Tuesday 20 October 2015

Star Wars Episode VII: Return of the Movie Title

Star Wars: The Force Awakens banner image based on the theatrical poster – the first time photography has been used for a main theatrical release poster of a Star Wars film, and the first time I can recall a banner configuration being widely distributed because internet.

If you were on the internet today, you may have noticed the release of the (probably) final trailer for the latest instalment of the Star Wars saga. This coincided with the worldwide release of pre-release cinema tickets that caused many a ticket sales server across the globe to crash (I'm looking at you, IMAX Melbourne!!). Although advanced bookings are nothing new for popular films, this is the first instance I can recall it occurring on a global scale. No mean feat.

The trailer was impressive, most impressive. Lifetime Star Wars fans like me no doubt got a little emotional with the whole thing. The thought and precision that goes into trailer creation to elicit responses in an almost Pavlovian manner is actually quite terrifying. But what intrigues me the most is how the episodic titling of the prequel Star Wars films has been eschewed in favour of an actual film name. Except for occasional mentions in the press and among fans, almost nobody associated with the new film has referred to it as "Episode VII". It is The Force Awakens. This is a very good thing.

The godawful prequel trilogy with their godawful subtitles (The Phantom Menace, Attack of the Clones and Revenge of the Sith) were almost always referred to by their episodic titles, probably in part because their official names were better suited to a 1950s B movie or Scooby Doo episode than a multi-billion dollar blockbuster. This generic naming essentially robbed the prequels of their individual identities (as if they didn't have enough creative handicaps to overcome), unlike the three original films which are almost never referred to by their retroactive episodic titles. 

The Empire Strikes Back, for instance, is an incredibly powerful title that remains a pop culture staple and demonstrates that sequels don't need need to be named [original film] 2. Likewise with Return of the Jedi. The Force Awakens' creators and marketers clearly recognise this and are trying to establish an individual identity for the new film and its sequels, avoiding association with the prequels in name if not in narrative. 

I'm pretty giddy with excitement for these new films. After the disgrace that was the prequel trilogy, I assumed we'd never get to see another new Star Wars release on the big screen. Happily, I was wrong.  Although, I must temper my excitement with the memory that even The Phantom Menace's trailers were awesome. Again, I doff my hat to the trailer people for making even that unintelligible piece of cinematic shit seem exciting. It is with a certain degree of joy I note The Force Awakens' theatrical poster neglects even a passing mention to George Lucas in its credits. This is a very good thing. 

Monday 19 October 2015

My Kingdom for a Keyboard


Apple announced updates to its iMac lineup this week, along with an overhaul of three of the brands most venerable pieces of hardware: the Magic Mouse, Trackpad and Keyboard.

These three peripherals have always represented Apple's myopic pursuit of design at the expense of usability. None of them (with the possible exception of the Magic Trackpad) is better than what other manufacturers have on offer.

The Magic Mouse, for example, eschewed buttons as we know them and instead employed a touch-sensitive surface designed to replace them old-fashioned button things. Great in theory, but in practice it sucked. Using Google Maps or a similar page in a web browser usually resulted in unwanted rapid zoom-ins and zoom-outs as the mouse detected a scroll command that never was.

The Magic Trackpad goes okay in most regards, however it is very sensitive and, like the mouse, can often trigger gestures you did not intend. And, as a Photoshop user, a trackpad is no substitute for a mouse or tablet. That said, Apple's implementation of the trackpad is the best in the market and a pleasure to use most of the time.

But the worst (or best?) example of Apple's nearsighted pursuit of design for the sake of design is the Apple Keyboard — the worst-designed Apple peripheral since the infamous Apple USB Mouse (M4848), known derisively as the "Hockey Puck".

In an age of touch-enabled devices, the humble keyboard remains the most practical and important human interface device for computers. The vast majority of all computerised communication is carried via letters and numbers entered by fingers on keys, therefore the comfort and productivity of the typist should be of the utmost concern. Unfortunately, Apple — like almost all computer hardware manufacturers — have set themselves on a road to mediocrity with the design and usability of their keyboards.

Keyboards used to have bite. They used to announce their presence via the unmistakable clickety clack of mechanical switches. But this was not noise for the sake of noise, mechanical switches provide the best possible typing experience, with a good amount of travel (the distance a key must be pushed down before the keystroke is recognised) and a positive tactile response, that is to say the user knows when a key is hit and can move on to the next keystroke. These two properties, among many, make mechanical keyboards easier to touch-type on, which is why they are preferred by typists the world over.

Unfortunately, the mainstream computer world has largely abandoned mechanical keyboards in favour of rubber domes and other less tactile mechanisms. Apple's last mechanical keyboard, the Extended II (on which this post is being clickety-clacked) was discontinued in 1995 and now mechanical keyboards are largely the domain of gamers, usually tricked out with custom LEDs and a thousand-and-one programmable custom function buttons. "Features" which your average keyboard user doesn't need.

Yes, "design"
Apple's new "Magic" Keyboard utilises all-new scissor switches for its keys, similar to the previous Apple Keyboards and MacBook mechanisms, but with even less travel. At first type, this makes it quite difficult to touch-type on. It is important to note that this new keyboard does not use the butterfly mechanism of the new MacBook – a mechanism that provides so little travel and tactile response that one reviewer wanted "to cry a little", but it is not much better. While the size and design constraints of the ultra-thin MacBook make its keyboard a necessary evil, there is no such excuse with a desktop keyboard, other than the elevation of form over function. Sadly, using the new Magic Keyboard is not that different from the miserable experience of typing on a touch screen.

Happily, the Magic Keyboard does address a number of design issues from previous models. First, the keyboard is now a solid wedge shape, not a thin aluminium sloped casing with little support underneath (although Microsoft could be forgiven for being a little pissed at this). I have a collection of bent and battered aluminium Apple Keyboards, victims of close-run essays and reports.

