Review: News from Gardenia

By Robert Llewellyn

Some good ideas, but ultimately disappointing

William Morris’ 1890 novel News from Nowhere describes a utopian vision of the late 20th century. In News from Gardenia Robert Llewellyn brings the story up to date, with a visitor from 2011 ending up in 2211.

Like Morris, Llewellyn’s vision is deliberately utopian: mankind has not had to experience near destruction at the hands of asteroids, mechanical warriors, zombies, plagues, intelligent apes and/or aliens (delete as applicable), and has averted the worst effects of more gradually acting causes, such as overpopulation, pollution, global warming, corporate greed and rabid bankers.

Llewellyn has cleverly constructed a composite Utopia, with different regions of the world finding different solutions and being at different points in the cycle of economic, political and population development. Overall the message is positive, as the author openly intends, although there is the suggestion that communities such as the Gardenians (British) who have reverted to a largely rural “non-economy” may be sowing the seeds of their own decay, with limited ability to maintain older technology and innovate new solutions. It is not impossible to see them becoming the Eloi of The Time Machine – pretty, charming, but useless.

Unfortunately as a modern novel the book does have several weaknesses. Few short-term problems mean there’s almost no drama in the story. There are tantalising glimpses of some things, such as a new communal game, but no real description, and some of the text is in danger of dating rapidly, such as references to Apple and their current products. The ending comes suddenly and the story just stops. The author’s intention may be to use this as a springboard for another tale in the series, but that’s not clear.

There are also numerous “schoolboy errors”, such as a space elevator system which is not equatorial and somehow manages to complete a rotation in less than 24 hours, or a solar power system with output many thousands of time greater than it could possibly have. Given Llewellyn’s credentials as a technical presenter, I found these disappointing.

This is a relatively short book, and worth a quick read for some of the ideas, but ultimately a more complete development might have worked better.

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Review: Responsive Web Design

By Ethan Marcotte

A clear and concise introduction to modern web design

There are, broadly speaking, two types of technical book: those which attempt to bring large amounts of knowledge comprehensively covering a subject area under a single cover; and those which concentrate on really communicating the core concepts of a topic. This delightful little book is definitely in the latter camp, and is exactly how I like to start understanding a subject. As more information is pulled on demand from the web there is arguably less and less call for the first class of book, but there will always be a need for the quick, clear overview, and Ethan Marcotte has hit the nail right on the head.

In the first chapter, he explains how little we can now assume about how people will consume content, and the challenges of making sure that your web site will work across the range of different devices and connectivity environments. He also dismisses the concept of a “mobile ghetto” – one or more separate sites dedicated to a particular class of device – and establishes the concept of a fully responsive site. The following chapters explain how to achieve it.

Chapters 2-4 are the book’s core. In chapter 2 the author steps through the process of creating a web page as a flexible or “fluid” grid, avoiding any fixed sizing or relationship between the separate elements. This delivers a framework which is resilient to browser size changes, and should also be fairly browser independent. Chapter 3 focuses on ensuring that images and similar elements within that layout are also flexible, so they will resize with the others.

Chapter 4 takes this design and adds CSS media queries, enabling the browser to resize and move the page’s elements to better suit the needs of different shapes and sizes of device, the result being a fully “responsive” design, using just standard HTML and CSS. This is a longer chapter than the others, and goes on to explore some of the specific challenges of the approach, and some elegant examples of how to apply the principles presented.

The final chapter takes a slightly different stance, first exploring how the sample design will degrade in less complete browsers, and also considering the specific needs of mobile users. This leads into a discussion of the “mobile first” concept, in which website designs should focus on the essential content and progressively add features rather than subtracting them from the desktop design. Whether this approach will work for you depends a lot on context, but there are important concepts relating to focusing on the core content which apply to all designers.

And that’s it. I read the book in a couple of sessions, and then got stuck into updating my web site with all the key concepts well established. Ethan’s book is clear, well written and commendably short, and I’m happy to recommend it.

The book is not available from Amazon (except in French!!), but can be purchased and downloaded in multiple formats (including .mobi for the Kindle) from A Book Apart.

Categories: Reviews. Content Types: Book, Computing, and Programming & Development.
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Review: Utter Folly

A high comedy of bad manners, By Paul Bassett Davies

As good as Tom Sharpe at his best

I can praise this book no more highly than to say that it’s reminiscent of the best work of Tom Sharpe. A cheerfully anarchic tale of country folk, of dark passions, of sex, drugs and rock & roll, of windmills and traction engines.

