This is a 160+ pages book that could have been perfect as a 10 pages essay. Why do authors believe they need to cross the 100 page mark to give meaninThis is a 160+ pages book that could have been perfect as a 10 pages essay. Why do authors believe they need to cross the 100 page mark to give meaning to their work? I don't get it. 50 pages books are still books, guys. I think the long-windedness is particularly harmful to the cause of this immensely valuable practice, because it gives the false idea you need oh-so-much study to start being an effective code reviewer.
There were some good takeaways though: - code reviews are only good if they are effective at finding defects. So, studies cited here show that each code review session should be: (1) 1 hour max, (2) 400 lines max - simple strategy to avoid repeating mistakes: log every mistake you make and how many times. By just doing this, you'll soon anticipate the mistake and actually prevent it. They postulate this is true for any mistake, not just coding mistakes. Makes sense to me. - one of the big problems for code reviewers is finding what's not there. It's easy to spot a nil dereference crash, but can you spot that the developer forgot to call super in an override? Or that they called a method that's unavailable in a latest OS version? To approach this hard problem they suggest to use checklists. A reviewer would write their own list of things to check in every review, until they finally learn what to check. This is very pragmatic (not to mention pretty tedious) and I wonder if it can harmfully become the be-all-end-all of code reviewing. - look for one defect kind at a time throughout the whole code to be reviewed, then rescan the code looking for another kind of problem. This multiple pass system is kinda interesting, I should try it out.
The last chapter is a shameless plug for SmartBear code review tool. ...more
This book gave me a different view not just on Kim Gordon herself, but also on women's rights and the role of visual arts post-1960s.
I listened to theThis book gave me a different view not just on Kim Gordon herself, but also on women's rights and the role of visual arts post-1960s.
I listened to the audio book, main reason being that she is reading it herself. It was my first audiobook, so I don’t have anything to compare it to, but I have to say that her "performance" adds something to this memoir. Even if a few times her reading stutters, in my opinion this makes the experience all the more intimate. The level of intimacy here is pretty unique, in fact: warm, sometimes heartbreaking, but never obnoxious or confessional. When the book ended I felt a void, a sadness. “Oh right, I can’t listen to Kim Gordon anymore! I finished the book…”
Her break-up with Thurston Moore is discussed quite a bit: after 25+ years together, how can it not be. I found her account disarmingly honest. You can feel the pain in her words, in her voice. It’s intense. I kept asking myself, why is she telling me all these details about her relationship? But that's exactly the point: why is she telling me. The kind of intimacy that I was talking about earlier makes all the difference in the world. I think few women can be this open and honest, and certainly no man can ever even dreamto be this open and honest.
Women’s rights are also at the forefront. So much that it challenged me: do I treat women differently, without even realizing it? Am I inconsiderate, or power-hungry, especially toward women? I certainly hope not, but still, that's the kind of questions this book made me think at. It made me reconsider some old assumptions.
"The swirl of Sonic Youth music makes me forget about being a girl.”
The stories. Oh, I don't even know where to start. They’re just great: (view spoiler)[from assisting to a Black Flag performance in the kitchen of a Hermosa Beach house (how’s that for punk rock?) with Henry Rollins "in full force” (haha! man...) to the memories of sharing the van with the early Swans and a pissed off Mike Gira, to rehearsing Daydream Nation in Gira's windowless space, to touring with Neil Young, who was so into Expressway to Your Skull to state that it was the best guitar song ever written. (hide spoiler)] [ https://www.youtube.com/watch?v=q-E7R... ]
(view spoiler)[A surprising amount of words are dedicated to Kurt Cobain. I didn’t know they were so close. Her voice is almost broken by sadness as she remembers the year he died.
“It’s funny how often i think about Kurt. He was always so susceptible to kindness with his vulnerable, passive side. I’ll always remember too, his smallness, his thinness, the frail appearance, like an old man, with those illuminated, innocent, childish, saucer-sized eyes, like rainy planets. On stage though he was fearless, as well as something even scarier. There’s a point where fearlessness turns into self-annihilation, and he was too familiar with that space. Most people that saw Nirvana live had never before witnessed that degree of self-harm in someone."
