tag:blogger.com,1999:blog-47022851779621019562024-03-13T12:35:12.242-04:00Incredibly DullAndrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.comBlogger147125tag:blogger.com,1999:blog-4702285177962101956.post-41031771558942018262022-11-24T14:59:00.000-05:002022-11-24T14:59:30.109-05:00The Mystery vs. the Mysterious<p> I was reading a poetry book and very much enjoying it. The writing was crisp and the language enthralling. But I had a nagging sense that I wasn't giving it 100%. As good as the poems were, there was something missing. And it was not the first time I've encountered this feeling. </p><p>I don't need to identify the book or author; this isn't a critique of her book. As I say, the problem I was having is not unique to this one book — I encounter it a lot. What bothered me this time was that the book was so good, I wanted the poems to succeed completely, but they stopped just short. </p><p>The problem is that the poems do a wonderful job of communicating that sense of the mysterious — the omen, the shadow — that haunts the narrator. But what is missing are sufficient clues to the specific mystery that is at the root of the poem. You are left with a deep sense of impending doom but no clarity about what the actual danger is lurking in the fog. </p><p>As I say, this is not an uncommon problem in modern poetry. Young poets do it all the time. (I know <i>I</i> did it in my early poems and probably am guilty of it occasionally even now.) But usually it is just one of several issues with novice writers so even the sense of something mysterious afflicting the narrator seems staged or artificial. In this case, the poems were so good, the overall emotional draw so complete, the work survives and even thrives without any specifics on what drives the poem, the engine behind the drama. But even then, after four or five poems you begin to wonder if there really <i>is </i>anything back there. Is it real or is the author just pressing buttons and pulling levers behind the curtain?<br /><br /></p>Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-29693317460951085472022-09-03T12:55:00.000-04:002022-09-03T12:55:00.213-04:00What I am reading: Turn Up the Ocean by Tony Hoagland<p> Tony Hoagland was one of the highlights of American poetry over the past thirty years, His precision, humor, and deeply human world view make him a must-read in a crowded field. Unfortunately, Hoagland died of cancer in 2018, leaving a very noticeable hole in the panorama of America verse.</p><p>What particularly stands out in Hoagland's work is its consistent excellence — from his very first book, <i>Sweet Ruin</i>, until the poems dealing with his imminent demise in <i>Priest Turned Therapist Treats Fear of God,</i> which was published the year of his death. The clarity of vision and mastery of language is there from beginning to end.</p><p>At the time, I had assumed <i>Priest Turned Therapist</i> was his last book. However, it turns out Hoagland was working on a manuscript of additional poems, called <i>Turn Up the Ocean</i>, until his death. This compilation was completed by his wife, Kathleen Lee, and recently published by Graywolf Press. Which is good cause for both surprise and excitement. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwUIVEsMDhBstgWmS1a2YANsIT7cmQymVXeKEHFeBncibWYS3gZk1OwgJGq173H6Eub10RJXv7O5-S-fEdkocEKj0ujW3h2k2h61TUz3P68BHSWdD05SLoKhgBNkYH7yTAcLVoih8l3kKQD0Xlcuh4wNi8CQM8Do0fWmx27sXeF5aTLnCyZZClOJj31A/s4160/TurnUpTheOcean.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4160" data-original-width="3120" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwUIVEsMDhBstgWmS1a2YANsIT7cmQymVXeKEHFeBncibWYS3gZk1OwgJGq173H6Eub10RJXv7O5-S-fEdkocEKj0ujW3h2k2h61TUz3P68BHSWdD05SLoKhgBNkYH7yTAcLVoih8l3kKQD0Xlcuh4wNi8CQM8Do0fWmx27sXeF5aTLnCyZZClOJj31A/s320/TurnUpTheOcean.jpg" width="240" /></a></div><br />Any new Tony Hoagland book is an event to be celebrated. His poems are inspirational both in content and their mastery of language and poetics. And <i>Turn Up the Ocean</i> is no exception. <p></p><p> These are most definitely Tony Hoagland poems. There is the characteristic melding of epic subjects (life, death, etc) with colloquial American idioms. There is the exacting rational structure of thought interspersed with wild leaps of imagination. And, of course, his idiosyncratic and very personable narrative persona.</p><p>But as much as I am enjoying the poems in this book, there still seems to be something missing. Not missing necessarily... changed, let's say.</p><p>It's not that the poems are unfinished or incomplete as much as they emanate from a different locale than his previous books. </p><p>There are three differences I noticed in this book from his previous work:</p><ul style="text-align: left;"><li><b>No dillydallying</b>. These poems get straight to the point. Hoagland's previous works have a predilection for reveling in the joy of language, playing around a bit before settling in on the actual topic of the poem. The new work gets right to business and pushes ahead, with few diversions.<br /><br /></li><li><b>Finished, but not complete</b>. In some cases, the poems are not as fully developed as you might expect. What's there is complete, but you get the feeling he loosened up on his usual precision and thoroughness in favor of being done. For example, the poem "'On a Scale of 1-10' Said the Nurse, 'How Would You Rate Your Pain Today?'" which riffs on potential examples of each level of pain, somehow skips from level six to eight. Uncharacteristic for Hoagland. Almost as if he had a stanza for number seven planned, but not ready enough for inclusion.<br /><br /></li><li><b>Reality does not always allow for certainty</b>. Perhaps the most notable aspect of the latest poems is a diminution of Hoagland's pervasive optimism. It is one of the hallmark's of his poems — no matter how dark they may get, there is a persistent sense of positivity. Even if it is only from learning hard lessons, it is — at its heart — a form of learning and moving forward. However, many of these poems end more with a sigh than with a snap. The certainty is washed out of them and acceptance is more often the conclusion. </li></ul><p>The fact is, writing poems while dying must be hard work. And although darker than his previous work, these poems are an essential part of Hoagland's poetic journey and his legacy. And as such, deserve to be treasured. <br /></p>Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-49220048172926752972022-09-01T16:51:00.002-04:002022-09-03T11:10:01.609-04:00Some Wonderful First (and Last) Books<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_NEx-16eIQaDGl6vhfTTuQREInKPUKhP6Ogj3j6jgXedqIcLnx-5-Y6Wbmj5dMbyBy7nB4xSvo3vIzcDJFWJLWcpwLjQ2vskmjTUKGMPGPVkWvRSeqoFcRH8MNIDPqRd9XN2oxrgJ0Z1x8M3f84EO20qWg9xOGSfLvtEHR2fsKOv957_3enLwroWUxw/s4160/certain_x.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_NEx-16eIQaDGl6vhfTTuQREInKPUKhP6Ogj3j6jgXedqIcLnx-5-Y6Wbmj5dMbyBy7nB4xSvo3vIzcDJFWJLWcpwLjQ2vskmjTUKGMPGPVkWvRSeqoFcRH8MNIDPqRd9XN2oxrgJ0Z1x8M3f84EO20qWg9xOGSfLvtEHR2fsKOv957_3enLwroWUxw/s320/certain_x.jpg" width="320" /></a></div><br />I recently reread Linda Orr's <i>A Certain X</i>. I remember
enjoying it when I first read it years ago. But age has a way of
distorting one's view and youthful enthusiasm can look awkward in
retrospect. So I was pleasantly surprised at how much I like the book
now. Perhaps more than I did before.<p></p><p><i>A Certain X</i> is really a
wonderful book, full of insightful, surprising, and touching poems.
Which led me to ask — what other books of poetry has she published? To
my surprise, the answer appears to be none. If I am not mistaken, she
has published two scholarly works, but no other poetry. Which is a
shame.</p><p>Which led me to another question: I wonder how many
remarkable first-and-only books I have? Two I can think of right away —
which are a couple of my all-time favorites — are <i>The Touch Code</i> by John Love and <i>If the River's This High All Summer</i> by Martha Fritz. <i>Touch Code</i>,
in particular, is a totally unique book with a frenetic energy and
sense of play like no other. But again, it appears to be Love's only
book of poetry.</p><p>Sure, I have single books from poets who, for one
reason or another, published a limited number of works. Some down to one
book, or a book and a couple of chapbooks. Some because life can be
short (or cut short, such as John Bowie's <i>Screen Gems</i>). Some because, well, getting published is not easy. </p><p>But
what stands out with Orr, Fritz, and Love is that they appear to be
people who started out strong then decided to "give up" poetry for other
endeavors. I say it is a shame because I'd love to read more of their
work. But then these singular books are like unique flowers; they have a
fully-formed beauty that can stand on its own. And perhaps it is best
to leave one's readers wanting more...</p>Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-78945346194146745762021-10-09T13:53:00.000-04:002021-10-09T13:53:24.253-04:00I bought a bootleg NDS and it was... OK<p> The title says it all. I bought a bootleg Nintendo DS and it was surprisingly decent as a game console. Why did I buy it? Several reasons.</p><p>First, my previous DS died when the screen stopped responding correctly. Any touch was seen as a series of taps. So touch and hold or drag became impossible.</p><p> The DS is no longer sold by Nintendo and new ones are rare as hen's teeth. I have several 3DSes, which can play my library of DS games. However, I have only one functioning GameBoy Advance (an SP which is one of my all-time favorite devices), and replacement GBAs are harder to find than DSes. So I was looking for a backup in case my SP ever fails and was willing, for a reasonable price, to risk a gray market substitute.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-lxYRW2kiYtc/YWHEgEh_WgI/AAAAAAAAAxw/KVCKzcXKB38SNLFylHe2wZzm6aC33zOhACLcBGAsYHQ/s1248/IMG_20211009_122302408.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="936" data-original-width="1248" height="240" src="https://1.bp.blogspot.com/-lxYRW2kiYtc/YWHEgEh_WgI/AAAAAAAAAxw/KVCKzcXKB38SNLFylHe2wZzm6aC33zOhACLcBGAsYHQ/s320/IMG_20211009_122302408.jpg" width="320" /></a></div>There are plenty of used DSes for sale on sites such
as eBay for anything from $40 to $200. Many of which are "refurbished". The DS I bought was listed as refurbished. But since it was coming from China, I assumed there was a high probability it would be of questionable legitimacy. <p></p><p></p><div class="separator" style="clear: both; text-align: center;"><br /><a href="https://1.bp.blogspot.com/-nAxrnVHYGL4/YWHEgTm2ReI/AAAAAAAAAx0/fop-noC0UAgxIZePsRdMAAC1nBO6TJoHACLcBGAsYHQ/s1248/IMG_20211009_122311997.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="936" data-original-width="1248" height="240" src="https://1.bp.blogspot.com/-nAxrnVHYGL4/YWHEgTm2ReI/AAAAAAAAAx0/fop-noC0UAgxIZePsRdMAAC1nBO6TJoHACLcBGAsYHQ/s320/IMG_20211009_122311997.jpg" width="320" /></a></div>And I was right. Sure, it has the standard Nintendo imprimatur and serial number on the back. However, the case itself is made from a cheaper, glossy yet but less reflective, plastic than official Nintendo products. But the real giveaway is the charger and charger port. The charging cable is some mutant USB thing — not a standard USB male plug nor DS plug but something half way between the two attached to a USB charger. Now, it might possibly contain a real, repurposed Nintendo DS motherboard inside. (I'm not interested enough to risk opening it up just for curiosity's sake.) But I suspect the chances of that are low. Especially given the change in power plugs.<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-JPCRi8Tk_mw/YWHFRyv_5BI/AAAAAAAAAyA/L5677uY3OG4z945QlmDgL3XQ4VHJUS6KQCLcBGAsYHQ/s665/IMG_20211009_122342959.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="451" data-original-width="665" height="217" src="https://1.bp.blogspot.com/-JPCRi8Tk_mw/YWHFRyv_5BI/AAAAAAAAAyA/L5677uY3OG4z945QlmDgL3XQ4VHJUS6KQCLcBGAsYHQ/s320/IMG_20211009_122342959.jpg" width="320" /></a></div><p></p><p><br /></p><p>But now that I have it, how does it fare? As I say, the construction looks cheaper than official Nintendo goods. On the other hand, I was surprised at how good the touch screen is. Clear, responsive. No discernible difference.<br /></p><p>It successfully runs all of the DS and GBA cartridges I've thrown at it, including downloadable games sent from DS cartridges in my 3DS.</p><p>The most noticeable flaw in my gray market DS is the buttons. Nintendo hardware and controls are so smooth and well constructed, it is easy to forget how exceptional they are — until you play a generic system such as this. The buttons are "loose" to the point where it is easy to press them, even moderately, and have no response. So you end up playing with a much more heavy-handed style than you are used to or are comfortable with. </p><p>This won't affect play too much except for those games that require very precise button timing. Also, I can't help thinking the need for my pressure on the controls will ultimately impact the longevity of the device as a whole. </p><p>In summary, I am happy with my new device as an emergency replacement. However, it is also a good reminder of how exceptional the design and build on Nintendo products is and makes we want to take extra care with those systems I still have that are no longer being made.<br /></p><p></p>Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-37147354780650645032021-06-25T14:45:00.001-04:002021-06-25T14:45:08.491-04:00Talking Manuscripts<p>[Originally posted on Twitter] <br /></p><p>Some thoughts about trying to put together a manuscript of poems... <br /></p><p>I
enjoy writing poems. And, after years of experience, I feel quite
confident about the results. But putting together a manuscript of poems
for a book is a different beast entirely.</p><p>Normally, organizing
things is not a problem. Ask me to write a book about programming or
