Friday, July 31, 2020

Trey Anastasio Issues New Solo Album

Here's another musical treat for you. Trey Anastasio, guitarist for Phish, has released a solo album today. It's called Lonely Trip and was recorded at his New York apartment while in isolation during the pandemic. It's more sparse than his usual solo projects but very listenable. And generous - 15 songs. It's available for listening on the major streaming sites, or you can buy it from LivePhish.com.

Trey had this to say about it.
Lonely Trip was conceived and recorded in isolation at my home studio (aka Rubber Jungle) during the peak of New York City’s COVID-19 crisis, March - July, 2020. When the lockdown began, I had by chance just completed a weekend songwriting session with my friends and longtime collaborators Tom Marshall and Scott Herman. That session took place March 13th and 14th just as the crisis was beginning in New York, so the themes of fear and isolation were already finding their way into those first songs. By the time I arrived home, the situation in NYC had gotten much worse.  

Knowing I wasn’t going to be leaving my apartment for a while, I started working. It felt therapeutic to write. I wanted to connect with our community in some way.  The unplanned nature of the recording meant I didn’t have a lot of gear during this process. I had an electric and an acoustic guitar, a small amp, two microphones, some percussion, and two keyboards, including an old Kurzweil with very realistic drum sounds on it. Everything was recorded through a Spire 8-track. Lonely Trip is truly a raw, low-fi recording.
Here's the album on Spotify.



Technical Communication Links - July 31, 2020

Some links related to techical communication:

 

Thursday, July 30, 2020

Auditor General To Probe Canada's Pandemic Response

I try not to feel smug about Canada's pandemic response, although it's hard not to when I see the catastrophe happening on the other side of Lake Ontario. Then I see things like this Globe and Mail article from last week, and I realize that Canada could have done much more. 
In May, 2019, less than seven months before COVID-19 would begin wreaking havoc on the world, Canada’s pandemic alert system effectively went dark.

Amid shifting priorities inside Public Health, GPHIN’s analysts were assigned other tasks within the department, which pulled them away from their international surveillance duties.

With no pandemic scares in recent memory, the government felt GPHIN was too internationally focused, and therefore not a good use of funding. The doctors and epidemiologists were told to focus on domestic matters that were deemed a higher priority.
The analysts’ capacity to issue alerts about international health threats was halted. All such warnings now required approval from senior government officials. Soon, with no green light to sound an alarm, those alerts stopped altogether.

So, on May 24 last year, after issuing an international warning of an unexplained outbreak in Uganda that left two people dead, the system went silent.

And in the months leading up to the emergence of COVID-19, as one of the biggest pandemics in a century lurked, Canada’s early warning system was no longer watching closely.

When the novel coronavirus finally emerged on the international radar, amid evidence the Chinese government had been withholding information about the severity of the outbreak, Canada was conspicuously unaware and ultimately ill-prepared. 
As the article points out, the decision to hobble the GPHIN was made by the previous Conservative government. Unfortunately for Canada (and the rest of the world), the new Liberal government didn't reverse it, and the projected few millions of dollars in savings turned out to cost Canada hundreds of billions of dollars and thousands of lives.

Talk about being penny wise and pound foolish.

Now it looks like the Auditor-General is going to investigate what happened to a system that should have given us weeks, if not months, of warning that dangerous virus was on the loose. 
Canada’s Auditor-General is planning to investigate what went wrong with the country’s once-vaunted early warning system for pandemics after the unit curtailed its surveillance work and ceased issuing alerts more than a year ago, raising questions about whether it failed when it was needed most.

Sources close to the matter said the Auditor-General is planning to probe the government’s handling of the Global Public Health Intelligence Network, or GPHIN, which was a central part of the country’s advance surveillance, early detection and risk-assessment capacity for outbreaks.
The opposition parties and news media have been obsessed with the "WE scandal", which is basically a minor malfeasance on the part of a government that should have known better, while the important scandal goes almost unnoticed. 

Kudos to the Globe and Mail for their reporting. I hope the Auditor-General gets to the bottom of this. We need to know exactly what happened and why, so we can fix it so it doesn't happen again. 

1945 Retro Hugo Award Winners

The winners of the 1945 Retro Hugo Awards have been announced by ConZealand, the 78th World Science Fiction Convention. The Retro Hugo Awards were instituted a few years ago and are covering the years before the introduction of the Hugo Awards in 1953.  

These were the winners for fiction.
  • Best Novel: Shadow Over Mars, Leigh Brackett (Startling Stories Fall ’44)
  • Best Novella: “Killdozer!”, Theodore Sturgeon (Astounding Science Fiction 11/44)
  • Best Novelette: “City”, Clifford D. Simak (Astounding Science Fiction 5/44)
  • Best Short Story: “I, Rocket”, Ray Bradbury (Amazing Stories 5/44)
  • Best Series: Cthulhu Mythos, H.P. Lovecraft, August Derleth, and others
Good choices, all of them. 

Wednesday, July 29, 2020

Starship Troopers and the Current State of America

Although I hated Paul Verhoeven's adaptation of Robert Heinlein's Starship Troopers when it first came out, I came to appreciate his satirical take on the novel. It's held up well over the years and Verhoeven's militaristic, fascist, and war mongering society seems to be closer to reality than Heinlein's more nuanced vision. 

The New Yorker looks at the movie and what it says about our modern times. 
Where “RoboCop” and “Total Recall” exist in grimy, crowded, dangerous futures that look and feel like degraded versions of the already degrading present, Verhoeven’s bizarre masterwork “Starship Troopers,” from 1997, is set in the more distant days of the twenty-third century—and, it quickly emerges, long after the end of history. “This year, we explored the failure of democracy, how the social scientists brought our world to the brink of chaos,” Rasczak, a history teacher (played by the Verhoeven favorite Michael Ironside), barks at his high-school students in an early scene. “We talked about the veterans and how they took control, and imposed the stability that has lasted for generations since.” Rasczak himself is a disfigured war veteran, as are all of his fellow-teachers, and their job is to steer their students toward enlisting in a galaxy-wide war against a species of giant, lethal bug. In this universe, humankind is divided into “civilians” and “citizens”; only citizens have the right to vote, and citizenship can be won only through “federal service” in the military. “Something given has no value,” Rasczak explains. “When you vote, you are exercising political authority. You are using force. And force, my friends, is violence—the supreme authority from which all other authorities derive.” Daily life in the Federation may be cleaner and brighter than in any of Verhoeven’s other futures, but every ambiguity has been displaced by the certitudes, coercions, and doublespeak of endless, totalizing conflict.

World Fantasy Award Finalists

The finalists for the World Fantasy Awards have been announced. The winners will be announced at the (virtual) World Fantasy Convention at the end of October.

These are the finalists for best novel:
  • Queen of the Conquered, by Kacen Callender (Orbit)
  • The Ten Thousand Doors of January, by Alix E. Harrow (Redhook Books/Orbit UK)
  • The Raven Tower, by Ann Leckie (Orbit)
  • Gideon the Ninth, by Tamsyn Muir (Tor.com)
  • The Memory Police, by Yoko Ogawa (trans.Stephen Snyder) (Pantheon/Harvill Secker)
I've not read any of these, nor am I likely to, but based on what I've seen online I'd put my money on Gideon the Ninth

Tuesday, July 28, 2020

Peter Green, R.I.P.

Peter Green, the original guitarist for Fleetwood Mac, died in his sleep last week. He was 73. 

Those of you who are not of a certain age may not have heard of Peter Green. His is one of the sadder stories in rock music. Like Pink Floyd's Syd Barret, his musical career was cut short by mental illness, and he never shared in the huge commercial success of the band he founded. 

