Monday, December 19, 2011

Care to make it interesting...?

I love the concept of New Year resolutions: the idea of taking stock of one's progress (or lack thereof) over the previous year, and vowing to make concrete, positive changes for the year ahead. Trouble is, such resolutions tend to be made in the state of advanced enebriation that usually accompanies New Year's festivities and are thus so wildly unrealistic that, even if they are remembered upon waking up on Jan 1, they are likely to have been forgotten (and probably violated) by Jan 2.

So for 2012, I've decided to get a jump on proceedings and at the same carry out an experiment on basic economic incentivization as it applies to my own psyche.

Viz: I propose a series of objectives to be met within the first six months of 2012 (more precisely, since the first full day of this self-wager will be tomorrow, 21/12/11, let's make the deadline 21/6/12). Should I succeed in meeting ALL of these, I will have earned the right to buy myself the super-strat dream guitar of my choice (currently, I'm favouring the Ibanez Jem, but I reserve the right to modify my preference).

1. Get body weight <= 75kg. I'm currently weighing in at a cool 80.5kg, so this represents a substantial but not outrageous reduction. Last year I managed to get down to around 78kg within about a month of abstaining from alcohol and exercising concertedly. 

2. Specific fitness metrics. It's no use simply atrophying my way to weight loss, so I'm imposing the following (body-weight-based) measures of strength and fitness:

100 press-ups
20 chin ups (easy grip)
30 tricep dips
40 lengths freestyle (no specific speed requirement, but not allowed rests longer than 10 seconds between lengths)

3. Guitar: picking technique. This is an important area that I have neglected over the past year-and-a-half of my guitar renaissance. But no more: it's time to build up a decent level of picking speed and endurance. To wit: I must be able to play 16th note scalar runs (groups of 3 and 4 ascending/descending, all positions) at 120bpm 16th notes, for 2 minutes. Currently I can probably only manage around 90bpm, so this will require considerable woodshedding.

4. Related to picking technique is metal repertoire: I want to lay claim to a reasonable set of classic metal songs. So here is a 10-song set list for which I vow to be able to play all rhythm parts (and solos where indicated) at full tempo:

four horsemen
seek & destroy
fade to black (incl. solos)
creeping death
master of puppets
welcome home (sanitarium) (incl. slow leads)
...and justice for all
one (incl. slow leads)
aces high
rime of the ancient mariner (incl. solos)

If I'm meeting the above picking technique requirement, these should be pretty comfortable.

5. Jazz repertoire: just to make sure I don't throw myself into practising picking technique to the exclusion of all the jazz material I've been learning, I'm also setting a minimum repertoire of jazz standards. No fancy technical requirements, or specific recordings: I just have to know the chords, melody, basslines, guide tones (all that Aebersold stuff) and be capable of some rudimentary improvisation at a comfortable tempo (we're not aiming to keep up with Charlie Parker here).

autumn leaves
YATAG
ornithology
minor blues
regular blues (with standard II-V-I substitutions)
something using "rhythm" changes (there are a few bebop standards to choose from here, e.g. Anthropology, Moose the Mooche, Oleo)


So that's my challenge, should I choose to accept it (and I do).

Inevitably, there's a slight bias here towards things that are most readily measurable (e.g. I've excluded things like ear-training, or flexibility). But I trust myself not to completely neglect these areas, and I think the above criteria are balanced enough to avoid any really perverse outcomes.

So here goes. With a little perseverance I may just be posting a photo of my new guitar in six months from now! I will provide monthly updates on my progress, so stay tuned... 

Friday, December 16, 2011

Opeth @ The Enmore (Dec 16)

Excellent show from the Swedish death metal maestros. A particular highlight was singer/guitarist Mikael Åkerfeldt's charismatic stage presence. Between tracks he engaged the audience with entertaining banter, delivered in a minimalist, dead-pan style. e.g. "On this guitar, the low E string is tuned down to D. People do that to make it sound heavier. When you tune down to D, even a shit riff sounds great... Okay, so we're gonna play some shit riffs for you now...". Also worth mention was a fantastic drum solo from drummer Martin "Axe" Axenrot.

One disappointment was the response of some rowdy crowd members who repeatedly shouted through some of the quieter, atmospheric acoustic tracks: "Play some f**king metal!". In part, the frustration of these "fans" was probably based on the fact that Opeth's latest album is a departure from their usual death metal sound into more of prog-folk-metal sound (in other words, a sound that doesn't really fit neatly into a recognized genre). Fair enough, it's no fun to see your favourite band come to band and belt out a bunch of wacky tunes from a duff new album. But that was hardly the case here: anyone who knows Opeth music knows that they've never been just about heavy music, and many of the acoustic songs were, indeed, from older albums.

Wednesday, October 19, 2011

Gekko's random brain farts: a thought on GDP

It just occurred to me that one of the (many) perverse things about using GDP growth as a measure of a society's is that it counts earnings as a "good" thing regardless of who they are going to. But here's my question: if a billionaire accrues, say, an extra couple hundred million dollars in wealth, how can we possibly see that as a good thing for anyone but the billionaire?

We are well overdue a more intelligent, humane measure of economic and social progress. The naive concept of "economic growth" should be abandoned for all developed countries, and attention focused on measures like the following: the distribution of wealth (more concentrated = less equal = bad), living standards of the bottom 10% (here is one area where growth should be regarded as good). 

I also want to hear about other measures reflecting quality of life: average working hours (less is better here), traffic congestion (average commute time in major cities, for example), suicide rates, energy consumption/pollution per capita. 

All of these should be considered at least as important as that naive and massively over-emphasized number that is GDP. And if they were seriously considered, I think there would be a significant reshuffling of relative rankings between different nations.

Monday, October 17, 2011

Steve Vai Masterclass in Sydney (Oct 15, 2011)

I attended this marathon of guitar geekery at the Wesley conference centre on Pitt St. At 80 bucks for a 3 and a half hour audience with the maestro, it would be to hard to say this event was over-priced. However, I came away mildly disappointed and disillusioned. Sure, he covered some interesting stuff, but it could have been so much better. I think my chief objection is that he spent the majority of the time sermonising repetitively on what one might describe as the "philosophy" of being a musician. That's all well and good but not quite what you might expect when you come to see Steve Vai talk guitar for three hours.

The event was organized by local company Thump Music, who are taking the show to each capital city around Australia. They didn't pass up the opportunity for a bit of advertising, and early on I worried that the "masterclass" was going to turn out to be an orgy of shameless product placement. This wasn't helped when Steve, almost as soon as he came on stage, drew attention to his Apple gadgetry: "i'm just gonna use my IPAD here" (for a backing track in GarageBand),  and a little later "i love my iphone" (using it as a stop-watch). Fortunately, however, my fears proved unfounded.

After a brief perfomanee intro, in the form of a flawless rendition of The Crying Machine (accompanied by afore-mentioned iPad), the self-help theme was established early on when he discussed the importance of identifying your goal and repeating it to yourself every day (yeah, all that positive-thinking mumbo jumbo). He asked people in the crowd to state their goals, and responded to each one with "uhuh, yes, that's a beautiful goal".

