Tag Archives: reviews

Why I Need an iPad

I’m one of those who feel the iPad is the right tool for the job.

This is mostly meant as a reply to this blogthread. But it’s also more generally about my personal reaction to Apple’s iPad announcement.

Some background.

I’m an ethnographer and a teacher. I read a fair deal, write a lot of notes, and work in a variety of contexts. These days, I tend to spend a good amount of time in cafés and other public places where I like to work without being too isolated. I also commute using public transit, listen to lots of podcast, and create my own. I’m also very aural.

I’ve used a number of PDAs, over the years, from a Newton MessagePad 130 (1997) to a variety of PalmOS devices (until 2008). In fact, some people readily associated me with PDA use.

As soon as I learnt about the iPod touch, I needed one. As soon as I’ve heard about the SafariPad, I wanted one. I’ve been an intense ‘touch user since the iPhone OS 2.0 release and I’m a happy camper.

(A major reason I never bought an iPhone, apart from price, is that it requires a contract.)

In my experience, the ‘touch is the most appropriate device for all sorts of activities which are either part of an other activity (reading during a commute) or are simply too short in duration to constitute an actual “computer session.” You don’t “sit down to work at your ‘touch” the way you might sit in front of a laptop or desktop screen. This works great for “looking up stufff” or “checking email.” It also makes a lot of sense during commutes in crowded buses or metros.

In those cases, the iPod touch is almost ideal. Ubiquitous access to Internet would be nice, but that’s not a deal-breaker. Alternative text-input methods would help in some cases, but I do end up being about as fast on my ‘touch as I was with Graffiti on PalmOS.

For other tasks, I have a Mac mini. Sure, it’s limited. But it does the job. In fact, I have no intention of switching for another desktop and I even have an eMachines collecting dust (it’s too noisy to make a good server).

What I miss, though, is a laptop. I used an iBook G3 for several years and loved it. For a little while later, I was able to share a MacBook with somebody else and it was a wonderful experience. I even got to play with the OLPC XO for a few weeks. That one was not so pleasant an experience but it did give me a taste for netbooks. And it made me think about other types of iPhone-like devices. Especially in educational contexts. (As I mentioned, I’m a teacher)

I’ve been laptop-less for a while, now. And though my ‘touch replaces it in many contexts, there are still times when I’d really need a laptop. And these have to do with what I might call “mobile sessions.”

For instance: liveblogging a conference or meeting. I’ve used my ‘touch for this very purpose on a good number of occasions. But it gets rather uncomfortable, after a while, and it’s not very fast. A laptop is better for this, with a keyboard and a larger form factor. But the iPad will be even better because of lower risks of RSI. A related example: just imagine TweetDeck on iPad.

Possibly my favourite example of a context in which the iPad will be ideal: presentations. Even before learning about the prospect of getting iWork on a tablet, presentations were a context in which I really missed a laptop.

Sure, in most cases, these days, there’s a computer (usually a desktop running XP) hooked to a projector. You just need to download your presentation file from Slideshare, show it from Prezi, or transfer it through USB. No biggie.

But it’s not the extra steps which change everything. It’s the uncertainty. Even if it’s often unfounded, I usually get worried that something might just not work, along the way. The slides might not show the same way as you see it because something is missing on that computer or that computer is simply using a different version of the presentation software. In fact, that software is typically Microsoft PowerPoint which, while convenient, fits much less in my workflow than does Apple Keynote.

The other big thing about presentations is the “presenter mode,” allowing you to get more content than (or different content from) what the audience sees. In most contexts where I’ve used someone else’s computer to do a presentation, the projector was mirroring the computer’s screen, not using it as a different space. PowerPoint has this convenient “presenter view” but very rarely did I see it as an available option on “the computer in the room.” I wish I could use my ‘touch to drive presentations, which I could do if I installed software on that “computer in the room.” But it’s not something that is likely to happen, in most cases.

