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18 August 2003 |
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14 August 2003 |
A new album from Kraftwerk, and music about Le Tour... you're thinking two boxes ticked. And so it proves: on a disc about the same length as a time trial, Kraftwerk keep their cadence up, relentlessly attack the peleton, and retain the yellow jersey. And as a bonus it has plenty of gravel-voiced speech in the Alphaville manner. It rocks. (Well, to be honest it actually clicks and beeps, but you know.)
4:08:24 PM 
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13 August 2003 |
includes good stats for Peopleware fans. As you'd expect, generally an inverse relationship between how personal and 'intense' the type of interruption is (phonecall, email etc) and time-to-recover-from-interruption, except that IM (which has more presence than email) may extract a lower interruption tax. Another reason to use it in the office?
11:59:28 AM
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Businesses: managing real-time communications is as important as managing real-time processes. Put another way: PR is increasingly an internal exercise because external PR just happens, leaks out of the company via your employees. So, Ross says, trust your employees, teach them and empower them. Trust being the key verb here. (cf Cluetrain of course, and Semler/Semco.)
11:55:05 AM
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Politics considered helpful in the selling-your-design game.
The title itself -- Make It Bigger-- refers to Paula's endless battle to help clients be able to see the design clearly, and accept it without the layers of hierarchy pissing on it (my words, not hers). By end running the hierarchy and then selling down rather than up, she is able to avoid watered-down design arriving for final approval.
11:49:04 AM
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The lines cross on the graph.
11:42:18 AM
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12 August 2003 |
NYC: both Todd Glickman and Peter Lloyd maintain records of NYC subway maps, which include a series of six or so issued in the days/weeks after 911. By all accounts, that period was handled very well. These maps occasionally come up on eBay and tended to have: a box which stated when the map was reissued and referred travellers to mta.nyc.ny.us for more updates, and a speech-bubble enlargement showing the lower Manhattan area.
London: the best records of issued maps are probably Letch's London Transport Bus and Tube Maps 1920-2000 and Burwood and Brady's London Transport Maps 2nd edition, 1983.
An unofficial London tube map form 2003 when the Central line was closed after a crash.
Picking up on ET's comment that the London tube map is highly optinmised for its context, can we recognise cities from the thumbnail images on these Google Images searches? (and does that actually tell us anything useful about their design?): subway map, tube map, metro map.
3:13:42 PM
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Someone asked ET about the London tube map which prompted a linkful and thoughtful discussion. The interchange symbols on the Madrid map apparently indicate how far you have to walk to change lines - something the London tube might usefully provide because whilst some interchanges are conveniently across the platform, but others are loooong, eg: Bank-Monument, or (various examples) on the Northern line due to semi-permanent repair works happening in the stations.
The Moscow metro map is a little forbidding. But this one for the city of ??? is interesting: some stations have rotational symbols to indicate that you can change there, and it looks as if there are two, differently named stations ('I' and 'II') at those interchanges. Relic of bureacracy or cutting edge solution to problems with people-flow?
Also found whilst we were on ET.com:
11:54:54 AM
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08 August 2003 |
Darren Hobbs sez that agile means being ready to ship (literally, shrinkwrap and shelve up) whatever work you've done at any point throughout the project. Guards against the risk of the project being cancelled, though arguably if something is ready to go at all times and that thing meets some of the project goals, the project probably won't get whacked. Also: possible risk of not making sufficient progress in fear of breaking the product?
Looking at "agile" as it relates to the team rather than the project itself, the other "thing" that is ready to ship when a project is whacked is the team, what it has learned (individually and collectively), and its willingness/interest in going on to the next project and doing good. Not that these are necessarily all positive values: disillusionment and fear of failure are big risks in teams that have had projects cancelled.
See also the Agile Alliance, and its manifesto:
We are uncovering better ways of developing software by doing it and helping others do it. Through this work we have come to value:
Individuals and interactions over processes and tools
Working software over comprehensive documentation
Customer collaboration over contract negotiation
Responding to change over following a plan
That is, while there is value in the items on the right, we value the items on the left more.
Worth reading.
