|Too much screen time?|
|Camera: SONY DSC-RX100M7 | Date: 28-07-2021 06:25 | Resolution: 4939 x 2469 | ISO: 400 | Exp. bias: -1 EV | Exp. Time: 1/30s | Aperture: 2.8 | Focal Length: 9.0mm (~24.0mm)|
Is this what they mean by “too much screen time”?
|Too much screen time?|
|Camera: SONY DSC-RX100M7 | Date: 28-07-2021 06:25 | Resolution: 4939 x 2469 | ISO: 400 | Exp. bias: -1 EV | Exp. Time: 1/30s | Aperture: 2.8 | Focal Length: 9.0mm (~24.0mm)|
Is this what they mean by “too much screen time”?
|No Middle Way...|
|Resolution: 595 x 368|
A study in UX atrocity – the Mercedes Benz COMAND SatNav
I drive a 2011 Mercedes. Like many of its brethren, most of the vehicle is a demonstration of engineering excellence: smooth, efficient, safe and smart (in both senses of the word). Its controls are clear, precise and beautifully weighted. The intelligent brake and start/stop systems are almost telepathic once you get used to them.
But there’s a fly in the ointment – the appalling COMAND SatNav system. It does have a comprehensive UK address database, and will get you close to where you want to go, but that’s about the best which can be said for it. The user experience is atrocious, to the point where one wonders if it was considered at all.
The problems start with the routing algorithms. If it can, the car will recommend a route using motorway-class roads to the maximum extent. That’s fine, but it will then pursue that strategy to ridiculous extremes. Get off the motorway a junction early, and the system will determinedly try to re-route you back on, even if there’s a direct main road from your current location to the destination, and rejoining the motorway would add many miles.
However that pales in comparison with what happens if you either select a non-motorway route, or despite its best efforts the car really cannot find one. Plan B is to impose strict optimisation for distance. This ignores quality and size of road, the number of junctions and all similar considerations. There may be a direct route on a fast dual carriageway main road, but if the Domesday book mentions a cart track which saves a few metres the car will try and take you down it instead.
On one occasion this led me off Dartmoor on a dark November evening down a road with a 100m stretch narrower than my garage, with high granite walls on both sides, both front-end proximity sensors sounding continuously. Recently we had to get from the A4 to the A36, both substantial main roads which link together on the edge of Bath. The SatNav found an alternative – using single track roads and an ancient toll bridge for which we had to hand over £1 in cash!
None of this would matter if there was some way to set your optimisation preferences. Well the COMAND system does, sort of. It actually provides four routing options:
There are also a few "Avoid" checkboxes which you can add to the calculation. "Avoid tolls" might be useful (but see below), most of the others don’t apply in the UK or near continent. I’m not even sure what a "vignette obligation" is – do I have to stop to take a photograph with dark corners at regular intervals?
The options really don’t help much. Instead of aggressive optimisation for distance why not road size/quality (which you can easily estimate in the UK from the letter in the road number) or the expected speed based on speed limits?
To add insult to injury COMAND does recognise some restrictions, but at random. When travelling from England to Wales it always asks about trying to avoid the Severn tolls, no longer in operation, which would mean a 50 mile detour off the very direct motorway route, but it didn’t ask in advance about the active toll in Bath. After yet another cart track, when we programmed in our route back to hotel it had the bloody cheek to ask "your destination is in an area with restricted access do you wish to continue?" The only challenge turned out to be the hotel gate which is a good 2.5m wide, a clearance of at least 30cm either side of my Mercedes, neither proximity detector triggered. My wife has started to anthropomorphise the system as actively mischievous.
Other UX issues are equally frustrating. You can only turn off voice guidance by a long press on the mute button while it’s actually speaking. Once off there is no way to turn it back on without cancelling and re-programming the destination. Surely it ought to be possible to provide a menu option to just turn the voice on and off?
At least the navigation function’s voice is a pleasant female with a clear British accent, who can correctly pronounce most English place names and will have a decent stab at Welsh ones. When speaking she gently fades the music and restores it afterwards.