The keyboard (along with the new trackpad and mouse) also contains an in-built rechargeable battery that can be charged via a Lightning cable (included). This is pretty neat, although it's another USB port that needs to be used on a computer where ports are already at a premium. At this point, I'd like to see an iMac with an integrated Lightning cable, but that in itself would offer its own design problems.

Apple's quick to claim the environmental high ground on its new peripherals with the use of batteries, rightly claiming it reduces use of alkaline batteries that would otherwise end up in landfill. But it also limits the life of the product with the integrated battery not replaceable by the user. Also, anyone who has owned and used the previous iterations of these products would be unlikely to persist with the Sisyphean task of using alkaline batteries – non-rechargable lithiums and rechargeable Ni-MH batteries were a mandatory part of every sale in my time in computer retail.

Still, with all these design goodies, the typing experience has been solely neglected, leaving touch typists to fend for themselves in a world of illuminated gaming keyboards that look more like offensive weapons and are named accordingly (Razer BlackWidow Ultimate, anyone?). This is why I persist with my Apple Extended Keyboards – arguably the best keyboards ever made – acquiring them in all conditions at all times, along with the USB adaptors required to operate them on modern machines.

Apple Extended Keyboard (front) and two Apple Extended Keyboard II
So what are the modern options? Sadly, unless you like your keyboards black and illuminated, there aren't too many options. For Mac users, the best alternative is one of the Matias Tactile series – they bill the Tactile Pro as the spiritual successor to the Apple Extended Keyboards. But good typing doesn't come cheap, a Tactile Pro will set you back over AUD$200 locally, so start saving your cents. You can still sometimes pick up a bargain on eBay by searching for vintage Mac equipment, although listings for Apple Extended Keyboards are both rare and usually expensive. It pays to search simply for vintage Macs that include a keyboard – often that "keyboard" is an Apple Extended Keyboard. Of course you will need an adaptor to get it up and running, but it's well worth it.

What I would really love to see is an Apple mechanical keyboard on the market again. A keyboard with all the nice design of current Mac hardware, but with the added benefit of being usable. A wireless mechanical keyboard with a similar footprint to the new "Magic" keyboard is not impossible. Perhaps call it the Apple Keyboard "Pro" or something. The problem is that as computer users, we have become habituated to mediocrity. We don't think of the keyboard interface as something that should be satisfying or even pleasurable, merely something that is just adequate. Most of us don't know there is something better out there – a keyboard that makes even the most arduous data-entry tasks strangely satisfying. A better keyboard makes us better typists and therefore better communicators. Would it be too much to suggest that a better keyboard makes us better people? Maybe. But you'll never know unless you try.

Tuesday 29 September 2015

Tear down this wall...

Berlin Brandenburg barriers in use at Berlin Tegel Airport in 2014
...and rebuild it to legal standards.

Berlin's ill-fated Brandenburg Airport has hit yet another snag. Four years (to date) over schedule and €4.6 billion over budget, Berlin's intended gateway to the world has been an unmitigated disaster.

The latest in a long line of design and management disasters is that 600 walls will have to be reinforced or ripped out and rebuilt to meet fire resistance standards.

Originally scheduled to open in 2011, and having missed four opening dates, the airport board have basically given up on putting a completion date on the thing – reports currently say mid-2017 at the earliest.

Like that back patio you started working on when John Howard was PM, it'll be done when it's done. Except, unlike BER, your incomplete patio probably doesn't suck €17 million from your wallet every month in maintenance costs or involve price fixing, bribery and otherwise bad corruption. And while your incomplete patio may not look the best, it does not occupy 1,470 ha of prime real estate in a European capital city and is unlikely to be damaging your city's economy or its international reputation.

Where to begin with how bad this project (Berlin airport, not the hypothetical patio) truly is...

Firstly, the guy hired to design the airport's fire protection system – the single system that has delayed the project the most – wasn't even a qualified engineer...he was a draughtsman. "Everyone thought I was an engineer", Alfredo di Mauro said, "I just didn't contradict them". Oh great. Luckily he wasn't in charge of anything important, like engineering a system designed to prevent the deaths of potentially thousands of people.

Oh. Wait.

The complete ineptitude of di Mauro, his designs AND the people who employed him cannot be overstated. The system he was supposed to implement was designed to funnel smoke below the terminal building in the event of a fire. Just think about that for a second. When you sit in front of a log fire, where does smoke go? Does it go down? Not usually. Not unless you're camping and had faaaarrrrrr too much weed. So here we had the unqualified di Mauro in charge of implementing a vital safety system that defied the laws of physics.

Bravo.

There is some architectural Magic Alex shit going on here, where someone convincingly claims they can build a thing that defies laws of physics, gets lots of money for it and then delivers, unsurprisingly, a system that doesn't work. This would be forgivable if you're a drug-addled rock star just wanting to give peace and 72-track recording studio a chance, but less so if you're planning a multi-billion dollar piece of infrastructure of international importance.

When inspectors tested the fire systems in 2011 – in preparation for a now hopelessly optimistic opening in 2012 – some alarms failed to activate and, goshdarn shockingly, the laws of physics defying smoke extraction system failed to extract smoke. The inspectors then had a closer look and found high-voltage power lines had been installed beside data and heating cables – a potentially disastrous design mistake if ever there was one.

But don't worry, the airport board proposed a most excellent stopgap solution: 800 minimum-wage workers armed with mobile phones – human fire detectors if you will – who would monitor the airport and, in the event of fire, presumably call a supervisor, yell „FEUR“ and direct passengers to the nearest exit. What could possibly go wrong? This "solution" was wisely rejected. And as if more things couldn't go wrong, the company hired to rectify the fire safety system, Imtech Deutschland, filed for bankruptcy in August.

So where to from here? Well, there are awesome tours of the unfinished airport that I imagine must be something like the lads from Top Gear driving chairs. I was kinda sad I missed out on enjoying one of these tours when I was last in Berlin. Something tells me I'll be able to go on one next time I'm there.