Having said that, one point that did resonate was when he discussed the importance of finding your "burning desire" because that's what you'll do best. The idea being that you'll never really succeed at something you're not passionate about, because no matter what the endeavour, there'll be others who are passionate about that. I think that's quite a powerful idea, since it runs counter to the usual notion of working on your weak points. And clearly it is not limited to guitar playing or music. Steve's attitude is "find what you're really really good at, and exaggerate it".

Another feature was to bring a young player up on stage for a "mini-lesson". This worked quite well, as he would ask them to play something, and then proceed to critique aspects of their playing, for the benefit of them and, presumably, the rest of the audience. The first kid played "Sweet Child O'Mine" (I was impressed that kids are still playing that riff as it was one of the first that I tried to play at about the same age!). The second was a bit older and more advanced and played some shreddy pentatonic thing. The general issues that Steve pointed out here were:

1. when learning a piece of music, break it down into bite-size chunks and master these one by one. Crucially, you should master it at slow tempos before even thinking about trying to play at full tempo. The idea is to practice it to the point where you "own" the riff. He suggested as a yardstick to aim to play it 11 times perfectly before moving on (to the next chunk, or to higher speeds).
   
2. the importance of practising the different types of vibrato: slow/fast, various places on the neck, two notes at once, bent. I was interested to notice that when he vibratos on a bent note, he shakes the guitar slightly.
   
Interspersed throughout the class were 3 songs that he played accompanied by his trusty iPad. I've mentioned the The Crying Machine. Additionally, there was a ballad (whose name escapes me for the moment -- was it Tender Surrender?), Building the Church (which opens with a blistering two-handed tapping sequence that sounds like Joe Satriani's Midnight on speed). These were as impressive and flawlessly executed as you'd expect. What made it more impressive was that he was playing "cold": after sitting ranting on for about an hour cradling, but not playing, his instrument. Interesting to see him blowing his hands before Building the Church.

As proceedings wore on, the sermonising tone became a little tedious. I lost count of how many times he started a sentence with "and this is the most important thing...", or "but here's the kicker..." To his credit, he acknowledged this habit at one point -- and then promptly completely lost his train of thought, before someone from the crowd put him back on track.

Eventually, it became clear that he wasn't going to cover the kind of technical ground that many people, myself included, were probably hoping to see. He seemed to sense this at one point as he made a comment to the effect that some point he was making more important than "all that technical stuff that you guys are waiting for me to talk about but that you can learn from any teacher or book". Fair point, but I still think guitar teacher Steve would have been more interesting than self-help Guru Steve.

He wrapped things up with a bit of audience participation in the form a brief jam session. Five players got to come on stage for a minute or two, play a solo, then trade a few bars with the man himself. The first player had been pre-selected (I think there had been a competition for this) and he had pretty impressive chops. The rest had been plucked from the crowd at random and were of varying levels (though -- and yes, it pains me to say this -- all were significantly more impressive than yours truly, who sat anonymously near the back, grudgingly accepting this harsh truth). Unsurprisingly, they were all doing their best to show off some shredder chops. Their mixed success was evident in Steve's parting words of advice: ".....and above all, SLOOOOOOW down!".

So, in the end I was left a little disenchanted. I think Steve is a phenomenal musician and guitar player, but I think he laid on the self-help positive-thinking stuff a bit thick. But maybe I'm just getting a bit cynical in my old age...

Sunday, October 9, 2011

Steve Jobs' Stanford commencement address (2005)

Excerpts from this classic speech have been appearing everywhere over the past few days, but the full version is well worth a read (here, for example).

A couple of particularly memorable passages:

[Y]ou can't connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something – your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life.

You've got to find what you love. And that is as true for your work as it is for your lovers. Your work is going to fill a large part of your life, and the only way to be truly satisfied is to do what you believe is great work. And the only way to do great work is to love what you do. If you haven't found it yet, keep looking. Don't settle. As with all matters of the heart, you'll know when you find it. And, like any great relationship, it just gets better and better as the years roll on. So keep looking until you find it. Don't settle.

When I was 17, I read a quote that went something like: "If you live each day as if it was your last, some day you'll most certainly be right." It made an impression on me, and since then, for the past 33 years, I have looked in the mirror every morning and asked myself: "If today were the last day of my life, would I want to do what I am about to do today?" And whenever the answer has been "no" for too many days in a row, I know I need to change something.

Your time is limited, so don't waste it living someone else's life. Don't be trapped by dogma – which is living with the results of other people's thinking. Don't let the noise of others' opinions drown out your own inner voice. And, most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary.

Monday, October 3, 2011

City Of God (2002)

A gritty, hard-hitting look at gangs in the slums of Brazil. Not particularly pleasant or uplifting, but very well done and worth a look.

Knuckle (2011)

Knuckle (2011)

An excellent documentary film which explores the culture of bare-knuckle boxing in the Irish traveller community -- the real-life version upon which Brad Pitt's character was based in the film Snatch. Fighting is used to resolve long-running feuds between rival clans who, in the run-up to each fight, taunt each other ruthlessly by exchanging home made videos filled with expletive-laden rants about the worthlessness of their upcoming opponents.

There is a significant amount of footage of the actual fights, which are rough and brutal but, perhaps surprisingly, extremely fair and evenly adjudicated (the fights are refereed by an impartial member of another traveller family, and held at a location at which no other family members are allowed -- to prevent the fight degenerating into a mass brawl). News of the outcome is delivered by mobile phone, and the winner later returns as a triumphant hero to the clan trailer park.

Ultimately it all comes across as rather sad and futile, and the supposed virtue of the boxing matches as a means of resolving feuds appears dubious at best: the reality seems to be that the losing clan merely lies low for a while before resurfacing with a new challenge and the cycle repeats. However, it also provides a great example of the timeless "us-and-them" aspect of human affairs: you sense that, at some level, groups of people will always be most strongly united in the presence of a common enemy.

Tuesday, September 20, 2011

Copying playlists and songs between iTunes libraries

My home computer infrastructure is currently in a state of transition, in which my recently-purchased MacBook Pro laptop is slowly taking over all of the tasks once handled by my aging (or ageing?) iMac desktop machine. 

I'm now finally confronting the inevitability of transitioning my iTunes onto the MacBook. This presents a particular headache since, for the time being at least, the iMac will remain the primary seat of home internet connectivity and is thus the natural place to, ahem, "acquire" new music. So what I need is a reasonably painless way to copy recently added tracks from the iMac iTunes library to the MacBook one, in order to keep the latter up to date with ongoing additions. I'd also like to be able to copy playlists (those painstakingly crafted distillations of listenable tracks tailored to specific moods and musical contexts).

Thanks partly to the fact that my iMac iTunes Library lives on an external hard-drive (due to lack of space on the main drive), it turns out that both tasks can be quite easily accomplished, using essentially the same procedure.

To copy songs:

1. In the "source" iTunes (the iMac) sort tracks by "Date Added" and create a new playlist containing all tracks added since the most recently-added track on the "destination" iTunes (the MacBook Pro).

2. Export this playlist (File > Library > Export Playlist...) --- I don't think the format matters, but I chose Unicode and that works.