She shares the box with the traffic warning "lady". I assume this second voice is also meant to be female, but it sounds like Stephen Hawking having a fight with a Dalek. She abruptly buts in, just silencing the music, and her attempts to pronounce UK place names are scary. Reigate (pronounced Rye-Gate) comes out as "Ree-a-gaa-ter", anything more complicated is unrecognisable. The best is probably the motorway between London and Southampton, the M3, which is renamed the "cubic meters"!
As a software architect I find it shocking that a closely related pair of systems, which do collaborate to adjust routes around traffic problems, ended up with two separate text to speech systems, a good one and an appalling one. How on earth did this mess get through the first stage of Mercedes QA? As a user all I can do is wince and try not to be distracted from the road trying to understand the encrypted names of traffic locations.
[That said, this is a schizophrenic car in other ways. It can be a saloon or a roadster. It can burble along with the best of luxury limos, but push the Sport button and it releases a snarling monster which has to be actively restrained. Perhaps the dual personalities of Saint Teresa of the Sat Nav and Mad Traffic Tracy are just a further expression. It would have been the ideal car for Dr. Edward Jekyll.]
Two things are apparent. The "designers" of this system (using the politest term possible) either didn’t think about usability, or didn’t care. They then either refused to get independent testing and review, or actively ignored its results. One can only hope the same has not happened with a more critical but less visible system.
|Disasters and Dystopias|
|Resolution: 749 x 711|
There’s a darkly humorous meme doing the rounds:
It makes you chuckle, but it’s wrong. Firstly, I’m not sure even the most disheartened would actually claim to be living the events of The Matrix. Of course, there’s always the possibility that the machines have plugged us all into an artificial reality in order to harvest us as batteries, but [a] I’m not sure that’s the most efficient way of powering themselves and [b] don’t you think they would have chosen a more cheerful script to keep the batteries happy? However more importantly, there are some very real aspects of our current situation which have been foreseen on film, and they’re missing from the list. The list above are all great books or films, but they are a bit out of date. We need a new version.
So what version of the picture actually reflects where we are now? Which disaster and dystopian movies and TV shows have portrayed or predicted key elements of our current predicament?
Contagion. Tick, tick, tick. Zoonotic pandemic starts with bats interacting with food animals in China, and spreads quickly through international travel. Tick. R0 is about 3. Tick. Significant sectors of the world economy shut down. Tick. Healthcare systems struggle to cope, but the professionals keep going till they drop. Tick. Part way through new variants arise which are even more transmissible. Tick! Well-known figures publicise quack “cures” and sow discord, but meanwhile hard-working scientists develop a real vaccine. Tick. OK, it’s a flu not a coronavirus, it’s more lethal, it affects all demographics roughly equally, and the US is portrayed as a willing participant in the WHO, but otherwise it’s scarily accurate. Also, by and large America hasn’t yet suffered societal breakdown as a result of Covid, but the article is yet young…
On a more positive note since this isn’t the Zombie apocalypse, and we haven’t (yet) taken to bombing infected towns, Outbreak and World War Z are off the list.
While we’re thinking about heath care provision, there is a great action/conspiracy film about health care inequality: Elysium. We haven’t quite got to the stage where the rich have to fly their Bugatti air-cars up to an orbiting hospital to get the care their money deserves, but many of the trends are recognisable. Tick.
We are of course living through, and causing, another albeit slow-moving disaster: climate change and the Anthropocene mass extinction. You’d think that this would be a rich seam for film-makers to mine, but so far that hasn’t really been the case, although there are a few candidates. Medicine Man brilliantly portrays the wanton destruction of the Amazon and its biodiversity, and the effective war on its indigenous people. There’s the added poignancy that we know John McTiernan and the producers wanted to film it where he’d shot Predator, 5 years earlier, but that patch of rainforest had already been cleared. Tick. The Day After Tomorrow captures the causes and the political inertia we’re seeing, but so far it looks like the outcome will be more like the hot, dry world of Mad Max. There were a couple of decent TV Movies in the early noughties about climate-change driven extreme storms (Category 6: Day of Destruction and the rather more bonkers Category 7: The End of the World), but where are the films about massive forest fires, habitat loss, desertification and rising sea levels?