On stage I was reminded that Kurt was the most intense performer I had ever seen. During the [Rock’n’roll Hall of Fame 2014 induction] show all I could think of was that I wanted to get the same kind of fearlessness across to the audience. I sang Aneurysm with its chorus "Beat me out of me" bringing in all my own rage [...] from the last few years […].
(hide spoiler)] I can’t separate the intensity and closeness of that performance, that i had already seen, from the validation of reading about it, confirming something unspoken that however I already knew.
The parts where she spoke about confidence almost brought me to tears. "I also had no confidence, really. [...] and without confidence it doesn't matter what you're wearing" [ch. 24] I don’t want to go into that, though.
Perhaps the most surprising part of this book is her involvement in visual arts. I didn’t know she was a visual artist first before being a musician. For example, fashion details emerge throughout the book and at first that surprised me. Mainly because of the narrow way I was thinking about her. But then it all made sense. Of course that’s interesting to a visual artist! I think her attention to visual details — in record covers, films, clothing — added layers of meaning to her work as a musician and helped define a style that’s still influential today. The way she talks about art, her own and others, (re)opened my eyes about performance, confidence and significance. It’s so easy to forget the importance of language and semiotics, but every symbol and sign is something at your disposal, and an artist knows how to utilize them. Kim Gordon certainly does.
I could go on but I’ll stop. I’ll say that Kim Gordon's voice is something that makes life worth living. It elevates you. Or at least it elevated me.["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>...more
The dialogue remains the best thing of this series. It's consistently top notch and real. Some of the best I have ever seen in the world of comics.
HigThe dialogue remains the best thing of this series. It's consistently top notch and real. Some of the best I have ever seen in the world of comics.
Highlights of this update: (view spoiler)[seeing Hazel growing up. The authors gave her some personality already, although at first I didn't realize so much time had passed. Then the return of lying cat was cool although it was way too short, dammit. The best thing was the appearance of King Robot... Man that was hilarious (and awesome) ! (hide spoiler)] ["br"]>["br"]>["br"]>["br"]>["br"]>...more
This comic book was originally published on the web. It's original as usual. This story is mostly wordless; no additional words are necessary. I likeThis comic book was originally published on the web. It's original as usual. This story is mostly wordless; no additional words are necessary. I like the sparseness of the panels, too. There's a cool note from Shiga at the end. ...more
It's the old tale, yes, but this version is as dark as it should be. And it is so beautiful.
The retelling has the typical Neil Gaiman touch: the wayIt's the old tale, yes, but this version is as dark as it should be. And it is so beautiful.
The retelling has the typical Neil Gaiman touch: the way things are left alone, the choice of words, the rhythm.
And then you have Mattotti's artwork. It is out of this world! Mattotti this time just uses black and white, and paints a noisy chaos of thick brushes to render the horror of the story. There's a lot more black than white. It makes you feel like you are left alone in the woods with the anxiety of the unknown as your only companion. It's creepy, it gets to you. It's good.
The book itself classifies as book art. The paper is thick, smooth, and makes a nice deep rustle each time you turn a page. The typeface is Garamond. The paintings are full double pages, and the ink is as heavy as the story. The hole in the middle of the cover is almost a warning sign. The book smells amazing, too. (Real books are so much better than digital books.)
I recommend to read this Hansel & Gretel late at night, in silence, making sure to savor each page slowly....more
Best issue so far. Dream tells a story to a little girl. Dream Cat has great lines. The pace and rhythm is typical Sandman of yore, elegant and cozy.Best issue so far. Dream tells a story to a little girl. Dream Cat has great lines. The pace and rhythm is typical Sandman of yore, elegant and cozy. And man, the art is amazing... J. H. Williams III is one hell of an artist....more