Saturday, March 13, 2010

New Google Blogger templates narrowly arrive before second coming of Jesus

Transparency! Three-column grids! An absence of lighthouse imagery!

Please join me in welcoming Google Blogger to the modern web. As you can see from the look of my site today, Blogger has rolled out a new beta feature called the Template Designer which allows users to assemble several thousand more combinations of layout, color, and graphics than with their previous selection of templates. Those spartan and occasionally cheesy designs were the main reasons why the service has been losing ground to the likes of Tumblr and Posterous amongst those setting up blogs for the first time, and also the reason why most people skin their blogspot blogs with horrendous amateur themes they find on sites with URLs like free-colorful-blogger-templates.com.

We all know 'most people' have no taste, so the Template Designer aims to save them from themselves by having a fixed library of background images from iStockPhoto (you can't upload your own). I have chosen the least distracting and colorful one, a silhouette of the Parisian skyline, but look forward to experimenting with crazier options now and then. Why not? It used to take a deep dive into the HTML code and some tedious asset uploading to change the look of my site – those who've been here before will know that I hardly bothered anymore, and reverted to the most minimal of themes over a year ago – but now it's all just a matter of clicking around and moving sliders.

Some of these features, like the dynamic width resizing and comprehensive inspectors for changing text/background colors, fonts, etc. replicate the best innovations of blog hosting company Squarespace. That service does a little more but costs money, and incidentally so does Six Apart's Typepad, which now stands as the only hosted blogging platform remaining whose templates look so hopelessly mired in the early 2000s. Assuming that Blogger doesn't just push out this one update and leave it untouched for another six years, they've got a fair chance of soundly beating the competition. A few weeks ago they added the ability to create standalone Pages, the kind you can use for an About Us page or FAQ. With a few more templates, perhaps some built for microblogging, some for magazine-style sites, they'll be able to do everything Tumblr can. They've got post-by-email functionality that isn't too far off from what Posterous does, and Wordpress.com can't compete with the freedom Blogger gives you to add third-party scripts, widgets, and ads.

One interesting point: Microsoft IE6 is not supported by the editor or the templates themselves.

Intro video:

Tuesday, March 09, 2010

Letter to Apple concerning missing apps in the Singapore iTunes Store

I've been having a problem with some apps not being available in the Singapore iTunes App Store. Posted below is the letter I sent to Apple today.

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Dear iTunes support,

I have noticed a problem with the Singapore App Store, namely that some high-profile applications are not available when they should be. I understand that there are often licensing issues that prevent an application from being sold in some territories while they continue to be available in others. That scenario is not what I refer to here.

A few weeks ago, an app known as Thundergod (plays high-quality 3D audio of thunderstorms through headphones) was released in the US and other territories, but was nowhere to be found in the Singapore App Store. I contacted the developer directly and was told that they had no idea why that would be the case, as they had indicated in iTunes Connect that the app was to be sold 'Worldwide', and were sorry to inform me that the matter was out of their hands, and rested with Apple. I continued to check the App Store regularly and kept in touch with the developer on their website, and finally without fanfare, Thundergod suddenly appeared one day.

At present, two examples where this might be happening again come to mind. I'm sure there are others I am not aware of.

CAMERAtan is a photography app that was recently a #1 bestseller in the Japanese App Store. I have contacted the developer indirectly through another person, and he appears to be unaware of the app's unavailability in Singapore.

The other example concerns a more well-known developer: id Software, creators of the Wolfenstein 3D, Doom, and Quake game franchises. Wolfenstein 3D Classic was once available in the Singapore App Store. I bought it. Today, only the FREE version exists. Doom Classic and Doom 2 RPG (their latest releases), are not available when they should be.

I believe the same problem afflicts both apps. In each case, a look at the developer's listing in iTunes shows only their FREE apps available. Their paid apps have vanished. It may be a misconfiguration in iTunes Connect on their parts, or the issue may lie with Apple Inc. I invite you to look into this matter and await your reply.

Thank you.

Sincerely,
[Signed]

(In the interests of the public and residents of Singapore affected by these missing apps, a copy of this letter will be made public on my blog, as will the reply I receive, with your permission.)

Sunday, March 07, 2010

Photos from Japan

Late last year, I wrote about returning from my trip to Japan and sorting through the 2000 photos I'd taken. I finished the job of uploading them to Flickr quite a few weeks back, but neglected to post the links here.

This is the entire set on Flickr, but you will see less as an anonymous member of the public, and a few more if you're listed as one of my friends.

This is a 'Best of' set that I put together, with 150 photos in all (again, depending on your friendship status), which is much easier to get through.

This is a 94-photo subset of the main album focused on Tsukiji, the largest fish market in the world.

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Shibuya

Ryoanji zen garden

Saturday, March 06, 2010

Pocket Plastic

The last post (a review of Nevercenter's Camerabag Desktop application for Mac/PC) was also posted on my new site project: Pocket Plastic. I take a great deal of my photos these days with my iPhone, as I have done with all the cameraphones I've owned before – Sony-Ericsson made some great ones under their Cybershot brand – but the iPhone is unique. People are now in the habit of actually processing their photos and doing all their 'darkroom' work on the device itself, so the shots are ready to go up online before they've even rubbed their feet on their doormats.

There are some sites out there dedicated to helping others with this hobby, reviewing new photo apps and sharing tips, but I often find myself in some sort of disagreement with them. You know what they say: If you want something done right, you're incredibly anal and have an inflated view of your own importance. Well that's me, so I'm starting my own. It's also going to be a place for me to send the photos I like best to, and fish for ever more compliments.

I'm using Posterous to do the whole thing, and if you'd like a site/blog that you can update simply by sending an email, I highly recommend it. You can send a post from your home computer or your mobile phone, attach photos, audio, or video, and Posterous will automatically put the thing together in the best possible looking way and you'll look like a star. You don't even need to sign up beforehand. Just send an email to post@posterous.com from your personal email address, and that will be your first entry. They'll send you an email back with the location of your new site, which you are free to change at any time. This was not a paid advertisement, I just really like them.