I'm not under the slightest illusion big projects such as an international airport are easy to manage. They clearly are not. But while they are complex, they should be feasible. This airport was definitely feasible. Sometimes projects run over budget and over schedule because of too much ambition or challenging engineering considerations – Santiago Calatrava's projects are perfect examples of these. Berlin Brandenburg Airport has none of this. Its design, while impressive, is not revolutionary nor is it construction difficult. Its calamitous errors are due solely to human error and mismanagement.

Add in to the mix the similarly disastrous Stuttgart21 project, and Hamburg's Elbphilharmonie concert hall and you've got a once-proud (if overstated) international reputation for efficiency and punctuality gravely damaged.

But why am I writing this? I guess because I really miss Germany at the moment, in particular Berlin. It sure isn't a perfect city, but every story that chinks away at the myth of German efficiency is, to my mind, a good thing. Nations are often built around such cultural nonsense which do nothing to enhance actual knowledge of a country. Take, for example, the "easy going" "mateship" of Australia. Just ask an American how "easy going" Australia seems after encountering our finest frontline Border Farce officers when entering the country. Destroying clichés is the first step to real engagement with a nation and its culture. I hope this bit of honesty regarding Germany's current horrendous major projects is a worthwhile glass of truth.

Tuesday 15 September 2015

A Skeptical Approach to Cameras or: An Ode to the Leica M4-2

Leica M4-2 by Andrew J. Cosgriff via Flickr

Originally published at richardmckenzie.com.au/words

If you've gone hunting for a decent hi-fi setup anytime over the past two decades, chances are you have come across publications such as What Hi-Fi or Stereophile and cooed over their adjective-laden reviews of high-end equipment you've never heard of, "must-have" accessories you'll never have and remastered audiophile albums you don't want to repurchase. These reviewers use the abstract and subjective as if they are measurable and quantifiable values; SI units of auditory measurement if you will. You've already settled for the $899 Panasonic job from JB Hi-Fi, but in the world of high-end hi-fi, dCS, Bryston, Continuum and Audioquest are the names to look out for.

"Audiophile" reviewers wax lyrical about an amplifier's "warmth" and "depth", or the improved "image focus" and increased "coherence" of a $750 USB cable, or a CD player's "righteous sense of musical flow". In this rarified world, it is self-evident that a $1190 RCA interconnect (or audio cable to us mere mortals) will produce "superior detail, clarity, timing precision, and image focus" and that such an exotic product – made from "tellurium-copper alloy" no less – is necessary for the best audio experience.

With seeming full sincerity, a $200,000 turntable is rated as possessing a greater "emotional majesty" that "sings" to the reviewer's heart: "When you hear the music [the turntable] lets escape from the grooves," the reviewer claims, "you, too, will be astounded and swept off your feet".

Except for the tiny problem that the vast majority of these reviews are guff. Non-scientific, non-measurable, emotional guff. While most consumer reviews have embraced the quantifiable and objective to test the efficacy of products (Video Card A runs Game B at 64 FPS; Computer X takes 56 sec to render Video Y), audiophile hi-fi regressed to a pre-scientific world view, preferring untestable subjectivity to measurable objectivity.

In the real world, this is simply not acceptable. A rational person, for instance, wouldn't take a drug because a doctor said it had "a more defined sense of certainty" than another. You would demand evidence of the drug's efficacy in comparison to others before swallowing it. Now, hi-fi might not be a matter of life or death, but many otherwise rational people are all-too willing to swallow the homeopathic audiophile hi-fi pill without thinking.

It was easy for me to laugh at the absurdity of high-end hi-fi's claims. I am a skeptic, and fiercely proud of it...but then I realised I had swallowed similar claims when purchasing my camera...

Leica Virgin

My Leica M4 and Voigtländer VCII Meter

It was 2009 and I was about to purchase my first Leica. Few brands are steeped in the as much myth and legend as Leica. Born in Germany, Leicas are regarded by many as the pinnacle of 35mm photography. As with audiophiles, Leica adherents are renowned for their devotion to the brand despite the many shortcomings of the products. Leica cameras and lenses, so the story goes, possess very special qualities not seen in other cameras. This is not entirely guff; objective measures of image quality often give Leica products close to full marks, but there are other less measurable qualities ascribed to Leica products we should be skeptical of.

When it came time to decide on which Leica M body to purchase, opinions were a dime a dozen, but the consensus from the "experts" was that the German-built Leica M4 was superior to the later Canadian-built M4-2 and M4-P models. Why? Do they hate Canadians? No, because according the experts, the Canadian models were constructed to "looser tolerances". What these tolerances were and how they affect one's photography or the operation of the camera is rarely quantified, but I trusted the "expert" opinion, so I avoided the Canadian models and bought a German-built M4.

With the benefit of experience and hindsight, I can now see the whole pro-German M4 thing as little more than a smear on the good name of the Ernst Leitz Canada (ELCAN) factory and its unbelievably talented staff. The amazing inventions and innovations of the ELCAN staff sadly do not receive their due credit in the history of Leica. ELCAN was pushing the technological boundaries of optics at a time when Leitz Wetzlar was focused on merely financial survival. The ELCAN team, led by legendary optical designer Walter Mandler, designed the very first Noctilux lens, envelope-pushing military lenses, IMAX projection lenses and groundbreaking Panavision optics. This was not some second-rate factory, it was the true innovation centre for Leica in the second half of the 20th century, right up until the early 1990s.

The ELCAN M4-2 and M4-P actually saved the Leica M as a product and possibly Leitz (now Leica) as a company. A bit of history: after the successful M4, Leica released the unloved Leica M5. Although it was the most technically advanced Leica M to date, the M5 was a sales flop that caused Leitz to discontinue the M line and focus on SLRs. That's right, the now iconic Leica M product line was discontinued. After the discontinuation, the folks at ELCAN suggested to German management that they could produce a more economical version of the M4 in Canada. Leitz approved a limited number, but demand was greater than expected, thus the M4-2 was born.