3. Close the source iTunes, disconnect the external hard-drive from the source machine, and plug it into the destination machine.

4. In the destination iTunes, import the playlist from step 2 (you need to have copied it across or be remotely connected to the source machine). Now here's the cool thing: in the playlist, the location of the song file is given; since this is somewhere on the external drive, iTunes can find it and copy it across to its library.

To copy playlists containing songs already in both iTunes libraries:

Follow the same procedure, but this time, in step 4, iTunes is smart enough to see that it has copies of the songs already, so it simply recreates the playlist using these.


So all in all, not too much of a headache. I could try to be clever and write some AppleScripts to automate this process even further but that would be taking it too far...

Monday, September 19, 2011

Brewster's Millions (1984)

Silly but fun Richard Pryor flick from the early 80s. The premise is about as contrived as it gets: washed-up baseball player Pryor discovers that he is the sole heir to a fortune from a distant relative. However, there's a catch: in order to instil good spending habits, the dying relative has placed a rather sadistic catch on the inheritance: Pryor must spend $30 million in 30 days, legitimately (i.e. he can't just give to charity). If he succeeds, he will then inherit $300 million; if he fails he gets nothing. Alternatively, he can take a "wimp out" clause and pocket $1 million. About the only the only other thing I need to add is that the accountant charged with ensuring that spends every penny is the love interest (played by Lorette McKee) who is not in on the "game" and despairs at watching Pryor spending like there's no tomorrow.

Friday, September 16, 2011

Electric Dreams (1984)

Rather silly rom com from the early 80s. Dorky guy buys a home computer system (featuring one of those old-school classic acoustically coupled modems) that somehow becomes sentient after he pours champagne into it (don't ask) and then vies with him for the affections of the cello-playing love interest from the floor above (aside: she is played by a young Virginia Madsen, who more recently played the love interest of geeky wine connoisseur and writer Miles in Sideways). The highlight, and main legacy of the film, is probably the song "Together In Electric Dreams" by Giorgio Moroder (who also has a brief cameo).

Monday, September 12, 2011

Platoon (1986)

Recently re-watched this great Vietnam film from the 80s (back when Oliver Stone made good movies). It holds up well: the lead performances from Willem Defoe, Tom Berenger and (a young and rather scrawny) Charlie Sheen are all excellent, while the message of the futility of America's military activities in foreign lands is probably even more relevant now than it was back then.

It was amusing to see some of the supporting cast who went to bigger things: a young Johnny Depp; a very boyish Kevin Dillon (Matt's younger brother), who has recently hit the big time as Johnny Drama in Entourage; and Forest Whitaker, who in the same year also had a small but great role as a pool hustler in The Color of Money.

Wednesday, September 7, 2011

Lies, damn lies, and statistics

At 11:30 this morning, a red headline flashed up on my Bloomberg terminal, trumpeting the breaking news that "AUSTRALIAN EMPLOYMENT FELL 9,700 IN AUG.". The market and currency immediately responded to this negative news by promptly dropping by more than 0.5%.

Barely a day goes without an economic "number" of some sort being released, and each one is closely watched with morbid anticipation by the markets. In this sea of instant information, however, no one seems to pay attention to the fine print. One of the first things you learn in the study of any science is the importance of attaching meaning to all measurements via statistical error bounds. Although often seen as dry and tedious, this process is absolutely vital to establishing the meaningfulness of experimental results.

So, with my developing sense of skeptical for just about everything to do with economics, I thought I'd take a closer look at these numbers. On the website of the Australian Bureau of Statistics you can access their complete press release. Scrolling down a bit, you find a table containing the numbers and their corresponding "95% confidence interval" (this is a bound within which, statistically speaking, the "true" number has a 95% chance of lying; if this bound doesn't include zero, then the measured number can be regarded as "statistically significant" -- i.e. meaningfully different from zero).

Here are the numbers and C.I.s:

Total Employment change: -9 700 (-64 300 to 44 900)

Total Unemployment: 18 400 (-12 600 to 49 400)

Unemployment rate: 0.1% (-0.1% to 0.3%)

Participation rate: 0.0% (-0.4% to 0.4%)


It can be seen that not a one of these is statistically different from zero. Based on these numbers, all we can say with any conviction is that total employment changed by somewhere between -64k and +45k. It is simply meaningless to say that it fell -- the numbers just don't allow us to draw this conclusion.

To make this point perhaps even more clear: if the ABS were to re-run their survey on a different random sample, the above results suggest that there is a decent chance they would observe a reduction, rather than increase, in unemployment.

So why do the markets jerk around like puppets on a string in response to this non-information? My guess is that it's a classic case of people trying to second-guess how other (possibly stupider) people are going to react. In this game, the quality of the underlying information is of little relevance: all that counts is that some people out there will believe it and trade accordingly.

Who's to blame for this madness? The ABS, for not making the limitations of their numbers sufficiently clear (perhaps, but in their defence at least they make the information on confidence intervals freely available on their website if you choose to look)? The media, for seizing on any soundbite-sized piece of information and over-analysing it to death? Or us, for continuing to pay attention? I suspect it's a good dose of each.

Sunday, September 4, 2011

Less Than Zero (1987)

Quite enjoyed this adaptation of Brett Easton Ellis' 1985 debut novel, which deals with drug addiction and nihilism in the lives of rich white kids in LA during the 80s. Stars Robert Downey Jr (who would subsequently go on to explore the above-mentioned issues in his off-screen life), James Spader (one of my favourite supporting actors), Jamie Gertz (the girlfriend from Lost Boys who slipped into obscurity after her 15 minutes in the 80s), and Andrew Mcarthy (a fringe brat-packer whose 15 minutes went by almost as a quickly as Jamie's).

Wednesday, August 31, 2011

The Case For Working With Your Hands, by Matthew Crawford

I just read and thoroughly enjoyed this book. A condensed version of his argument is in this NYT essay, which is well worth a read (ideally from your office cubicle...).

Tuesday, August 30, 2011

another interesting bloomberg editorial

http://www.bloomberg.com/news/2011-08-31/warren-buffett-s-tax-proposal-withstands-write-a-check-critique-view.html

It's really interesting to see how belligerently simple-minded the republican rhetoric is against any call to consider raising more revenue from the rich. It's gotten to the point where even suggesting they they pay the same rate as the working class is received with outright hostility -- presumably asking them to pay a progressively higher rate is completely off the table. 

I'm reminded of the increasingly exasperated efforts of scientists to argue against the ridiculous claims of creationists. At some point, no matter how tolerant, reasonable, or carefully constructed your argument, you hit up against a solid bedrock of fundamentalist ideology that is as immutable as it is irrational.

Monday, August 22, 2011

Gainsbourg: Vie Heroique (2010)

I was fairly disappointed by this, the third film in a hat-trick of musical biopics that I've watched over this weekend (do I know how to party while the Missus is out of town, or WHAT?). It follows the life, music, and astounding litany of amorous conquests of Monsieur Cabbage-Head Serge Gainsbourg. As lives and careers go, his was certainly an interesting one, well worth telling. But I didn't enjoy the surreal, excessively romanticized Baz Luhrman-esque style -- it just didn't work for me.