some technical topic — no sweat. I enjoy the process of identifying and
selecting the optimal structure for practical information. Even abstract
concepts, websites, or taxonomies provide a rewarding challenge.</p><p>But
poems are a different kettle of fish. (Actually sorting a kettle of
fish might be an apt analogy. What's the point? What do you want to
achieve? Is order even necessary if, say, you are cooking a fish stew?)</p><p>Part
of the problem is I tend to view my poems chronologically — as a
constantly evolving journey. However, it is unclear if any of that is
visible to the average reader. (Unlikely.)</p><p>Another approach is to
decide what story you want your poems to tell? Or more accurately, what
story *do* they tell? Do they tell a story at all? And if not, is that a
problem? <br /></p><p>If not, one alternative is to sort them by subject
matter, style, or length. But then you get the problem where too many
similar poems together can get very samey-samey.</p><p>The converse is
to deliberately intermix styles, subjects, or structures (e.g. 3 short
poems, 2 long, 2 short, 1 long, and so on.) But that still results in
random ordering of the other characteristics of the poems.</p><p>In the
end, I usually resort to micro-sorting: selecting ~5-10% as "keystone"
poems, sorting the rest into groups around each key poem, then sorting
the groups. (Not unlike a UX card sort.)</p><p>The issue is, when I am
done, I never feel confident that I got the order "right", since there
is no ideal order I am working towards (no matter how much I'd like to
think there is).</p><p>The result is that there is a constant urge to tweak the order. Or worse, start the process over from the beginning.</p><p>Only time, ultimately, solidifies the order into a fixed form, out of habit or exhaustion more than conscious decision. </p><p>Like
fossils pressed into striated layers of rock, the manuscript takes on a
permanence that cannot be altered, without the risk of breaking the
whole. <br /></p><p><br /><br /></p>Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-9309692584999870392019-04-29T07:22:00.002-04:002019-04-29T11:40:07.991-04:00A Year of Games, Week #2: Chibi-RoboI like Chibi-Robo. He is one of those quirky video game characters Nintendo is known for, along the same lines as Kirby, Olimar from Pikmin, or any of the characters from Animal Crossing (especially my favorite video character to hate, Mr. Resetti). Besides their undeniable cuteness, they all share one trait: they don't follow the standard rules of video game conduct. Some don't fight. Some can't jump. Some don't do anything but go around cleaning up after themselves and writing each other letters.<br />
<br />
Eventually, many of these games do end up as straight up beat-up-bad-guys or collectathons (or both). But the attraction of the game is often based on the uniqueness of the character and their non-gamey-ness.<br />
<br />
<a href="https://4.bp.blogspot.com/-nWt-RALBkaw/XMbeAGD-VhI/AAAAAAAAAdc/BA9ZQEkKH6oxNDSK4X6IbtwHja5If0_wwCLcBGAs/s1600/blogchibin64.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="210" data-original-width="150" height="200" src="https://4.bp.blogspot.com/-nWt-RALBkaw/XMbeAGD-VhI/AAAAAAAAAdc/BA9ZQEkKH6oxNDSK4X6IbtwHja5If0_wwCLcBGAs/s200/blogchibin64.png" width="142" /></a>Chibi-Robo is a robot who likes to help people. In the first game, <i>Chibi-Robo</i> on GameCube, you spend a lot of time cleaning up for a fairly dysfunctional family. When I first played it years ago, the cleaning up — and the requirement that you sleep at night, which came far too frequently — ultimately interfered with my finishing the game. Similar to, but not nearly as severe as <i>Nintendogs</i>.<br />
<br />
But I liked the game because of the character. Besides the oddity of being forced to clean up, his movements exemplified his personality: his movements were all a little loose as if the bolts weren't tightened enough and he blinked a lot. A real lot. A sort of robotic Charlie Chaplin.<br />
<br />
<a href="https://1.bp.blogspot.com/-vBQo-ykorhE/XMbeADZoRBI/AAAAAAAAAdg/zNt8aY9nCe8g9hvhv1EzaxnzTSJkBJ5_QCLcBGAs/s1600/blogchibids.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="135" data-original-width="150" src="https://1.bp.blogspot.com/-vBQo-ykorhE/XMbeADZoRBI/AAAAAAAAAdg/zNt8aY9nCe8g9hvhv1EzaxnzTSJkBJ5_QCLcBGAs/s1600/blogchibids.png" /></a>Of the three games he has starred in, I actually think the second, <i>Chibi-Robo: Park Ranger</i> on the Nintendo DS is the best. You still have the naive movements, but with a little less work required. And the work is more constructive (you can grow flowers, for example). And the simplicity of the graphics played well into the DS's 3D limitations.<br />
<br />
Which is why it is so shocking that the third game, <i>Chibi-Robo: Zip Lash</i>, went completely south. Oh, it is not surprising that the game play is weak. (You can read the reviews to see why it is a sub-par 2D platformer.)<br />
<br />
<a href="https://3.bp.blogspot.com/-YnDqVeaDb2s/XMbeAHq1fgI/AAAAAAAAAdk/f_5Zn4D8kD8Gk3juqzq80T0pPpGLqdeuQCLcBGAs/s1600/blogchibi3ds.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="140" data-original-width="150" src="https://3.bp.blogspot.com/-YnDqVeaDb2s/XMbeAHq1fgI/AAAAAAAAAdk/f_5Zn4D8kD8Gk3juqzq80T0pPpGLqdeuQCLcBGAs/s1600/blogchibi3ds.png" /></a>Neither of the previous games were exactly perfect examples of their genres either. But what's really irksome about <i>Zip Lash</i> is they removed any signs of personality from the main character. He runs, he jumps, and his dashes (using his power cord). But most of all, he kills various bits of space junk — over and over again. Gone are any signs of naivety. He doesn't blink, he doesn't wobble. Even his happy dance when he completes a task has turned into some sort of egotistical victory lap.<br />
<br />
There is no reason the character is there except for name recognition. He might as well be any generic robot, a random Disney character, or a hotdog with wings. (Actually, the game might improve if it were that last item.)<br />
<br />
<a href="https://4.bp.blogspot.com/-4m8nnBydvBk/XMbeAkCDTSI/AAAAAAAAAdo/LNkwr9wmqrEPpEvOPaVJyPcMlaUwidnhACLcBGAs/s1600/blogpikmin.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="150" data-original-width="162" src="https://4.bp.blogspot.com/-4m8nnBydvBk/XMbeAkCDTSI/AAAAAAAAAdo/LNkwr9wmqrEPpEvOPaVJyPcMlaUwidnhACLcBGAs/s1600/blogpikmin.png" /></a>Applying Chibi-Robo to a 2D platformer did not necessitate destroying his character. You can tell that by comparing <i>Zip Lash</i> with another recent attempt by Nintendo to capitalize on existing intellectual property. <i>Hey! Pikmin</i> takes characters from another quirky game series (<i>Pikmin </i>and <i>Pikmin 2</i>) and adapts them to a 2D platformer. <i>Hey! Pikmin</i>
has its own problems. It is too simple as a game, for one. And no one would
say it has the emotional draw that the original games did. (You aren't
going to cry over losing your Pikmin in this one.) But they are still
Pikmin and the spaceman is still very clearly Olimar.And the gameplay is a simplified version of the originals. But most of all they are recognizably Olimar and Pikmin and, quite frankly, they are fun to play with. Which is often sufficient to cover over many other flaws a game might have.<br />
<br />
<span style="font-size: large;"><b>Update:</b></span> <a href="https://twitter.com/chibirobotweets">@chibitrobotweets</a> points out that Chibi-Robo appeared in two other games as well: <i>Clean Sweep</i>, which was released in Japan for the DS, and <i>Photo Finder</i> on the 3DS. They also say that <i>Clean Sweep</i> is actually the best of the games in their opinion.Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-7851934293981998052019-01-06T01:02:00.002-05:002019-04-27T09:57:09.308-04:00A Year of Games, Week #1: Mobile Madden MVP (Minimum Viable Product)<div style="text-align: center;">
<span style="font-size: x-small;"> <a href="https://incrediblydull.blogspot.com/2018/12/prelude-to-year-of-games.html">What is a year of games?</a></span></div>
<br />
For those unfamiliar with agile development, minimum viable product (MVP) is where you start by delivering the simplest, most basic yet functional version of a product possible and then build out from there, incrementally improving and extending in "sprints". It's an interesting concept to keep in mind when thinking about some early mobile games. For example, you might consider <i>Flappy Bird</i> the penultimate example of an MVP for mobile games.<br />
<br />
But back to my subject, <i>Madden Football</i>. And more specifically <i>Madden </i>on the Nintendo 3DS.<br />
<br />
I've played Madden on many game consoles, starting with the N64, through GameCube, Wii, and PS2, 3 and 4. Each iteration getting more complex, more detailed, and more <i>"realistic"</i>, graphically. I bought Madden for the 3DS when I first got the handheld (because it was one of the few day one games). However, I never played it at the time and it has sat, still shrink wrapped, on my shelf until recently, when I took it down, opened it and played it.<br />
<br />
Considering its age and the limitations and newness of the platform at the time, Madden Football on the 3DS is actually a pretty good football game. Which surprised me.<br />
<br />
<a href="https://1.bp.blogspot.com/-UbZvCStncig/XDEOvIgWWRI/AAAAAAAAAcQ/FQFxPMX5dBM9mgV_DoVCDLltbwjT_82NQCLcBGAs/s1600/maddenpsp.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="684" data-original-width="1200" height="113" src="https://1.bp.blogspot.com/-UbZvCStncig/XDEOvIgWWRI/AAAAAAAAAcQ/FQFxPMX5dBM9mgV_DoVCDLltbwjT_82NQCLcBGAs/s200/maddenpsp.png" width="200" /></a><a href="https://1.bp.blogspot.com/-Aisi7PfXznE/XDEOqC7HKPI/AAAAAAAAAcA/6HLQkgc5uf4JYN12Z_DuNCpW5lS8BpVXACLcBGAs/s1600/maddendsclose.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="363" data-original-width="325" src="https://1.bp.blogspot.com/-Aisi7PfXznE/XDEOqC7HKPI/AAAAAAAAAcA/6HLQkgc5uf4JYN12Z_DuNCpW5lS8BpVXACLcBGAs/s200/maddendsclose.png" width="80" /></a>I've played handheld Madden games before — on both the DS and PSP. But they aren't quite football. Don't get me wrong, they are fun video games. But it is kind of like playing cowboys and Indians using thread spools and clothespins as people. The sprites are clunky and malformed, everyone runs at 90 degree angles (kind of like trying to draw a diagonal line on an Eatch-A-Sketch), and the perspective is pulled back so far you're not really controlling the characters as much as bouncing them off each other in a giant game of pinball.<br />
<br />
So if you are looking for a realistic football experience, you'll be disappointed. And frustrated. But if you forget the footballness of it and think of it simply as a type of abstract game dressed in football attire, they can be quite fun. Kind of like Pachinko with passing plays.<br />
<br />
[Note: there was also a Game Boy Advanced version of Madden. However, I have never played it so I leave I to the reader's imagination what that might be like...]<br />
<br />
<a href="https://4.bp.blogspot.com/-6qbZUrim2DA/XDEP0WTW7hI/AAAAAAAAAck/j1n5Bm-EY-gGVf-ARK-vnnybaOFmNQliwCLcBGAs/s1600/madden3ds.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="750" data-original-width="1200" height="125" src="https://4.bp.blogspot.com/-6qbZUrim2DA/XDEP0WTW7hI/AAAAAAAAAck/j1n5Bm-EY-gGVf-ARK-vnnybaOFmNQliwCLcBGAs/s200/madden3ds.png" width="200" /></a><a href="https://1.bp.blogspot.com/-FycZMQ63sn8/XDEOuiscP3I/AAAAAAAAAcE/p3bq8mwxjfwWRVsXN7dp82WKpTtE0haXQCLcBGAs/s1600/madden3dsclose.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="485" data-original-width="365" src="https://1.bp.blogspot.com/-FycZMQ63sn8/XDEOuiscP3I/AAAAAAAAAcE/p3bq8mwxjfwWRVsXN7dp82WKpTtE0haXQCLcBGAs/s200/madden3dsclose.png" width="80" /></a>
Which is where <i>Madden Football</i> on the 3DS differs. It is more like its console kin
than its handheld forebearers. The perspective is closer in and the controls are tighter. Mind you, this is not high end graphics in any way. It is just passably into the 3D realm — minimally viable as an actual football game.<br />
<br />
Because it was first out on the 3DS, it also provides 3D-ish views. Which is OK, but acceptable because you can turn them off. The one feature that does irk me is that, since it was doing actual 3D polygons, the developers decided to show this off by actively rotating the camera as the play developed. A fancy but useless addition to game play and quite honestly made me a little seasick. Because the camera swings from end-to-end up to three times in a single play (such as a kickoff). <i>This </i>unnecessary feature, that can't be turned off, might be a fatal flaw.Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-63243605641978002772018-12-28T11:21:00.001-05:002019-01-06T09:54:14.109-05:00Prelude to a Year of Games I am constantly inventing new tasks that I am not capable of completing. Some because I don't have the skill (such as playing music or learning to read Japanese), some because I don't have the time, and most due to a combination of the two. Time is more often than not the deciding factor.<br />
<br />
I am particularly susceptible to this sort of excessive planning when I am on vacation and free from thinking about work. This holiday season is no exception.<br />
<br />
Years ago I started a project to read a poem by a different poet each day for a month and write about it. This worked for a month or two but by the third month time got away from me and it was abandoned mid-month. I tried to pick it up again, but that too failed.<br />
<br />
This year, being overly optimistic as I always am, I thought "maybe I should play a video game for 15 minutes every day for a month and write about that." I have more than enough lying around to fill a month or more and I wouldn't be attempting any sort of serious review — more like a comment on any quirks or minor treats I encounter.<br />
<br />