4:54:56 PM
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NG considering extending its in-gallery digital print-on-demand service to accredited print shops around the world. Would the current lack of DRM prevent piracy, and/or allow an effective redress? [via ntk]
4:54:06 PM
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Softava's Q12 seems to be the first cousin of Unitap and Fastap before it. Looks like it has privileged button and keypress simplicity at the cost of requiring great digit precision [via MobileBurn]
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Fingerworks seems to move mouse gesturing away form mouse-and-screen, and place it on the keyboard [via DarrenHobbs]
1:40:25 PM
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Mark Kostabi once said there is no "Duchamp market", because he produced so little work:
Many pseudo-purists will advise you to keep production low and prices high. But Picasso and Warhol are the kings and barometers of the art market because they had huge quantity as well as quality. Duchamp is just as important historically but no one makes an art-market decision based on how the Duchamp market is going. Because there is no "Duchamp market." He produced too little.
Interesting idea, and last year, perhaps, we saw the proof when a Phillips sale of readymades in NY failed to make their estimates:
However, the sale of 14 "readymade" sculptures by the father of conceptual art, Marcel Duchamp, was more problematic. The collection, which Phillips had guaranteed for an estimated $10 million, brought only $5.3 million. After the sale, dealers said there was nothing wrong with the prices realised - Phillips had simply put too high a price on the works.
To bring us up to date, here's Richard Polsky recommending good summer deals in the 2003 art market (no Duchamp).
1:38:48 PM
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07 August 2003 |
Notes taken at this event, ably led by Nico MacDonald.
7:34:39 PM
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3:15:39 PM
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05 August 2003 |
Nineteen chess sets designed by artists at Somerset House, London
On public view for the first time will be five recently commissioned chess sets designed by leading contemporary artists Damien Hirst, Jake and Dinos Chapman, Paul McCarthy, Yayoi Kusama and Maurizio Cattelan. These new works will be set in context by chess sets designed during the 20th century by such major artists as Marcel Duchamp, Man Ray, Max Ernst, Alexander Calder and Yoko Ono.
7:00:59 PM
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04 August 2003 |
Four different time systems are used: Coordinated Universal, International Atomic, GPS and GMT. They're gradually getting out of sync because they either observe or ignore (for mostly systemic or historic reasons) leap-second adjustments made for the earth's rotation slowing. Some outcomes: navigational/astronomic/legal quagmire; atronomers expensively upgrade their systems; a return to the kind of timezoning done in the railroad era (albeit on a smaller scale); each group redefines the second to get the different systems back in sync, and keep them there (which the ITU would never allow, but would be funny).
5:43:26 PM
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Antimega is receipt-mapping his life, which prompted the question 'What do the locations of his transactions tell us about him?'.
We put Holmes on the case, who observed the some of these receipts came from Northish London, and others from the Docklands, or thereabouts. Holmes then suggested that if we were to pick a tube station in Northish London (one in zones 1 or 2), we might be able to find him on the London Bloggers list, by taking advantage of the 'Weblogs Within 10 Minutes Of This Station' feature. We tried Baker Street, and then performed a 'Find in this page...' search. Elementary: Case closed.
Next week, Holmes says he may use inductive reasoning to delve further into Antimega's life, or to geographically stalk someone else.
5:30:49 PM
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5000 London Taxi Points and 4000 black cabs allow mobile users to text and book the nearest available cab, night or day.
28 July 2003: Anyone who has struggled to find a black cab in London will soon be able to locate the nearest available taxi and book it, all using SMS. With SMS connectivity supplied by Netsize, London's new Taxi Point service removes the need to wait on the street searching for a cab. Instead, customers can use one of the new 'Taxi Points' - actual signs that use a unique four-digit code to identify an exact location within central London. People wishing to use the service text the location code to the London Taxi Point short code (83220). Using GPS tracking, the service will identify and book the nearest black cab from the participating taxi fleets, delivering a confirmation SMS, and an alert when the taxi has arrived.
The service will cost the user £1 and Taxi Point signs will be positioned in locations such as public and private buildings, restaurants, theatres and bars. More than 5000 Taxi Point locations will be created in London over the next three years.
Just as the 5000 Taxi Point locations finished being rolled out, the mobileworld will finally tip over and most location mapping will be done by the network, not via an intermediary sign.
Or is this done for ease of cabs: so they need to know 'merely' 5000 locations, rather than attempting to find where you are from location data that isn't granular or accurate enough? We don't understand.