Eric Elmosnino was excellent as Gainsbourg -- he had the mannerisms and voice down nailed, and the physical resemblance was uncanny. Laetitia Casta was ravishing as Brigitte Bardot, and Lucy Gordon (who, sadly, committed suicide before the film was released) was great as Jane Birkin (her exaggeratedly english-accented french was exactly as I've heard it described. 

Sunday, August 21, 2011

Ray (2004)

Excellent bio-pic on the life of soul/R&B legend Ray Charles, featuring a career-defining performance from Jamie Foxx.

Saturday, August 20, 2011

Sexy Beast (2000)

Nice little cockney gangster flick. Ex-crim "Gal" (Ray Winstone, looking like a post-BAFTAs Ricky Gervais) is retired and living the "Home in the Sun" dream in a Spanish villa with his wife Deedee. With fellow ex-eastenders "H" and Jackie living nearby, life is pretty idyllic. But things turn pear shaped when old boss Don (Ben Kingsley) turns up out of blue to recruit Gal for "one more job" back in London, and won't take no for an answer.

Bird (1988)

Enjoyed this biopic on the life of jazz great Charlie Parker, directed by Clint Eastwood and with the lead role played brilliantly by Forest Whitaker. The music is excellent throughout (the saxophone parts are taken from Parker recordings and mixed with re-recorded rhythm parts), with the jazz club scene vividly brought to life. The film is a little on the long and slow side, and is fairly depressing -- tracing Parker's unsuccessful struggle against heroin and alcohol addiction and tragically early death in 1955, at the age of 34.

Friday, August 19, 2011

Toy Story 3 (2010)

Another enjoyable instalment from Pixar's original, and best, franchise. I liked the numerous pokes at Ken's effeminate qualities, as well as Buzz in spanish mode. The screeching monkey sentinel was quite scary.

Catfish (2010)

Really enjoyed this documentary-film about a Facebook romance. Surprising and ultimately quite moving.

Thursday, August 18, 2011

LEVEL 1: Espresso Foundations @ Toby's Estate

Recently attended an introductory barista training course at Toby's Estate (a well-chosen birthday gift from the other half). Was a good experience: plenty of hands-on practice at making espressos and flat whites.

To summarize the main points I picked up:

Freshness: after roasting, beans can last at most a month (under ideal storage conditions); ideally, they should be used within 2 weeks. When buying beans, you should look for the "roasting date"; if this is not available, that's a sign that the coffee could be old and therefore no good (the two-year "use by date" given on popular brands is, therefore, a nonsense).  After grinding, the ground coffee should be used within 10 minutes (!). This latter criterion means that the ground coffee we buy is doomed to mediocrity: it's not even fresh when we first open the package, and will only degrade further from there on.

[Comment: I'm taking all of this with a pinch of salt (or should that be sugar?). Having violated both freshness criteria to varying degrees over the years, I think that, while there is certainly a significant loss of quality, it seems a bit snobby to suddenly take the attitude that it must have been utter pigswill. I prefer to take the same approach I take with wine: it's nice to savour a $50 bottle now and again, but that doesn't mean one can't enjoy an $8 clean skin or vin de table the rest of the time.]

Grind: it turns out that a high-quality grinder is at least as important as a good coffee machine -- indeed, possibly more so, since with a good grinder you can still make excellent plunger coffee, for example. There are several reasons why a quality grinder is important:
  • Firstly, grinding fresh is of key importance (see above point), so some kind of grinder is essential.
  • A quality grinder (i.e. not just a pepper mill) ensures that the size of the grains is consistent, which is important in the extraction process.
  • The coarseness of the grind should be adjustable to cater for different types of extraction method (e.g. fine for espresso machine, coarse for plunger). The coarseness may also need to be adjusted according to the specific machine, roast type, and even humidity (I'm not joking, or at least, I assume the trainer wasn't).
For a good grinder one can expect to fork out something in the region of $300-800. The ones you see in cafes can easily cost several $k.

Making espresso: a few points to note when using an espresso machine:
  • The basket should be loaded to the top with the ground coffee (before tamping). The trainer did this by over-filling slightly, tapping (to allow it to settle somewhat), and then scraping the excess back into the grinder doser.
  • The tamper is then used to press down and make the coffee uniform. It is not necessary to tamp with excessive force (the water pressure with naturally press down very hard anyway); the only purpose of the tamping is to make the grounds uniform.
  • When running the espresso, the ideal flow is slightly intermittent. Stop whenever the colour of the froth turns yellow(er).
  • Afterwards, look at the "cookie": ideally it should be slightly spongy to the touch. If it is too hard/dry there was too much coffee or it was too fine; too soggy there wasn't enough, or it was too coarse.
I was slightly surprised to learn that a barista-approved home machine can be had for under $800: the Sunbeam EM6910. This does seem to have mixed reviews, however, and I'm not sure if I would rush to get one of these. For $3k you can get an excellent machine for home use. 

Steaming milk for flat white: 
  • The standard kit is two or three stainless steel milk jugs.
  • The full amount of milk should take up about half the jug. The steamer should be immersed just under the surface, leaning against the edge, in such a way that it induces the milk to start spinning.
  • With one hand cupping the milk jug (what!? I'm talking about coffee making!), you can feel when it gets hot enough (65 degrees celsius, I'm told). The sound of the steamer will change as the froth starts to rise. It is important not to over heat the milk -- it shouldn't be piping hot.
  • If making more than one coffee, you then pour the top third or so into one of the other jugs, because the top is frothier than the rest. Add it back in when you've poured the first coffee.
  • When pouring, it's easiest to set the cup on the bench, and rest the jug on the top of the cup. Pour slowly at first, then towards the end speed up. Near the top, the milk should start to form a white blob in the middle; at this point, pull the jug up and draw it across the white blob, hopefully making a nice heart-like shape.

Above all, the training course drove home the idea that making great coffee is about knowing the do's and don'ts (see above) and then practising. A lot. In the course, making round after round of flat whites and seeing what went right/wrong each time was extremely effective. Unfortunately, at home I would typically just make a single coffee and, good or bad, drink it and move on. So the final point is that you need to practise intensively until you can make a consistently good cup. This will require making more than you drink (unless you want to end up like Tweek), but will pay off in the end.

Richard Hammond's Engineering Connections

Am enjoying this television series with the diminutive Top Gear cast member. Does a great job of presenting the key engineering/science concepts underpinning various modern-day technological marvels by using amusing, and often rather violent, hands-on demonstrations. Getting to watch a show like this would liven up the high school science classroom.

Monday, August 15, 2011

License to Drive (1988)

The second in the run of iconic 80s flicks that the "two Coreys" starred in together towards the end of that decade. It's rather formulaic 80s teen comedy, and had I watched it back in the day I don't imagine I would have thought too much of it. However, watching it in 2011 through the rose-tinted lens of nostalgia it actually emerges as a classic historical cinematic document. While ostensibly a cheesy comedy (and for 80s fans like me it still works on that level), it is also -- and perhaps more importantly -- a snapshot of the golden era of America's wealthy suburban middle class. Big cars, drive-in diners, roller skates, telephones in bedrooms, teenage angst, tranquil tree-lined streets with huge double-storey houses, yellow schoolbuses.. it's all here. Feldman is classic as always -- though he takes a back seat (literally) to Haim. Also features a young (and slightly gawky looking) Heather Graham as Haim's dream girl.