But seriously, this is never going to happen. I barely have the 15 minutes a day to play the game, never mind the time to write down my thoughts. (For example, this prelude itself has been underway for three days now. I am <i>not </i>a fast writer.)<br />
<br />
But then I thought, well, if I can't play every day, maybe I should aim to play once a week. So a game every week for a year. That would be only 52 games. I should be able to do that...<br />
<br />
Well, we shall see. A year of games? Might end up being only a few weeks or a month or so. But could be fun. Let's try it!<br />
<br />
<ul>
<li><a href="https://incrediblydull.blogspot.com/2019/01/a-year-of-games-week-1-mobile-madden.html"><span style="font-size: small;"><i>Week #1: Madden </i></span></a></li>
</ul>
Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-26046882828361780742017-10-11T16:56:00.000-04:002017-10-11T16:56:23.785-04:00What I'm Playing: Legend of Zelda, Breath of the WildA lot of ink has been spilled over the latest entry in the Legend of Zelda series, almost all of it highly complimentary. And the praise is well deserved. It is an amazing game. So I won't try to compete with what has already been said.<br />
<br />
But I will point out a few things that make it such a treat, from a player's perspective. At least, <i>this </i>player's perspective....<br />
<br />
Besides the graphics that are, as might be expected, a serious step up from previous titles, the first thing you notice is that this game skips the lengthy prologue so many Nintendo titles use. In five minutes or less you are out playing the game. And in that five minutes you learn enough to make yourself comfortable with the controls, dressed (yes, dressed), and ready to go adventuring. This fast startup was not only a surprise, but an unalloyed pleasure. I have begun to dread the opening of games because I rarely have the 30-60 minutes needed just to get through the openings! To be able to turn it on, get right into the mood and get started was a sheer joy.<br />
<br />
Second, there are squirrels! And lots of other things. but squirrels! I have no idea whether the squirrels (and other wildlife) play any serious role in the game. In fact, it doesn't matter. Just watching them hop around and then scatter at your approach is delightful — one of the innumerable ways the game draws you in unrelated to the challenges and mechanics of game play. I could spend days just wandering around without taking on any challenges just to revel in that sense of wonder and newness the game aims for.<br />
<br />
Which brings me to my last point. None of this is new. The graphics are tremendous. But other games have achieved this level of world-building before. Superfluous animal life appears in other games (the birds and lizards in <i>Shadow of the Colossus</i> come to mind). Other games have cooking (e.g. Monster Hunter). Ditto climbing and limited stamina (again <i>Shadow of the Colossus</i> and <i>Monster Hunter</i>). The same is true for large open worlds (name your favorite: <i>Red Dead Redemption</i>, etc.). So it is not unique play mechanics or game features that make <i>Breath of the Wild</i> stand out. It is the whole; the sum of the parts and how they are used in just the right amounts to make a wholly engrossing, delightful, internally consistent, and surprising world that makes the game the major achievement it is. Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-58440254696971204752017-10-10T19:35:00.000-04:002017-10-10T19:35:53.805-04:00Reading Chinese Poetry<blockquote>
<i>"I am a guest of the mountains and the woods."</i></blockquote>
When I was younger and my parents and I went to pick up my older brother from college, there was a drive-in movie theater at the turnpike exit. As you approached the exit, then again as the exit ramp circled around, and one last time as you passed through the tollbooth you got a few seconds glimpse of the film they were showing. With no soundtrack and mixed in with the whir of tires and roar of semis going by, you could occasionally catch enough to guess what movie it was. But more often than not it was simply incongruous flashes of an imagined life rising unexpectedly out of the corn fields of northern Ohio.<br />
<br />
The experience of reading Chinese poetry is very much like that for me. Momentary images — without context or logic — arising out of a jumble of words. Part of the problem is that I don't read Chinese, so I must read the poems in translation. The same is true of other foreign poetry: Italian, German, Spanish, Russian, etc. But the disassociative sensation is not nearly as severe in other languages as it is in Chinese and Japanese.<br />
<br />
There are a number of forces at work here:<br />
<ul>
<li>First, there is the language. I must read the poems at a distance due to translation.<br />
</li>
<li>Next, there is a difference in culture that is likely to create some gaps in understanding.<br />
</li>
<li>Add to that the distance in time — especially when reading classical Chinese poetry (Li Bai, Wang Wei, etc.) — which can further detach the reader from the shared contemporary zeitgeist of the poet.<br />
</li>
<li>Finally, there is the syntactic difference between the Chinese and English languages which seems to make translations particularly difficult. </li>
</ul>
Add all of these distractions together and you have what appears to be an impossible separation to overcome. But strangely enough it appears to be the last item, the syntactic difference, that causes the most difficulty.<br />
<br />
The lack of articles in Asian languages as well as the difference in sentence structure seems to overwhelm many translators. They get caught up in conveying the linguistic structure as much as the actual meaning of the poem, creating instead a mutant child belonging to neither world. For example:<br />
<blockquote class="tr_bq">
I hear the apes howl sadly<br />
In dark mountains.<br />
The blue river<br />
Flows swiftly through the night.<br />
<div style="text-align: right;">
— <span style="font-size: x-small;"><i>Meng Hao-jan translated by Greg Whincup</i></span></div>
</blockquote>
<br />
The translation sounds like missing pages from <a href="https://en.wikipedia.org/wiki/Dick_and_Jane"><i>Fun with Dick & Jane</i></a> — all adjectives and adverbs: sadly, dark, blue, swiftly. The words may approximate the original poem, but somehow both the poetry and any sense of subtly is lost.<br />
<br />
And the situation can get even worse when the translators try to be precise and seem to lose track of English as a language.<br />
<blockquote class="tr_bq">
This night to the west of the river-brim<br />
There is not one cloud in the whole blue sky,<br />
As I watch from my deck the autumn moon,<br />
Vainly remembering old General Hsieh....<br />
<div style="text-align: right;">
— <span style="font-size: x-small;"><i>Li Po translated by Witter Bynner</i></span> </div>
</blockquote>
<br />
Why "river-brim"? There are so many other expressions in English that would seem better suited: river's edge, river bank, shore... or is "brim" the key term? As in "brimming over"? But that connotation doesn't help the poem at all (or be supported by what follows).<br />
<br />
Finally, some translators give up on poetry all together and seem to translate the poems at pure text — prose, or some variety thereof. For example:<br />
<blockquote class="tr_bq">
A bend of the river brings into view two triumphal arches;<br />
That is the gate in the western wall of the suburbs of Hsun-yang.<br />
I have still to travel in my solitary boat three or four leagues—<br />
By misty waters and rainy sands, while the yellow dusk thickens.</blockquote>
<blockquote class="tr_bq">
<div style="text-align: right;">
— <span style="font-size: x-small;"><i>Po-Chu-i translated by Arthur Waley</i></span> </div>
</blockquote>
<br />
This might come close to a literal translation of the original text. But it is like trying to appreciate a song by reading the lyrics: without knowing the melody or hearing the music, at least half if not more is lost: the essence is missing.<br />
<br />
So what can we do? Short of learning Chinese (which is not out of the question, but given the number of languages in the world, even that is just a partial solution) our best offering is to try again. And again. And again.<br />
<br />
Each time I read a translation, I get another tiny glimpse into what makes this literature so enduring. For example, the quote I opened with ("I am a guest of the mountains...") strikes a chord with me. I don't even remember what translation I found it in — the rest was not as memorable — but this brief passage is English. It is lyrical. And it conveys a message and a feeling you are not likely to find in western literature.<br />
<br />
But is it accurate? That I cannot tell. Ultimately, the goal is to find literature that touches you, speaks to you, across the languages and cultures and centuries that separate you. Literature that adds to what you know and, at its best, how you want to be as a human being. That is what I am looking for.<br />
<br />
<br />
<br />
<br />
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<br />Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com3tag:blogger.com,1999:blog-4702285177962101956.post-25709488141539982522016-09-30T13:19:00.000-04:002016-09-30T13:19:52.951-04:00Ode to Favorite Book StoresOn a recent visit to Norwich Vermont I stopped in at the <a href="http://www.norwichbookstore.com/">Norwich Bookstore</a>, a lovely little book store — warm, welcoming with a small but smartly chosen selection. If you ever get a chance, stop by.<br />
<br />
It reminded me how much I love book stores: browsing through what seems like an infinite amount of fascinating possibilities. Even after I was familiar with most of the current work in my particular areas of interest (modern poetry, mainly) book stores could surprise me with something new, something unknown, something unexpected.<br />
<br />
Which got me to thinking about my favorite book stores. Which in turn got me to thinking about how many of my favorites are no longer around. It's sad, but not surprising after 30-40 years. And also not <i>too </i>sad since the fact is I have very fond memories of each store that keeps them in my thoughts. As I look over my bookshelves, certain books are intimately connected to the store in which I found them.<br />
<br />
So here's an ode, an elegy if you will, to some of my favorite book stores that are no longer with us.<br />
<br />
<h4>
<a href="https://www.ioba.org/standard/2006/05/seeing-shelley-plain-memories-of-new-yorks-legendary-phoenix-book-shop/">Phoenix Book Shop</a>, New York City </h4>
<a href="http://4.bp.blogspot.com/-d76EBSHb8xM/V-6a4GwfueI/AAAAAAAAAUk/-UZNIzbZP287S88Y3AK9e4vur1bAhmdPACK4B/s1600/phoenix.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://4.bp.blogspot.com/-d76EBSHb8xM/V-6a4GwfueI/AAAAAAAAAUk/-UZNIzbZP287S88Y3AK9e4vur1bAhmdPACK4B/s200/phoenix.png" width="163" /></a>I had no idea of the heritage of Phoenix Book Shop when I found it, near where a friend lived in Greenwich Village. I just knew it was a tiny store chock full of amazing poetry books in the lower level of a residential street. I found old copies of Big Table magazine there. And I found a copy of the original <i>The Nights of Naomi</i> by Bill Knott. It was like discovering King Tut's tomb. What's more it was affordable! The price written in pencil on the inside front cover is $3.50. Even then, unnaturally cheap for a book whose publisher went out of business before it could be distributed. I took it to the front where the person sitting at the desk looked at the price, looked at me, then looked at the price again and said "This can't be right." I felt like a thief caught in the act. But after what seemed like 2-3 minutes silence he shrugged and sold it to me for the price as marked. The store was full of beautiful volumes, most well beyond my means. But even a few old magazines and the rare find like the Knott book made me feel like I came away with buried treasure. <br />
<br />
<h4>
<a href="https://en.wikipedia.org/wiki/Gotham_Book_Mart">Gotham Book Mart</a>, New York City</h4>
What can I say? It was Gotham Book Mart. The holy grail of book lovers, and particularly poetry lovers, in New York City. So much to discover. Barely room to stand up. The books (at least in the poetry section) were double stacked on the shelves, making browsing a physical challenge. But always worth it. And then there were the tables with stacks of books (recommended? I guess) when you got tired of struggling with the shelves. Anything but a relaxed ambience, but you had the feeling you were knee-deep in literature itself.<br />
<br />
<h4>
<a href="https://en.wikipedia.org/wiki/Compendium_Books">Compendium Books</a>, Camden Town London</h4>
<a href="http://1.bp.blogspot.com/-L3FVI01SdMI/V-6ZDj3yh8I/AAAAAAAAAUE/zxAMzdUUIjc3VloO15ZYI75lMfnlu1VogCK4B/s1600/compendium.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="164" src="https://1.bp.blogspot.com/-L3FVI01SdMI/V-6ZDj3yh8I/AAAAAAAAAUE/zxAMzdUUIjc3VloO15ZYI75lMfnlu1VogCK4B/s200/compendium.png" width="200" /></a>When I was in London in 1977, someone told me about Compendium Books. So I took the train over to see it and ended up making several stops there before I had to leave England. Wow! It was like Gotham Book Mart, except in London and without the NYC bustle. More relaxed. The shelves were crammed, but the aisles were wide enough you could take your time. Camden wasn't hip then — just a cheap place to rent space. And the ambience was more hippy flea market than NYC subway. Among the British poets, they had a surprising array of American poets too, including a number of Kayak books. I found Charles Simic's <i>What the Grass Says</i> there. And it was my first discovery of Portugal's Fernando Pessoa in Jonathan Griffin's exquisite translations published by Carcanet. I always felt like I came away with only a fraction of what I needed to know or experience. But even at their prices, I only had so much money — and time — to spend.<br />