But he was an influential guitarist and the music he created with Fleetwood Mac ranks high in that band's musical legacy. Rolling Stone has a tribute to him with links to some of his best musical moments. I highly recommend checking it out. 

Monday, July 27, 2020

Free Fonts From Google

There are many sources of free fonts on the web, but if I was looking for fonts I'd go to Google. Their Google Fonts page has a large selection of different types of fonts and a well-thought-out interface that allows for searching, filtering, and browsing. 
Thanks to the excellent Recomendo newsletter for the heads up.
There are about 1,000 very classy fonts available for free on Google Fonts. These are fonts you would actually want to use in your book or on your website. Some are commissioned by Google and designed by world-class typographers, such as the font Roboto used in Google maps. Many of these fonts come as families with different weights, italic, bold, extra glyphs, etc

Who Loses In the Streaming Wars?

You do. The user.

It used to be that there was cable, Netflix, and maybe over-the-air if you lived in a metropolitan area. Now you have a choice of literally dozens of streaming services, most of whom want a monthly subscription. Now cutting that cable cord doesn't look so appealing. 

Rolling Stone takes a look at the streaming services and generally finds them wanting. It's not just the plethora of services, but the varying and often frustrating interfaces that they don't like. 
Not all bad interfaces are created equal, of course. Netflix has been at it the longest, and while there’s a lot that could be better about their site and apps, there are also basic things Netflix engineers understand about user behavior that many of their competitors still can’t grasp(*). Hulu has been around nearly as long, yet up until the latest update — which is for the moment only available to some of their subscribers — it seemed like each new tweak was done by someone actively trying to sabotage what, based on content alone, should easily be the best streaming-TV option out there. Amazon has both the best bonus feature of any streamer — X-Ray, where pausing a scene gives you the name of every actor and character in that scene, the name of any songs playing, and other details — and one of the hardest interfaces to navigate, befitting a service that’s an afterthought in a much larger business empire. As for the newcomers, you’d think they would have learned what works and what doesn’t after a decade-plus of streaming TV, yet that isn’t quite the case. The interfaces for the services that have debuted over the last eight months range from “mostly functional” (Disney+) to “why is any of this where it is?” (Peacock).

(*) Although by going first, Netflix also helped shape some of those behaviors, as well as our perception of what is and isn’t a good interface. 

Simply put, there are a lot of basic practices that all streamers should be following, and that most of them don’t seem to understand in the slightest. Here’s our four-point plan to optimize user experience.
I have a couple of pet peeves. First is services that don't show you what you've watched previously (Acorn TV, are you listening). It's painful to return to a series after a while and have to figure out which episode you watched last. The other one is the lack of easy rewind or fast forward controls. Especially with rewinding, I'd like to have a 30-second jump back button. My podcast app (Pocket Cast) has that. Why can't I have it with my videos? 

Sunday, July 26, 2020

Featured Links - July 26, 2020

Links to things I found interesting, but didn't want to do a full post about:

Saturday, July 25, 2020

Since It's Saturday

I think that I'm going to stop posting articles on Saturdays. Instead, I'll post a photo. So enjoy this photo of some swans in Frenchman's Bay.


Friday, July 24, 2020

Don't Take That Red Pill

I've been thinking for a while that there's many similarities between the mindset of the right-wingers who believe in conspiracy theories, the religious fundamentalists who believe in a twisted version of Christianity (or Islam, or whatever religion you want to pick), the anti-vaxxers who don't believe in modern medical science, and the flakey new age mystics.

This Medium.com article ties all the craziness together and finds a similar mind-set behind it. 
What I have found is that via these core beliefs, we end up engaging in a practice that, rather than shaping outside reality, as is often claimed in media like The Secret, instead burns a distorted operating system and perceptual lens into our neuroplastic brains.
Dressed up as becoming more enlightened, this operating system demands the daily practice of being defiantly out of touch with reality.
It’s the practice of thinking facts and evidence are relative, mutable, and can be made to mean whatever we want via the narcissism-enabling belief in absolute subjectivity — the divine “I” that alone creates reality and stands all-powerful within it.
Hint: there is some rhyming here with the “don’t tread on me” mantra from the alt-right. The language of sovereignity and being an almost monarchical ruler of one’s own domain has ironies a plenty in its overlaps between feminine empowerment coaches and 2nd amendment, “we need an armed and vigilant militia to resisit leftist tyranny” folks.
This particular matrix of belief in absolute subjectivity is indeed all around us in the New Age marketplace, with many millionaire authors and speakers endlessly repeating that quantum physics, neuroscience, and ancient teachings all prove it to be true.
They don’t.
About the only good thing I can think of about the current pandemic is that many people who hold irrational beliefs are going to be badly bitten by hard reality, and some of them may realize that magical thinking doesn't work. 

Museum of Cosmonautics, Moscow

I've twice been to the National Air and Space Museum in Washington, DC. It's an amazing museum and I may go back (if the US elects a sane president in November, otherwise no trips there). There is another major space faring nation, Russia, and they too have a major space museum, the Museum of Cosmonautics, in Moscow. 

Unlike the Air and Space Museum, the Museum of Cosmonautics is devoted solely to space exploration. Photographer Asif Naqvi has published a photo essay showcasing the museum and some of its exhibits. 
The Museum of Cosmonautics (Russian: Muzey Kosmonavtiki or Музей Kосмонавтики) celebrates the Russian space exploration program, and its success and achievements starting from the first artificial satellite of the Earth to early spacesuits and spacecraft for the Moon exploration, and to other planets of the solar system. 

The museum is considered one of the largest space research and technology museums in the world. It is located below the 'Monument to Conquerors of Space' in a two-story building with various exhibition halls displaying over 98,000 artifacts, telling the history of Soviet and international space science and technology evolution.
I did want to link to a photo from the article but that doesn't seem possible. Do take the time to have a look at the photos - they are incredible.  This one is from Google Images. The ones in Naqvi's photo essay are much better.


It's unlikely I will ever be able to visit Moscow, but if I do, the Museum of Cosmonautics will be at the top of my list of  places to see. In the meantime, I'll have to be satisfied with the virtual tour on Google Arts and Culture.

Thursday, July 23, 2020

The Flower Code

I've known vaguely that some flowers have certain meanings, red or yellow rose for example, or carnations. But that's about as far as it goes. I had no idea that the Victorians had an ornate, symbolic code based on flowers
IMAGINE FOR A MOMENT THAT a messenger shows up at the door of your elegantly-appointed Victorian home and hands you a small, ribbon-wrapped bouquet, obviously hand-assembled from somebody’s garden. As an inhabitant of the 21st century, your natural inclination is to be charmed by the gift, and to search for an appropriate vase. As a wealthy inhabitant of the 19th century, your instinct is a little different: you rush for your flower dictionary to decode the secret meaning behind the arrangement.

If it’s a mix of lupins, hollyhocks, white heather, and ragged robin, somebody’s impressed with your imaginative wit and wishes you good luck in all your ambitions. By contrast, a collection of delphiniums, hydrangeas, oleander, basil, and birdsfoot trefoil means you’re heartless (hydrangea) and haughty (delphinium), and I hate you (basil). Beware (oleander) my revenge (birdsfoot trefoil)—the ultimate passive aggressive present.

Maybe somebody sent you a mix of geraniums to ask whether they can expect to see you at the next dance. If you have any striped carnations blooming in your conservatory, you can send them to the enquirer to say, “afraid not.” Victorian flower language, or floriography, was the pre-digital version of emoji; not much separates a bouquet of flowers implying you are skipping a party from a party ghost.  
There were even flower dictionaries!
In 1819, a tome called Le langage des fleurs almost immediately became the definitive word on the subject; the translations and many plagiarized derivatives of the book by Frenchwoman Louise Cortambert, writing as Madame Charlotte de La Tour, were bestsellers on both sides of the Atlantic. These dictionaries weren’t inventing a language so much as amassing and collating the established meanings already in use, Beverly Seaton notes in The Language of Flowers: A History.
 

