The Space Economy Is Taking Off

I have always been fascinated by space. Not only because of the spectacular images from distant galaxies, the engineering challenge of launching rockets, or the incredible scientific discoveries made by missions exploring our solar system. What fascinates me even more is the fact that space technology is increasingly becoming part of our everyday lives.

For many years, space was something that belonged mainly to governments, research institutes and a handful of large aerospace companies. Satellites were expensive, rockets were rare, and space exploration felt like something far removed from our daily reality. That is changing rapidly.

The latest Space Economy Report from the European Space Agency (ESA) shows how quickly space is developing into a mature economic sector. Space is no longer only about exploration and scientific missions. It has become an essential infrastructure layer for modern society — supporting communication, navigation, climate monitoring, agriculture, logistics, security and many other industries. And this is only the beginning.

From government projects to a global commercial ecosystem

One of the most interesting developments of recent years is the shift from a government-driven space sector towards a much broader commercial ecosystem. Companies are building satellites, developing launch services, analysing Earth observation data and creating completely new services based on information collected from orbit. The cost of entering space is decreasing, partly because of reusable launch technology, smaller satellites and more efficient manufacturing processes.

This has created opportunities for thousands of companies that would never have been considered “space companies” in the past. A farmer using satellite images to optimise irrigation is benefiting from space technology. A logistics company using precise positioning data relies on satellites. A telecommunications provider offering connectivity in remote areas depends on orbital infrastructure. And thanks to satellite data, governments can respond much more effectively to natural disasters such as wildfires, floods and earthquakes. In many ways, satellites are becoming the “cloud infrastructure in space”.

Europe’s role in the new space economy

As someone who follows technology, digital sovereignty and autonomy, and European innovation closely, I find the European perspective particularly interesting. The space economy is not only about economic growth. It is also about strategic independence. Just as Europe is discussing digital autonomy in areas such as cloud computing, artificial intelligence and semiconductor technology, space infrastructure is becoming a strategic asset as well.

Reliable access to satellite data, navigation systems and communication capabilities is increasingly important for governments, companies and society as a whole. Europe has strong capabilities in space technology. Organisations such as ESA, national space agencies, research institutes and a growing number of innovative companies are contributing to a competitive European space ecosystem. The challenge therefore is not whether Europe has the knowledge or the technology. The challenge is turning that expertise into scalable businesses and ensuring that Europe remains an important player in a rapidly growing global market.

The connection between space and artificial intelligence

Another reason why the space economy is becoming increasingly interesting is the connection with artificial intelligence. Satellites generate enormous amounts of data. Every day, they collect information about our planet, weather systems, oceans, cities and industrial activities. But collecting data is only the first step. The real value comes from analysing it.

AI will play a crucial role in turning satellite data into information we can actually use in daily (business) life. At the same time, space itself creates new challenges for AI. Processing data closer to where it is generated — potentially directly in orbit — could become increasingly important as the amount of information from satellites continues to grow.

One of the reasons I enjoy following developments in space technology is that they show how innovation often crosses traditional boundaries. Space is no longer an isolated industry. It connects with telecommunications, energy, manufacturing, defence, agriculture, logistics, climate technology and artificial intelligence. The same technologies that help us explore distant planets are also helping us solve problems here on Earth. This is perhaps the most exciting aspect of the new space economy: it is not about escaping from our planet. It is about understanding, protecting and improving it. And that makes this report a very interesting read.

Nextcloud on the Beach

A new episode of my “De Overstap” series has just been published on Computable.nl. In this series, I write about my own attempts to move away from the usual Big Tech ecosystem and see how far you can get with European, open source and more independent alternatives.

Episode 9 became something of a holiday edition. This summer I travelled with my family to the south of France with a tech setup that was almost completely free of the platforms I used to depend on. My laptop was my Slimbook Evo running Linux Mint, while my phone was a Fairphone 6 with Murena’s /e/OS. And yes, for the most part it worked remarkably well.

There was one small adventure on the way. As soon as I crossed the border, my phone suddenly had no mobile internet. Everything seemed to be configured correctly, but eventually I discovered (thank you Mistral Vibefor helping me) that the correct KPN APN setting was simply missing. Once I added it manually, everything worked again.

That experience actually illustrates one of the main points of this new episode. Alternatives to Big Tech increasingly work perfectly well from a technical point of view. But if we really want ordinary users to adopt them, the learning curve still needs to come down. People should not have to know what an APN is just because they choose a different mobile operating system.

And then there was Nextcloud. I happened to wear an old Nextcloud T-shirt on the beach in France. To my surprise, several French people recognised the logo and started talking to me about Nextcloud, digital autonomy and European alternatives. Hardly scientific market research, of course, but still interesting. Open source alternatives such as Nextcloud seem to be slowly moving beyond their traditional technical audience.