Tuesday, August 9, 2011

Bloomberg editorial on Republican no-tax stand

An excellent, balanced article from Bloomberg, here. The counter-examples to the Republican scare-mongering about "the demon of job-killing taxes" is particularly refreshing:

This is partisan nonsense. First, consider the claim that Americans are being taxed to death. In fact, in terms of the economy as a whole, federal taxes are at their lowest level since 1950. The Congressional Budget Office estimated that federal taxes would account for 14.8 percent of gross domestic product in 2011. 

That isn't a one-year anomaly: Revenue was 14.9 percent of GDP in both 2009 and 2010. Compare that with a postwar average of about 18.5 percent of GDP, and an average of 18.2 percent during the administration of President Ronald Reagan

Which brings us to a second dubious claim: Raising taxes in a downturn hinders growth. In 1982, amid a punishing 16-month recession, Reagan approved the largest peacetime tax increase in U.S. history. A booming economy followed in 1983 and 1984, enabling him to sail to re-election.

 

 

Saturday, August 6, 2011

Ruthless People (1986)

Another cheesy 80s classic, starring Danny DeVito, Bette Midler, Judge Reinhold (Seinfeld's "close talker"). It's one of those farcical romps where everyone has their own agenda: sleazy millionaire businessman DeVito is conspiring with his mistress to kill his annoying wife
(Midler); the mistress is plotting with her other lover to frame DeVito; meanwhile Reinhold and his wife, bitter after DeVito ripped off their spandex miniskirt idea (hey, it's the 80s alright!), kidnap Midler with the intent of holding DeVito to ransom. Needless to say, it all goes awry with amusing consequences.

A young Bill Pullman also appears as the dimwitted (other) lover of DeVito's mistress. He is the subject of the movie's funniest line, delivered in deadpan style over a megaphone by the police chief during the hold-up scene near the end: "Give the bag to Bozo, drop the gun, and put your hands in the air!". You had to be there...

Wednesday, August 3, 2011

Marvellous blooming

A couple of snaps showing off the beautiful flowers on the apricot tree in our front garden. A welcome sign that winter is on the way out!


Tuesday, August 2, 2011

The Fighter (2010) and The King's Speech (2010)

Recently watched, and enjoyed, these two films. For some reason, I wasn't particularly enthusiastic going into either of them: The Fighter didn't seem like it would be particularly uplifting, while The King's Speech just didn't seem like a story I would care about (would-be King heroically overcomes speech impediment and delivers a rousing speech --- on the eve of a war that will see the slaughter of millions of those born into less fortunate circumstances). But I was glad I made the effort and struggled through my early misgivings.

Not to stretch comparisons between two such unlikely cinematic bedfellows, but both films could also be characterized by the fact that they feature a pair of strong male leads. In The Fighter, Christian Bale once again turns in an amazing performance which would, for my money, not be out of place with de Nero in Raging Bull or Day-Lewis in My Left Foot. Alongside such virtuosic acting, Mark Wahlberg inevitably pales somewhat -- but is nevertheless excellent. In The King's Speech, Colin Firth puts in what is surely his strongest performance to date as the stammering King George, while Geoffrey Rush gives a typically "actor's actor" showing.

Bottom Line: worth seeing; two recent films that live up to the hype.

Wednesday, July 20, 2011

Making user settings available in cron

When using the unix command-line utility "cron" to run scripts at regular times, one potential headache is that cron will run the jobs as root. So, for example, environment variables defined in your .bashrc file will not be available to the script. There are probably a countable infinity of possible solutions to this problem; a simple one that works for me is to manually run the .bashrc file before the actual script, by calling bash with the "-c" flag. The line in your crontab might look like this:

    0 8 * * 1-5 bash -c '. /home/falloon/.bashrc; /home/falloon/Scripts/my_cron_job.py'

Transcendent Man (2010)

This quasi-autobiographic manifesto by "futurist" Ray Kurzweil expounds upon his ideas about the imminent "singularity" in which artifical intelligence will overtake humanity and profoundly change our way of life. It's a fascinating idea, but I find Kurzweil's efforts to justify his optimism quite unconvincing: simply extrapolating based on the exponential growth that has occurred thus far seems rather naive. Bacteria multiplying in a petri dish also enjoy exponential growth -- right up to the point at which they exhaust their available resources. Likewise stock prices in the run-up to a market crash.

There's something a little unseemly in his desire to resurrect his dead father (via an A.I. simulation), and also prolong his own life indefinitely. He claims that people who accept the "tragedy" of their own mortality are "kidding themselves". Personally, I don't agree with this view: I enjoy being alive but I also recognize that, in the cosmic scheme of things, my own existence is not especially important and no more worth preserving than those of the billions of other human beings that live or have lived. To think otherwise, even if you are a particularly smart guy like Kurweil, seems to be lacking humility.

Kurzweil's fetish for perpetuating his existence leads him to ingest, daily, a cocktail of 200 or so "life-preserving" pills (indeed, through the film he always seems to be slipping one into his mouth). He can afford this -- he's got the money, he can do what he wants -- but I can't help wonder if the money and effort would be better spent on simple tried-and-true measures (clean drinking water, immunisation against diseases that afflict developing countries) that would save lives of those less fortunate than himself. It would be a strange set of scales that could confidently weigh all those lives more lightly than his own.

Bottom line: raises some interesting, thought-provoking ideas; but over-reaches in its predictions.