William Gibson's Agency and the Apocalypse

I finally finished reading William Gibson's new novel, Agency, last week. In preparation for that, I re-read his previous novel, The Peripheral, which is a prequel to Agency

I had thought about doing a full review of Agency, but I don't have the time or inclination right now. Suffice it to say that of the two books, I think The Peripheral is superior; in fact, I think it's the best science fiction novel of the last decade. It's not that Agency is a bad book, but it didn't hold my attention the way The Peripheral did. When I was reading The Peripheral, I found myself highlighting passage after passage that struck me, and that didn't happen as much in Agency. And the ending felt rushed and a bit contrived. I'm glad I read it, but I doubt that I'll go back to it. 

The Quietus has published a long interview with Gibson that focuses on one of the key aspects of these novels – the slow motion apocalypse that Gibson calls the Jackpot. 
“There’s never been a culture that had a mythos of apocalypse in which the apocalypse was a multi-causal, longterm event.” William Gibson speaks in the whisper-soft drawl of a man who for a long time now has never had to speak up in order to be heard. Though a certain edge had crept into our conversation by this point, watching him stretch out on the leather chaise longue of this hotel library (“my second home,” he calls it, as we make our way up from the lobby), it struck me that few people are able to seem at once so apprehensive and yet so intensely relaxed about the prospect of the end of the world as we know it.

“But if we are in fact facing an apocalypse,” he continues, getting now into the swing of this particular riff, “that’s the sort we’re facing. And I think that that may be what makes it so difficult for us to get our heads around what’s happening to us.”

When I met Gibson back in early February, the slow-cooked nightmare of the coronavirus was still very much in its infancy here in Europe. The word ‘pandemic’ had not yet been uttered by the World Health Organisation and nor did it come up in our conversation. But it does appear in Gibson’s (2014) novel, The Peripheal, the first part of a trilogy split between two timelines: one taking place before and one somewhat after an event known as the ‘jackpot’. “No comets crashing, nothing you could really call a nuclear war,” future Londoner Wilf Netherton explains of this ‘jackpot’. “Just everything else, tangled in the changing climate: droughts, water shortages, crop failures, honeybees gone like they almost were now, collapse of other keystone species, every last alpha predator gone, antibiotics doing even less that they already did, diseases that were never quite the one big pandemic but big enough to be historic events in themselves.”
Even if you don't read The Peripheral or Agency, I recommend reading this article. Gibson has hit a nerve with his concept of the Jackpot. It hasn't quite hit meme status, yet, but it is now a term that's become part of our culture. 

Wednesday, July 22, 2020

Microsoft Teases Office Future

In a long blog post, Jon Friedman, the head of Microsoft Office design, has outlined some future changes to Office. Changes include de-emphasizing the role of the ribbon in favour of a floating toolbar, more contextual commands, enhanced search, and a common graphical and colour scheme across applications. 
We’ve been on a multi-year design journey to create more focused, immersive experiences, from the single-line ribbon, to Dark Mode, to Fluent. The next wave of Microsoft 365 UX changes will go even further by fading brand colors from app headers and exploring adaptive commanding. A flexible ribbon that progressively discloses contextually relevant commands at the right time just where you need them.
We’ll further advance our seamless, cross-suite Search to bring relevant information to your fingertips, and myriad forthcoming experiences will leverage Fluid Frameworks. Microsoft 365 will bring the power of Office to wherever you are, ensuring you won’t need to interrupt your creative process to open a different tool. 
Throughout, we’re grounding everything we build in deep research about the nuances of attention. We’re often presented with a false dichotomy — you’re either focused and in flow or distracted and unproductive — but we traverse a broad attentional spectrum while achieving our goals. Some moments call for lengthy, sustained concentration. Others, such as many mobile scenarios, are optimal for microtasking. By designing for multiple cognitive states, focused experiences throughout the Microsoft 365 ecosystem minimize external distractions, lessen self-interruptions, and jumpstart flow.
It's not clear when these changes will begin rolling out to end users and the pandemic may cause delays.

If you don't want to wade through screens of Friedman's corporate bafflegab, Mobile Syrup and The Verge have good summaries of his post. 

4K Video From Mars

I've posted before about some of the incredible pictures being returned from the Curiousity Mars rover. The rover doesn't send back high-quality video due to bandwidth limitations, but dedicated people with high-powered computers and time to spare have stictched the images together to make 4K videos. 

This one is your sensawunda (look it up) post for today. I watched the whole thing. It gave me goosebumps. You want to watch it in the highest resolution your computer and monitor will support.

A world first. New footage from Mars rendered in stunning 4K resolution. We also talk about the cameras on board the Martian rovers and how we made the video. 


Tuesday, July 21, 2020

The Pleasant Profession of Robert A. Heinlein Reviewed

I've made no secret of my appreciation of the works of SF writer, Robert A. Heinlein. I owe a huge debt to the school librarian who handed me a copy of Red Planet, and said: "Try this. You might like it." Truer words were never spoken. It was a life-changing event. 

Since then, I've read and re-read pretty much everything Heinlein published along with many critical and biographical works about him. The latest is The Pleasant Profession of Robert A. Heinlein by Farah Mendlesohn.  This is an academic work, not a biography, although it does cover his life in some detail. I haven't finished reading it yet, so I'm linking to a review by Sourdough Jackson, published in File 770. 
One thing Mendlesohn does not do is to create a scheme of little boxes and try to shoehorn all the information into them. You will find no mention of the “Heinlein Individual,” first proposed by Alexei Panshin and then discussed by other commentators, except to say that some critics had found the concept useful.

Instead there are deep chapters on many aspects of RAH’s fiction. She begins with a 70-page biographical precis, including a few points missed or misinterpreted by Patterson—this section is by no means a simple digest of the earlier work. Following this is a brief description of Heinlein’s “narrative arc,” a summary of his fictional output and how the stories are related. Unlike most earlier scholars, she is able to discuss the comparatively-recent posthumous book For Us the Living. She relates it to his other work—this book may have been a colossal marketplace failure during his lifetime, but he mined it for ideas and characters throughout his career. Mendlesohn acknowledges that, although neither of the Heinleins ever wanted it to see the light of day, it’s a valuable resource for critics, historians, and the curious.
Based on what I've read of the book so far (about half), I'd say that Jackson's review is balanced and accurate. If you are interested in Heinlein or mid-20th century science fiction, The Pleasant Profession of Robert A. Heinlein is worth a look. 

Inception at Ten

Sometime later this summer, perhaps, we will get to see Christoper Nolan's latest movie, Tenet. It was originally scheduled for release on July 17, but the date keeps getting pushed back because movie theatres are not openning during the pandemic. 

In the meantime, we still have Inception, which is now ten years old. I liked it when it came out and a decade later, I like it even more. Rolling Stone agrees
But whether you think this film is a peak or a barren valley, Nolan’s accomplishment demands acknowledgement. Given post-Batman carte blanche, he proved that “intellectual blockbuster” was not a contradiction in terms. And to re-view the movie after a decade that felt increasingly dumbed-down in terms of big-tent multiplex fare and this-intellectual-property-is-condemned misfires, you can easily find yourself hungrily gorging on the food for thought here. It’s a work that brands Nolan as a sleight-of-head artist, yet the film is built as much for endless rewatchings as it is late-night dorm-room conversations. He’s given folks something crafted to be pored over as much as argued over, which is more than you can say about 98 percent of Marvel movies. It’s a sleek, clean-surfaced gauntlet of sorts, thrown down to the lowest common denominators of the kiss-kiss-bang-bang crowd.