The article also includes my latest experiences with Capacities.io for personal knowledge management, plus a few other interesting alternatives I recently came across, including littleFedi, soev.ai and the Dutch Matrix service mtux.nl.

You can read De Overstap 9: Nextcloud op het strand on Computable.nl: https://www.computable.nl/2026/08/17/de-overstap-9-nextcloud-op-het-strand/.

AI Can Write The Code, But Do We Understand It?

There is something slightly strange happening in software development. For decades, one of the main challenges was writing the code. You had an idea, figured out how to translate it into software, wrote the code, discovered that it didn’t work, stared at it for half an hour, changed three characters and suddenly it did work.

AI changes that process dramatically. Today you can describe what you want and watch an AI coding agent produce hundreds or even thousands of lines of code. And it is only getting better at it. That sounds wonderful, but it also creates a problem that I find increasingly interesting: what happens when AI can write code faster than we can understand it?

That is exactly the question Geoffrey Litt explores in his excellent article Understanding is the New Bottleneck. You can reda it here: https://www.geoffreylitt.com/2026/07/02/understanding-is-the-new-bottleneck. Geoffrey is a design engineer at Notion who writes and experiments extensively with new ways for humans to interact with software and AI. I have written about him before, especially when he was exploring the concept of malleable software: software that users can adapt, reshape and truly make their own instead of simply consuming it as a finished product. But also software you create when you need it and simply throw away when you don’t need it anymore.

In his new article, Geoffrey takes that thinking in an interesting direction. “It’s still important to understand the code that our agents write,” he argues. That sounds almost ridiculously obvious. Of course we should understand our software. But think about what happens when you actually start using AI coding tools seriously. You ask for a feature. The AI changes twelve files. It adds a library, modifies an API, creates some tests and changes part of the data model. Everything compiles. The tests pass. You run the application and it seems to work. Nice! On to the next prompt. And that is precisely where the danger begins.

The code works, so what?

Geoffrey Litt makes an important distinction between understanding code to verify it and understanding code so you can participate in developing it. Verification is basically asking whether the AI did its job correctly. Does the code compile? Do the tests pass? Does it match the specification? Is the architecture reasonable? AI is becoming increasingly capable of doing some of that verification itself.

But understanding has another purpose. If we really understand how a system works, We can think about what it should do next. We can see alternatives. We can recognise that a particular architectural choice will become a problem later. We can connect one part of the system with another. As Litt puts it, understanding allows us “to participate.”

I think that is an extremely useful way of looking at AI-assisted programming. If an AI agent has created half my application and all I can say about the result is, “Well, it seems to work,” I am no longer really developing that application. I am supervising its development.

Every time we accept code we do not understand, we also accumulate what Litt describes as cognitive debt. It resembles technical debt. You can ignore it for a while, particularly when everything is working. But sooner or later you need to change something and suddenly discover that you have lost your mental model of your own software.

So how do we prevent that? This is where Litt’s article becomes particularly useful, because he doesn’t just identify the problem. He experiments with practical ways of solving it.

Use a literate diff

One of the most obvious ways to review AI-generated code is to look at the diff. But imagine an AI agent has changed twenty files. Reading hundreds of changed lines from top to bottom is technically reviewing the work, but it isn’t necessarily a very good way of learning what happened.

Litt suggests turning the process around. Before looking at individual lines of code, ask the AI to explain the change. And not simply: What did you change? Ask it to teach you. What did the system look like before? What problem were we trying to solve? Which concepts do we need to understand? What architectural decision did you make? Which components interact with each other? What alternative approaches were possible? Why did you choose this one? Only then move towards the actual code.

Litt calls one version of this a literate diff. Instead of presenting changed files in whatever order Git happens to show them, the changes are presented as a story: first the background, then the idea, followed by the relevant pieces of code in an order that makes conceptual sense. That is an interesting idea. The AI wrote the code, so why not also make the AI write the manual that teaches us what it just built?

Ask for intuition

There is another subtle but important point in Litt’s approach: intuition before details. Suppose an AI has implemented a caching system. Before studying the implementation, we could ask: What exactly are we caching? Why will that make the application faster? When is the cache invalidated? What happens if it contains stale information? Where does the cache live? What happens after a restart?

Only once we understand those concepts does it make sense to study the classes, functions and data structures implementing them. The same applies to almost anything an AI creates. If it adds authentication, first understand the authentication flow. If it creates a database abstraction, first understand how data travels through the application. If it introduces asynchronous processing, first understand which things now happen in which order. If it creates an API, understand the contract before studying its implementation.