One related theme which has been well served is the risks around toxic waste, and the extreme corruption related to it. In my DVD collection there’s Fire Down Below, Sahara and Transporter 3, and that’s just scratching the surface. Even in The Dukes of Hazzard Boss Hogg’s skulduggery is in aid of a plot to strip-mine the titular county! I’ll take Fire Down Below as representative of the genre.
Set aside such wanton callous indifference, and deliberate acts of villany or terrorism, many real and fictional disasters are caused by bosses ignoring warning signs in favour of political or commercial expediency. In the “true life disaster” genre we have real examples such as Chernobyl and Deepwater Horizon. These are all brilliant, but if we’re sticking to fictional portrayals of current or near future risks they are probably excluded. While we haven’t yet got to the point where people are being eaten by theme park dinosaurs, Jurassic Park has this as a major theme, as does Rise of the Planet of the Apes. The latter also includes a major pandemic and the consequences of our mistreatment of other sentient species, so it gets a tick.
Thinking about theme parks, we can probably ignore Westworld for now, but Skyfire gets an honourable mention as we have, sadly, seen tourists killed while visiting an active volcano which erupted at just the wrong time. However I’ve excluded such as The Wave and Supervolcano which portray natural disasters which “will happen, we just don’t know when”, based on known science, but are not high on our current worry list.
Turning to the human condition, which is really the focus of the diagram above, which films most accurately capture current threats and trends? The new series based on Brave New World doesn’t really, although the concept of tourism to view poor people does ring a little true. However the previous film version of the story, Demolition Man is spot-on to a number of aspects of modern society, and a remarkable piece of futurology (detailed review here). Tick.
Minority Report scores on a several points. The police are using a AI and data mining (albeit with a group of prescient individuals) to try to predict and prevent crimes. People are tracked, surveilled and recognised wherever they go and then subject to a barrage of tailored advertising. We don’t yet have ubiquitous holograms, but otherwise many of the interactions look familiar. Tick. Surrogates accurately captures what may happen to humankind if we forgo direct physical interaction in place of the virtual, even if we don’t yet have the physical avatars it portrays. Tick.
AI is becoming a threat in its own right. Hopefully we’re still some way off the worlds of Terminator and Robocop, but we are developing killing machines with increasing remote and autonomous capabilities. We also run the risk of our own data being used against us. Let’s include Terminator Genisys, which covers both themes, and Eye in the Sky which deals with the moral and legal issues. After that you may be ready for some light relief: my favourite depiction of rampant AI, in a world not very far from our own, is the hilarious X-Files episode Rm9sbG93ZXJz. The challenges of being an analogue player in a digital world are the central theme of Johnny English Strikes Again, or the alternative version, Skyfall.
I’m not aware of a mainstream film dealing with the “post truth” world in which objective reporting is subservient to self-selected news sources supporting the rise of conspiracies and the extreme right, but it was handled well in the penultimate series of Homeland. Homeland also deals with other major concerns, including Islamic terrorism and the uncomfortable global interactions around it, and what happens when the upper layers of government cannot be trusted. Tick, even if it stops short of a right-wing mob storming the Capitol in an attempted putsch. Perhaps there is still a place for 1984 or Farenheit 451 in our list.
Let’s talk about the end of Trump, shall we? Personally I’d love to see El Presidente being hit by a meteorite or devoured by a velociraptor, but we don’t always get what we want. However there is a film which portrays the last days of an unstable tyrant unable to accept defeat, and blaming everyone but himself. Downfall. Tick. The US version of House of Cards depicted a US president wilfully corrupting the electoral system to cling to power, but eventually having to give way. It’s not quite right, as President Underwood is much cleverer, a skilful operator rather than a populist narcissist, and actually wants to do some good with his power, but it’s close enough. Tick.
So here’s my assessment of how our current state relates to all these disasters and dystopias:
Disasters and Dystopias
Is there any good news? Well at least we haven’t included Armageddon,Independence Day or Supernova. We can control or prevent all the ills above, although whether we have the will to do so is debateable, and time’s running out on climate change and deforestation, to the point where things may already be destined to get much worse before they get better.
|HaHa in the hotel room|
|Camera: SONY DSC-RX100M4 | Date: 11-06-2019 18:38 | Resolution: 5472 x 3648 | ISO: 640 | Exp. bias: 0 EV | Exp. Time: 1/30s | Aperture: 1.8 | Focal Length: 8.8mm (~24.0mm)|
A humble (or not so humble) hotel room may succeed in delivering a satisfactory service to the user, but it may also fail dramatically to do so. These failures suggest that the “designer” either hasn’t thought about the user at all, or has made some very odd choices. The results can be frustrating, amusing, even dangerous, sometimes all of the above.
