Rui Carmo is, rightly, a little less optimistic than most of the Apple-focused commentariat about the notion that Apple forking iOS to create an iPad-specific variant marks a new era for the iPad:
I have a profoundly different take on what “work” means than Federico-like one of my friends said the other day, there is a lot more to the “work” that we do than, say, wrangling Markdown documents.
The crunch will come when Apple find themselves needing to make a change to the fundamentals of how iPadOS works – like, say, removing or hugely relaxing the 10-minute limit on how long apps are allowed to run in the background (except for media players and suchlike) before iOS kills them in order to let an iPad work more like a real computer would. I’m sure they’ll start with a bunch of easy wins like that, but at some point they’ll find themselves having to make harder choices and we shall see what happens then.
I’m not saying they can’t do it – they certainly can – just that when the first iPadOS is still in beta it’s a bit early to assume that Apple will do the right thing, especially if that right thing also has an impact on the user experience on Apple’s most important product.
Owen Hatherley reminds us that the Spomeniks weren’t created just to be concrete clickbait: remembering what they were commemorating matters too:
What Spomenik and the like forgets, Pupovac insists, is not only the scale of what happened here – “Yugoslavia was the fourth highest country in Europe in terms of civilian casualties” during the Second World War, and was also, along with Greece, the only country with a resistance movement – the multi-ethnic, Communist-dominated Partisans – that was large and strong enough to liberate the country almost without help from the Allies. The federal Yugoslavia that came out of this broke with Stalin and the USSR in 1948, and instituted a “self-management socialism” of extreme complexity and decentralisation. This is what disappears in the Spomenik photos – as she puts it, “our lived historical experience of a revolution becomes only a cultural artefact”. Sekulic argues that “a better way to engage with these monuments would be to use them as a tool do re-connect to the near past in which as a society we did not see space only as a commodity”.
Which is a bit of a problem when the current government in the region is less inclined to think kindly of the politics of that era which inspired the monuments in the first place and would very possibly be happy to see them crumble.
I’m more than a little in awe of some of the pieces of work laid out in Explaining Code using ASCII Art.
Fine work by all involved.
[Via Accidental Tech Podcast]