How A Moral Panic Became A Witch Hunt

If you weren't around at the time, the two-decades-old panic over "satanic ritual abuse"—on both sides of the pond—will seem ridiculous. It was however, very real, and we need to understand how these things start, and how they get out of control. Our own contemporary moral panics might be about the threat of fundamentalist terrorists, about immigration, about Internet predators, but they're no less damaging to the individuals caught up in them.

“It sounds laughable,” says Debbie Nathan, an investigative reporter who co-wrote Satan’s Silence: Ritual Abuse and the Making of a Modern American Witch Hunt about the panic and is now a director for the National Center for Reason and Justice, which took up the Kellers’ cause. But there is certainly historical precedent, going back even further than the Salem witch trials: Ancient Romans, for example, claimed that Christians ate babies; Christians later claimed that Jews used Christian babies’ blood in religious rituals.

“Children symbolize the good things about culture, the innocence and purity, the future of the culture,” says Nathan. When a culture feels under threat in some way, fear and anxiety focus on the safety of children. America was experiencing upheavals in gender roles, child-rearing practices, and social expectations, and more and more people were embracing fundamentalist religion and belief in the devil. The fear of satanic ritual abuse was perpetuated by both ends of the political spectrum. “In the right wing, you had that kind of preoccupation with Satan, and on the left, you had a lot of concern with the well-being of children, and women going back to work, and I think it was a perfect storm of fear and anxiety,” says Nathan. Most if not all of those involved believed they were acting in the best interests of the children—which meant that any healthy skepticism was interpreted as anti-child.

Source: http://www.slate.com/articles/health_and_s...

Miniature Electric Guitar For iOS

Best thing out of CES so far, for my money. This could be a perfect complement to the compact studio or iPad-based live set-up. Sorry, it doesn't yet seem to work with those other tablets that  Carphone Warehouse thinks musicians should buy.

Chris Heille, music product specialist with JamStik maker Zivix, said the the company's miniature electric guitar is scheduled to ship in March and retail for $299.99. The device uses both infrared and piezo sensors to detect fretting, strumming and picking while users play.

By featuring real strings that can be pressed, strummed and bent, the JamStik aims to offer users an authentic guitar feel, while still providing a compact and portable design. The accessory is a network MIDI controller that will work with iPhone and iPad, as well as Mac, meaning it will sport out-of-the-box compatibility with existing music applications, such as Apple's own GarageBand.

Source: http://appleinsider.com/articles/14/01/08/...

Apple Would Be "Insane" To Build A Cheap iPhone

So says Charlie Wolf at least, and he goes into detail to show why. Thing is, he's right as far as he goes: For Apple to try to build iPhones the way it currently does and sell them on low-or-no contracts would be preposterous.

This, however, is the same kind of thinking that led people back in 2004 to say Apple couldn't make and sell a low-cost flash-memory-based iPod (shortly before the iPod Shuffle appeared). It's also why Apple said it didn't know how to make a $500 computer that wasn't "a piece of junk", but could build the iPad.

Apple has a way of rethinking what's needed at a particular price point and building the right product to meet those needs. 

Wolf's thesis was presented on Wednesday in a note to investors, a copy of which was provided to AppleInsider. In it, the analyst went as far as to say that building a cheap iPhone to capture the low end of the smartphone market would be an "insane idea" for Apple, destroying the company's gross profits seen in its current strategy.

For example, to hit the so-called "sweet spot" of smartphone pricing in emerging markets, Apple would have to price a hypothetical cheap iPhone at around $350 without a carrier contract subsidy. If Apple were to target a hypothetical 40 percent gross margin with such a product, Wolf's estimates suggest the cheap iPhone would need a bill of materials at around $90 — or less than half the bill-of-materials cost of high-end iPhones.

Source: http://appleinsider.com/articles/14/01/08/...