To reveal much more would risk spoiling the story, but rest assured this will keep you turning the pages and frequently laughing out loud.

If you mourn the passing of Sharpe’s best work, and are frustrated by the way so many purported “comedies” import of this genre fail to amuse, then you will enjoy this.

Categories: Reviews. Content Types: Book and Humour.
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Fixing Holes

Fixing a Hole: Iceberg on the Jokullsarlon glacial lake, Iceland
Camera: Canon EOS 7D | Lens: EF70-300mm f/4-5.6 IS USM | Date: 27-08-2011 11:08 | ISO: 100 | Exp. bias: 0 EV | Exp. Time: 1/40s | Aperture: 10.0 | Focal Length: 100.0mm (~162.0mm) | Location: Jökulsá | State/Province: East | See map | Lens: Canon EF 70-300mm f/4-5.6 IS USM

I’m making decent progress rolling out my new design to the website, but apologies if you’re waiting for some more interesting content!

I’ve now got to the “fiddly” stage, making sure that the new theme works on the slightly more tricky pages. Basically a process of “fixing holes”. I’ve also been processing a few more of my photos from Iceland, and I thought this one a neat echo of my other activities!

Please let me know how you get on with the new look website, and particularly if there are any problems on particular devices or browsers…

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Updates Rolling…

The updates to my website are now in progress. The eagle-eyed amongst you may have already spotted changes to my blog and front page, and the rest of the website will follow over the next few weeks.

You should now be able to get the full experience of “Thoughts on the World” on all devices

Please bear with me if there’s the odd foible as I complete the changes. Also please let me know if you spot any problem – but don’t forget to let me know what device you’re using.

My blog now supports multiple views, with the default being an “abstract”, giving an experience a bit like Google Currents. Use the icons at the top of the page, just below my title bar, to switch between them. Please let me know what you think.

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Man At Work!

"Fifty Shades of Blue": Iceberg on the Jokullsarlon glacial lake, Iceland
Camera: Canon EOS 7D | Lens: EF70-300mm f/4-5.6 IS USM | Date: 27-08-2011 10:12 | ISO: 100 | Exp. bias: 0 EV | Exp. Time: 1/125s | Aperture: 10.0 | Focal Length: 80.0mm (~129.6mm) | Location: Breiðamerkursandur | State/Province: East | See map | Lens: Canon EF 70-300mm f/4-5.6 IS USM

Apologies to regular readers of my blog for the recent low output. I’m currently working on a major overhaul of my web site which will see it considerably modernised and should enable it to be viewed successfully on all sorts of different devices, but it does mean my time is being taken up with design and programming work rather than “content creation” at the moment… Please watch this space for further announcements.

On a positive note, if, like, me, you’ve embraced Google Currents for keeping up with your blog reading (see Keeping Current) then you may be interested to hear that “Thoughts of the World” is now published as a Google “Edition”. To subscribe and add it to Currents, just click here.

As an architect, I’m used to explaining that the world is not black and white, but has to be appreciated in shades of grey (but maybe not 50! :)). However as a photographer, I’m much more interested in other hues. The picture above is from my Iceland trip, and I call it “50 Shades of Blue”. Enjoy!

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Photographing Waterfalls

Gullfoss, Iceland, up close and personal
Camera: Canon EOS 7D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 23-08-2011 11:02 | ISO: 100 | Exp. bias: 1 EV | Exp. Time: 1/100s | Aperture: 5.6 | Focal Length: 85.0mm (~137.7mm) | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

I’m afraid I don’t subscribe to the received wisdom that waterfalls should be photographed with long exposures which capture the flow as a sort of silky mush. That might work for gentle trickles in dappled glades, but if you’re looking at something like Iceland’s mighty Gullfoss you (or at least I) want to somehow capture the power of the flow. However, just setting a fast shutter speed, pointing the camera straight on and freezing the motion doesn’t always work either.

I took around 100 shots around Gullfoss. I’m only really happy with a handfull, but yesterday I discovered this one which I think really works. Although I’ve labelled it “up close and personal” it was actually taken from further away than some of the others, but I like the pattern of flows and rocks revealed in the portrait orientation. I also think that the 1/100 shutter speed gets a pretty good balance between “flow” and “power”, although it’s a lot faster than some would go for. What do you think?