Software: Nevercenter Camerabag Desktop


One of the few iPhone apps that need no introduction, Nevercenter's Camerabag was among the first of its kind on the App Store, and currently enjoys the kind of brand name recognition (amongst iPhone users) reserved in traditional photography for such names as Kodak and Polaroid. If your parents have heard of an iPhone photography app, it's probably Camerabag.

However, it has been my opinion for awhile that the comparisons to Kodak and Polaroid go beyond fame, and into the realm of mediocrity. The app has been largely unchanged since its release – a few new filters have been added, with none of them spectacular, except for "Colorcross" which was added only after it first appeared in the desktop version I will be talking about. As would be expected, the release of Camerabag's iPhone version was followed by a wave of inferior me-too apps, but competitors eventually matured and produced more sophisticated image processing solutions, leaving Nevercenter's creation to coast on its name. Its included filters are by no means poor, but the app's one-time ubiquity gave many of its more distinctive looks (such as Helga and 1974) a played-out and overused feel.

Nevercenter's response came in the form of Camerabag Desktop, a version for Mac and Windows computers, released last September. Its killer features: a button labeled 'Reprocess', which gave its set of effects some much-needed random variation, and a method to easily "stack" effects upon each other to create new mutants. One always had the option of stacking effects on the iPhone by saving and then reopening photos after each filter, but it was a task better suited to stamp collectors and librarians nearing retirement age.

The catch? Camerabag Desktop asked for USD$19, a fortune compared to its mobile relative, which sold for between $0.99 and $2.99, depending on when you visited the App Store. The deal was momentarily sweetened by the addition of Colorcross, a very nice if slightly over-the-top take on the look of crossprocessed film photography. Eventually, Colorcross would find its way to the iPhone version, leaving only the Reprocess and multi-filter stacking features as differentiators.

But I'm leaving out a major point, one that didn't seem so important to me at the time. Having Camerabag on your desktop computer opens it up to use on all the other photos from all your other cameras. iPhoto, Picasa, and Adobe Photoshop Elements are immensely popular amongst casual photographers due to their ease of use, but they're mostly limited to cropping, brightening, and adding rudimentary embellishments like a Gaussian blur for that wedding photo effect (shudder). It strikes me that Camerabag Desktop might be the only application that expands their creative options to the kind of toy photography enthusiasts enjoy.

After learning that owners of the iPhone version enjoy a USD$5 discount on the price of Camerabag Desktop, I decided to bite the bullet. Of late, I've rekindled my feelings for the iPhone version by stacking its effects on top of other apps like Cross Process and TiltShiftGen, and I was eager to get new looks out of the Reprocessing feature.

To put it through its paces, I selected 14 photos from my recent trip to Japan, in particular from a morning visit to the famous Tsukiji fish market. These were shot with a Panasonic LUMIX LX-3 compact camera*, often regarded as one of the best digital cameras in its class. I'd originally processed them with Adobe Lightroom, as is my usual habit for non-iPhone photography. The challenge was to get good, interesting results using just Camerabag Desktop alone. No exposure compensation, no sharpening/straightening, no brightness/contrast/saturation/hue control of any kind.

It took longer than I'd expected, and I learnt that while it's not impossible to use it as the only stop in a processing workflow, you're going to want something else for minor adjustments. I had some photos with strong backlighting that needed shadow recovery, and the only filter in Camerabag Desktop that does an adequate job of brightening while reducing contrast is "Instant", which strives for a washed out look that is also very warm. If you want to brighten scenes while giving them a cool tone, you're out of luck ("Cinema" infuses photos with some cyan, but not nearly enough). There were many times where I wanted to crop something a little, reduce the heavy-handedness of the "Helga" filter's vignette, brighten, and so on, but couldn't.

On the other hand, the act of reprocessing and experimenting with different stacks of effects is lots of fun, and a different approach to desktop photo editing that will appeal to many. Knowing that the next click could bring about a serendipitous, completely unexpected collision of light and color that will never be repeated again, EVER, can stretch the darkroom process out far longer than if you were just adjusting sliders, limited by your own imagination.

Verdict: A worthwhile buy offering good results and having only minor flaws. Most importantly, fun.

Rating: 4 / 5

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Note: This review looked at version 1.0 of Camerabag Desktop. Version 1.1 is on the way, adding the "Silver" filter that is currently an iPhone exclusive, as well as several other unannounced features. One can only hope a slider for adding brightness to difficult scenes is one of them.

* With one exception. The photo of a man standing in the street against the sun was taken with a Sony WX-1.


Sunday, February 21, 2010

Some books I have been reading

A Study in Scarlet,
The Sign of the Four,
The Adventures of Sherlock Holmes:
I wasn't very much interested in reading any of the Sherlock Holmes stories, apart from the Hound of the Baskervilles, which I read on a whim maybe a year ago and found underwhelming. That story's constant suggestions that the answers laid in the realm of the supernatural were more irritating than anything, but then I saw the new Guy Ritchie adaptation, which did quite the same thing to entertaining effect, and decided to give the detective another go (imagining him to be Robert Downey Jr. all the while).

A Study in Scarlet is really a prequel to the stories, and a great idea for a first novel – to treat one's protagonist as an established force, a genius in the imaginary present, and then head backwards in time to tell a story from his earlier days as an earnest student of his craft. The Sign of the Four, I'd advise you to skip. It's not bad at all, but Sherlock Holmes really belongs in the format of the short story. There is a formula to them, and they do have a bit of a dimestore novel touch, but you can hardly regret reading at least one volume.

Triplanetary:
A great space yarn from the 1930s. This is the reading equivalent of going to a drive-in theatre to watch a science-fiction movie with men in silver suits wielding technology with names such as "ultra waves" and using "ether screens" to deflect attacks. But that movie will surprise you yet with high-budget escapes from flooded alien planets, large-scale space warfare, and the creation of the human race's most powerful weapon.

The Thirty-Nine Steps:
With all the other trashy fiction already committed, I figured I should throw in a spy novel about an innocent man on the run for a murder he didn't commit, framed by shadowy figures with a plot to throw the world into chaos. This is real pulp fiction country, where characters cross paths in the most unlikely of places, at the most convenient of times, and you're expected to take it all in without any movement of the eyebrows. Accept it on its terms, and this is as much fun as watching North by Northwest.

