Chromecast: the very thing

So many things in life are less than they claim, or that you hope they’ll be, or that you imagined they might be. Google Chromecast, which is now available in Canada, is exactly what you imagine it will be, exactly what you hope it will be, and exactly what it claims to be. It is the very thing.

The future was always meant to be like this. In it, I saw myself drawing down content from somewhere on the Internet and then sending that content to various devices in my home. I’m sure I must have seen George Jetson do that in a cartoon when I was a child. Now I’m doing it too.

The Google Chromecast device is modestly priced. It is about the size of the remote key for your car. It plugs into an HDMI slot on your television. A usb power cord plugs into the Chromecast. The device begins sorting itself out almost immediately. In advance I had installed the Chromecast app on my Nexus 7. Once I activated that app it immediately searched for nearby Chromecast devices. Once the association was made and I had given my renamed Chromecast device access to my home network, it upgraded its software and then a minute or so later it was ready to go.

Go where?

My first port of call was the YouTube app on my Nexus 7. Since YouTube is owned by Google, it is not surprising that it is one of the first Chromecasting enabled apps. I found a video on YouTube to use as my first test. It was one of a friend of mine’s young son playing his guitar. I tapped the “cast” icon which connects the app with the Chromecast device. And there he was, my friend’s young son, large as life on our, admittedly somewhat large, television screen.

I believe, “Too cool,” is the appropriate expression here.

Next up was a short animated film from Google Play. This Pixar animated drama happened to be pre-installed on my Nexus 7 when I bought it. I’ve never purchased or rented any other films from Google Play because, frankly, although the Nexus 7 screen is a marvel, I rather prefer my films to be a bit larger. (It’s okay with me that the kids these days seem to love watching movies on their phones, but it just doesn’t work for me.) Once again the “casting” of the media to my television was a breeze. And the picture quality was, as to be expected, amazing.

I don’t have NetFlix. The main reason I don’t is because neither our television nor our Blu-Ray player gives us straightforward access to the Internet. However, it did not escape my notice that NetFlix is also a Chromecast enabled app. I suspect a lengthy discussion in our house now as to whether or not we should make the leap to NetFlix.

The final step in my Google Chromecast testing was via a desktop computer. In this instance the computer in use was an iMac. The browser I was using was Google Chrome. And yes (you’ll have guessed this), the Google Chrome browser is already Chromecast enabled. Once I clicked on the connection icon I was offered the option of casting any tab from the browser onto the television screen. I think I already mentioned the future and what it looks like. Well my future always looked like this.

Of course the possibility of casting a web page onto a 48-inch high definition television raises a few challenges. For example, I like to watch Hockey Night in Canada, which is streamed live on Saturday nights on the CBC website. I’m looking forward to casting that onto our television this weekend. But already I know that it is highly unlike that the CBC is streaming its broadcast in HD. And that means the picture might look a bit fuzzy on the big screen. Will content providers need to up the ante on such live streamed events? I think so. And this got me thinking of web designers more generally. For the past few years we’ve been perfecting sites that look great on both a desktop computer but also on a tablet or even a phone. Will the advent of casting to much larger screens require a substantial rethink in website design? Almost certainly.

No matter. We’ll deal with it.

After all, now that the future is here we’ve just got to live with it.

Elizabeth Hay: Sounds and Voices

Last night I was privileged to be in the audience as Elizabeth Hay gave a talk entitled  “Sounds and Voices”. Ostensibly she was reading from and talking about her novel, Late Nights On Air, which is set in Yellowknife in the mid ‘70s, a time when Hay herself was living in Yellowknife and losing and finding herself in her first job with the CBC as a late night radio personality. Thirty years later she sat down to write a novel about shyness (she was painfully shy herself) and how it is overcome and how one’s place, alone in a tiny radio booth or alone out on the seemingly endless and empty tundra, can bring a shy person out of themselves. I’ve been lucky enough to see Hay in front of an eager audience of writers and readers twice previous and on those and this occasion she was riveting. She speaks in soft, measured tones, thoughtful and sincere and undoubtedly wise. Whether she is reflecting on her writing process, reading an excerpt from one of her novels, or responding to a question from the audience, she seems to be entirely present, gifting us with her full attention and concern. It would be hard, I think, not to come away with increased admiration for her, and that has been my experience every time.

