyphs individually if you know where to look in Pages, TextEdit and Microsoft Word.

View in HD at . TextEdit seems like a simple text editing tool, but it actually has some pretty rich features. You can do things like set document properties, edit code, define and use styles, insert images, audio and video, and even export HTML documents.

Quick show notes Our Guest: Jason Lengstorf What he'd like for you to see: His Egghead courses on JAMstack and Gatsby | His Gatsby and JAMstack courses on Frontend Masters His JAMstack Jams: "But yeah, I'm a big fan of, I don't know, I just like playing this stuff." So here's a list of the stuff Gatsby Svelte Eleventy NuxtJS Gridsome His Musical Jam: "Final Form" by Sampa the Great Other Technology Mentioned Hasura OAuth OneGraph Our sponsor this week: TakeShape Transcript Bryan Robinson 0:02 Hey everyone, welcome to That's My JAMstack, the podcast where we dare to ask the question, what is your jam in the JAMstack. I'm your host, Bryan Robinson and today I'm super excited about our guest. He's a principal developer experience engineer at Netlify and the host of the great video series Learn with Jason. I'm talking of course about Jason Lengstorf. Bryan Robinson 0:22 But before we dive in, I did want to mention our sponsor TakeShape is back again this week. I'll tell you more about them after the interview. But if you're interested in learning more before that head on over to takeshape.io/thatsmyjamstack to find out what their content platforms all about. Bryan Robinson 0:43 Alright, Jason, thanks for being on the show with us today. Jason Lengstorf 0:45 Yeah, thanks for having me. Bryan Robinson 0:46 Awesome. So so I would hope that a lot of people in the audience know who you are, at least from the past couple years, but go ahead and give us a shout about who you are, what you do for work, what you do for fun, that sort of thing. Sure. Jason Lengstorf 0:57 So I am a developer experience engineer at Netlify, which means that I'm kind of in between engineering and Dev Rel. I also host a show called Learn with Jason where I pair program with people in the community. We learn something new in 90 minutes. I am also a occasional blogger I'd write a lot about sometimes about code mostly about the the process of coding so kind of the meta work or the Yak shaving so to speak. Jason Lengstorf 1:30 For fun, I am a I call myself a mediocre bartender. I love food. So I we cook a lot. You know, I'm kind of deep down a rabbit hole, I make my grind my own meat and you know, do that. We make bread from scratch and I like to do cocktail like you know, bartending kind of stuff like that. I make my own cocktails and stuff. It's good. Bryan Robinson 1:51 So what is the tastiest cocktail that you make? Jason Lengstorf 1:54 Okay, the taste is one that I make. I will usually I just make other bartenders, good cocktails. I have I made one up. My partner asked me to make something that tasted like Christmas. And so I did kind of a riff on on like a classic Negroni build, but it was rum and spice liquors. So it kind of has this really Alpine kind of Christmasy flavor. Bryan Robinson 2:21 Alpine like a taste like a pine tree or... Jason Lengstorf 2:23 So the one that I use is called blur Bluebird, Alpine liqueur, which it's got, like all spice and some kind of like fresh herbs and stuff. So if you had fernet Branca? Bryan Robinson 2:35 Nope. Jason Lengstorf 2:36 So fernet Bronco, kind of tastes like mouthwash. This is like a a very, like, tune down version of that. So it's it. It has a hint of pine not like the taste of them. Bryan Robinson 2:48 And what's the what's the hardest thing you've ever cooked? Jason Lengstorf 2:50 Ooh, great question. Um, I would say probably the hardest thing I've ever cooked is. Well, I mean in terms of complexity, just Thanksgiving dinner, because you you effectively have to Gantt chart that you know, you've got one of in one stovetop and 15 dishes to cook. So how do you make sure that everything comes out on time still warm, that you're not like trying to stack something that was supposed to cook it for 50 and an oven, it's only a 325 you know that that kind of stuff is all very challenging. Jason Lengstorf 3:18 In terms of most complicated single dish, I any type of curry dish is really challenging. It's like, well, it it's not challenging in the sense that it is. It's not like French cooking where the the techniques are challenging. It's like a billion and a half ingredients and a lot of them are hard to find or something you've never used before. So there's a lot of like, not only learning how to use a mortar and pestle to make curry but like trying to understand what an ingredient is supposed to taste like. Jason Lengstorf 3:51 Because you know if you've never used like Thai basil or if you've never used Thai seasoning sauce or You know, all these these ingredients that you'll find in Asian food, like, you're like I don't even have the context to know when this is like I don't know what right tastes like so you're making a lot of wild guesses and hoping the end product tastes like the thing that you love from the restaurant Bryan Robinson 4:15 Do you do have to make your own curry powder because I know that's like the best way Jason Lengstorf 4:18 I've done it a couple times and it is definitely amazing it is so much work like it's it's one of those things that I feel like if it would be one of those things it would make sense if you had a bigger family so it's just me and my partner and to make it at the scale that we would need to to justify doing as much work as it is we need to eat it like every day for two weeks. And so typically what I found is that the level of effort that goes into the really, really intense stuff like making your own like making your own gyoza skins for like pot stickers and stuff, quality difference between buying them at the store Making them at home is noticeable. But marginal. The level of effort is totally, totally doesn't justify that little bit extra flavor. Unless you're doing it for like a special occasion. Bryan Robinson 5:12 Even still, I might say depends on how special occasion I guess. Jason Lengstorf 5:18 Yeah, fair enough. Bryan Robinson 5:20 So, so obviously, we're not cooking today other than some delicious jam stack recipes, but, uh, what what is kind of your entry point into the jam stack or in the static sites if you are old enough to deal with that? Jason Lengstorf 5:31 Yeah, so like entry point, like how I got into it. I mean, the way that I really got into it was once upon a time I was in a band, and I started by customizing the CSS for MySpace. That was really what it was, was like customizing my band's MySpace profile. And then I wanted to build an actual website for the band. So I built a, you know, totally in, like TextEdit wrote all the HTML all by hand and then just uploaded into a FTP folder on. I don't even remember what the host was some some cheap hosts BlueHost or something like that. Bryan Robinson 6:09 True static sites. Jason Lengstorf 6:11 Yeah, real like true static site. So I just uploaded something into a folder. It was it was gnarly. It was this table base like this is before that, you know what this was before CSS or before I knew how to use CSS. So what I was doing was doing like table based sliced images, to position things on the screen old school. It was rough. It was rough. Bryan Robinson 6:32 Nice. So So what about modern JAMstack? What was kind of your entry point into into the past like five years of technology? Um, Jason Lengstorf 6:41 so I was working at IBM. And we were dealing with, I worked on IBM's cloud services, IBM Cloud, and we were building dashboards out and a lot of these dashboards it was just a very complicated dev stack, right. So IBM Cloud is microservices. So each team owned a route. So you would own slash dashboard or slash account or whatever. And we owned slash account. So we were trying to speed up we had some performance issues where we were just it was taking way too long to load a page. And when I started digging into the tech stack, what I realized was that the way we had done microservices was to give each team a full node Express server. And then that was setting up these proxies that were wrapping other microservices. And so we had these kind of daisy chained microservices, then and a lot of it was just so that our local build was easy to manage. And you know, I have to like air quote, easy because it was still to get a dev environment setup. You had to add a bunch of environment variables you had to configure nginx on your machine. had to run, you had to have a reverse proxy running. And all this stuff was really, really painful. And all we were doing at the end of the day, was writing a react app that sent off calls to internal API's. Jason Lengstorf 8:13 So I, I attacked this from from two ways. So my first talked to my team about GraphQL. And we wrote a middleware kind of thing. That was a, it was like a normalization layer over internal API. So instead of having to write these proxies in each microservice, we built a normalized graph qL layer so that the the front ends could just call GraphQL. And then once we've done that, we've successfully decoupled them so I started trying to build up proofs of concept where the front end teams weren't shipping node anymore. They were just shipping like static compiled assets. The graph qL was successful. The static shipping was not Jason Lengstorf 8:55 We we hit Like, I mean, there are a million reasons for it, right? Like there's there Lots and lots of people who have very valid reasons for going lots of different technological directions. IBM's got 700 something engineers, or just on that team like on IBM Cloud 700 something engineers, and you know, they're architects at different levels. So I had my what I consider to be incontrovertibly correct opinion. And then there was another team that was doing more stuff with with like, sort of like graph, not graph qL, but like graph databases, and that was very server driven. And so they had what they consider to be incontrovertibly correct reasoning for doing that. And we just kind of stalemated while I was doing that, though, I was just kind of getting burned out on the the bureaucracy and the slow pace and the the the inability to like, do stuff. I always felt like I was getting close to doing something cool. But then it would hit this, this wall and it would just chug along and it was like okay, we're going to Do six months of meetings to do six weeks worth of work and that's not fun. Jason Lengstorf 10:05 So around that time, I started looking at Gatsby as an option for the static builds. And I was talking to the Gatsby team, and through, you know, just good timing. They had gotten funding and we're starting to hire at the same time that I was starting to reach the end of my tether at Gatsby or at IBM. And so I made the jump over there. So that was that was kind of where I got officially officially into the JAMstack Bryan Robinson 10:28 Perfect timing on on everything. Bryan Robinson 10:30 Yeah, yeah Bryan Robinson 10:31 With 700 devs on a Team. Things are gonna move, move pretty slow. Jason Lengstorf 10:35 Yeah, yeah. You know, the the the trade off that you get for like building enterprise enterprise grade software is it's going to be relatively solid because you have so many people to cover so many edge cases. But it moves glacially. Bryan Robinson 10:50 So So obviously, you were you were working at getting IBM into the JAMstack. Then you move to Gatsby and you were using pretty much primarily JAMstack technology at that point. How are you? Nowadays working at Netlify using JAMstack professionally using it personally what what kind of projects are you working through with that? Jason Lengstorf 11:07 Um, I mean, I I feel like I was pretty, pretty convinced on the jam stack as an approach before I went to Gatsby that was, you know, I made a big bet on Gatsby when I went there. And moving to Netlify felt like a logical next step for me because what I, what I really believe is that JAMstack is something that's going to give anybody a very easy on ramp into putting things on the internet. And I feel like that's a that's a gap that was closed in the Hostgator, use text edit and drop an HTML file into FTP. And then we we created that gap again, when we got too much further beyond like the the PHP LAMP stack kind of stuff. Because now it's like, Okay, well, I don't know exactly how to provision a node server or how to configure a remote, I, you know, I don't want to have to SSH into a box to change something so that I can deploy it. And there are services that manage that for you, but they were all kind of, like expensive. And so Netlify has has democratized that a little bit by offering this, this free hosting for jam stack sites. And the jam stack in general simplifies the stack. Jason Lengstorf 12:24 So for me, it's very like, okay, we've we've created a landscape that is more friendly to more developers. And now I'm just kind of in my personal stuff, and in professional stuff. I'm playing with the edges, because, you know, JAMstack is a tool, it's an approach, and it's not going to solve all problems. So I'm currently in the phase where I am trying to treat JAMstack as a hammer and attempting to see every problem is a nail. Because I want to I want to see like, where does it really fall down because there are obvious things that it can't do like You're not going to do a real time stock ticker, with, with static files, if you need that to be, like server generated, like, there's just you're never going to rebuild that fast, or at least not with current technology. Jason Lengstorf 13:11 But there are a lot of things that people say, Well, you can't do that with jam stack. And I'm just trying to ask the question like, why not? Like, what what stops us from doing that? Jason Lengstorf 13:22 So you know it you can do a lot like we're doing real time sound effects. We're doing persistent data where you can track things like Kyle Shevlin's, got a cool thing that he did on his his blog, where, if you read one of his posts, and you like it, you can stroke his beard, which is a weird thing to do. But he managed to make that persistent. So he's got a button that you can click, and it'll increment the count and say, like, Oh, this, this post has gotten like 57 beard strokes, which is really cool. And that's all done again in the JAMstack, Jason Lengstorf 13:22 So, so like, right now I'm building a JAMstack powered site, where I used a Hasura to set up a database. And then I built the JAMstack site, that log I use OAuth through OneGraph, which is an amazing tool if you haven't used it. So OneGraph logs into my Netlify account, and then it logs into my twitch account, and then pulls in. Like from whatever site I specify serverless functions, which is a way for JAMstack to do like dynamic things. And then I'm able to using a JAMstack site triggers Sound effects on my live Twitch streams based on this like jam stack setup that I've got. Bryan Robinson 14:37 Highly interactive. Jason Lengstorf 14:38 Super interactive. Yeah, you can do comments, you can do all sorts of things that that I think are typically typically thought of is like, Oh, you need a server for that? Well, this the software as a service landscape is so robust now. You almost don't need a server for anything on print. Like you don't need to roll your own server. The vast majority of services now Have a software as a service like implementation you can do comments over over SAS, you can do you know real time income increment, you can do databases you can do. Everything that you can imagine is probably got a SaaS solution, when that really opens up the landscape for the jam stack where you can do so much without ever having this to stand up a server Bryan Robinson 15:20 Yeah, those edge cases are getting smaller and smaller by the day. Jason Lengstorf 15:23 Yeah. Bryan Robinson 15:24 Cool. So uh, what would you say that your, your jam in the JAMstack is? What sort of technology or philosophy process what were you really digging on? Maybe in the past year or so Jason Lengstorf 15:36 Yeah. Well, so I think there's, there's like the professional interest and then there is the, like, I am excited about this interest and, and I have the benefit of like, through running, Learn with Jason. I get to effectively play with new and exciting stuff constantly. And so I've seen a couple really exciting things like Rich Harris came on the show and taught me about Svelte. And Svelte is incredible. It's this, you know, it's this magical disappearing framework that you write Svelte code, but then during the build process, it compiles away all of its code and shifts next to nothing. You got these tiny little bundles and it's amazing for performance. They they use it for data visualization and animation. It's it's really, really incredible. Jason Lengstorf 16:26 But then you've also got like Eleventy from Zach Leatherman, which is this, this amazing framework that is completely unopinionated. Like the Zach told me, he can't even tell if a site was built with eleventy because it doesn't ... like there's no framework there. It just generates whatever you tell it to. And so those are really cool in terms of flexibility in terms of power. I haven't really used them at scale, though. Like I've used them for a little fun projects. And and I like them. I think they're super exciting. Jason Lengstorf 16:56 For production stuff. I'm still using primarily Gatsby. I think that Gatsby has a, the the, the way that Gatsby has approached data management where you move things to a centralized centralized data layer, and then you work as if it's a, you know, a live, you know, database powered app. And then when it builds, it kind of packages up that data to go to the site. That, to me is something that we were still not really seeing, you know, in a lot of the JAMstack ecosystem. And that makes Gatsby like, you know, it's a little complex to set up because you got to learn graph qL you got to do all the, your you've got tools under the hood. So it's hard to tell where the boundaries are between like Gatsby and reach or between Gatsby and relay between Gatsby and and what, you know, react. So what are you Where did you hit the issue? Right? So there are some, it's maybe not as beginner friendly as well. Nothing is beginner friendly anymore, because everything's like, you know, it's turtles all the way down, right? like everything's an abstraction of an abstraction of an abstraction. So beginners are going to start wherever they are. And they're going to learn their layer of abstraction. And then like, if there's a need, they're going to go deeper. Jason Lengstorf 18:10 I think the Gatsby has an incredible tutorial, incredible documentation. And so to me that that makes it the safest production top choice for react based developers, like, you know, if you're, if you're Angular Dev, like, I think Scully just shipped which is really cool. And if you're a Vue dev, there's like Nuxt and Gridsome that both have really cool options. So you know, I think there are a lot of really fun ways to solve these problems. But yeah, I'm a big fan of, I don't know, I just like playing this stuff. Bryan Robinson 18:44 A big fan of everything, right? Jason Lengstorf 18:47 Yeah, I like it all. Bryan Robinson 18:48 Cool. So let's, let's talk about music. Then. what's what's your jam right now? In your ears. Jason Lengstorf 18:55 Um, I have been listening to just so much We like stuff. So I kind of went down this rabbit hole right so I got really into Anderson POC, because I just never really heard anyone who did what he did. And then like I also started taking music lessons from this, this guy named Joe in Brooklyn who's a producer and he works with a lot of underground hip hop acts and like smaller names, but he's worked with people that people who are into hip hop may have heard of like Earl Sweatshirt and folks like that. So through that, I've been on this very odd adventure. Let's just fall down the the Spotify, rabbit hole of all of these really, really interesting things. And I just found an artist that I love. I gotta look up her name though, because I am blanking on it right now. Samap, the Great or Sampa the great, I don't know how to how she actually pronounces her name, but yeah, like this track called final form. It is unbelievable. It's so good. I can I'll send you link to it. It's like, kind of it's like in the Kendrick Lamar vein of, of hip hop where it's like solid wordplay. It's, it's pretty, like, you know, it's like, cool, it's, like socially positive, or largely socially positive. And, you know, it's, it's really, really, it's good. Bryan Robinson 20:18 Nice. Alright, so is there anything that you would like to promote to kind of get out to the jam stack community as a whole, Jason Lengstorf 20:26 Keep, like, keep trying things. One of the things that I think is really, really important as JAMstack developers is, keep in mind that this is still a relatively new approach. And that a lot of the the, we're taking a lot of things that were common knowledge and we're rediscovering and so part of what I think is important as we get into the JAMstack is is first don't treat this like it's brand new. It's not this is this is stuff that we have been doing for a long time. So instead, start looking for like, Where Where do the abstractions make sense. And were like, what is it comfortable to do? So not what can we twist jam stack to make possible but like, where does it really feel right? You know so with the the SaaS based stuff are using software as a service as a data layer to back this completely static front end like to me that feels great. It It seems to solve all the problems that I want it gives me It gives me really good control. So I would recommend like go check out some of the the various software as a service platforms if you need a good idea of what some of those are. Jason Lengstorf 21:34 Just go look at Gatsby's datasource plugins because it's going to list just a ton of services and things that they do that you could integrate directly into a Gatsby site right now. Or with a little more effort you could you could integrate into any JAMstack solution by just using their API's at build time to go play go do some dynamic stuff because it's it's so much fun. Jason Lengstorf 21:56 If I can self promote a little bit yeah, I have on on Front-end Masters and on Egghead some courses on both Gatsby and the JAMstack where it talks through how to like we walk through projects that do some of the more dynamic stuff so you can get an idea of how it works. And then just go out and continue pushing those boundaries. Bryan Robinson 22:15 Awesome. You'll send me those links, and I'll put them in the in the show notes. Jason Lengstorf 22:18 Absolutely. Bryan Robinson 22:19 Awesome. Alright, well, thanks for taking the time to talk with us today. And I hope you keep doing amazing things that all the different jam tech companies you've been with, but with metla phi going forward. Jason Lengstorf 22:27 Thanks so much. I appreciate you having me on. Bryan Robinson 22:33 Hey, everyone, it's Bryan. Again, I want to point out two quick things before I let you go first, I want to point out that people discovering podcast can often be you know, review and ratings based. So if you got two minutes today and are enjoying this podcast, head on over to to the Google Play Store, Apple podcasts or really wherever you're listening to the show right now, and and write a short review. It'll help more developers find out about this amazing community that we're all living in. Bryan Robinson 22:57 The second thing I want to talk about is of course, our sponsor TakeShape. They're really well crafted content platform for the JAM stack. And what's a content platform? Well TakeShape doesn't just provide a CMS, though, you can, you can certainly just use their CMS if you want to. They also have a static site generator, a graph, qL API, and a new Mesh product, which is working to combine multiple API's into one easy to use GraphQL based API. So if any of those things strike your fancy and to be honest, all of them do for me, head on over to takeshape.io/thatsmyjamstack sign up. Bryan Robinson 23:32 As always, thanks for listening, and we will see you next week with a new interview. Until then keep doing amazing things on the web and keep things jameeTranscribed by https://otter.aiIntro/outtro music by bensound.comSupport That's my JAMstack by donating to their Tip Jar: https://tips.pinecast.com/jar/thats-my-jamstack