A MacBook solves all of these problems. and it’s an obvious use for laptops. But how, then, is the iPad better? Basically because of interface. Switching slides on a laptop isn’t hard, but it’s more awkward than we realize. Even before watching the demo of Keynote on the iPad, I could simply imagine the actual pleasure of flipping through slides using a touch interface. The fit is “natural.”

I sincerely think that Keynote on the iPad will change a number of things, for me. Including the way I teach.

Then, there’s reading.

Now, I’m not one of those people who just can’t read on a computer screen. In fact, I even grade assignments directly from the screen. But I must admit that online reading hasn’t been ideal, for me. I’ve read full books as PDF files or dedicated formats on PalmOS, but it wasn’t so much fun, in terms of the reading process. And I’ve used my ‘touch to read things through Stanza or ReadItLater. But it doesn’t work so well for longer reading sessions. Even in terms of holding the ‘touch, it’s not so obvious. And, what’s funny, even a laptop isn’t that ideal, for me, as a reading device. In a sense, this is when the keyboard “gets in the way.”

Sure, I could get a Kindle. I’m not a big fan of dedicated devices and, at least on paper, I find the Kindle a bit limited for my needs. Especially in terms of sources. I’d like to be able to use documents in a variety of formats and put them in a reading list, for extended reading sessions. No, not “curled up in bed.” But maybe lying down in a sofa without external lighting. Given my experience with the ‘touch, the iPad is very likely the ideal device for this.

Then, there’s the overall “multi-touch device” thing. People have already been quite creative with the small touchscreen on iPhones and ‘touches, I can just imagine what may be done with a larger screen. Lots has been said about differences in “screen real estate” in laptop or desktop screens. We all know it can make a big difference in terms of what you can display at the same time. In some cases, two screens isn’t even a luxury, for instance when you code and display a page at the same time (LaTeX, CSS…). Certainly, the same qualitative difference applies to multitouch devices. Probably even more so, since the display is also used for input. What Han found missing in the iPhone’s multitouch was the ability to use both hands. With the iPad, Han’s vision is finding its space.

Oh, sure, the iPad is very restricted. For instance, it’s easy to imagine how much more useful it’d be if it did support multitasking with third-party apps. And a front-facing camera is something I was expecting in the first iPhone. It would just make so much sense that a friend seems very disappointed by this lack of videoconferencing potential. But we’re probably talking about predetermined expectations, here. We’re comparing the iPad with something we had in mind.

Then, there’s the issue of the competition. Tablets have been released and some multitouch tablets have recently been announced. What makes the iPad better than these? Well, we could all get in the same OS wars as have been happening with laptops and desktops. In my case, the investment in applications, files, and expertise that I have made in a Mac ecosystem rendered my XP years relatively uncomfortable and me appreciate returning to the Mac. My iPod touch fits right in that context. Oh, sure, I could use it with a Windows machine, which is in fact what I did for the first several months. But the relationship between the iPhone OS and Mac OS X is such that using devices in those two systems is much more efficient, in terms of my own workflow, than I could get while using XP and iPhone OS. There are some technical dimensions to this, such as the integration between iCal and the iPhone OS Calendar, or even the filesystem. But I’m actually thinking more about the cognitive dimensions of recognizing some of the same interface elements. “Look and feel” isn’t just about shiny and “purty.” It’s about interactions between a human brain, a complex sensorimotor apparatus, and a machine. Things go more quickly when you don’t have to think too much about where some tools are, as you’re working.

So my reasons for wanting an iPad aren’t about being dazzled by a revolutionary device. They are about the right tool for the job.

Landing On His Feet: Nicolas Chourot

Listening to Nicolas Chourot‘s début album: First Landing (available on iTunes). Now, here’s someone who found his voice.

A few years ago, Nicolas Chourot played with us as part of Madou Diarra & Dakan, a group playing music created for Mali’s hunters’ associations.

Before Chourot joined us, I had been a member of Dakan for several years and my perspective on the group’s music was rather specific. As an ethnomusicologist working on the original context for hunters’ music, I frequently tried to maintain the connection with what makes Malian hunters so interesting, including a certain sense of continuity through widespread changes.