Monday, July 20, 2020

Virtual Tour of Eight Great Gardens

One of the benefits of being retired is having time to get out in the yard and do some gardening. It's a great stress reliever and eventually I end up with flowers and fresh herbs and vegetables, both good. 

But my little yard doesn't compare to some of the world's great gardens, as featured in a series of short videos produced by Nowness. 

The gardens featured are: 
  • Jardin en Cévennes
  • Ford Ranch
  • Sunnylands
  • Glin Castle
  • Villa Silvio Pellico
  • Chatsworth House
  • Gresgarth Hall
  • Las Pozas
I would love to visit each one of these. 

AI Upscales Apollo Lunar Footage to 60 FPS

Today is the 51st anniversary of Apollo 11 landing on the moon, so it seems appropriate to write about the amazing update to some of the Apollo video footage. You've probably seen the original Apollo footage, grainy and jerky, whether it's the very low quality video feed or the somewhat better 16 mm. film footage. 

Now a "photo and film restoration specialist, who goes by the name of DutchSteamMachine, has worked some AI magic to enhance original Apollo film, creating strikingly clear and vivid video clips and images."

I've viewed the upgraded footage and the improvement is dramatic. This is from Apollo 15. 


The AI that DutchSteamMachine uses is called Depth-Aware video frame INterpolation, or DAIN for short. This AI is open source, free and constantly being developed and improved upon. Motion interpolation or motion-compensated frame interpolation is a form of video processing in which intermediate animation frames are generated between existing ones, in an attempt to make the video more fluid, to compensate for blurriness, etc.

“People have used the same AI programs to bring old film recordings from the 1900s back to life, in high definition and colour,” he said. “This technique seemed like a great thing to apply to much newer footage.”

But you may not be able to try this at home. It takes a powerful, high-end GPU (with special cooling fans!) DutchSteamMachine said that a video of just 5 minutes can take anywhere from 6 to 20 hours to complete. But the results speak for themselves.

Sunday, July 19, 2020

Featured Links - July 19, 2020

Links to things that I found interesting, but I didn't want to do a full blog post about. 

Saturday, July 18, 2020

Joining a Citizen Science Project

Years ago I was a participant in the SETI at Home project, using spare cycles on my PC to help find signals from alien civilizations. That project has wrapped up the public part of its research right now and entered a data analysis phase. But there are many other science projects that ordinary people can participate in. 

There is a wide variety of projects. Some, like Globe at Night and Smoke Sense, rely on direct observation and reporting. The Smithsonian Digital Volunteers project uses volunteers to digitally transcribe documents. If you don't have time or inclination to work directly with observations or data, projects like Folding at Home use the spare cycles of your computer to conduct research or analyse data. 

Friday, July 17, 2020

TV and Movie Reviews - July 2020 - Part 1

I was intending to start doing these reviews monthly, but this one has gotten long enough that I'm going to run it now. They're more for my benefit, so I can have a list of what I've been watching for future reference. But if you enjoy them, great. Comments are welcome, as always.

Movies

  • Porco Roso: Early Miyazaki. Not one of his best, but still enjoyable. The flying sequences are especially well done. (Neflix)
  • The Old Guard: An unusually good action flick about a group of immortals trying to do good, while fighting off unscrupulous agents of big pharma who want to monetize their genes. But their own angst may be their worst enemy. Based on a graphic novel, which is also very good. (Netflix)
  • The Color Out of Space: Movie based (very loosely) on the classic story by H. P. Lovecraft. It's fairly good, especially if you like Nick Cage doing the crazy thing he seems to have trademarked. (Netflix)
  • Only: After a comet releases a deadly dust, women start dying. The idea goes back at least as far as Frank Herbert's The White Plague. I found it quite disjointed, especially in the second half. It's also very grim (to be expected, given the idea), but there's not a lot else there to redeem it. (Netflix)

TV Shows

  • Archangel: A British-made mini-series, set in Moscow, featuring the pre-Bond Daniel Craig. It's a fairly standard thriller but good enough that we watched all three parts in one evening. Gets bonus points for the Russian locations. (Amazon Prime)
  • Perry Mason (2020): Tells the origin story of the famous detective. A lot of money obviously went into recreating 1930s Los Angeles. Given that it's being released weekly, I've only seen four of the episodes so far but I am liking it a lot. (HBO)
  • The Tunnel: A complex, well-acted British/French co-production that starts with a body being discovered in the service tunnel of the Channel Tunnel. I'm only part way through the first season, but will keep going. (CBC Gem)
  • Warrior Nun: Being a lapsed Catholic and having had a nun fixation since childfood, I had high hopes for this. Unfortunately, it it was only sporadically enjoyable and squandered a lot of potential. I also had trouble watching it because many of the scenes were very dark and I had trouble following what was going on. (Netflix)

Thursday, July 16, 2020

What Happens If We Have Another Pandemic or Big Disaster?

I was hoping for the last three years that we could get through the four years of the Trump administration without a major disaster, because it was clear from the beginning that the administration did not have the ability to handle anything that required a fast response or a national strategy based on sound planning. 

Unfortunately, we got hit with the worst pandemic in 100 years. And the Trump administration botched, and continues to botch, it's response. 

It could be worse. We could have another pandemic. Experts have been warning for years that we could face a pandemic flu if existing strains like H5N1 or H7N9 become transmissible between humans. Ed Yong, the wonderful writer for The Atlantic, had taken a look at this scenario. It's not easy reading.
A second virus would be especially devastating if it targeted a different slice of the populace than COVID-19. Unlike SARS-CoV-2, many respiratory viruses disproportionately affect children, and the 1918 flu pandemic was especially deadly for adults ages 20 to 40. “Something that decimates children or young people is a different ballgame,” says Zeynep Tufekci, a sociologist at the University of North Carolina and an Atlantic contributor. “It’d be economically devastating, and you’d no longer have an age group that’s protected.” The current debate about opening schools would be completely off the table. “In such a case, 1 plus 1 isn’t 2, but 10,” she adds.
It’s certainly possible for people to contract multiple respiratory viruses at once, and in early spring, some adults were indeed infected with both flu and SARS-CoV-2. But it’s hard to predict what happens when two severe pathogens hit the same person. Viruses reproduce by co-opting their host’s cells, and two of them might obstruct each other by competing for the same cellular machinery. It’s also possible that one would trigger a generic immune response, like inflammation, that would make it harder for the second to take hold. Then again, it’s also possible that two severe diseases would compound each other. “The knotty heart of all these problems is the immune system,”  Metcalf told me, which is so complicated that trying to understand it, much less predict it, “is just miserable.”
It's not just another pandemic that we should be worrying about. If the COVID-19 pandemic is not brought under control soon, hospital systems will crash. What happens if there's a major disaster, like a landfalling category 5 hurricane, a great earthquke follwed by a tsunami, or a nuclear power plant accident? Will the government's emergency systems and the medical system be able to cope?

For some ideas on that, see this Twitter thread from Dr. Samantha Montano, who has a Ph.D in emergency management. In part:
There is no shortage of potential disasters — the height of tornado season, wildfire risk on the west coast is nuts, spring flooding is sure to continue this year in the midwest, & hurricane season. It’d be just our luck for the earthquakes & volcanoes to feel left out.
 I don’t have a crystal ball. I can’t tell you what disaster will happen, where, or when but the possibility is very real and folks, especially key emergency management stakeholders need to be thinking about this (to be fair, I’ve talked to many who are!)
 I'm not saying this to freak you out -- just to point out that our other risks don't go away just because there is a pandemic.
She has helpfully shared another thread with resources for coping with emergencies.  
 


How Science Fiction Magazines Are Weathering the Pandemic

Science fiction magazines used to be the beating heart of the genre. Back in the 1930s and 1940s, they were the genre as it wasn't until the 1950s that publishers started printing any quantity of SF&F titles. 

