What's the hook for switching out of plan? I'd like to be launch a planning skill whenever claude writes a plan but it never picks up the skill, and I haven't found a hook that can force it to.
Would you be able to share more? I lead a tiny non-profit org doing data literacy mentoring and I've been meaning to move more of our process docs to Logseq. Although I probably don't need a tool of the level of sophistication of usm.tools, I could take inspiration from your core ideas for our homegrown system.
To understand the approach, you need to first understand the method it is based on.
I have written a simple introduction about it that you can download for free from simpleusm.com, no sign-up required.
Simple homegrown system for processes is not that difficult to do. You basically model the USM process model, templates as instances which you then copy as a basis for editing and make a UI around the editing.
You could even just use JSON files and git, but while the data model is not complex, it is still not simple enough for editing by hand in an editor.
Then the question is what is the benefit. I would say that just using USM to define your services is helpful.
By this approach you can build various stakeholders views to your services that are always up to date and do not require manual labor.
> one is celebrated art, the other is virtually unknown and at best 'one among many baroque northern-talian painters'.
Who claims that 'baroque northern italian painters' are not artists? If anything, an unknown painter is much closer to art with capital A than Banksy, in the traditional hierarchy. So this is a weird framing.
As for time, this is both time taken to create and time spent practicing to reach a certain level of artistry. A speed painter is still an artist, and they reached their speed not by using an AI shortcut but by spending long hours practicing.
The underlying question is how do we tie art and legitimacy: society has always tied both, which is why we have institutions tasked with assigning legitimacy (museums), a hierarchy of art forms where the longest lived are seen as superior (painting over photography), and artists gain prestige not from a single art piece, but from a consistent production of works that are tied together by a shared identity.
On the other hand, a lot of the "pro" AI art discourse I've seen often boiled down to attempts to disconnect art from legitimacy. That's a tough hill to climb.
Pretty strong statement, an as such needs a non-tautological proof. Rich people buying rare things as what society should consider art may not exactly fit that bill.
The thing is what is considered art at any particular time is very nebulous and quite often tied to what the rulers of a country would allow. Trying to say that modern institutions get to decide what art is and isn't is also going to cause definition problems. Does folk art not recognized by museums count at art. The said people who like it would say it does.
Does a person who spends a small amount of time creating something that others consider art, even though that's not what they do, nor will they do it again, have they actually made a piece of art?
Simply put trying to put these rules on the ethereal concept of art quickly devolves into pedantry that makes actual enemies in fields were factions say their ideas are the only true art, and other factions that attempt to destroy the concept altogether.
I was pointing out that time and skill are not universal markers of 'worthy' art. The fact that a random graffiti guy is celebrated, a "big A" artist is unknown is a direct indication that time and skill needed are of little concern in the long run.
> a hierarchy of art forms where the longest lived are seen as superior (painting over photography),
I think this is a bold take - comparing an art form that has been around in a meaningful way for 2000 years to one that has been around for 100 years. Also, if that was true, and not just survivorship bias, shouldn't we consider sculptures and cave wall paintings superior to oil paintings?
Photography, by the way, was considered 'unworthy' by 'real artists' for decades because 'there is no art involved in pointing a box at a tree and pressing a button'. That sounds awfully like the AI debate of today, doesn't it?
> artists gain prestige not from a single art piece, but from a consistent production of works that are tied together by a shared identity.
Or is it that an artist does produce more than one piece of art over their lifespan, so they can, in fact, survive, and, once they become popular with one painting, their other stuff is retroactively elevated?
Art one-hit wonders (or low-hit wonders) do exist. Van Gogh is known for the night sky and the sunflowers, virtually nothing else (unless you are an afficiado). Da Vinci is known for the Mona Lisa - if you are an enthusiast, you might know the Salvator Mundi - the Vitruvian Man I consider less art and more technical drawing. Dürer is known for the hands, the rabbit, and a self-portrait. Shepard Fairey is only known for the "Hope / Yes, we can"-poster.
> On the other hand, a lot of the "pro" AI art discourse I've seen often boiled down to attempts to disconnect art from legitimacy.
That may be related to the circumstance that most of the Anti-AI backlash comes from mediocre artists who do mostly derivative works. If your portfolio consists of furry porn and a broody Heath-Ledger-Joker sitting down, with 'HA HA HA' scribbled over it, sorry, that makes you a 'media / creative', but not an artist with a bit A ... You are essentially doing what the AI is doing: Take an idea, rehash it, minimally, then put it down on paper/your Wacom tablet. If all you bring to the table is 'I suffered for this', your market just shrank to people who enjoy your suffering.
Art is not artistry, art is the idea. As such I find the concept of a 'Street-art Darth Vader' covered in colorful tags that's basically an AI image directly or post-processed more interesting than the 'real artist with colored pencils' Darth Vader in a classical pose that the artist got from a superman comic book cover.
