Things Which Really Bug Me About the Kindle

I  read a lot using the Kindle applications for Android and PC. While there’s a lot which is good about that process there are a number of things which really bug me. Some of these look incredibly simple to resolve, from my standpoint as a competent software developer, and I have to question whether Amazon actually care about getting the user experience right…

Changing Font Size

The current behaviour of the font selection option is completely brain-dead, especially when switching between documents. Suppose I open one book which has been composed using a large base font. The text comes up very large and I set my font size to 2. I then open a second book, which has been composed using a smaller base font, and I have to change the font setting to 4 to get back to a size I’m comfortable with. Open the first document and the text is now enormous!

The application should actually work as follows. I would set a preferred font face and size and that would just be used automatically for all the bulk text in all documents. Anything styled with style tags like normal,  body text,  list,  should just use my selected font and size. Automatically. Paragraphs with heading styles would use progressively larger fonts, and the style might change to an author preference, although I should be able to over-ride that.

If that’s not possible, although I really don’t understand why not, then any change I make to my settings should apply only for a single document, and my settings for each document should be remembered if I switch between them. If I have to set size 2 in one document and size 4 in another to get a consistent reading experience the app should remember that.

Have the developers ever actually used the devices and apps with real eBooks?

Collections and Tagging

When,  early on, you have half a dozen books in your Kindle account, the lack of effective library management tools is not too much of an issue. When, like us, that library has grown to several hundred titles this starts to be a major problem.

Amazon allege that the solution is to use collections. That might help, if it weren’t for another brain-dead implementation. Collections on the physical Kindle are a local data structure, effectively invisible to other devices. In the Android app they are quite a usable feature, and sync with other Android devices, but not other platforms. On the PC you can create local collections, and allegedly import collections from physical Kindles (although I haven’t got that to work) but the collections are then completely independent of all other devices.

Is this really the best that can be achieved by one of the leading cloud services companies? Surely it’s not rocket science to come up with an architecture for collections / lists and tags, which is synchronised with the cloud account from and to all devices on the account? (And I note that there can’t possibly be any real technical issue, because notes and highlights synchronise perfectly across all my devices…)

Again, this looks like the developers are either stupid, or lazy, or completely indifferent to the implications of their substandard work.

Book Descriptions

If you are reading a book on the Kindle, you can quickly pop up some key descriptive details. Relatively recently Amazon have supported the same feature in the Android app, although it doesn’t work for books which aren’t open. On the PC it’s not supported at all.

There are three sets of books for which I would like to be able to quickly access descriptive details, ideally on- and off-line:

  • Books I have downloaded to my device, but which I’m not currently reading
  • Books in my archive, to remember which is which
  • Books which are being recommended by Amazon within my mobile reading experience, e.g. the recommendations panel on the home page of the Kindle app.

No, I do NOT want to "view in store", especially if it’s a book I’ve already downloaded and I’m just not 100% which is which from the cover image, and I’m offline. And I don’t really want to have to open up a book to see it’s description. Surely it wouldn’t be rocket science (again) to download the key descriptive details for all the books in the above categories at every sync, and have those details available via a long press from the overview pages just like they would be from within an open book?

Position References

Some books insist on referring internally by using a page number from the printed edition. If you’re referring to a specific position in a book in the outside world, this is also still a common practice (and probably the only viable one unless the book has quite a fine-grained and well-numbered heading structure). Kindle insists on referring to and navigating locations using an internal "position" reference, which not only has zero relationship to the outside world, but can change from time to time depending on font choice and other settings. Therefore unless you have access to the physical edition as well as the eBook, you’re stuffed. It’s not even easy if you have a relative reference (e.g. page 200 of 300), because you have to get the calculator out to work out that this is equivalent to "position 3400 of 5393".

It would undoubtedly be better if authors creating Kindle versions of technical and reference books made sure all internal references were simply hyperlinks to the right point in the document. However I’m sure Amazon could help as well. How about, for example, holding the page count of the physical edition(s) against the Kindle version, and modifying the "Go To" dialog so that I can specify the target position as a percentage, or as a page number relative to the page count for the physical edition?