Through anecdote and excerpt, Hay traced her early inspiration and motivation for writing the novel. She gave an amusing account of the transformation of the title, which did not settle upon its final version until the weeks leading up to publication. “Titles,” she said, “always seem inevitable once they’ve been settled upon a work and it has been read by many people. But it isn’t the case.” Hay is gently self-deprecating but evidently filled with the strength of spirit necessary to persevere, a talent she believes all writers need. In the end, she noted echoing Graham Greene, it’s all a question of the work, doing the work, and continuing to do the work.

I remember reading Late Nights On Air five years ago, the first of Hay’s works that I had encountered, and being immediately taken with it. It carried such a clarity of vision, both emotional and scenic, but it was the narrative voice that ultimately secured my allegiance. Not surprisingly the novel opens with a man hearing a disembodied voice on the radio late one night and falling in love. There is an intimacy, a narrative closeness, that sometimes takes hold in Hay’s writing. I’m thinking here especially of Garbo Laughs, but it can also be seen in Alone in the Classroom and Small Change. It isn’t something that I encounter in many writers and I wish could have had the courage to ask her about it during the question period or during the reception that followed the event. Unfortunately it isn’t something that I’ve been able to fully articulate myself yet, and one does not wish to appear tongue-tied in front of one’s heros.

I’m always fascinated by the writerly process. Hay says that she is as well and thus does not turn aside such questions. She says she needs a quiet room, a room she loves to go to. She rises and writes early in the morning preferring no encounters until after noon. She will usually begin by reading some poetry, perhaps something of Margaret Avison or Louis Glück, although she has recently been giving Wallace Stevens another try and finds she is getting something out of him this time. (Is it her love of poetry that explains the sometimes exquisite closeness of her narrative voice?) She’ll reread what she had written the day before making numerous changes and then set forth the continuance. She writes in longhand sitting in a large rocking chair with a plywood plank laid across the arms as her writing surface. If it was good enough for Virginia Woolf, she notes, it should be good enough for her. Later she will type what she has written into the computer and print it up for further editing.

Influences are often on an audience’s mind, perhaps naturally since clearly all of us have gladly been influenced by Elizabeth Hay’s writing. A further question on novelists she reads and admires led her to finish by enthusing about Penelope Fitzgerald, a writer whose work is so deceptively light, so perfectly paced and gently feathered that it is probably perfect. I couldn’t agree more.

Already I’m looking forward to Elizabeth Hay’s next novel which we were told would be out next spring. She wouldn’t tell us what it was about because there is still a great deal of work to be done on it, especially the ever difficult for her ending. And of course she couldn’t tell us the title because, well, that is no doubt subject to change.

Bark: Stories by Lorrie Moore

There are reasons to feel lucky to be alive. One of them is that Lorrie Moore is writing short stories. Amongst the eight stories collected here are enough masterpieces to make you believe all over again that Moore may be the reason that the short story was invented. And the others — well, I don’t know. It’s very possible that in a year I might come round to thinking those other stories are the real masterpieces. I’ll admit that Moore is often ahead of the curve.

Some stories here have all the elements of classic Lorrie Moore. The long opening story, “Debarking”, is one of those. It is full of quirky observations, puns and half-puns and other word-play, excruciatingly poignant moments, and, well, exuberance, I guess. Even in the midst of what is really a sad or pathetic situation, there is exuberance. “Paper Losses” is another in this classic Lorrie Moore manner. Nearly priceless. Other stories, such as “Referential” show Moore in narrative dialogue with her peers, in this case Nabokov. In some stories, Moore seems frustrated, even angry, with the politics of America. There is a level of incredulousness that begins to creep in perhaps in stories such as “Foes” or “Subject to Search”. And there are yet other stories that don’t have any easy category. A story like “Wings” seems serious and anxious and possibly almost painful. It’s one of those ones that maybe, after a bit more thought, I’ll decide is actually a masterpiece. Moore’s writing is like that — it prompts more thought.

Warmly recommended.

Converging on WordPress

convergingSometime last autumn, I got the itch for change. As is typical for me, the itch was preceded by a rethink of my PIO, short for Personal Identity Online. It’s good to periodically reassess your PIO, especially when changes to your goals, your practices, and your tools crop up. In my case, each of these was relevant. The result of the change was a shift in technology (a move from Drupal to WordPress for my main website) and an integration of apparently disparate components in my PIO.

Although I had a number of reasons for switching to WordPress, none of them were problems with Drupal. I continue to believe that Drupal is one of the best solutions for building a robust web presence. I still manage a couple of Drupal sites. And if I was tasked with building something more demanding than a small personal website, I’d turn to Drupal first.

