blogspot visitor
Generally Recognized As True: 2017

Sunday, May 07, 2017

Ableton Live - 20170507

More messing around with Ableton Live. This is mainly using the core instruments and plugins, with some help from NI Massive.

13 Reasons Why, Hand Cannot Erase, and suicide

13 Reasons Why

I've just finished watching Netflix's "13 Reasons Why", which tells the fictional tale of a high school girl's suicide and the events and people that led to what seems like the very well-considered decision to end it all. Each of the 13 reasons are given one side of an audio cassette tape each. In that way, it's very much like a modern-day retro suicide note. A very long one.

The drama as presented was excellent. As I imagine was intended, it raises a lot of questions about suicide and what it means to you that I don't think have concrete answers. The girl in the story is extremely sensitive, is sometimes inconsistent, and misinterprets some events. She perhaps expects too much of people that she is not close with and doesn't open up enough to the people that would really care. The main "reasons" are largely corroborated, however, because the protagonists are also inconsistent... and, rather than being mistaken, some of them lie. These imperfections are ultimately the things that bring the story to life.

Reading through the user reviews, as I often do after the fact, exposes these conflicts quite clearly. It is hard to answer these questions honestly without resorting to self-stroking, impractical platitudes. Questions such as:
  • If you act against someone in a way that wouldn't cause most people to commit suicide, is that sufficient enough to excuse having done it?
  • Is every suicide worth trying to prevent, or are some inevitable because some people just don't fit in the society they've been forced into (and never will)?
  • Do we care about what it is about society that leads to suicide, or should we focus on treating it? And do we respond differently if someone contributed significantly to their own downfall?
  • Do we really have the resources to guard against any or all of this given the potential for so many false-positives? And if we do, is it a good use of resources?
These kinds of questions are relevant to other types of modern-day situations that didn't seem to exist in the past, as we move along with the program of defining our special nature by our consumer preferences, salted with boutique disabilities, intractable proclivities, and sprouted mental health issues. While simultaneously living in the most prosperous society that ever existed.

When the majority allegedly have problems needing attention, then no-one does. The people with real problems get drowned out by the noise from people wanting attention and from other people wanting to make a career out of distributing funding to help them. I think this is the central problem of social program funding and prioritization in general.

I didn't have problems in high school, but the caricatures were so familiar. They weren't, in fact, caricatures. Whether in "13 Reasons to Live" or in your own high school, you could pick out many of the future leaders. They were the ones that got away with it, largely unconflicted by conscience, aware of who was watching at any given time, and looked upon affectionately by the administration who liked what they did for the school. They knew that the game was played by giving your overseers (school administrators) material to promote their own narrative or agenda and that quality or integrity didn't really matter as long as the real rules of the game were followed. They were sure of that. Yet they would deny in public that they were aware of this. As I said, they were unconflicted.

Hand. Cannot. Erase.

While working my way through "13 Reasons Why", I was reminded of Steven Wilson's "Hand. Cannot. Erase." album from 2015. Largely because I am vastly impressed by its author, I spent a lot of time with this album over the last couple of years. The album was very loosely based on the backstory dramatized by the 2011 documentary "Dreams of a Life", which describes the circumstances around the death of a woman alone in her apartment in 2003. While that unfortunately sounds quite pedestrian, the caveats are that the woman was an attractive younger woman that had people who knew her, yet nobody knew she had deceased until 3 years after it had happened. She was found sitting in front of the television near a pile of unopened gifts.

"Hand. Cannot. Erase." is not directly associated with that story, but is inspired by it. It is a musical and lyrical compendium of circumstances, experiences and "reasons why" that lead to the inevitable end for this woman in a somewhat later stage of her life than was the girl in "13 Reasons Why". However, lyrical passages like the following are directly relevant:
When the world doesn't want you
It will never tell you why
You can shut the door, but you can't ignore
The crawl of your decline
There are a number of carefully-crafted music videos related to this album that are worth looking up. One in particular is "Perfect Life":

Mental illness

As a closing comment, suicide is often linked to the creeping, crawling, and fluid notion of "mental health". The suggestion is that people who commit suicide are mentally ill and that they need to be returned to health in order to not feel suicidal. This undoubtedly applies in many cases. But when the world repeatedly tells you that it doesn't want you, that you just don't fit, and doesn't value what you have to offer, is it perhaps fair to say that suicide is a rational or healthy response in some circumstances?