Greenmantle:
A sort of sequel to The Thirty-Nine Steps, with John Buchan bringing that novel's Richard Hannay back into another fine situation where he has to save the world from a German plot, except this time the novel's twice as long, and he has multiple companions on his journey. Marvel as they separate and reunite many times across Europe through the power of coincidence. I enjoyed this enough, but will be taking a break before I read the remaining three Richard Hannay novels I've got.

Botchan (Master Darling):
A good-for-nothing young man with no particular talents, recently graduated, is sent into the Japanese countryside to teach although he has no talent for it. There, he faces political entanglement in the office and defiant opposition from students. Sounds like your typical JET story, except it's the early 20th century, and this is one of Japan's most beloved morality tales. Apparently, most Japanese encounter this novel as children, which I think is fantastic as it covers death, eating ramen, and dealing with the bullshit of others.

The Remains of the Day:
English butler goes on road trip in the 1950s, fondly remembers his old employer and some thirty years of service, while on the way to meet an old housekeeper he hasn't seen in 20 years. Does he love her? Can he still polish silverware? Is the Japanese-born author's ethnicity visible through the perfect period writing at any time? It's almost implausible that such subject matter could be woven into the kind of story that resists the insertion of a bookmark, but Ishiguro is an amazing talent and this the best book I've read in a long while.

Sunday, February 14, 2010

Looking forward to Heligoland

The last time I was excited about a Massive Attack album, it was 1998. The album was Mezzanine, which I vividly remember for its fluorescent orange disc, set against a black and white digipak case with what looked like close-up photography of a dung beetle. It was a good album, but also a departure from their established sound. By the time 100th Window came out five years later, I'd moved on.

Heligoland is their new album, and I'm interested in it mostly for nostalgic reasons. What struck me today was how, in the past, I would have known it was on the way for weeks ahead of the release date because interviews and articles would have been in all the magazines. And I would have known the day it was out because record stores in town like Tower and HMV had huge displays and posters up everywhere for big new releases. Granted, music was more of an obsession for me back then. I spent almost every dollar I had on CDs, and I spent hours each week going over the same racks in the same stores, waiting for something I hadn't heard of to suddenly turn up and blow my mind. And of course I used to read magazines, and music stores were huge, multistoried places in 1998. Both business sectors have seen a bit of a decline since then.

In the past few weeks, I've had exactly two notices that Heligoland was coming. The first was an article that popped into my RSS feed reader a few weeks back, just one article out of the hundreds of feeds I follow, so maybe I'm following the wrong people, and one tweet from a friend today, which reminded me to look into it. All that information consumed daily, and music just isn't on my radar anymore. Go into a store and chances are you're not looking to buy the stuff being promoted on the big displays. I honestly don't know who buys most of that, because the kids who love it are probably listening to it off YouTube for free.

The first time I heard that kids use YouTube as a sort of on-demand radio, I didn't believe it. How could they possibly settle for such crap audio quality? Then I remembered all the articles I'd read over the years, each one more urgent and alarmist than the last, claiming that MP3 compression was going to ruin our ability to appreciate proper music. Last year it finally happened. Someone claimed to have evidence that young people prefer the imperfect sounds of digital music to uncompressed audio.

The state of pop music is part of the reason why I can't keep up with news anymore. It's too hard to browse those racks, too much chaff to separate from what I might want. If I subscribed to a general feed, that's probably going to be another 50 headlines I'd have to scan each day, to find maybe one item of interest every couple of weeks. My tastes have obviously changed (narrowed), and I'm not likely to care about most of the things MTV or Pitchfork covers. I just want a site that will tell me, old man that I am, when a new Massive Attack or Tricky album is near.

Wednesday, February 10, 2010

Two points relevant to my last post about ebook and iTunes pricing

1) Lifehacker recently ran a poll on how much people were willing to pay for an ebook, and only 5% agreed to go over $10. Most were happy to pay between $5 and $10.

2) Warner Bros. has revealed on their earnings call that sales growth for certain music tracks on iTunes slowed after prices were raised. What seems like common sense is apparently a mystery to music executives.

Monday, February 08, 2010

Why the $14.99 Ebook is a Tragedy for Reading

Edit: Inserted an extra paragraph before the last one, 20 minutes after hitting Publish. Sorry about that.
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I couldn’t believe my girlfriend was oblivious to the huge row between Amazon and the publishing houses of Macmillan, HarperCollins, and Hachette. Until I remembered that, unlike me, she has a real job, and that the whole thing only blew up one week ago.

“The iPad was announced only last week? No way, it feels like two weeks at least!” I said, not realizing that the constant reading of similar news stories can cause a retardation of time (amongst other things).

If you haven’t caught up on Amazon’s ebook troubles, this post by John Scalzi will serve as an excellent primer.

Short summary: Amazon used to sell ebooks at a near-standard price of $9.99, reportedly at a loss on what they paid the publishers, to help sell more Kindles.
Monkey wrench: Apple’s iPad bookstore will reportedly let publishers set their own prices, which will be $14.99 for most new books.
Result: Publishers have started to push Amazon to raise its prices, obliterating the Kindle’s price advantage.

There are reasons to be upset about all this, of course. Do I think the publishing industry is being extremely greedy, short-sighted, self-important, and ignorant of how much their situation mirrors the mistakes of the record industry not so long ago? Yes, I do.

According to multiple sources, selling ebooks at $14.99 will net publishers the exact same profit as having Amazon sell them at $9.99, because Amazon sold them at a loss. This price increase to the consumer is being sold as a solution to what Rupert Murdoch has called the ‘devaluation of books' (at the $9.99 price point), and the competition that ebooks pose to hardcover sales.

Linking price to value is a pretty poor argument when it comes to books. Take anything else, say clothing – if Armani shirts were being sold for what they really cost to make, as opposed to the price commanded by the brand, sure, you’d see those suits being devalued real quick as everyone started wearing them to the supermarket – but books are a special case in media because of the public domain.

