Justin Dunham

's journal about making things

FedExing donuffins cross-country

Filed under: Cooking Journal — Tags: , , — Justin Dunham on August 17, 2011

Yup.

They arrived in pretty good shape. It looks as if the glaze may have melted back into the donuffins.

After I made these donut-muffin hybrids (“donuffins”), I decided it would be fun to send them on a long journey.

Why? I don’t know. I think part of it is that my fiancee had just left to go to Portland, Oregon, where we’ll be getting married in a few weeks, and I wanted her to try them. Also, I’ve been spending a lot of time at FedEx (sending out 3D printer parts) and I thought it’d be fun to see what happened if I sent these across the country. Nor, by the way, is this unprecedented or extremely eccentric behavior. Stan’s Donuts in LA, and Sesame Donuts – in Portland! – will FedEx you donuts overnight, too.

Packaging was a challenge. How do you make sure the donuts don’t get crushed, and also don’t dry out too much, without spending a lot of cash on packaging? I put the donuffins in a rigid plastic container, and sealed them within 2 plastic bags. Fortunately, I was able to fit this container inside a standard FedEx envelope, which made things cheaper. I sent them by 2-day shipping instead of overnight, to save a little cash.

They arrived safely and I am told they remained delicious! I made sure label the package carefully so its urgent contents would not be overlooked.

Making cast-resin 3D printer parts

Filed under: Everything Else — Tags: , , , , , , — Justin Dunham on August 12, 2011

Red resin gear closeup!

Detail shot of the original parts we used.

The materials you'll need: resin (left), silicone mold material (colorful buckets), mold release, paper towels, cups, stirrers (for mixing the molding material)

I think I’ve alluded to the fact that I spent part of this summer making cast-resin 3D printer parts. In this entry, I’ll talk about the process for doing that. What’s interesting about this process is that you can also use it for making copies of pretty much any other object as well, as long as there are no severe overhangs in the objects you’re dealing with (more than that later).

Why would you want to make cast-resin 3D printer parts? After all, the RepRap project is set up so that you can print these particular parts on your printer, which should make casting unnecessary. And actually, casting is sort of philosophically in conflict with the RepRap project, since the whole idea of the project is for these printers to reproduce themselves; casting decidedly does not fit with this.

On the other hand, it’s really easy if you can do it right (or if you aren’t too hung up on quality). You can make a lot of parts this way, too, quickly and cheaply.

It also, depending on the source parts you’re using, and how proficient you are with a drill press, can produce much higher-quality parts than those you’d get by printing – and better-looking ones, too.

So, it’s very useful to know how to do. But there are significant problems with the process that prevent me from recommending it wholeheartedly, which I’ll talk about at the end of this post.


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Understanding the differences between pasta shapes, or why it’s “fettucine alfredo”

Pasta. By flickr user stopherjones (click picture for source page)

There are 600 different varieties of pasta; even if you chalk 90% of them up to regional preference or marketing decisions, that still leaves a lot of variation to explain. Here’s some research I’ve conducted on why there are so many different pasta shapes and when you might want to use one or the other.

Understanding the functions of the basic pasta shapes

As a general taxonomy, you can split pasta up into a few categories: strands, shapes and tubes, and sheets.

Sheets are fairly easy to explain; they’re made for dishes like lasagna that are prepared as casseroles or as pies, rather than as a dish that’s eaten from a bowl with just a fork. Some have ruffles, I assume for sauce retention.

Strands are a pretty simple shape, right? The main variation among them is thickness.

  • Thin strands are meant for light sauces, like a simple angel hair with olive oil and garlic, or perhaps a thin tomato sauce. Otherwise, the strands get lost in the sauce, and you don’t get their texture at all. Also, with thin strands, the lubrication provided by thinner and oil-based sauces helps keep the strands from sticking together.
  • Thick strands are meant for heavy sauces. There’s a reason it’s fettucine alfredo, and not angel hair alfredo. (I think putting it this way does the best job of explaining the difference. If there were angel hair in your alfredo, would you even notice its presence?)
  • Spaghetti is kind of in the middle, and is a nice all-purpose pasta for this reason. If you are really detail-oriented, you can look for square spaghetti, which has slightly more surface area for sauce to stick to.

