Tag: New York Times

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AI AI: Large Language Models Programming

The Era of the Synthesizer: How AI Is Liberating the Coder

For decades, being a programmer meant being a translator.

You stood in the gap between what someone wanted and what a machine could understand. You learned the syntax. You memorized the libraries. You once spent three hours hunting a missing semicolon that turned out to be hiding in line 847 of a file you were sure you’d already checked.

The New York Times Magazine recently ran a piece by Clive Thompson on what AI coding assistants — models like Claude and ChatGPT — are doing to that job. The anxiety in the piece is real. When you sit down with a modern AI assistant and watch it generate in seconds what used to take you days, it’s genuinely disorienting. Hard-won expertise suddenly feels less like a moat and more like a speed bump.

That reaction is honest. I’d be suspicious of anyone who didn’t feel it.

But here’s what I keep coming back to: what we’re losing is the translation layer. The boilerplate. The muscle memory of syntax. What we’re not losing is the part that was always the actual job — figuring out what to build and why it matters.

The soul of software was never in the code itself. The code was always just a means to an end.

Think about what happens when the mechanical friction of a craft disappears. Photographers stopped having to mix their own chemicals in the dark and started spending that time making better images. Musicians stopped having to hand-copy scores and started composing more. The freed-up capacity doesn’t evaporate — it gets redirected upward, toward the work that actually required a human all along.

The same shift is underway in software. When the AI handles the loops and the boilerplate and the database queries, what’s left is everything that required judgment in the first place. The architecture. The user experience. The question of whether this thing should exist at all, and in what form, and for whom.

We’re moving from the how to the why. That’s not a demotion.

It does ask something of us, though. The old identity — programmer as master of arcane syntax — has to be relinquished. And letting go of a hard-earned identity is genuinely hard, even when what’s replacing it is better. That quiet grief the Times piece captures is worth sitting with, not dismissing.

But after you sit with it for a minute: we are entering the era of the synthesizer.

The synthesizer’s job is to hold the vision, curate the logic, and direct the output toward something that actually resonates with another human being. Empathy. Intuition. The ability to sense when something is almost right and know which direction to push it. These aren’t soft skills. They’re the whole game now.

The clatter of keyboards is fading. But the music we’re about to make — with AI doing the heavy lifting on the mechanics — has a lot more room to breathe.

Categories
News Writing

A Tribute to John F. Burns

“The commitment to fairness and balance and to shunning conventional truths when our reporting leads us in unexpected directions has been our gold standard.” — John F. Burns

As I’ve gotten older I pay closer attention to the obituary section of the New York Times. It frequently teaches me and brings back unusual memories that surprise me. Today it was my memory of years of reading the writings of John Burns brought back to life as I read his obituary.

Burns retired over ten years ago. I now remember thinking at the time just what a loss that would be for the paper. Reading Alan Cowell’s obituary of John F. Burns this morning, I felt that absence acutely.

For years, Burns was my first read—a “fireman” of the foreign desk who didn’t just report on the heat; he translated the embers.

Burns belonged to an era of journalism that felt more like a literary calling than a content cycle. He was a man who could find the “sweep of history” in the “telling detail of the present.”

Who else would think to frame the harrowing siege of Sarajevo through the haunting notes of a cellist playing Albinoni’s Adagio amidst the rubble? He understood that to explain a war, you must first explain the soul of the city being broken by it.

His career was a map of the 20th and 21st centuries’ most jagged edges—from the “wasteland of blasted mosques” in Bosnia to the “harrowing regime” of the Taliban in 1990s Afghanistan.

Yet, for all his Pulitzers and his debonair appearances in a Burberry raincoat on Red Square, there was a refreshing, stubborn humility to his craft.

He famously tilted against the “missionary complex” of modern reporting. He didn’t want to save the world; he wanted to see it—clearly, fairly, and without the blinding influence of ideology.

There is something deeply moving about his partnership with his wife, Jane Scott-Long which wasn’t familiar to me. While John was the “full force of talent” at the keyboard, Jane was the architect of safety, turning run-down Baghdad houses into fortified sanctuaries with “military-style blast walls” and, perhaps most essentially, a state-of-the-art coffee machine. They were a team that survived the “chaos of war” by creating a small, civilized center within it.

In his later years after she passed, Burns became more reclusive, a quiet departure for a man once known as a “raconteur with panache.” It’s a transition that mirrors the profession itself. He flourished in a pre-internet era, where time-zone differentials allowed for “considered writing.” Today, the “blue pencil” of the editor has been replaced by the instant, unvetted roar of the social feed.

His final story for the Times was about the reburial of King Richard III. It was a fitting end: a story about the “sweep of the centuries” propelling the news of the day.

As I reflect back on his work and my years of reading it, I realize that what I miss isn’t just the news he delivered. I miss the way he delivered it—with the patience of a historian and the heart of a poet. He kept the paper straight, and in doing so, he helped us keep our bearings in a world that so often feels lost. Especially today.

Categories
Living Writing

The Loop and the Pixel

There is a distinct muscle memory associated with the 1950s classroom. It smells of chalk dust and floor wax, but mostly, it feels like the cramping of a small hand wrapped around a pencil. We didn’t just learn to write; we were initiated into the discipline of the loop. The Palmer Method or Zaner-Bloser weren’t suggestions—they were rigorous architectures of communication. We made endless rows of O’s and l’s, tilting the paper just so, learning that language required flow, connectivity, and a certain deliberate grace.

Then, the world sped up.

By the 1990s, the loops began to unravel. As keyboards clattered their way into dominance, the efficiency of the printed letter—and eventually the typed pixel—took precedence over the artistry of the connected script. By 2010, the erasure was formalized; cursive was dropped from federal education standards (Common Core) to make room for “electronic literacy.” We traded the unique signature for the standardized font. We gained speed, certainly, but I often wonder what we lost in the translation.

“New Jersey this week joined a list of more than 20 states slanting in favor of bringing cursive instruction back to classrooms. Lessons on the looping letters were dropped from federal education standards in 2010, part of a shift toward focusing on electronic literacy.” — The New York Times

It seems the pendulum is swinging back. Proponents argue for its utility—the ability to read historical texts or a grandmother’s birthday card—but I believe the resurgence touches on something deeper.

In an increasingly digital world, cursive is an act of resistance. Typing is percussion; it is staccato and disconnected. Cursive is string; it is continuous and fluid. When we write in cursive, we are physically connecting thoughts, linking one letter to the next without lifting the pen. It forces the brain to slow down and the hand to dance.

As we stare into screens that demand our instant reaction, perhaps we are realizing that we crave the friction of pen on paper. We are bringing the loops back not because they are faster, but because they are human.