So were there actual problems with the M4-2's more "economical" construction? Well, kind of. Like many new products, there were problems with first batches. The viewfinder was more prone to flare than previous models owing to the removal of a condenser, and some metal and brass parts were replaced with plastic parts. In most cases this substitution made no difference, however some parts were demonstrably less robust than their metallic predecessors. Many of the other cost-saving changes were cosmetic or had little effect on the usability of the camera, such as the stamped Leitz name on the top plate (replacing the engraving of previous models) or the removal of the self-timer (I've used mine once).

What of "looser tolerances"? Production methods did actually change. The time consuming "adjust and fit" method of bespoke production was substituted for a more modern and economical production line mode of manufacture. Thus the tolerance claims are true to a certain extent, although the effect on the final product was minimal. This was a new workforce building a new camera on a new production line and what mistakes they made were quickly rectified. And don't forget that all the tooling to build the M4 was transferred from Wetzlar to Canada – that's no small task so it would be more of a shock if there weren't issues. These cost-cutting measures, practical though they were, add up in some minds to the Leica M4-2 being somehow a "lesser" Leica than the German-built models that preceded it, even though today, a well-kept Canadian M4-2 or M4-P operates just as reliably as any other Leica.

I asked a photographer friend of mine, Andrew Cosgriff for his thoughts on using the Leica M4-2 and the German-built Leica M6: "The truth (for me) was that it still felt like everything a Leica was meant to feel like. You could sit there and wind it all day, because it felt so good. I loved how the M4-2 had absolutely no extraneous features, compared to other cameras I owned, most of which seemed to have a few extra knobs and dials that I never found myself using."

And of the obviously superior German-built M6? Did it feel better because Germany?

"Nope. Winding it on felt just as good, and the meter was a convenience (now, 4 years later, a crutch) rather than a necessity. Both of them are still Leicas, and for me they both exude the qualities we’ve come to expect from that name."

And this is where we should take a moment to step back from inherited opinions that are told and retold enough for them to become fact. A photograph is not only the product of a camera, it's the lens, the chosen medium and most importantly, the person behind the camera. It is highly-unlikely that the camera body will be the weakest link in the process that is photography. Sure, you may be affected by the "cost-cutting" roots of the Leica M4-2, that somehow it's not a "real" Leica, but I would suggest that's more in your head than in the product.

Similarly with hi-fi equipment, the biggest change you can make to improve your audio experience is to fix up your listening environment, not demagnitise your discs and replace all of your audio cables with unobtanium-plated interconnects. Alas, there's no $1400 product to sell to support the moving of speakers a few feet one way or another (although I'm sure there are a few less-scrupulous companies out there willing to give it a try...have you heard of the BS Technology Pro Grip Finger Protectors FAP-1020 that discharge dangerous static before coming into contact with your precious hi-fi equipment?).

Above the din of their scorn, many Leicaphiles forget that without the M4-2 and M4-P, Leica might not exist today. ELCAN designed and produced the finest rangefinder lenses and kept the Leica M line alive at a time when its German parent company wanted little to do with such outmoded technology. Yes, there were differences with the construction of the M4-2 compared to previous models and, yes, some of the changes were designed to cut costs, but a good M4-2 is no less usable than a good M4. Leica's focus on SLRs would eventually falter, with their R SLR cameras never achieving the same prominence (or sales) as the Leica M lineup. Leica finally discontinued the R series in 2009; the M series continues strongly to this day. Had Leica given up entirely on the M, the company probably wouldn't be around today.

The more economic methods of production perfected in Canada informed the creation of the Leica M6 and helped allow production to finally move back to Germany in the 1980s. Today, the Leica M forms the core of a resurgent Leica Camera AG, thanks in large part to the foresight and passion of Leitz workers at the ELCAN factory who kept the iconic rangefinder alive.

I've learned my lesson. Next time, I'll be a bit more skeptical of the received wisdom of the internets, of forum users with 10,000+ posts and of claims without assertions. Had I followed this course of action in 2009, I might have saved myself quite a bit of money. Should I need to replace my M4 for whatever reason, I'll be more than happy to "take the risk" with a Leica M4-2 and ELCAN's wares...just like the US Navy did, just like the US Army did, just like Panavision did, just like IMAX did and just like Leitz did.

--

Thanks to Andrew for his musings on the Leica M4-2 and M6 cameras. You can see more of his awesome photography on Flickr.

The inspiration for this article came, in part, from Peter Johansen's post A Brief Guide to Audio for the Skeptical Consumer on his blog Numeral Nine Music and Audio.

For an overview on the amazing accomplishments of the ELCAN operation, take a look at Ernst Leitz Canada Limited on the LEICA Barnack Berek Blog.

Notes: It is incredibly difficult to find advertising materials for the Leica M4-2. I have a few brochures in my collection for the M4-P, but none for the Leica M4-2. The internet wasn't much help either, I could not find a single digitised ad for the M4-2. Sad face.

Tuesday 8 September 2015

Free Trade? You've VOD to be Kidding


© Magnolia Pictures
Alex Gibney, the noted documentary maker whose impressive oeuvre includes Going Clear: Scientology and the Prison of Belief, We Steal Secrets: The Story of Wikileaks and Enron: The Smartest Guys in the Room, has a new movie out today.

Steve Jobs: The Man in the Machine takes what senior Apple executive Eddy Cue called an "inaccurate and mean-spirited" approach to its subject, eschewing the usual hagiographic tendencies of recent book and film profiles of Jobs. In short, it takes a "genius and jerk" view of Steve Jobs that has been only hinted at so far, providing some much-needed critical balance to the available accounts of his life

Impressively, Gibney and the film's producer, Magnolia Pictures, have opted for a same-day cinema and Video On Demand release, meaning viewers have the choice to watch at the cinema, or rent and download in the comfort of your own home. That is, unless, you're outside of the United States. If you're unlucky enough to exist outside the reality distortion field that is the USA, you will likely be presented with this should you wish to purchase the film:

iTunes
YouTube

Amazon.com
Magnolia Pictures VOD


In a regression to the physical world, corporate entities still insist on imposing geographic blocks on content that is downloaded as a bit-for-bit identical copy no matter its physical location. While our politicians hurriedly conclude free trade agreements that claim to have benefits for our farmers and physical exporters, they seem to neglect the trade in data; of discriminatory pricing and access limitations imposed on Australian consumers for digital goods for no good (or defensible) reason. The digital economy, which our pollies love to say "is Australia's future", seems strangely neglected by them when it comes to putting their rhetoric into action.