Since then they've fallen into a decline and now there are only a few titles being printed, although online markets have taken up some of the role that the classic print magazines have played. 

The SFWA blog has published an analysis of whats's going on with the magazines, which still represent significant markets for new and established authors. There are two parts – Part 1: Submissions & Supplies and Part 2 Part 2: Short- and Long-Term Prospects & the Post-COVID Landscape

The outlook is cloudy.
Clarkesworld Publisher and Editor-in-Chief Neil Clarke has been speaking with other magazines about these issues over the last breaking month, and he sums things up nicely for the short-term: “The financial situation for most magazines wasn’t great before all this started. When ‘breaking even’ was the goal for many that weren’t even budgeting to pay for their staff, you have a foundation for trouble. The most financially stable publications are the three with print editions (Asimov’s, Analog, F&SF) and with bookstores closed, that has cut off a source of revenue. Fortunately, it appears as though their print and electronic subscription copies are still flowing.” 

For online mags, it’s a mixed bag. “Other editors I’ve spoken to on the digital side of things are reporting a mix of ups, downs, and washes with gains and losses in subscriptions as some readers have lost jobs,” Clarke said. “Several have mentioned that they don’t feel comfortable reminding readers to subscribe or promoting other revenue-generating activities while all this is going on.”

And the long term? “Mid-to-long-term is a big question mark. No one is talking about closing their doors just yet and many see what they are providing as an important escape from the daily news,” Clarke said. “A sustained drop in paid readership (or in some cases, the loss of an editor/publisher’s day job), would be a problem anytime. It’s just more of a significant concern now and in the months ahead.”

Wednesday, July 15, 2020

San Diego Comic-Con Goes Virtual

The San Diego Comic-Con is one of the biggest media-related events of the year. It'll still be happening next week on July 22, but virtually, and there's a great line-up of interesting looking panels to check out. As far as I can tell, it'll be free to view. 

I might have a look at some of these:
  • The Star Trek Universe Virtual Panel
  • His Dark Materials Virtual Panel
  • The Boys Season 2
  • Guillermo del Toro and Scott Cooper on Antlers and Filmmaking
  • HBO’s Lovecraft Country
  • Scary Good TV: A Conversation with Horror’s Top Showrunners

Adobe Uprades FrameMaker, RoboHelp, Techcomm Suite

Adobe has announced upgrades to FrameMaker, RoboHelp, and the Technical Communication Suite. Dubbed the Summer 2020 release, the new release includes enhancements to the long document, DITA, PDF, and HTML features. 

In FrameMaker, there's now a navigation view that will make working with long documents much easier, as well as the ability to split long documents into individual files. The structured mode has an enhanced WSIWYG mode for working in DITA files and a new structure view. The HTML engine has been rewritten to take advantage of CSS3 and responsive HTML. 

For a complete list of new and enhanced features, see the FrameMaker Buying Guide page. The Productopedia blog post is a convenient link page to all of the products.

The biggest news may be from their Technical Communication blog:
We did a fundamental shift towards a subscription-based, continuous delivery model of updates and new releases. What does that mean for you? From now on, you do not have to wait for new major releases for 12, 18, or even 24 months. And you will never have to pay for an upgrade again. As long as you have subscribed to FrameMaker, we will continuously deliver bug fixes, improvements and enhancements, and completely new features regularly.
I see nothing on their website about being able to buy a perpetual license, so I wonder if they have moved to a subscription-only model. It wouldn't surprise me. 

Tuesday, July 14, 2020

How the US Can Dig Itself Out of the COVID Hole

The pandemic in the US seems to be getting worse day by day. However, it's not impossible to mitigate the worst of its effects; however, it may take more political and social will than the political leaders and people of the US have exhibited so far. 

Here's an article that offers some advice from several public health experts. 
But this is not a binary choice between societal lockdowns and the “party like it’s 2019” approach that put the country in the bind it’s in now. With that in mind, STAT asked a number of public health experts for a single suggestion of how we get ourselves out of this mess. We got lots.

None is a magic bullet. This is going to be a painful and slow process. But there are things individuals, public health departments, state and local governments, and the Trump administration can do.

The fire brigade needs us all.

2020 Sunburst Awards Shortlist

The finalists for the 2020 Sunburst Award for Excellence in Canadian Literature of the Fantastic have been announced. The award is named after the first novel of Phyllis Gotlieb, one of the first Canadian authors of speculative fiction (and a genuinely wonderful lady who is missed by many of us). 

These are the finalists for the Adult Fiction award. 
  • Scott R. Jones, Shout Kill Revel Repeat [Trepidatio Publishing]
  • Helen Marshall, The Migration [Random House Canada]
  • Karen McBride, Crow Winter [HarperAvenue]
  • Silvia Moreno-Garcia, Gods of Jade and Shadow [Del Rey]
  • Richard Van Camp, Moccasin Square Gardens [Douglas & McIntyre]
There are also awards for Young Adult Novel and Short Story. The winners of the awards will be announced in September.

Monday, July 13, 2020

This Is How a Society Dies

I've been thinking for some time that the US and Britain are locked into a death spiral of their own making. This article, from the Before Times*, expresses my thoughts in more detail than I've been able to. 
We are caught in a death spiral now. A vicious cycle from which there is probably no escape. The average person is too poor to fund the very things — the only things — which can offer him a better life: healthcare, education, childcare, healthcare, and so on. The average person is too poor to fund public goods and social systems. The average person is too poor now to able to give anything to anyone else, to invest anything in anyone else. He lives and dies in debt to begin with — so what does he have left over to give back, put back, invest?
A more technical, formal way to put all that is this. Europeans distributed their social surplus more fairly than we did. They didn’t give all the winnings to idiot billionaires like Zucks and con men like Trump. They kept middle and working classes better off than us. As a result, those middle and working classes were able to invest in expansive public goods and social systems. Those things — good healthcare, education, transport, media — kept life improving for everyone. That virtuous circle of investing a fairly distributed social surplus created a true economic miracle over just one human lifetime: Europe rose from the ashes of war to enjoy history’s highest living standards, ever, period.
Sadly, it seems like Europeans may be heading down the same path as the United States, if recent developments in Poland and Hungary are any indication. 

* December 2019.

The Punctuation Guide

The Punctuation Guide is a web site devoted to all things punctuation. You can look up detailed information, with usage examples, for each punctuation mark. There are also sections comparing British to American usage and Chicago to AP style.

This is a good site for quick look ups. It's going on my bookmark list. 

Sunday, July 12, 2020

Featured Links - July 12, 2020

Links to things that I found interesting, but I didn't want to do a full blog post about. 


Saturday, July 11, 2020

Dark Matter Research Gets Interesting Results

Research into so-called dark matter is one of the hottest areas in physics research right now, largely because there's so much we don't know, and there's the possibility of making some fundamental (and Nobel prize-winning) discoveries. 


Researchers using the XENON experiment have found an excess of events in their detector. There are several possible reasons that could explain the results; one of them is mundane, the others could topple the Standard Model. 
Particle physicists have searched that long for a more complete inventory of nature, beyond the set of particles and forces known as the Standard Model of particle physics. And for 20 years, experiments like XENON1T have hunted specifically for the unknown particles that comprise dark matter, the invisible stuff that throws its gravitational weight around throughout the universe.

If XENON1T’s signal comes from axions — a top dark matter candidate — or nonstandard neutrinos, “it would clearly be very exciting,” said Kathryn Zurek, a theoretical physicist at the California Institute of Technology. For now, though, “the mundane explanation of tritium is more likely in my mind.”
Business Insider also has an article about the experiment that points out that new experiments may settle the questions about the results.
A new generation of XENON-like experiments, currently in the works in the US and Europe, should help researchers study these extra events and determine which particles are causing them. That's because the new experiments will be larger and significantly more sensitive.