For tubes and shapes, the main variation is also by size.

  • Very small tubes, like ditalini, and small shapes, like orzo or even alphabet pasta, are meant for soup. Some authorities make distinctions between pasta for soup and pasta for broth, but I won’t get into that here.
  • The bigger the shape or tube gets, the heartier the sauce you can serve it with. So rigatoni, for example, could be good with a bolognese because the tubes are big enough to fill up with sauce and ground meat. Note that apparently spaghetti bolognese is not really served within Italy.
  • The giant shapes, like giant shells, are meant to be stuffed. Giant shells are also often baked, and this is generally possible with the larger pastas like ziti. They won’t fall apart after being in a hot oven for a while. Ravioli and tortellini are stuffed too, and their size is dictated by the same considerations as above, and also how much you’re putting in them.

Bronze-cut pasta.

Additional considerations

Ridges. In general, the larger pastas are good for heartier sauces as I said above. But you can also modify the degree to which sauce sticks to pasta, by choosing between ridged and unridged noodles.

  • For example, you might have a bolognese with fine chunks of meat in a thick tomato puree. If you get pasta with ridges, thick sauces will adhere more easily to the outside, as in rigatoni bolognese.
  • On the other hand, if the pasta is smooth, it can move more easily in an oil-based sauce. So serve penne with pesto.

How the pasta is cut. Have you ever seen the term “bronze die” on a pasta package before? This means that the dies (machine used for stamping) used to cut the pasta are made out of bronze, as opposed to a more modern material such as Teflon. The result? A rougher cut that, like ridges, holds sauce better.

Open vs. closed shapes. Most of the pasta shapes that come to mind, like wagon wheels, have nowhere for sauce to get trapped. But there are a few shapes, like tiny shells, or campanelle, that allow even a thin sauce to be part of each bite, if that’s what you want.

Curved vs. straight shapes. My best guess on this is that curved shapes are more appropriate for pasta dishes that are meant to be eaten like a casserole. Take macaroni and cheese, for example. I’ve made this with penne a few times, and it just isn’t as satisfying because it becomes somewhat harder to eat – without breaking up the individual pieces, you can’t fit them into your mouth as easily. Curved shapes get the right amount of pasta into a smaller bite.

Whether the pasta cooks uniformly. This is only really an issue for speculative or new pasta shapes, but here’s an interesting article on some attempted pasta redesigns by famous designers.

  • One issue that’s brought up by the (very perceptive) author is that these redesigns have points where the pasta has more than one layer – where it intersects with itself.
  • In traditional pasta shapes, this double-layering is generally minimized so that the pasta is cooked evenly. Probably not a problem you’ll face with standard pastas.

Wrap up

So, in conclusion, here’s my best guess on how to think about different pasta shapes:

  • In general, the bigger the pasta, the heartier / heavier the sauce you can serve it with. Very small shapes go in soup.
  • Tubes have the advantage of being able to contain small chunks of tomato, meat, or other flavorful sauce addins. Sort of like impromptu stuffing. Strands make sense in smoother sauces, or dishes where something is served alongside the pasta (such as, say, clams).
  • You can experiment not only with different sizes of the same pasta, but also with lots of other variables (shapes, ridges, how the pasta is cut) to achieve different culinary experiences.

Lastly, here’s a quick table to talk about what I think are the rationales behind certain famous pasta dishes.