<br />
<h4>
<a href="http://www.deepcleveland.com/asphodel.html">Asphodel Books</a>, Burton, Ohio</h4>
<a href="http://3.bp.blogspot.com/-EUFSRZwcVKg/V-6ZMAxiHOI/AAAAAAAAAUM/1U-9xjqylWoOKVYZ6wiilsqFTy9eRY3YgCK4B/s1600/asphodel.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="183" src="https://3.bp.blogspot.com/-EUFSRZwcVKg/V-6ZMAxiHOI/AAAAAAAAAUM/1U-9xjqylWoOKVYZ6wiilsqFTy9eRY3YgCK4B/s200/asphodel.png" width="200" /></a> I didn't know Asphodel when it was located in downtown Cleveland. I discovered it after James Lowell moved it into the garage of his house in Burton Ohio. Not a regular bookstore — you had to call to arrange a visit. But Lowell's"shop" was packed with the most amazing collection of books. Given his history, and my lack of funds, I'm surprised he put up with me. But I was in love with modern poetry and he liked to talk. So he let me look through his shelves oohing and aahing over marvelous books (most of which I clearly couldn't afford). He talked about visiting Ian Hamilton Findlay — one of my recent personal "discoveries" — and complained about how Findlay never took enough care packing anything so half of what he ordered arrived damaged. Which is why he would go in person to Scotland once a year to restock. Asphodel is where I first saw an original copy of Andre Breton's <span class="_Tgc"><i>Le Surréalisme au service de la révolution</i>; several issues. I don't remember what I bought there. Probably not much. But I did buy a Findlay silk screen of tug boats entitled "Triptych". (Sadly, lost during one of many moves over the years.) And James gave me a signed pamphlet by Robert Bly for free. Because, he claimed, "Bob gave it to me to make a few extra bucks off people who can afford it."</span><br />
<br />
<h4>
<a href="https://books.google.com/books?id=skuaq3033OoC&pg=PA269&dq=spring+church+book+company&hl=en&sa=X&ved=0ahUKEwi4pbvr953PAhWQ8oMKHefUBOYQ6AEIHDAA#v=onepage&q=spring%20church%20book%20company&f=false">Spring Church Book Company</a>, Spring Church, Pennsylvania</h4>
Before there was the internet, before there was Amazon, there was mail order. And if you were interested in modern poetry, Spring Church was an absolute necessity and life support system. I don't know who told me about Spring Church — maybe Tom Lux or David Young, maybe Phyllis Jones my freshman college English professor. But whoever did, thank you. Spring Church was a mail order book service originating from Pennsylvania focusing on poetry. Living in Ohio in the 70's it was difficult to know what was happening in modern poetry. Spring Church provided three invaluable services: 1.) a catalog of recent books sent out four times a year or thereabouts, including many small press offerings; 2.) recommendations of books of particular note; 3.) a discount on the books themselves! I lived off Spring Church much of the time I was in college and the two years after while I was still in Ohio. I suspect I bought more books from them than from all of the traditional book stores combined. They were a lifeline, a source and trusted companion in this new world I was exploring.<br />
<br />
<br />
I have since found other wonderful book stores and many happy surprises in quite ordinary shops. But these four in particular are experiences I will never forget and I will always cherish as significant milestones in my growth as a poet, a reader, and a person. I will always be indebted to the people who made such wonderful oases of art and literature available. Thank you.<br />
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<br />Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-80188256844834824302016-07-12T20:40:00.000-04:002016-07-12T20:40:35.850-04:00Art & Society: A rantAt times it seems like the United States is coming apart. Or more accurately, tearing itself apart. The daily reports of black citizens being killed by policemen in the most menial incidents (such as traffic stops) with little or no provocation. Egged on by the incendiary and anti-constitutional ravings of the current GOP presidential nominee, all playing to the basest instincts of the (WASP) population.<br />
<br />
It is not a question of whether to respond or not — you can't help but react emotionally to violent schisms in the social fabric. But the question is <i>how </i>to respond.<br />
<br />
First you need to decide how you wish to respond as a individual; as a member of society. This in itself is no small feat. Silence feels like implicit acceptance. Railing against injustice with words, although cathartic, seems like an empty gesture, especially from those of us not directly in the "line of fire" so to speak. So, action. But what action? The options, from silent protests to direct confrontation, all have their pros and cons, which it is up to the individual to decide between. Ultimately, few if any reach a completely satisfactory balance between appropriate scale without breaching the moral boundaries of the actor. (Violence as a response to injustice does not breed justice. Or simply put: two wrongs do not make a right.)<br />
<br />
But if you are writer, or some other form of artist, words (or your medium of choice) are your primary weapon. It just feels wrong to write cheerful poems that ignore the storm outside the door. Silence may be implicit acceptance, but changing the subject feels downright complicit.<br />
<br />
However, more often than not, art that attempts to address immediate political or social upheaval often falls flat. And the more pervasive and violent the upheaval, the less successful the art tends to be.<br />
<br />
I am reminded of this fact by <a href="https://www.poets.org/poetsorg/poem/crossroads-sudden-american-poem">Juan Felipe Herrera's poem</a> on <a href="http://poets.org/">poets.org</a> about the latest police shooting of a black citizen. The poem is clearly heart-felt and well-meaning. More importantly, coming from the current U.S. poet laureate, it probably will have more of an impact than work by any other poet. However, the impact comes from the poem's context, not from the art of the poem itself.<br />
<br />
It's not Herrera's fault. It is simply hard for a work of art to address horrific events of such scope and depth. Attempting to encompass the scale of the issue within a poem tends to result in abstractions and generalizations, that make the poem flabby; trite rather than touching, stereotyped rather than transformative.<br />
<br />
But the artist has no choice but to try. And it strikes me that there are two options that tend to have a higher record of success than others. To encompass the horror without being consumed by its incomprehensible size, the artist needs to take the poem to an even higher, almost mythic level. Think of Robert Bly's <a href="https://www.amazon.com/Teeth-Mother-Naked-At-Last/dp/B0017QDQ16"><i>Teeth-Mother Naked at Last</i></a>, for example. The other option is to drive the poem deeply and inexorably towards the personal, to bring the issue down to size. An example of this is James Dickey's <i>The Firebombing</i>.<br />
<br />
By personal I mean individual in scale, not personal as we tend think of art, as self-absorbed. In Dickey's case, he forces us to empathize with the bomber, not the victims, creating an uncomfortable union where we as audience must experience the separation and dehumanization needed to carry out acts of war. Another more recent example is Ross Gay's excellent <a href="https://www.poets.org/poetsorg/poem/small-needful-fact">poem about Eric Garner</a>. This time, Gay focuses in flat objective language on the absolutely trivial, most human, aspects of the victim. The small but essential things that have been snuffed out, rather than attempt to capture the man as a whole.<br />
<blockquote class="tr_bq">
An aside: part of what makes Picasso's <a href="https://en.wikipedia.org/wiki/Guernica_(Picasso)">Guernica</a> such a remarkable work of art is that it some how manages to approach a horrific event from both a mythic and deeply personal point of view at the same time. </blockquote>
<br />
So what happens if you <i>don'</i>t write about it? Well, that might be considered the third option. If you choose <i>not </i>to write about what is happening around you, and continue with the other parts of your life and art, something strange happens. You might be in the middle of a poem about the Edo period in Japan and its attitude towards western intrusions. Or might be writing about how the light at dusk filters through the leaves to form ever-changing patterns on your living room wall. And suddenly the writing takes a dark and ominous turn. Subjects come up you didn't expect. Your writing is hijacked by an emotion that demands to be heard.<br />
<br />
Essentially, whatever emotions you do not address, start to seep into your work, ooze out of your pores, and inform everything you do. This might not be recognizable by anyone else. But as an author, you immediately detect the loss of control, the invasion of another, more influential consciousness on your work. Will it help? will it impact others? Unlikely. But it is the consequence of not taking action earlier. Or even writing a bad poem rather than no poem at all, when situations demand it.<br />
<br />
As an artist, you may not be able to sway society, to influence for the common good, or change the course of nature. But then again, maybe you can. Maybe if you stop being an artist for a few minutes and just be a citizen, a member of society, a human being. Maybe what you say <i>will </i>have an impact. No more nor less than any other human. But collectively, as a voice quiet and firm, demanding that we, as a whole, act on our better, if sometimes flawed and susceptible, nature. <br />
<br />Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-38680206846740982392015-08-02T16:11:00.000-04:002015-08-13T10:40:15.339-04:00Beautifully Frivolous TechnologyI bought a <a href="https://www.playstation.com/en-us/explore/psvita/">PS Vita</a> so I could play <a href="http://www.mediamolecule.com/games/tearaway">Tearaway</a>. Skipping, for the moment, the question of whether it was worth it to buy a system just to play one game (hint: once you start playing Tearaway, it doesn't matter), the PS Vita itself is a strange device.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://upload.wikimedia.org/wikipedia/commons/thumb/b/b4/PlayStation-Vita-1101-FL.jpg/1280px-PlayStation-Vita-1101-FL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="195" src="https://upload.wikimedia.org/wikipedia/commons/thumb/b/b4/PlayStation-Vita-1101-FL.jpg/1280px-PlayStation-Vita-1101-FL.jpg" width="320" /></a></div>
<br />
<br />
Make no mistake about it, the Vita is a beautiful piece of technology. The screen is gorgeous. The device has a heft and sheen to it that makes it look and feel expensive. Is that superficial? Yes, it is. But that doesn't take away its value to the overall impression the device gives off. And as a gaming device, the two analog sticks work perfectly and provide a unique portable gaming experience.<br />
<br />
However, for all of its top-notch features, the PS Vita also comes with some odd, unnecessary, and in several cases cheap and badly designed components.Why?<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-nGfdCc1lAb8/Vb53jOGEyLI/AAAAAAAAARw/CzaBBiAy1Fw/s1600/vita-tabs.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="162" src="http://3.bp.blogspot.com/-nGfdCc1lAb8/Vb53jOGEyLI/AAAAAAAAARw/CzaBBiAy1Fw/s200/vita-tabs.png" width="200" /></a></div>
To start with, the game cartridge slot has a cover — a plastic cover — that is attached by four thin pliable plastic tabs. The first time you open the slot it is clear that these tabs are likely to be the first thing to break. Why is there a cover on the game slot at all? (It just gets in the way of changing games.) But if you need one, why such a shoddy design?<br />
<br />
You can almost forgive Sony for thinking that the primary direction for games is digital downloads. But that clearly didn't work with the download-only <a href="https://en.wikipedia.org/wiki/PlayStation_Portable#PSP_Go">PSP Go</a>. And even if that is their direction, the audience has not fully transitioned from physical to digital media. So cheap design only makes the device seem unsuited for those interested in playing more than two or three games. (What can fit on Sony's extraordinarily expensive memory cards.)<br />
<br />
And then there is the software user interface. What is going on here? There is plenty of flashy interface to deal with. But why? I bought a device to play games on, but none of the games fit on the first screenful of icons there are so many unnecessary "social" apps pre-installed.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-xx-fcbvcae0/Vb53KGGUgMI/AAAAAAAAARo/hG_PWQL9vDo/s1600/vita-home.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="http://3.bp.blogspot.com/-xx-fcbvcae0/Vb53KGGUgMI/AAAAAAAAARo/hG_PWQL9vDo/s400/vita-home.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Where are the games?</td></tr>
</tbody></table>
<div style="text-align: center;">
</div>
<br />
And the unique "peel" mechanic where you have to pull each screen from the top-left down and to the right to go back, what's with that? It is a pretty animation. But why create a mechanic different from every other mobile device except to say "we're different" and frustrate all of your users?<br />
<br />
There are so many decisions (3d quivering buttons, the "peal" mechanic, so many "me too" annoying and irrelevant social apps) that just scream "we don't care what you want, we want to impress you". And when I am paying $200 plus, I am not interested in being impressed. I want to be wowed by the function I want to use — the games I want to play. And on the positive side, the PS Vita supports just that with an outstanding screen, well-designed controls and even a little extra (such as the back touch pad). If only all the rest of the device stopped getting in my way.... <br />
