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.