I've never fully understood where Outlines fit in the stack. Is it a way to create a structured output API similar to the ones big providers have? Have you looked at something like BAML?
I'm setting up a small orchestration around zellij (I have almost no experience with tmux, so I went with the "modern" alternative), upterm and qrencode that allows me to 1) generate a claude code instance in a persistent session 2) make it controllable remotely via upterm 3) scan a qr code to copy the upterm server's ssh url on my phone so that I can paste it in termux.
I wonder if it would be more ergonomic to connect to the aoe window on my phone for when I have more then one claude code session to keep track of. I'm not against switching the zellij part to tmux.
Tbh that's exactly what I'm using aoe for: termius on my phone ssh into my Mac mini and then use aoe to check in on each agent session. Just make sure you check out the readme if you do this because at least for termius there's a quirk to make tmux and TUI happy. The recommended approach is to run aoe itself inside a tmux session which then will spawn additional tmux sessions as needed.
After your comment I tried to do something with my phone but tmux + claude code is definitely not great on mobile though the main view of aoe works decently.
Thanks for giving it a try! If you can think of any improvements I'm certainly all ears. What i've been doing is using the ios + termius + aoe setup to just keep tasks moving forwards. I log in from my phone, see which sessions are waiting for me, and then type just enough to keep them moving forwards until I get back to my desktop where then I can use aoe again to keep them moving
I've been waiting for Logseq DB to come out to replace Google docs for my team. So your offering is interesting, but
1) is it possible to use Obsidian like Logseq, with a primary block based system (the block based system, which allows building documents like Lego bricks, and easily cross referencing sections of other documents is key to me) and
2) Don't you expect to be sherlocked by the obsidian team?
In Obsidian you can have transclusions which is basically an embed of a section of another note. It isn't perfect, but worth looking into.
Regarding getting sherlocked; Obsidian does have realtime collaboration on their roadmap. There are likely to be important differences in approach, though.
Our offering is available now and we're learning a ton about what customers want.
If anything, I'd actually love to work more closely with them. They are a huge inspiration in how to build a business and are around the state of the art of a philosophy of software.
I'm interested in combining the unix philosophy with native collaboration (with both LLMs and other people).
That vision is inherently collaborative, anti lock-in, and also bigger than Obsidian. The important lasting part is the graph-of-local-files, not the editor (though Obsidian is fantastic).
> 1) is it possible to use Obsidian like Logseq, with a primary block based system (the block based system, which allows building documents like Lego bricks, and easily cross referencing sections of other documents is key to me) and
More or less yes, embeddable templates basically gives you that out of the box, Obsidian "Bases" let you query them.
> 2) Don't you expect to be sherlocked by the obsidian team?
I seem to remember that someone from the team once said they have no interest in building "real-time" collaboration features, but I might misremember and I cannot find it now.
And after all, Obsidian is a for-profit company who can change their mind, so as long as you don't try to build your own for-profit business on top of a use case that could be sherlocked, I think they're fine.
Doesn't say real-time there though? But yeah, must be what they mean, because you can in theory already collaborate on notes, via their "Sync", although it sucks for real-time collaboration.
This is the ultimate cope out: taking technology as a singular entity that evolved outside of human control and is simply commented on by passive observers who are simply "pessimist" or "optimist" about it instead of people whose lives are meaningfully impacted by it.
The trick to do so is to flatten human experience under the determinism of "efficiency" (which you euphemistically called "quality of life"). This way "optimists" can dismiss nuanced oppositions to a lack of regulations as "luddism" and fold together anti-vaxxers and AI skeptics, as if those are the same people, with the same motivations or arguments.
This also conveniently distracts from the fact that technological pessimism exists as a contrast to periods of technological optimism, which helps evade the question of what changed: after all, pessimists aways existed, as your link shows.
I would suggest unfolding the "pessimist" reductionism and questioning why AI skeptics are not stem-cell skeptics. This will probably help avoid arguments that sound very much like "the end justify the means".
I would recommend re-reading The Ones Who Walk Away from Omelas as a companion story then. Maybe you'll get to underhand techno-pessimism as something more than the the result of people "forgetting the incredible technology that makes their quality of life real".
Why Don’t We Just Kill The Kid In The Omelas Hole by Isabel Kim. My favorite short story of 2024, and very much worth reading if you’re at all familiar with LeGuin’s original story.
They’re both short stories, less than 10 minutes to read.
If you’d like to read novel length LeGuin, “The Left Hand Of Darkness” and “The Dispossessed” are excellent. Much of her most lauded work shares a universe, but each novel stands alone and doesn’t share relevant characters, let alone protagonists.
reply