<br />
<br />
<br />
<br />Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-67343957614251071362015-07-13T20:41:00.002-04:002015-07-13T20:51:50.577-04:00Best. Documentation. Ever.I recently picked up an <a href="https://www.teenageengineering.com/products/op-1">OP-1</a> synthesizer from<a href="https://www.teenageengineering.com/"> Teenage Engineering</a>. The OP-1 is a marvel of design and engineering. But I already knew that, which is why I was so interested in it. What I didn't expect is that it has some of the best documentation I have ever seen.<br />
<br />
Of course, saying it is the best documentation ever is a bit of an exaggeration. Kind of like saying Rembrandt is the best painter ever. Better than Renoir? Better than Tintoretto? When you get into the realm of art and genius, comparison becomes irrelevant. What is important is that they far outshine any of their contemporaries.<br />
<br />
The same is true for the documentation of the OP-1. To start with it isn't "documentation" per se. There is no manual. There is no paper <i>Getting Started</i> guide. When you open the package (which serves as its own case, which is also pretty neat) there is a clear plastic overlay on top of the synthesizer, describing each of the controls. That's it.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-cQ4rVCddd_E/VaRaLe_KryI/AAAAAAAAARE/pF2miRnLo60/s1600/overlay.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="249" src="http://2.bp.blogspot.com/-cQ4rVCddd_E/VaRaLe_KryI/AAAAAAAAARE/pF2miRnLo60/s640/overlay.jpg" width="640" /></a></div>
<br />
<br />
Well, not quite it. Because in the available space over the keyboard the overlay also includes a 8-step "QuickStart" for getting started using the OP-1. Just enough to show off some of its key features and get you playing with it (literally and figuratively).<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-cWtNsdbXKZk/VaRaOafLLWI/AAAAAAAAARM/RUfywjbFQro/s1600/OP-1%2B%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="249" src="http://2.bp.blogspot.com/-cWtNsdbXKZk/VaRaOafLLWI/AAAAAAAAARM/RUfywjbFQro/s640/OP-1%2B%25282%2529.jpg" width="640" /></a></div>
<br />
Does it cover all features? No. Does it go into detail about what each knob does? No. But it makes you comfortable trying them to find out for yourself. Besides, there actually is a more detailed printable user's guide available online. But you won't find that until you've at least looked over instructions on the overlay and tried it out a little. (There is a link to the online document in the lower-left of the overlay.)<br />
<br />
<br />
Is it perfect? No, not quite. The plastic overlay can get a little wrinkled and not lay flat. Also, since much of the OP-1 is light gray, the white printing on the overlay can be a little hard to read when it is actually covering the device. But these are minor quibbles. For 95% of its purpose, the "documentation" for the OP-1 is as well designed and inspiring as the device itself. Nothing short of exceptional.Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-85866868716077727772015-03-08T21:43:00.002-04:002015-03-09T00:08:15.082-04:00I Did Something Stupid (Wearable UX)I did something stupid today. I <a href="https://twitter.com/AndrewGent/status/574682795332739072">disagreed </a>with one of the leading experts in interface design, mobile, and specifically the soon-to-be-released Apple Watch.<br />
<br />
The argument is over a <a href="https://twitter.com/lukew/status/574675493586214912">chart</a> Luke Wroblewski (<a href="https://twitter.com/lukew">@lukew</a>) posted about the distraction factor of a smart phone vs. a smart watch, indicating use of a smart watch lets you be "more connected to the people around you..."<br />
<br />
There are two problems here:<br />
<ul>
<li>First, the chart is fiction. It measures "real life" vs. "lost in phone" — concepts of psychological state which are hard to define, never mind measure. Perhaps there is some real data behind the charts, but if so the labels do it no justice. I suspect the diagram is more a representation of belief or expectation than fact. In which, why is it a chart?</li>
<li>Second, it is not the phone that this the point of distraction. It is the information on the phone — phone, watch, iPad, eye piece, etc — and not the device itself that is the distraction. So putting the notifications on the wrist may reduce the time it takes to switch from in-the-present to in-the-data, but it does not alter the distraction factor that data provides, whether it is in my pocket or on my wrist.</li>
</ul>
One of the most disturbing studies in this area is recent research into the use of "hands free" devices while driving. I would equate Luke's proposal that data-on-the-wrist is less distracting from "real life" to the arguments that hands-free phone technology is less distracting to driving. However, the National Safety Council published a report arguing that hands-free does not significantly reduce the risks to distracted driving.<br />
<br />
<blockquote class="tr_bq">
"Hands-free devices often are seen as a solution
to the risks of driver distraction because they help
eliminate two obvious risks – visual, looking away
from the road and manual, removing your hands
off of the steering wheel. However, a third type of
distraction can occur when using cell phones while
driving – cognitive, taking your mind off the road. </blockquote>
<blockquote class="tr_bq">
The amount of exposure to each risk is key. Crashes
are a function of the severity of each risk and how
often the risk occurs. Most people can recognize
when they are visually or mechanically distracted
and seek to disengage from these activities as
quickly as possible. However, people typically do not
realize when they are cognitively distracted, such as
taking part in a phone conversation; therefore, the
risk lasts much, much longer. This likely explains
why researchers have not been able to find a safety
benefit to hands-free phone conversations. "</blockquote>
<div style="text-align: right;">
— <i>Understanding
the distracted brain:
<br />Why driving while using hands-free cell phones is risky behavior</i> <br />
National Safety Council
<a href="http://www.nsc.org/DistractedDrivingDocuments/Cognitive-Distraction-White-Paper.pdf">White PaperApril 2012</a></div>
<div style="text-align: right;">
<br /></div>
<div style="text-align: left;">
<a href="https://twitter.com/lastres0rt/status/574729456562077696?cn=cmVwbHk%3D">One argument</a> is that the data on the smart watch is primarily uni-directional — not requiring a response. For example, a "be there in 5 mins" message But if that is the case, how are those messages being generated? By smart watch wearers pulling out their phones to push the messages? And the fact that the message doesn't require a response doesn't mean it doesn't require cognitive effort — and distraction from current activities — to process it.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Wearables such as smart watches may eliminate the time and effort required to pull out the smart phone. But I have my doubts (unfounded, uninformed, as they may be) that they actually reduce the distraction that modern streaming personal data causes.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<br />Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-69099641640554610722014-11-05T11:52:00.000-05:002014-11-05T11:53:20.405-05:00My Disappointment in Politicians is InfiniteThe repudiation of the president is now complete.<br />
<br />
The Republicans repudiate him because of their not-so-latent racism (and the need to prove everything he does is wrong).<br />
<br />
The Democrats repudiate him out of sheer cowardice. (Do they assume no one remembers the bailout from a Republican-led banking disaster or that health costs are one of the key factors crippling low- to middle-class families?)<br />
<br />
All this, and four billion dollars, while doing nothing to address the day-to-day problems of the American citizen.<br />
<br />
I voted. I will continue to vote. But it looks more and more like it will take Constitutional amendments — driven by grassroots petitions in every state — to achieve any significant change in the privileged, self-satisfied country club that our government has become.<br />
<br />
<br />Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-73805619964261592702014-02-20T11:02:00.000-05:002014-02-20T11:02:27.671-05:00Customer Survey Apocalypse<i> </i>I recently bought a fairly expensive item. I shopped around, decided what I wanted, and then went in to finalize the deal.<br />
<br />
As I was completing the purchase and was shaking hands with the sales person, they leaned in and in a confidential tone told me a story. I would receive a survey through email in a week or so asking about my experience buying the item. The survey would cover a number of topics, including how clean was the showroom, was I told about all the options, was the sales person helpful, etc.<br />
<br />
The reason for telling me this, he explained, is that the sales personnel are rated on the responses they receive. What's more, if they receive any responses less than "exceptional", they are considered to have failed. So, if I was happy with the purchase, could I please make sure I marked everything as "exceptional" on the survey?<br />
<br />
There are so many things wrong with this experience it is hard to know where to begin. But what spurred me on to write about it is because <i>this is the second time this has happened to me </i><i><i>in the past year </i>— dealing with completely different companies and different services!</i><br />
<br />
So where to begin?<br />
<ul>
<li>First, I actually did have a good experience with the purchase and would, without prompting, have given a good review in response to the survey.</li>
<li>But having been prompted, I am tempted to not respond to the survey at all rather than deal with the pressure to up my score.</li>
<li>I don't blame the sales person. If he is being judged on each survey, why not try to game the system and improve the scores?</li>
<li>I <i>do </i>blame the company. They have soiled what was a pleasant experience and made it seem seedy and somehow underhanded.</li>
<li>I understand the need to stay in touch with the customer experience. And as problematic as they are, surveys are one mechanism to achieve this. Especially for large national or multi-national corporations </li>
<li>But having said that, conflating customer awareness with personnel management is a disaster waiting to happen!</li>
</ul>
I know people (and I am not far from being one myself) who would, under some perverted sense of justice, actually lower their scores on the survey in response to the request to score high. There are others, obviously, who would go along to be friendly and up the scores, regardless of what they might have given as ratings without external prompting. <br />
<br />
Survey results are problematic enough to start with. 10% return on all surveys sent out is often considered a "good" percentage. Add to this limitation the fact that often those who hold the strongest opinions — either for or against — are the most eager to express their opinion. And now you further skew the results by having employees pushing participants to either extreme.<br />
<br />
So rather than get an accurate (or semi-accurate) picture of the customer's experience, they have invalidated the entire process and skewed the results. At the same time, they are using a completely spurious method for assessing their employees. Don't assess your customer facing employees on what the customer says! It is like telling the cleaning service their pay is dependent on how clean the bathroom sink is. You can be sure the bathroom sink will be clean -- even if the rest of the house isn't touched!<br />
<br />
If you <i>are</i> going to rate customer-facing employees on what customers say, base it on the aggregate, not on individual scores. You are still going to sabotage the accuracy of your customer responses, but at least you would reduce the damage. And, possibly, not disillusion the customers you rely on to spread positive word-of-mouth about your business.<br />
<br />
<br />
<br />Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com3tag:blogger.com,1999:blog-4702285177962101956.post-43275694396656346902013-12-04T16:05:00.000-05:002013-12-04T16:05:37.135-05:00My letter to Pentax/Ricoh: When Customer Service FailsI recently had a bad customer service experience. Such things are unavoidable. In this case, the warranty repair of my brand-new camera was delayed by warehouse closures, lack of parts, etc. These are things I understand.<br />
<br />
The bad part of the story is that — although the basic problems were unavoidable — the overall experience was eminently solvable with just the slightest bit of customer awareness and contact. Over the three and a half months my camera was gone, No one from Pentax/Ricoh contacted me. Not to tell me they had received the camera. Not to tell me it was delayed. Not to tell me they were replacing it. Not to tell me the tracking number when they sent it back. All of these things I had to find out by calling them, repeatedly.<br />
<br />
But to make a bad story worse, I wrote to the company (see below) suggesting they would do well to keep customers (who may already be annoyed that their new equipment doesn't work) informed of basic status information, via emails, phone calls, or post cards.<br />
<br />
That was three weeks ago. Today a representative of Ricoh called me (a first!) to explain to me:<br />
<ol>
<li>I had written to the wrong person. Their executive VP doesn't handle issues like this. (Well, duh! But since their website doesn't provide any information on who to contact, I had no choice.)</li>
<li>Once again, he explained why the repair of my camera had been delayed. (Something I had been told, many times on the phone when I called to ask where my camera was.)</li>