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USA 2012 – Technical Review

Fireworks at the Albuquerque Balloon Fiesta 2012. (Genuine single exposure - only slight crop and exposure adjustments applied.)
Camera: Canon EOS 7D | Lens: EF-S15-85mm f/3.5-5.6 IS USM | Date: 13-10-2012 20:05 | ISO: 200 | Exp. bias: -2/3 EV | Exp. Time: 8.0s | Aperture: 11.0 | Focal Length: 22.0mm (~35.6mm) | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM

Or, “What Worked and What Didn’t”

As usual, I tried to take a few notes regarding the more “technical” aspects of our holiday, which may be useful to others planning a similar trip.

One spectacular success was having Laurent Matres’ Photographing the Southwest in Kindle format, with a synced copy on my Galaxy Note phone. On our previous Arizona/Utah trip I missed a couple of the “best shots” because I didn’t refer to Matres’ notes, and at other times we did follow his directions but it was a bit painful lugging quite a heavy book around. The Kindle version solved both those problems, and the Galaxy Note is sufficiently large to be quickly readable, and to render the book’s images clearly and attractively.

It was definitely the right decision for us to hire a convertible. I drive a drop-top in the UK, and we both loved buzzing around with the sun on our faces and the wind in our hair (well, OK, that’s maybe more one for Frances to comment on… :)). However, we seemed to be in a tiny minority driving a soft-top in New Mexico and Colorado, and the rental choice was not good. I’m not sure of the reason, whether the locals are afraid of getting too much sun in the Summer or insufficient weather protection in the Winter, but of course that doesn’t stop us in wet, windy Britain…

We eventually went to Dollar (whereas my first choice would usually be Hertz), and got a Ford Mustang. I can’t fault Dollar’s friendly, efficient service, and would use them again. I can find some fault with the latest-model Mustang, which seems to have definitely regressed compared with the versions I previously drove in the mid-naughties. In particular luggage space seemed to be smaller than I remember, there was very little in-cabin storage, and the CD player wouldn’t play files in WMA format, which put paid to a lot of our music. However, the worst failing was a weird speedometer display cramming an optimistically large speed range into the top half of a small dial, with the result that it can’t be read to an accuracy better than about 5 mph. That doesn’t fit well in a country where a 5 mph error is often enough to earn a speeding ticket. Useless.

Complaints aside, the Mustang did the job, and helped bring us back with a decent tan.

Another trick which worked again was raiding a Radio Shack on the first day and purchasing a can of compressed air. The worst equipment challenge in the American SouthWest is dust, and being able to blow everything clean each day is a real boon. Now all I have to do is find out if I can do the same in Morocco this year…

Cameras

Including our phones we took five cameras this year, which may seem excessive, but each found a genuine use playing to its strengths, and justified its place in the luggage. As usual, the real workhorse was the Canon 7D. Out of a total of about 2050 exposures,1652 (or over 80%) were on the big beast. I have eventually mastered its ergonomic shortcomings, and extensive practice means that its operation is now quite intuitive. I know and can confidently predict its results, which are still better than those from the Panasonic GH2. OK, it’s still an enormous lump and the 15-85mm lens is not the sharpest optical tool, but it works.

The Canon 550D’s main role is as a backup body, offering the same sensor and lens compatibility as the 7D for half the price and weight. However, it came into its own for our balloon trip, where I wanted to carry a lightweight kit which still supported my beloved 70-300mm IS lens. The 550D, 70-300 and 17-85 did the job beautifully. As a result the 550D took 221 shots.

We also carried the Panasonic GH2 and its three lenses. Its main role was as Frances’ camera when she wanted to take her own shots, but I also used it as a lightweight “carry and forget” camera to have with me during shopping trips, evening sorties and similar. It has to be admitted that the 550D and a single zoom lens could also do this, but with less ultimate flexibility and at a higher weight. Having the GH2 along also provided further redundancy should my Canon long or wide zooms pack up, always a consideration given last year’s two lens failures. We took 172 shots on the GH2.

On a less positive note GH2 battery life is not good. A charge is genuinely only good for about 100 shots, and to add injury to insult Panasonic now effectively prevent the use of anything other than their own full price batteries, at £50 a pop or higher. Neither Canon suffers either limitation. It’s not a critical problem, but does place some boundaries on the Panasonic’s role.

We both took a few shots on our phones as well (I took 4 on the Galaxy Note), mainly of things we wanted to share immediately with specific friends. However, I certainly wouldn’t advocate one practice I saw – a lady whose husband was having the “trip of a lifetime” in the cab of the Silverton-Durango railroad, and she was trying to capture his arrival using just the camera on an iPad!

The Gitzo tripod paid its fare with the low light photography at the balloon fiesta, but otherwise saw very little action. I rely more and more on the combination of modern cameras’ performance at medium-high ISO, and the effective combination of my steady hand and Image Stabilisation. As the Americans say, “your mileage may vary”, but I now just assume that I will work hand-held if the sun is up or I need to move around.