Back in 2007 (which feels like a long time ago even to me), I needed a solution for a small frontispiece website. I’ve got a modest communications consultancy and I really only needed for people to be able to find me easily so that we could work together. Some years before that I had started a blog on Google’s blogging site. There I mostly blogged about technology and open source matters, both of which were relevant to my work at the time. I wanted to continue with that blog but draw the feed into my frontispiece website in order to make the content easily available there as well. Drupal handled these tasks gracefully. Plus using Drupal, despite the steep learning curve, gave me access to web management skills that I could deploy elsewhere. It wasn’t long before I had a number of Drupal sites that I was helping to build and maintain.

Time passes and we change. Most of that change is just getting older. But some of it involves new interests and new activities. Here are some of my changes: After 2009 I started writing fiction in a more serious way than I had previously. I also started reading fiction more seriously and, given some recent experience working with exceptionally cool librarians, I wanted to have a simple way to catalogue my reading. So I joined LibraryThing. I also wanted a venue for writing short pieces that weren’t fiction but were often about literature. At the time I didn’t know where that would lead, so I didn’t want to simply co-opt my technology blog. The easiest solution was to set up a new blog nested inside my main web domain, but without any strong connection between them. That was the beginning of the Transformative Explications blog. In 2011 I joined a group on LibraryThing called the 75 Books Challenge. (You’d be surprised at the number of people out there who read more than 75 books each year.) Part of the standard practice of that group is to write a brief review of each book that you read. Starting in 2012 I took on that practice. And that became a fun project in itself (I’ve written more than 175 reviews now). Eventually I decided that some of those reviews might easily find a home on my Transformative Explications blog. They did. Then the last motivator for change came from attending a writers’ conference at which self-identification, as a writer, was recommended. So there you have it. There’d been a change in practices, the tools that I used, and, as I began to realize, in my goals. Definitely time for a rethink of my PIO.

The fun thing about communications rethinks is that by the time you realize that they are necessary, they practically run themselves.

It was clear by late 2013 that my principal blog was actually Transformative Explications. Moreover, I was spending the vast majority of my free time reading, writing, and thinking about short stories and novels. Yet my PIO masked this. Having established a modest, if mostly hidden, identity as a reviewer and writer on Transformative Explications, it seemed the simplest thing would be to use that as the basis for a revamped web presence. This would mean that a blog would be the main component of my website. And that meant that I might as well move to a platform that was principally built on the blog model, thus WordPress.

So much for the decision about technology. It wasn’t that hard at all.

There is more involved, of course, in rethinking one’s PIO. I no longer wanted to bifurcate my PIO between my interests in technology and my aspirations as a writer. I’d need integration. And that meant merging my blogs together. But it also meant accepting that these apparently divergent interests could be encompassed in one integrated identity. And that’s why the revised version of Transformative Explications covers all of my interests. I also decided at that time to finally start using Twitter, but again with a unified PIO. I am a writer who also thinks seriously about technology and openness.

One last question remained. Having thought through a revision of my PIO and the consequent choices that afforded for a different web platform, would there be any useful transfer for others? The short answer is, yes. I’ve added a WordPress client site to my communications portfolio.

Reading – a year in review, 2013

2013 was a very good year for reading. I discovered new authors whose work I enjoyed: Elena Ferrante, Madeline Miller, and Carrie Snyder. I continued my affection for authors with whom I had already been acquainted: Elizabeth Hay, George Saunders, Penelope Fitzgerald, Virginia Woolf, Jane Austen, Lorrie Moore, Nicholson Baker, Tove Jansson, Richard Ford, and Lars Iyer. I started reading ebooks as a normal part of my reading habit. The book club whose meetings I attend continued to give satisfaction. I reread a few favourite novels, most notably the gorgeous Belknap Press edition of Austen’s Emma. And I discovered some new favourites. I also wrote short reviews of each book I read this past year and posted them on LibraryThing, a few of which I re-posted here on this blog. I’m already looking forward to another great year of reading ahead.

