Many large organizations have heavyweight change management processes that generate lead times of several days or more between asking for a change to be made and having it approved for deployment. This is a significant roadblock for teams trying to implement continuous delivery. Often frameworks like ITIL are blamed for imposing these kinds of burdensome processes. However it’s possible to follow ITIL principles and practices in a lightweight way that achieves the goals of effective service management while at the same time enabling rapid, reliable delivery. In this occasional series I’ll be examining how to create such lightweight ITIL implementations. I welcome your feedback and real-life experiences.

@firefox Thanks. I meant in a single page. Found a solution though: set font size to smallest setting. Works fine.

Ah, found a way to fix it: set font size to smallest possible value. https://t.co/yhQyvt4x99

Android @Firefox: text is tiny and huge and everything in between, seemingly randomly. Why?

While continuous deployment implies continuous delivery the converse is not true. Continuous delivery is about putting the release schedule in the hands of the business, not in the hands of IT. Implementing continuous delivery means making sure your software is always production ready throughout its entire lifecycle – that any build could potentially be released to users at the touch of a button using a fully automated process in a matter of seconds or minutes. [...] In the world of continuous delivery, developers aren’t done with a feature when they hand some code over to testers, or when the feature is “QA passed”. They are done when it is working in production. That means no more testing or deployment phases, even within a sprint (if you’re using Scrum)...

In the past few decades, the fortunate among us have recognised the hazards of living with an overabundance of food (obesity, diabetes) and have started to change our diets. But most of us do not yet understand that news is to the mind what sugar is to the body. News is easy to digest. The media feeds us small bites of trivial matter, tidbits that don't really concern our lives and don't require thinking. That's why we experience almost no saturation. Unlike reading books and long magazine articles (which require thinking), we can swallow limitless quantities of news flashes, which are bright-coloured candies for the mind. Today, we have reached the same point in relation to information that we faced 20 years ago in regard to food. We are beginning to recognise how toxic news can be.

The velomobile -- a recumbent tricycle with aerodynamic bodywork -- offers a more interesting alternative to the bicycle for longer trips. The bodywork protects the driver (and luggage) from the weather, while the comfortable recumbent seat eases the strain on the body, making it possible to take longer trips without discomfort. Furthermore, a velomobile (even without electric assistance) is much faster than an electric bicycle.

Programmer and CMU PhD Tom Murphy created a function to “beat” NES games by watching the score. When the computer did things that raised the score it would learn how to reproduce them again and again, resulting, ultimately, in what amounts to a Super Mario Brothers-playing robot. The program, called a “technique for automating NES games,” can take on nearly every NES game, but it doesn’t always win. [Pretty cool. Reminds me of when I hex-edited saved games in Snake in the 1980s to simulate playing the game "perfectly".]

The current legal system around sampling is outdated and broken. It was created in 1991 by a judge throwing Bible quotes around who (more importantly) failed to consider the doctrine of fair use. Treating all samples the same unfairly burdens producers who use samples to create unique and original work. They system has been maintained by the economics of how it benefits players in the industry with the most time, money, and lawyers. The claims of producers like Girl Talk - that sampling constitutes fair use and is in line with copyright law - should see its day in court. Until it does, the music industry will continue to be hampered by ambiguity that stifles creativity. Clearing samples can be impossible for all but the biggest stars, which leaves the music industry’s dreamers facing a hard choice between restricting their creativity or making music with the nagging fear of a lawsuit. A law that makes it impossible to play by the rules is not a good one.

So what characters can you count on nearly everyone being able to see? To answer this question, I looked at the characters in the intersection of several common fonts: Verdana, Georgia, Times New Roman, Arial, Courier New, and Droid Sans. My thought was that this would make a very conservative set of characters. There are 585 characters supported by all the fonts listed above. Most of the characters with code points up to U+01FF are included. This range includes the code blocks for Basic Latin, Latin-1 Supplement, Latin Extended-A, and some of Latin Extended-B. The rest of the characters in the intersection are Greek and Cyrillic letters and a few scattered symbols. Flat, natural, sharp, and gradient didn’t make the cut.