Given the extremely photogenic subjects, and a lot of fairly friendly lighting, my hit rate was pretty high, especially for the more static subjects. After an initial edit I still have about 1200 frames worth processing, and I expect to end up with about 200 worth showing to someone else. Cutting this down to about 100 which find their way to my blog and tablet may be a challenge.

Overall a wonderful trip, and very successful source for photography. Roll on the next one!

 

A very Happy New Year, and all the best for 2013!

 

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Why the Galaxy Note is a Better Business Tool than the iPad

It seems barely believable that I’ve had the 10″ Galaxy Note in my hands for just four weeks. Like its smaller brother it just feels “right”, in a way the iPad failed to achieve in two years. It’s already delivering value, at a point at which the iPad was just frustrating me.

About a year ago I wrote a piece entitled “Ten Ways to Make Your iPad Work Effectively With Windows”. That was to some extent a tale of frustrations, apologies and work-arounds, and it’s time to contrast how the Android option delivers for business users in a heterogeneous environment.

Continue reading

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The Back of Beyond

"The Back of Beyond" - scene from the Fjallabak region, Iceland
Camera: Canon EOS 7D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 24-08-2011 10:48 | ISO: 100 | Exp. bias: 0 EV | Exp. Time: 1/100s | Aperture: 11.0 | Focal Length: 80.0mm (~129.6mm) | Location: Einbúi | State/Province: South | See map | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

I haven’t posted any photos since the end of our USA trip, but I have, finally, got back to sorting out my Iceland photos from last year. I thought, therefore, I would share this shot with you. It’s from an un-named spot in the Fjallabak region. Fjallabak (pronounced fiat-la-back) means “back of the mountains”, which is delightfully literal in this case.

I love the various circular swirls which are a recurring feature in this image. I’m not sure whether they all have a common geological cause.

I also did an HDR version of a similar shot, which brought out more of the sky detail but reduced the nice smooth feel of the mountain shapes. However, the black and white conversion looks quite dramatic, and with a slightly different crop works quite well:


I need to do a bit more work on the HDR version – at full resolution there’s a bit of odd “banding” in the sky – but I think it looks promising.

Which do you prefer?

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Secret State – A Review

We’ve just finished watching Secret State, Channel 4’s latest attempt to capture the conspiracy thriller crown. It was good, but it could have been so much better. Edge of Darkness is safe for another few years…

There were some touches of genius. The plot, based on A Very English Coup cleverly wove in all our current bogeymen in a bang up to date tale featuring drone warfare, Islamic terrorists, toxic bankers, careless and callous petrochemical companies, electronic surveillance and the rest. Technology was exploited to help tell the tale, not as an end in itself. I also admired some of the direction, especially those scenes which placed Charles Dance’s Machiavellian character deliberately lurking in the background.

But ultimately it was all a bit unsatisfying. I’ve identified several reasons why, but the main reason was simply that it was too rushed. There’s clearly an optimum length for a conspiracy thriller on TV, and it’s about 6 hours run time. Edge of Darkness was 6 hour-long episodes, and so was State of Play. The first series of Homeland, was 10 episodes of about 40 minutes each (about 6.5 hours). There’s an upper limit as well: at around 8 hours Hunted was just too bloody complicated, and while a series of 24 runs much longer, at about 17 hours, they religiously change villains and threats twice a day, so we’re back to roughly the 6 hours duration for each “segment”.

By contrast, Secret State ran for less than 3 hours (ignoring adverts and the now mandatory review and preview segments), and it just wasn’t enough to properly develop the story. Instead of slowly developing understanding, you had key plot elements revealed as almost throw-away sound bites. Watching an off-air recording with Channel 4’s longer-than-American commercial breaks just increased the frustration.

In Edge of Darkness there’s a fascinating scene in which three senior policemen are waiting in a hospital for news of a suspect who chose to throw himself out of a window rather than face arrest. It runs for about 2 minutes, but the suspect’s condition, the police officers’ frustration, and the growing despair of the central character are all communicated with almost no dialogue. They act. Secret State had no time for such luxuries.

Secret State also had precious little time for character development. The central characters were all wonderfully cast, but most went nowhere – we learned nothing about them as people and little about their drivers, beliefs and agendas. Most also behaved true to the initial impression, rather than surprising us with unexpected heroism or villainy. Apart from the brilliant opening episode Charles Dance was particularly under-used.