That sounds like basic software engineering. And I guess it is. The difference is that AI makes it extremely easy to skip these steps because the implementation can appear almost instantly.

Make the AI test you

This is perhaps my favourite suggestion from Litt. After the AI has explained the code, ask it questions about the system. Or even better: ask the AI to quiz you.

Litt actually does this. His code explainers contain five questions about the change, and he has a simple rule: he doesn’t send the code to other people until he can pass the quiz. That may sound a little like going back to school, but it solves an interesting problem. Reading something is not the same as understanding it. We can read a beautiful AI-generated explanation and think: yes, perfectly clear. Then somebody asks us five minutes later how the data actually gets from A to B and wemight very well discover that we don’t know.

So after an AI has generated something substantial, ask it: What are the five things I really need to understand about this implementation? Then close the explanation and try answering them yourself. Or ask the AI to give you scenarios. What happens if this API call fails? What happens when two users update this record simultaneously? Which component owns this data? What breaks if I remove this function? Where would I make a change if I wanted to add feature X?

If you cannot answer those questions, you probably don’t understand the software yet. says Litt. He describes these quizzes as a kind of speed regulator. AI can move much faster than human understanding, so occasionally we need to deliberately slow the loop down.

Tools for understanding AI code

Then comes an idea I hadn’t really considered before reading Litt. AI doesn’t only have to generate the application. It can also generate temporary software that helps you understand the application. Litt calls these micro-worlds. For example, while working on a Prolog interpreter, he had an agent create a debugger that allowed him to step through execution and see what was happening internally. In another project, an AI-generated interface let him migrate his website step by step while watching the old and new versions side by side.

That opens up all sorts of possibilities. Ask an AI to create a visualisation showing how data flows through the application. Ask it to build a tiny dashboard displaying internal state. Ask it for a stripped-down version of a complicated algorithm with sample data. Ask it to create a sequence diagram. Ask it to instrument the software so you can see which functions are being called. Or ask it to create a small playground where changing one variable immediately shows the consequences.

The important difference is that you do the exploring. As Litt notes, there is a big difference between asking an agent to debug something for you and using a tool created by the agent to investigate the problem yourself. In the second situation, AI hasn’t removed you from the process. It has given you better instruments.

Explain the code back to the AI

We could also add another simple technique: reverse the conversation. Don’t always ask the AI to explain things to you. Explain the software to the AI. Write down your understanding: As I understand it, request A enters here, is validated by B, stored through C and eventually triggers D. Component E is only used when… Then ask the AI: What have I misunderstood or missed?

This forces you to construct your own mental model instead of merely consuming the model’s explanation. You can do something similar by drawing the architecture yourself and asking the AI to check it against the codebase.

That distinction is important. The goal isn’t to have an AI that understands your software perfectly. The goal is for you to understand it.

Sometimes just write the code yourself

Which brings me to Jamie Tanna. Jamie is a software engineer and open-source maintainer who writes extensively about Go, open source, software engineering and his experiences with AI-assisted development. In his writing around GopherCon UK 2026, another question appears that fits remarkably well with Litt’s argument: how do you stay passionate about programming when increasingly powerful tools can do so much of the programming for you? You can read his report here: https://www.jvt.me/posts/2026/08/14/gophercon-uk-2026/.

That is a highly relevant question, because there is another risk here. You can understand perfectly well what an AI agent has built and still find the whole experience rather boring. For many developers, programming isn’t merely a mechanism for producing software. Solving the puzzle is part of the attraction. You try something. It fails. You discover why. You try something else. And somewhere during that process you learn something you didn’t know when you started.

If our interaction with software development becomes prompt, wait, accept, prompt, wait, accept, we may become extremely productive while slowly removing the thing that made programming interesting in the first place. That is why I think understanding and passion are closely connected.

Do not outsource all the interesting bits

There is no rule saying that because AI can do something, we have to let it. Let AI generate boilerplate, write repetitive tests, search through unfamiliar APIs and suggest solutions. But occasionally keep the interesting problem for yourself. Use AI as a teacher rather than a replacement. Ask it to give you hints instead of complete solutions. Ask it to explain an unfamiliar concept and then implement it yourself. Ask it to create an experimental environment where you can play with an algorithm. Or simply turn it off for an hour.

Efficiency isn’t always the objective. Sometimes learning is. Sometimes curiosity is. And sometimes spending an evening solving something that an AI could probably generate in thirty seconds is still worthwhile because we want to know how it works.

That is what I take away from these two authors. Litt’s argument isn’t really that we need to carefully inspect every line an AI generates. That would quickly become impossible. Instead, we need better ways of building and maintaining mental models of increasingly AI-generated systems. Explanations, literate diffs, quizzes, visualisations and micro-worlds can all help.

