Monthly Archive for November, 2004

Success!

I was finally able today to get on to the IU VPN on my laptop under Linux! Yippee. I upgraded to Fedora Core 3, and followed these very simple instructions, and it just worked. Once I got everything installed, the actual connecting part was dead simple. I just provided the server name (vpn.indiana.edu) and my username, and all the defaults just worked.

I’ve noticed a lot of other stuff Just Works(TM) in Fedora Core 3. I plugged in Josh’s digital camera, and it recognized it and offered to download the photos on it. One click, and they are being loaded onto my laptop. No drivers, no configuration, just one click.

Unfortunately, accessing windows network shares is not so seamless. I feel like that is supposed to be a solved problem on Linux by now, but whenever I try it out, it just doesn’t work. Smbmount worked on knoppix, but it’s not working for me right now, and the “Connect to server” option in GNOME certainly isn’t working for me. Maybe Fedora Core 4….

I also tried Novell Linux Desktop for a few days. It’s pretty polished in a lot of ways, but it’s using a slightly older version of GNOME and I don’t think it is using HAL and D-BUS and all the cool stuff you get with that. I’m sure it will be a great product for business desktops though.

Linux is improving every day though.

Fast Feedback

Within 12 hours after passing along the design mentioned in the previous entry, it looks like some of our ideas were implemented in Evolution, at least the removal of the word “appointment” and the one-click snoozing.

The rest of the recommendations didn’t make it in, but try submitting something like that to Microsoft, and see what happens. Free software is sweet.

The first rule of design club

We had our first meeting of design club tonight. It was pretty informal (read: I went down to the lab and distracted Josh and Chad from studying,) but we took this design and came up with this redesign:

Things are getting pretty hectic right now at school with the SIGCHI projects really heating up, so I don’t think we’ll be able to set up a regular meeting time for design club this semester, but hopefully next semester design club will become more established.

Defense Mechanism

I’ve been noticing a strange line of thinking becoming more and more prevalent in politics. I’ve seen it in President Bush and Rush Limbaugh, but I’m sure others are using it too. It’s the “they are trying really hard to beat us, so we must be right” line of thought.

Bush has used that one about foreign terrorists in Iraq. The fact that terrorists streamed into Iraq with such fervor to fight the U.S. occupation means that they know the occupation of Iraq will be a very bad thing for their organizations, he suggested.

Of course, that wouldn’t have anything to do with the fact that they think America is the root of all evil in the world, and an opportunity suddenly arose to put their money where their mouth is when America decided to send thousands of it’s citizens to the middle east? If Osama bin Laden went on a book tour in Sweden, would we try to capture him because we know his book tour would likely be the downfall of the United States, or would be try to capture him because it was our golden opportunity to do something that had been bothering us for a while?

And in October, Rush Limbaugh suggested that his (arguably racist) comments about Eagles quarterback Donovan McNabb “must have been right about something… If I wasn’t right, there wouldn’t be this cacophony of outrage that has sprung up in the sports writer community.”

It’s amazing that you can use the amount of outrage your comments stir as a measure of how correct they are. If I walk up to someone with a short temper and tell him his mother is a whore and he procedes to open up a can of whoop-ass on me, does that really mean I was right?

Derivative production done right

Today’s MP3 fix is a couple of songs from a canadian band called ‘The New Pornographers’. The name is a little overt, the music is a little derivative, and the production is a little heavy, but in all the right ways. Think derivative of The Who or the Stones, with the elements of 80s pop that make you tap your feet. I don’t really know anything about The Who or the Stones, but I still feel confident making that claim. I’m dumb like that.

Anyway, here are the tracks:

  • The New Pornographers – Mass Romantic

    Kind of reminds me of Adam and the Ants, Goodie Two Shoes. It’s got that sweet bagpipe-sounding organ thing going on, and the shuffle beat underneath. I am such a sucker for the shuffle.
  • The New Pornographers – The Slow Descent Into Alcoholism

    OK, that was just a warm up. This is the song. This is the one you want to have a listen to, and then again every day for a week, and then you will thank me. First off, it just a nice medium rocking track. That’s number one. Number two is the brief interlude after the first verse when he starts singing “Salvation, whole life central” or whatever, and then there’s that little lapse, it calms down… then the beat comes in, then WHAM! back into that rocking guitar lick.