When Nicolas came up with his rather impressive equipment, I began to wonder how it would all fit. A very open-minded, respectful, and personable musician, Nicolas was able to both transform Dakan’s music from within and adapt his playing to a rather distant performance style. Not an easy task for any musician and Nicolas sure was to be commended for such a success.

After a while, Chourot and Dakan’s Madou Diarra parted ways. Still, Nicolas remained a member of the same informal music network as several people who had been in Dakan, including several of my good friends. And though I haven’t seen Nicolas in quite a while, he remains in my mind as someone whose playing and attitude toward music I enjoy.

Unfortunately, I was unable to attend the launch of Nicolas’s launch/show, on August 29. What’s strange is that it took me until today to finally buy Nicolas’s album. Not exactly sure why. Guess my mind was elsewhere. For months.

Ah, well… Désolé Nicolas!

But I did finally get the album. And I’m really glad I did!

When I first heard Nicolas’s playing, I couldn’t help but think about Michel Cusson. I guess it was partly because both have been fusing Jazz and “World” versions of the electric guitar. But there was something else in Nicolas’s playing that I readily associated with Cusson. Never analyzed it. Nor am I planning to analyze it at any point. Despite my music school background and ethnomusicological training, I’ve rarely been one for formal analysis. But there’s something intriguing, there, as a connection. It’s not “imitation as sincerest form of flattery”: Chourot wasn’t copying Cusson. But it seemed like both were “drinking from the same spring,” so to speak.

In First Landing, this interpretation comes back to my mind.

See, not only does Chourot’s playing still have some Cussonisms, but I hear other voices connected to Cusson’s. Including that of Cusson’s former bandmate Alain Caron And even Uzeb itself, the almost mythical band which brought Caron and Cusson together.

For a while, in the 1980s, Uzeb dominated a large part of Quebec’s local Jazz market. At the time, other Jazz players were struggling to get some recognition. As they do now. To an extent, Uzeb was a unique phenomenon in Quebec’s musical history since, despite their diversity and the quality of their work, Quebec’s Jazz musicians haven’t become mainstream again. Which might be a good thing but bears some reflection. What was so special about Uzeb? Why did it disappear? Can’t other Jazz acts fill the space left by Uzeb, after all these years?

I don’t think it’s what Nicolas is trying to do. But if he were, First Landing would be the way to go at it. It doesn’t “have all the ingredients.” That wouldn’t work. But, at the risk of sounding like an old cub scout, it has “the Uzeb spirit.”

Which brings me to other things I hear. Other bands with distinct, if indirect, Uzebian connections.

One is Jazzorange, which was a significant part of Lausanne’s Jazz scene when I was living there.My good friend Vincent Jaton introduced to Jazzorange in 1994 and Uzeb’s alumni Caron and Cusson were definitely on my mind at the time.

Vincent, musician and producer extraordinaire, introduced me to a number of musicians and I owe him a huge debt for helping me along a path to musical (self-)discovery. Vincent’s own playing also shares a few things with what I hear in First Landing, but the connection with Jazzorange is more obvious, to me.

Another band I hear in connection to Chourot’s playing is Sixun. That French band, now 25 years old, is probably among the longest-lasting acts in this category of Jazz. Some Jazz ensembles are older (including one of my favourites, Oregon). But Sixun is a key example of what some people call “Jazz Fusion.”

Which is a term I avoided, as I mentioned diverse musicians. Not because I personally dislike the term. It’s as imprecise as any other term describing a “musical genre” (and as misleading as some of my pet peeves). But I’m not against its use, especially since there is a significant degree of agreement about several of the musicians I mention being classified (at least originally) as “Fusion.” Problem is, the term has also been associated with an attitude toward music which isn’t that conducive to thoughtful discussion. In some ways, “Fusion” is used for dismissal more than as a way to discuss musical similarities.