And Tanna’s thoughts about staying passionate add another line of thought. We shouldn’t only ask how AI can make us faster at programming. We should also ask how AI can make us better at understanding programming. That is a very different objective.

Perhaps the most interesting sentence in Litt’s article comes near the end: “The point was always to augment, not just automate.” I think that captures it perfectly. AI can write the code. It can test the code. It can explain the code. It can even write little tools that help us explore the code. But we still want to understand what is happening. Because the moment we stop understanding our, we also lose much of our ability to decide where it should go next.

AI Is Learning From Books by Destroying Them?

I use AI a lot. I find the technology fascinating and useful. But every now and then I come across a story that makes me wonder whether we have completely lost sight of what we are doing. This is one of those stories.

404 Media reports that Amazon is buying large quantities of physical books, scanning them to create AI training data and destroying the books in the process. The journalists even placed a tracker inside a shipment of rare books and followed it to an Amazon facility in Las Vegas where, according to employees, books are cut apart so they can be scanned more efficiently. Amazon itself confirmed that it purchases books through commercial channels to help develop and improve its products and services.

If this report is accurate — and there are now quite a few similar stories appearing elsewhere — I find this astonishing.

The basic process is brutally simple. Cut off the spine, separate the pages, scan them at high speed and turn the text into training data. The physical book is effectively gone afterwards. And apparently this does not only involve cheap mass-market paperbacks. 404 Media says the shipment it followed contained books that were rare in the sense that relatively few copies were in circulation.

This is not an isolated story either. Court documents previously revealed that Anthropic bought and destructively scanned millions of books for AI training. The Washington Post reported on the project, while Ars Technica described how bindings were removed, pages scanned and the original books discarded. Booksellers in Europe and Australia have meanwhile reported unusual bulk purchases of obscure and sometimes rare titles, although in many of those cases they cannot prove who the ultimate buyer is or what happens to the books afterwards.

I understand why AI companies want books. Compared with much of the web, books contain carefully edited, structured, human-written information. Older books also have another attractive property: they predate the current explosion of AI-generated text. For companies desperately looking for clean training data, that makes them extremely valuable. 404 Media previously reported that printed books are actively being marketed to AI companies for exactly this reason.

But surely there has to be a better way. A book is not simply a convenient container for a sequence of tokens. Especially with older or uncommon books, the physical copy can itself be part of our cultural and intellectual history. Once a scarce edition has been cut apart and recycled, having its text somewhere inside a gigantic training dataset is not quite the same thing.

What makes this even stranger is the contradiction. We are destroying human-made objects containing carefully collected human knowledge so machines can learn from that human knowledge.

Maybe all these reports will eventually turn out to be less dramatic than they currently appear. I hope so. But if AI really needs books this badly, I would much rather see us invest in ways of digitising and preserving them at the same time. Teaching machines should not require destroying the things from which they learn.

in Tech | 504 Words

The Curiosity That Makes a Great Tech Journalist

Recently, I was standing beside a hockey field, watching one of my daughters play a match. Like so often happens at these events, conversations with other parents started. At some point, someone asked me: “What do you actually do for work?” I explained that I am a technology journalist. That naturally led to a conversation about technology, innovation and the way the world is changing.

After a while, he asked me a interesting question: “Do you have a kind of role model? Someone you consider to be a really great technology journalist?” I did not have to think for even a second. “I guess that would be Jerry Pournelle,” I said.

For many people today, that name probably does not immediately ring a bell. But for me, Jerry Pournelle represents something that has always been at the heart of technology journalism: curiosity.

Pournelle was not just a journalist. He was also a science fiction author, a computer enthusiast and someone who had a deep connection with the world of space exploration. For many years, he wrote the famous “Chaos Manor” column for Byte magazine, one of the most influential computer magazines of its time. His writing was different from many traditional technology articles. He did not simply describe products or repeat announcements from vendors. He experimented. He built things. He tested technology himself and shared his experiences, including the problems and frustrations he encountered along the way.

That was what made him special. He approached technology as something you had to understand by using it. He was not only interested in what a computer could do according to a specification sheet. He wanted to know what happened when a real person worked with it. Learning by building and experimenting.

I became a technology journalist in a time when technology magazines were still big and influential. I remember waiting for those international technology publications to arrive. Computerworld, PC World, NetworkWorld, Byte. When the latest issues came in, I immediately wanted to take them home. I loved those magazines. In the evenings I used to read them back to front.