Mother, I've Turned The Cooling Back On

You'd think we'd know better than to name our devices after sci-fi computers. Nevertheless, I like the sound of Mother. Reminds me a little of the Nabaztag rabbit devices of a few years back, though much more sophisticated. 

Mother’s potential use is intriguing: Each Mother unit talks wirelessly to a set of smaller tracking devices, dubbed cookies, that can sense motion and temperature. You can put cookies on things and people – on your body to gather data about how much you walk, on your coffee machine to track many espressos you drink, on your front door to track whenever it is opened, on your toothbrush to see how often and how long you brush … and so forth.

Source: http://blogs.wsj.com/digits/2014/01/06/ces...

For Better Or Worse, E-Books Change Everything

Erica Sadun is right: There's no going back.

I also did something I had never done before. As I was reading the book, I stumbled across an unfamiliar word and, rather hilariously, ended up tapping the printed page until it finally occurred to me that the book wasn't going to offer me built-in dictionary and Wikipedia access.

It's odd how three years or so changes you. Although the Kindle debuted in 2007, it wasn't until 2010 that I really jumped on the e-book bandwagon. My entry was due to the iPad. In fact, it was the iPad 2 even more than the original that firmly grounded me into the e-book world. Between the light, thin design of the tablet and my aging eyes, the iPad with its built-in iBooks app and the add-on Amazon Kindle reader app, I have become a devotee.

Source: http://www.tuaw.com/2014/01/06/the-book-an...

What Does Apple Have Planned For 2014?

 Expect Apple to iterate, because that's what Apple does. Refreshingly sensible Apple commentary from Ars Technica.

It would certainly be great for tech journalists if Apple put out a completely redesigned iPad every six months, or if it introduced some new iPhone that only cost $100 unlocked. Those kinds of moves would be a significant departure from the company's current strategy, though, and Apple isn't a company that rushes to fix what isn't broken. Incremental change is normal, and Apple's refreshes generally keep its products ahead of or in step with what its competitors are doing.

Source: http://arstechnica.com/apple/2013/12/apple...

Siri Vs. "Her"

Siri seems to have learned about Spike Jonze's "Her", and doesn't like it. Wonderful.

The general sentiment among moviegoers is that this is an uber-advanced version of the iPhone’s Siri, the virtual assistant that more often functions like a bumbling intern. Siri — or her programmers at Apple — clearly got wind of this comparison, and seemingly decided to have some fun with it. Or, Siri is actually really smart and is super mad about the bad publicity. Either way, her responses to questions about the movie Her are a real treat.

Source: http://www.buzzfeed.com/jordanzakarin/if-y...

Nikon Df: Fusion, But Not Quite "Pure Photography"

Nikon's new classically-styled DSLR is undoubtedly beautiful, but it strikes me that in striving for the perfect blend of old and new what's emerged is something that isn't quite either, and a design that's essentially compromised by trying to keep a foot in both camps. Design is about choices.

The Nikon Df is, at first appearance, the camera that many people have been asking for, for years - a classically styled DSLR with traditional external controls. But, for all Nikon's talk of a return to 'Pure Photography,' an awful lot of what's under the Df's confidently retro skin is pretty familiar. The Df is built around the 16MP full frame sensor from the company's flagship D4 with the processor and AF system borrowed from the comparatively affordable D610.

The camera's appearance is inspired by a much earlier generation of film cameras. In fact, from the front the Df looks like an oversized Nikon FM (and not dissimilar to Canon's F1N). And, as well as the styling and dedicated external controls, the Df's other nod to the company's history is the inclusion of a retractable meter coupling tab, allowing the use of pre-1977 non-AI lenses.

For those of us raised on film SLRs the effect is rather intriguing. We understand that the Df has been at least four years in the making, and the glee of its creators is almost palpable in the many specific design cues obviously taken from earlier SLRs including the FM/2 and the long-lived professional-targeted Nikon F3.

Source: http://www.dpreview.com/reviews/nikon-df

PJ Harvey's Today Programme Reviewed

For what it's worth, I thought it was magnificent. 