Stephen and David are joined by Chris Bailey, an author and presenter with an undying love for TextEdit and getting focused work done with the Mac and iPad.

In this episode Jonathan talks about Cardhop, an address book app he recently fell in love with. Then Rachel and Jonathan discuss two simple word processor they also love, TextEdit and Notes. For show notes visit: access.ninja

1) Virtual Reality - I am hopeful for its future by Patrick Cauley a) https://itbabble.com/2019/01/10/virtual-reality-i-am-hopeful-for-its-future/ b) PSVR - https://www.playstation.com/en-us/explore/playstation-vr/ 2) Story Time with Uncle Tony - Facebook copy and paste text to see posts from old friends a) Afraid to copy and paste b) Tony retyped it in TextEdit - instead of copy and paste c) Facebook linking these accounts due to same content (hypothesis) 3) Consumer Electronics Show 2019 a) Samsung’s MicroLED - https://en.wikipedia.org/wiki/MicroLED b) LG rollable TV - https://www.theverge.com/circuitbreaker/2018/12/17/18145866/lg-rollable-tv-ces-2019-commercial-sale c) New laptops d) LG Gram e) Cheaper Chromebooks f) Lenovo Laptops g) Apple Airplay on most TV’s

Louis D'hauwe of Silverfox.be is the creator of Textor, OpenTerm, and Pixure.Louis has been on a mission to make his iPad more useful to him as a developer; with a goal of one day having the iPad be a primary computer for developers. His first steps into this were creating a TextEdit replacement with Textor and a Terminal for iOS with OpenTerm.Learn about these apps, his other projects, and more on using the iPad as a primary computer. Feedback is welcomed at iPadProsPodcast@gmail.com. Please leave a review on Apple Podcasts. Thanks for listening! See acast.com/privacy for privacy and opt-out information.

Z przyjemnością spotykamy się z Wami po raz dziesiąty! W szóstym kompocie rozprawialiśmy się z kalkulatorami i arkuszami kalkulacyjnymi, dziś mierzymy się z najciekawszymi edytorami i procesorami tekstu zarówno w wersji dla Maca, jak i urządzenia z iOS'em. Na przestrzeni dziejów, od czasów prehistorycznych aż po obecne, pisanie – jako sposób komunikacji oraz zachowania informacji dla potomnych, zmieniło się znacząco. A dzięki wynalazkom takim jak papier, druk i maszyna do pisania, tworzenie trwałych dokumentów stało się szybsze, łatwiejsze, tańsze i bardziej powtarzalne. Rozwój komputerów w dużym stopniu ukształtował rynek publikacji dając możliwości wcześniej nieosiągalne. Dziś możemy być nie tylko autorami, ale również korektorami, składaczami, drukarzami i wydawcami. W podkaście wspominamy ewolucję edytorów tekstu oraz przybliżamy oprogramowanie, z którym mieliśmy i/lub nadal mamy do czynienia. Edytory dla programistów i web developerów, edycja markdown: Smultron – 47,99 zł – macOS Textastic – 37,99 zł – macOS / 47,99 zł – iOS Espresso – 79 $ – macOS Coda– 99 $ – macOS BBEdit  – 49,99 $ – macOS TextWrangler – darmowy, nie rozwijany – macOS (nie działa pod 10.13) iA Writer – 94,99 zł – macOS / 23,99 zł – iOS Byword – 52,99 zł – macOS / 27,99 zł – iOS Ulysses – subskrypcja 17,99 zł miesięcznie – macOS / 27,99 zł – iOS Bear – subskrypcja 4,99 zł miesięcznie – macOS / 27,99 zł – iOS Edytory i procesory tekstu, notatniki: TextEdit – wbudowany Notatki – wbudowany Pages – darmowy – macOS / iOS  / online w witrynie iCloud Microsoft Word 2016 dla Mac – 579,99 zł – macOS Microsoft Word – darmowy – iOS Microsoft Office 2016 dla Użytkowników Domowych i Uczniów dla komputerów Mac standalone  – 639,99 zł – macOS Microsoft Office 365 Personal  – subskrypcja 299,99 zł rocznie – macOS Microsoft Office 365 dla Użytkowników Domowych  – subskrypcja 429,99 zł rocznie – macOS Microsoft Office Online  – darmowy – macOS / iOS Microsoft OneNote – darmowy – iOS Dokumenty Google – darmowy – macOS / iOS LibreOffice Writer – darmowy – macOS OpenOffice Writer  darmowy – macOS NeoOffice – macOS – 15 $ Professional / 139,99 zł Kingsoft WPS Office – iOS - darmowy Nissus Writer – 79 $ – macOS Pro / 20 $ – macOS Express Mellel – od 230,48 zł – macOS / 94,99 zł – iOS Mariner Write – 29,95 $ – macOS Paper Pro by 53 – 23,99 zł – iOS Drafts – 23,99 zł – iOS Edytory do zdań specjalnych: Final Draft – 249,99 $ – macOS Scrivener – 45 $ – macOS / 94,99 zł – iOS Scrivo Pro – 37,99 zł – iOS iBooks Author – darmowy – macOS LaTeX / MacTeX – darmowy – macOS CodeRunner – 69,99 zł – macOS QuarkXPress – 829 € – macOS - 79 $ – wersja edukacyjna / Quark Design Pad – 47,99 zł – iOS Adobe InDesign – subskrypcja od 24,59 € miesięcznie – macOS MyScript Nebo – 13,99 zł – iOS MyScript Memo – darmowy / 8,99 zł za eksport jako tekst – iOS Rewelacyjne zestawienie edytorów dla iOS: http://brettterpstra.com/ios-text-editors/ Nasz podcast znajdziecie w iTunes (link), możecie też dodać do swojego ulubionego czytnika RSS (link) lub przesłuchać bezpośrednio w przeglądarce (link). Zapraszamy do kontaktu na Twitterze: Remek Rychlewski @RZoG. Marek Telecki @mantis30. Natomiast całe przedsięwzięcie firmuje konto @ApplejuicePl. Jesteśmy również dostępni dla Was pod adresem e-mail kompot[at]applejuice.pl