The Back Button

The physical Kindle and all Android devices have a "back" button, which should take you back steadily through your work contexts, like the back button on a browser. On the Kindle, or the PC app, this behaves as you’d expect. If you follow a link within a book, then it takes you to a new page, but the back button takes you back to the page you were previously reading. Only when you get back to your first context does it take you right out to the menu. Not on Android. Click on a link to an external source, and the back button takes you back into Kindle at the right point. So far so good. Click on an internal link, and the back button takes you right out of the book. To make matters worse it has now remembered the location you navigated to as your "current" location, so to get back to where you were previously you have to navigate manually. Completely useless, and presumably about 1 line of code to fix properly.

Conclusions

I don’t think I’m being unreasonable here. Amazon make a vast amount of money out of the Kindle platform, and could make more if it is a sound platform for reference books as well as novels and the like. None of these issues would take a vast amount of effort to fix, just the will to be bothered and do a professional job. Amazon’s persistent indifference on these points reveals an attitude which bugs me even more than the issues themselves.

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Review: Service Design Patterns

Fundamental Design Solutions for SOAP/ WSDL and RESTful Web Services, By Robert Daigneau

Good book, but some practical annoyances

One of the most influential architecture books of the early 00s was Enterprise Integration Patterns by Gregor Hohpe and Bobby Woolf. That book not only provided far and away the best set of patterns and supporting explanations for designers of message-based integration, but it also introduced the concept of a visual pattern language allowing an architecture (or other patterns) to be described as assemblies of existing patterns. While this concept had been in existence for some time, I’m not aware of any other patterns book which realises it so well or consistently. The EIP book became very much my Bible for integration design, but technology has moved on an service-based integration is now the dominant paradigm, and in need of a similar reference work.

The Service Design Patterns is in the same series as the EIP book (and the closely related Patterns of Enterprise Application Architecture), and overtly takes the earlier books as a baseline to build an additional set of patterns more directly related to Service-oriented integration. Where the earlier books’ content is relevant, it is just referred to. This helps to build a strong library of patterns, but also actively reinforces the important message that designers of newer integration architectures will do well to heed the lessons of previous generations.

The pattern structure is very similar to the one used in the EIP book, which is helpful. The "Headline" context description is occasionally a bit cryptic, but is usually followed by a very comprehensive section which describes the problem in sufficient detail, with an explanation of why and when alternative approaches may or may not work, and the role of other patterns in the solution. The text can be a little repetitive, especially as the authors try to deliver the specifics of each pattern explicitly for each of three key web service styles, but it’s well written and easily readable.

This is not a very graphical book. Each pattern usually has one or two explanatory diagrams, but they vary in style and usefulness. I was rather sad that the book didn’t try to extend the original EIP concept and try to show the more complex patterns as assemblies of icons representing the simpler ones. I think there may be value in exploring this in later work.

One complaint is the difficulty of navigating within the Kindle edition, or in future using it as a reference work. Internal references to patterns are identified by their page number in the physical book, which is of precisely zero use in the Kindle context. In addition the contents structure which is directly accessible via the Kindle menu only goes to chapter level, not to individual patterns. If you can remember which chapter a pattern is in you can get there via the contents section of index, but this is much more difficult than it should be. In other pattern books any internal references in the Kindle edition are hyperlinked, and I don’t understand why this has not been done here.

To add a further annoyance, the only summary listings of the patterns are presented as multiple small bitmapped graphics, so not easily searchable or extractable for external reference. An early hyperlinked text listing with a summary would be much more useful. Please could the publishers have a look at the Kindle versions of recent pattern books from Microsoft Press to see how this should be done?