Attorney-General Bookshelves Brandis and "Practical Inventor of the Internet" Malcolm Turnbull have done little to encourage greater access to the world of digital goods, preferring to impose draconian data retention laws and siding with the movie studios – instead of consumers – on issues of "illegal" downloading. As has been repeated ad nauseum by anyone with a tablet and internet account, making content available in a timely and affordable manner does more to prevent piracy than any demonstrably ineffective "three-strikes" policy ever could. As the long-overdue arrival of Netflix et al. to local shores has shown, Australians are willing to pay for a quality service when one is offered.

My international relations lecturer was always fond of saying "there's no such thing as free trade – only slightly freer trade". This is as true now as then. Free trade deals, as negotiated by our governments, only deal with a very limited number of import/export areas where (usually marginal) benefit can be extracted for both parties. While free trade agreements have been effective at removing (some) tariffs for physical goods, digital goods are largely neglected.

This film is just one example of where our digital world, as advanced as it is, lags far behind our expectations of it, with most of our politicians lagging even farther behind still (honourable mentions to Ed Husic and the other members of the IT Pricing Inquiry) I was a willing customer, ready to pay to watch this film. Unlike some, I believe the creators of our content deserve fair and equitable recompense for the labours...but they're making it harder – not easier – to make this possible.

Thursday 27 August 2015

Welcome To Australia, Huffington Post! Please Leave That Pseudoscience Nonsense At The Door


~Originally published at Junkee.com~

The Huffington Post has finally arrived in Australia — and while our mainstream media will certainly benefit from more diversity, we may have reason to be afraid. Not just because of the brand’s infamous embrace of clickbait (we’re all guilty), or even its questionable practice of sourcing content from unpaid bloggers.

No: in a country where the CSIRO’s funding is free-falling, and science is routinely under attack from elected officials, of greatest concern to me is the Huffington Post’s uncritical promotion of pseudoscience and quackery.

Since its inception in 2005, the Huffington Post has provided a platform for anti-vaccine activists, new age spiritualists and other types of scientific illiteracy dressed up as genuine news. While media outlets sprouting the virtues of miracle diets and cures is nothing new, HuffPo’s massive world-wide reach and agenda-setting aspirations made its scientific illiteracy particularly concerning at the time. And although the publication’s embrace of pseudoscience has moderated in recent years, it’s worth taking a closer look at its recent past to be wary of what its Australian edition might bring.
The (Unvaccinated) Birth Of The Huffington Post

Arianna Huffington was a failed gubernatorial candidate and political divorcee when she founded the Huffington Post in 2005. A vanity exercise in the nascent blogosphere, it became a home for liberal politics and vitriolic pieces attacking key figures in the Bush administration. Huffington, formerly a Republican through personal belief and marriage, alienated many of her friends by her political conversion to the left — she even went so far as to ask her daughter Isabella to choose a new godmother (Isabella’s first godmother was appointed Secretary of Labor by Bush).

Shortly after HuffPo’s launch, some science bloggers noticed a disturbing trend in its coverage of health issues. Anti-vaccination activists such as Janet Grillo, Jay Gordon and David Kirby dominated the outlet’s “health” coverage; between them they published pieces supporting the long-discredited “link” between vaccines and autism, scare-mongering over pesticides (“parks and school ball fields are sprayed with chemicals so toxic they should be illegal”), and promoting the “Pharma-Political Complex” that apparently wants to harm all the children (presumably to sell them drugs to make them better or something).

These bylines were soon joined by the doyen of disinformation Jenny McCarthy, an actor and TV host who’s now infamous for leading the anti-vaccination movement, and her painfully unfunny then-boyfriend Jim Carrey. They both repeated the usual claims that “toxic” ingredients of the “lucrative vaccine program” are “causing autism and other disorders (Aspergers, ADD, ADHD)”. Of course there is no credible evidence to support this or any other of their claims; in fact there is plenty of evidence to the contrary. But in the world of the anti-vaxxer, contrary evidence isn’t valid, because it comes from government health organisations who are ‘in on it’ too.

(A quick debunk of the anti-vaccination movement: the vaccine ingredient anti-vaxxers claim causes autism – mercury – is not present in scheduled childhood vaccines. Thimerosal, a preservative used in some other vaccines, does indeed contain mercury, but in the form of an ethylmercury which is easily filtered out by your body. All this, however, is moot. Even if children are given vaccines that contain thimerosal, there is no known link between mercury and autism. None. The exact cause (or causes) of autism remain unknown, but what we do know is that vaccines are not to blame.)
The Sickness Of “Wellness”

Alas, HuffPo did not confine its anti-science stance to a few ill-advised stories on vaccines. In 2009 they devoted an entire section to “wellness”, edited by homeopath and licenced acupuncturist “Dr” Patricia Fitzgerald. Contrary to her title, “Dr” Fitzgerald was not a licenced medical practitioner, but rather held a doctorate in homeopathy. Unfortunately, this didn’t stop her offering dud medical advice, promoting ineffective “detox” routines while also having nice things to say about Jenny McCarthy.

Then it got worse. “Quantum healer” and self-help millionaire Deepak Chopra became a contributor, as did Kim Evans, who wrote that antibiotics are responsible for cancer, and that all cancers are fungi and can be treated with baking soda. Yep, you won’t believe what THEY don’t want you to know, dear sheeple.