[via antimega]
5:02:10 PM
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In 'Of Two Minds and One Nature', Rhonda Roland Shearer and Stephen Jay Gould use the Jastrow duck-rabbit figure in discussing the idea that Leonardo, Duchamp and other artists successfully bridged art and science, and therefore show us the value of breaking down/through the unhelpful (false, even? - in the view of our authors, themselves a well-known partnership of art theorist and paleo-scientist) dichotomy between the two cultures.
In a key passage from one of the most influential books of our times (The Structure of Scientific Revolution), T.S. Kuhn bridged the disciplinary gap between visual representation and conceptual innovation when he used the famous gestalt illusion of the duck-rabbit [...] as a primary symbol for the meaning and nature of scientific revolution: 'It is as elementary prototypes for these transformations of the scientist's world that the familiar demonstrations of a switch in visual gestalt prove so suggestive. What were ducks in the scientist's world before the revolution are rabbits afterwards.'
An interesting article, but not sure it tells us anything new, unlike much of Shearer's research into MD.
Art students usually discover the duck-rabbit figure via Gombrich, who says:
we can switch from one reading to another with increasing rapidity; we will also 'remember' the the rabbit when while we see the duck, but the more closely we watch ourselves, the more certainly will we discover that we cannot experience alternative readings at the same time.'
[Art and Illusion, A Study in the Psychology of Pictorial Representation, 1959, 5]
Yet this famous binary flip-flop between duck and rabbit always seemed insufficient: if you look at the picture long enough, the visual opposition starts to break down. The duck aspect becomes minimally contaminated by the (possibility of flipping over to the) rabbit aspect, and vice versa. This contamination is, we guess, what makes the flip-flop possible. You start with Jastrow's duck-rabbit = a rabbit OR a duck. You end up with Jastrow's duck-rabbit = a rabbit-duck OR a duck-rabbit. (Just found our embarrassingly confused explication of same, with images from 1997. Forgive our cod-Derridean enthusiasm.) Which is what we think Wittgenstein means when he writes about 'seeing-as' being a combination of seeing and thinking [Philosophical Investigations, 212e] and:
I am shewn the duck-rabbit and asked what it is; I may say 'It's a duck-rabbit'. But I may also react to the question quite differently. - The answer that it is a duck-rabbit is again the report of a perception; the answer 'Now it's a rabbit' is not. Had I replied 'It's a rabbit', the ambiguity would have escaped me, and I should be reporting my perception.
The change of aspect. 'But surely you would say that the picture is altogether different now!'
But what is different: my impression? my point of view? - Can I say? I describe the alteration like a perception; quite as if the object had altered before my eyes.
[...] The expression of a change of aspect is the expression of a new perception and at the same time of the perception's being changed.
[Philosophical Investigations, tr. G.E.M.Anscombe, 1953, 194-5]
More to be read:
1:26:19 PM
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01 August 2003 |
Counterfactual History is sometimes controversial (see this discussion of E.H.Carr's 'Counterfactual History is Bunk', and this), but it can be very thought-provoking and tempting - many WW2 geeks will have considered an alternate outcome if Germany had taken Stalingrad, or if the US hadn't had logistical superiority in tank building (or any one of a dozen other scenarios).
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ed Robert Cowley: What If? Military Historians Imagine What Might Have Been (1999) (am.co.uk | allconsuming), and More What If? (2002) (am.co.uk | allconsuming)
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ed Niall Ferguson: Virtual History: Alternatives and Counterfactuals (1997) (am.co.uk | allconsuming)
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Counter-factual fiction: too many to mention (Churchill, Deighton, Harris, Carr and many others just in the military section, and Kim Stanley Robinson's The Years of Rice and Salt recently), so: Uchronia has a gigantic list of counterfactual books
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possibly some good stuff in this DMoz alternate history directory
5:01:59 PM
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12:21:16 PM
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The other thing to try on mixed IVR and human cust-service systems is press or say nothing. [via electrolite]
12:19:38 PM
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31 July 2003 |
In Testing Speech Recognition-based Applications, Part 1, Chris Bajorek tells us that sppech rec has matured enough to be genuinely useful to call centres, and advises customers to research the vendors core capabilities:
First, experience matters. The more successful deployments a vendor has under its belt, the better chance you will get an accurate estimate of time and costs. So, you need to get permission to talk directly with several customers who have gone through that process. I would ask for a few references whose projects have been completed in the last 30 days, and a few that were completed more than 6 months ago to see how well they have been supporting, updating, and tuning the system.