"If this is real, we will absolutely see it in our next generation of experiments," Manalaysay said. He has worked with one such effort, called the Large Underground Xenon dark-matter experiment. "It's like you're going into a quieter and quieter room ... You start hearing new things you couldn't hear in a louder room."

Friday, July 10, 2020

Curiosity Mars Rover Snaps 1.8 Billion-Pixel Panorama

NASA's Curiosity rover has been on Mars for seven years now, and it's still doing important research and providing us with extraordinary views of the Red Planet. The latest is a 1.8 billion-pixel panorama


This panorama showcases "Glen Torridon," a region on the side of Mount Sharp that Curiosity is exploring. The panorama was taken between Nov. 24 and Dec. 1, 2019, when the Curiosity team was out for the Thanksgiving holiday. Since the rover would be sitting still with few other tasks to do while it waited for the team to return and provide its next commands, the rover had a rare chance to image its surroundings several days in a row without moving. 
Composed of more than 1,000 images and carefully assembled over the ensuing months, the larger version of this composite contains nearly 1.8 billion pixels of Martian landscape.
You can find out more about the panorama and Curiosity's location in this video, narrated by Mars Science Laboratory Project Scientist, Ashwin Vasavada.

  

Science Writers and Communicators of Canada

Although I had an enjoyable and reasonably successful career as a technical writer, if I could have chosen another career it would have been as a science writer or journalist. Science still makes up a large part of my non-fiction reading.

So I was interested to find that there is an organization of science writers, the Science Writers and Communicators of Canada. Their blog, as you might expect, is worth reading. Most of the recent articles are about COVID-19, but going farther back you'll find a wide range of topics, from birding to particle physics. I'll be keeping an eye on it in the future. (I did try to add it to my Feedly list, but their RSS feed doen't seem to be working). 

Thursday, July 09, 2020

What Science Communication Needs

I've written here before about the onslaught of misinformation, both in the news media and on social media. Much of that is related to science, especially now while we are in the midst of a global pandemic. 

Science Daily looks at the situation and suggests a solution, and it's not what you might think.
The current implications of this battle in the United States are everywhere. The administration has promulgated the idea that severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2, the cause of COVID-19) was engineered in China's Wuhan Institute of Virology, in part based on a non–peer-reviewed preprint that was later retracted. The misinformation about masks and social distancing is spurring dangerous bar gatherings and choir practices. Unsubstantiated claims in a “plandemic” video are convincing citizens that Dr. Anthony Fauci, the longtime leader of the U.S. National Institute of Allergy and Infectious Diseases, is hiding a secret business deal from which he stands to profit from COVID-19. The antiscience movement started with the environment, which could hurt our long-term survival, but in the era of COVID-19, it threatens our immediate survival.

The scientific community is losing the battle against this digital leviathan of misinformation. A well-reasoned and highly placed op-ed on this topic is not going to move the needle, no matter how well it is crafted to adhere to the best practices in science communication. Neither is a perfect trade book, television appearance, or speaking tour by a scientific leader. The only way to win this fight is to harness the same sophisticated tools in the name of science that are being used to tear science down. With social media companies afraid to challenge the misinformation machine, even when their own platforms are being misused, the task is daunting. But we can at least move on from the idea that if we could just find those perfect, persuasive words, everyone would suddenly realize that facts are facts with no alternatives.

Decadent Societies

Author Micheal Skeet has written a series of posts about decadent societies that are worth reading, especially given the current state of our society. They're based on the book, Decadent Societies, by Robert Adams, which was published in 1983. 

Michael says:
Adams's definition of societal decadence is simple and stark: a society is decadent when it no longer persuades enough of its members that they have any stake in that society's continuation; when an existential crisis arrives, there's pretty much nobody left to defend the society.

What did for Rome wasn't the sexual misbehaviour of the elite, nor was it the economic inefficiencies inherent in slavery and the introduction of serfdom to the agriculture of the Italian peninsula. I'm not even sure I agree with Harper's contention that it was epidemics that brought down Rome. When the Roman state forbade its citizens from joining the army and taking a role in their own defence; when it taxed its farmers into insolvency (and then tried to dump the tax burdens of the insolvent on their neighbours); when it sold into slavery the children of the German tribesmen it had invited into the empire to serve as soldiers in place of citizens—then Rome was decadent, and when the Goths attacked it fell.
In later posts (here and here)  he goes on to examine the ideas in Adams' book and compare them to what he sees in our current society. 
And so we come to the final, greatest sign: a complete lack of concern over the increasing proportion of the population with little to no reason to continue to support the society’s existence. Here the present situation isn’t irreparable but the trend-line seems to be headed the wrong way. And the decline in the number of people who think their society worth saving as it is seems to be coming from all extremes of the political quadrant. It isn’t just that Black and Hispanic† Americans are increasingly frustrated with the society they live in*—there is also the increasing evidence of a sort of nihilistic violence coming up from the white-supremacist/quasi-libertarian fringes. The truly destructive members of these groups are, we must remember, still fairly small in number. But their impact appears to be out of proportion to their numbers, and may well be increasing.
This may be reflected in survey numbers showing that only 12 percent of American respondents are satisfied with the current state of the country (87 percent are dissatisfied). That’s a decline by more than two thirds over the past year, and on the surface at least suggests a disturbing trend. (We mustn’t get carried away, though: these opinions are almost laughably fickle: at the worst of the Great Recession the percentage of Americans who were satisfied with the way things were going was seven. Obviously the concerns reflected here are short-term, rather than systemic.)

Has this dissatisfaction reached a tipping point, at which a majority of people no longer care to lift a finger to prevent the damage to society becoming worse? No, it hasn’t; and in fact the survey mentioned in the previous paragraph actually suggests Black Americans are more optimistic about the future than their White or Hispanic counterparts. So there’s some encouragement there.
I'll leave his conclusion to you to read.  
 
 

Wednesday, July 08, 2020

Making Spacecraft Autonomous

I've been seeing some interesting posts coming across my Twitter feed recently about the early Mercury and Gemini spacecraft. The contrast between them and the current SpaceX Crew Dragon and Boeing Starliner is quite remarkable, and most of that is due to the high degree of automation in modern spacecraft

While modern spacecraft are highly automated, there are trade-offs between automation and manual control. 
Ultimately, “the worst thing you can do is make something fully manual or fully autonomous,” says Nathan Uitenbroek, another NASA engineer working on Orion’s software development. Humans have to be able to intervene if the software is glitching up or if the computer’s memory is destroyed by an unanticipated event (like a blast of cosmic rays). But they also rely on the software to inform them when other problems arise. 

NASA is used to figuring out this balance, and it has redundancy built into its crewed vehicles. The space shuttle operated on multiple computers using the same software, and if one had a problem, the others could take over. A separate computer ran on entirely different software, so it could take over the entire spacecraft if a systemic glitch was affecting the others. Raines and Uitenbroek say the same redundancy is used on Orion, which also includes a layer of automatic function that bypasses the software entirely for critical functions like parachute release. 




New Releases of FrameMaker, RoboHelp Coming Soon

I got an email from Adobe today announcing a special event on July 15 to reveal the "future of technical communication" or in more prosaic terms, new releases of RoboHelp and FrameMaker. I may be retired but I'm not dead so I signed up. 

The web-only event starts at noon Eastern Time and registration is free, but you'll need Adobe Connect software and an Adobe ID. 

As well as the product announcements, there will be keynotes and presentations by several prominent technical communicators.