A final moan is that the book is quite expensive! I want to get all three books in the series in Kindle format (as well as having the hardcover versions of the two earlier books, purchased before ebooks were a practical reality), and it will cost over £70. This may put less pecunious readers off, especially as there’s so much front matter that the Kindle sample ends before you get to the first real pattern. That would be a  shame, as the industry needs less experienced designers to read and absorb these messages.

These practical niggles aside, this is a very good book, and I can recommend it.

Categories: Agile & Architecture and Reviews. Content Types: Book, Computing, and Software Architecture.
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A First Day Mistake I’ve Never Seen on LinkedIn

LinkedIn is full of useful little articles about mistakes not to make in the world of work. However here’s one I’ve never seen mentioned. I’ve just had a kick-off meeting with a new client. In order to appear friendly and unthreatening I dressed in a dark green suit, with a brighter green shirt. Unbeknown to me, the brighter green is not only quite similar to one of the company’s logo colours, it’s also the colour they have chosen for many of the walls and much of the furniture at their offices. Take off my jacket, and I was approaching sniper levels of camouflage. There’s a lesson here somewhere…

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Scary Format Reversal

My penultimate purchase of music on vinyl was in 1989. I think, if memory at this distance serves, it was Running in the Family by Level 42. In the intervening 26 years I have felt very limited need to use other than CD or purely electronic formats.

That all went out of the window last week, when I tried to track down a particularly arcane track by the King’s Singers (their version of Eurovision winner Ding-a-Dong, if you must know). Despite their enduring popularity their album Lollipops has apparently never been released in a digital format. However a few minutes on eBay and £9 later I tracked down the LP, which turned up a few days ago nicely packed and in good order. Our record deck with a USB output and EZ Vinyl/Tape Convertor made quick work of digitising it, although it did get a bit confused by the track on side 2 with the substantial rests… Makes you wonder why the youth of today are so obsessed with all this downloading business when the alternative is so straightforward Smile

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Edge of Silence

We’ve just finished our 30th anniversary viewing of Edge of Darkness. I must now have seen the series at least 10 times, but in this case familiarity breeds respect. Like the best Shakespeare play or Verdi opera the series rewards repeated study, and every time we notice something new about the story, the production, or both.

I’ve noticed before how Edge of Darkness has such an unforced pace, with space for the actors just to act. This time I consciously observed the phenomenon. In the first episode, after Emma’s death, there’s a period of about 20 minutes where Craven is grieving and the other policemen trying to help him deal with it. There are perhaps half a dozen lines of dialogue. In the 5th episode, where Craven and Jedburgh break into Northmoor, there are no more than a couple of hundred lines of dialogue in total. In over 50 minutes. Yet in both cases your attention is held completely, and there’s never a sense that the pace should be even slightly quicker.

This was also the first time I had watched it on a big screen, but at its original 3×4 aspect ratio. Now 3×4, especially with 1980s slightly grainy video, doesn’t suit expansive vistas or dramatic special effects. It does suit portraits, much better than wider presentations. What I noticed on this viewing was how Martin Campbell and his team really exploit this, filling the screen from corner to corner with one or two faces. It was powerful in the days of 20" TVs, but really punches through on a 50" set.

Yet again our understanding of the politics and personalities deepened. When I first saw the series, I wasn’t sure that Harcourt and Pendleton were the good guys. This time, I started to appreciate some glimmers of humanity in Grogan, the chief villain. Maybe by the 20th viewing we’ll understand him as well.

It’s slightly odd that the BBC chose to repeat the series last year rather than on this anniversary. 30 years on Edge of Darkness is still unmatched as a conspiracy thriller,  and deserves some celebration.

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Review: Next Generation SOA

A Concise Introduction to Service Technology & Service-Orientation, By Thomas Erl and others

Dry, terse text which misses its mark

This book sets out to provide a concise overview of the current state of, and best practices for, Service Oriented Architecture. While it may achieve that for some managerial readers, it is simultaneously too general for those with more background, and may be too terse for those with less technical understanding.