Monday, July 18, 2011

Scripting Madness

I've recently taken the plunge and decided to dive into the geeky world of AppleScript. I had a couple of specific ideas for useful programs to automate some tedious tasks that I regularly perform in iTunes, so it seemed like as good a time as ever to have a go. The following is a brief summary of the two scripts I have so far produced and some of the things I learned while writing them.
Generalities
I won't purport to turn this into a general purpose AppleScript lesson (which I'm far from qualified to provide at this point), but in case any other noobs out there want to follow in my footsteps, here is a basic orientation.
AppleScript is a scripting language that comes bundled as standard with the Mac OSX operating system. It allows the creation of scripts that can tell OSX applications to do various things. Although not a very powerful language, it has a fairly intuitive object-oriented model and natural language syntax which makes it quite easy to use. Only some applications are "scriptable"; the current list includes the Finder, iTunes, iCal, Mail and some others.
The Script Editor application (in the Applications > AppleScript folder) provides a fairly decent IDE that more than serves the needs of the basic scripter. The syntax highlighting and automatic formatting makes editing and debugging quite pleasant.
One of the fundamental constructs is the "tell" block, which is used to direct commands at particular applications. So in my programs, all the action occurs with an overarching tell block of the form:
tell application "iTunes"
-- code here
end tell
(by the way, "--" is used to denote comments.)
Note that "tell" blocks are not scope-limiting, so variables defined inside them will be available after exiting. They can also be nested (as in the nested "iTunes" and "Finder" blocks in my second script below).
Deploying scripts
There are several ways to save and use scripts. The simplest is to save it as a "script" (extension .scpt). Note that this is not a plain text file so, for example, to use the scripts I list below, you'd need to paste them into a new script in Script Editor and save. Alternatively, you can save it as an "application" (extension .app).
To make scripts available within iTunes, create (if it there already) the folder "~/Library/iTunes/Scripts/", and copy your .scpt or .app file there. You will notice a new menu appears in iTunes, containing the scripts you have put in that folder.
Note also that, within iTunes at least, .scpt and .app versions are processed in a slightly different way. There are some cases where it seems to be necessary to use the .app version to get the expected behaviour. So when in doubt, try saving as an .app.
iTunes gotchas
As intuitive and easy as coding in AppleScript is, it can also be the source of some infuriating "gotchas" that can only really be debugged in a haphazard, trial-and-error fashion.
In working with iTunes, one particular issue I've encountered repeatedly is that when you perform an operation which involves copying a file (e.g. importing into iTunes, copying to an iPod) the script doesn't wait for the process to finish; instead, it blithely skips on to the next command. This can cause problems if your next line happens to rely on that file being there (e.g. you want to modify the track info of the newly-copied file). The most effective way I could see to get around this was to use a "try" block inside a "repeat" loop. In other words, keep trying to perform the operation until it works. The basic construct is:
repeat until <desired operation has been performed>
try
<attempt to perform desired operation>
end try
end repeat
Script #1: create album playlists on an iPod Shuffle
I recently purchased a new iPod Shuffle, which has two nice features: the ability to organize music into playlists, and a "VoiceOver" function that can read out the current track/artist or playlist. There is, however, no way to change between individual albums, so I have found it useful to create playlists for each album.
Unfortunately, manually creating playlists for each album becomes quite tedious, particularly when you're changing the contents of the iPod at least once a week. So this script was written primarily to automate that process. It works by assuming that you've loaded all the desired albums onto the iPod; it then deletes any existing playlists before stepping through each track, creating a playlist for each new album it encounters and copying the track into it.
Added niceties that I added later were the ability to recognize multi-disc albums and create separate playlists for each disc, and the option to insert a prefix into the track name giving the track number in the form "n of N". This last feature is very handy when you want to know where you are in an album while listening to it.
So here, without any further garnish, is the script:
set iPodName to "Gekko MMXI"
set addTrackNumberPrefix to true
tell application "iTunes"
-- get index of ipod source
set myIPod to some source whose kind is iPod and name is iPodName
-- STEP 1: delete existing playlists
delete (every user playlist of myIPod whose smart is false and special kind is none)
--- STEP 2: loop thru tracks on ipod, assigning to new playlist according to artist and album
repeat with trk in tracks of myIPod
-- only consider tracks with a non-empty artist and album
if artist of trk is not "" and album of trk is not "" then
-- get album artist, using the album artist if it's defined
if album artist of trk is not equal to "" then
set albumArtist to (album artist of trk as string)
else
set albumArtist to (artist of trk as string)
end if
-- get album name, appending disc number if defined
if disc number of trk is not equal to 0 then
set albumName to (album of trk as string) & " (disc " & (disc number of trk as string) & ")"
else
set albumName to (album of trk as string)
end if
set listName to albumArtist & " - " & albumName
-- get playlist, creating it if it doesn't exist
if exists (some user playlist of myIPod whose name is listName) then
set plist to (some user playlist of myIPod whose name is listName)
else
set plist to (make user playlist of myIPod with properties {name:listName})
end if
-- copy track to playlist
set ipod_trk to (duplicate trk to plist)
-- add track number to track name
if addTrackNumberPrefix then
set trackNumber to track number of trk
set trackCount to track count of trk
if (trackNumber as string) is not "" and (trackCount as string) is not "" then
set numPrefix to ((trackNumber as string) & " of " & (trackCount as string) & ". ")
if (name of trk as string) does not start with numPrefix then
set name of trk to (numPrefix & (name of trk as string))
end if
end if
end if
end if
end repeat
end tell
Script #2: add ear-training exercises to iTunes and copy to iPod Shuffle
This one is slightly more esoteric but demonstrates some useful actions involving importing files into iTunes. The basic purpose of this script is to import audio files (in this case, ear training mp3s whose creation I described in a previous post), add some track info, and copy into playlists on the iPod Shuffle. You'll notice copious use of the repeat/try trick that I mentioned above. Note also the multiple "tell" blocks: in addition to the main iTunes block, there are several calls to the Finder to get directory/file lists.
set iPodName to "Gekko MMXI"
set fileFormat to "MPEG-4 audio"
set myLabel to "My Ear Training"
-- delete existing ear training tracks from ipod
tell application "iTunes"
-- get index of ipod source
set myIPod to (some source whose kind is iPod and name is iPodName)
-- delete existing ear training tracks
delete (tracks of myIPod whose artist is myLabel and genre is myLabel)
delete (tracks of library playlist 1 whose artist is myLabel and genre is myLabel)
end tell
-- import new files into itunes and copy to ipod
tell application "Finder"
-- get folders of each group of tests
set sourceDirs to folders of folder "EarTraining" of home
end tell
tell application "iTunes"
-- loop over test folders
repeat with sourceDir in sourceDirs
set sourceName to name of sourceDir
set listName to (myLabel & " - " & sourceName)
-- ensure that ipod has a playlist with this name
if not (exists (some user playlist of myIPod whose name is listName)) then
set plist to (make user playlist of myIPod with properties {name:listName})
else
set plist to (some user playlist of myIPod whose name is listName)
end if
-- get source files in this directory
tell application "Finder"
set sourceFiles to (files of sourceDir whose kind is fileFormat)
end tell
-- get number of tracks in this directory
set trackCount to count of sourceFiles
-- import each file into iTunes and set info
set trackNumber to 0
repeat with sourceFile in sourceFiles
set trackNumber to trackNumber + 1
set trackName to (text 1 thru -5 of (name of sourceFile as string))
-- import track into itunes
with timeout of 30 seconds
set trk to (add alias (sourceFile as string) to library playlist 1)
end timeout
-- add track info: use "try" inside a "repeat" loop to overcome the flaky behaviour which occasionally denies write permission to file
repeat while album of trk is not equal to (name of sourceDir as string)
try
set album of trk to (name of sourceDir)
end try
end repeat
repeat while artist of trk is not equal to myLabel
try
set artist of trk to myLabel
end try
end repeat
repeat while genre of trk is not equal to myLabel
try
set genre of trk to myLabel
end try
end repeat
repeat while track count of trk is not equal to trackCount
try
set track count of trk to trackCount
end try
end repeat
repeat while track number of trk is not equal to trackNumber
try
set track number of trk to trackNumber
end try
end repeat
-- finally, explicitly set the track name to the file name, since iTunes will append a counter to it if the same file has been imported multiple times (do this after the previous steps because the change only occurs when the track finished loading)
repeat while name of trk is not equal to trackName
try
set name of trk to trackName
end try
end repeat
set ipod_trk to (duplicate trk to library playlist 1 of myIPod)
-- need a repeated try loop here as the copy takes some time to complete
repeat until exists (some track of plist whose name is trackName)
try
duplicate ipod_trk to plist
end try
end repeat
end repeat
end repeat
end tell

Recent viewing activity

Haved watched a few things over the past couple of weeks, but nothing that inspired me enough to break out a dedicated post. So, in precis form:

Purple Rain: dated but enjoyable early 80s flick starring Prince.