In the second half of this file, The Guardian writer, psychology journalist, and author of the critically acclaimed book The Antidote: Happiness for People Who Can’t Stand Positive Thinking, Oliver Burkeman, dropped by the program to talk to me about the writer’s journey, turning a weekly column into a book, and rethinking positive thinking. Rainmaker.FM is Brought to You By Discover why more than 80,000 companies in 135 countries choose WP Engine for managed WordPress hosting. Start getting more from your site today! Oliver writes about social psychology, self-help culture, productivity, and the science of happiness for his columns in both The Guardian (based in Brooklyn, New York), and Psychologies magazine. He has also interviewed a laundry list of celebrities ranging from Al Gore to Jerry Seinfeld. In his critically acclaimed book, The Antidote (2012), the author went undercover into the heart of the “happiness industrial complex” to explore why our relentless pursuit of happiness and success often leaves us feeling the opposite. The author looked to academics, psychologists, Buddhists, business consultants, philosophers, and many others in a unique search for an “… alternative path to happiness and success that involves embracing failure, pessimism, insecurity, and uncertainty – the very things we spend our lives trying to avoid.” The Los Angeles Times said of the book, “Burkeman’s tour of the ‘negative path’ to happiness makes for a deeply insightful and entertaining book.” If you’re a fan of The Writer Files, please click subscribe to automatically see new interviews. If you missed the first half you can find it right here. In Part Two of this file Oliver Burkeman and I discuss: Modest goal setting and how to be productive when you’re depressed The fallacies of overcoming ‘resistance’ How to interview Jerry Seinfeld Why you need to just do a little writing every day Listen to The Writer Files: Writing, Productivity, Creativity, and Neuroscience below ... Download MP3 Subscribe by RSS Subscribe in iTunes The Show Notes If you’re ready to see for yourself why over 200,000 website owners trust StudioPress — the industry standard for premium WordPress themes and plugins — just go to StudioPress.com How the Author of ‘The Antidote: Happiness for People Who Can’t Stand Positive Thinking’ Oliver Burkeman Writes: Part One OliverBurkeman.com The Antidote: Happiness for People Who Can’t Stand Positive Thinking – Oliver Burkeman This column will change your life – Oliver Burkeman investigates routes to mental wellbeing for The Guardian Why time management is ruining our lives – Oliver Burkeman Oliver Burkeman for Psychologies magazine DropVox – Record Voice Memos to Dropbox Transcribe transcription tool Jerry Seinfeld on how to be funny without sex and swearing – Oliver Burkeman Oliver Burkeman on Twitter Kelton Reid on Twitter The Transcript How the Author of The Antidote: Happiness for People Who Can t Stand Positive Thinking Oliver Burkeman Writes: Part Two Voiceover: Rainmaker FM. Kelton Reid: Welcome back to The Writer Files. I am your host Kelton Reid, here to take you on yet another tour of the habits, habitats, and brains of renowned writers. In the second half of this file, The Guardian writer, psychology journalist, and author of the critically acclaimed book The Antidote: Happiness for People Who Can’t Stand Positive Thinking, Oliver Burkeman, dropped by the program to talk to me about the writer’s journey, turning a weekly column into a book, and rethinking positive thinking. Oliver writes about social psychology, self-help culture, productivity, and the science of happiness for his columns in both The Guardian and Psychologies Magazine. He’s also interviewed celebrities ranging from Al Gore to Jerry Seinfeld. In his critically acclaimed book, The Antidote, the author went undercover to the heart of the happiness-industrial complex to explore why our relentless pursuit of happiness and success often leaves us feeling the opposite. The author looked to academics, psychologists, Buddhists, business consultants, philosophers, and many others in a search for an alternate path to happiness and success that involves embracing failure, pessimism, insecurity, and uncertainty: the very things we spend our lives trying to avoid. The LA Times said of the book “Burkeman’s tour of the negative path to happiness makes for a deeply insightful and entertaining book.” In part two of this file, Oliver and I discuss modest goal setting and how to be productive when you’re depressed, the fallacies of overcoming resistance, how to interview Jerry Seinfeld, and why you need to do just a little writing every day. The Writer Files is brought to you by the all the new StudioPress Sites, a turnkey solution that combines the ease of an all-in-one website builder with the flexible power of WordPress. It’s perfect for authors, bloggers, podcasters and affiliate marketers, as well as those selling physical products, digital downloads, and membership programs. If you’re ready to take your WordPress site to the next level, see for yourself why over 200,000 website owners trust StudioPress. Go to Rainmaker.FM/StudioPress now. That’s Rainmaker.FM/StudioPress. And if you’re a fan of The Writer Files, please click subscribe to automatically see new interviews as soon as they’re published. Modest Goal Setting and How to Be Productive When You re Depressed Oliver Burkeman: And it’s partly also due to the economic structure of writing, right? I mean if you’re writing, you re likely writing either to be not doing it as your day job or to be doing it in the kind of fluid way where maybe not doing too much today doesn’t necessarily mean no groceries for the week, but it might do in the long run. So it’s a much more sort of murky area than other activities. But I suspect that right at the bottom it is nothing more than the same reluctance and procrastination that strikes anybody. I mean, I can talk if you want about the only sort of remedies I’ve ever found that work. Kelton Reid: Oh, yeah. Oliver Burkeman: If that’s helpful. Kelton Reid: By all means. Oliver Burkeman: I think the most helpful thing is this idea that I found in a book that I was sent, I think, about how to be productive when you’re depressed. And I actually don’t have very much experience with serious depression, thank goodness, but I sort of read it anyway because I was like, “Maybe there is something I can use here.” And this kind of really amazing insight, which I then included in my book, is just that you don’t have to feel like doing something in order to do it. And a lot of our sort of motivational culture, self-help, all the rest of it, it all reinforces this idea of, “We’re going to give you the way to psych yourself up, and get your mind in the right place to take action.” And that’s kind of, you know, well-intentioned, but it actually puts an extra hurdle in the path, right? Because now you not only need to do the thing, you need to feel like doing the thing. And whereas doing the thing is a fairly simple matter of, like, using your arms, and opening your laptop, and pressing keys, feeling like doing a thing involves the very mysterious world of human emotions and the subconscious and it is not at all clear how to get yourself into that mood. So the more that you can actually let go of that need and say to yourself, “Look, I don’t feel like doing this. That’s fine. Those feelings are fine. I’m not going to try to get rid of them. They’re there. Oh, and at the same time, I’m going to open my laptop, open the file, and type some words. You can sort of it’s sort of feel the fear and do it anyway, but not just fear. Just being bored with the work or feeling like you’d rather be doing something else. You just don’t have to get rid of those feelings. You can just sort of say, “Oh, hello, annoying inner emotions, there you are again,” and also take the physical actions that help get the writing done. And then one other part of it that has been really, really useful to me, again, I know other people have done it for decades, if not centuries, is setting sort of process goals for each day’s work that do not refer to quality. That are things like, “I’m going to work for three hours,” or, “I’m going to get 1,000 words written. Not, I m going to really nail this chapter,” or, “I’m going to write something amazing that is really funny and brilliant.” The moment that you put quality demands in there, if you’re me anyway, you kind of seize up and the resulting quality is lower. You use this really sort of mechanistic goal of like, any words on the page that meet that word count will count as victory today. Then you actually relax and the chances are, in aggregate, over enough days and weeks and months, the quality will actually be higher. Kelton Reid: That’s right. Oliver Burkeman: As a consequence. Kelton Reid: Oh yeah, that’s fantastic. I like that so much. I actually would encourage you to turn that into a piece in your column or thereabouts. Oliver Burkeman: Okay. The Fallacies of Overcoming Resistance Kelton Reid: Yeah, it’s so good (laughs). Just for all writers out there, that could be very useful. But we have you recorded now, so it exists if you want to refer to your outline there. No, really, really good stuff. And a lot of what you talk about just, kind of, butt-in-chair, and not putting that pressure on yourself is so important. Oliver Burkeman: And I think, you know Sorry. Kelton Reid: Yeah? Oliver Burkeman: Can I butt in? I just want to say I think there’s a very subtle difference. Some people talk about butt-in-chair and they mean, “Yeah, just sit down. And it doesn’t matter if you don’t feel like it. That’s fine. You know, give yourself those feelings and just work.” And other people have this kind of like, “Okay, butt-in-chair, and I’m going to make myself do this.” And they sort of set up this internal battle with themselves and I have huge respect for the books on creative work that Steven Pressfield has written and I don’t particularly want to pick a fight with him. But, I do think sometimes talking about this stuff as a war and trying to overcome “resistance” and battle the demons just kind of turns it all into an exhausting fight that maybe you don’t want to have to do every morning at 9 am. And I think that being a little gentle with yourself is often a useful tool. Kelton Reid: I love that. And, you know, writing is re-writing so there is always those multiple passes that makes something better, anyway. So you’ve got to start somewhere, right? Chiseling away the raw elements to get to the good stuff. Very nice. Well, we can touch a little bit on a couple workflow things. It sounds like you’re using Evernote and Microsoft Word primarily? Oliver Burkeman: Yeah, and like TextEdit. I sort of have, like, the most basic text editor for my first pass at things. I want no ability to format or choose fonts or anything like that. But, yeah, then it goes to Word. And Evernote, I’m sort of constantly frustrated by Evernote. But you know, in the manner of a beloved relative who you sort of ultimately do really love, but spend a lot of time getting aggravated by. And then I just do a lot on paper. I’m environmentally problematic, indeed. I print things out and want to see them in that format. I usually plan chapters and columns by scribbling diagrams on pieces of paper. So a lot of it is off the computer. Kelton Reid: Sure. Oliver Burkeman: Yeah, yeah. Kelton Reid: Well, a part of what you do is the interview piece. I know that in The Antidote you traveled and obviously kind of immersed yourself in some of those practices. But were you then taking notes by hand? Did you have the MacBook with you the whole time? How were you synthesizing and then organizing everything to get it back onto the page? Oliver Burkeman: Well, back when I was writing the book, I was sort of was in flux with how I was recording interviews. Now I can’t just take lots of British journalists start off learning shorthand, which is amazing, and you can just literally record a whole interview in a notebook, word for word, but I’m not one of those. So I was recording them on a variety of devices that kept breaking. Now, I have a very good iPhone app called DropVox. V-O-X, that automatically sends the recorded files to Dropbox, which is a real discovery, that little app, for me. Kelton Reid: Neat. Oliver Burkeman: Then a website called I don’t know, I’m just trying to think I think it’s called Transcribe. Right? Yeah, Transcribe. At Wreally.com, spelled W-R-E-A-L-L-Y dot com. Anyway, this is a web-based interface for doing your own transcription. You know, you sort of load up the file and it s got easy controls to stop and start it. I know there are also sites now that do the transcriptions for you at a competitive price. So far I’ve avoided that, because I kind of find that transcribing my own interviews is a really crucial part of digesting what’s been said. So I tend to do it myself. But it is not a pleasant part. The process partly because it’s just a lot of labor, and partly because I have to listen to my own terrible, disastrous questions that go on forever and don’t end properly and just sort of tail off. I’ve never really thought I am a very good interviewer. I think I’m okay at writing up the results of interviews. But, I don t know, maybe that helps in a way, because it means it’s more like a conversation. Maybe I put people at their ease by being no good (laughs). I don’t know. But I don’t sort of I’ve never really been able to plan interviews out very much. They seem to have gone the best when I just sort of go into the conversation. How to Interview Jerry Seinfeld Kelton Reid: Yeah, that’s cool. And you’ve interviewed quite a few celebrities in your career. I’m thinking back to one in particular. You interviewed Jerry Seinfeld. Yeah, that’s a really cool process, because it’s not like these chunks of interview that are just transcribed. You’re telling a story in between the reportage and the interview. Oliver Burkeman: He is such, like I mean, he is sort of the ideal perfect professional to go interview, because people who have not had experience of being interviewed are not always very good. But, people who have sort of gone onto autopilot, which often happens at kind of movie junkets and things, they’re terrible too, because they tell you the same three anecdotes and then you find that when you’re writing it up that they told every publication like, last week, the same thing. And Jerry Seinfeld was neither of these things. He s like, obviously, he s a total professional. But he really … it really felt like he was thinking about the questions I was asking him and giving me the responses that were relevant to him that day now. And also just being funny. Which I kind of don’t automatically expect in a comedian, because I assume they spend months working on their material or something. But he was just sort of naturally funny. But you probably know from being involved in productivity-type things about his productivity method, which I spoke to him about, I didn’t include it in the piece, actually, because it didn’t seem relevant at the time to most readers. But this thing about having a wall chart or something and trying to place an X in the box for every day … Kelton Reid: Every day… Oliver Burkeman: he did some writing. And then you’d have this kind of motivation to not break the chain. And he was funny about this because he had told some interviewer about it years ago and it had turned into this thing online called The Seinfeld Productivity Technique. And he was completely baffled that this throwaway remark had taken on a life of its own, because it seemed so obvious to him. But he made a very good point that writing, and writing comedy in his case, but anything like this is fundamentally like an athletic process. It’s one you have to train and do a little bit each day. It’s much more helpful to think of it as athletics than to think of it as art, in my opinion. Staying Social Versus Becoming a Hermit Kelton Reid: Oh, for sure, for sure. That’s so funny. Well, how does Oliver Burkeman unwind at the end of a long writing day? Oliver Burkeman: I’m trying to remember back to when it wasn’t all changing diapers and rocking babies to sleep. I mean that actually is great even when it’s tiring and a bit stressful because it is so completely distracting that there’s no part of your brain that is fretting over other things. So, I almost feel like anything that fully occupies your attention is worthwhile, in that respect. What do I do? I get a lot of restoration out of just socializing with good friends. And I’ve discovered over the years that something that some writers do when they’re in crunch mode, which is to become hermits and politely tell their friends that they won’t be seeing them for the next three or four months. I’ve learned that it doesn’t work for me and that I will be better the next day if I go out for a beer with a friend. If I stay and have four beers, then it’s a different story. But, staying socially connected is actually really important to me. And I love hiking in the country. I belong to a community chorus here in Brooklyn, which is kind of like a slightly weird hobby to have, but that is amazingly good fun. It’s kind of weird how great singing in a group makes you feel. I recommend that to anybody, even if, like me, I’m not much of a singer, but you can’t tell in a big group. Kelton Reid: Well, I think it’d be good to hear that one, as well. Is it all writers? Oliver Burkeman: It isn’t, although you know, parts of Brooklyn there are a few in that mix. Kelton Reid: Well, I know we’re kind of bumping up against a half-hour mark. Do you have time to talk about creativity? Oliver Burkeman: Yeah, a few more minutes, absolutely. Kelton Reid: Okay, cool. We can just skip through a few here. Do you have a definition handy of creativity? I know that a lot of what you do and a lot of people you speak with are kind of in the creative fields. Oliver Burkeman: Wow, that is really interesting. I’m not sure I do have a definition of creativity. I definitely think that any definition I would want to use would really have to apply to almost any field. I don’t think it’s true that you can only be creative as a writer or a painter or a musician. I definitely feel like something about creativity is just the combining of two existing ideas to find a new idea, basically. And that is as likely to happen in an accountant’s practice as it is in a writer’s study or painter’s studio. So I think it’s something to do with combination, is really very central, I’m sort of just parroting Steven Johnson, who s written really great stuff on this, his book, Where Good Ideas Come From, is well worth anybody’s time. And then I guess the other thing is that sort of combination and innovation in the context of constraint. It is … I ve always, myself, thrived on only having 600 words to write my weekly column, and deadlines, time constraints where you just have to get on with it. So I think that sort of combining things for new effects within constraints, there would be some sort of makeshift definition in there. Why You Need to Just Do a Little Writing Every Day Kelton Reid: Okay. Love it. Yeah, so before we sign off here and remind listeners about your great book, do you have any advice to your fellow scribes, just on how to keep going, how to keep the ink flowing and the cursor moving? Oliver Burkeman: You know I think the thing I said about telling yourself that you have to feel like doing it everyday is important. I think that keeping your goals really low on a daily basis is really important. I think the most important thing that I keep having to relearn, even though it’s such an old saying or whatever, is just that a very small amount of writing that you actually do almost every single day is worth so much more than a huge, impressive day that you only actually manage to get around to once every few weeks. And there’s a quote by Adam Smith, that I have on my desk, I’m not at my desk right now, but it says something like, “The man who works so moderately as to be able to work all year round, not only preserves his health the longest, but at the time will produce the greatest quantity of work.” So it’s that whole idea of, just do a little bit, but really do a little bit every single day, or six days a week, or whatever it might be. I think that’s probably the most powerful piece of writing advice. Kelton Reid: Love it. Well, the book is, The Antidote: Happiness for People Who Can’t Stand Positive Thinking,” explores the upsides of negativity, uncertainty, failure, imperfection. So many good things in there. I’m a big fan of the stoicism angle and kind of you talk about the negative path to happiness, the Nirvana of failure, wabi-sabi as it were. All amazing stuff. So thank you for the book. Where can fellow scribes connect with you out there, or online? Oliver Burkeman: Well, my website is OliverBurkeman.com. It’s, like so many writers websites in the states, it s imminently launched, always. I’m most active on Twitter, @OliverBurkeman, B-U-R-K-E-M-A-N. And yeah, the book is where you d expect to find the book, and there’s an audiobook where you expect to find that. Kelton Reid: Did you do the audio yourself? Oliver Burkeman: Yes, I did. Yes. That was fun. The audiobook is me reading my book. Kelton Reid: Well, I will try to find that one, as well, so I can listen to it in the car. Fantastic stuff. Thank you again for coming onto the show and wrapping with us about the writing life. Oliver Burkeman: It’s been a pleasure. Thank you for inviting me. Kelton Reid: Cheers. Thanks so much for joining me for this half of a tour through the writer’s process. If you enjoy The Writer Files podcast, please subscribe to the show, and leave us a rating or a review on iTunes to help other writers find us. For more episodes, or to just leave a comment or a question, you can drop by WriterFiles.FM. And you can always chat with me on Twitter @KeltonReid. Cheers. Talk to you next week.