How do the rooms you have stayed in succeed and fail?
In the following assessment, a perfect, unobtrusive hotel room would score zero. Points are deducted for annoyances, problems and perils.
All examples are real. I’m not making any of this up!
Let’s start with an easy one. Perfect zero is a couple of free power sockets just above or immediately adjacent to the desk. Wired networking is presented at the desk, WiFi works throughout the room.
Don’t get me started on WiFi…
Add points for all which apply. You may score on several criteria!
I know in theory what perfect zero looks like. Two lever taps, one of which sets the flow, the other of which sets the temperature with thermostatic control and a stop at about 40°C. Flow control is indicated by clear icons (e.g. 0 to multiple drops), etched in a large font and a colour which clearly contrasts with the metal. Temperature is indicated by blue and red dots or arrows, or maybe temperatures in °C. The handset or head is sturdily mounted about 2m from the base.
I may know what perfect zero arrangement looks like, but I also know what a unicorn looks like. In neither case have I ever actually encountered one.
[Sod’s Law: about 10 minutes after writing this I had a shower in a room at the Ramada Cwrt Bleddyn, near Newport in Wales. Shower arrangement exactly as described! Yes Jemima, unicorns do exist! Don’t celebrate too much, the room scored well under several other headings…]
Permit me to dream for a minute. Perfect zero consists of a large, powerful central light or cluster which fills the room with light, plus a selection of subtle spotlights or uplighters at key points. You can choose any combination, but you can then turn them all off, or back on to the previous settings, with two master switches, by the bed and at the door. If the room is genuinely dark once the curtains/shutters are closed and the main lights are off, there’s some form of very low level night light which includes the bathroom area, but you again have control to turn it off if required. A man can dream, surely?
|Limbo dancing into the bathroom, boutique hotel in Kent
|Camera: Canon EOS 350D DIGITAL | Date: 05-08-2007 08:25 | Resolution: 2304 x 3456 | ISO: 200 | Exp. bias: 1 EV | Exp. Time: 1/60s | Aperture: 4.5 | Focal Length: 22.0mm|
I can’t believe this needs to be a heading!
There is one UK hotel chain which promises you a good night’s sleep, or your money back. While I don’t think the rest actually have the opposite intention, it’s sometimes easy to become suspicious.
Some of these are amusing, some very frustrating. Several are severe enough to lose the customers a night’s sleep, when that has to be the most basic provision from a hotel. A couple have forced us to abandon the hotel and go elsewhere, even though we’ve already paid. A few are operational rather than design errors, or genuinely beyond the hotelier’s control. But the others represent sheer failure to think hard enough about the poor old customer’s experience, either through plain ignorance, or where some notion of “style” has trumped the very necessary substance of such provision.
The necessity for good design applies in many spheres. And good design, a good user experience, is about making things work, not look pretty.
|190917 RX100m4 01071|
|Camera: SONY DSC-RX100M4 | Date: 17-09-2019 16:44 | Resolution: 4650 x 3100 | ISO: 500 | Exp. bias: -0.7 EV | Exp. Time: 1/80s | Aperture: 3.5 | Focal Length: 25.7mm (~70.0mm)|
Something in the note on my desk this morning hinted that my day was not going to go quite as planned… 🙂
|A purple unicorn|
A fable, sort of…
The jester who wanted to be king asked the crowd “Do you want a purple unicorn?”
Almost half the crowd said “We are happy as we are, and we don’t believe unicorns exist”, but slightly more than half said “Yes please, we’d love one.”
The king wanted his people to be happy, so the king’s men spent three years looking for a purple unicorn. They spent much of the kingdom’s treasure, and annoyed many of the kingdom’s friends, constantly asking for unicorns which they did not have, because unicorns don’t exist. Other realms laughed at the king and his kingdom, and important matters in the kingdom went without attention.