There wasn’t a shred of credible evidence to support these astonishing claims either — only the assumption that Big Government, Big Pharma or Big Pineapple was out to get you. By 2010, the height of HuffPo’s questionable relationship with science, the site garnered around 28 million unique views per month. In 2011, AOL acquired the Huffington Post for $315 million. Since then it has only grown in size and audience to become the most popular blog in the world, claiming to attract some 100 million visitors per month. That’s a big global audience to be selling garbage science to.

But the web fought back. The same internet that helped propagate HuffPo also hosted a new generation of science-literate blogs and websites such as Science-Based Medicine, Phil Plait’s Bad Astronomy and ScienceBlogs, among many others. The condemnation from these bloggers was swift, universal and derisive.

PZ Meyers of ScienceBlogs offered this gem:

image: http://junkee.com/wp-content/uploads/2015/08/huffpo.jpg



Slowly, contributors with science and evidence on their side began to have a regular presence on HuffPo, with the site even launching a science section in 2012. While today’s HuffPo continues to publish articles on topics of questionable scientific validity including acupuncture, immune system “boosting”, detox diets, and anti-GMO food, there are also a few choice bylines with the all-important post-nominals “M.D.” to counter the hokum and provide real actual medical science.

The problem is that the two types of articles sit side by side, and it is very difficult for the lay reader to determine what is a good, evidence-based article and what is pseudoscientific rubbish. While this is great for the free expression of quacks everywhere, it does little to further science in the popular understanding.

Search HuffPo today for “vaccines+autism” and you’ll find a hodgepodge of pro and anti-vaccine articles with vague, clickbaited headlines and questionable contentions. Presenting vaccination as a “debate” with two equal sides is bad journalism at best, and life-endangering at worst. When it comes to childhood vaccinations, there is no debate; there are not two equal sides. There is evidence-based science and there is opinion. As Neil deGrasse Tyson argued on the Colbert Report, science doesn’t care what your opinion is: “It’s true whether or not you believe in it”. Vaccines are the most effective medical intervention in the history of humankind.

Should we hold out hope that the Australian edition of HuffPo will improve on its parent’s chequered past? Perhaps. Right out of the gate, they have published two decent pieces on mental health, one by noted adolescent psychologist Dr. Michael Carr-Gregg, and the other looking at a new Beyond Blue anxiety program. They have also published a piece promoting the healing properties of crystals (they help “clear and release old toxic emotions”, apparently). If we can continue this ratio of 2-1 good science-based medical articles to hokum, there might be hope yet.

The methods of science are not optional to understanding our world; they are mandatory. They consist of careful observation and rigorous intellectual honesty, and are the best ways to confront the world’s many and varied problems. In a recent interview with the ABC’s Lateline, Huffington stated that she supports the key tenets of “fairness, accuracy and fact checking” in journalism, along with the scientific consensus of anthropogenic global warming. I sorely hope she implores her news sites, with a global audience of tens of millions, to follow the same principles.


Friday 21 August 2015

IMAX: The Last Picture Palace

IMAX Melbourne, Nikon F100, Nikkor AF-S 50mm f/1.4, Fujifilm Natura 1600

When Christopher Nolan’s space epic Interstellar returns to IMAX Melbourne for one last night this Sunday, it’ll be the end of an era. At the end of the screening, the massive IMAX GT 1570 film projector will be switched off for the last time; the 272kg platter of 1570 film Interstellar occupies packed up never to be seen on these shores again. As part of the third stage of the cinema’s “upgrade”, IMAX Melbourne is removing the film projector, along with the inferior twin-digital projection system, and replacing them both with the new 4K IMAX Laser projection system.

IMAX claims the new Laser (must...resist...urge...to “finger air quote”) system is a “quantum leap in cinema technology” that provides audiences with “the sharpest, brightest, clearest and most vivid digital images ever”. This is all, of course, marketing guff. Maybe it’s true, maybe it isn’t. As a film and film aficionado, my customary position is to be skeptical of IMAX’s lofty claims for the new system. After all, technology companies have been promising to make film obsolete since 1981’s Sony Mavica and its video floppy disk system (as if you'll ever need more than 490 lines of horizontal resolution!). It has taken three long decades for digital projection and capture to live up to its own rhetoric and even then, the resolution of 70mm IMAX film exceeds virtually all commercially-available digital capture devices. But I will resist the urge to critique the new system until I see it in action.

Interstellar, one of the boldest and most impressive science-fiction films this side of 2001: A Space Odyssey, is also likely to be the final feature film (partially) shot and projected in 70mm IMAX. The past few years have seen a number of films, particularly those of Christopher Nolan, utilise the format for key sequences. J.J. Abrams is continuing this trend, shooting at least one segment of Star Wars Episode VII on 70mm IMAX. Whether or not the film is released in 70mm IMAX for suitable screens is moot, Melbourne audiences will be seeing it projected via the new Laser system come December.

If there is to be a future for film, digital projection seems to be an inevitable part of it. Perhaps, for the multiplex, this is the best of both worlds: the organic nature of film capture paired with the adequate consistency of most digital projection. But for the world of IMAX and epic event cinema, the removal of capacity to project 1570 film will leave audiences all the poorer. I understand the practicalities of the situation – a projection system is only as good as the films available to present and there is a dwindling number of drawcard movies being shot and projected on 70mm IMAX film – but I still can't help feeling like something truly great is being lost.

So here's to IMAX and the crazy people who made it possible including inventors Graeme Ferguson, Roman Kroitor, Robert Kerr, and William C. Shaw; IMAX cinematographers James Neihouse, David Breashears; IMAX director and developer Greg MacGillivray and more recent notables such as Christopher Nolan. The cinema is far richer and more powerful for your efforts and I can't wait to sit down, strap myself in and watch the fruits of your labours one last time.