Not too many audio recordings or films exist in the public domain, but being an older medium, lots of books do. Great Expectations and Moby Dick are completely free downloads from Project Gutenberg. I wouldn’t call them devoid of 'value' in any sense of the word. Their being freely available doesn’t hurt sales of physical printings either. This Penguin Classics edition has a retail price of $15 (discounted to $10.20 by Amazon). These are some of the best books ever written, available free for reading on nearly any digital device, and still millions of copies are moved each year.

One aside: imagine if MacMillan started to dictate the prices at which Amazon and other bookstores could sell their physical books too. It would mean the end of discounts. Also consider that if one wanted to boycott the modern publishing industry completely, it would not be to the detriment of his reading. At last count, over 20,000 books in English reside on Project Gutenberg. Refusing to pay for music and movies, however, would leave one largely at the mercy of free-to-air radio and television programming; quite the inverse experience from book-reading in terms of quality.

Given that they enjoy no increase in profits, it can hardly be argued that these publishers are seeking to cover the increasingly high costs of producing and editing new material, or to subsidize a supposedly shrinking physical books market with ebook sales. My guess is that a sense of wild fear and uncertainty drives these decisions, and artificially pricing these ebooks high is the only way they think they can convince an uninterested public of their worth. But that’s not true at all. People buy books, at the right price.

$14.99 is not the right price.

Apple knew something the music industry didn’t when it launched the iTunes Music Store: the right price. As the store grew more popular than any of the labels expected, their despicable instinct was to milk these new customers. They began to demand variable pricing schemes in place of Apple’s fixed price of 99 cents a track. Variable pricing sounded like a nice idea; new songs would cost more than old songs. What they really wanted was for most desirable songs to cost more than 99 cents, and have a few old crap songs nobody wanted at bargain bin prices. Steve Jobs held them off for six years until the industry agreed to sacrifice DRM in exchange.

Apple understood the psychological appeal of a low, fixed price. The music guys couldn't even understand the meaning of the money that came in from Apple each month. It amazes me that people who essentially failed to sell their own product could presume to meddle with a successful strategy someone else had come up with. Would you know it, that’s exactly what the book industry is doing right now to the people who sold a shitload of ebooks for them. And they’re succeeding.*

Everyone knows the argument: ebooks cost almost nothing to copy and distribute, whereas pulp, ink, and an entire mechanism of printers, transporters, and physical stores exist to put books in our hands. That’s what gives a book value for most people, exchanging $14.99 for a piece of work in front of them, not an artificial price on a digital file they can neither keep forever not share with friends and family. People expect ebooks to cost less, the same way they expect a pizza to cost less if they drive up to the outlet and pick it up themselves instead of having it delivered. Instead, we’re getting a flavor pill that only tastes like pizza, delivered to our homes for the same price as a real pie sold down the street.

That the publishing guys are able to ignore the threat of piracy is even more worrying. Once a book is scanned and processed into raw text (a trivial task these days), it’s even easier to distribute than an MP3 or movie. It literally takes seconds to shoot a novel of a few hundred kilobytes across the net; paste it into the body of an email, and it can't be stopped. It seems to me that people are more likely to illegally download an overpriced book than a 99c song. Especially since almost half of all books bought are never finished.

Now, it may appear that consumers took to the idea of buying and listening to digital music fairly quickly, which no doubt gives publishers the same hope for switching people over to a higher-profit digital medium. But the transition to digital music didn't start with MP3s, it happened over a period of 20 years with the audio CD. Hungry to earn repeat sales on records they already sold once or twice, the industry weaned us off turntables, vacuum tubes, and cassettes. They got us used to the idea of digital reproduction, and even convinced most of its superiority. By the time MP3s arrived, an entire generation that never knew the warm sounds of analog reproduction was ready to embrace them, and eventually even pay for quite a lot of it.

The fraction of music lovers who clung onto vinyl will look like nothing compared to the majority who will continue to prefer real paper. A lot of us read off screens every day, but it seems most don't want the same experience when curling up with a novel. Even if we were to get used to it, there's still the problem that reading is more prevalent in the older generations, who won't jump to pay a couple hundred bucks for a fancy reader.

For those reasons, I don’t believe real books face any significant cannibalization from ebooks in the near future. If anything, the number of actual readers will increase with ebook sales. And the more people read, the more they make recommendations to those around them. Invariably, some of those whispers will result in the sale of real books.

Should this hold true, the initial cost of producing the content will continue to be shouldered by the process that creates paper books, as it always has. Real books can continue to be sold at their traditional price points. This leaves the sale of every ebook to be counted as pure profit. The day when major publishers put out new ebooks by noted authors without physical counterparts on store shelves, we’ll reevaluate.

Pricing ebooks prohibitively high does nothing for readers in general. If successful, the industry will associate the numbers $14.99 with the idea of reading a book on a device like a Kindle or iPad, the same way we now think of songs on an iPod as costing 99 cents, only less attractive. When digital music went mainstream, it was with Napster. Legal alternatives came later. Because it's the opposite for digital books, assuming the whole thing even takes off, how many will know to venture past the virtual display shelves and over to the free public domain section?

Ebooks should be seen as alternatives, for those who don’t need or possess the means to house a large library of battery-free, device-independent books that may someday be passed on. We will buy these digital editions on impulse, out of fleeting interest, on the insistence of friends, from the comfort of our Sunday beds, or in the midst of long journeys, perhaps as other books are closed and some aching gap remains, or when we can no longer wait for a final installment, and consequently we will as a species read more, and our society will be the richer for it. In exchange for acknowledging their impermanence, we will hopefully be charged a fee more like a rental, and less like a scalping.

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* As to why Apple would play a curveball with the book guys and give them miles of rope to hang themselves, see Matt Buchanan's post over at Gizmodo: Why (and How) Apple Killed the $9.99 Ebook.

Tuesday, February 02, 2010

The New Apple





There's a phrase that tends to pop up in conversations about the latest divisive move from Cupertino: "the new Apple". There’s always a new Apple that threatens the way things have been, or turns its back on a loyal segment; doing something other than what we, presumably desirable, tech-savvy customers want for our money.

Lately, it's been the iPad and its being in bed with the iPhone OS when we’d already arranged for a marriage to Mac OSX. It's a computer for grandparents that will have severe implications for their grandchildren’s ability to grow up into the kind of curious, tinkering hackers who poke their noses where they don’t belong and thereby discover new and better ways to write software and build hardware and renew the flattened spirit of progress, thus we are destroying the circle itself!, the naysayers charge, gasping for air.