Still, there are musical features that I appreciate in a number of Jazz Fusion performances, some of which are found in some combination through the playing of several of the musicians I’m mentioning here.

Some things like the interactions between the bass and other instruments, some lyrical basslines, the fact that melodic lines may be doubled by the bass… Basically, much of it has to do with the bass. And, in Jazz, the bass is often key. As Darcey Leigh said to Dale Turner (Lonette McKee and Dexter Gordon’s characters in ‘Round Midnight):

You’re the one who taught me to listen to the bass instead of the drums

Actually, there might be a key point about the way yours truly listens to bass players. Even though I’m something of a “frustrated bassist” (but happy saxophonist), I probably have a limited understanding of bass playing. To me, there’s a large variety of styles of bass playing, of course, but several players seem to sound a bit like one another. It’s not really a full classification that I have in my mind but I can’t help but hear similarities between bass performers. Like clusters.

Sometimes, these links may go outside of the music domain, strictly speaking.  For instance, three of my favourite bassists are from Cameroon: Guy Langue, Richard Bona, and Étienne Mbappe. Not that I heard these musicians together: I noticed Mbappe as a member of ONJ in 1989, I first heard Bona as part of the Zawinul syndicate in 1997, and I’ve been playing with Langue for a number of years (mostly with Madou Diarra & Dakan). Further, as I’m discovering British/Nigerian bass player Michael Olatuja, I get to extend what I hear as the Cameroonian connection to parts of West African music that I know a bit more about. Of course, I might be imagining things. But my imagination goes in certain directions.

Something similar happens to me with “Fusion” players. Alain Caron is known for his fretless bass sound and virtuosic playing, but it’s not really about that, I don’t think. It’s something about the way the bass is embedded in the rest of the band, with something of a Jazz/Rock element but also more connected to lyricism, complex melodic lines, and relatively “clean” playing. The last one may relate, somehow, to the Fusion stereotype of coldness and machine-like precision. But my broad impression of what I might call “Fusion bass” actually involves quite a bit of warmth. And humanness.

Going back to Chourot and other “Jazz Fusion” acts I’ve been thinking about, it’s quite possible that Gilles Deslauriers (who plays bass on Chourot’s First Landing) is the one who reminds me of other Fusion acts. No idea if Bob Laredo (Jazzorange), Michel Alibo (Sixun), Alain Caron (Uzeb), and Gilles Deslauriers really all have something in common. But my own subjective assessment of bass playing connects them in a special way.

The most important point, to me, is that even if this connection is idiosyncratic, it still helps me enjoy First Landing.

Nicolas Chourot and his friends from that album (including Gilles Deslauriers) are playing at O Patro Výš, next Saturday (January 23, 2010).

First Myriade Session

Today’s main coffee event is the anxiously awaited Grand Opening of Café Myriade (1432 Mackay, Montreal, right by Concordia University’s Sir George William campus). I just did my first of certainly a good many coffee-savouring sessions, there.

As a disclaimer of sorts, I think of Anthony Benda as one of the main actors in Montreal’s coffee renaissance. Anthony’s the co-owner of Café Myriade. He also happens to be an espresso blogger. Chris Capell, Myriade’s manager and “espresso producer,” has become a good friend of mine, thanks in part to the Eastern Regional competition of the Canadian Barista Championship, back in June. Despite being friendly with some of the core members in the Myriade team, I still think I can judge Myriade drinks fairly and justly. I do want the café to succeed and there’s a slight bias involved, but I think my perspective on that café and its drinks is relatively unbiased.

So, a few notes on this first session at Myriade.

On Anthony’s recommendation, I started with the allongé.

The allongé was a thing of beauty. Myriade managed to craft a drink in continuity with the ristretto-to-double-espresso flavour axis. (Twitter)

What I mean is that this allongé (or “lungo“) was nothing like a watered down espresso. It wasn’t typical of Montréal’s allongés either. But that’s really not an issue. Those who would order an allongé at Brûlerie Saint-Denis, Aux Deux Marie, or even Café Dépôt (where I’ve been surprised to have flavourful allongés in the past) will enjoy Myriade’s allongé. At least, if they keep an open mind.