Eventually the king’s men came back and said “There are no unicorns. We’ve found a nice horse we can paint purple and glue a fake horn on its nose, will that do?”
All those who had never believed in unicorns said “told you so”. Many of the others said “OK, we agree”. But others were angry, blaming those who had never believed in unicorns. Some were so obsessed with the idea of a unicorn that they wanted to shoot all the horses, just so they would not get a horse painted purple with a fake horn glued to its nose.
A wise king could simply have stopped the search, saying “unicorns do not exist”. A wise king could have told the crowd “You may vote again. But just to be clear, unicorns do not exist, so you are voting for a horse painted purple with a fake horn glued to its nose.” But the foolish king thought that the only important thing was not upsetting those who wanted a unicorn, so the search continues…
|Camera: Panasonic DC-G9 | Date: 16-11-2018 17:29 | Resolution: 3345 x 3345 | ISO: 800 | Exp. bias: 0 EV | Exp. Time: 1/500s | Aperture: 5.6 | Focal Length: 193.0mm | Location: Okonjima | State/Province: Okonjati, Otjozondjupa | See map | Lens: LUMIX G VARIO 100-300/F4.0-5.6II|
The last day of any trip is always a bit sad, and hard work with the travel. However this year three separate organisations covered themselves in something which is not glory, and I have to get this out of my system before I write the traditional tail piece for my blog…
As a bit of compensation, here’s a nice picture of a cheetah, feeling about like I did at 1am on Friday.
The recurring dysfunctional ingenuity of hotel designers never ceases to amaze me, and provides an endless supply of material for this blog. On our way back through Windhoek, we stayed at Galton House, which while still quite smart overall and in the communal areas, was probably half a notch down from the Pension Thule, where we stayed outbound. My room was a bit poky and had a couple of major challenges, including very noisy air conditioning, and an Iceland-class duvet (in Windhoek, in the summer!). However the worst fail was that it had one accessible power socket, to the right of the bathroom door, while the desk, the only place I could rest laptop and things on charge, was to the left of the same doorway. I therefore had to spend my stay with a power cable stretched right across the bathroom doorway, limbo dancing under it when I needed to use the facilities.
One wonders what sort of hotel designer comes up with a room with a desk, and no power socket on the appropriate side of the room. That’s up to the standard of the Calais hotel I once stayed in where the lift worked but the stairs were out of order (due to a 10 ft gap half way down.) Admittedly about 20 years ago I did stay in a hotel in England where the only place you could get simultaneous power and modem connectivity was in the hot tub in the middle of the room, but that was an adapted medieval abbey, and plain weird. Galton House is a smart new purpose-built venue. Not a clue…
And to add actual injury to potential injury, most of us had got the whole way around Namibia without many bites, and several of us, including myself, woke up covered in nasty little red marks. Blast.
I’m fully in favour of Virgin holding onto the "full service airline" concept when BA and others have abandoned it. However, if you are running a night flight which leaves Johannesburg at 21.00 local time, and arrives in London at 06.00 local time, I would suggest that your highest priority is to try and enable your passengers to get as much of a decent night’s sleep as airline seating and turbulence allow. This is not promoted by serving, slowly, drinks, followed by a rubbish collection, followed by tepid towels (they were probably hot when they left the galley, but I was at the front of Economy), followed by a rubbish collection, followed by "supper", at about 00.30, followed by hot drinks, and finally followed by another rubbish collection at gone 1 in the morning!
…Followed by inedible breakfast, at about 05.00…
Would it really not be better to just give everyone some booze and turn the lights off?
I wasn’t impressed by the 787 on the flight out, but my assessment reduced a further notch on the way back. That plane revealed a number of areas where the new technology has aged very badly. One example: the window dimming switch on my window had obviously been jabbed so frequently and hard that the rubber cover had completely failed and peeled away. Worse, the toilet is supposed to retain the seat upright via some magnetic mechanism, with a nearby "non contact" switch operating the flush. In the loo nearest my seat the seat retainer had completely failed, meaning that I had to sit holding the seat upright with one hand, and every time I moved, the flush mechanism triggered randomly.
This was all on a "nearly new" plane which has by definition only been in service for a couple of years. How that plane will look after 10 or more years use I shudder to think.