ELCAN (Ernst Leitz Canada) IMAX projection lens. German-born know-how made in Canada – optics without compromise. Source: For the Love of Film – Interstellar IMAX® Featurette 

Tuesday 7 July 2015

Mid-Year Stock[exchange]take


Shanghai Stock Exchange
The news that China's stock markets are tanking brought to mind German photographer Andreas Gursky. Huh? Let me explain. Usually these news stories are accompanied by the most awful stock footage known to humankind. I believe every news network in the world has the same 45 sec loop of concerned people standing before the electronic ticker boards. I gather they have two versions: one for a good day of trading (a whole lot of green and happy people) and one for terrible days of trading (a sea of red; balding middle-aged men who by the end of the package have no hair). 

The very existence of such stock footage begs the question: who the hell visits a stock market foyer for updates these days anyway!?? You know your iPhone? That stocks app you never use? Well, that can do the same thing.

But I digress.

This particular story about the Chinese market debacle on ABC News 24 utilised actual footage from the actual floor of the actual Shanghai Stock Exchange...and what a revelation! Used to seeing the (probably anachronistic) chaos of Wall Street, the Shanghai exchange looks like a never-used sporting arena for sharebrokers. Its size and order fits the image China constantly projects to the world, at once recalling the precision of military parades and the immensity of Communist Party proceedings.

As someone with keen interest in photography (and owner of a couple of cameras myself), I couldn't help but make comparisons to Andreas Gursky's megaphotographs™ of various Bureax d'Change le Stocks around the world.

Gursky, famous for his use of digital manipulation to create his vision, produces photographs possessing hyperrealistic qualities. Such methods are particularly suited to the largely computerised and data-driven world of share trading. Trillions of dollars changed hands daily, with neither physical money or hands involved. His images of global stock exchanges are striking, not only for their detail and physical presence, but as a marker of changing technology and cultural values around the world. But of course such differences are superficial. Regardless of the religio-cultural differences between the states these images were captured, stock exchanges are modern temples built to honour the modern god of capitalism.

Andreas Gursky, Singapore Stock Exchange, 1997, Chromogenic print, face-mounted to acrylic, 1321 x 2356 mm, Solomon R. Guggenheim Museum, New York
Andreas Gursky, Tokyo Stock Exchange, 1990, Photograph, colour, Chromogenic colour print, 1880 x 2300 mm
Andreas Gursky, Hong Kong Stock Exchange, Diptychon (Hong Kong Stock Exchange, Diptych), 1994; chromogenic prints, 73 in. x 176 in. (185.42 cm x 447.04 cm); Collection SFMOMA
Andreas Gursky, Hong Kong Börse II (Hong Kong Stock Exchange II), 1994, chromogenic colour-print face-mounted to Plexiglas in artist's frame, 2064 x 3195 mm
Andreas Gursky, Kuwait Stock Exchange II, 2008, C-Print mounted on Plexiglas in artist's frame, 2315 x 3070 mm
Andreas Gursky, Chicago, Board of Trade, 1997, colour coupler print face-mounted on Plexiglas, 1854 x 2416 mm

Monday 6 July 2015

Insert pun about Greek tragedy here

Hergestellt in Deutschland, this kit is selling like global stock traders. It's both exciting and terrifying to see the original democracy practicing it better than most.

Saturday 30 May 2015

Sport(s) Report(s) Template


Free for editorial use. 
Please select applicable cliché.

Well there's no doubt about it. It was a game of TWO HALVES / FOUR QUARTERS. You know, you've got to give full credit to THE OPPOSITION / THE TEAM, everyone gave 110% / THEIR ALL. We knew THEY'D COME OUT HARD / GIVE IT THEIR ALL so we just STUCK TO OUR GAME PLAN / CONCENTRATED ON PUTTING OUR BEST FOOT FORWARD.

BEING TRUTHFUL / TO BE HONEST / LOOK, IF I WERE TO BE TRUTHFUL, the whole game FELL APART / WAS WON, you know, in the basics and I TAKE FULL RESPONSIBILITY / PUT MY HAND UP / TAKE CREDIT / STAND UP AND BE COUNTED for the WIN / LOSS

You know, a couple of decisions probably went against US / THEM, but that's THE NATURE OF THE GAME / BULLSHIT. I mean, NO POINT CRYING OVER SPILT MILK / FAIR GO, MATE. The WIN / LOSS gives both sides something to work towards in ORIGIN 2 / NEXT ROUND / THE TRIBUNAL / MY NEXT COURT APPEARANCE

At the end of the day, EVERY GAME COUNTS / WE TAKE IT ONE DAY AT A TIME / WE WILL ANALYSE THE BREAKDOWNS GOING FORWARD AND TRY TO IMPROVE ONE STEP AT A TIME BECAUSE THE SEASON'S NOT OVER 'TIL IT'S OVER you know?

Tuesday 12 May 2015

Local Retailers Call on Government to Ban the Internet



<b><satire></b>

CANBERRA–In the wake of the 2015-16 federal budget, the local retailers are calling on the government to do more for local business by banning the Internet.

Gerry Harvey, chairman of Harvey Norman has called on the government to shut down the Internet for all uses, except for the transmission of retailers' catalogues in Netscape browsers.

"It's not fair that people can buy things without walking into a store and being accosted by sweaty, middle-aged salesmen selling last year's products at an inflated price," Mr. Harvey said.

Although yesterday's federal budget imposed the 10% GST on so-called "intangible" goods such as music, movie and software downloads, Mr. Harvey says this is not good enough, "Holy shit, my business is fucked."

Local retailers, including Mr. Harvey, have waged a campaign for the abolition of the Low Value Threshold, or the value of goods that can be imported into Australia tax free. Now with the government receptive to imposing the GST on all imported goods, Mr. Harvey has moved on to other policy areas of concern.

"Having to compete with innovative entrepreneurs in other countries is simply unfair. It's not a level playing field when our Netscape-compatible best viewed at 640x480 web zone has to compete with Amazon," Mr. Harvey said, "Shutting down the Internet will help local retailers close the gap and support local jobs."