The authors and editors have clearly set themselves the admirable aim of producing a short and concise overview of the field. Unfortunately in the quest for brevity they have ended up with a terse, dry and dense writing style which is very difficult to read. At times it feels almost like a game of "buzzword bingo". I frequently had to re-read sentences several times to understand the authors’ intended relationships between the elements, and I’m a very experienced integration architect.

At the same time, for a book on architecture there are very few explanatory diagrams, wordy descriptions being used instead. To add insult to injury a few low-value diagrams such as one depicting the cycle of interaction between business and IT change drivers are used repeatedly, when once would be enough.

The first chapter provide a overview of service orientation and its key principles, characteristics, goals and organisational implications.  This is followed by a chapter on service definition and composition. Ironically this part of the book is is quite repetitive, but manages to omit some key concepts. There’s no real concrete explanation of what a service is or does – maybe that’s taken as read, but a formal definition and some examples would go a long way. Likewise there’s nothing at this point on basic concepts such as service contracts and self-description, synchronous vs asynchronous operation or security. The second chapter goes into some detail on the idea of service composition but only really deals with the ideal green-field case where functionality can be developed new aligned exactly to business functions.

The following chapter on the SOA manifesto is better, but again doesn’t recognise the realities of real enterprise portfolios, with legacy systems, package solutions and external elements which must be maintained and exploited, and non-functional priorities which must be met.

Chapter 5 deals with service-related technologies and their potential interactions. This is good, and for me represented the core value of the book, but is crying out for some diagrams to supplement the lengthy text. There are good notes on service definition under Model Driven Service Design, but this key topic should really have been a major section in Chapter 3 in its own right. The statements about technical architecture are rather simplistic, with an overall position of "this is expensive and difficult, or just use the cloud" which is not necessarily right for all organisations.

The next chapter, on business models, is very prescriptive. It is also slightly misleading in some places about the role of IT in transactional services – such services are delivered by a business unit, possibly but not necessarily enabled by and carried through an IT service. It would be perfectly viable in some cases for specific services to have a manual implementation. This is well explained in the case study, but not here or in the Business Process Management section of the previous chapter.

The final chapter of the main text is a "case study" describing the wholesale transformation of a car rental company through adoption of service, agile and cloud approaches. It feels slightly contrived, especially in terms of its timeline, the preponderance of successes, and the surprising lack of resistance to CIO-led business change. However it fills a useful gap by explaining much better than the technologies chapter how the different technologies and approaches fit together and build on one another.

Appendix A is a taster for the other books in the series. Unfortunately the content is presented as small images which cannot be resized and are almost unreadable in the Kindle version. It has also been "summarized", with the result that it appears to add very little meaningful detail to what has already been said.

Appendix B is a useful expansion of the main text regarding organisational preparation, maturity levels and governance for SOA. I would personally have been tempted to merge the first two parts to the main text rather than positioning them as an appendix, where they are necessarily repetitive of some material which has already been read.

Appendix C is another taster for one of the other books in the series, this time with an overview of cloud computing. While this is at a fairly high level, it’s a useful and well-written overview for those unfamiliar with the concepts.

Overall this is a frustrating book. There is some good material, but missing key "reality checks" and presented in a terse, text-heavy style which makes it harder to read than it should be.

Categories: Agile & Architecture and Reviews. Content Types: Book, Computing, and Software Architecture.
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Standardising the Mac Keyboard

My MacBook Pro is, ironically, the best portable PC I’ve owned. The Big Old Alien is slightly faster and more powerful, but you’d never use the word "portable" about it without gritted teeth, and since the PC world went to silly wide (=short) screens as standard, nothing else with a 15" screen can match the Apple’s bright, colour-accurate and relatively tall display. The form factor and elegant, strong body suit me very well.

The initial teething problems with accessing external displays resolved themselves when I bought some slightly higher quality display adapters. Ironically the best one for VGA has "Dell" written on it. The multi-touch trackpad works well with Windows as soon as you set the bottom right corner to provide a right mouse click, and the spacing and action of the keypad allows me to type quickly and fairly accurately in a way which isn’t possible on many of the other laptops I’ve owned.