I suspect that the 787-200 or whatever they call the "2.0" version will be a good plane, but I’d hate to be in charge of maintaining the oldest versions.
In fairness to Galton House, Virgin and Boeing, I arrived back at Heathrow at 06.00 safe, sound and slightly ahead of schedule. In the words of Old Blue Eyes:
It’s very nice to go trav’ling
To Paris, London and Rome
It’s oh so nice to go trav’ling
But it’s so much nicer, yes it’s so much nicer, to come home…
|The Andrew Johnston Iceland Camouflage Masterclass|
|Camera: Canon EOS 7D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 26-08-2011 15:19 | ISO: 100 | Exp. bias: 0 EV | Exp. Time: 1/125s | Aperture: 10.0 | Focal Length: 28.0mm (~45.4mm) | Location: Kirkjufell | State/Province: South | See map | Lens: Canon EF-S 17-85mm f4-5.6 IS USM|
The trouble is, there’s a recurring theme here…
|The Andrew Johnston Namib Desert camouflage masterclass|
|Shooting with twin Canons|
|Camera: Panasonic DC-G9 | Date: 28-11-2018 08:52 | Resolution: 5184 x 2920 | ISO: 200 | Exp. bias: -33/100 EV | Exp. Time: 1/800s | Aperture: 5.0 | Focal Length: 16.0mm | Lens: LUMIX G VARIO 12-35/F2.8|
I noticed while gathering for the bushman walk that five of our group were "packing" a pair of Canons. This shot was inevitable.
Thanks to John B for the title – excellent photographer’s joke. I am happy to explain if required.
|Camera: Panasonic DC-G9 | Date: 24-11-2018 09:49 | Resolution: 2409 x 3213 | ISO: 200 | Exp. bias: 0 EV | Exp. Time: 1/500s | Aperture: 4.9 | Focal Length: 193.0mm | Lens: LUMIX G VARIO 100-300/F4.0-5.6II|
Sorry it’s a bit fuzzy and not properly focused, but that’s nothing to do with my photography!
My old mum has recently moved from her house to a smaller retirement flat, and is still in the process of sorting out some of the accumulated lifetime’s possessions. On this visit, I was presented with a large carrier bag of old cameras.
I have to say, I wasn’t expecting miracles. Mum and Dad never spent a vast amount on photographic equipment, usually buying a mid-range "point and click", using it till it stopped working and then buying another.
First out, an ancient Canon Powershot, for 35mm film. It probably works, but I tried explaining to Mum that there’s no longer any real market for such items.
"No-one really wants the bother of getting films developed. You don’t – you have a digital camera yourself now, you were using it last night."
"But surely there are people who love old cameras."
"Yes there are, but they have to be a bit special. If this was a Leica, with a little red dot on it, it would probably be worth some money, but not an ancient cheap Canon."
To settle it, I opened up my laptop and had a look on eBay. There were a couple, for about £15 and about £12, both with no bids.
Next up, a similar Panasonic. This still had a film in it, which was suspicious as it probably meant that the camera had died mid-holiday and been abandoned. eBay suggested an asking price somewhere in the range £8 to £11.99. Getting worse.
"I could offer it to the charity shop" said Mum, hopefully.
"Well you could, but don’t be surprised if they are underwhelmed." I told her about my recent experience of having a perfectly good 32" flatscreen TV rejected by our local charity shop, which didn’t encourage her.
"But surely if things still work?"
"I keep on saying, Mum, things have to be a bit special. You know, a Leica or something, with a nice red dot."
Next out of the bag was a Konica. This was a slightly different shape and had the rather ominous indicator "110" in the model number. That’s definitely not a good sign, I mean can you actually still get and process 110 film? (That’s assuming that you can see any point in shooting a format which is distinctly inferior to 35mm in the first place.) Amazingly enough there is one on eBay. £2.99, no bids…
"OK", says Mum, deciding that there’s no point in arguing that one. "There’s one box left in the bag."
What? Hoist by my own petard! I mean, what were the chances??
Sadly it’s actually only a slide box, and eBay suggests that it’s going to get £20 at best, but I am now honour-bound to do my best to find it a good home.
Be careful what you wish for…