With the iPhone model, software developers leave Apple a cut of every sale on the sides of their plates, while suffering the indignity of letting the publisher have final veto rights. Tinkering and sales aside, the goddamned thing wants to be a computer but has no multitasking! – This is the work of the new Apple.

When new MacBook Pros were released with the same glossy, reflective screens as consumer MacBooks, pissing off graphics professionals who needed color accuracy and glare-free visibility in daylight, that too was the new Apple. The new Apple ditched PowerPC chips for Intel's, after trumpeting the former's superiority for a decade; the new Apple said no removable batteries for any portable device, too bad if you have a 20-hour flight; the new Apple also developed an odd nippled mouse that stopped scrolling after just months of use, ironically named after an unstoppable cartoon character; the new Apple resembles the Orwellian state in the old Apple's '1984' ad, year after year.

The truth is, of course, that there is no new Apple. The ones who talk about it, imagine it, are mostly from a core of computing enthusiasts and creative professionals who have had love affairs with their Macs from before the second coming of Jobs. When consumers flocked en masse to cheaper PCs, they stayed with the ship and played music like nothing was happening. And edited video. And designed layouts. And touched up photos. The creative industry stayed with the Mac because it had the best software for their needs. Over time, they made the platform their own.

Theorists might point to Jobs' return and subsequent introduction of colorful, family-friendly iMacs as the day when new Apple began, but only because of how long it had been since Apple last produced anything of interest to the public. If anything, the new Apple was born right after the Apple II.

Designed to be a computer for the everyman, the first Macintosh was built on the the same fundamental principles as the iPad 26 years later. Intuitive to use above all else, thanks to new technologies: a mouse then, multi-touch now. Resistant to tinkering: both are sealed with limited options for expansion. The inexplicable absence of features that might have been trivial to add: a color screen and hard drive on the Mac, a camera and multitasking on the iPad. Both were doubtlessly shaped by the idiosyncratic tastes and insights of Steve Jobs, whose involvement and personality defines Apple to the point that the idea of a 'new' direction seems flawed. It has always been Steve’s way.

Professionals need to believe that because they kept the company going for much of the 80s and 90s, their needs are still important to it. But the Mac Pro is the last remaining concession to this group of customers. It's the only Mac that can be upgraded, and to which more than one non-glossy display can be connected for serious graphics work. Ever since the explosion of Mac use in the home, with the help of iLife and iWork as key selling points, the face of Apple has changed. If I'd asked you ten years ago to describe the Mac for me, you'd have said "used by video editors and designers". Chances are, that’s not your first thought today.

I don't suggest that Apple is leaving professionals out to dry, obviously the segment is still extremely important for the brand's prestige and these customers are useful for pushing engineering efforts into things like octo-core and 64-bit computing, all of which eventually trickle down to the consumer products, but there have been bumps in the road to show that the company's attention is slipping now that it's gained the widespread consumer adoration it has courted all along. Case in point: the recent debacle over the MacBook Pro's downgraded SATA interface. By the way, we've reached a point where the Pro products are bought by regular consumers just because they look cooler or carry more status. It was a recognizable trend by the time MacBooks sold out at a premium price just for being painted black, and it made a sort of poetic sense when the unibody aluminum consumer MacBooks morphed overnight into 13" MacBook Pros earlier last year.

With the help of pundits and analysts who, at best, bat a little over 50%, it's all too easy to fall into the trap of thinking you know the game plan, which is how all 'new Apple' complaints begin. If you want to know what the new Apple is liable to do, just ask if it's something the common man will understand, notice is missing or broken, and still buy the hell out of anyway. Just like the first floppy drive-less Macs, less-space-than-a-Nomad iPods, and 2G-only iPhones.

Saturday, January 30, 2010

Fear of a Pad Planet

There’s been a certain reaction to the iPad from some quarters of the tech-inclined community, inspired by the belief that the device signals a shift towards a new form of computing that old people can finally understand. That reaction has been fear and apprehension.

It begins by looking at the iPad as a better personal computer for the majority of people. After all, it surfs the web, does email, plays games, and that’s what most people do with their computers most of the time, right? Better yet, it does all of these things without a long boot-up sequence, viruses, and confusing computery concepts like a filesystem, administrator rights, directories (recently renamed folders for these same people), registries, multi-step installation procedures, and the list goes on. Parents will finally stop calling us for help with strange error messages, and we will forget that it was ever hard.

But if people start to prefer the iPad and its descendants to ‘real’ computers, so the argument goes, then we will have robbed the next generation of a basic foundational understanding of computers. Because there will be no tinkering in Apple’s clinical workshop, they will never see the crucial workings of a program beneath its simplified user interface, and we will not have people to build the next Google, YouTube, or Bittorrent. The iPad/iPhone were built to enable end-users to consume content, and so it must be that creativity stands to suffer.

As I wrote yesterday, I currently see the iPad as a great way to access information and interact with media, freed from the physical contraints of an iPhone’s smaller screen and shorter battery life. Apple sees it, quite necessarily, as something more*. Which is why they built iWork productivity apps and demonstrated Brushes, an application that lets the large screen be used as a drawing surface for artists.

Offering a new breed of computer to an older person and seeing them take to it with joy and wonderment, as opposed to frustration and confusion, is a wonderful image and what the industry should work towards, but just because a filesystem is obscured doesn’t mean the curious can’t get to it. One might argue that jailbreaking an iPad is no different from the things people did to their computers in the past. There will always be unauthorized tools for messing around, and one day you may even be able to write, compile, and test code for an iPad on the thing itself. I wouldn’t worry about the younger generation of hackers.


My parents online
I want to talk about two tasks I’ve observed my parents and people their age doing on their computers.

1 – My mother mainly works with email. She receives documents relating to her church activities, which she must save locally before editing and sending them out again to other members of her group. She organizes these files in folders, which are really good metaphors that she understands, and often keeps multiple dated versions.

