It does describe APIs in general, and that is one of the reasons I like it so much. All of our internal APIs are JMAP: when you need to do something with a user, you call User/set; with a rule, call Rule/set, and so on.

JMAP makes it super easy to build new APIs because you can reuse most of the code; the only things you need to define are the data types (and any custom implementation for access controls, etc.).

Although Fastmail itself has much more legacy code (we’ve been around a while!), new things can start with a framework called Ix, which is available at https://github.com/fastmail/Ix. Ix is the basis for Topicbox (www.topicbox.com), which is built ground-up on top of JMAP.

The stated purpose is so that you can't change your name in order to (for example) escape debt. So the way to do this is to pay to put an announcement in a legal periodical. She had to do it in two separate places: one was mandated (The Legal Intelligencer, which sounds like something out of Harry Potter), and she had the choice of a few others, of which she picked the cheapest one.

The ads themselves didn't cost $1000, but the whole process (including changing the name on her passport, etc.) came close to that.

Announcing on Twitter seems more like "hey be careful, make sure your password field is focused."

> The idea that their music is not in a key is widespread, but incorrect. Inferential distance (https://wiki.lesswrong.com/wiki/Inferential_distance) precludes me from being able to explain this concisely in a non-misleading way, unfortunately.

I'd be interested to hear your thoughts on this. (I have a PhD in music theory, so the distance may not be as great as you'd imagined.)

This answer is good, but I wanted to pick one tiny nit, which is that not all music is built out of 7-note scales. A lot of music is, but music that isn't doesn't often lie well on the staff. That's true, incidentally, whether there are more than 7 notes in the scale (12-tone music, lots of octatonic music from people like Stravinsky, Scriabin, etc.) or fewer (whole-tone music comes to mind, as does the slightly more esoteric hexatonic scale). Pentatonic music fits well on the staff because the pentatonic scale is a subset of the ordinary diatonic.

Sometimes there is a difference between E-F and C-C#. In the key of F major, E-F is the leading tone moving to tonic, which is a diatonic interval (a diatonic half-step). C-C#, on the other hand, is a chromatic half-step: in F major, it represents an alteration of scale degree 5 (sol). If you see C# in F major, there's a good chance it's going towards D, as a temporary leading tone. This is a useful distinction! The E-F half-step in F major (or C major, or A or D minor) is completely typical and not at all remarkable, while the C-C# half-step is much rarer.

In musics where there isn't a key, you're right that it doesn't make any sense to draw a distinction between the two. This is one reason that the music of the 2nd Viennese School (Schoenberg, Webern, Berg) is so impossible to look at: the structure of the music is obfuscated by the structure of the notation. Schoenberg was trying to come up with a 12-tone notation system for a while, but ultimately abandoned it.