Dish Description Possible rationale
Rigatoni bolognese Rigatoni in a thick, tomato and meat sauce Rigatoni is a fairly large shape that stands up well to this sauce, while also allowing the sauce to infiltrate the inside of the shape. The ridges provide even more sauce adhesion.
Fettucine alfredo Fettucine strands in a thick cream and cheese sauce Thick strands stand up well to the heavy cream sauce; you’re eating pasta in a sauce, not the other way around. Using tubes or other shapes wouldn’t improve surface area availability.
Linguine alle vongole Flat, medium width strands served with clams and an olive oil and white wine sauce Relatively thin strands are able to move around easily in the sauce; since the flavors of the sauce are relatively subtle, the linguine stand up to it just fine. (One thing I’m not sure about is why linguine are used instead of, say, spaghetti. Though note that linguine, being flat, have a higher ratio of volume to surface area.)
Macaroni and cheese Macaroni, or sometimes other small, tubular pasta, in a cheese sauce Similar to fettucine alfredo, except that using relatively small, curved tubes allows the resulting dish to be eaten like a casserole.

Why bother with Marshall McLuhan?

Filed under: Everything Else — Tags: — Justin Dunham on

In light of my recent posts on Marshall McLuhan, it was really interesting to see this article from The New Atlantis, entitled “Why bother with Marshall McLuhan?”. Although I know that McLuhan is a fairly influential communications theorist, I was wondering this myself.

The article gives some very helpful background. One particularly unsettling story involves McLuhan’s responses to those who didn’t understand Understanding Media; his original response to bafflement was that baffled readers were simply “unable to recognize the very large structural changes in human outlook that are occurring today.”

Another way to interpret that is that readers who didn’t understand what McLuhan wrote are simply not intelligent. His followup response is even worse: “Clear prose indicates the absence of thought”. When an intellectual says something like this, it always strikes me as a cover for lack of thought on their part. Clarity and profundity should go together.

This points me back toward the “river of ideas” approach that I articulated in my post on why to read challenging books. I said that one way to read a complex book is to treat it like standing in a river; you let the ideas wash over you and get what you can rather than trying to understand every nuance of what was written.

If clarity and profundity are indeed opposed in McLuhan’s writing, the “river method” is perhaps the only way to read his books. And here’s what Tom Wolfe had to say about McLuhan, according to the article:

“Perfect! Delphic! Cryptic! Metaphorical! Epigrammatic!… With this even, even, even voice, this utter scholarly aplomb — with these pronouncements — ‘Art is always one technology behind. The content of the art of any age is the technology of the previous age’ — with all this Nietzschean certitude — McLuhan has become an intellectual star of the West.

And of course Delphic pronouncements are brief, obscure, laden with apparent meaning, and often deeply influential. Suited for the “river method”.

This “fishing for meaning” approach makes sense in the context of McLuhan’s style, too. In both Understanding Media and also in one of his early books, The Gutenberg Galaxy, he developed the idea of writing as a “mosaic image”, with lots of tiny chapters that don’t necessarily build on one another. These chapters could be appreciated in very small pieces, enabling an approach of getting what you can.

So, I guess I’m making a case for a somewhat passive appreciation of McLuhan’s work, partly because an active appreciation seems to be impossible. I am, according to the writer of the article, a bad reader.

There are several ways to read McLuhan badly. One is to take the slogans and run with them: “The medium is the message” — Go! (I think I managed to avoid this.)

A second is to take any one of his isometric exercises, in which one communications technology is set against another, and see it as a free-standing illustration of his overall view of something — of anything. (I also didn’t do this, but I wasn’t really looking for a coherent message.)

A third is to swallow his vast bland assertions without a great deal of mastication and, if necessary (and it’s often necessary), regurgitation. (Yes, I suppose this is probably what I did. But again, is reading McLuhan just a waste of time if, even if you put forth this effort, you may not get to anything understandable?)

A fourth, and the most understandable of them all, is to mistake his specifically Christian eschatological hope for a purely secular and material utopianism. (I did not know before reading this article that McLuhan was actually a fairly strict Catholic who “preached the dangers of Hell”. Wow. So his work is somehow fundamentally religious? I’m not convinced.)

But what I want to say to accusations of bad reading is that the alternative is probably not to read McLuhan at all. In fact, it may be to reduce reading challenging books (the “Don’t” heading in my previous post) as many of them probably share a similar oracular obscurity. The article says that that is correct. Don’t read McLuhan.

I am tempted to suggest that McLuhan now be ignored — to argue that his greatest long-term value has been his ability to provoke people who are, if not simply smarter than he was, then more patient, methodical, and scholarly.