I've been watching an online audio mastering course on Creative Live called DIY Mastering (by Jesse Cannon). In it, he was talking about how he always checks his work on cheap speakers and Apple earbuds, since that's what most people use to listen to music. It got me thinking about the importance of good headphones, and how much they really matter. Are expensive headphones really necessary for mixing podcasts? Do you really need the best gear to make great work, or are you just procrastinating? My goal for this episode is to encourage you to do more with what you have and not fall into the trap of believing that better gear is the secret to success. Key Takeaways: Don't fall into the trap of believing that better gear is the secret to success. You don't need expensive headphones or speakers that are made for mixing music to make a podcast sound good. The difference between cheap and expensive headphones is subtle, but some people want and need that subtlety. Quality gear usually lasts longer than cheap gear. Terrible sound quality can ruin great content, but great sound quality won't make terrible content interesting or compelling. Invest in educating yourself at first rather than investing in better gear. All the expensive gear in the world doesn't make a difference if you're not creating stuff. Constraints can help you create great things. Don't fall into the trap of believing that better gear is the secret to success. I've been going through an online course about audio mastering from a mixing and mastering engineer, Jesse Canon. In this course (DIY Mastering) he talks about how he always checks his work on cheap speakers and Apple earbuds. He said, “It's because that's what most people use to listen to music these days.” He mixes the music on expensive speakers and headphones, but then he checks on cheap headphones because he wants to know what it sounds like. This set a lightbulb off in my head, and made me wonder: Do you have to have expensive gear when you're making podcasts? And are expensive headphones really necessary for mixing podcasts? Why Do People Recommend Expensive Headphones and Speakers for Mixing and Mastering music? Mixing and mastering are all about making choices about how to make audio sound. Better headphones and speakers let you hear more detail in your audio so you can make more informed decisions about how to shape those sounds, how to do EQ, compression, reverb, and special effects. Podcasts are not that complicated. Most of the time, a podcast is just a single person talking. You don't use a bunch of effects (unless you're making a show like Radiolab or Deep Vault). There aren't a bunch of changes in volume and dynamics. It just needs to be consistent and pleasant to listen to. Much of that comes down to recording with a good mic, setting input gain levels correctly, using good mic technique, and not recording in a noisy room or a room with a ton of natural reverb or echo. What Headphones Are Your Listeners Using? Most people listening to podcasts are probably either using Apple earbuds, cheap earbuds, less than $100, or listening in a car. I would be very, very surprised if the number of people listening to podcasts on audiophile quality, expensive gear was higher then 5% or 10% of the overall population. I don't think you need great headphones or speakers that are made for mixing music to make a podcast sound good. I'm an audio nerd. Before I got into editing podcasts, I was studying recording, mixing, and mastering music. I want great audio gear, but these days, I mix a lot of podcasts on $10 Panasonic earbuds. Even though I mix a lot of the seanwes podcasts I work on on cheap earbuds from Amazon, we haven't gotten complaints from listeners. In fact, in most cases, people talk about how great the sound quality is. That's because Sean invested money in some great mics, like the Shure SM7Bs, and some pre-proccessors, the DBX-286s. He knows how to set input gain levels correctly and he uses pop filters. The only bad thing I can say about the recordings that Sean makes is that he doesn't have sound treatment in his room. I can hear a little bit of the room sound, but it's not enough to bother the majority of his listeners. I don't think most people even notice it. I notice it because I'm a nerd, and I pay attention to things like that. Why Do People Want to Buy Expensive Gear? Everybody is different in their motivation and what they want, but if I can break it down a little bit, I think that beginners want expensive gear because they see their idols using it. They see a pro using it, that pro is doing great work mixing for great bands or doing great podcasts, and they think, “If I get the same gear that he/she has, I'll be successful like him/her.” They think the gear is why the pro has had success. So they drool over the gear, over the expensive microphones, the expensive computers, the expensive headphones, the expensive plugins, or whatever the pro is using. They're forgetting the years that the pro invested in learning everything, making mistakes, going through processes, putting out work, trying, experimenting, failing, and trying again. Why do the pros buy expensive gear and headphones? People who listen to a lot of audio develop their “ear” over the years, so they can hear subtle differences in the headphones—in the way that music sounds and in the way that podcasts sound. It's nice to be able to hear everything really clearly. The $300 pair of Sennheiser HD 600 headphones that I have sound better than the $10 earbuds. Here are the top four reasons I think pros invest in quality headphones: They sound great They're comfortable They usually last longer than cheap headphones You get to feel fancy Do expensive headphones sound way better? Maybe. Will they help you make a podcast that sounds drastically better? Probably not. The difference between cheap and expensive headphones is subtle, but some people want and need that subtlety. More expensive headphones are often more confortable. These HD 600s I have are stupid comfortable. I can wear them for 12 hours, they sound great, feel great, and they're pretty lightweight. They're a joy to wear. Also, quality gear usually lasts longer than cheap gear. The cheap $10 headphones that I buy will often break after six or eight months. A good pair of headphones should last you for years, maybe even decades. If you're going to spend some money, ask yourself, “Should I buy three pairs of $10 earbuds or a pair of $30 headphones that will last the same time as the three pairs of cheap headphones?” I think that's a tossup, but reliability and quality are worth paying for. Finally, you also get to feel fancy when you have expensive headphones. That's more about your ego, but it does feel good to have great gear. I like having nice things, and it's fine for you to want that too. It says something about you, that you're willing to invest in quality gear for whatever kind of work you do. If it's audio work, it's nice to be able to have this gear, and there's nothing wrong with a little bit of showing off, taking pride in the stuff that you invest in. What's More Important: Great Sound or Great Content? Terrible sound quality can ruin great content, but great sound quality won't make terrible content interesting or compelling. Crappy gear can ruin great content, but great gear isn't going to make average or boring content interesting or compelling. Time spent looking at and lusting over fancy gear you don't have is time you could have spent making stuff with the gear you do have. It's a distraction. It's procrastination. Time spent looking at fancy gear is time that you're not spending creating. The thing you're giving attention to is taking up your headspace, so it blocks out everything else from your life. Let's use notebooks as an example. I know a lot of people write and a lot of people draw. What benefit does a $40 notebook have over a $3 notebook? They're both paper, and you can write on either one of them. Will a $40 notebook help you write better than a $3 notebook? What about writing apps? Do you have to pay $40 or $50 for Ulysses or $100 for Scrivener, or could you write a book or a blog post in the TextEdit app in your Mac? It might not look exactly how you want, but you could get the job done. When I started podcasting, the microphone I had was a $150 Shure PG27 USB microphone. I thought I was fancy at the time. I have $250 BETA 87A now, running into a $500 interface… I have so much more now than when I started. The point is that I got started with something, with what I could afford at the time. It didn't sound amazing, but it sounded okay. I had to go through the process of learning all the different pieces that make up podcasting. Eventually I got to a point where I wanted to get better at my craft and I invested in a better microphone. But what really made the difference in my sound quality was learning how to do things like EQ and compression, mixing and mastering. If you have to choose, invest in educating yourself rather than investing in better gear. Don't get distracted by the gear. Don't procrastinate by spending a bunch of time reading reviews and drooling over expensive gear. At the end of the day, all the expensive gear in the world doesn't make a difference if you're not creating stuff. If you don't have an audience now, buying super expensive gear isn't going to magically bring you a ton of listeners, viewers or readers. I do believe that there is a minimum threshold of quality you should strive to meet, but it's in the range of hundreds of dollars, not thousands or tens of thousands. If you're just getting started or you're a year or two into it, buying a $10,000 mic is not going to make your podcast better than buying a $250 microphone. You're not going to know how to use it to the best of of your ability. You may have other problems with your podcasting setup and your workflow that you're not even aware of yet. Improve what you can, and don't spend all your time looking at gear. Examples of People Who Create Great Work Without Great Gear I'm sure some of you have heard of Tim Farriss before. I don't like the way he starts off his episodes with five minutes of ads, but that's my only complaint. Other than that, he has a lot of great content. It's not always stuff I'm interested in, but you can't argue that he's a very interesting person, and he's producing very interesting content, especially on self improvement. That being said, based on his sound quality, it sounds like he's using a $100 USB microphone. Most of the time it sounds like he uses a Skype call recording when he interviews people. He doesn't have the most amazing sound quality on his podcast and he starts every episode with minutes of ads, which is kind of annoying, but it doesn't matter that much. Tim Farriss has a huge audience because he's producing interesting content all the time. He's focused on making great content and not having the best gear or sound quality, and he's doing well because of that. Another example is Robert Rodriguez. I heard him on an episode of Marc Maron's podcast. He was talking about how he made his very first movie (El Mariachi) with a $7,000 budget. It was a tiny, tiny budget, but the movie blew up and ended up making $2,000,000 in the US. I watched it, and it was obviously low budget—but it was enough to kickstart his career. He said that because he had so little money, he only shot a take or two for each scene. He did the best he could with the constraints he had, and he didn't wait until he could afford the best movie gear. You can create great work with constraints, and oftentimes it even helps. If I had access to all the most amazing microphones, the best headphones, computers, audio interfaces, and all that stuff, I still couldn't sit down in a studio with a band and make a record that sounded as good as someone who's been doing it for 20 years. There's too much that I don't know. The gear isn't what's holding me back, it's the knowledge. It's practice and years of experience. Remember that most people are listening on affordable headphones or Apple earbuds. You don't need expensive headphones to make a podcast that sounds good. It's ok to get to know the gear and invest in good gear if you want to, but don't trick yourself into believing that good gear will guarantee you success. You have to put in the time to learn and hone your craft.