Of course, the iPad of today can’t save email attachments for working on in the Pages word processor. One day it will. But that sort of management is bound to increase the level of complexity. Lists of documents, tags or folders, deleting and renaming, and so on. I thought of introducing her to Google Docs, which would let her work with live documents in the cloud, and even collaborate in real-time with her friends. When changes are made, instead of emailing a copy of a document to other people, she would only have to send invites to view the document online. The iPad would work well with that approach – no local storage necessary. The responsibility and blame for any complexity is passed off onto the web service provider, in this case Google, leaving the iPad’s reputation to remain spotless.

2 – My father (and other fathers I hear about) likes to download videos off YouTube for later viewing, both on the desktop and on his iPhone. These are usually music videos and funny but horrifying accidents. This requires using a program or website like KeepVid to save them locally, and then often another program to re-encode the clips for use on the iPhone.

I believe saving videos off Youtube is a copyright gray area that Apple will never touch by sanctioning an app that exists to do it. Music videos are often removed from Youtube when found to be unauthorized uploads, which might explain the compulsion to save them. But even if they stayed online, is streaming instead of saving an ideal solution? That’s a lot of wasted bandwidth, and what if they want a Taylor Swift video or two when traveling by air? Apple will never allow the Youtube app to save video and compete with the iTunes store.

Both of these scenarios and their cloud-based natures highlight the need for increased openness and cooperation on the web. If we can’t have open computing systems, then we need an open internet to take its place. My mother’s friends shouldn’t all have to have Google accounts to access her shared documents, and Youtube shouldn’t have a monopoly on streaming video just because the iPad comes with an app built-in. The widespread adoption of HTML5 video in lieu of Flash would be fantastic, and remove the need for a native Youtube viewer. Likewise, online storage accounts like the ones offered by Dropbox and Microsoft Live Mesh should be able to trade files and work together. Productivity and content creation services should have a way of talking to each other across networks.

I like Google Wave’s implementation of federated servers. You can run your own private Wave system, really make it your own for whatever purposes, but the underlying protocol can communicate with every other Wave server if/when you need it to.

If that kind of openness were applied to all other services, companies would stand to lose their ‘stickiness’, but they’d surely find other ways to retain users. Should a landscape of interoperability and sharing ever come to pass in every corner of the web, it would be to the benefit of us all. How fitting, then, if we were steered in that direction by the threat of having to work on oversimplified computers.

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With apologies to Public Enemy for the title.

* When Nintendo first launched the DS in 2004, they called it a "third pillar" to allay fears that the company was going mad and replacing its popular and very profitable Game Boy Advance series with a risky touchscreen experiment. The DS went on to become a huge hit, accelerating the GBA's demise and eventually becoming their main handheld product. You may wish to see Apple's positioning of the iPad as a similar play: someday it may overtake the MacBook completely.

Friday, January 29, 2010

Alex Payne on the iPad

Alex Payne, in a widely-linked article, wrote today that:
The thing that bothers me most about the iPad is this: if I had an iPad rather than a real computer as a kid, I’d never be a programmer today. I’d never have had the ability to run whatever stupid, potentially harmful, hugely educational programs I could download or write. I wouldn’t have been able to fire up ResEdit and edit out the Mac startup sound so I could tinker on the computer at all hours without waking my parents. The iPad may be a boon to traditional eduction, insofar as it allows for multimedia textbooks and such, but in its current form, it’s a detriment to the sort of hacker culture that has propelled the digital economy.

As far as I can tell, Apple never intended for young Alex Payne to access the Mac's startup sound any more than they intend for a future programmer to hack an iPad's filesystem and do some tinkering of his own tomorrow. Sure it's harder with DRM and encryption, but we're united by the internet these days, and breaking those walls down has become a group effort. No young hacker today has to learn alone. We change with the territory and so nothing has really changed at all.

The Causes of iPad Disappointment



Letdown. Disappointment. Anticlimax. These words have appeared in nearly all the first articles written about the newly unveiled Apple iPad, barely a day old in the world. The reasons are not entirely important in the long run, but many of these stories themselves will admit that expectations were raised beyond reasonable levels, that Apple had no hope of impressing everyone the way they did in 2007 with the first iPhone. This environment of fanciful conjecture and presumptuous theorizing was the result of an industry’s decade-long fascination with getting the idea of a tablet computer to stick – seemingly against the wishes of the consumers meant to buy them – and the belief that Apple can succeed where other companies embarrass themselves. They’ve done it before, after all.

It never helps that Apple says very little about what it’s got until it’s got it. The veil of secrecy provides theatrical levels of entertainment at every event; charged affairs where people whoop and whistle from the moment Jobs takes the stage. As press conferences go, they overdeliver. But on the eve of events as the iPad’s debut, such enthusiasm cuts both ways, and the company is left with the unenviable task of managing expectations without any direct communication – a task that has become increasingly hard over the past few years.

In the beginning, Macs were a relatively quiet business; high profile products that most people saw but never considered owning. The success of the iPod energized Apple’s public image, and eventually sensational moves like the decision to cancel its hottest product, the iPod mini, in favor of an impossibly innovative new replacement, raised the bar not only for its hapless competitors, but for the company itself. Even then, the shifts from small to smaller iPods with color screens where black and white displays were once standard, were no indication of the iPhone’s shape or form before January 2007. That device’s unprecedented introduction, so many orders of magnitude beyond what had been expected of Apple (a phone that played music, and that wasn’t as ugly or challenged as the Motorola ROKR, would have sufficed for many), changed the pre-event guessing game forever. Do one magic trick, and you're always going to be asked for more.

Consider that at the time of the iPhone’s release, touchscreens were not a new technology. Palm’s PDAs and countless phones running Microsoft’s Windows Mobile operating system had touchscreens for years, and were fairly well liked. Yet as the tech world watched Steve Jobs scroll a contact list with a flick of his finger, it was impossible to make the connection between that and the experience we had become accustomed to. The older technology, resistive touchscreens, required styluses or fingernails, with scrolling conducted with bars that were clicked and dragged. A series of small innovations (capacitive touchscreens, direct contact momentum scrolling, and a smoothly-animated graphical interface) combined to redefine the way we expect to interact with handheld computers today. It’s a classic Apple play: refine existing technologies, add advancements in software, and produce an entirely new class of product.