<li>Their repair department was in another state entirely. (How does that matter?) And that it was very small and the staff did not have time to be corresponding with customers.</li>
</ol>
It was that last statement, along with the reassurance that my letter would be "kept on file", that really confirmed that Ricoh, as a company is fostering a culture devoid of empathy or care for their customers. <br />
<br />
Well, if they are going to "file" my letter and do nothing about it, I guess I will too. So I am filing my letter here, online, as a cautionary tale for any other customers who might unfortunately ever need support from Ricoh/Pentax. Better yet, someone considering purchasing any of their equipment might also want to consider their customer service history and attitude before making a decision about what brand to buy.<br />
<br />
<div style="background-color: white; border: 1pt solid black; padding: 1em;">
<div style="text-align: right;">
November 10, 2013</div>
<br />
<br />
<div style="margin-bottom: 0in;">
James Malcolm, Executive VP</div>
<div style="margin-bottom: 0in;">
Ricoh Imaging Americas Corp.</div>
<div style="margin-bottom: 0in;">
633 17th Street, Suite 2600</div>
<div style="margin-bottom: 0in;">
Denver, CO 80202</div>
<div style="margin-bottom: 0in;">
<br />
<br /></div>
<div style="margin-bottom: 0in;">
Dear Mr. Malcolm,</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
Earlier this year my wife bought me a
Pentax X-5 camera as a present. I was thrilled. Unfortunately, the
camera had a problem that caused it to freeze randomly. What happened
next makes me wonder why anyone would purchase products from Pentax
or Ricoh. What is worse is that the entire affair was easily
avoidable had Ricoh taken just a few simple steps to demonstrate an
interest in its customers. The damage to my opinion of Pentax/Ricoh
may be irreparable. But I would like to offer some suggestions to
salvage your reputation with others.
</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
First let me explain what happened. I
started by going to your website to see if the issue with my camera
was a known issue. I was told I should send it in for repair under
warranty, which I did. Over three months ago.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
Since that time, Pentax/Ricoh has never
contacted me directly. No notice that the camera was received. No
message that it was accepted as being under warranty. No information
about when it might be returned.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
In that time my wife and I have called
your support center at least five times. Each time the support
personnel were extremely pleasant and accommodating. Even apologetic.
Each time we were told a story about how parts were ordered, supplied
were delayed, or some other action was pending. As pleasant as your
representatives were, they never were able to give me a clear idea of
what was wrong with the camera in the first place or when I could
expect to get it back.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
After two and a half months, they
finally told us “management” had approved replacing the camera.
(Why? Who knows.) Since then we’ve called every week to find
out where the replacement is, only to be told that they couldn’t
say until they got a tracking number from “the warehouse”.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
It is over three months since I sent my
camera in, As I said, Pentax/Ricoh has never initiated any
communication with me. Everything I know about this story comes from
my wife and I dogging your support department on the phone. If I had
thought there was any chance of this happening, I would never have
purchased a Pentax camera to begin with. And knowing what I know now,
I would never recommend Pentax or Ricoh products to anyone else
either.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
But for the sake of your current and
future customers, I would like to suggest the following small changes
to your procedures that could make a tremendous impact on overall
customer satisfaction:</div>
<div style="margin-bottom: 0in;">
<br /></div>
<ul>
<li><div style="margin-bottom: 0in;">
When a customer sends in a product
for repair, notify them (by email or postcard) that:</div>
<ol>
<li><div style="margin-bottom: 0in;">
It has been received.
</div>
</li>
<li><div style="margin-bottom: 0in;">
Whether it is accepted as a
warranty repair or not.</div>
</li>
<li><div style="margin-bottom: 0in;">
Ideally, tell them approximately
how long the repair will take.</div>
</li>
</ol>
</li>
<li><div style="margin-bottom: 0in;">
If there is any delay in the
repairs, contact the customer again explaining the delay and giving
a new estimate for completion.</div>
</li>
</ul>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
What hurts most about this experience
is that we deliberately chose a Pentax camera over other competitors
based on the Pentax 35mm camera we have used for more than 25 years.
I will never think of Pentax in the same kind light again. And that
is sad because the entire episode could have been so easily avoided.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in; margin-left: 3.47in;">
Sincerely,</div>
<div style="margin-bottom: 0in; margin-left: 3.47in;">
<br /></div>
<div style="margin-bottom: 0in; margin-left: 3.47in;">
<br /></div>
<div style="margin-bottom: 0in; margin-left: 3.47in;">
<br /></div>
<div style="margin-bottom: 0in; margin-left: 3.47in;">
Andrew Gent</div>
<div style="margin-bottom: 0in; margin-left: 3.47in;">
<br />
<br /></div>
</div>
Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com2tag:blogger.com,1999:blog-4702285177962101956.post-9446821246479899122013-05-09T13:32:00.001-04:002013-05-09T13:32:17.463-04:00The Prerequisites of PoetryI read lots of modern poetry. I enjoy it. I also write poetry. However many, if not most, of the people around me do <span style="font-weight: bold;">not </span>read modern poetry and, in fact, will cringe if I suggest it. Why this fear and revulsion?<br />
<br />
The situation raises a question: what are the prerequisites for reading and enjoying modern poetry? Do you need to write it to read it? I doubt it. (I hope not.) But there is clearly some sensibility, some "training" involved before people appreciate what modern poetry has to offer.<br />
<br />
Or perhaps it is the other way around. Perhaps people are trained to <span style="font-weight: bold;">not </span>appreciate it. <br />
<br />
The fact is that we, as a culture, (I am speaking of western, particularly North American, culture here) have a distinct bias against fine arts. Oh, we fund NEA and such. But making fun of the arts and artists as pretentious, self-important — even fraudulent — poseurs is a popular pastime.<br />
<br />
This aversion to the arts is not restricted to poetry. The same applies to the other "fine" arts such as painting, sculpture, and dance. The only arts that seem to be immune are fiction, music, and video (TV and movies) — those arts with a significant populist market. And even those arts are immune only in a narrow band of marketable styles.<br />
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We are often told that this rejection of art is a specifically American phenomena. The story goes that early in the Russian revolution, Vladimir Mayakovsky gave readings to stadiums and halls packed with fervent poetry fans. I am not sure how much I believe this. The same could be said of Alan Ginsberg who participated in Dylan's <a href="http://en.wikipedia.org/wiki/Rolling_Thunder_Revue">Rolling Thunder Revue</a>. However, I suspect that many in the crowd were not as avid for poetry as they were for the music and the overall event.<br />
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How did we become acculturated in this way?<br />
<br />
I believe there are a combination of factors that make poetry (and other arts) outsiders to popular culture. Some historical, some societal, some the responsibility of poets themselves.<br />
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Historically, in western society, the arts have been reserved for the upper classes. In the past many arts and artists were dependent on benefactors for their survival. Michelangelo, Mozart, Rilke... Only the wealthy were able to afford the arts and so funded (and sometimes interfered with) their creation. Even today, many art initiatives, museums, and exhibits are funded through private, wealthy benefactors. And when wealthy individuals aren't available, there has been a recent influx of well-healed corporations — oil companies, banks, telecommunication giants — willing to pick up the tab in return for the residual advertising opportunity the association creates.<br />
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Even when there have been more populist versions of the arts they were kept separate, such as the distinction between concert halls and music halls, theaters and vaudeville, literary fiction and dime-store novels.<br />
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I suspect this heritage of the patron, begun out of necessity, has permanently marked the arts as an object of suspicion to the common populace. Anything out of the ordinary or obtuse is suspected of holding itself up as too intellectual, too well-crafted for common people to understand. Sort of like the emperor's new clothes come to life.<br />
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This suspicion is exacerbated by a native cultural proclivity to "normalcy". Outsiders are shunned not so much because their behavior in innately distasteful, but because it goes against the urge to maintain the fabric of societal norms. Norms are, inherently, fragile since they rely on a shared, often unspoken, agreement to what is expected. The only way to maintain that center is by identifying (and rejecting) behavior that falls outside of the norm. And artistic endeavors, almost by definition, fall outside the norm in their effort to refine, heighten, and highlight specific moments, emotions, or predicaments.<br />
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Finally, artists themselves have a corresponding proclivity for "acting out" in opposition to traditional mores. In dress, behavior, and opinions, artists often go out of their way — consciously or subconsciously — to set themselves apart. Nerval had his <a href="http://en.wikipedia.org/wiki/Nerval#Pet_lobster">lobster</a>, Dali his mustache, Warhol had his... well, Warhol made himself into the extravagant mask he used to protect his own sensibility.<br />
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There are many possible explanations for these excesses. At least in part they are a disguise devised to distract us (and the artist) from facing the inevitable question of whether their work is any "good" or not.<br />
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One of the distinguishing characteristics of art is the lack of objective criteria for judgment. Oh, art criticism creates frameworks for assessing value and worth and explanations for why we respond to certain works differently than others. But ultimately it is the individuals who decide for themselves whether something is worthy of the moniker "art".<br />
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Even when an artist is successful, doubt shadows their success. Recognition by the establishment can as easily acknowledge a shallow stylist toeing the prescribed avant garde line as it can identify actual depth and artistic skill.<br />
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Without recourse to external validation, the artist is driven forward purely on the bravado of believing they are doing something worthwhile. When they are unknown, it is a belief that their brilliance is unrecognized. When they are famous, it is a belief that their true talent extends far beyond simple "popularity".<br />
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The will power needed to support this unprovable theory over time is hard to maintain. As a defense, external extravagances help draw the discussion away from relative worth to questions of sanity or propriety, which can be easier for the artist to deal with.<br />
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Finally, there is the work itself. For the past hundred years or so, poetry — like many of the other arts — has been at war with itself. The rejection of historical models for new forms (what the art critic Robert Hughes refers to as the "shock of the new") has left many readers confused. The rejection of rhyme for free verse, the oral tradition for concrete poetry, the tactile oeuvre for performance art... Each step forward baffles, and disconcerts the uninitiated in the audience. To those not "up" with the latest styles, it all seems more like hijinks than high art.<br />
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So here we stand — artists and audience — on either side of the chasm. The artists sneering at the "popular" audience, as a preemptive attack against their likely response. And the audience poo-pooing the artists as haughty and incomprehensible, for making them feel uninformed.<br />
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The common factor in this Mexican standoff is that the disdain on both sides is based on a purely superficial interpretation of the other party. Yes, modern poetry can be incomprehensible, if you just look at the surface and don't take the words on their own terms. And, yes, plenty of people still refuse to accept anything as poetry that doesn't rhyme. But perhaps jumping straight from Robert Frost to Michael McClure is more than can be expected of any human.<br />