But we also get this:

Much of what McLuhan wrote came an instant too soon, and perhaps that’s the best reason to read him, infuriating and confusing though that experience may be. To read McLuhan is to gain at least an inkling of what it might be like to look around the next corner of history.

So, I am on the right track here? The article, while informative, seems almost as Delphic as McLuhan himself on this point.

Your sketchbook, your portfolio

Filed under: Everything Else — Tags: , , , — Justin Dunham on August 8, 2011

As I’ve mentioned in some previous posts on this site, I’m currently working on a project that is a site for sharing, and talking about, business ideas. I’m combining a social voting site (like Digg), where people can submit very brief descriptions of ideas to be voted on, with a Wiki that people can use to collaboratively work on them.

I’m making a lot of progress and will probably be able to soft-launch the site in the next week, or if not then, in early September. I’ll follow with a more formal announcement when I’ve got some content up there.

In the meantime, a couple days I stumbled on this interesting post from Chris Dixon, which talks more about this theme of publicizing your thinking. He recommends to entrepreneurs that they be “the opposite of secretive”. I think what I am trying to do is help bring about that outcome for people. Why is there such a disparity between talking about a finished product and talking about a work in progress? Why do many people like to keep their entrepreneurial ideas to themselves?

Chris’ post is a great rebuttal to some of the more common answers, and yet even he (comments in italics) falls into the same traps that he is warning others about:

  • There are probably 2 people in the world inclined/able/willing to copy your ideas. Showing ideas to people individually you can probably avoid them and also get maximum feedback.
    • But isn’t the risk of having someone “steal” an idea from your blog infinitesimal, and outweighed by the possible social benefit to having someone run with an idea you aren’t working on? Someone mentions this calculus in the comments. Is an idea, especially one with an uncommitted originator, worth anything?
  • I just need to clean [my ideas] up [before I release them] because they have so many cobwebs on them at this point it would be kind of embarrassing. This was a post by Chris in response to commenters who pressed him to reveal some of the ideas he’s had.
    • I don’t know, it might be refreshing, especially for new entrepreneurs, to see that even Chris Dixon has bad ideas. But I highly doubt any of them are truly bad, even if they may seem that way in retrospect. And lastly, is there any real reputational risk here, given Dixon’s reputation?

I think it is just scary to open your sketchbook to people. I know I’ve found it difficult. Your sketchbook is full of weird doodles that didn’t go anywhere, and perhaps even your early mistakes. It shows that you aren’t polished all the time, that at one point you were learning, too. We are in the habit of curating our projects and the way we present ourselves, and showing a portfolio to people.

Now, there are lots of highly legitimate reasons to keep your sketchbook to yourself. It is true, as Dixon points out, that most feedback is basically worthless. And it’s also true that even ill-informed feedback can be memorable, and throw you off track. Lastly, obviously people are very busy and if you’re looking for an investor, or a project partner, you probably can’t tell them about everything you’ve ever worked on.

But the fact is, your sketchbook is part of your portfolio. Or at least, it’s the basis for it. I think many smart people are too timid about putting a sketchbook out there, or even acknowledging its existence.

Anyway, I’ll launch the site and populate it with a bunch of my ideas to start, and I’ll leave it up as a public sketchbook of what I’m thinking. If others add to it, that would be awesome and I’d be very happy about that. If people use the collaborative (wiki) features, that’d be great but doesn’t need to happen. I’ll try to get as much up there as possible. For the wiki, I hope to get in the habit of emailing people who release source code and other thoughts about business that didn’t work out, and ask them if I can include their ideas.

By the way, I also learned in reading Chris’ post that this has actually been triedcouple times; it doesn’t seem to have succeeded. Well, that’s OK. I’m going to try it a slightly different way. And, worst case, this should be a useful tool for me, at the very least.

Lastly, I am also planning to add a link on this blog to my “entries to write” list, as soon as I can figure out how to make a list public on Remember the Milk. I think that should be another interesting dimension to this idea.

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