Tuesday, July 07, 2020

The Dangers of Q

Conspiracy theories can be dangerous. Last week, an armed reservist was arrested on the grounds of Rideau Hall, the home of Canada's prime minister and governor general. The CBC has reported that: 
Roughly an hour before Hurren entered the Rideau Hall grounds, a Facebook page associated with his business posted a meme that directs people to look up "Event 201" — a worldwide pandemic preparedness exercise run last year that conspiracy theorists now use to suggest Microsoft co-founder Bill Gates is behind the COVID-19 pandemic.
But that's just the tip of the iceberg. The big uber-conspiracy theory right now is known as QAnon or just Q.  Quite possibly, you've heard it mentioned on the news or come across references to it online. The Atlantic has published a long article about Q, tying it to earlier US conspiracy theories, which have a long and ugly history. 

The problem with conspiracy theories like this is that they denying reality replace it with a twisted alternate reality. But nature, the laws of physics, chemistry, and biology, doesn't care. And that's dangerous. Here's just one example, from the Atlantic article. 
Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, has become an object of scorn among QAnon supporters who don’t like the bad news he delivers or the way he has contradicted Trump publicly. In one March press conference, Trump referred to the State Department as the “Deep State Department,” and Fauci could be seen over the president’s shoulder, suppressing a laugh and covering his face. By then, QAnon had already declared Fauci irredeemably compromised, because WikiLeaks had unearthed a pair of emails he sent praising Hillary Clinton in 2012 and 2013. Sentiment about Fauci among QAnon supporters on social-media platforms ranges from “Fauci is a Deep State puppet” to “FAUCI is a BLACKHAT!!!”—the term QAnon uses for people who support the evil cabal that Q warns about. One person, using the hashtags #DeepStateCabal and #Qanon, tweeted this: “Watch Fauci’s hand signals and body language at the press conferences. What is he communicating?” Another shared an image of Fauci standing in a lab with Barack Obama, with the caption “Obama and ‘Dr.’ Fauci in the lab creating coronovirus [sic]. #DeepstateDoctor.” The Justice Department recently approved heightened security measures for Fauci because of the mounting volume of threats against him.
Denying scientific evidence and medical advice in the midst of a global pandemic is only going to result in death and misery. 

It's a long article, but if you want to get a handle on why the US is so fucked up right now, read it.  
 

TV and Movie Reviews

Here are some capsule reviews of movies and TV shows I've watched over the last month or so.

  • Field of Blood: A gritty and intense Irish drama about a young woman working as a copy boy (yes, that's what they call her) at a newspaper in 1982 Dublin who wants to become a reporter. Peter Capaldi has top billing, but he only has a bit part. The casual sexism of the 1980's newsroom is remarkable, and accurate. (Acorn TV)
  • Gemini Man: Will Smith tries to keep from being killed by Will Smith. A decent, if quite implausible, action flick. Not Smith's best work. (Amazon Prime)
  • Hidden, season 2:  A crime drama, set in Wales, often with Welsh dialog (with subtitles). I wouldn't want to live there. Grim but worth watching for the excellent acting. (Acorn TV)
  • The Order: Another fantasy about university students getting involved in some serious magic. Season 2 is quite a bit better than the first season. (Netflix)
  • Dead Still: An 19th-century Irish photographer makes his living by taking family pictures with the recently deceased. Of course, some of them have died under mysterious circumstances. A better than average mix of period piece and crime drama. (Acorn TV)
  • Treasure Houses of Britain: A documentary series showing some of Britain's "great houses", which are really small (and not so small) palaces. If you like historical artifacts, this is for you, but I can't help feeling appalled at the evidence of the aristocracy's bloated life styles. Also, the shows are very slow - judicious use of the fast forward button is recommended. (Acorn TV)
  • Extraction: A well-made action flick primarily notable for being set in Bangladesh. Not to be confused with the 2015 Bruce Willis stinker of the same name. (Netflix)
  • NOS4A2: Fantasy based on the Joe Hill novel of the same name. The first season was quite interesting, but I'm having trouble getting into the second season. (Amazon Prime)
  • Eric Clapton: The 1960s Review: I thought I was familiar with the details of Clapton's career, but this documentary had a lot of information and footage that I hadn't seen. (Amazon Prime)
  • Kamasi Washington Live at the Apollo Theater: Washington is the hottest sax player to come along in a while and this features a concert at New York's historic Apollo theater. The concert footage is great but the interstitial material not so much. (Amazon Prime)
  • The Gateway: A better than average, low-budget horror flick about a portal that mysteriously appears in a New York apartment bathroom. (Amazon Prime)
  • Black Work: The husband of a police officer in Leeds is killed while working undercover, but when she tries to find out what happened, things are not what they seem. (Acorn TV)
  • Tales from Earthsea: One of the Studio Ghibli movies recently picked up by Netflix. The plot is nothing special but the animation is pure Miyazaki beauty. BTW, it doesn't have anything to do with Ursula K. LeGuin's Earthsea series. (Netflix)


Monday, July 06, 2020

Local Residents Not Happy With SpaceX

Residents near SpaceX's Boca Chica, Texas test facility are not happy with SpaceX right now, as the company continues to expand the production and test site. They claim that SpaceX is violating the original environmental agreement for the site. 
Ellen Tyma and Dan Griffen built their retirement home 15 years ago on the banks of the Rio Grande to spend the days kayaking, jet skiing and enjoying the river. But since SpaceX built its South Texas launch facility 12 miles away, their quiet lives have been upended.

Now, without warning, the main road leading to their home and a popular beach is frequently closed for test launches, including twice last week.

The couple and other South Texans say when SpaceX was wooing the community in 2013 to develop its site here, they billed it as a launch facility — not a testing facility.
The residents may have a case.
Border Report was told the FAA had not approved significant plans that SpaceX has for the facility since the company told the agency it had switched projects and is now using this facility to develop a new, massive spacecraft to travel to Mars, called the Starship. The FAA also said it has begun a new environmental review of the company’s new plans.

“The current testing falls within the current EIS. However, a full-scale Starship launch site falls outside the scope of the 2014 EIS. The FAA is in the early stages of an environmental review. Any proposal must meet the requirements of the National Environmental Policy Act (NEPA) and the FAA’s policies and procedures for conducting a NEPA review,” an FAA official wrote in an email to Border Report on Friday.
I'll be keeping an eye on this story  
 

Windows 10 Documentation Is a Mess

When Microsoft updates Windows 10, as it has recently, there's a lot of coverage in the tech press about new features. Documentation is rarely discussed. However, Ed Bott, who has been covering Microsoft for a long time, rips into them for the "unholy mess" that is the documentation for the latest Windows 10 release. 
One of the unexpected and unwelcome side effects of Microsoft's push to Windows as a Service is that its documentation has become an unruly mess.

The problem isn't a lack of information. Microsoft's generally been doing a good job of describing high-level changes in Windows and then supplying lots of technical detail about those changes in relatively short order. That's especially true for topics that matter to developers and to people deploying Windows at scale in enterprise shops.

The trouble is finding those details when you need them. Important information is scattered about Microsoft.com like so many puzzle pieces, and it can be a challenge to try to fit those pieces together. For technicians, support specialists, and power users, the move to semi-annual updates is a special challenge. It's practically a full-time job to keep up with the hundreds of changes that arrive with each new version, then do it again six months later for the next feature update.
I have to agree with him. Recently, I had problems getting the 1909 update to install and trying to find information about how to resolve the problem was almost impossible on the Microsoft site. The best information came from third-party tech sites and forums. (Uninstalling Malware Bytes allowed the update to proceed.)

This isn't anything new. The quality of Microsoft's online documentation has been a running joke among technical writers since I started working in the field in the 1990s.

Until they get their act together, I strongly recommned bookmarking the Windows 10 Information Hub site, created by Ed Bott for ZDnet.  

Sunday, July 05, 2020

Featured Links - July 5, 2020

Links to things that I found interesting, but I didn't want to do a full blog post about. 