Bachelor Party: early 80s comedy romp featuring a young Tom Hanks. The title pretty much says it all.

The Baader Meinhof Complex: very good film about the left-wing terrorist movement from the 70s. I don't know as much I probably should about this period in history.

Archer - Season Two: another highly entertaining series of escapades featuring the ISIS intelligence agency. I hope, and expect, that there'll be a Season 3.

Cosmos: recently wrapped up this 13-episode series by the late physicist and science communicator par excellence Carl Sagan. It was a little slow in parts, andome of the re-enactments are dated and a little tedious, But Sagan's enthusiasm and passion for science shine through, and the show is still well worth watching.

Sunday, July 10, 2011

Ear-Training exercises for the iPod Shuffle

I recently had what seemed like a neat idea (to me, at least): wouldn't it be cool if I could create a bunch of mp3 tracks that would allow me to practise ear-training exercises while on the bus, in the park, or even (why not?) at my desk during a quiet spell at work.


The background

The type of thing I had in mind would play a set of musical examples of a given kind (e.g. musical intervals, chords, scales, arpeggios); after each one, it would pause for a few seconds before announcing the correct name (e.g. "major third", "perfect fifth", "minor seventh chord" etc). Each track could contain on the order of 10 to 20 such examples.

Encouraged by the results of my previous efforts to develop an interactive ear-training program within Mathematica (published as a Demonstration here), I suspected that it could serve as a starting point for this new project.

Just to quickly review, here is a rough mock-up of how Mathematica can generate a MIDI object corresponding to a simple interval (in this case a perfect fifth), played in ascending order:

In[1]:= Sound[{SoundNote["C", {0,1}], SoundNote["G", {1,2}]}]

(To actually hear this within Mathematica, you need to pass thie object to the EmitSound function.)

It's also possible to sound multiple notes simultaneously; here is a C Major triad:

In[2]:= Sound[{SoundNote[{"C","E","G"}, {0,1}]}]

With these basic building blocks, and Mathematica's powerful symbolic programming capabilities, it is easy enough to generate all sorts of musical examples with randomized features, varying pitches, instrument sound, and so on.


We have ways of making you talk, OSX

The other piece of the puzzle, automated speech generation, fell into place when I stumbled, quite by accident, on the speech capabilities of Mac OSX. The "say" function on the command line (i.e. in the "Terminal" App) allows you to tell Mac OSX to say something. For example:

> say "fitter, happier, and more productive"

You can choose from a number of built-in voices (go to System Prefs to see complete set):

> say -v Alex "fitter, happier, and more productive"

And, importantly for my purposes, you can tell it to save the output as a sound file (in the AIFF format):

> say -v Alex -o sound_bite.aiff "fitter, happier, and more productive"


So you can see the building blocks are all there: Mathematica's midi capabilities to generate musical sounds (intervals, chords, scales, arpeggios, etc -- whatever I am trying to recognize by ear), and the command-line "say" function to generate spoken fragments (to provide the answers to each example, after a suitable pause).

As an aside, it's probably worth noting that you can access the same speech functionality as "say" (it's an OSX-wide thing), using the Speak function:

In[1]:= Speak["fitter, happier, and more productive"]

However, there doesn't seem to be any way to "capture" the output of this function in a way that allows it to be combined with other sounds, so although this could be useful for a program running within a Mathematica session, it wouldn't be any help for generating mp3 files.


Converting MIDI to AIFF

My initial expectation was that combining the above ingredients would be fairly straightforward and have me on the road with my new mp3 test collection in no time. Unfortunately, as I started playing around I discovered a major obstacle: although you can combine formats such as MIDI, WAVE and AIFF within Mathematica, it is not possible to export these into a single file. Furthermore, Mathematica doesn't handle compressed formats like MP3 and AAC.

Now, you'd think that converting MIDI to WAVE or AIFF (or any format for that matter) should be quite a simple affair in this day and age, but that doesn't seem to be the case. Despondent, I began casting around for a workaround of any description. The best I could find was a shareware command-line program "midi2mp3" (available here). It's easy to download and use and, fortunately, it runs for free provided your sound file is no longer than 60 seconds (which doesn't bother me at all, since my individual musical examples are never more than a few seconds in duration). So, I could use midi2mp3 to convert to WAVE and then import that back into Mathematica.


Converting AIFF to AAC

There was just one remaining step: once Mathematica had created the final complete sound file, it could only be exported in AIFF or WAV format. I needed another external utility to convert this into MP3 or AAC ready for easy import into iTunes. Thankfully, this time there was a built-in OSX command-line function, "afconvert", that could do the trick.


Putting the pieces together

I now had all the pieces I needed to achieve my goal. It had been a long, dark, and at times almost unbearably geeky journey, but I was on the home straight.

So, without further ado, here is the complete solution that I ended up with (again, I'll just show a mock-up which demonstrates the key idea):

1. Generate midi sound in Mathematica, and export it as a midi object:

In[1]:= Export["sound.mid", Sound[{Sound["C", {0,1}], Sound["G", {1,2}]}]]

2. Use an external converter to get this into WAV format (here I'm calling it from with Mathematica):

In[2]:= Run["midi2mp3 sound.mid -e wave"]; mySound = Import["sound.mid.wav"]

3. Get speech fragment:

In[3]:= Run["say -v Alex -o speech.aiff \"the correct answer is perfect fifth\""]; myAnswer = Import["speech.aiff"]

4. Combine the two pieces and export in AIFF format:

In[4]:= Export["test.aiff", Sound[{mySound, myAnswer}]

5. Convert from AIFF to AAC (I had to poke around the net to find out how to use this function -- converting to MP3 instead of AAC is similar):

In[5]:= Run["afconvert -f 'm4af' -d 'aac' -b 98304 \"test.aiff\""]

The end result should be a file called "test.m4a" containing our simple interval followed by its name spoken.


Conclusion

So after a fair amount of pfaffing around, I have been able to generate sets of ear-training tests to listen to on my iPod. I've been using them for a couple of weeks now and so far they're working a treat. At first I found it difficult to recognize intervals whenever I'm unable to sing it out loud to myself (for obvious reasons, this simply isn't feasible on the bus or in the office) and being unable to replay it multiple times (rewinding on the iPod Shuffle is too clunky to be useful; however, I can hit pause to give myself more time to think). But I'm getting better at that with more practice.

Note that in the above, although I had recourse to several external scripts (midi2mp3, afconvert, say), I was still able to use Mathematica as the framework to bring them all together. This is very convenient, since it makes it possible to automate the process to a high degree.

Finally, I've glossed over many details (e.g. putting a pause of desired length between sound and answer; randomly choosing pitches, intervals; etc) but these were all fairly routine once the above steps had been worked out.

Check back again soon as I will endeavour to post a couple of sample files very soon.

EDIT: I've uploaded a couple of examples here.