Given the rise of ebook readers like the Kindle, and the continuing efforts of PC makers to fashion smaller and cheaper computers from low-power CPUs like Intel’s Atom, it was only natural to think that Apple would soon do the same for the popular netbook category or a tablet*. It would be another game changer equal to or greater than the iPhone, we began to hear. In the days leading up to January 27, a quote attributed to Steve Jobs was circulated, to the effect that the tablet would become his greatest achievement. John Gruber of the Daring Fireball blog predicted that Apple was ‘swinging big’ with a new product that one would buy instead of a laptop. Others dreamt of new multi-touch interfaces that would further bury Microsoft’s second stab at tablet computer, shown to be an HP “slate” running Windows 7 without any modifications that might make operation with a finger possible in lieu of a mouse. In all fairness, many of these outsized rumors were based on the presumption that the tablet would cost up to USD$1000. What could possibly cost that much, close to a full computer, except a full computer? It would be ironic if the thousand-dollar figure was leaked by Apple to increase the impact of the final $499 price point, only to backfire by raising expectations.

These pre-announcement assumptions by enthusiasts and tech writers are now par for the course, as are the disappointments that follow each new product revelation. The iPhone 3G largely met expectations because it corrected the one deficiency that kept the original iPhone from greatness**: the speed at which it accessed the internet. It also coincided with the opening of the platform with the iPhone SDK, which led to the app-happy state of affairs we now enjoy. Regardless, complaints about the low resolution camera, unremovable battery, etc. continued to get a public airing.

Last year’s iPhone 3GS was roundly criticized for being an unexciting upgrade, retaining the same looks as its predecessor with little more than a megapixel and speed bump, effectively delivering the previous year's expected iPhone but late. It went on to become a huge success. The buying public is immune to disappointment, it seems, perhaps because they don’t read blogs that sell them pipe dreams.

The iPhone 3GS announcement, and the internet’s lukewarm reactions to it, would be a good analogy for what’s happening with the iPad, except nobody hoped for the next iPhone to summarize a decade of engineering efforts. Like the iPhone 3GS, the iPad initially appears to be an evolutionary product, being based on existing technology Apple has repeatedly shown in public. It's faster and more powerful, but not radically different from known territory. At first sight, it's hard to imagine what the changes mean in actual use. You might think you can live with the old model and how things used to be. That's a shame.

Apple is positioning the iPad as a third pillar in their portable product lineup: more than a smartphone, less than a laptop, yet better at some things than either of the other two. This instantly invalidates the idea of buying one “instead of a laptop”. Clearly you are meant to have both. It syncs with a Mac or PC the same way an iPhone or iPod does. It’s a secondary computer, but it’s also an appliance (see Farhad Manjoo’s articles on Slate.com - here and here).

It sends email, it plays games, and it will be fantastic for Twitter, but in my opinion, the iPad in its current form holds the most value as an interactive document, or to use a term repeated many times last night, an ‘intimate’ way of experiencing media. Despite having no plans to purchase a Kindle DX or similar reader I suspect that I will fall in love with the thing the moment I hold a book-sized slice of full-color webpage in my hands. As Manjoo writes, “Everything about it—its size, shape, weight, and fantastically intuitive user interface—feels just right.”

With the first iPhone, Apple understood that touch interfaces are an emotional experience. Pressing the pad of your finger to a virtual page (in Eucalyptus, for example) and turning it fools some part of the brain that isn’t dedicated to understanding a screen is not the same thing as paper. It’s satisfying, even though a facsimile of a real experience. It’s more realistic than using a fingernail, which one never applies to a real page, and more personal than a stylus. My guess is that if capacitive touch of that quality wasn’t available, the iPhone project would never have gotten the green light.

I submit that the iPad takes one more step towards solidifying the illusion of digital media with real, physical presence. It’s not just a bigger iPhone, it’s an iPhone big enough to pass for a printed page and fool your mind. A frame that holds websites with long-form writing, augmented with video and animation, that we can hold lazily, effortlessly, in our hands or laps like the glossy magazines or newspapers they approximate, is nothing short of magical, to borrow another marketing word. If the iPad became transparent like a slab of glass when turned off, wouldn't be exactly like the science fiction movie ideal of a portable computer? Don't you want to live in the future? I say use your imagination.

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And yet more frustration sprang from the absence of anticipated features, some of which are explained by the iPad’s positioning as a third pillar, while others invite more guesswork and predictions. Q. Why doesn’t it have a camera? A. It’s not for photography, and videoconferencing is the realm of a phone. Q. Why doesn’t it have USB ports/connect to an iPhone for syncing and tethering? A. It’s not a primary computer. Q. Where’s the multitasking and improved notifications? A. iPhone 4.0?

I believed that an update to the current iPhone OS, version 3.2, would be announced during yesterday’s event, which didn’t happen. As we know, the iPad runs a version of the OS with this number, but for the next 60 days it’s not something you can buy. That gives a 60-day window to expect iPhone OS 3.2 to be released for existing iPhone users. Will this bring some of the iPad’s new features to the iPhone, like the iBooks reader and iBookstore? My guess is no. These will remain exclusive iPad features for the time-being. In that case, iPhone OS 3.2 might only bring a few bugfixes and trivial UI enhancements. I believe Apple is already looking ahead to iPhone OS 4.0, to be announced in the March-May window, and released in concert with the next iPhone model. Improved notifications are a must, and I’m fairly confident they will be present.

The other concern, third-party app multitasking, is far and away the number one demanded feature for the iPhone OS amongst people I know, but I’m becoming ever more skeptical that it will materialize. Apple has invested heavily in push notifications as an alternative, too much for it to be merely a stopgap measure. With the iPad, which Apple is attempting to push as a viable machine for occasional work (more than a smartphone, less than a laptop), the lack of multitasking is even more apparent. If I’m writing a document in Pages and need to move back and forth quickly between a website, email, and a notes app from which I might want to copy information, iPhone OS 3.x requires me to switch in and out of the Home Screen each time, closing and reopening the apps.