Responding to fears limiting e-commerce could be viewed as protectionism in the global market, Mr. Harvey said: "I'm more than happy to use cheap, international labour to make our furniture. But having Australian customers cut out the middle-man is a step too far. It's about preserving local jobs," Mr. Harvey said. Apparently without irony.

More to follow...

<b></satire></b>

Tuesday 28 April 2015

A Walk in the (Leitz) Park


Late last year, I was lucky enough to undertake a pilgrimage to one of the holy sites of photography: Leitz Park in Wetzlar. The recently-opened complex is home to state-of-the-art production facilities for Leica Camera, in addition to three other related companies: Leica's cine-focused sister company CW Sonderoptic, parts manufacturers (and Leica suppliers) Weller Feinwerktechnik and Viaoptic. 


Wetzlar is a city imbued with history, but its last 150 years is of most interest to photographers. Along with Oberkochen and Jena, Wetzlar is one Germany's centres of optical engineering. Over the past century, the city was home to names such as Minox, Leidolf, Hensoldt and, of course, Leitz, manufacturer of Leica (a contraction of Leitz Camera).


It was in Wetzlar's Eisenmarkt that Oskar Barnack captured the very first image with his prototype camera, now known as the Ur-Leica. This nondescript single frame captured with the experimental device signalled a new era for photography. The very first Leica brought both portability and quality to photography that had been hitherto lacking.

Leitz was a dominant force in photographics for the first half of the twentieth century, synonymous with ruggedness, quality and the intrepid photojournalist. But in the face of declining sales and financial difficulties, Leitz left Wetzlar in 1988, relocating to the nearby town of Solms.

Throughout the 1990s and early 2000s, Leica survived several restructures and near-death experiences to produce a slew of successful products, starting with the Leica M9. The Solms factory was bursting at the seams. A reinvigorated Leica Camera AG returned to its home town with a purpose-built state-of-the-art factory precinct.

I visited Leica's factory in Solms in 2009. That facility looked like a temporary music festival toilet block compared to the cutting-edge facility at Leitz Park. A striking piece of architecture, it is part-showroom, part-gallery, part-factory, all class.


Upon entry, visitors are greeted by a sleek, open space with exhibitions and displays, the mother of all Leica Shops and, naturally, a café. International sales manager Falk Friedrich was kind enough to show me around the facility, providing context to Leica's impressive history.

2014 was an important year for Leica, celebrating 100 years of Leica photography and 60 years of Leica M. Two exhibitions in the wonderful new space highlighted Leica's incomparable contribution as unofficial photographic record-keeper of the twentieth century.

 
Magic Moments - 60 Years Leica M dominated the largest wall. Hung in a lively salon fashion, the exhibition celebrated top-tier Leica M photographs and photographers from the past six decades.

The other, 36 aus 100, shows 36 iconic photographs captured with Leica cameras over the last century. From some of the earliest frames of the Ur-Leica to Eisenstaedt's famous V-J Day, it is a collection of images both iconic and lesser known, all of which convey the Leica gestalt.

One of the key attractions for Leicaphiles is the collection of rare and unusual cameras. Some are owned by Leica themselves, others are on loan from collectors. Although I'd consider myself pretty well-informed in the Leica world, Falk surprised me with some interesting tidbits, such as how sport optics (spotting scopes and binoculars) helped keep the company financially viable during the dark years of the mid-1990s to 2000s.

Amid the rarities, a showcase highlights Leica's milestone products, from the Ur-Leica (a replica is on display, the original reportedly remains locked away in a vault) to the S2. While some milestone products, like the Leica S1, were not big sellers, they helped the company overcome technical hurdles and lay the groundwork for today's successes.


The factory area is where the magic happens. Visitors get a window (literally) into each stage of production, from glass polishing to lens and camera assembly, with an interactive digital interface informing visitors of the various processes. At the time of my visit, the Leica M Edition "Leica 60" camera was on the production line. Very nice!



In this area sits the Leica family tree. Greatly expanded from its Solms rendition, the new family tree features one of almost every camera and lens Leica has ever made. Beginning with the Ur-Leica, the Null-Serie, all the way through to the latest M, X, T & S series cameras, there is a formidable logic and thought to the progression of each Leica model.

While little has changed cosmetically with the M series, new product lines like the sleek Leica T take the best of technology and rethink what is possible. Leica is sometimes criticised for being outmoded, but the T and S series cameras in particular show this is not the case. In fact, these cameras demonstrate a modern design sense completely lacking in many other camera manufacturers.

There is a care and precision evident at Leica that simply doesn't exist in other companies. While it's easy to mock Leica for being "too expensive" or "irrelevant", their products are sublimely designed and built. Their optics are second to none and their cameras and user interfaces actually put the photographer at the centre of the experience. Where mainstream camera manufacturers layer their cameras with a zillion buttons, touch-screens and sub-sub-sub menus, Leica eschews this idiocy with simple and practical design.


I also noticed a distinct pride on the part of Leica's employees, many of whom have been at the company for decades. Some, like product manager Stefan Daniel, have reached the pinnacle of the company after beginning their careers there as teenage apprentices. Leica is a shining example of German Mittelstand enterprises, small-to-medium businesses that account for 70% of employment in the entire country. These small, innovative companies are the heart of the German economy, something other countries could well learn from.


As with all tours, I finished up exiting through the gift shop; however this shop was unlike any other I had visited. The Leica Store Wetzlar offers lenses, Vespas, T-Shirts, books and, naturally, the entire Leica camera range. There is simply nothing else like it anywhere in the world. 


And with that, I bade farewell to Falk, who gifted me a Leica T body shell, the same type that is polished by hand for 45 minutes in the world's most boring ad. I left the warm, glowing warming glow of Leitz Park and stepped out into a grey Hessian day - a little more inspired than when I arrived.

A big thank you to Falk Friedrich for taking the time out to show me around and to Leica Australia for helping organise the tour.