The keyboard layout, however, is a different matter. I’m sure that Apple’s position is that you should just use Apple keyboards all day every day and get used to it, and that the more common layout is a Microsoft/IBM standard anyway. The latter point might be true, but that doesn’t help those of us who operate in a more heterogeneous world. I have to work on PCs as well. About half the time, I use my Mac via Remote Desktop, from a PC with a standard Microsoft Keyboard. Even when I’m working on it directly, and even though I’m not a true touch typist, my muscle memory is sufficiently good that I default to the UK PC positioning of the ", @, \ and # symbols, all of which I use quite frequently. And occasionally Frances gets to use it, and she is a touch typist who uses PCs all the rest of the time.

I therefore decided that something had to change, and that was the Mac! Unfortunately turning it into a "standard" PC layout is non-trivial, but I’m getting there.

The first step was to implement a proper "Delete" key, without which the Mac is unusable in many Windows programs. The solution to that one’s fairly well documented: you use SharpKeys to adjust the registry, and remap a suitable key to send the Del scancode, which is an easily reversible but permanent fix. I chose F12, which is easy to map and in pretty much the same relative position to Backspace as most Windows laptops. I believe it may be possible to use the CD Eject button instead, which would be even better, but I haven’t got that working yet.

The next layer is the Windows keyboard definition. Microsoft provide a free utility called the Microsoft Keyboard Layout Utility, which allows you to define the mapping for the main text keys. The advantage of this is that you can define multiple layouts and switch between them on the fly, if, for example, you work in several languages. I initially tried having the Apple layout, plus one based on a standard UK keyboard. This works tolerably well, but you can get tripped up if you haven’t switched the layout correctly, as you have to switch the keyboard separately for each application used in a login session. It also doesn’t resolve the problem of muscle memory on the Mac. Something more enduring was required…

I decided it was time to try and sort out the MacBook keyboard more directly. It’s relatively easy to pop the keycaps off and swap the standard text ones around. First change is to swap the \| key with the ~ key, which puts them into their correct positions for PC users, and remap their output in a copy of the Apple keyboard layout. While I was at it I remapped the non-shifted character on the ~ key from a grave accent to a # – consistent with PC keyboards and about 1 million times more useful in this hash-tagging world!

Apple’s approach to the quote keys appears to be wilfully obstructive. All European keyboards since the age of typewriters, including British ones, put the double quote above the 2. So do older American keyboards. However the US IBM Selectric typewriters put the @ above the 2 and the double quote above the single quote, and that became the standard for US PC keyboards. For reasons which I can only assume are due to an arrogant American company trying to impose American standardisation on others the UK MacBook keyboard follows US rather than standard UK practice. Fortunately they don’t impose the same change on the rest of Europe, so a partial solution presents itself by purchasing a replacement 2/" key for a German machine (from the excellent http://www.thebookyard.com), and swapping the outputs of the two shifted keys in the keyboard mapping file.

At this stage I have a single keyboard map which works with both the native keyboard or a PC one, and outputs all the symbols I regularly use on PC rules. The majority of keys on the MacBook keyboard also follow their labels. There are two exceptions: the @ key is generated by shift+quote as expected, but not shown on the key, and the same goes for the #, as the base symbol on the ~ key. Unfortunately as far as I can see there are no variants of the MacBook keyboard for any country which have these key combinations, so getting replacement keycaps is not an option. However I can probably live with this limitation.

The one remaining annoyance is the fact that the Fn and Ctrl keys are the opposite way round on the Apple keyboards to most PCs. That’s a bit of a problem with muscle memory for Ctrl+key shortcuts. However I’m gradually training myself to hit the standard PC Ctrl key on its right edge, which is almost the right position for the Mac Ctrl key as well. The real fix is to develop a new keyboard driver which swaps those keys altogether, and then swap the key caps. That’s not for the faint hearted, and I’m not going there unless I have to (and have lots of spare time).