I’ve been watching an online audio mastering course on Creative Live called DIY Mastering (by Jesse Cannon). In it, he was talking about how he always checks his work on cheap speakers and Apple earbuds, since that’s what most people use to listen to music. It got me thinking about the importance of good headphones, and how much they really matter. Are expensive headphones really necessary for mixing podcasts? Do you really need the best gear to make great work, or are you just procrastinating?My goal for this episode is to encourage you to do more with what you have and not fall into the trap of believing that better gear is the secret to success.Key Takeaways:Don’t fall into the trap of believing that better gear is the secret to success.You don’t need expensive headphones or speakers that are made for mixing music to make a podcast sound good.The difference between cheap and expensive headphones is subtle, but some people want and need that subtlety.Quality gear usually lasts longer than cheap gear.Terrible sound quality can ruin great content, but great sound quality won’t make terrible content interesting or compelling.Invest in educating yourself at first rather than investing in better gear.All the expensive gear in the world doesn’t make a difference if you’re not creating stuff.Constraints can help you create great things.Don’t fall into the trap of believing that better gear is the secret to success.I’ve been going through an online course about audio mastering from a mixing and mastering engineer, Jesse Canon. In this course (DIY Mastering) he talks about how he always checks his work on cheap speakers and Apple earbuds.He said, “It’s because that’s what most people use to listen to music these days.” He mixes the music on expensive speakers and headphones, but then he checks on cheap headphones because he wants to know what it sounds like. This set a lightbulb off in my head, and made me wonder: Do you have to have expensive gear when you’re making podcasts? And are expensive headphones really necessary for mixing podcasts?Why Do People Recommend Expensive Headphones and Speakers for Mixing and Mastering music?Mixing and mastering are all about making choices about how to make audio sound. Better headphones and speakers let you hear more detail in your audio so you can make more informed decisions about how to shape those sounds, how to do EQ, compression, reverb, and special effects.Podcasts are not that complicated. Most of the time, a podcast is just a single person talking. You don’t use a bunch of effects (unless you’re making a show like Radiolab or Deep Vault). There aren’t a bunch of changes in volume and dynamics. It just needs to be consistent and pleasant to listen to. Much of that comes down to recording with a good mic, setting input gain levels correctly, using good mic technique, and not recording in a noisy room or a room with a ton of natural reverb or echo.What Headphones Are Your Listeners Using?Most people listening to podcasts are probably either using Apple earbuds, cheap earbuds, less than $100, or listening in a car. I would be very, very surprised if the number of people listening to podcasts on audiophile quality, expensive gear was higher then 5% or 10% of the overall population. I don’t think you need great headphones or speakers that are made for mixing music to make a podcast sound good.I’m an audio nerd. Before I got into editing podcasts, I was studying recording, mixing, and mastering music. I want great audio gear, but these days, I mix a lot of podcasts on $10 Panasonic earbuds.Even though I mix a lot of the seanwes podcasts I work on on cheap earbuds from Amazon, we haven't gotten complaints from listeners.In fact, in most cases, people talk about how great the sound quality is. That’s because Sean invested money in some great mics, like the Shure SM7Bs, and some pre-proccessors, the DBX-286s. He knows how to set input gain levels correctly and he uses pop filters.The only bad thing I can say about the recordings that Sean makes is that he doesn’t have sound treatment in his room. I can hear a little bit of the room sound, but it’s not enough to bother the majority of his listeners. I don’t think most people even notice it. I notice it because I’m a nerd, and I pay attention to things like that.Why Do People Want to Buy Expensive Gear?Everybody is different in their motivation and what they want, but if I can break it down a little bit, I think that beginners want expensive gear because they see their idols using it. They see a pro using it, that pro is doing great work mixing for great bands or doing great podcasts, and they think, “If I get the same gear that he/she has, I’ll be successful like him/her.”They think the gear is why the pro has had success. So they drool over the gear, over the expensive microphones, the expensive computers, the expensive headphones, the expensive plugins, or whatever the pro is using. They’re forgetting the years that the pro invested in learning everything, making mistakes, going through processes, putting out work, trying, experimenting, failing, and trying again.Why do the pros buy expensive gear and headphones? People who listen to a lot of audio develop their “ear” over the years, so they can hear subtle differences in the headphones—in the way that music sounds and in the way that podcasts sound. It’s nice to be able to hear everything really clearly. The $300 pair of Sennheiser HD 600 headphones that I have sound better than the $10 earbuds.Here are the top four reasons I think pros invest in quality headphones:They sound greatThey’re comfortableThey usually last longer than cheap headphonesYou get to feel fancyDo expensive headphones sound way better? Maybe. Will they help you make a podcast that sounds drastically better? Probably not.The difference between cheap and expensive headphones is subtle, but some people want and need that subtlety.More expensive headphones are often more confortable. These HD 600s I have are stupid comfortable. I can wear them for 12 hours, they sound great, feel great, and they’re pretty lightweight. They’re a joy to wear.Also, quality gear usually lasts longer than cheap gear. The cheap $10 headphones that I buy will often break after six or eight months. A good pair of headphones should last you for years, maybe even decades.If you’re going to spend some money, ask yourself, “Should I buy three pairs of $10 earbuds or a pair of $30 headphones that will last the same time as the three pairs of cheap headphones?” I think that’s a tossup, but reliability and quality are worth paying for.Finally, you also get to feel fancy when you have expensive headphones. That’s more about your ego, but it does feel good to have great gear.I like having nice things, and it’s fine for you to want that too. It says something about you, that you’re willing to invest in quality gear for whatever kind of work you do. If it’s audio work, it’s nice to be able to have this gear, and there’s nothing wrong with a little bit of showing off, taking pride in the stuff that you invest in.What’s More Important: Great Sound or Great Content?Terrible sound quality can ruin great content, but great sound quality won’t make terrible content interesting or compelling.Crappy gear can ruin great content, but great gear isn’t going to make average or boring content interesting or compelling. Time spent looking at and lusting over fancy gear you don’t have is time you could have spent making stuff with the gear you do have. It’s a distraction. It’s procrastination.Time spent looking at fancy gear is time that you’re not spending creating. The thing you’re giving attention to is taking up your headspace, so it blocks out everything else from your life.Let’s use notebooks as an example. I know a lot of people write and a lot of people draw. What benefit does a $40 notebook have over a $3 notebook? They’re both paper, and you can write on either one of them. Will a $40 notebook help you write better than a $3 notebook?What about writing apps? Do you have to pay $40 or $50 for Ulysses or $100 for Scrivener, or could you write a book or a blog post in the TextEdit app in your Mac? It might not look exactly how you want, but you could get the job done.When I started podcasting, the microphone I had was a $150 Shure PG27 USB microphone. I thought I was fancy at the time. I have $250 BETA 87A now, running into a $500 interface… I have so much more now than when I started.The point is that I got started with something, with what I could afford at the time. It didn’t sound amazing, but it sounded okay. I had to go through the process of learning all the different pieces that make up podcasting.Eventually I got to a point where I wanted to get better at my craft and I invested in a better microphone. But what really made the difference in my sound quality was learning how to do things like EQ and compression, mixing and mastering.If you have to choose, invest in educating yourself rather than investing in better gear.Don’t get distracted by the gear. Don’t procrastinate by spending a bunch of time reading reviews and drooling over expensive gear.At the end of the day, all the expensive gear in the world doesn’t make a difference if you’re not creating stuff.If you don’t have an audience now, buying super expensive gear isn’t going to magically bring you a ton of listeners, viewers or readers.I do believe that there is a minimum threshold of quality you should strive to meet, but it’s in the range of hundreds of dollars, not thousands or tens of thousands. If you’re just getting started or you’re a year or two into it, buying a $10,000 mic is not going to make your podcast better than buying a $250 microphone. You’re not going to know how to use it to the best of of your ability. You may have other problems with your podcasting setup and your workflow that you’re not even aware of yet.Improve what you can, and don’t spend all your time looking at gear.Examples of People Who Create Great Work Without Great GearI’m sure some of you have heard of Tim Farriss before. I don’t like the way he starts off his episodes with five minutes of ads, but that’s my only complaint. Other than that, he has a lot of great content. It’s not always stuff I’m interested in, but you can’t argue that he’s a very interesting person, and he’s producing very interesting content, especially on self improvement.That being said, based on his sound quality, it sounds like he’s using a $100 USB microphone.Most of the time it sounds like he uses a Skype call recording when he interviews people. He doesn’t have the most amazing sound quality on his podcast and he starts every episode with minutes of ads, which is kind of annoying, but it doesn’t matter that much.Tim Farriss has a huge audience because he’s producing interesting content all the time. He’s focused on making great content and not having the best gear or sound quality, and he’s doing well because of that.Another example is Robert Rodriguez. I heard him on an episode of Marc Maron’s podcast. He was talking about how he made his very first movie (El Mariachi) with a $7,000 budget. It was a tiny, tiny budget, but the movie blew up and ended up making $2,000,000 in the US. I watched it, and it was obviously low budget—but it was enough to kickstart his career.He said that because he had so little money, he only shot a take or two for each scene. He did the best he could with the constraints he had, and he didn’t wait until he could afford the best movie gear.You can create great work with constraints, and oftentimes it even helps.If I had access to all the most amazing microphones, the best headphones, computers, audio interfaces, and all that stuff, I still couldn’t sit down in a studio with a band and make a record that sounded as good as someone who’s been doing it for 20 years. There’s too much that I don’t know. The gear isn’t what’s holding me back, it’s the knowledge. It’s practice and years of experience.Remember that most people are listening on affordable headphones or Apple earbuds. You don’t need expensive headphones to make a podcast that sounds good.It’s ok to get to know the gear and invest in good gear if you want to, but don’t trick yourself into believing that good gear will guarantee you success. You have to put in the time to learn and hone your craft.

In this podcast, we show how you can increase your VoiceOver TTS above the standard 100% on a Mac. This was recorded using OSX Mavericks, but still works great in El Capitan and Yosemite. If text is more your thing, the same instructions may be found here: First, get everything in VO set up the way you want. Then, go into VO utility, and Command-shift-e to export your settings. Export all of them, and save the .voprefs somewhere you'll remember. Open this .voprefs in textEdit by pressing Option-Control-Shift-m, and navigate to Open With > Other... Choose textEdit from the open dialog, and press Return. The .voprefs will open in readable text you can edit. Search for rate by pressing Command-f, and typing rate and pressing Return. Hit escape so you're back in the window and see where you are. There's a line that says "100" below that huge key with "rate" in it. Find the "100,” or whatever your TTS rate is, and change it to something else. You can also do this with volume (some legacy voices like Fred need this to be as loud as the rest of your system). Note: If you have multiple activities that use different voices and rates, be sure to edit the right one. Do this by searching for the voice name and finding the corresponding rate. Once that's completed, Command-s to save, open VO Utility again and import your settings, or just press return on the .voprefs file. Caution: If you get into trouble with increasing the speech rate too fast, you can press Command -Option-Control-down arrow.

In this podcast, we show how you can increase your VoiceOver TTS above the standard 100% on a Mac. This was recorded using OSX Mavericks, but still works great in El Capitan and Yosemite. If text is more your thing, the same instructions may be found here: First, get everything in VO set up the way you want. Then, go into VO utility, and Command-shift-e to export your settings. Export all of them, and save the .voprefs somewhere you'll remember. Open this .voprefs in textEdit by pressing Option-Control-Shift-m, and navigate to Open With > Other... Choose textEdit from the open dialog, and press Return. The .voprefs will open in readable text you can edit. Search for rate by pressing Command-f, and typing rate and pressing Return. Hit escape so you're back in the window and see where you are. There's a line that says "100" below that huge key with "rate" in it. Find the "100,” or whatever your TTS rate is, and change it to something else. You can also do this with volume (some legacy voices like Fred need this to be as loud as the rest of your system). Note: If you have multiple activities that use different voices and rates, be sure to edit the right one. Do this by searching for the voice name and finding the corresponding rate. Once that's completed, Command-s to save, open VO Utility again and import your settings, or just press return on the .voprefs file. Caution: If you get into trouble with increasing the speech rate too fast, you can press Command -Option-Control-down arrow.

We learn about text manipulation commands like cut, sort, and uniq. We build sophisticated pipelines to analyze data, including surveys and web logs. We also look briefly at invoking simple text editors from the command line, like nano, gedit, and TextEdit.

Thu, 23 Jul 2015 19:00:00 +0000 https://www.protokollcast.de/27-kaboom 634e62aeb6c8c9ee9ab32a5795f60047 App Transport Security, Langsames Internet, Hängende Apps Was wird Apples App Transport Security für Apps unter iOS 9 und OS X 10.11 bedeuten? Wird alles™ nur noch mit TLS/HTTPS funktionieren? Ich greife noch einmal das Thema Schwergewichte auf und was passiert, wenn man im richtigen Momemnt Enter gedrückt hält. Die Links für diese Folge: Michael Tsai - Blog - App Transport Security Michael Tsai - Blog - The Rush to "Deprecate" HTTP Three takeaways for web developers after two weeks of painfully slow internet How to Hang Mail, TextEdit, and Contacts 27 full App Transport Security, Langsames Internet, Hängende Apps no Marc Kalmes