To my taste, Myriade’s allongé is pretty much what you would get if you “extrapolated” (in the mathematical sense) the curve from ristretto to a regular espresso (single or double). The difference in flavours and aromas between ristretto and regular espresso is not strictly linear. Some flavours are muted as some others become stronger. It also depends on a number of factors from the blend and the grind to the way it was pulled. The same could be said about this allongé from Myriade, compared to a regular espresso.

I then tried the sipping chocolate.

Myriade’s sipping chocolate is delicious as a dessert drink. Must work really well with pastry. (Tweet)

To be honest, it was on the sweet side, for me. Maybe my tastebuds weren’t ready for this but I’m used to bitter chocolate and this one was decidedly on the sweet side. In fact, I wouldn’t have called it bittersweet because the bitterness was really muted. My mention of this seemed to be surprising to Myriade’s other co-owner, Scott Rao. But I maintain that this was a sweet chocolate.

My favourite sipping chocolate in Montreal so far (and possibly my favourite chocolate drink ever) was from Juliette & Chocolat (1615 Saint-Denis). The last time I went to J&C was probably two years ago so they may have changed in the meantime. There are two types of chocolate drinks at J&C. IIRC, the “à l’ancienne” one is unsweetened and milkless. I distinctly remember having some very tasty sipping chocolate there and the taste I remember isn’t sweet, by any stretch of the imagination. Of course, I might be wrong. But I’m usually pretty accurate about these things. Myriade’s sipping chocolate wasn’t as sweet as mainstream hot chocolate, but it was definitely much sweeter than what I’ve had at Juliette & Chocolat.

I enjoyed Myriade’s sipping chocolate about as much as the one I’ve raved about, from Chocolats Privilège (7070 Henri-Julien). In Myriade’s case, it’s less about cost than about the diversity of experiences we can have at the same place.

Speaking of which, here’s my first tweet from Myriade, today:

Enjoying Myriade’s impressive array of high quality drinks: 1432 Mackay. (Tweet)

When I first heard about Anthony’s plans for a café, I was mostly thinking about espresso. Anthony Benda is a true espresso artist, and the fact that he was a finalist in the Canadian Barista Championship (for which I’ve been a judge) is a testament to Anthony’s passion for espresso.

But Myriade isn’t exclusively about espresso. In fact, it’s probably the place in town which has the widest variety of coffee options. IIRC, they do all the espresso drinks, from single shot to allongé, caffè latte to cappuccino. But they also do pour-over drip, French press, siphon, and Eva Solo Café Solo.

Speaking of the Eva Solo, it’s the one drink with which I’ve spent the longest time, today. It was the first time I had coffee brewed through this method. It’s similar to French press but still different. I’d have a hard time describing all the differences (having to do with the “bloom” as well as with the body and the size of solids floating in the cup) but I did enjoy this coffee very much.

My tweets about this cup. The coffee was made with single origin Cup of Excellence beans: Lot #24 from Miralvalle farm.

Miralvalle as Eva. Berries to lemon, bright and sweet, some cocoa, bit of raw almond, faint roasted hazelnut. (Tweet)

As it cools, this Eva Solo of Salvadorian Cup of Excellence Miralvalle tastes more like candied lemon zest. With some cocoa butter. (Tweet)

These descriptions are my own impressions, at this moment in time. I fully realize that they may not match other people’s experiences. I wasn’t carefully cupping this coffee nor was I trying to calibrate my descriptors with what would be expected. I was pulling a Gary V: I was simply saying what I got from the drink in front of me, with as few preset expectations as possible. It’s all part of my attitude toward hedonistic tasting (e.g. in my tasting notes about Cuvée Coffee Roasters’ Sumatra beans as Brikka).