In a statement about her editorship, Harvey said that she wanted to highlight "people who challenge us and move us to examine our deepest beliefs and feelings". Her last, Mercury prize-winning album, Let England Shake, was about the UK's involvement in war; many of her chosen speakers seemed to spring from her research into this. She made the Today editors agree not to edit their contributions.

Source: http://www.theguardian.com/tv-and-radio/20...

When Furbys Attack

I love robotic toys. I think it makes me love them even more to know that they can be possessed by demons.

And then, in the middle of Mira trying to teach it to dance, something very bad happened. It started to shake back and forth, it made weird noises, and it’s LED eyes were flashing like strobe lights. I thought it was either having a grand mal seizure or we broke the damn thing.

Then it stopped. All was silent for a moment. And then what was in front of us was a Furby who no longer had the high-pitched girly voice, but instead a deep, growling voice with angry looking eyes.

Mira’s Furby was suddenly possessed by a new personality who was mean. It growled at her, it snapped at her with an angry voice if she tried to pet it, and it made retching noises when she tried to feed it, as if the iPad foods weren’t good enough for it. Occasionally it showed little flames in its eyes.

Source: http://www.amommystory.com/2013/01/what-ha...

Netflix's Micro-Genres Revealed

Utterly fascinating account of reverse engineering Netflix's recommendation system. The rabbit hole goes deeper than I had even dreamed, and Perry Mason is at the bottom of it.

So, after I'd secured my data, I called up Netflix's PR liaison, a Dutch guy named Joris Evers who keeps a miniature windmill on his desk. I told him we had to talk.

After I filled him in on what we'd done, I waited to hear his reaction, wondering if I was about to have my Netflix account permanently canceled. Instead, he said, "And now you want to come in and talk to Todd Yellin, I guess?"

Yellin is Netflix's VP of Product and the man responsible for the creation of Netflix's system. Tagging all the movies was his idea. How to tag them began with a 24-page document he wrote himself. He tagged the early movies and guided the creation of all the systems.

Yes, of course I wanted to meet Yellin. He had become my Wizard of Oz, the man who made the machine, the human whose intelligence and sensibility I'd been tracking through the data.

At our interview, Yellin turned to me and said, "I've been waiting for someone to bubble up like this for years."

Source: http://m.theatlantic.com/technology/archiv...

Shameless Guardian Carphone Warehouse Advertorial Masquerades As Article On "Tablet" Music Production

So I thought this was going to be a reasonable take on how tablets are being used in music production. I'll be honest, I've never met anyone who's using anything other than an iPad, but I'm prepared to believe they exist. So the "article" launches straight into a sales pitch:

A good choice would be a high-end tablet such as a Sony Xperia Tablet Z, which has a quad-core Snapdragon S4 Pro processor which, he says, will "eat for breakfast" powerful apps like the well-respected FL Studio Mobile. FL Studio Mobile is an app which lets you compose and save multitrack studio projects, whether you're inputting MIDI notes with a step sequencer or adding effects.

I've never heard of the "well-respected FL Studio Mobile" but, hey, I don't use Android. I was looking forward to reading about some of the other apps on the platform. Apparently there aren't any. Not a single mention of another app, on any platform. No mention of iPad or iPhone at all, despite there being hundreds of sequencers, drum machines, synthesisers, effects processors, composition tools and so forth on iOS. No mention of the high end studio and live mixing desks designed specifically for iPad. No mention of the guitar effects pedals, microphones and digital instrument interfaces that proudly tout iOS-compatibility.

Then we get this:

Carphone Warehouse has launched a short film, as part of its Smarter World campaign, to inspire people by showing the possibilities of smartphones. The film reveals how musicians are using tablets and smartphones to improve their performances. Music producer Darren Sangita, the DJ who worked on a collaborative track for the campaign, says tablet technology is a "dream" to work with.