At the publishing company where I worked, we had a library with many international business publications. Magazines like BusinessWeek and Fortune were primarily there for the management team. They were considered important reading for directors and executives. But I was fascinated by them too. Whenever I had the chance, I would “steal” those magazines from the library and read them at home. I wanted to understand what was happening beyond the world of IT. What were companies thinking about? Which technologies were changing industries? How were leaders looking at the future?

Looking back, I realize that those moments shaped the journalist I became. Technology journalism is not only about knowing the latest processor, ERP-solution, 4GL tool, cloud platform or software release. It is about understanding the bigger picture. It is about being curious about people, businesses, society and the impact of technology.

That is exactly what I admired about Jerry Pournelle. Even at an age when many people would have slowed down, he remained incredibly active and curious. He continued writing, experimenting and exploring new developments. Technology kept changing around him, but his curiosity never disappeared.

I am younger than Jerry Pournelle was when he was still actively writing, but I recognize that same curiosity. I still enjoy discovering new technologies, reading about unexpected developments and diving into subjects I know little about. Whether it is artificial intelligence, space exploration, digital autonomy or completely new ideas that appear out of nowhere, there is always something new to learn.

And that might very well be the most important lesson from people like Jerry Pournelle. Technology changes constantly. The tools we use today will eventually become outdated. The platforms we consider revolutionary will one day be replaced. But curiosity remains. Or maybe I should say: curiosity needs to remain.

Because that is what makes a great technology journalist like Jerry Pournelle. Not the ability to predict the future perfectly. Not knowing every technical detail. But having the desire to keep asking questions, keep experimenting and keep learning.

I see that Jerry’s website is still available at https://www.jerrypournelle.com/.

in Tech | 697 Words

The Little Jump That Was Supposed to Be There (But Wasn’t)

In an earlier post, Why I Still Return to CDs, Vinyl and the Imperfect Sound of Music, I wrote about why I keep returning to physical music. Streaming is wonderfully convenient, of course, but CDs and vinyl offer something else. They carry traces of use. They can age. They can become associated with particular rooms, particular people and particular periods of your life. And sometimes even their defects become part of the music.

I was reminded of that recently by an album I loved when I was much, much younger: Hero and Heroine by the English band The Strawbs. At the time, I played that record a lot. The opening song especially was exactly to my taste. I knew it well, probably far better than I realised. But there was something unusual about my copy of the record. Somewhere near the beginning of that first song, there was a small piece of damage in the groove. Because of that little scratch the needle always made a little jump.

Photo: Wikipedia

At least, that is how I remember it. It was not dramatic. The record did not get stuck in an endless loop, nor did the stylus suddenly skate across half the song. It was just a tiny interruption. A fraction of a second in which something was missing or shifted. And after hearing it often enough, that little jump stopped being damage. It became part of the song.

I did not consciously think about it that way. I never sat there analysing the timing of the skip or wondering exactly which note disappeared. It simply became embedded in my memory of the music. The song, as far as I was concerned, contained that tiny stumble.

The version in your head

Years passed. Many years, in fact. At some point I more or less forgot about The Strawbs and Hero and Heroine. Other music appeared, formats changed, CDs replaced vinyl for everyday listening and eventually streaming made almost everything instantly available.

Then, many years later, I rediscovered The Strawbs. I still remember exactly where I was: in a fashion store, waiting for my two daughters to finally decide which clothes they were going to buy. I was listening to music on Spotify when, all of a sudden, the algorithm mysteriously decided to recommend The Strawbs.

Finding the band and the album again felt like finding a small piece of my own past. I was genuinely eager to hear it. There is something fascinating about returning to music you loved when you were young. You are not only listening to the recording. You are also listening for yourself.

The recording Spotify played for me sounded fine. Better than fine, probably. The digital version was clean. There was no surface noise, no worn groove and certainly no damaged section of vinyl.

But there was also no little jump.

And that was the problem. Because the correct version of the song didn’t sound right.

When an imperfection becomes information

It is a strange thing when you think about it. From a purely technical perspective, the modern version was obviously superior. It reproduced the recording as it was intended to be heard. Nothing was missing. Nothing had been damaged. The playback mechanism was not introducing an error. Yet my brain disagreed. Somewhere over all those repeated plays decades earlier, I had stopped hearing the skip as an error. My memory had absorbed it into the structure of the song. The damaged record had effectively created my own private edition of Hero and Heroine. Nobody in the studio had intended that tiny interruption. The musicians had not played it. The producer had not mixed it. It was not on the master tape. But it was on my record.

Music is also memory

Perhaps this tells us something about the way we actually experience music. We tend to talk about recordings as though there is one definitive version. There is a master recording, and every playback system is supposed to reproduce it as accurately as possible. But listeners do not experience master recordings. We experience moments. We hear a particular song through a particular loudspeaker in a particular room. We hear it in a car, on headphones, at a party or late at night when everyone else is asleep.