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The fact is, modern poetry and poets, like artists in other art forms, have over the past hundred years stripped away the traditional scaffolding (such as rhyme and standard meter) to try and understand the true nature of the art itself. And in its barest form, there is opportunity for both amazing achievements and failure. Because without the support of a recognizable structure, the work either succeeds or it fails miserably. There are few just plain "good" poems nowadays. <br />
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There are poets that are "easier" or "harder" to interpret for first time readers. This is as true for experienced poetry fanatics and novices. But many non-readers won't give any of it a try, waving it off with a dismissive "I don't understand modern poetry."<br />
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No, they don't. And they won't unless they try. Even an avid poetry reader such as myself can have a hard time reading through modern poetry magazines. As soon as you hit a poem you don't like or find inferior, the other poems start to blur together as some sort of indistinguishable, unappealing fog.<br />
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The fact is, it takes a considerable effort to read poems by different authors in one sitting. Imagine if you squished <i>War & Peace</i>, Joyce's <i>Ulysses</i>, and a Danielle Steele novel into one book and had to read it in one sitting. Now intermix the pages. At some point, things that might have seemed evocative, illuminating, or simply enjoyably escapist become a painful, unrealistic slurry of words you must slog through. <br />
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That is often the experience when reading poetry magazines and anthologies. The fact is we are taught to read for content: quickly skimming the page for key facts or phrases. But each poem is a world unto itself, with its own syntax, its own landscape, its own leaps and limitations. Trying to "read through" multiple poems guarantees you miss the poetry and only notice the peculiarity.<br />
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To have any chance of appreciating poetry, you not only need to pause between each poem, you have to literally reset your expectations, your compass, as if entering a new country with new laws and a new language. Make no mistake, this is not an easy thing to do. We, as members of society, aren't used to it. In fact, most writing (magazine, newspapers, advertising) works hard to <i>avoid </i>your having to do any work or make any adjustments.<br />
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But each poem is a separate entity, designed to be viewed on it own separate stage. And if we are to understand and appreciate it we need to give it room to breathe. This is what makes poetry poetry instead of prose with line breaks.<br />
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So the only true prerequisite for reading modern poetry is to stop, take a deep breath, and approach each poem as a new and completely unique experience. Does that mean, if the non-poetry readers of the world do that they will enjoy the poems they read? No. The fact is, there is a frightening amount of bad poetry out there, even among the "sanctioned" literature of modern anthologies and text books. Besides, we all have different tastes. Not everyone likes every popular novel or movie, not everyone likes the same poems.<br />
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But if you are ever going to like poetry, or even understand it, you need to read it on its own terms. It's what we do for movies. As the lights go down and the trailers begin, we clear our minds and get ready for a new experience . It is almost a Pavlovian response. This is the same response we need to learn to practice at the beginning of each poem we encounter. Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com1tag:blogger.com,1999:blog-4702285177962101956.post-59671059394390439662013-05-04T09:54:00.000-04:002013-05-04T10:11:53.628-04:00The $99 DeviceI have lots of electronic gadgets around the house. Laptops ($600-800), TVs ($200-300), cell phones ($100-200 plus contract), video game consoles ($200-300), handheld game consoles ($150-200), tablets ($300-400), etc. With one or two exceptions, they are all quite impressive, heavily used, and worth the investment.<br />
<br />
Mind you, that is no accident. In most cases, we spent a considerable amount of time analyzing whether we actually needed a new device, comparing options available on the market, and evaluating pros and cons before the purchase. It's not that we can't afford these items. But they represent a significant cost — especially since they often require additional accessories to be useful. (More on that later.)<br />
<br />
But not all my gadgets face the same scrutiny. A couple of years ago I bought a new digital camera. I didn't need one; I already had a perfectly good, if slightly older model. But the new one was smaller and lighter with three times the resolution. More importantly, it was on sale for $80. So I bought it.<br />
<br />
The fact is there is a tipping point below which an item becomes discretionary — throw away — a toy rather than a necessity— something you can buy on a whim rather than after careful consideration. I find from experience that for me that point is around $100. And, based on recent events, I suspect the same is true for many other Americans.<br />
<br />
There has been a recent surge in sub-$100 electronic gadgets. All but the best smart phones advertise themselves that way (although that price point really is a sham since they require a contract that can exceed $100 a month). The glut of Chinese android tablets sold through Amazon and Walmart are aiming at this market as well.<br />
<br />
But what really caught my eye were two new, innovative gadgets coming in at this lower price point. First, is what <a href="https://twitter.com/tiedtiger">Tadhg Kelly</a> refers to as the video game "<a href="http://www.whatgamesare.com/2013/01/2013-the-year-of-the-microconsole.html">microconsoles</a>". First among these is the <a href="http://www.ouya.tv/">Ouya</a>, priced at $99 and targeted for general release in June.<br />
<br />
The Ouya is not a copycat device; it is an entirely new concept entering a market dominated by entrenched, high-cost devices. Rather than using custom high-end components, Ouya uses largely commodity hardware and an open source operating system (Android) to build a low-cost, open platform for gaming. Even business-wise, it is different, since the focus is providing a competent platform quickly (and frequently) rather than expensive hardware plus expensive games on a 5+ year cycle.<br />
<br />
Will it succeed? There's no way to tell. I think there's a good chance it will. And I hope it will, since I think there is a desperate need for some middle ground between high-end dedicated consoles and, quite frankly, sub-par cell phone/touch pad experiences. But there are plenty of unknowns involved. Not the least of which is: what games will be available on the Ouya?<br />
<br />
But at $99 for the console and one controller, It is a very appealing item, which I am likely to buy just to see how it works. Its success in the market would be an added bonus. But not even that is necessary. Because of the open platform, I could still use it as a sandbox for building my own games if I want. <br />
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The second gadget is Dell's <a href="http://reviews.cnet.com/system-accessories/project-ophelia/4505-8896_7-35624727.html">Project Ophelia</a>, and its competitors such as the S21H and MK809 II. These items all represent a new type of device, what might be called a PC-on-a-stick. They are not much bigger than a USB thumbdrive and serve as a very portable laptop replacement.<br />
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The Chinese entries, such as S21H and MK809 II, actually act as a portable computer; just plug them into a monitor or TV and connect a keyboard and mouse and... voila! Instant computer! <br />
<br />
Now, there are obvious drawbacks. The operating system, Android again, is designed for touch devices. So it is unclear how usable most apps will be with a mouse. But again, these devices come in around $60-80, making them an attractive "experiment".<br />
<br />
This is particularly true of Project Ophelia, which takes a slightly different approach. Rather than providing a complete computer on a stick, Project Ophelia provides remote access to more powerful computers running familiar OSes. <br />
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Now, there are even more questions about these laptops-on-a-stick than the microconsoles. Details such as how much storage, boot time, power supply, and the most obvious: how large is the audience that has monitors, keyboards, and mice at all the appropriate locations? Be that as it may, it is still an intriguing option that solves problems tablets and smart phones do not today — e.g. "serious" computing that requires more accuracy than touch screens and more text editing than IMs and short emails.<br />
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So, will I get one? Not sure. I'm tempted. If I had more faith that the wifi was reliable on the Chinese models, I would. Even at $50 or so, these devices must work properly to be worthwhile, even as a toy. And, although I have more faith in Project Ophelia, it looks like it is largely an entry device for a cloud service, which — like smartphones — where the subscription fees would quickly exceed the initial outlay in cost. <br />
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So Ouya is clearly in my sights as an impulse buy. Even if Project Ophelia isn't, just its presence in the market — and the interest it inspires — indicates there is both an opportunity and a problem to be solved in the computing ecosystem somewhere between the ease of smartphones and tablets on one side and the heavy-duty computing of laptops and desktops on the other.<br />
<br />
<br />Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com1tag:blogger.com,1999:blog-4702285177962101956.post-39886886058764805742012-10-12T00:00:00.001-04:002012-10-12T00:01:27.643-04:00The Poetry of RegretOur interpretation of literature is heavily influenced by our own experience. Nothing surprising there.<br />
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I have been reading Chinese poetry (in translation) for a long time. The experience is sometimes baffling, often discordant, and at times even cartoonishy funny. This has far more to do with the sad state of translations than the poetry itself. Lines like the following are unlikely to be seen as poetic by either English or Chinese readers:<br />
<blockquote class="tr_bq">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Alone with my zither I wait..</span><span style="font-size: small;">.</span></blockquote>
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However, recently I've begun to see the classic Chinese poets as poets of regret. <br />
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Now, regret is a common theme in poetry across cultures and throughout time. Certainly, the Chinese poets, such as Li Po and Wang Wei express regret. But what makes that an identifying characteristic of their work for me?<br />
<br />
For example, The Italian hermetic poets express plenty of regret. Even picking poems at random, they ooze a sense of loss:<br />
<blockquote class="tr_bq">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Distant into a distant land</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">like a blind man</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">they have led me by the hand.</span></blockquote>
<div style="margin-left: 20%;">
<i><span style="font-size: x-small;">— Guiseppe Ungaretti, trans. by Patrick Creagh</span></i><br />
<i><span style="font-size: x-small;">(Selected Poems, Penguin Books, 1971) </span></i>
</div>
<br />
But this is really a poem about loss, not regret. What could the narrator have done differently? What, ultimately, is the event <i><span style="font-size: x-small;">—</span></i> the catalyst <i><span style="font-size: x-small;">—</span></i> to the poet's fall? The fate that the Italian poets depict is global and uncontrollable. It is mankind's fate they envision, not a specific set of choices consciously made and their consequences faced. There is sadness at the outcome, but there can be no real regret because there is no personal responsibility in play. It is a poetry of loss, not regret.<br />
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On the other hand, Chinese poems tend to be clearly focused on personal choice and its outcome:<br />
<blockquote class="tr_bq">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Away from home, I was longing for news</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Winter after winter, spring after spring.</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Now, nearing my village, meeting people,</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">I dare not ask a single question.</span></blockquote>
<div style="margin-left: 20%;">
<i><span style="font-size: x-small;">— Li P'in, trans. by Witter Bynner</span></i><br />
<i><span style="font-size: x-small;">(The Jade Mountain, Alfred Knopf, 1929) </span></i>
</div>
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Any sort of generalization about literature is inevitably wrong in the specific. Not all Chinese poets <i><span style="font-size: x-small;">—</span></i> or poems <i><span style="font-size: x-small;">— </span></i>speak of regret. Not all Italian poets speak of loss. It is a tendency, the idiom of their time, that we sense and identify as such.<br />
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It is also the tinted hues of our own experience we see it through. As I say, I have read Chinese poetry for years. But now, as I stand examining my own actions, I see the tenor of their poetry, the moral and aesthetic leanings more clearly.<br />