Saturday, July 04, 2020

Workingman's Dead: The Angel's Share

Wednesday brought a surprise from the Grateful Dead – the release of an album of studio outtakes from the Workingman's Dead sessions. Titled The Angel's Share, it comprises two-and-a-half hours of demos, partial takes, and alternate mixes of what is arguably the Dead's best album. 

Rolling Stone has an article that goes into the background of the release and the recording of Workingman's Dead
The discovery of what became The Angel’s Share was an unexpected, late-day surprise for the Dead archive crew. This spring, they had just finished work on a separate 50th-anniversary Workingman’s Dead reissue that will include a full live show from 1971. That bonus material was all finalized and firmed up when Lemieux heard from engineer Brian Kehew and archivist Mike Johnson that an unlabeled batch of tapes had been discovered in the Dead vaults in Los Angeles.
 Given that the only Workingman’s Dead leftovers that had surfaced before had been various takes of “Dire Wolf,” Lemieux wasn’t sure what to think. “We’ve been burned before,” he says. “We’ve designed an album cover for a great live show and then the tapes showed up and we couldn’t use them. But here Brian and Mike had a feeling it was something Workingman’s Dead–related.” Given that most of what Lemieux has overseen was live material, he “freaked out,” he says, when he realized what those tape boxes contained.

The reason that concert recordings have dominated in the post-Garcia world is simple: Studio outtakes of the Dead are as rare as Lesh lead vocals. In terms of other vault tape boxes, “some clearly say Shakedown Street and there are lot of unreleased takes of Go to Heaven,” says Lemieux. “There might be 15 or 20 multitrack reels, some with many takes of ‘Alabama Getaway.’”

But those discoveries are the exception. “For some albums, we have nothing,” Lemieux says. “There’s not much [leftover] from Wake of the Flood. Literally nothing from Terrapin Station. That’s always been a big mystery in the Dead world. We never found out what happened with the Terrapin tapes.” Some studio tapes exist for American Beauty, which will be celebrating its own 50th in November and will be given an in-progress deluxe release. But Lemieux cautions that those tapes are not “on the same level” and not as extensive as those found for Workingman’s Dead.
The album is a digital only release and you can hear it on the usual streaming sites like Spotify. It's not for casual listeners, but for fans like me, who have followed the band for most of their life, it's a real treat. 
 

Friday, July 03, 2020

Cronk Rules Everything

Until today, I've never heard of Cronk, and you likely haven't either. It was a popular soda drink or light beer from the 19th century. It hasn't been made in 120 years, but a Calgary brewery is reviving it from the original recipe
A chance discovery in a newspaper archive has left drinkers in Canada and beyond salivating at the prospect of – finally – getting their hands on some Cronk.

More than a century after it was last consumed, beverage connoisseurs will soon be able to enjoy Dr Cronk’s Compound Sarsaparilla Beer, after internet sleuths and real-world brewers recovered a drink that was once wildly popular across North America but vanished into obscurity.

The 2020 Cronk revival can be traced back to the university researcher Paul Fairie, who recently tweeted about a series of bizarre adverts he had found in an 1882 copy of the Calgary Herald.

Embedded in the columns of newsprint, the copy was blunt and simple:

Buy Cronk.

Cronk is good.

Cronk is the drink.
I wonder if the LCBO will pick it up if it proves as popular as the original? 

The book that contains the recipe, The Handbook of Practical Receipts, or Useful Hints in Everyday Life is quite a read. There are remedies for things I've never heard of as well as many recipes. 

New SF&F Books for July

It looks like July will be a good month for readers of science fiction and fantasy. io9 has compiled an extensive list. Below are a few that I'm interested in. There are a lot of Mars themed books this month, probably because of the Mars rovers and probes that will be launched. 
  • The Big Book of Mars: From Ancient Egypt to The Martian, a Deep Dive into Our Obsession With the Red Planet by Marc Hartzman
  • The Book of Dragons edited by Jonathan Strahan
  • Or What You Will by Jo Walton
  • The Sirens of Mars: Searching for Life on Another World by Sarah Stewart Johnson
  • Every Sky a Grave by Jay Posey
  • Once Upon a Time I Lived on Mars: Space, Exploration, and Life on Earth by Kate Greene
  • Peace Talks by Jim Butcher
  • The Relentless Moon by Mary Robinette Kowal
  • Axiom’s End by Lindsay Ellis
  • The Big Book of Modern Fantasy edited by Ann and Jeff VanderMeer
That's quite a list, and those are only the ones that I think I might want to read. Your mileage may vary, especially if you like fantasy (I prefer SF). 

Thursday, July 02, 2020

Catching Readers Up

It's common in series books for authors to provide some background information about previous books. Some readers like that; some don't. Over on Reddit, a reader commented about John Scalzi's Old Man's War series, asking if perhaps this was done to pad out the length of the book to meet publishers' expectations.

Scalzi, as is his wont, replied at length. Here's a key point:
I do it on the principle that someone who picks up a copy of a book in a series might not know it's part of a series, and/or copies of other books in the series might not be available at the bookstore at the time. So some bit of catching up on events will be useful, and (generally, although apparently not in your case) tolerable enough for the people who have read previous installments.
If you read many series, this is worth a look. 

Personally, I find it annoying if I'm reading the whole series at once, which I sometimes do. In the original publication  of Charlie Stross' Merchant Princes series, there was quite a bit of background padding in the books, because Stross had written them as a trilogy but the publisher split the series up into six books. When they were republished as a trilogy, Stross edited them to remove the bridging material. 

I have wondered if it would be possible to address this, in ebook formats, by allowing readers to hide bridging material, similar to the way that DVDs sometimes have both theatrical and director's cuts of a movie. I know that this is almost trivially easy to do in web-based publications, but I don't know if it would be possible in Kindle or EPUB formats. 
 

The Rocket Engine of the Future - Maybe

An engine that could allow a spaceplane to take off from a runway like a jet and accelerate all the way into orbit has been the dream of rocket designers (and science fiction writers) since the dawn of the space age. Now it looks like it might be becoming real
The idea behind Sabre is to use the engine’s air-breathing mode to whip a spacecraft up to hypersonic speeds in the lower atmosphere and then switch to a full rocket mode at the edge of space. It’s conceptually simple, but the devil is in the details. For example, as the engine works the aircraft up to hypersonic speeds at low altitudes, the air temperature approaches 1,800 degrees Fahrenheit, which is hot enough to melt engine components. To overcome this challenge, Sabre uses a precooler to lower the air temperature by circulating hydrogen fuel through the engine. This lowers the air to ambient temperatures at altitude, which are around -200 degrees Fahrenheit. “Effectively the core engine does not know it is flying hypersonically,” says Shaun Driscoll, the programs director at Reaction Engines. “The precooler takes care of that.”

Once the air is lowered to a manageable temperature, it’s passed to a compressor to raise the gas pressure, much like in a conventional jet engine. Then it’s routed to a rocket combustion chamber where it is mixed with liquid hydrogen fuel and ignited to produce thrust. By the time the vehicle reaches hypersonic speeds, the atmosphere is too thin for an air-breathing engine and the system switches to its onboard oxidizer tank for the final leg of the journey to space.

Bond retired from Reaction Engines in 2017, but work on the Sabre engine continues apace. Over the past four years, the company has raised over $100 million to develop Sabre, and shortly after Bond stepped back from the company, Reaction Engines contracted with Darpa to develop a test facility for the engine’s precooler in Colorado. Late last year, the company demonstrated that its precooler could handle the extreme heat generated under hypersonic conditions, a major milestone on its path to a full engine demonstration. Around the same time, the European Space Agency concluded its design review of the engine and gave the company the green light to start testing its engine core.