    THEN. Then, I tell you… verse two, the female vocalist kicks in with the harmony, and oh boy, that’s some nice harmony. Anyone who knows my fondness for the whole parallel fourths harmony thing will probably understand why I like this stuff. My ears aren’t good enough to say for sure that those are parallel fourths, but there’s something about it that just tickles my ear. Maybe Kate can tell me what’s going on there, I just think it’s some tingly harmony.

    And then they rock the heck out. Nice song.

Basically, these guys can put together a track. It’s not that edgy, but it’s delicious in its poppiness. Old sounds, relatively slick new production, and no cowtowing to the MTV crowd. And sweet harmonies.

Brad, you’re killing me!

My paper on HCI theory is finally complete. It is not a masterpiece, but there are some good ideas inside. I feel strongly that Kuutti has missed the mark in her characterization of the invention of direct manipulation, and I think I make a good case for putting the C back in HCI. That said, it’s kind of rough around the edges. I really psyched myself out about this paper, and as a result it was very slow going. I think a big part of the problem is my difficulty following directions. Anyway, the introduction:

Theories have poured into HCI from many disparate fields, including cognitive psychology, artificial intelligence, ergonomics, sociology, anthropology, graphic design, and computer science. When it comes to theories devised within the field of HCI itself, researchers have created everything but consensus. Many “theories” simply take the form of goals: usability, calmness, fun, etc. Others take the form of methods: ethnography, cooperative design, etc. Still others offer predictive models of interaction: GOMS, Fitt’s Law, etc. This cacophony of independent approaches can be fatiguing for HCI practitioners and researchers. A history of failed attempts at applying these theories and a perceived lack of consensus or cooperation has created an atmosphere of distrust and independence in the HCI community.

This essay is titled with the first two lines of Thomas Erickson’s poem, “Theory Theory: A Designer’s View.” The poem exposes our conflicting images of theory: is it a robust mixture or an incomprehensible mess? Is it a happy club or an elitist clique? Erickson asks what, if any, is the role of theory in design and then begs the question by suggesting that theory is to be used when it is useful. This essay will attempt to explain the difficulties Erickson highlights, and offer a more thorough analysis of the relationship between HCI theory and practice.

Read more…

PLEASE CHANGE BELIEFS

YOU CAN WATCH PEOPLE ALIGN THEMSELVES

WHEN TROUBLE IS IN THE AIR. SOME PREFER TO BE CLOSE

TO THOSE AT THE TOP AND OTHERS WANT TO BE CLOSE

TO THOSE AT THE BOTTOM.

IT’S A QUESTION OF WHO FRIGHTENS THEM

MORE AND WHOM THEY WANT TO BE LIKE.

Problem

Why do I forget so much?

Double Take

Todays music is a couple of tracks off of Liz Phair’s “Exile in Guyville”. I’m loathe to snap off a couple of tracks, because I’ve been listening to it as an album, but I think these are a good place to start:

Liz Phair – Divorce Song

Liz Phair – Canary

I few months ago, I decided to look up this “Liz Phair” who I had heard so much about. I had imagined she was some sort of new folk singer, like some sort of Jewel protege. God knows where I got that idea.

So, I downloaded “Why can’t I breathe?” the poppy single off of her latest album, and thought it sucked. “Oh, she’s just some vaguely edgy pop artist,” I thought. Whatever.

Turns out this is not correct at all. I have had her 1993 Exile in Guyville on repeat for a couple of days now, and 1993 Liz Phair is nothing like 2003 Liz Phair.

Three things I wish someone had told me about Liz Phair:

  1. Exit in Guyville was written pretty much in isolation, and she was pretty much an amateur at the time.
  2. Exit in Guyville is a song by song response to the Rolling Stones’ Exile on Main Street. Every track is either a female analog of what the Stones are talking about, or a rebuttal from a female perspective.
  3. Exit in Guyville is profoundly feminist, and its overt sexuality is a component of that, but it’s not the core of it’s feminism.