In part 2, he gets on to application and infrastructure performance. In addition to the basics (does it answer first time every time, play prompts without breaking up, respond to commands quickly, have a high "recognised"l percentage, and smoothly scale performance up to maximum call loads) he reminds us that
Caller attributes and call conditions that conspire to unravel your SR-IVR system's performance include diverse caller demographics and accents, caller devices that don't always produce clean speech (i.e. cell phones in marginal reception areas, cheap speaker phones, or VoIP calls with low-bandwidth vocoders or high levels of data channel impairment). Not bad enough yet, you say? How about calling in from a cell phone in a marginal reception area WITH a high level of automotive wind noise mixed in? (Speech recognizers really like that one.) Add multi-line call loads and spoken commands that "barge-in" during prompt-playback, and you're starting to understand what a real-world SR-IVR system has to deal with.
And concludes:
The point of knowing all the factors that can affect performance of your SR-IVR system is this: we should now be able to develop tests that will VERIFY such systems under real-world conditions
which we suspect most vendors are somewhat far behind with. Meanwhile the speech rec industry seems more concerned with speed and cost of development this month: TuVox to partake in the Speech Solutions Challenge at SpeechTEK 2003, where it will have six hours to devise and deploy a voice self-service solution for a pre-selected application.
11:10:39 PM
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30 July 2003 |
I walked into the open-plan office upstairs and heard the girls mournfully talking about how the new printer was no good. I asked whether it was slow, or had poor print quality. No: they didn’t like the newly upgraded printer’s song, which was mechanical and annoying. The old printer’s noise had been repetitive but musical, so they used to sing along with it when it did a large run of flow charts. I asked them what the old printer song had been like, and one of them started humming it to me. Gradually the others joined in until there were about five of them humming it, in remembrance.
9:50:37 PM
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Rodcorp's books read in 2003 (now you know what we've been doing instead of working) and 2002.
9:45:23 PM
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June Brown may now hang up her boots. Hollywood is calling: real, live, genuine C-list celebs will call your machine and leave you a message.
[via boingboing
9:17:56 PM
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(in progress)
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Geography/latitude: Greenwich (meridian). St Pauls / The Thames / Charing Cross as the centroid - thanks to Chris (and also: Hammersley has some interesting comments on geographic centres of continents)
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Systemic
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Charing Cross station is the centre of London for Black Taxis
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Piccadilly Circus is considered the centre of the Underground network (though Victoria is the busiest, and the first line ran from Farringdon to Paddington via King's Cross)
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Postal districts: useful explanations here and here, but no mention of an origin
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In name (historically): Apsley House - 'No 1, London'
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Historical, again: Roman London. The square mile roughly defines where Roman London stood, and there was a basilica and forum in Cornhill, dating from 70/90AD. (Where were roads measured to? - thanks Chris)
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the flow of people: multiple centres (Struan)
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retail and finance: where are the most/highest transactions and revenue? Oxford Street? City of London for non-retail.
Sort of related: openguides, a network of free, community-maintained city guides to which anyone can contribute (thanks Paul)
Sources: London Encyclopaedia, various
To check: histories of London, Museum of London.
9:06:24 PM
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Quarries, mines, refineries, shipyards, dams: Gursky meets Salgado.
Nature transformed through industry is a predominate theme in my work. I set course to intersect with a contemporary view of the great ages of man; from stone, to minerals, oil, transportation, silicon, and so on. To make these ideas visible I search for subjects that are rich in detail and scale yet open in their meaning. Recycling yards, mine tailings, quarries and refineries are all places that are outside of our normal experience, yet we partake of their output on a daily basis.
These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear. We are drawn by desire - a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success. Our dependence on nature to provide the materials for our consumption and our concern for the health of our planet sets us into an uneasy contradiction. For me, these images function as reflecting pools of our times.
8:57:31 PM
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28 July 2003 |
5:19:01 PM
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Rhonda Roland Shearer's thesis is that none of MD's readymades were genuinely off-the-shelf.
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Shearer, Marcel Duchamp's Impossible Bed and Other "Not" Readymade Objects: A Possible Route of Influence From Art To Science: part one and part two.