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I can read and appreciate the Chinese poems, despite the clouded mirror of translation I must peer through, because I am looking backwards myself. I am watching a boat that has set sail and I am thinking of someone I won't see again. And today the poems talk to me more easily than they could ever have in the past. Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-18204141612163798452012-01-06T11:02:00.002-05:002012-01-06T11:02:42.972-05:00SilenceIt is hard to believe it has been almost 6 months since I last posted anything to my blog. I was aware time was slipping away, as each week I didn't publish anything. But 6 months goes by very quickly.<br />
<br />
Not that I have abandoned the blog, as it might appear. I just found it difficult to finish anything. I have the usual excuse: not enough time. But who doesn't suffer that? What was more crippling was an inability to feel satisfied that any post was "done". <br />
<br />
I have more than 30 posts in draft form and I tinker with them on a weekly basis. But nothing ever gets completed.<br />
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So if I had a resolution for the new year, it would be to be more "sloppy" — be satisfied with things the way they are. The rough, the incomplete. I can always add more later.<br />
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But the truth is I go though this dilemma cyclically. A rush of euphoric publishing, feeling confident, but it soon slows to a crawl as I start to second guess myself, comparing the present to the past. (Preferring what I did last week to what I am writing this.)<br />
<br />
So, no promises. I may publish more — I want to publish more — and clear my "drafts" folder! But having seen this movie before, I cannot realistically guarantee that the ending won't be similar to one you have seen before.Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-40955437493689815762011-07-29T10:49:00.000-04:002011-07-29T10:49:37.567-04:00Going Around in CirclesI, like several million other people, have recently been trying out Google+. G+ has received plenty of press in the past few weeks and I don't want to add to the noise. But when I started I noticed two things that I didn't see mentioned until recently:<br />
<ul><li>All my G+ friends are KM types, or otherwise involved professionally in communication and social interaction. Few if any of my "normal" friends are using G+ (or see why they should).</li>
<li>I don't like making circles. They require too much thinking.</li>
</ul>The first observation were confirmed this week when the unofficial Google Plus Directory (<a href="http://findpeopleonplus.com/">http://findpeopleonplus.com/</a>) posted demographic information on G+ users based on their ascribed professions. Most of the top twenty are technology or information-focused professions. And many of those that are not explicitly "in the business" are questionably tied to technology (such as writers and designers).<br />
<br />
My second issue is around circles. I understand they sound like a good idea. My personal (and professional) relationships are more complex than Facebook's simplistic friends / non-friends model.So being able to define your relationships in more detail sounds like a positive step.<br />
<br />
The problem is, it's far more difficult than it sounds. I have friend friends and I have professional friends. I have professional friends and professional acquaintances. Some work for my old employer; some used to; some never did. Some know I am interested in poetry and video games (among other things); some don't. A few have met my wife; some may not even know I am married.<br />
<br />
When I start to break it down, it is not only not binary, it is more complex than even I can describe. Which is what makes Google+'s circles so frustrating. They require too much thinking. This is not a technical issue, per se, but a failure to be able to turn an implicit organic process into an explicit concrete categorization.<br />
<br />
In other words, my friends are analog and circles are digital.<br />
<br />
Andrew McAfee confirmed my suspicions in a <a href="http://andrewmcafee.org/2011/07/google-plus-and-the-social-media-moonshot/">blog post</a>. He goes into far more depth and argues that it is an issue of a priori vs. a posteriori decisions.I am sure he is right from a process perspective, but I am not even sure deciding after I find an item to share is going to help that much.<br />
<br />
Part of the joy of Twitter is that there is no decision. You post or you don't. You open yourself to anyone who chooses to listen (essentially). Oh, it has its limitations as well (starting with the length of the messages). But the freedom from thinking about who a message is intended for can be quite liberating.<br />
<br />
However, that freedom doesn't have much to do with friends; it has more to do with publishing (or proclaiming). But it can be a useful and easier process in the digital world than trying to sort out your friends.<br />
<ul></ul>Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0tag:blogger.com,1999:blog-4702285177962101956.post-19757453946801559542011-07-18T11:49:00.000-04:002011-07-18T11:49:16.085-04:00Holy Crap, Batman! The Social Business StackI just read D. Hinchcliffe's (<a class=" twitter-atreply" data-screen-name="dhinchcliffe" href="http://twitter.com/dhinchcliffe" rel="nofollow"><span class="at">@</span><span class="at-text">dhinchcliffe</span></a>) <a href="http://www.dachisgroup.com/2011/07/social-business-stack/">Social Business Stack</a> at the <a href="http://www.dachisgroup.com/">Dachis Group</a> and all I can say is [explicative deleted]. Dang! That's one impressive and imposing architectural diagram!<br />
<br />
I'm not saying the diagram is architecturally incorrect. In fact, I suspect it is accurate from a corporate IT perspective. It looks like so many other all-inclusive architectures.<br />
<br />
The trouble is no normal human being in their right mind could look at it and do anything but shake in their boots. This is the sort of diagram that justifies five years of intense IT investment. It also presupposes (or pre-justifies) failure since there are so many moving parts.<br />
<br />
The stack is accurate in that it captures all of the possible interactions and interdependencies from a KM and IT perspective. (That is, the old people/processes/technology triumvirate.) But the fact is no one really cares about anything but the top layer. (The Social/People layer.)<br />
<br />
So why is this so complex and social networking "in the wild" so simple? Well, it isn't that simple in real life. But:<br />
<ul><li>On the public web people are more than willing to do things manually to "make it work", such as putting in links to blogs, etc by hand.</li>
<li>If it does become difficult, there's an app for that. People are happy to juggle 5, 10, even 20 separate apps such as bit.ly, twitpic, intagr.am, last.fm etc to achieve their goals. What's more, it is cumulative: people learn new tricks from watching their friends' posts.</li>
<li>Ultimately, the public internet is an almost limitless (since it is always growing) source of additional material, support, inspiration, or target for discussion.</li>
</ul> In other words, all the other layers of Dion's stack exist in the public instance but no one cares about them. Not that they aren't necessary. The next four layers (Data, Delivery, Aggregation, and Discovery) are just assumed to be there. And the critical vertical integration "glue" is heavily biased towards manual effort and simple HTTP links, rather than some complicated automation.<br />
<br />
The last two layers (Security and Business Model) also exist. But people are amazingly carefree about security on the public web and the Business Model is the responsibility of the technology/service providers and people simply give a yea or nay vote on the instantiation by staying with the service or moving on. <br />
<br />
So, what does this mean? I think the first meaning is that, as usual, corporations are taking something simple (or deeply complex but with a simple surface layer) and getting caught up in the morass that underlies it. Secondly, what the stack doesn't show is the often terribly anaemic state of the lower stacks behind corporate firewalls. The oft-repeated aphorism "If only we knew what we know" can usually be expanded to its various corellaries:<br />
<ul><li>"If only we knew who knew what we know" </li>
<li>"If only we knew where we stored what we know"</li>
<li>"If only we could find what we know"</li>
<li>"If only I had permission to know what we know"<br />
</li>
<li>etc.</li>
</ul>So, I think the social business stack as represented is correct. But I am terribly concerned about what such a diagram would be used for. Because, ultimately, it is people — not technology or processes — that are the deciding factor. And people have astonishing resilience and patience for "making things work" when they have an interest in the outcome.Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com3tag:blogger.com,1999:blog-4702285177962101956.post-47605169694836083322011-05-06T20:48:00.000-04:002011-05-06T20:48:38.192-04:00What I'm Playing: 9 Hours 9 Persons 9 Doors<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-J6DGWWHu1Zg/TcSVb4V27aI/AAAAAAAAAJU/XVC7I62Xx8M/s1600/999-coverjpg.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="179" src="http://3.bp.blogspot.com/-J6DGWWHu1Zg/TcSVb4V27aI/AAAAAAAAAJU/XVC7I62Xx8M/s200/999-coverjpg.jpg" width="200" /></a></div>I am currently playing three puzzle games on the Nintendo DS. They are all different, but playing them together helps clarify what works — and what doesn't work — in each.<br />
<br />
The first game I started was <a href="http://www.aksysgames.com/999/"><i>9 Hours 9 Persons 9 Doors</i></a> (affectionately referred to as <i>999</i>). This is a puzzle/story game, where to progress through the story you need to solve puzzles. It is a pretty well-established genre, similar in nature to the <a href="http://www.herinteractive.com/">Nancy Drew</a> games, <a href="http://www.professorlaytonds.com/">Professor Layton</a>, <a href="http://www.herinteractive.com/">Myst</a>, etc.<br />
<br />
999 is what might be described as a survival-horror puzzler, because the story involves your character, Junpei, being kidnapped and trapped on a sinking ship with eight other people. They must work together to escape before time runs out (the eponymous 9 hours).<br />
<br />
Let me just say I expected to like this game. It sounded unusual and got quite good reviews for both its puzzles and its ambiance. But I was seriously disappointed.<br />
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The puzzles are fine. In fact, the game starts off well with a locked room puzzle of moderate difficulty. No wasting half an hour on simplistic "training" levels. Unfortunately, the game takes a turn for the worst, in several respects, when story elements are introduced.<br />
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For a story-driven puzzler, the story line is grisly and unnecessarily so. Death and mutilation is intended to give you as the player a sense of suspense and tension. But since you have so little control over the action of the game (except tapping the screen to advance the story) the gruesome events are only uncomfortable.<br />
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And the discomfort is extenuated by the unrealistic story line. You are trapped with eight other people who look like they just came from a circus (literally) or a Village People tribute concert. Each a unique and comically stereotyped representation of.... something. A belly dancer, a heavy-set laborer, an effete aristocrat... you get the idea. <br />
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To make matters worse, the story is presented in a crude 2D pantomime. Static images, with flat images of the cartoony cast (literally, drawn as cartoons) floating in and out of view like shadow puppets. This is suspense? Even viewed as a retro "edgy" presentation style, the clumsy graphics become tedious.<br />
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Worse yet, the awkwardness of the presentation carries over to the game play. At one point, you are required to turn a ship's wheel. A relatively simple puzzle device, given you are shifted to a direct front view. And with touch control, you would think it a simple thing to allow the user to touch and drag the wheel to turn it, no?<br />
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No. The UI puts up arrows pointing left and right above the wheel which you are forced to click on to make the wheel turn. They almost had to go out of their way to make the interaction so... unnatural.<br />
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And finally, the game fails at its own goal of making you feel like it is something more than just a handful of meaningless puzzles. For all of the portents, unnecessary curse words, and grisliness, the game is constantly forcing you to respond to relatively meaningless or obtuse statements and suggestions from the other members of the party. But when it matters, when something is seriously wrong and you — even if you believed the story and wanted to "play" — you are given no control except clicking and clicking and clicking while line after line of text inches past until your bizarrely frozen in place persona is killed...<br />
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Yes, I played all the way through to one of the "bad" endings. I was then given the option of replaying the game, with the advantage that I could jump through text and scenes I was already familiar with. No thank you. Once was more than enough.<br />
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[To be continued....]Andrew Genthttp://www.blogger.com/profile/06390065525080995888noreply@blogger.com0