It is a bit like that delicious bottle of wine you discover during a holiday in the south of France. You enjoy it so much that you buy a few bottles to take home. But when you open one back home, somehow it does not taste quite the same. The Mediterranean atmosphere was an important part of what made that wine so special: the warmth of the sun, the surroundings, the food, perhaps even the mood you were in. Take all of that away, and although the wine itself has not changed, the experience has.

The Unexpected Comeback of Flash Games

The internet has a memory problem. Every year, countless websites, games, animations and creative projects disappear because the technology they were built on becomes outdated. One obvious example is the world of Flash games: a huge part of early internet culture that almost vanished when Adobe Flash reached the end of its life. That is why projects focused on preservation are so interesting. They are not only about technology, but also about keeping digital history alive.

Recently I read an interview by Gardiner Bryant with NaviVani about Swiff, a project that aims to bring Flash games back to modern Android devices. You can read the original interview here: https://gardinerbryant.com/inside-swiff-an-interview-with-navivani/

I know Gardiner personally: I met him last year during the Nextcloud Community Conference in Berlin. Besides his work around Linux, open source and digital freedom, he has a talent for finding people and projects that represent the creative side of technology.

Swiff is a great example of that creativity. The project focuses on making classic Flash experiences accessible again on modern hardware. For many people, Flash games were their first introduction to interactive entertainment on the web. They were often small, experimental and sometimes wonderfully strange. Unlike today’s highly polished games, many Flash creations had a very personal character because almost anyone could build and publish something.

In the interview, NaviVani – a young Mexican developer – explains her own connection with Flash games and why preserving this part of internet history matters. The challenge is not simply running old software. Flash was designed for a completely different technological environment, and modern platforms require new approaches. Swiff is therefore not just about running old games; it is about creating a bridge between the creative internet of the past and today’s mobile devices.

Another interesting aspect of the conversation is the role of retro hardware. The project connects with the growing community around handheld gaming devices, where people are rediscovering older games and experimenting with new ways to play them. It shows how modern hardware can become a window into digital history. NaviVani herself is particularly charmed by the Anbernic RG Rotate.

The project itself is openly available through GitHub, where users can find the latest releases of Swiff and explore its development: https://github.com/NaviVani-dev/Swiff/releases

What I find especially interesting about projects like Swiff is that they challenge the idea that technology should always move forward and leave everything behind. Innovation is not only about creating something new; sometimes it is about preserving what already exists. The digital world has produced an enormous cultural heritage, but much of it is fragile because it depends on specific software, formats and platforms. Swiff represents a broader movement: people taking responsibility for preserving parts of the internet that would otherwise disappear. It is a reminder that open technology, experimentation and communities can play an important role in protecting our digital memories.

For anyone interested in open source, retro gaming or the history of the web, Gardiner’s interview with NaviVani is a fascinating read.

Why DeepL Shows That Europe Can Build World-Class Technology

I recently read an interview with one of DeepL’s founders. It offered an interesting and rather different perspective on how AI is developing in Europe. When people talk about artificial intelligence, the conversation often quickly moves to Silicon Valley. The names are familiar: OpenAI, Google, Microsoft, Anthropic or Meta. Europe is frequently described as a continent that regulates technology rather than creates it.

I have always found that narrative too simplistic. Europe may not produce dozens of giant consumer technology platforms, but it does have companies that build highly advanced technology with a very different approach. A good example is DeepL, the Cologne-based AI company that started with machine translation and has grown into one of Europe’s most successful artificial intelligence companies.

In an interview with Bechtle, DeepL founder and CEO Jarek Kutylowski explains why the company has taken a different path from many AI competitors. His message is interesting because it is not about creating the loudest AI story. It is about building technology that people can trust and actually use.

Quality before hype

One of the most striking points from Kutylowski is his focus on quality. DeepL did not become successful by trying to be everywhere at once. Instead, the company concentrated on one very specific problem: making translations better. That sounds simple, but it is exactly where many AI projects struggle. The current AI landscape is full of impressive demonstrations, prototypes and experiments. However, moving from an exciting demo to reliable business use is a completely different challenge.

Kutylowski argues that companies need AI systems that deliver consistent results, especially when they are used in professional environments. A translation error in a casual conversation may be annoying. A wrong translation in a legal document, medical communication or international business process can have much bigger consequences. This focus on reliability is one of the reasons why DeepL has built such a strong reputation.