There’s one more layer! Smile Some of my software (particularly XnView, which I use for image management) uses the numeric keypad, which doesn’t exist on the MacBook (one of the big advantages of the Alienware M17X being so enormous!). However that has a relatively quick fix, using AutoHotkey to temporarily map the equivalent keystrokes from the standard number keys. This has the advantage that I only need to have those changes in place on demand, and can tweak the mapping on the fly if needed.

It’s a complicated process, and definitely not standard end-user territory, but I’m nearly there!

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Schizo!

Mercedes-Benz E Class Cabriolet E 350 CDI Blue Efficiency AMG Sport 125. Phew!
Camera: Panasonic DMC-GH4 | Date: 14-05-2015 20:09 | Resolution: 4367 x 2457 | ISO: 500 | Exp. bias: -66/100 EV | Exp. Time: 1/60s | Aperture: 2.8 | Focal Length: 12.0mm | Lens: LUMIX G VARIO 12-35/F2.8

It has been said that the ideal car for Darth Vader would be an original Mercedes CLS, in black. I think I have discovered the ideal car for Dr. Henry Jekyll, and Mr. Hyde!

Mercedes themselves acknowledge the dual personality of the beast with the space-filling full title of “Mercedes-Benz E Class Cabriolet E 350 CDI Blue Efficiency AMG Sport 125”. Now I may be wrong, but shouldn’t “Blue Efficiency” and “AMG Sport” sort of cancel each other out? Apparently not…

In normal use this is a typical, refined, Mercedes soft-top, very reminiscent of the old 129-series SLs. I was a bit worried before I took delivery that the suspension might be firmer than ideal, but it’s absolutely fine. It’s smooth, stable and quiet, the big Diesel engine hardly audible top up or down.It’s very quick, but doesn’t feel “fast”(even though on main roads you can maintain high speeds very easily), because the throttle response is fairly muted. And, the “Blue Efficiency” bit kicking in, on a long run as long as you keep it under about 85mph you can get around 40mpg, not bad for a heavy car with a 3l engine. Ideal for mild mannered Henry Jekyll.

And then you press the little button marked “SPORT”.

Now I’ve had cars with sport settings before. On the Mercedes SLs and the old Porsche 993 it supposedly made the gearbox a bit more responsive, but I never noticed much difference. On the VW EOS, with its petrol turbo engine there was a noticeable effect if you wanted to drive hard because the different profile meant that the turbo was always spun up and there was no lag, whereas that could occasionally catch you out in normal mode.

This is different. The button should probably be labelled “Dr. Henry Jekyll’s Patent Elixir”, but unfortunately that wouldn’t fit. It seems to signal someone to release a snarling, snorting monster from its cage. In practical terms the car sharpens its steering, firms up the suspension, changes the gearbox profile and dramatically modifies both the throttle response and engine behaviour. I’m not sure whether there’s also a change to the exhaust note, or whether that’s just a side-effect of the engine working harder. The net effect is a bit like having a large, powerful dog pulling you along on its lead – you go from nudging it gently in the rear end in ECO mode to desperately trying to reign it in in SPORT. 0-60 takes just over 6s, but the most noticeable effect is mid-range acceleration, which distinctly betters my last Porsche. Mr. Hyde would approve.

Some cars are soulless, and some have a distinct personality. This has two, and I’m enjoying both of them!

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Lotsa Changes!

I’ve taken advantage of a bit of spare time to sort out our web sites, and in particular fix a few things which didn’t work quite right after our enforced emergency upgrade in February.

Hopefully you should see everything working properly now, but let me know if not. ☺

AgileArchitect.org has had the most significant makeover, and is now fully responsive and mobile-friendly, just like our other sites.

Happy browsing!