"I used to work in studios with huge 48-channel decks and two-inch tape machines that cost £150,000. That technology has now been shrunk down to a touchscreen – so you've got everything from synthesis to drum machines, real-time effects and modulations, multi-track recording capabilities and playback."

Sounds good, and Sangita goes on to gush about how "tablets" and "touchscreen" are revolutionising the music industry. Strangely, he doesn't mention any platform, nor any apps. I followed the link to the short film Carphone Warehouse has made, showing Darren in action. Full of iPads (and other devices). The app he specifically talks about is named on screen: Sugar Bytes Turnado —Only on iPad.

Well done CW, you've managed to write an article about music production (which, in mobile, is  dominated by iPads) and only mention the devices you specifically need to flog. Perhaps you're getting paid handsomely to shift them. You didn't even have to find more than a single Android app to talk about, and you couldn't be bothered to find a producer who prefers it.

And in The Guardian, masquerading as a proper article? You should be ashamed of yourselves.

Source: http://www.theguardian.com/carphone-wareho...

Design For The Four Percent Colour Blind

I didn't realise the percentage of people with colour blindness was so high. That's a lot of people to ignore when you're designing for a mass audience (and probably one or two even when you're designing visual material for a class). 

Businesses cause problems for colour blind people when they use colour alone to convey information. This mistake is most frequently made in relation to the design of maps, diagrams, graphs, charts and other types of infographic.

These problems seem to be made worse when the coloured items are small. That is, some colour blind people report that they can only distinguish certain colours if they have sufficient “mass” (for example, they might perceive a thick coloured line as being red, but a thin version of the same line as being black). This is a possibility rather than a confirmed trait, but it’s worth bearing in mind.

Interactive digital systems providing ticketing are common culprits in using colour alone to convey information. These typically provide seating plans to help their customers choose the best available seats for the event or service that they are booking.

Source: http://www.screenmediamag.com/screenmedian...

There's No Such Thing As Cruelty-Free Cocaine

Erik Vance over at Slate on the atrocities of the drugs trade. Compelling and provocative.

Please, you say, not another Nazi comparison. Hitler references in the media are so cliché that Jon Stewart uses them as a running gag. But the magnitude and gruesomeness of the atrocities committed to acquire and maintain drug trade routes to the United States actually are comparable. Decapitations and burning people alive are just the start. Chainsaws, belt sanders, acid—these things are used very creatively by cartel torturers. They disembowel bloggers and sew faces to soccer balls. Children are forced to work as assassins, people are forced to rape strangers at gunpoint, and lines of victims are killed one at a time with a single hammer. Many of those people disappear into unmarked graves. If their bodies are ever found, they are described in the media with antiseptic words like “mutilated.”

Source: http://www.slate.com/articles/health_and_s...

The Good—And The Bad—Of Relationships Online

With so much nonsense written about this subject, it's refreshing to read Kate Bussmann's well-argued and properly supported discourse on how technology has both positively and negatively impacted our relationships on and offline. (My own, more personal take on the subject was published here last February)

But it doesn’t necessarily take anything that complicated. Stef Sullivan Rewis, a web developer who was the first person to get engaged via tweet in 2008, now lives in Arizona with her husband, but when they met they lived in different states and built their relationship via Skype, instant message and Twitter. “If he was in a different time zone, he’d Skype me after dinner, put his computer next to his bed and go to sleep with it on, so I’d have him in the corner of my screen,” she says. “Back in the olden days, it would have been impossible, but we were able to stay connected.”

Source: http://www.telegraph.co.uk/women/womens-li...

Stephen Wolfram Has Very Big Plans

Wolfram Alpha's work on a natural language programming system for "making the world computable" promises very big things indeed. Exciting stuff. I'm a fan of Wolfram Alpha already, having used Mathematica many years ago, and familiar with their "computation engine" online (and, indeed, used by Siri for a bunch of things).