An opportunity in AI

The success of DeepL also challenges the idea that Europe cannot compete in artificial intelligence. Europe has a different technology culture. Issues such as privacy, security, transparency and control are often considered important from the start. For many organisations, especially in sectors like healthcare, government, finance and manufacturing, these are not secondary concerns. They are fundamental requirements.

In the interview Kutylowski highlights that AI adoption is not only about having the biggest models. It is about solving real problems for users and organisations. That is an important lesson. The future of AI will probably not belong only to companies that create the largest models. It will also belong to companies that understand specific industries, workflows and customer needs.

AI becomes part of everyday work

Another interesting point Kutylowski makes in the interview is the shift from AI experiments towards practical applications. Many organisations are currently exploring AI, but the real challenge is integration. How do you connect AI with existing processes? How do you make sure employees can use it effectively? How do you protect sensitive information?

This is where enterprise AI becomes very different from consumer AI. Businesses need control, security and predictable outcomes. DeepL’s move beyond translation into broader AI-powered communication tools reflects this change. AI is becoming less of a separate technology and more of an invisible layer within everyday business activities.

A more balanced view of artificial intelligence

The interview with Jarek Kutylowski offers a refreshing perspective in a time where AI discussions are often dominated by extremes. Some predict that AI will transform everything overnight. Others focus mainly on the risks. The reality is probably somewhere in between.

AI will change the way organisations work, but success will depend on thoughtful implementation. Companies need technology partners that understand not only algorithms, but also business processes, security requirements and human behaviour. DeepL is an interesting example because it shows another possible path for European technology: focused, specialised and built around trust.

The AI race is not only about who builds the biggest model. It is also about who builds technology that people are willing to use every day. And that is an area where Europe may have more strengths than many people realise.

Blogging from Your Phone: A Small Idea with Big Practical Value

Writing a blog post usually starts with a familiar setup: a laptop, a comfortable keyboard, a large screen and access to all the tools you need. But what if you could simply write and publish from the device that is almost always in your pocket? The idea of phone blogging may sound simple, but it is actually a fascinating concept.

In his article “Phone Blogging”, Brennan Day explores the idea of using a smartphone as a complete blogging tool. Instead of seeing the phone merely as a device for reading, communicating and consuming content, he looks at it as a possible platform for creating content as well. You can read the original article here: https://brennan.day/phoneblogging/.

The idea immediately caught my attention because it addresses a situation many content creators recognize. Sometimes inspiration arrives when you are away from your desk. You may be travelling, sitting in a café, waiting at an airport or enjoying a holiday. In those moments, you might suddenly think of something that would be useful to add to a website or blog.

I experience this myself. Even during vacations, I sometimes add content to some of my business websites. A new idea comes up, there is a relevant development in the market, or I want to publish a short update while it is still timely. Having the possibility to do this from a phone is attractive because it removes the need to wait until you are back behind a computer.

At the same time, phone blogging is not always easy. The obvious challenge is the screen. Writing longer texts on a small display requires more concentration, and editing paragraphs, checking formatting or moving between different elements of a website can quickly become frustrating. Adding a photo is a challenge as well. A laptop still offers a much more comfortable working environment for serious writing.

Another practical issue is access. When managing several websites, you do not always have all the required credentials available. Password managers help, but sometimes the right login details, security codes or administration access are not immediately at hand. A theoretically simple task — publishing a short article or making an update — can suddenly become much more complicated.

Nevertheless, the idea behind phone blogging is interesting because it changes the way we think about content creation. The smartphone is no longer just a communication device or a window into the digital world. It can also become a lightweight production tool.

Perhaps the future of blogging is not about replacing laptops completely, but about having more flexibility. A phone allows creators to capture ideas at the moment they appear and publish wherever they happen to be. For people who create content regularly, that freedom can be valuable.

Brennan Day’s experiment with phone blogging highlights an important point: sometimes the best tool is simply the one you already have with you.

Why I Still Return to CDs, Vinyl and the Imperfect Sound of Music

For many people, music has become something almost invisible. It is everywhere, all the time. A few taps on a smartphone are enough to summon almost any song ever recorded. Streaming services have made music more accessible than any generation before us could have imagined. Yet something has changed along the way: the relationship between listener and music.

An interesting reflection on this comes from an article on Pigeons & Planes called “The Lost Joy of Music Piracy: What.CD, Oink, and the Banalities of Streaming”, written by Eden DaSilva. The article looks back at the strange and fascinating world of early online music communities such as Oink and What.CD, and explores how those platforms created a different kind of relationship with music. You can read Eden DaSilva’s original article on Pigeons & Planes.

The title may sound surprising. After all, music piracy is usually discussed in terms of lost revenue, copyright violations and damage to artists. But DaSilva’s article focuses on something else: the passion, curiosity and discovery that existed in some of these online communities. These were not simply places where people downloaded files. They were often communities of music enthusiasts who searched for rare recordings, discussed albums in detail and treated music collections almost like digital record stores or personal archives.