I’m not convinced you need “Previously” segments in a four episode show. If you can’t follow something for four weeks, that’s a rather poor lookout. However it’s the “Next time” segments which really wound me up. These were full of spoilers, and totally un-necessary when the drama was already sufficiently suspenseful to make sure viewers returned. Surely the time would have been better devoted to addressing at least some of the hurried treatment?

A conspiracy thriller doesn’t need a happy ending, but it does need a satisfactory one, in which the dispositions of the main parties and issues is clearly portrayed. Secret State failed in this, with a hurried ending which left a lot of questions unanswered.

By contrast, the BBC’s best effort this year, Line of Duty followed the rules, and while it had a few annoying plot and character flaws, it ended up more satisfactory than the better plotted Secret State.

And finally, Of . It may be just coincidence, it may be the sincerest form of flattery, or an attempt to gain praise by association, but I’ve noticed that the best conspiracy thrillers all seem to have three word titles with a common middle word. I await State of Secrets or Secrets of State with anticipation – remember, you read it here first.

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Just Get on the Train!

I have decided that there are essentially two types of film or play, those which are about whether to get on the train, and those which are about how to get on the train. I don’t really like the former, but I love the latter.

OK, I know that not all films and plays involve trains, but enough do that this is a surprisingly powerful classification system.

A couple of years ago we went to see a performance of Chekhov’s Three Sisters. While I may be oversimplifying things slightly, most of the second act is the sisters talking about getting on a train. I forget the details, I think one wants to move away from the family to Moscow. I can’t even remember whether she actually gets on the train or not. Despite the fact that it was a good performance by several famous British actors, many of whose other work I love, I was bored out of my skull. Frances and I were both so affected by this, that we now have an in-joke reaction to any mention of Chekhov where one of us immediately says “just get on the —— train”.

But then I realised just how many of our favourite films do involve someone getting on a train. The key difference is that there is never any debate whatsoever about the need to do so. The challenge is how.

You may have to drive your Audi off a bridge (Transporter 3), jump from a helicopter (Under Siege 2, Broken Arrow, Unstoppable), shoot lots of bad guys first (3.10 to Yuma), jump from a camel (Sahara), talk the bad guys down (Pelham 123), jump from a car (Unstoppable, Octopussy), quietly murder some of the good guys (From Russia with Love), jump from another train (Unstoppable again, Indiana Jones and the Temple of Doom, Paddington 2, The Lone Ranger), hide in a mailbag (Live and Let Die), jump from a motorbike (Skyfall, Indiana Jones and the Dial of Destiny), run several Manhattan blocks and jump through the subway roof (Die Hard with a Vengeance), beam in (repeatedly) using a time machine (Source Code), jump from a horse (The Lone Ranger), claw into the back of the carriage with a Caterpillar digger (Skyfall again), jump from a hover-board (Back to the Future 3), couple up a car transporter (Fast Five), try and do a retinal scan from outside while the train is moving at speed, and you’re not really tall enough to reach the scanner (Mission Impossible 4), jump from a zipline tethered to the nearest alp (Captain America), lay the track as you go (The Wrong Trousers), jump into a boxcar while shackled to several other members of a chain gang (O Brother, Where Art Thou?), sneak onboard after clinging to the undercarriage (Octopussy again), jump from the subway platform (Safe, Captain Marvel, Skyfall yet again…), swing a ladder from another train (The Lone Ranger), extend a telescopic ladder from another train (Paddington 2), lasso the train while chasing it in a pump handcar (Due South, All the Queen’s Horses), jump from a bridge with a wolf in your arms (ditto), use your magnetic super-powers to latch onto the train as it goes past (X-Men Days of Future Past), leap between mine cars (Journey to the Centre of the Earth), sneak in inside a mine car full of explosive (A View to a Kill), jump from the platform of a picturesque station (Enigma), ride your motorbike off a mountain and then speed-fly with a parachute onto the train (Mission Impossible Dead Reckoning), sneak into a train with the Turkish Nationalist Army (The Water Diviner!).

If you’re undead, you might just jump from trees alongside the track (Abraham Lincoln, Vampire Hunter), but that’s really a getting off the train film, a completely separate genre. You get the picture, and I haven’t mentioned Speed, Batman Begins, UnknownGoldeneye, The Rock

So do you like stories about talking about getting on a train? Or those about doing it?

 

(Published June 2011, updated November 2012, July 2014, September 2014, August 2016, January 2017, April 2018, July 2018, September 2018, March 2019, January 2020, May 2020, June 2020, January 2021, January 2022, December 2023 as the list grows…)

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