The non-multitasking answer? Persistence and a quick launcher. iPhone OS 4.0 could enable a system-wide method for saving an app’s state (what you’re doing in it) when you quit, and having it restore upon the next launch. And according to Gruber, everyone who’s laid hands on it agrees the iPad and its new A4 processor are incredibly fast. Add that combination to a home button double-click that pops up a list of your last five apps, and you’re effectively alt-tabbing between running applications without the battery drain.

iPhone OS 4.0 will be a big deal when announced, whatever it actually does, and Apple understandably couldn’t show its features yesterday as part of the iPad. But because they share the same OS, it stands to reason that whatever the iPhone gains from here on out will also be on the iPad. Being that the iPhone is incredibly important to Apple and already accounts for 32% of smartphone profits worldwide while receiving rapid software development both from within the company and out, it’s inevitable that the iPad's image will soon evolve beyond that of an underwhelming giant iPod touch.

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* Legend has it that research for a "Safari Pad" tablet wound up becoming the basis of the iPhone, so it's possible that the universe is completely backward.

** It's worth noting that the original iPhone was also criticized for its camera, built-in battery, price, and not supporting third-party applications, Java, Microsoft Exchange, MMS, copy and paste, etc. despite being ridiculously ahead of the pack in terms of miniaturization, engineering, web browsing, media playback, and user experience. After three years, competitors have yet to match the software or browsing. Someday, the iPad's reception will probably be remembered in a similar way.

Wednesday, January 20, 2010

The Colonial Bar

The Colonial may be the oldest pub in Singapore you've never heard of. The historic structure in which it's housed, the Ellison Building on the corner of Selegie and Bukit Timah roads, was the tallest in Singapore (only two storeys!) at the time of its completion in 1924. It takes its name from the Jewish lady for whom it was built; no first name turns up in a search, but a green iron grille over one doorway still reads "I. Ellison". On Sundays, the two domed towers on its roof were used by British governors and their peers as vantage points from which the nearby race track could be observed. (1)


That much of the building's history has been recorded and can be found online without too much trouble. I'm trying to assemble a better picture, mostly from anecdotal information offered by the neighborhood's older residents, who've stopped by to check out the newly-revived icon, as told to the bar's current staff. My assumption is that the Colonial's current claim of being "established in 1924" is accurate, as it must have existed in some form to serve patrons such as the governor. Whether or not it continued to operate up until the Japanese Occupation of World War II is uncertain.


During the occupation, I am told the Ellison Building was commandeered by the Japanese army for use as one of their headquarters, which would make sense, given the proximity of the place to the Jalan Besar Stadium where the infamous "Sook Ching" screenings and executions took place. My knowledge of this period in history is regrettably weak, not having been fortunate enough to watch any of Channel 8's many Chinese drama serials set during the war (2). In any case, I recommend reading the aforelinked article. As many as 100,000 people are said to have been killed by the Japanese in a matter of weeks, with one source claiming 30 million victims throughout Asia.


When asked to confirm whether the Ellison was indeed a Japanese army HQ, my grandmother replied: "We were too busy hiding and trying to survive then to pay a visit to the Japanese headquarters." In my opinion, there was no need for the sarcasm; I did ask nicely.


At some point after the war, the Colonial was resurrected and was known to have been in business at least between the "60s and 80s", according to the current manager. I can attest to not having seen the bar during any of the years where I shuttled up and down Bukit Timah on my way to Sim Lim Square, which is to say all of the last decade. If it was, it stayed hidden behind the signage for an Indian eatery and a second-storey roach motel for backpackers. This post-war period is where most of my questions about the Colonial are concerned. Does anyone remember it? Under what circumstances did it close? On October 24 2009, the newest version was unveiled with little fanfare, incongruously positioned between a decaying Indian newsagent and a tactical military equipment supply store. Diagonally across the street, another remodeled local icon, Tekka Centre, is now a floundering mall called The Verge.


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The first thing one notices is the snazzy, illustrated logo of a helmeted British army man on the signboard and on posters throughout the premises. These materials have obviously been designed with some care and effort, although they are not at the level of say, Leo Burnett's work for the Ya Kun Kaya company (3). Several large LCD television screens display a mix of live sports and insipid cable fare such as Ellen DeGeneres' talk show, while the music is the kind of radio-derived playlist one might expect to find Jason Mraz and Norah Jones on. Volume levels are conversation friendly.


Few colonial touches are present in the decor scheme, if you count the black and white floor tiles arranged in a loose checkered pattern, but for the most part it's comtemporary with strange design contradictions. The black bar counter is sleek and frames a liquor shelf dramatically lit from above, but other furnishings are on the cheap side. There's a pool table, foosball table, and touchscreen games machine in an adjacent wing, which is what you'd expect in an above-average pub, but the roof doesn't fully extend to cover this section. You actually see trees and the sky above, while an intact original spiral staircase winds its way through like some ancient tree embraced by a hippie boutique hotel built around it. No doubt, the place has a charm of its own, but it's raw while trying not to be. I sense the hand of a younger entrepreneur behind all this, which leads to interesting questions like, "Why bring this bar back?", "What's their connection to the Ellison?", and "Ellen DeGeneres? Really?"


But we could sit here all day talking about aesthetic details and whether or not the specter of colonial rule makes this an appropriate place for a foreign man to be seen with a local woman, or we could talk about how absolutely cheap the booze is. My friends, it is CHEAP. When I first wandered in a week ago, Happy Hour (till 8pm) prices were an incredible $15 for two jugs of Tiger beer. That's draught beer, and yes, one jug (four glasses worth) for $7.50. They can't keep this up, I screamed aloud, they'd be crazy to sell drinks at these prices! And so when I returned today I found that they're not crazy, just a little unsound. The new Happy Hour deal is a single jug for $11, which is still cheaper than any hawker center or kopitiam I can think of. For context, that's less than the cost of a pint in most bars where you'll find white people drinking today. Colonialism is dead, long live the Colonial!


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(1) According to a 2007 article at JewishExponent.com, and the Singapore Tourism Board's Little India website.


(2) I hear The Little Nyonya is a good example, if one were so inclined.


(3) Full disclosure, one of my former bosses worked on them.

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Edit 8/2/2010: This is Google Street View's photo of the corner before The Colonial:

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