Which wraps it up for my tweets about Myriade. Through Twitter’s search, I notice that James Golick also went to Myriade today. I don’t know Golick but I notice that he has also blogged his Myriade experience, along with Daniel Haran. Haven’t read their posts (actually, a single post forked on two blogs) but glancing at the text, it sounds like the three of us have a fair bit in common.

I should also say that Myriade has an impressive selection of high-quality teas and that I really enjoyed their Sencha when I’ve had the opportunity to try it (in a private tasting) a few days ago. I kept thinking about those very tasty baby clams that my then-wife had brought back from New Brunswick, a few years ago. The tea was still subtle and I’m assuming other people would not pick up this flavour nearly as strongly as I did (if at all). But I enjoyed those clams so much (and for such a long time) that my experience of that tea was enhanced through my prior sensory experiences.

Keeping with my RERO resolution, this is probably as long as I should make this post.

iRiver H120 (Digital Audio Jukebox)

Recently purchased a brand new iRiver H120 with remote control on eBay from OutletMP3. Paid 132.50$ plus 18$ shipping. Also purchased a 3-year warranty through SquareTrade for 16$.
Item arrived as described, with both the European power adapter (in the original box) and a North American power adapter (in the shipping box). The remote control is included in the package but is outside of the original box. OutletMP3 sells those iRiver H120 devices with or without remote control (usually at about the same price).
Yes. “Would do business with OutletMP3 again.” (As it turns out, they sell iriver products quite frequently on eBay and they have an eBay store with “Buy It Now” iRiver H120 devices without remote for 150$ each.)
The best things about this device are its recording features. Those iRiver H1x0 models can record uncompressed sound in WAV format at 16bit with a sampling rate of 48 kHz (so-called “DAT quality”), 44.1 kHz (so-called “CD-quality”), or lower (“FM-quality,” “voice quality”). It also records directly to MP3 files (with the official firmware) in a variety of encoding settings (up to 320 kbps). It has an internal microphone for voice dictation as well as an input for external microphone, analog line in, or optical in.
The box includes a surprisingly decent lavaliere-style monophonic microphone. Not an excellent microphone in any way but clearly better than one might expect (though Laith Ulaby had told me that this microphone was decent).

In terms of operation, the unit has some strengths. The overall interface is much less convenient than that of the iPod, say, but the battery lasts longer than most iPods (for playback). The iRiver H120’s remote has a small LCD screen which shows enough information for most needs making it possible for me to keep the H120 in my pant pocket and operate the device with the remote. While, among portable players, only the iPod has native support for AAC and lossless formats, iRiver players support Ogg Vorbis and WMA. Haven’t done anything in Ogg format yet but it might be an interesting option (though it does make files less compatible with other players).

Apart from navigation and interface, the main differences with my previous iPod 2G have to do with iTunes integration. The iPod‘s synchronization with iTunes made it rather convenient to create and update playlists or to transfer podcasts. iRiver’s models may not be used in the same fashion. However, the iRiver H120 can in fact be used with iTunes through a plugin meant for Archos players. However, this plugin seems to have some problems with a few files (probably because of invalid characters like ‘/’ and ‘:’ in filenames), generates non-working playlists on Mac OS X, and puts all filed in an “Artist/Album” hierarchy which makes iRiver navigation more complicated.

What surprised me somewhat was that the H120, a USB 2.0 device, works perfectly well with my old iBook (Dual USB) which only has USB 1.1 ports. No need for special drivers and the device then works pretty much like a (20GB) USB drive. Since the iRiver H120 works as a USB drive, it’s easy to transfer files to and from the device (contrary to the iPod which makes somewhat more difficult). All audio files can be put at the root level on the iRiver and audio recordings made on the iRiver are in the “RECORD” folder at the root level of the drive. While the iBook’s USB 1.1 ports are much slower than USB 2.0 ones, they do the job well enough for my needs. (Will be going back to my entry-level emachines H3070 in a few days.) A 400 MB file recorded on the iRiver (about 40 minutes of 16 bit stereo sound at 44.1 kHz) transferred to the iBook through USB 1.1 in less than ten minutes. Slow, but bearable. My old iPod used a Firewire 400 (aka IEEE 1394 or i.Link) connection which is about the same speed as USB 2.0 in most conditions. My entry-level emachines desktop has both USB 2.0 and Firewire 400 ports (thanks to an inexpensive Firewire card).