And that idea made me think about my own relationship with music.

Convenience is not the same as connection

Streaming is incredibly convenient. I use it myself. Being able to discover new artists, explore unfamiliar genres and instantly find a song that has just crossed my mind is something I would not want to lose.

There is also something wonderful about discovering music completely by accident. One warm summer evening, I was walking through an old town in France when I heard music drifting out of an open window somewhere above the street. I stopped, took out my phone and opened Shazam. Within seconds it identified the artist as Linh, a French singer I had never heard of before. You can find her here on Spotify.

I started listening to more of her music and was immediately drawn to her wonderful voice and songs that seem to contain an enormous amount of attention to small musical details. And, as so often happens with music, one discovery led to another. Through Linh I started exploring other French artists and eventually found singers such as Zaz on Spotify, whose distinctive voice and mixture of French chanson, pop and jazz opened yet another musical door. That is perhaps one of the nicest things about modern digital music: sometimes all it takes is an open window, a summer evening and Shazam to send you down a completely new musical path.

But convenience is not the same as connection. Sometimes I deliberately move away from streaming and return to music that I actually own. I still have a collection of CDs, and rather than letting them disappear into a cupboard somewhere, I have made them available through my own media server using Jellyfin and Plex. (I can never decide which option is perfect for me).

Using these apps, those albums become part of my personal digital library again. They are not just something I temporarily access through a subscription service. They are my collection, selected over decades, containing memories and associations. There is something satisfying about opening that library and seeing albums that I chose myself. There is a story behind many of them: where I bought them, when I discovered the artist, which period of my life they are connected to.

It is a very different experience from opening a streaming service and being presented with a seemingly endless collection of playlists and recommendations selected by an algorithm.

Hunting for little gems

The same feeling applies even more strongly to vinyl. Whenever I visit vintage stores, I keep an eye open for old records. These are not necessarily expensive collector’s items. In fact, the most interesting discoveries are often the unexpected ones: forgotten albums sitting quietly between hundreds of others, waiting for someone to notice them.

During a visit this summer to the old town of Perpignan in southern France, I walked into a small record store and found exactly such a treasure: Gary Burton’s Throb, a jazz album originally released in 1969. It was not an album I had specifically gone looking for. It was simply one of those discoveries that happen when you browse through physical records instead of typing an artist or album title into a search box.

Back home, I put the record on the turntable. And it sounded incredible.

Or is it the noise?

Of course, a modern digital version streamed in high quality might technically offer cleaner sound. The background noise would be gone. There would be no tiny clicks, no occasional crackle and none of the small imperfections caused by decades of playing and handling a physical record. But perhaps those imperfections are part of the magic. Maybe Throb doesn’t sound incredible despite those little noises. Maybe it sounds incredible partly because of them.

There is something about putting an old record on a turntable and hearing that brief crackle before the music starts. It immediately changes the experience. You know that you are listening to a physical object. A groove cut into a piece of vinyl more than half a century ago is mechanically producing the music that fills the room. Technically, that shouldn’t make the music better. Emotionally, it just might.

A vinyl record is not simply an audio file. It is a physical object that has travelled through time. Its small noises tell a story. They remind you that music is not only about technical perfection. It is also (mostly?) about atmosphere, emotion, memory and the experience of listening.

Perhaps that is why an old jazz record can still feel so alive. The tiny sounds between the notes create a sense of presence. They make you aware that this is not simply another recording being delivered by a digital service. Or an AI tool. It is a performance captured in another era and brought back to life in your own room.

When everything is available

None of this means that streaming is somehow bad. Quite the opposite. Streaming has opened the door to an unimaginable amount of music. Someone discovering jazz today can move from Miles Davis to Charles Mingus, Gary Burton, Keith Jarrett or hundreds of obscure artists within minutes. A teenager can explore music recorded decades before they were born without having to spend a fortune buying records. That is an extraordinary achievement.

But perhaps there is a paradox hidden inside that abundance. When everything is available instantly, individual pieces of music can start to feel less valuable. Discovery becomes effortless. Algorithms suggest what we might like. Playlists replace albums. Songs are skipped after twenty seconds. Music increasingly becomes something running in the background while we work, travel or scroll through our phones. There is always another song waiting. And another.

DaSilva’s article about the old piracy communities is interesting precisely because it reminds us that digital music did not always work like this. Finding music could require effort. People searched, collected, compared different versions and shared discoveries with others. Strangely enough, having less convenient access to music could sometimes create a stronger relationship with it.