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As reported by Leslie Camhi in Art News: Did Duchamp Deceive Us? - "Shearer has been marshaling support for a radical hypothesis concerning Duchamp's readymades, among the most revolutionary (or anti-art) objects of the 20th century. Most people think of the readymades as mass-produced items transformed into art by Duchamp's choice and by their displacement to museum and gallery settings. Shearer has set out to prove that they are all unique creations, extensively manipulated by the artist's hand."
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Opinion by Emily Liebert: Taking the 'ready' out of readymade artwork - "a larger question remains: whether or not such a discovery matters. Can a piece of information have the power to subvert a genre of art? The answer, quite simply, is no"
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An Artist's Timely Riddles (with references)
5:17:42 PM
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555-numbers are fake numbers earmarked for use in movies, tv, radio etc so that real numbers don't get used (and then called). These guys have gathered together a list of 555-numbers that have been used, and where. The UK's equivalent for 555-numbers is Oftel's numbers for drama use.
[via PR-Otaku]
5:16:10 PM
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David Thomson meditates on what glued viewers to 24, and why the show fell short He hints at its fetishisation of mobile phones, which always seemed to be more than simply a plot device to glue together the different story strands and locations.
The sharpest pleasure in 24 has always been to awaken the scenarist in us all. It was evident early in the first series that hooked viewers were not simply asking story questions like, 'Do you trust Senator Palmer's wife?' Or, 'Are Jack and Nina over?' No, we were identifying with the team behind the show, and their self-imposed dilemma. We wanted to know, 'How are they going to spin this out through the middle sections without losing us?' Or, 'It's not just who is the traitor, but is anyone telling the truth?' Or, 'The secret is, it's all about cell phones.'
[...]
[T]he show required commentary. It needed its own talk show, with real-life pundits and senators coming on to discuss President Palmer's situation. It needed a great dash of what Altman tried to do in Tanner, and what Welles was always after – the organic confusion of fact and fiction. It needed to bleed over into the rest of television.
Go one step further: the commercials should have been written and directed by the show's talent, and they should have had the show's actors or characters. Thus you cut away from a car chase to have Kiefer Sutherland proposing this or that SUV. In the midst of telephonic deceit, Nina confides to the camera about the 'love-affair confidentiality' of her latest Nokia. And so on.
[...]
Someone should show it all in one day (Antonia Quirke had that idea for the ICA in London – but there were print problems). And everyone in the audience has a cell phone so they can call home. Or wherever you'd call if the bomb flashes. But the doors are locked – only as much food and weaponry as you can carry in. Give claustrophobia a chance. I told you we needed Buñuel. It's The Exterminating Angel, with Nina presiding, waiting for Jack to sleep.
Also: Top 100 British tv programmes.
[via philgyford]
12:26:58 PM
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23 July 2003 |
Gizmodo notes the new Unitap keyboard, which "works by having a grid of small dot-like keys, so rather than having each dot associated with a specific letter or number, you just press the four dots that surround the letter or number you want". Like Digit Wireless' Fastap keyboard, it is a 'single-tap' method (as distinct from the T9-style predictive text or old-school 'triple-tap') of entering text. Whilst Fastap seems closer to having product in the market, Unitap claims to offer cost and form-size improvements over it, though generally form-factors are going up as applications require larger screens, which may lessen the need for micro-keyboards.
4:50:10 PM
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22 July 2003 |
And other urban legends of the space age - a powerpoint by NASA's Jim Gerard
[via ?]
9:49:31 PM
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21 July 2003 |
Taipei Times: Vietnamese painters profit from copying craze:
Demand for look-alike masterpieces is so great that Dong has to turn away "vanity" clients who want their portraits done.
On average, Dong's studio of six workers churns out 400 pieces a year with about half sold locally and the rest exported.
Prices are calculated on a basic rate of US$50 per square meter and US$20 extra for paintings with more than one face due to "more intricate copy work", Dong said.
If his studio was in the Western gallery system, Ngo Dong would be Andy Warhol or Mark Kostabi.
Related: Rome is making all of its street artists perform a test to ensure that they are the artists of the work they're selling - some people have been importing pictures from Thailand at a few dollars apiece.
9:08:20 PM
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illuminates the process by which designers transform their often groundbreaking ideas into functional, manufacturable products. Drawings, cardboard models stuck together with tape and ultramodern computer animations are more significant here than the finished products, for they illuminate the designer's process in a way that the finished product--unless it is a deconstructive design object!--does not
Buy in UK. Incidentally, some interesting looking related books here too.