Stats from my 2013 reading list:

  • 22 were borrowed from our public library
  • 17 have Canadian authors
  • 24 were chosen due to personal recommendations from friends
  • 10 are by authors who appear more than once on the 2013 list
  • 4 were being reread
  • 3 were read aloud by my wife and me
  • 17 are non-fiction
  • 11 are ebooks

Books read in 2013 (83):

  • Ford, Richard. The Lay of the Land
  • Wood, James. The Fun Stuff
  • Coady, Lynn. The Antagonist
  • Scalzi, John. Redshirts
  • Young, Nora. The Virtual Self: How Our Digital Lives Are Altering The World Around Us
  • Schultz, Emily. The Blondes
  • Annas, Julia. Intelligent Virtue
  • Anshaw, Carol. Carry the One
  • Saunders, George. Tenth of December
  • Barnes, Julian. Through the Window: Seventeen Essays and a Short Story
  • Vila-Matas, Enrique. Never Any End to Paris
  • Robinson, Marilynne. When I Was a Child I Read Books
  • Handler, Daniel (author), Kalman, Maira (illustrator). Why We Broke Up
  • Fforde, Jasper. The Song of the Quarkbeast
  • Bradley, Alan. The Sweetness at the Bottom of the Pie
  • Fitzgerald, Penelope. Offshore
  • Orr, David. Beautiful and Pointless: A Guide to Modern Poetry
  • Stein, Lorin (ed.) and Stein, Sadie (ed.). Object Lessons: The Paris Review presents the Art of the Short Story
  • Iyer, Lars. Exodus
  • LaPlante, Alice. The Making of a Story
  • Humphreys, Helen. The Reinvention of Love
  • Ford, Richard. Rock Springs
  • Fitzgerald, Penelope. The Bookshop
  • Chuilleanáin, Eiléan Ní. Selected Poems
  • Vila-Matas, Enrique. Dublinesque
  • Fenton, James. An Introduction to English Poetry
  • Miller, Madeline. The Song of Achilles
  • Hobsbaum, Philip. Metre, Rhythm and Verse Form
  • July, Miranda. It Chooses You
  • Fenton, James. The Strength of Poetry
  • Ferrante, Elena. My Brilliant Friend
  • Ford, Richard. Women with Men
  • Davis, Lydia. Varieties of Disturbance
  • Humphreys, Helen. The Lost Garden
  • Woolf, Virginia. To the Lighthouse
  • Meyer Spacks, Patricia. On Rereading
  • Hay, Elizabeth. Alone in the Classroom
  • LaCava, Stephanie. An Extraordinary Theory of Objects
  • Attenberg, Jami. The Middlesteins
  • Gibbons, Stella. Cold Comfort Farm
  • Wodehouse, P.G. What Ho!: The Best of Wodehouse
  • Ford, Richard (ed.). Blue Collar, White Collar, No Collar: Stories of Work
  • Rourke, Lee. The Canal
  • Jansson, Tove. Travelling Light
  • Stein, Garth. The Art of Racing in the Rain
  • Pick, Alison. Question & Answer
  • Hay, Elizabeth. Small Change
  • Shields, David. How Literature Saved My Life
  • Atkinson, Kate. Life After Life
  • Ford, Richard. Canada
  • Wagamese, Richard. Ragged Company
  • Ferrante, Elena. The Days of Abandonment
  • al-Tahawy, Miral. Brooklyn Heights
  • Walter, Jess. We Live in Water
  • Moore, Lorrie. Birds of America
  • Saunders, George. The Brain-Dead Megaphone
  • Patchett, Ann. Taft
  • Murakami, Ryu. Coin Locker Babies
  • Kaufman, Andrew. Born Weird
  • Williams, John. Stoner
  • Hill, Miranda. Sleeping Funny
  • Hutchins, Scott. A Working Theory of Love
  • Haddon, Mark. The Red House
  • Schultz, Emily. Heaven Is Small
  • Tropper, Jonathan. The Book of Joe
  • Ferrante, Elena. The Story of a New Name
  • Baker, Nicholson. Traveling Sprinkler
  • Tóibín, Colm. Mothers and Sons
  • Franklin, Ariana. Mistress of the Art of Death
  • Sedaris, David. When You Are Engulfed In Flames
  • Hill, Miranda (compiler), Medley, Mark (compiler), and Wangersky, Russell (compiler). The Journey Prize Stories 25
  • Tropper, Jonathan. Everything Changes
  • Morley, Christopher. Parnassus on Wheels
  • Morley, Christopher. The Haunted Bookshop
  • Joyce, Rachel. The Unlikely Pilgrimage of Harold Fry
  • Austen, Jane. Emma edited by Bharat Tandon
  • Hay, Elizabeth. Garbo Laughs
  • Fitzgerald, Penelope. Human Voices
  • Moore, Lorrie. Who Will Run the Frog Hospital?
  • Snyder, Carrie. The Juliet Stories
  • Homes, A.M. This Book Will Save Your Life
  • Fagan, Jenni. The Panopticon
  • Gartner, Zsuzsi. Better Living Through Plastic Explosives