Was thinking about putting Rockbox on the H120 but SquareTrade tells me that it may void their warranty, which would be an inconvenient. The Rockbox has some neat features and seems safe enough to use on “production machines,” but its features aren’t that compelling for me at this point.
The H120 has a radio (FM) tuner, which could be useful to some people but isn’t really a compelling feature for me. Haven’t listen to much radio in the past several years. Podcasts are soooo much better!

Speaking of podcasts… One of my reasons for purchasing this machine (instead of a more recent iPod) was the ease of recording. This is clearly not a professional recording device but the sound quality seems quite decent for my needs at this point. Should be using it to record lectures and distribute them as podcasts or “lecturecasts” (yeah, ugly name, sorry!). In my mind, educational podcasting can supplement lectures quite nicely. Have been to a few workshops and presentations on technology use in teaching and most people seem to agree that technology is no replacement for good pedagogy but that good pedagogy can be supplemented and complemented (if not complimented!) by interesting tools. Had been thinking about a recording iPod to integrate podcasts with course material. It would have been quite useful, especially in connection with iLife and iWork. But an iPod 5G (with video) is already much more expensive than my iRiver H120 and the add-ons to enable 44.1 kHz / 16 bit recording on the iPod are only now getting to market at a price almost half that of my brand new iRiver H120. Plus, though the iPod is well-integrated with iTunes on Windows, iLife and iWork applications are only available on Mac OS X 10.4 and, thus, will not run on the entry-level emachines H3070 which will become my primary machine again in a few days.
In other words, my ideal podcasting/lecturecasting solution is out of my reach at this point. And contrary to tenure-track faculty, lecturers and adjunct faculty get no technology budget for their own use.
Ah, well…

Still, my iRiver H120 will work fine as a recorder. Already did a few essays with voice and environmental sounds. The lavaliere microphone was quite convenient to record myself while taking a walk which sounds like an unusual activity but was in fact quite relaxing and rather pleasant. In terms of environmental sounds, the same microphone picked up a number of bird songs (as well as fan noises).
Among the things that distinguish the H120 from a professional recorder is the lack of a proper calibration mechanism. It’s not possible to adjust the recording levels of the two channels independently and it’s even not possible to adjust volume during recording. (There’s a guide offering some guidance on how to work within those constraints.) Quite unsurprisingly (for what is mostly an MP3 player) but also making the device less of a professional device, its jacks are 3.5 mm “stereo mini-plugs” (instead of, say, XLR jacks). For that matter, the iRiver H120 compares favourably to several comparably-priced MiniDisc recorders, even Hi-MD models. Did field research with a used ATRAC 4.0 MiniDisc recorder. That setup worked somewhat adequately but this iRiver H120 is much of an improvement for me.

Got a few pet peeves about the iRiver H120. For instance, it has no actual clock so recorded files do not carry a timestamp. A minor quibble, of course, but it would have been useful. The overall navigation is as awkward as that of my first MP3 device, the RioVolt (which also used iRiver firmware). One navigational issue is that navigating up and down in the folder hierarchy is done through the stop and play buttons instead of, say, using one of the three jog switches on the remote. Some functions only work when the device is stopped while others work while it’s playing. Switching from hard-disk playing to recording or to FM is a bit awkward and cumbersome. The unit takes a while to turn on and doesn’t really have a convenient sleep mode. While it is possible to resume playing on a track that has been stopped, this feature seems not to work every time. Fast forwarding rate (“scan speed”) is set in a menu instead of being dynamic as on the iPod. The device doesn’t support ratings or, really, descriptions (although Rockbox might be able to support those).