New York Times bestselling author Austin Kleon has been called one of the most interesting people on the Internet by The Atlantic Magazine, and he stopped by The Writer Files to chat with me about creativity and the writing life.   Rainmaker.FM is Brought to You By   Discover why more than 80,000 companies in 135 countries choose WP Engine for managed WordPress hosting. Start getting more from your site today! Austin is the author of three illustrated books — Steal Like An Artist, Newspaper Blackout, and Show Your Work! — guides I recommend to all writers seeking insights for tapping into your endless reserves of creativity and innovation. In addition to being featured on NPR s Morning Edition, PBS Newshour, and The Wall Street Journal, Mr. Kleon speaks about creativity in the digital age for organizations as varied as Pixar, Google, SXSW, TEDx, and The Economist. In the first part of this two-part file, Austin Kleon and I discuss: Why You Should Read More Than You Write How a Paper Dictionary Can Improve Your Writing The Difference Between Little Writing and Big Writing Why You Should Research Out in the Open How Your Daily Ritual Can Save You from Failure 3 Symptoms of Writer’s Block and How to Cure Them Why You Should Print Your Work and Read It Aloud How to Harness the Power of Productive Procrastination Listen to The Writer Files: Writing, Productivity, Creativity, and Neuroscience below ... Download MP3 Subscribe by RSS Subscribe in iTunes The Show Notes How Bestselling Author Austin Kleon Writes: Part Two Here s How Austin Kleon Writes AustinKleon.com Clive Thompson, The Pencil and the Keyboard: How The Way You Write Changes the Way You Think Elizabeth Gilbert: “Your elusive creative genius” Daily Rituals: How Artists Work by Mason Currey Austin Kleon on Instagram Austin Kleon on Twitter Kelton Reid on Twitter The Transcript How Bestselling Author Austin Kleon Writes, Part One Voiceover: This is Rainmaker.FM, the digital marketing podcast network. It’s built on the Rainmaker Platform, which empowers you to build your own digital marketing and sales platform. Start your free 14-day trial at RainmakerPlatform.com. Kelton Reid: These are The Writer Files, a tour of the habits, habitats, and brains of working writers, from online content creators to fictionist, journalists, entrepreneurs, and beyond. I’m your host Kelton Reid: writer, podcaster, and mediaphile. Each week, we’ll find out how great writers keep the ink flowing, the cursor moving, and avoid writer’s block. New York Times bestselling author Austin Kleon has been called one of the most interesting people on the Internet by the Atlantic magazine, and he stopped by The Writer Files to chat with me about creativity and the writing life. Austin is the author of three illustrated books: Steal Like An Artist, Newspaper Blackout, and Show Your Work!. In addition to being featured on MPR’s Morning Edition, PBS NewsHour, and The Wall Street Journal, Mr. Kleon speaks about creativity in the digital age — organizations as varied as Pixar, Google, South by Southwest, TEDx, and The Economist. In the first part of this two-part file, Austin Kleon and I discuss why you should read more than you write, how a paper dictionary can improve your writing, the difference between little writing and big writing, how your daily ritual can save you from failure, three symptoms of writer’s block and how to cure them, and how to harness the power of productive procrastination. Austin Kleon, welcome back to The Writer Files. Austin Kleon: Thanks for having me. Kelton Reid: You were in the written series, and I’ll point to that in the show notes. That was a really very inspiring interview Q&A. Geez, we’re off to a great start. Thanks for coming back, man. I can’t wait to pick your brain and get into your updated Writer File here. Austin Kleon: I’m stoked. Kelton Reid: For listeners who aren’t familiar with your work, who are you, and what is your area of expertise as a writer? Austin Kleon: I call myself ‘a writer who draws,’ which means that I make art with words and books with pictures. I’ve put out three books. They’re all illustrated books. The one I’m known best for is a book called Steal Like An Artist, which is a list of 10 things I wish I’d known about being creative when I first started out. The other book I’m more well-known for is the sequel to Steal Like An Artist called Show Your Work!, which is a book about self-promotion for people who hate the very idea of self-promotion. It’s all about sharing your work and getting yourself out there. Steal is all about taking influence from others, and Show Your Work! is about influencing others by letting them steal from you in a sense. Before those two books, I did a book called Newspaper Blackout, which is a very strange poetry book — that’s why no one knows about it, it’s a poetry book. It’s made from newspaper articles, and it looks like the CIA did haiku. I pick a few words out of a newspaper article. Then I blackout the rest, and they read like these weird haikus almost. That was my first book. If there was a Venn diagram of my work, I think about it as pictures, words, and the web, and I’m in the middle. The web part is that my whole career has been based on me being active online. I’m actually coming up on my blog’s about 10 years old. When I got out of college, I really didn’t know what I was doing, so I started a blog. In 2005, that was a great idea. It was pretty easy to get started and stand out, especially if you were doing something interesting. I guess less and less I think of myself as a web guy and more of just an author, which is a very strange transition. I had day jobs for a long time, and now I just do this full time. Kelton Reid: You came from a background of graphic design as well. Austin Kleon: Yeah, that’s the weird thing about me. I identify mostly as a writer in terms of where I feel centered in the world, but I have this visual side, this design and art side. I made a living for several years as a web designer. I’m not formally trained in graphic design or art, but that’s always just been part of my life. Kelton Reid: I love those blackout poems. They are very cool. Austin Kleon: Thanks. Kelton Reid: I keep your books by my desk just as inspiration because I feel like I can just flip open Steal Like An Artist anytime I’m feeling I need creative juice. There’s just so much in there. It’s perfect for those moments when you just need a jolt of quick, creative inspiration, so thank you for those. Austin Kleon: I’m glad to hear that. They’re designed that way. You’re supposed to be able to just flip them open and start reading and get something out of it. A lot of people have them as ebooks, but they really shine as print books. Kelton Reid: I agree. The ebook would not do it justice. I think having it in your hands and being able to touch it, and the artwork, is really great. It’s really, really fun. Where can we find your writing out there in the world? Austin Kleon: The best thing to do is to go to your local bookstore and ask for one of my books. That’s the easiest. Otherwise, just go to AustinKleon.com or Google me, and you’ll drop down the rabbit hole of my stuff. Kelton Reid: Yeah, totally. Austin Kleon: I’m a Twitter junky and an Instagram guy, too, so I’m AustinKleon on those. Kelton Reid: Cool. What are you presently working on over there? Austin Kleon: I just finished up something I was not excited about when I started, and now I’m super excited about it. My publisher, Workman, wanted to turn Steal Like An Artist into a journal. It’s really cool. It’s got one of those elastic bands and the envelope in the back, so it’s basically a prompted journal. It’s like an interactive version of Steal Like An Artist that you can carry around and do all kinds of exercises. It’s supposed to be something that you carry around with you and you open up every day. It gets your juices flowing. I just finished that up. That’s coming out in October, and I’m going on a 12-city tour. I don’t have all the cities quite yet. Book tour for me is like I have to get stoked up for because it’s a marathon-type thing, but I’m super excited about the journal. Like I said, I’m so particular about my own journals that the idea of making a journal that other people would use was daunting, but then it turned into this really fun thing. I’m looking forward to doing the exercises myself, along with everybody else. Kelton Reid: I can’t wait to get a hold of one of those. Austin Kleon: I will send you a copy. Kelton Reid: Cool. That’s the best news ever. I’d like to dig into your productivity a little bit and just pick your brain. Austin Kleon: Sure. Kelton Reid: I know that you do some pretty extensive research on stuff. How much time per day would you say you’re just researching for creative inspiration? Why You Should Read More Than You Write Austin Kleon: If I had to put an hour, I’d say anywhere from one hour a day to five hours a day. It so depends on what project I’m working on or not, but for me, I probably read at least three to four times as much as write. That’s a really important thing for my own practice. I know folks like Stephen King, he writes in the morning, and then he reads all afternoon. I’ve always aspired to that. I’ve never really got that done because I like to read and then putter around. If I’m on deadline, I’ll have to sit down and actually bang something out, but I would say probably at least a third to half of the day is based on trying to fill the tanks, so to speak. Kelton Reid: Before you actually sit down and get working, do you have any pre-game ritual or practices that you do? Austin Kleon: I wish I had more. For me, the hardest thing is to get my butt in the chair and sit down and open the file and go for it. I do a lot of free writing by hand. I take a lot of notes by hand, and I really believe in keeping a journal and that kind of thing. But when I’m actually sitting down to make a piece of writing that someone else is going to read, I feel like I have to be in front of the computer. My friend Clive Thompson, if you Google Clive Thompson or search Clive Thompson on my tumblr, there’s a brilliant talk he gave about writing by hand versus typing on the computer. The research he found showed us that writing by hand is great for taking notes and for synthesizing ideas and coming up with new ideas, but when it comes to actually producing writing for a reader, typing on the computer or on a typewriter is better. That’s certainly true on my own practice. It feels like I’m not actually really writing until I’m hitting the keys. Kelton Reid: I love that research — and I’ve always been fascinated. I know you talk about that quite a bit — that synthesis and then the formality, or at least the ritual of actually getting it down. Do you have a most productive time of day or a place where you are most productive for your writing process? Austin Kleon: I have converted my garage into my studio, so I have what I call ‘the 8-foot commute’ from my backdoor of my house to the garage. You know that Weezer song? “In the garage, I feel safe.” That’s what happens. I go in. I flip on the lights. I crank the air conditioner, the window AC. I say hi to my lizard that likes to hang out on my air conditioner. He’s right there right now, actually. There’s something about the actual physical transition between going out the house, being out in the heat, and then coming into the garage, flipping on the lights, that gets me in the mode. I should probably mention that I have a weird setup. Last time we talked, I had two desks. Now, I actually have three desks. Kelton Reid: They’re multiplying? Austin Kleon: It’s getting a little out of control. I have one desk that’s the analog desk, and I talked about this in Steal Like An Artist. The analog desk, nothing electronic is allowed on there other than pencil sharpener. That’s for where I make my newspaper blackout poems and where I come up with ideas and letter stuff and that kind of thing. Then I have a digital desk, which is where I have my computer and my scanner and all that stuff. That’s where, like we said before, the real writing happens. How a Paper Dictionary Can Improve Your Writing Austin Kleon: Now I have another desk that’s more like a standing desk, which is my attempt to recreate a library carrel at the library. It’s got a bunch of reference stuff on it. I’ve got all my files above, so I file stuff. Then I have an actual paper dictionary there that’s this big honkin’ American Heritage. I go over there, and I look up words. I really recommend to folks use the dictionary and get a paper one. The dictionary on the Mac is pretty good, but a paper dictionary, there’s something about having to turn to the page and read the entry. Then you see all the words around the entry. You always find something interesting. That’s something I stole from John McPhee, the writer. He did this brilliant series of articles for The New Yorker about how he writes, and his big advice is never use a thesaurus. Never use a thesaurus. Always use a dictionary. Look up a word in the dictionary, and it’ll give you ideas for better phrases to use and that kind of stuff — so, yeah, three desks: analog desk, digital desk, and then my reference desk. I just dance between the three all day. I hate standing. I know there’s a big vogue right now for standing desks. I hate standing desks so much. I cannot write when I’m standing up. Part of the fun for me of being a writer is leaning back in my chair and staring out the window and then typing and then looking at the squirrel out my window, this lizard. That’s the fun for me, and I have a really nice office chair. That, for me, is the good stuff. Death to standing desks. Kelton Reid: It’s interesting you say that because I use my standing desk mostly just for correspondence stuff or when I’m just surfing Twitter or whatever. I can’t write at the standing desk, anything of any import. Austin Kleon: What you just said, that’s what happened to me. I have my computer on the standing desk, and I just found myself always walking over there and answering an email, blah, blah, blah, and doing that little light work. Then I never really was able to just zoom in and do stuff. Kelton Reid: Yeah, I’m with you. Are you a night owl, or do you get out there? Austin Kleon: I’m sorry. I didn’t even answer your question. Kelton Reid: That’s okay. Austin Kleon: I really like to work when the world is sleeping. I love early morning, and I love late nights. The problem with that is I have two kids. I really love to sleep, and that’s the only time they’re asleep. I cannot make myself get up that early anymore. I’m really lucky my wife stays home with the kids. It’s amazing that we’re able to do that. It’s also kind of insane, or drives my wife insane, but I basically keep 10 to 5 hours. It’s like working in an agency or something. It’s like 10 to 5, so I’m doomed to the afternoon, which Dickens called ‘Mongrel time’ — it’s neither day nor night. I hate the afternoon, but there’s something about being in the garage in the afternoon and losing track of what time it is that kind of helps — so afternoons for me. I hope, eventually, that I can just get up in the morning and write 1500 words at 5 am, but I just can’t do it yet. Kelton Reid: Are you cranking music in the garage, or do you prefer silence? Austin Kleon: It just depends on what I’m trying to do. If I’m researching and reading and just messing around or blogging, I’ll just listen to soul music or garage rock, just the stuff I like. If I’m really trying to come up with ideas and really write something, I’ll either put earplugs in — I know Dan Pink writes with earplugs. There’s something about having complete silence. You can hear your blood pumping. I love that. I also like music I can ignore, so I put on classical or jazz or Brian Eno or something like that. Then if I’m on deadline, if I’m doing something I hate that I know I have to finish, I will play the most meatheaded, loud stuff I can, like Soundgarden, ACDC, or Led Zeppelin, just the most meatheaded rock I can possibly muster. I’ll turn that up as loud as I dare, and I’ll just crank through. It’s almost like a punishment — it’s not funny but at Guantanamo, I think they play Metallica when they’re torturing people — and that’s kind of how I feel. It’s like, “Let’s play this metal music and torture yourself until you’re done.” The gun to your back, so to speak. That’s a horrible metaphor, but that’s kind of how it works. Kelton Reid: Hook up the electrodes. Austin Kleon: Yeah. Kelton Reid: You’re just an incredibly prolific online publisher by your blog, so when you’re working on a book at the same time, are you alternating between things, or are you getting out there every day and just cycling between stuff? The Difference Between Little Writing and Big Writing Austin Kleon: I try to post a few things every day. If you do that, it just seems like a lot. When I’m really working on a book, I’m pretty heads down on the book, and you’ll see the online stuff slow down. The one thing I want to make a point about is I just don’t really see a big difference, particularly with my process, between what we call ‘little writing’ and ‘big writing.’ Whether you’re making a Tweet, or you’re tumbling something or writing a blog post, or you’re writing a book, to me, it’s all typing in the boxes. I’ve had Tweets that led to blog posts that led to book chapters, you know what I mean? It’s all just kind of this stew. Why You Should Research Out in the Open Austin Kleon: The one thing that you can do — if you’re insane and you have too much time on your hands — is you can watch me. I’m researching in the open. You can see what I’m interested in, and you can get an idea of where I’m going without me telling you. That’s the ‘show your work’ thing is that I’ve been really interested in letting people watch me as I go, and then what happens is that all these stuff comes back at me. I’ll Tweet out something, and then somebody else will say, “Oh, well, have you read this?” I say “No,” and I look that up. It’s this cycle between publishing and receiving. It is, it’s a cycle. I know a lot of writers do it differently, but I like researching out in the open and letting people help me along. A lot of my books could probably be reconstructed from my online output, but in that nice little package. You pick up the book, it’s all there. It’s all been edited. It’s all trying to make this coherent argument, and it’s just not the same. I just like that — researching out in the open. Then eventually you get a book at the end of it. Kelton Reid: Just a quick pause to mention that The Writer Files is brought to you by the Rainmaker Platform, the complete website solution for content marketers and online entrepreneurs. Find out more and take a free 14-day test drive at Rainmaker.FM/Platform. I love how you talk about creativity not being linear and the importance of the daily practice. You are practicing what you preach, but it’s cool. How Your Daily Ritual Can Save You from Failure Austin Kleon: It’s the only way I can see … when you’re young-er, because I’m not that old yet, but when you’re younger, you just think, “I’ll just arrive at some point. I’ll get to this point, and people will notice me, they’ll know me, and I can just sit back.” If you’re lucky enough to have a little bit of success when you’re younger like I did, it scares the crap out of you. You realize suddenly, “Oh, I’ve been talking a big talk about how I want to be a writer and how I want to be an artist and all that stuff, and now it could actually happen. I might have to do this the rest of my life.” Elizabeth Gilbert, I’ve never read any of her books. I love her. She’s done a beautiful profile of Tom Waits, and I’ve read a little bit of her non-fiction. She did this TED talk where, after Eat, Pray, Love came out, she said, “I probably have 40 years of work left, and it’s very possible that my biggest success is behind me.” Kelton Reid: I love that TED talk. I’ll link to it, but it’s so good. Austin Kleon: It’s so good, and it was so honest of her to get up there and be like, “I know. I know I was lucky. I know this might never happen again, but I have to keep going.” It’s funny because I think her next book actually wasn’t a very big success, and then she gave another TED talk, because she’s Elizabeth Gilbert, and talked about failure. For me, I just put this post up online recently. It was a little talk I gave about how everybody thinks creativity is like Don Draper closing his eyes and then having a big revelation. I never feel like Don Draper. I always feel like Phil Connors in Groundhog Day. Phil wakes up every day at 6 am, and he’s got to do something with his day. He knows there’s no tomorrow. He knows all he’s got is this day. I love that movie because, at first, he cheats, he fritters away the day, and then he falls into despair. Then, at the end, he realizes, “I just have to work. I have to practice a craft, or I just put the work in every day,” and that’s when his life gets better. As an artist or a writer, you really just have to get in to the dailyness. You have to figure out a daily routine in which you go out and you do your work, and then, if you have a daily practice and a ritual, you’re insulated from success and failure because they’ll both screw you up. Failure, we all know about. Success will do the same thing. It will knock you off your game, but if you have this dailyness to your work, that will pull you through so many situations. That’s why I love Mason Currey’s book Daily Rituals. Kelton Reid: Me too. That’s a good one. Austin Kleon: That’s like writer porn, right? You open it up, and it’s like, “Ooh.” The thing I really liked about that book is my books are prescriptive — I’m telling you what to do, like do this, do that. It’s bossy, and that has its place — but I like Mason’s book, Daily Rituals, because it’s just this big collage of what other people have done before you. Then it’s your job to pick and choose from what you want. But you get the sense when you read that book, it’s like, “You got to go in and make the doughnuts, every day.” You know what I mean? “You got to go in to the garage and make something happen, and it’s going to be the same tomorrow and the day after that, until you die.” If that seems daunting, you’re in the wrong work. Kelton Reid: That’s why I love Show Your Work!, where you’re talking about the incremental process. One of my favorite quotes, I don’t know if it’s from that book in particular, but where you say, “Writers aren’t born. They are made.” Austin Kleon: That’s something I have to believe for myself because I’m not superhumanly talented. I’ve got a decent amount of talent, but I’m not like James Brown. I’m not Miles Davis. But the funny thing, I just mentioned James Brown — there’s a great documentary about him out right now called Mr. Dynamite — and the thing about James Brown is you just realize this is a guy worked every day. He just never stopped. You’ll find that with all these geniuses. Not only were they superhumanly talented, they also worked all the time. I’m a lazy person. I always think of myself as a lazy person. I don’t like to work, but I know that if I don’t, I will do nothing. I had a really good creative writing professor named Steven Bauer, and his thing was, “Apply ass to chair.” “Apply ass to chair.” He’s like, “Write it on an index card and put it above your desk — apply ass to chair.” He was like the Allen thing. You just show up. If you show up every day and you do the work, those little bits and pieces of effort, over time, they add up into something. You write a page a day, it doesn’t seem like much in the day, and then at the end of the year, you got enough for a novel, 305 pages. Kelton Reid: Just veer from the script for a minute — do you feel like that transparency, where you’re giving your audience a window into your creative process, that has almost a psychological effect on you? Why Sharing Is the Most Powerful Thing You Can Do as a Writer Austin Kleon: It does, and you have to be careful with it. One thing I didn’t touch on, Show Your Work!’s supposed to be a pep talk. It’s supposed to push people who are afraid to open up a little bit — just try one little thing every day, but the thing about being transparent is you have to really gauge what and how and how much you show. You have to really look at your process and what’s really close to you that you can’t share. Then you have to think about what you can. The point I want to make with that is that I think people get this idea that I’m like, “Yeah, sure, everything dude. Put your novel on GitHub.” That’s not what I’m saying at all. I’m saying find the little bits and pieces of your process that you think might be interesting or helpful to someone else, and push out those little bits and pieces as you’re working on something. In that way, you are around, first of all. People don’t forget about you. Then you’re able to keep your head down and do your work while you’re just sending out these little transmissions. That was really the idea behind Show Your Work!. When I’m really working on something that’s really important to me, like I didn’t share the journal when I was working on it. I knew I had two months to finish it before my son was born. I could not conceive of any way in which me sharing my work would benefit me in any sense, but the things I was sharing were like I was looking at other people’s notebooks, and I was Tweeting and tumbling out that stuff. Novelists will come to me, or fiction writers, they’re like, “Should I put drafts of my stories online?” I’m like “No. Don’t put drafts of your stories online. Save your drafts for your really close readers and for your writing group or your wife or whoever. What you should be doing is write about the books you’re reading, talk about a writing tool that you found really helpful, or talk about structure in a Hemingway story you’re reading.” Do that kind of stuff, that process-y stuff that you think no one cares about. Every fiction writer should be posting a list of books they’re reading. That’s the easiest thing in the world to do. From a marketing perspective, throw an associate’s code in there, and anyone who buys the book, get something back from it. I’m always amazed at writers who don’t tell people what they’re reading. I think a lot of people think that reading’s a personal thing. The reason people read you is that they’re hungry for the types of books you write, so if you read those types of books, too … The interesting thing about my genre is that I think a lot of people think I sit around and read creativity books all the time, which is not true. The reason that my books are interesting is because I read all kinds of different books. This has always been a personal thing for me. I have always felt like if I was true to the things I was really interested in and sharing the things I was really interested in, people would follow along just because, in the act of sharing things, that’s how I can either find my people or I can introduce people to new stuff. I don’t really like the word ‘curator,’ but I like sharing. In this day and age, one of the most powerful things you can do as a writer is to share stuff. Kelton Reid: Definitely. I love that. All right. Let’s just wrap up productivity with the writer’s block question. Do you buy in to it? Do you ever get it? 3 Symptoms of Writer s Block and How to Cure Them Austin Kleon: I feel like writer’s block is just exhaustion, laziness, or fear — or some combination of them. A lot of times when I’m blocked, it’s just that I don’t want to sit down and write. I just don’t want to because it’s just not my favorite thing to do. I would rather read. Fran Lebowitz, she’s like, “If you ever feel like writing, just lay down on the couch and read a bit. It will pass.” That’s how I feel. I also think that people hit walls, and a lot of times when nothing’s coming, when the output doesn’t happen, that’s because there’s problems of input. A lot of times problems of output are problems of input. If you don’t have anything coming out, that means there’s not good stuff going in. That could be anything from you need to take a trip, or you need to just walk away from your desk, or you need to stare at a wall for a while or read — just something to get something jump-started. A lot of times with block, some people try to power through a block, and I’m just like, eh, walk away for a bit. Everybody’s had that experience — you’re in the shower, you’re on a walk, and that’s when the juices start flowing. With that said, you need a time and place every day to do the work. Kelton Reid: Yeah, I like how you talk about the bliss station. You’ve been known to mention it. Austin Kleon: That’s a Joseph Campbell thing. Everybody’s heard the ‘follow your bliss’ thing from Joseph Campbell, but the one thing Joseph Campbell talked about in that, too, was having a bliss station, having a place where you can go, and no one’s going to bother you, and you feel very much at home, and you can do your work without the world impinging on it. For me, that’s the garage. Kelton Reid: What about workflow there in the garage? I know you did mention that you’re working on a Mac. What particular hardware are you presently working on? Why You Should Print Your Work and Read It Aloud Austin Kleon: I have two computers. I splurged and bought myself a big iMac. I write on that in the garage. I also have a 13-inch Macbook Air, which I think is probably one of the greatest laptops ever made. I had a 12-inch PowerBook in the early aughts that was wonderful, but this one, it’s about the same form factor actually. The Mac Air is such a fun computer to travel with and write on, but I don’t use anything fancy. It’s just off-the-shelf Macs. I write Google Docs, or sometimes I use Word. A lot of times now, I just type into a text file that’s getting saved to Dropbox. Dropbox is probably the one piece of software I couldn’t live without these days because it keeps everything. I even look at stuff on my phone. Macs with Dropbox on it, pretty much, you could do whatever you want. I just think so many of the writing programs, they’re just everything else. They’re just way too complicated. Just open a box and type in to it. That’s why I love TextEdit on the Mac. I just open that up, make the font really big, and start typing. Kelton Reid: That’s cool. Austin Kleon: I would like to see a series in which people actually talk about their nuts and bolts of what’s on their screen when they’re writing. I’ve noticed that, if I’m just trying to free write, if you make the font super, super big so you can’t see any of the other words, that’s a great mental tool to use on the word processor. But then if you’re editing, it’s really important to be able to see paragraphs and the shape of writing, so use the zoom tool, too. That’s a very underrated tool. Of course, the other thing I think is super important is you have to print your work out, look at it on a piece of paper, and edit it with pen. I also think everyone should read their writing aloud. Kelton Reid: I love both of those methods, honestly. Austin Kleon: Both of which are going out of fashion because everyone’s like, “Oh, paperless,” and it’s like “No.” And everyone works in an open office now, so it’s like you’re going to feel like a moron if you read your writing out loud. Those two hacks — printing stuff out, editing by hand, and reading aloud — are super easy ways to improve your writing. Kelton Reid: Love that. Do you have any methods of madness for staying organized over there? How to Personalize Your Organization Process Austin Kleon: I love Dropbox, like I said. Dropbox and really having a folder system in Dropbox helps. I just write stuff. I’m going to sound such a goof. I have three notebooks going all the time. One of them is a pocket notebook which I write down to-do lists and stupid ideas that I’m having and stuff like that. That just stays in my pocket. I have a sketchbook that I keep in the house and in the studio where I’ll collage stuff in there and then I’ll draw and that kind of thing. Then I have another notebook, what I call my logbook. It’s a 365-day moleskin diary, and every day at the end of the day, I write down — I don’t talk about my feelings or anything like that — I simply list what I did all day. Like “Went here for lunch,” “Went in and got my TSA pre-check application,” “Took the dog for a walk” — dumb stuff like that. I just list things, or what I was reading, or what I watched on TV. One of the things I’ve noticed — because it’s so hard to keep a diary — but if you just simply list, start to finish, the things you did every day in the list, when you’re flipping back through that, it recalls the whole day for you. You can remember how you were feeling. I have a terrible memory, so I love being able to go back. I have seven years of logbooks now, so I love being able to say “When did I replace the air filter in the attic?” I can go back six months and find it, or “When’s the last time I got a haircut?” That was really practical, but I can also say “Hey, how did I write the last book?” I’ll flip in to my logbook, and I’ll be like “Oh, well, here was a day where I did 4,500 words,” and “Here’s a day where I did nothing,” and “Here’s a day where I said I was going to give up and give the advance back.” You know what I mean? I have such a terrible memory that I just forget what it’s like to be in these projects. Having these books that I can flip back through, even with my kids, it was very helpful for me to look back on how I felt after two months of having my first kid. I was like “Oh, this existential dread and angst, this is how I felt last time, and it got better.” I think keeping a record of your day is something that a writer, we’re recorders of memory anyway, so that helps me a lot. Kelton Reid: I like that. You talk about ‘productive procrastination’ quite a bit, and you’ve written about it. Do you have some best practices for beating procrastination yourself? How to Harness the Power of Productive Procrastination Austin Kleon: Yes. The best thing to do is to practice what you said, productive procrastination, which means have one or two or three things going all at the same time. When you get sick of one thing, you can work on the other thing because you hate the other project so much. Then when you get sick of project two, you can move back to project one. You have to work, but you basically use procrastination as a way to get things done. For me, it’s like, “I don’t want to write this talk that’s coming up, so I’m going to do a blog post,” or “I don’t want to do this blog post, I’m going to go make a poem.” As long as you’re getting something done, you can use procrastination to be productive. Kelton Reid: Love it. How do you unplug at the end of a hard day there? Austin Kleon: Right now, about 8 o’clock at night, my wife and I, after we get our kids down, we just look at each other, and we give each other a hug. We’re like, “You did it. You did it again.” We sit down, and we just watch stupid television — just bathe in the glow of Louie or Hannibal. I love Broad City. Broad city is probably my favorite show. Then if we’re really wiped out — we only get a few channels because they changed to digital and we didn’t get one of those boxes. We only get a few channels and HGTV, so we’ll just turn on House Hunters and just watch the dumbest TV imaginable for 30 or 40 minutes. Then we just go to bed, and I read. That’s basically our ritual. That’s what TV’s for. It’s such a vogue thing that, “Oh, I don’t own a TV,” and I’m like, “That’s what TV is for, is to turn your brain off.” Everyone’s like, “I got to be productive. I got to do this.” Dude, sometimes you need to just not think about anything, and when you need to not think about anything, that is what television is there for. Kelton Reid: Yes. Austin Kleon: The Wire’s great and everything, but House Hunters is like therapy. Kelton Reid: At least you know how to buy a house in Caracas now. One great reminder from Mr. Kleon: writers aren’t born, they are made. Now it’s up to you to do that daily work it takes to get there. Thanks for tuning in to the first part of this interview. The second half will be published early next week, and I think you’re going to want to check it out. For more episodes of The Writer Files and all of the show notes, or to leave us a comment or a question, please drop by WriterFiles.FM. You can subscribe to the show on iTunes. Leave us a rating or review, and help other writers to find us. You can always chat with me on Twitter @KeltonReid. Cheers. See you out there.