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A Visitation

Hedgehogs in our courtyard
Camera: Panasonic DMC-GH4 | Date: 09-05-2015 21:29 | Resolution: 3833 x 2555 | ISO: 3200 | Exp. bias: 0 EV | Exp. Time: 1/40s | Aperture: 2.8 | Focal Length: 100.0mm | Caption: Hedgehogs in our courtyard | Lens: LUMIX G VARIO 35-100/F2.8

Great excitement chez nous last night. The security lights went on and we spotted not one but two hedgehogs snuffling around in the courtyard. Fortunately they stayed round long enough to get a few photos.

The security light provided good illumination, but kept on switching off (as it’s supposed to), so Frances ran around to wave at it and switch it back on. What was very funny was that each time the light came on, the hedgehogs froze mid-snuffle for about 10 seconds, just as portrayed in Over the Hedge, but which we’d never seen before in reality.

I spotted another one later on when I got up for a glass of water, so hopefully these welcome visitors will become a regular feature.

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A Failure of Curation

Odd captioning practices at The Photographers Gallery
Camera: Canon PowerShot S120 | Date: 05-04-2015 15:48 | Resolution: 3945 x 2630 | ISO: 200 | Exp. bias: 0 EV | Exp. Time: 1/60s | Aperture: 3.5 | Focal Length: 10.4mm

We visit a lot of photography exhibitions. The majority are inspiring or thought-provoking, and well worth the effort of the photographers, the presenters, and the attendees.

Along the way there has been the odd disappointment: sometimes we just don’t connect with the material, on other occasions we have felt that the volume or quality of the work hasn’t justified a high entrance cost. On one occasion an exhibition presented such a biased left-wing viewpoint that I felt desperate for the injection of some balance.

However today we had a new experience – an exhibition based on a good volume of high quality work, at a great location, which failed abysmally due to comprehensive incompetence in curation.

The offending exhibition was Human Rights, Human Wrongs at The Photographers Gallery. The piece was meant to chart the path of human rights since the Universal Declaration in the 1940s, drawing from a large archive of reportage. It failed.

The main problem was the complete absence of any organising principle. With the occasional exception of sequential shots of the same event, there was no attempt to group items by location, subject, date or photographer. It was just a confusing "bunch of stuff". At times the confusion seemed almost wilful – two related, well explained pictures from Vietnam together on a wall, but separated by a wholly unrelated picture from Chad.

The curators provided copies of original notes on some of the images, but these were presented in tiny type well below the average eye line, underneath the photos. To ensure there was no chance of even this being readable the images had thick frames spotlit from above, so half of each caption was adequately lit, and half in deep shadow. In any event there was no attempt to present any context, explanation or information about what happened next – unless the photographer wrote this on the back of the original you were on your own.

The caption typist had clearly lost the will to live with the highly structured but low information content approach, and even managed to mis-spell "Untitled".

Even the choice of content felt random. There were lots of good pictures of American Civil Rights events in the 1960s. Fine. Plenty of pictures of Martin Luther King Jnr, a portrait of JFK and a nice picture of Nixon with Coretta King. Good. But why have a blurry picture of Lee Harvey Oswald but none of Johnson, Bobby Kennedy or Malcolm X?

The supposed light relief afterwards, pictures of horses on the American prairies, didn’t work either, with captions in about 8pt type several feet away from the related shot, and the beautiful animals captured against wilfully ugly backgrounds.

The Photographers Gallery has a great new location, but they don’t seem to know what to do with it. This is an abuse of our human right to a decent exhibition!

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Normal Service Being Resumed

Apologies to all for the interruption to our websites and email service around last weekend. My server was hacked and used to launch DDoS attacks, and had to be taken offline and rebuilt with the latest software versions. Fortunately I only really use it to host the websites and our email endpoint, so it was a nuisance rather than a disaster. There’s a lesson that all servers need to be constantly patched and updated, and I’ll now have to either work out how to do this in the Linux environment, or switch to Windows which I understand a bit better.

If you did have an email bounced, please feel free to re-send. And if you do meet someone who hacks other people’s servers, feel free to give him a kick for me.

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