Also got a few well-appreciated features, apart from those stated above. The EQ and SRS presets are appropriate and relatively easy to use. Contrary to the iPod 2G it is possible to play files at a higher rate (increasing the “playback speed”) making it possible to listen to voice at a higher speech rate (and higher frequency). It’s also possible to delete files directly from the device.

At any rate, that’s already a long entry and experience with my H120 will probably push me to write more about the device.

Feel free to comment or send questions through email.

Still Defining Art?

In a rant about one of the books chosen for Oprah's book club, Salon.com's Hillary Frey attempts to define art negatively:

His story might be shocking, but it isn't art.

The piece (which looks like a negative review of the book) is littered with opinionated bits of supposedly self-evident condescension. Interesting to see that some people still clench to this view of art and criticism. No analysis of the phenomenon through which this book was chosen for Oprah's book club ("the most successful book club in the world," Frey tells us without citing any evidence outside the U.S.). A header of "Is this even writing?" introducing the second "page" of the piece (as if writing were defined by the content). Some gushing comments about the book club and its host ("Like practically everyone else in America, I love Oprah."). Much projection of attitudes and sentiments on readers of the piece ("There is something inherently creepy…"). Vacuous predictions of the phenomenon's outcome ("Readers will dissect the "rage" Frey carries like an old blanket throughout his book."). And, of course, apparent disdain for those people who "will in the end rely on their skills in pop psychology as they try to make something of this memoir."

Not saying that the book deserves a better treatment. Haven't read it. But that's not the point. The piece isn't really a full-fledged review of that book about which Hillary Frey seems to have such a strong aversion (apparently, it has a lot to do with punctuation, for some reason). But it is a rant about a social phenomenon which is addressed only obliquely. Hillary Frey's disappointment is visibly about a decision taken by Oprah's almighty and benevolent book club (Frey cites a publisher's comment on book sales to show that Oprah herself "did a worthy and wonderful thing" with her club). But the crux of the matter is that, "[w]ith James Frey, the book club is losing its identity as a literary feature, morphing into yet another vehicle for self-help." This would have been a great opportunity for Frey to undertake some kind of analysis or even just a reflection on the implications of this change. Yet it's simply a way to introduce the previous quote about art. So, now, artists are not only responsible for their work but for the inclusion of their work in the reading list of a television personality. Fun!

Yes, self-help books sell. Whether or not they deserve respect from a would-be literary critic, they have a large impact on U.S. society. Oprah's television show certainly connects with self-help books and the very notion of self-help. For those who mostly know Oprah Winfrey through Oprah, the connection between the book club and James Frey's A Million Little Pieces seems rather unsurprising. Self-help books and Oprah are part of the same social phenomenon. One could even talk about individualism and self-reliance in the U.S. (guests on Oprah often advocate for people finding solutions "in themselves," AFAIK). And these connections may have little to do with Oprah Winfrey herself, though it does seem to relate to her television persona. Some could analyze the phenomenon in financial terms, others in psychological terms. Yet others might see changes in the very concept of "literature," happening since at least the 1950s.

It's fascinating to see how convinced some people can be of the value of their own opinions and tastes. And how unlikely it is for some people to look at the broader picture.

Ah, well…

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The Onion AV Club on W&G

Wallace & Gromit: The Curse Of The Were-Rabbit | The A.V. Club
Haven't seen this one yet but have been enjoying the other Park/Aardman creations. This review is quite useful because it describes the type of experience one is likely to go through while watching the movie without necessarily evaluating it. That way, audience members are free to enjoy the movie for themselves but know in which context the movie should be seen.
Can't wait to see this one.

[Update: enjoyed it quite a lot!]

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ATPM 11.10 – Outliners: TAO and OmniOutliner Pro
Comparison between two approaches to outlining. Some interesting comments about outlining usage.
As academics often need to write structured texts, a good outliner should really be a part of any academic's toolbox. Ted Goranson's column on outliners frequently contains insightful ideas about computer-assisted writing.
This specific column could use a bit of editing, though.

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