Carbon freeze: new tax leaves coal industry out in the cold?

I couldn't resist a chuckle upon reading in today's Australian that the coal industry "has slammed the Gillard government's carbon tax, arguing the details announced yesterday would see the sector pay $18bn over the next nine years, with minimal assistance compared with other industries".

It's a carbon tax, stupid! I'm no chemist, but even I know that coal is basically pure carbon, which is dug up for the express purpose of being burnt and thereby released into the atmosphere. So it wouldn't be much of a tax if it didn't hit the coal industry harder than others, would it?

Of course there will be aspects of the putative carbon tax that need to be debated and, hopefully, hammered out swiftly. But listening to the bleatings of the fossil fuel lobby on this issue seems akin to asking a serial killer whether he supports the death penalty. I guess serial killers just need a stronger lobby group.

Monday, July 4, 2011

What do you want to do today?

Another 4HWW goodie:

For the past 33 years, I have looked in the mirror every morning and asked myself: "If today were the last day of my life, would I want to do what I am about to do today?" And whenever the answer has been "No" for too many days in a row, I know I need to change something . . . almost everything—all external expectations, all pride, all fear of embarrassment or failure—these things just fall away in the face of death, leaving only what is truly important. Remembering that you are going to die is the best way I know to avoid the trap of thinking you have something to lose. —STEVE JOBS, college dropout and CEO of Apple Computer, Stanford University Commencement, 200578

Sunday, July 3, 2011

The parable of the Mexican fisherman

A nice one from "The 4 Hour Workweek":

An American businessman took a vacation to a small coastal Mexican village on doctor's orders. Unable to sleep after an urgent phone call from the office the first morning, he walked out to the pier to clear his head. A small boat with just one fisherman had docked, and inside the boat were several large yellowfin tuna. The American complimented the Mexican on the quality of his fish. "How long did it take you to catch them?" the American asked. 

"Only a little while," the Mexican replied in surprisingly good English.

"Why don't you stay out longer and catch more fish?" the American then asked.

"I have enough to support my family and give a few to friends," the Mexican said as he unloaded them into a basket.

"But... What do you do with the rest of your time?"

The Mexican looked up and smiled. "I sleep late, fish a little, play with my children, take a siesta with my wife, Julia, and stroll into the village each evening, where I sip wine and play guitar with my amigos. I have a full and busy life, senor."

The American laughed and stood tall. "Sir, I'm a Harvard M.B.A. and can help you. You should spend more time fishing, and with the proceeds, buy a bigger boat. In no time, you could buy several boats with the increased haul. Eventually, you would have a fleet of fishing boats." He continued, "Instead of selling your catch to a middleman, you would sell directly to the consumers, eventually opening your own cannery. You would control the product, processing, and distribution. You would need to leave this small coastal fishing village, of course, and move to Mexico City, then to Los Angeles, and eventually New York City, where you could run your expanding enterprise with proper management."

The Mexican fisherman asked, "But, sefior, how long will all this take?"

To which the American replied, "15-20 years. 25 tops."

"But what then, senor?"

The American laughed and said, "That's the best part. When the time is right, you would announce an IPO and sell your company stock to the public and become very rich. You would make millions."

"Millions, senor? Then what?"

"Then you would retire and move to a small coastal fishing village, where you would sleep late, fish a little, play with your kids, take a siesta with your wife, and stroll to the village in the evenings where you could sip wine and play your guitar with your amigos ..."

Amen.

Friday, July 1, 2011

Precious (2009)

A bleak, harrowing but excellent film. 

Set in Harlem in the 80s, it tells the story of "Precious" a (morbidly) obese teenage Aftrican-American girl whose family life is dysfunctional, to say the least. She has two illegitimate children (one with Down's Syndrome), both the product of being raped by her father. She lives with her housebound mother who is domineering and violent. Despite this, Precious is determined to acquire a basic education and be able to raise her children.

It's a grim, you might say unrealistically grim, storyline: it's hard to see how life could have conspired to be any worse for Precious. Still, it shines a spotlight on issues of entrenched poverty and welfare in a way that few, if any, films that I've seen before have done.

The performances are excellent throughout, particularly Gabourey Sidibe in the lead role of Precious and Mo'Nique as her mother. Mariah Carey has a surprisingly convincing turn as a concerned social worker, and Paula Patton catches the eye as a teacher in the special school that Precious attends.

Bottom Line: recommended viewing, but not one for a romantic first date.

Wednesday, June 29, 2011

The Hurt Locker (2010)

An excellent, hard-hitting film on the Iraq war. It focuses on the
bomb-disposal unit and the daily life-or-death situations they
encounter attempting to diffuse road-site bombs. It left me feeling,
on the one hand, respect for the American soldiers having to deal with
such treacherous conditions, and on the other, anger at the futility
and wastefulness of the whole enterprise.

Monday, June 27, 2011

Notre univers impitoyable (2008)

Mediocre french romantic drama (is that a genre?), starring Jocelyn Quivrin, the très mignonne Alice Taglioni and old warhorse Thierry Lhermitte (who you might remember as the "méchant" Pierre Brognant from the excellent Dîner de Cons).

On a sad note, it turns out that Quivrin was killed in a car crash in 2009, leaving behind Taglioni, his real-life partner, and young son.

The most interesting thing about the film (apart from the lovely Mlle Taglioni, of course) is that it represents a rare inversion of the relationship we normally see between anglo-saxon and continental european cinema. That is, it takes an interesting, novel idea (in this case the Gwyneth Paltrow flick Sliding Doors), and blatantly rips it off. At least the french are subtle enough not simply to remake the same film (cf. Vanilla Sky): they just took the essential idea, of having two parallel story lines running in two alternate realities which differ in only one decisive "what if" moment. 

The rest of the story that is fleshed out around this premise is fairly banal so I won't go into too many details. Suffice it to say that Quivrin and Taglioni are a yuppie couple working at a some kind of law firm in the La Défense district of Paris. The reality-splitting moment occurs when a senior staff member dies suddenly, leaving a place for a prestigious promotion (to be chosen by the boss Lhermitte). In one reality Quivrin gets the job, in the other it's Taglioni. The two story lines then follow the changes that occur as each one adapts to their new, superior role. As I say, it's rather predictable, run-of-the-mill stuff from there on.

Bottom line: BOF.

Sunday, June 26, 2011

Death At A Funeral (2010)

Enjoyed this silly, over-the-top, feel-good comedy with Chris Rock, Martin Lawrence and Tracy Morgan. Good to see some nice old-school funk tunes in the soundtrack.

Archer - Season 1

Have just finished, and enjoyed, the brisk first season (10 episodes @ 20 minutes each) of animated spy-comedy series Archer. Fast-paced and witty, the show is kind of like 30 Rock in a spy agency. Will be checking out Season 2 soon.

merging pdf files on the command line

The following is handy when you need to merge several pdf files in Linux:

gs -dNOPAUSE -sDEVICE=pdfwrite -sOUTPUTFILE=firstANDsecond.pdf -dBATCH first.pdf second.pdf

The inputs are first.pdf, second.pdf (there can be arbitrarily many of these); the output is firstANDsecond.pdf.