So, that said, I would highly recommend this interview and the album itself to anyone who hasn’t heard it, or has previously written Liz Phair off as a slut or a sellout. There’s much more to this album than that.

So, on to the album itself. It’s pretty clear that she didn’t have the highly refined musical skills to put together a flawless track. That said, it’s also fairly clear to me that she was more than good enough to get across what she was trying to express. So you get the reality of her life without the layers of subtlety and commentary that musical virtuosity lets you impart. In other words, and I know all of this is sounding like a put down, but I don’t think she had the ability to write a self-referentially editorial album. No layers of meaning that people tend to think make something “high” art. And what she accomplished as a result is much closer to pure art than anyone really expected. And that’s why I think it’s a remarkable album.

And as I understand it, this album is landmark feminist work because it’s about standing up in the male-dominated world of rock music and saying, “OK, it’s time to listen to what I, as a woman, have to say about all this bullshit you boys are slinging around.” And boy, do we sling bullshit.

Looking back over what I just wrote though, I wonder if this is a chauvinist depiction of the album. I’d certainly welcome outside comments on the issue.

EDIT: I wanted to add that I think the primary reason why some of these songs sound so amateur is that her drummer sucks really, really hard. He sounds like a $50 Yamaha keyboard demo, except with less rhythm.

Overshare

I haven’t been running for at least a month. And then not for several months before that. Twenty steps out the door, I am thinking running is not just therapudic for me, it is *cathartic*.

I run out to the road, taking a side track around the one-story office space behind our apartment complex. I pee on the edge of the woods behind a dumpster, and look at the stream a few feet into the trees. I take a few steps toward the stream, and there is some frantic activity in the water. I don’t like that I scared some animal, and so I turn around and run out to the street.

A few hundred feet along, I stop at a clearing. I walk down into the field, and crouch down, thinking the grass is wet. It’s not, so I sit. I stare at the high tension power lines running along this track of field. There’s a stream in front of me that’s only there because of the road. I mean, it’s only there in that exact spot because of the road. Before it was following the curves of the earth, heading for the ocean in some sort of purposeful way, but now it’s just cradled in the ditch left by the road. I realize how comforted I am by the combination of nature and rural infrastructure. It reminds me of home.

I used to do this at home, on the field off of woodland road. One time I was so upset about some family stuff that I threw on my running shoes and headed down Gurleyville Road and cried and cried and cried, running out towards Woodland. I got to that field, and walked out into the night sky, and sat down. I think I only remember this because a car stopped and the driver asked if I was OK. I told him I was.

So I realized sitting on this field (tonight, not however many years ago) that I’ve been clamoring for comfort the last couple of weeks. I’ve been eating… overeating, to try to comfort myself. I eat until I am overfull, I eat until I am no longer accountable for my behavior. I remove my responsibility for myself by eating until I can’t eat anymore. I’ve been sleeping in. I’ve been procrastinating. I’ve been listening to music… seeking out music that I couldn’t get this year because I couldn’t be in the choirs. I’ve been dying for experiences like Horsebarn Hill with Meaghan and Ben and Niamh four years ago. I’ve been dying for that, and I haven’t been getting it. There’s no-one here who I feel like I can call at 11pm on a Thursday and say “hey, can I just come over and hang out?” That’s why I’ve been missing Meaghan. She was always that person for me, who didn’t care about itineraries.

So I’m doing all of these things–self-destructive things because it’s go time. I have this paper I’m working on for Yvonne, about the role of theory in HCI, and it’s killing me. It’s a week late now, and it’s crap. I want very much to do this thing, but all my self doubt is just piling up like dirty laundry in front of the door to my room. I go running to comfort myself, when I should be working. Even this… even this introspective writing is a mechanism for me to hide from my fears.

So, I’m going to shave, and I’m going to take a shower. Cleaning myself up is another thing I can do, and then maybe I’m going to sit down and knock some essay out. Maybe. It’s a struggle.