[via MachineLake]
9:07:12 PM
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"For designers who collect, the cluttered workspace is a library of inspiration". The desks of designers Rob Cristofaro,
Maira Kalman, Scott Stowell and Milton Glaser.
[via MachineLake, itself via manAmplified]
9:06:44 PM
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This weekend we met a bunch of bike couriers at a barbecue. Interesting people, with a strong sub-culture - sub in the sense that non-couriers know very little about what they are like, how couriering works etc. Unsurprisingly, most of them are mad about bikes, and it's a way to earn a crust. So there was much talk of the Tour de France. They knew only one person who'd gone on from couriering to 'proper' road racing. There are 600-1000 couriers working London at any one time, and they do about 70-80 miles a day in town, mostly within the Circle line area, though they may travel further west to Notting Hill, and further east to the Docklands. This bunch had a strong sense of identity and shared culture/community. Some have expensively tricked-out rides, some something seemingly more standard (the playoffs between lightness/efficiency, reliability and cost being the key equations couriers run in choosing the tools of their trade), with single/no brakes and single gears common.
About 50+ of the London couriers are into "alley cat racing": illegal checkpoint-to-checkpoint race where the racers only know the next checkpoint. Ie: orienteering on a bike, in (and often against) the traffic. AC Racing was imported from US couriers in the mid-90s. Last night they showed a video made by film students by mounting a camera on one of the alley cat racers. 8 minutes of crazy, often-dangerous riding through traffic and people; ends with the cyclist getting hit by a truck when he attempted to zoom across a red-light and straight across the traffic going both ways (he'd successfully done this a few times already in the film). He wasn't hurt too badly, but the bike probably was. "Oh well, that's racing", he concludes.
Even though you don't quite get a sense of the true speed on film, it was fantastic, and reminiscent of several other illegal car or motorbike films (Claude Lelouch's infamous C'etait un Rendezvous, the Getaway in Stockholm films, Black Prince Peripherique).
Couriers, alley cat racing, etc:
Other films:
(Update: Struan correctly reminds us that alley cat racing perpetuates the image of 'cyclists as arrogant, self-righteous grumps with only limited respect for the law'. Which, together with the rest of us non-courier cyclists going through red lights, really doesn't help. Perhaps the racing is symptomatic of a bike culture that sees itself as *against* motor traffic. Alley cat racing isn't safe or particularly clever, but we have to admit it was quite exciting to watch.)
8:35:01 PM
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Tim Brown, CEO of IDEO, interviews with Master of Design MIT Tech Review (free reg reqd). Two interesting nuggets: first a slightly confusing vision of email + blog-like timeline = good way to organise (confusing to us anyway: we're not sure how this is significantly different from sorting emails by Received):
There's something about e-mail that demands a reply, demands a response. But when you're getting thousands of these things, it becomes an impossibility to respond to everything. So we've got to shift the etiquette, and maybe make e-mail more like publishing: that is, you send something out and you might get one percent response. I think that the paradigm of e-mail as letters, as objects, is inappropriate. I'm waiting for a shift to the timeline, rather than the object, as the organizing principle. If you think about a blog for instance, that's a timeline. And it's a really good way of organizing huge amounts of information, because we're quite good at sequencing. We're quite good at remembering when things happen. That has meaning for us. But imagine creating an individual document around every one of those individual blog entries and just having them there on your desktop or in a folder. It would be completely meaningless to you. And that's how we treat e-mail now. But imagine keeping e-mail a bit more like a blog. Then suddenly, you've got instant messaging qualities and e-mail qualities happening at the same time. So I'm guessing that we'll start to see that sort of timeline become more and more important. Because I think it's the way that we as human beings tend to organize massive amounts of data.
And here's the well-known IDEO formulation of design as an often-*subtractive* process:
The naive view of designing is that it's purely an additive process, about adding more and more and more. Actually, design is a funnel-shaped thing. It becomes an editing process: What is appropriate? What can be stripped away? So design is a holistic way of thinking. It's about being able to create the whole of something, and in such a way that somebody who’s using that product, whether for the first time or the tenth time, understands it can interact with it as seamlessly as possible
8:33:06 PM
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We're moving:
Rodcorp's new home
Rodcorp home
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