Paper and pen, TextEdit, and more complex word processors are the focus of this week's episode. We discuss pros and cons of each medium, then take a break and plunge into poetry.   Mentioned in this episode: A VISIT FROM THE GOON SQUAD by Jennifer Egan Stephen King Neil Gaiman Scrivener J. R. R. Tolkien THE ILLIAD and THE ODYSSEY by Homer THE SILMARILLION by J. R. R. Tolkien YOU FIT INTO ME by Margaret Atwood Shel Silverstein W. B. Yeats Flogging Molly (Band) JABBERWOCKY by Lewis Carroll ERAGON by Christopher Paolini THE ADVENTURES OF TOM BOMBADIL by J. R. R. Tolkien

江疆的职业经历：从 Trolltech (Qt) 到 Opera。在此之前，他在学生时代开发过不少开源 Mac 软件，包括可以解决 .txt 文件在 Mac OS X 上用 TextEdit 打开中文会乱码问题的 TextEdit+。 两大爱好：字体与 Mac 开发。（小时候练字的时候就开始对字体有兴趣。） 挪威的 IT 公司讲究生活与工作的平衡，加班较为少见。Opera 的员工分布于欧洲多个国家，包括波兰。这种方式对于欧洲 IT 公司比较常见。 Be a power user of everything. 前戏 情人节不能忘了前戏。 相关链接 江疆介绍自己的工作环境和工具 Håkon Wium Lie: CSS Regions Considered Harmful TextEdit+ 江疆的博客 江疆的 GitHub 延伸聆听 IT 公论 #38：海外中国程序员系列之二：徐哲 人物简介 李如一：字节社创始人。 江疆：Mac 软件开发者，目前负责桌面版 Opera 浏览器的开发。

Twitter: Photo Booth kann das Twitter Profilbild hochladen Facebook kommt im Herbst Messages: iChat ist jetzt Messages Notification Center (Benachrichrigungszentrale): Für 24 Stunden deaktivieren: ⌥-click Tweet aus dem Notification Center verschicken wenn “Sharing” in den Notification Center Einstellungen in den Systemeinstellungen an ist. Notification Center stört nicht bei Präsentationen Growl Hiss Mountain Growl Growl 2 in Beta NCbackgrounder Sharing: Shortcut zum senden jeweils: ⇧⌘D Mail Neue Optionen wenn per Mail geshared wird: Seite, Link oder PDF Twittern vom Notification Center aus AirDrop: AirDrop für ältere MacBooks Mail: VIPs iCloud: iCloud ist überall TextEdit: “Pinch to zoom” Documents in the cloud Preview: Documents in the cloud Sharing Calendar (Kalender): Vorher iCal Die Kalenderliste ist zurück Alle “Todos” sind in Reminders gewandert Reminders (Erinnerungen): Kann “Location” Erinnerungen erstellen Swipe between lists View multiple lists at once with ⌘-click Notes (Notizen): Die Standardschrift kann umgestellt werden Notizen als eigene Fenster darstellen Safari: Do Not Track Suchfeld und Adresszeile sind jetzt eins Offline Reading List Artikel werden zum lesen offline gespeichert Mehrseitige Artikel werden unterstützt Synced mit iOS 6 Tab View Pinch mit zwei Fingern ⇧⌘ iCloud Tabs synced Tabs mit iOS 6 Geräten Finder: Fortschrittsanzeige direkt im Finder Leichteres verschlüsseln von Laufwerken QuickLook mit Drei-Finger Tap-Geste Game Center: Schach hat Game Center Unterstützung Mac App Store: OS X Updates direkt im Mac App Store Apps werden auf anderen Mac automatisch heruntergeladen Erinnerungen für Updates Gatekeeper: Verspricht bei Schadsoftware zu helfen. (hoffentlich) Time Machine: Backup auf mehrere Ziele Backups können verschlüsselt werden Launchpad: Suche Spotlight und Launchpad suchen nach Initialien. zum Beispiel. “ft” findet “FaceTime”. Dock: Neuer Look Icons unabsichtlich herausziehen ist jetzt schwieriger. Icons müssen jetzt eine Weile gehalten werden, eh das “Poof Icon” angezeigt wird. Dictation: Shortcut: fn-fn Dictation Switcher Auto Save: Document Management direkt in der Menüzeile Bewegen…: Bewegt nicht in den Papierkorb Umbenennen… Speicher als…: ist zurück, heisst aber “Duplizieren” Revert to… Accessibility: Accessibility panel per globalem Shortcut: ⌥⌘F5 Weitere: Full Screen Apps auf jedem Display App auf Display ziehen um es dort Full Screen zu machen Leider nicht mit zwei Apps gleichzeitig… Bildschirmschoner Photo Stream Bildschirmschoner Neue Slideshows für Bildschirmschoner X11 und Java sind optionale Installationen Exklusiv für neuere Modelle AirPlay Mirroring benötigt ein MacBook “neueren Modells” Neuer H.264 Video Chip ist dafür verantwortlich, welcher bisher nicht verbaut wurde. Der Chip ist auch im iPhone 4S, iPad 2 and 3 dafür da um das Mirroring Signal zu codieren. Power Nap Nur verfügbar für Laptops mit “SSD”. Also auch nur neuere MacBook Modelle. Installiert Updates und macht Backups während der Mac schläft. QuickTime X High Performance H.264 Encoding Nur neuere Modelle. (Benötigt Chip) Wer noch genauer einsteigen möchte: John Siracusa’s OS X Mountain Lion Review at Ars Technica [ad#Tradedoubler 1 picture] Twitter: Photo Booth can set profile picture Facebook will come later Messages: iChat is now Messages Notification Center: Disable temporarily with ⌥-click Tweet from NC when Twitter account is configured in Sys Prefs NC will be disabled when presenting. Configure in System Preferences Growl Hiss Mountain Growl Growl 2 in beta NCbackgrounder Sharing: Shortcut to send: ⇧⌘D Set custom shortcuts per Keyboard Shortcuts Mail New options in Mail to send page, link, or PDF. Twitter from Notification Center AirDrop: AirDrop for older MacBooks Mail: VIPs iCloud: iCloud is everywhere TextEdit: Pinch to zoom Documents in the cloud Preview: Documents in the cloud Sharing Calendar: Previously named iCal The calendar list is back All “todos” have moved to Reminders Reminders: Is able to create location aware reminders Swipe between lists View multiple lists at once with ⌘-click Notes: Change default font Pin notes Safari: Do Not Track Smart search field combines search and address bar Offline reading list Saves articles for reading. Downloads articles over multiple pages. Syncs with iOS 6 Tab view Pinch with two finger ⇧⌘ iCloud tabs syncs tabs with iOS 6 devices Finder: Inline progress for downloads and file copies Easy encryption of devices QuickLook with three-finger tap-gesture Game Center: Chess has Game Center integration Mac App Store: OS X updates integrated Apps push to other computer Notifications for updates Gatekeeper: Saves users from malware (hopefully) Time Machine: Backup to multiple locations Encrypted bakups Launchpad: Search is automatically highlighted Spotlight and Launchpad search for initial characters in apps, e.g. “ft” to find “FaceTime” Dock: New look Dragging icons inadvertently out of the Dock is now harder. Drag icon and hold it for a while until the “poof” appears Dictation: Shortcut: fn-fn Dictation Switcher Auto Save: Document management directly from the menubar Move To…: doesn’t move to trash Rename… Save To…: is back, but is called “Duplicate” Revert to… Accessibility: Summon Accessibility pane with global shortcut: ⌥⌘F5 Other: Full screen on any display Drag app to display and press fullscreen Doesn’t work with two apps… Drag and drop files in screen sharing Screen saver Photo Stream screen saver New screen saver slideshows Photo picker allows to choose Faces X11 and Java install on demand Exclusive for newer models AirPlay Mirroring requires “newer model” MacBook New H.264 video chip that is not built into earlier laptops is required. The chip is also found in the iPhone 4S, iPad 2 and 3. They are responsible for encoding the mirroring signal there. Power Nap Only available for customers of “SSD” laptops. Also only for newer models. Installs updates and runs backups while Mac is sleeping QuickTime X High performance H.264 encoding Also only for newer models This is not everything John Siracusa’s OS X Mountain Lion Review at Ars Technica

Twitter: Photo Booth can set profile picture Facebook will come later Messages: iChat is now Messages Notification Center: Disable temporarily with ⌥-click Tweet from NC when Twitter account is configured in Sys Prefs NC will be disabled when presenting. Configure in System Preferences Growl Hiss Mountain Growl Growl 2 in beta NCbackgrounder Sharing: Shortcut to send: ⇧⌘D Set custom shortcuts per Keyboard Shortcuts Mail New options in Mail to send page, link, or PDF. Twitter from Notification Center AirDrop: AirDrop for older MacBooks Mail: VIPs iCloud: iCloud is everywhere TextEdit: Pinch to zoom Documents in the cloud Preview: Documents in the cloud Sharing Calendar: Previously named iCal The calendar list is back All “todos” have moved to Reminders Reminders: Is able to create location aware reminders Swipe between lists View multiple lists at once with ⌘-click Notes: Change default font Pin notes Safari: Do Not Track Smart search field combines search and address bar Offline reading list Saves articles for reading. Downloads articles over multiple pages. Syncs with iOS 6 Tab view Pinch with two finger ⇧⌘ iCloud tabs syncs tabs with iOS 6 devices Finder: Inline progress for downloads and file copies Easy encryption of devices QuickLook with three-finger tap-gesture Game Center: Chess has Game Center integration Mac App Store: OS X updates integrated Apps push to other computer Notifications for updates Gatekeeper: Saves users from malware (hopefully) Time Machine: Backup to multiple locations Encrypted bakups Launchpad: Search is automatically highlighted Spotlight and Launchpad search for initial characters in apps, e.g. “ft” to find “FaceTime” Dock: New look Dragging icons inadvertently out of the Dock is now harder. Drag icon and hold it for a while until the “poof” appears Dictation: Shortcut: fn-fn Dictation Switcher Auto Save: Document management directly from the menubar Move To…: doesn’t move to trash Rename… Save To…: is back, but is called “Duplicate” Revert to… Accessibility: Summon Accessibility pane with global shortcut: ⌥⌘F5 Other: Full screen on any display Drag app to display and press fullscreen Doesn’t work with two apps… Drag and drop files in screen sharing Screen saver Photo Stream screen saver New screen saver slideshows Photo picker allows to choose Faces X11 and Java install on demand Exclusive for newer models AirPlay Mirroring requires “newer model” MacBook New H.264 video chip that is not built into earlier laptops is required. The chip is also found in the iPhone 4S, iPad 2 and 3. They are responsible for encoding the mirroring signal there. Power Nap Only available for customers of “SSD” laptops. Also only for newer models. Installs updates and runs backups while Mac is sleeping QuickTime X High performance H.264 encoding Also only for newer models This is not everything John Siracusa’s OS X Mountain Lion Review at Ars Technica

Eternal Storms Software is sponsoring this week’s screencast with two of its apps: ScreenFloat and Yoink. Both are utility-type apps you might be missing in your current workflow. Yoink is a drag-stack for files and folders. It sits on your screen edge and waits for files. Once you put them on Yoink you can use them wherever you want – Keynote, Full-Screen Mail, TextEdit, whatever. ScreenFloat allows you take screenshots that are floating above other windows. Really useful for comparing two different setting windows in one particular app. It doesn’t look like much time spent in the screencast, but it took me over two minutes to accomplish something ScreenFloat can help with to do in under 20 seconds.

Den Screencast dieser Woche sponsort Eternal Storms Software mit zweier Apps: ScreenFloat und Yoink. Beides Utility Apps die ihr vielleicht vermisst in eurem aktuellen Workflow. Yoink ist ein Platzhalter für Dateien und Ordner. Es sitzt am Bildschirmrand und wartet dort auf Dateien. Einmal in Yoink gebracht, kann man sie überall wieder verwenden. In Keynote, Full-Screen Mail, TextEdit, überall. ScreenFloat erlaubt es Screenshots zu machen, welche über anderen Fenstern schweben. Das ist nützlich, möchte man beispielsweise zwei Einstellungsfenster miteinander vergleichen in einer bestimmten Anwendung. Es sieht im Screencast nicht so aus, aber ich habe über 2 Minuten für etwas gebraucht, bei der Hilfe von ScreenFloat nur knapp 20 Sekunden gedauert hätte.

In questa lezione Ana Paula ti mostra quali sono gli strumenti che Premiere Pro mette a disposizione per creare titoli a scorrimento orizzontale e a scorrimento verticale in modo chiaro e semplice. Utilizzando un editor di testo (come TextEdit) è possibile inserire il testo tramite un semplice copia e incolla e quindi animarlo per adattarlo alle tue esigenze. Questo episodio corrisponde alla lezione 12.3.0 del Corso Professionale su DVD: Adobe Premiere Pro CS4. Puoi vedere altre lezioni gratuite dello stesso corso, nonché consultare il programma didattico completo alla pagina: http://www.teacher-in-a-box.it/prodotto-teacher-in-a-box.php?prod=138 Visita il nostro sito: http://www.teacher-in-a-box.it Troverai: -Altre lezioni gratuite -Il catalogo completo e aggiornato dei nostri videocorsi -Potrai acquistare direttamente quello che fa per te! Commenti? Inviaci una mail a podcast@teacher-in-a-box.it

Újra Macians, ahol Marci most is a műsorvezető. Továbbá még ott vannak: Szalu és Gemy. Témák: Új Update Mac Os X-hez, iPod eladások jövőbeni becslése, új generációs Intel Chipek, Hackintosh tapasztalatok, PC Macesítése, Textedit bemutatása, helyesírás ellenőrzés, FrontRow bemutatása, Apple II reklám, Myth játék bemutatása.

macOS 10.14 et macOS 10.15 — Découvrez dans cet épisode comment activer le mode sombre dans les documents de l’application TextEdit.