One of the first phrases that came to my mind when I first read Wolfram’s tease — “something very big is coming” — was sentient code. That’s simply due to the level of automation and intelligence that the Wolfram language is starting to encompass, and that fact that the engine treats data and code in similar ways.

I questioned Wolfram on that.

“What we’re trying to do is that the programmer defines the goal, and the computer figures out how to achieve that goal,” he said. That’s different than telling the computer to go figure out something new that’s interesting – that’s a diffferent challenge — but I’m interested in that too.”

Source: http://venturebeat.com/2013/11/29/sentient...

The Mac Pro Is The Shape Of Things To Come

I had a little hands-on time with the new Mac Pro yesterday, and a few things jumped out at me right away. First: It's really small, and no matter how many size comparisons I've seen it still seems too small to be a top-of-the-range workstation-class machine. Second: It's really heavy—even more so when you consider the size. This thing is surprisingly dense, and the hollow in the top gives it a sense of emptiness that makes the weight even more notable. Third: It's crazy-fast. Launching a few  fairly sizable applications (Logic Pro X, Aperture) was essentially instantaneous. Moving over to an i5 iMac and doing the same thing made the difference even more noticeable. Techcrunch noted this in their review too:

For the layperson or everyday computer user, the new Mac Pro will seem like a thought-based computer, where virtually every input action you can think of results in immediate response. Whether it’s the Xeon processor or the super-fast PCIe-based SSD or those dual workstation GPUs, everything seems slightly but impossibly faster than on any other Mac, even the most recent iMac and Retina MacBook Pros. To be honest, it’ll be hard to go back even for everyday tasks like browsing the web and importing pics to iPhoto.

But that’s not what the Mac Pro is for: It’s a professional machine designed to help filmmakers create elaborate graphics, 3D animations and feature-length films. It’s aimed at the most demanding photographers, working in extreme resolutions and doing batch processing on huge files. It’s for audio producers, creating the next hit album using Logic Pro X and low latency, high bandwidth I/O external devices.

It's certainly going to be hard for anyone who's not using their Mac for serious production work to justify this level of a machine, but make no mistake: This is the kind of user experience that Apple is shooting for, and I wouldn't be surprised to see it in much more mainstream computers in a couple of years. And once you've experienced it, everything else will seem slow.

Source: http://techcrunch.com/2013/12/27/apple-mac...

Dark Mail Has An Ambitious Goal

I wish them luck, seriously. One of my hopes for 2014 is that we all become more aware of what's happening to our data, and start to demand some more control and oversight. Or at least that we're more aware of what we're giving away, and what we get in return.

But all of those groups pale compared to the goal for Dark Mail: everyone. "We will be successful if, in three years , 50% of the world's emails are sent through this Dark Mail architecture."

"Security should be the default of architecture. If you choose to use a free service like a map service, you should know what you are giving up. For me, I'm fine if Google knows my wife and I were searching for a new restaurant and how to get to it; I'm not fine with them mining every one of my personal texts, emails and searches. Individual citizens the world over should have the ability to decide what they want to share and what they don't."

Source: http://www.theguardian.com/technology/2013...

TED's Middlebrow Infotainment Isn't The Answer

Excellent piece by Benjamin Bratton in The Guardian. I think many people have a growing discomfort with the style of TED presentations, and the lack of any real affect beyond a feel-good fifteen minute glow of inspiration. Bratton asks some good questions, and avoids the trap of trying to package up easy answers for an audience weaned on infomercials and talent shows.

What is it that the TED audience hopes to get from this? A vicarious insight, a fleeting moment of wonder, an inkling that maybe it's all going to work out after all? A spiritual buzz?

I'm sorry but this fails to meet the challenges that we are supposedly here to confront. These are complicated and difficult and are not given to tidy just-so solutions. They don't care about anyone's experience of optimism. Given the stakes, making our best and brightest waste their time – and the audience's time – dancing like infomercial hosts is too high a price. It is cynical.

Source: http://www.theguardian.com/commentisfree/2...