It's extremely easy to be reactionary to a question like that. But if you believe that mental illness is real and its cause elusive; if you believe that people in terminal illness and significant physical pain should be allowed to make life-ending choices; and if you believe that psychological pain can be as bad or worse than physical pain, then you need to have an honest discussion with yourself before answering.

Sunday, March 26, 2017

Uber autonomous vehicle accident and self-driving cars in general

An Uber autonomous vehicle accident on Fri Mar 24th has caused a suspension of their autonomous vehicle program for the time being.

I've always been a skeptic of the promise of autonomous vehicles. But not because of things like this - there have been relatively few autonomous vehicle accidents, all things considered.

I think that the promise of fully automated door-to-door transportation will be realized as something much more diluted. And then we'll probably collectively pretend that what we got is what we wanted all along (similar to how GPS delivered a watered-down version of the self-piloting flying car - we're not talking about the flying car part anymore).

I think we'll get some interesting and beneficial crash avoidance and safety-enhancing features as well as some new takes on cruise control coming out of the technologies involved in autonomous driving; and I think we'll get some closed-circuit autonomous vehicles that work within a defined and well-mapped/instrumented areas or road lanes in the public realm. These types of vehicles already exist in industrial settings, and existing semi-autonomous vehicles like planes work in a controlled airspace where they will only encounter other trained professionals driving ridigly-maintained vehicles.

But I also think that we'll quickly realize that automated driving only really works when you can fully rely on it to take full control, rather than requiring tentative ongoing attention from a human driver to take over at any given time. Some car companies are always working on this assumption (others are not).

One big problem with fully automated driving is that you need to be perfect and there's no room for the 80/20 type of approach that so much other automation depends on to add value, where the automation does 80% of the work and leaves 20% of the automation failures and/or work that can't be done by the automation to be highlighted and shuffled off to human workers for completion. This speaks to the vast majority of automation. It's why existing semi-automated vehicles (i.e. planes) are manned by redundant (pilot and co-pilot), highly-trained professionals.

Automated vehicles need to be consistently and overwhelmingly better than human drivers, because what you need to convince people of is that the car is a better driver than them and not just better than the average. People don't see themselves as average, and there are truly good drivers that never get themselves into "accidents" and awful drivers who leave a trail of destruction behind them.

To have any chance of success, assuming we get near to the fully-autonomous capability regardless of climate, terrain, or road condition (again, I remain a skeptic), I don't see this happening without:
  • Mandatory maintenance schedules to ensure mechanical soundness of the vehicle and operation of the autonomous equipment (again, as with existing semi-autonomous vehicles)
  • Refusal of the vehicle to operate in certain conditions (i.e. poor weather)
  • Clear rules on liability when accidents occur, not involving the human driver.
It's starting to look more and more like this autonomous vehicles need to become a fleet-based service that you use on a pay-as-you-go basis rather than something that anyone owns. Hence Uber's involvement, I suppose.

Aside, I don't know what type of successful, advanced automation people look in their day-to-day lives to as a sunny reference point when they expect autonomous vehicles to become a rapid and unqualified success. My microwave still can't cook my food to perfection. I still need to cut my own lawn. Above-grade rail is still mostly run by humans yet operates in a restrictive, controlled environment. Shouldn't those be easier nuts to crack?

And we haven't even talked about the unions yet.

Saturday, March 25, 2017

Let's just call it... 20170319

I continue to be impressed by the complexity and potential of tools like Ableton Live (and I am quite late to the game in appreciating this - having grown up with Cakewalk). I'm still quite early on the learning curve, but here's something I put together using Ableton Live and Komplete 11.

Sunday, February 05, 2017

If 20% of Ontario car owners drove electric cars to work every day...

If only 20% of Ontario cars owners drove electric cars to work every day, it would make such a difference in reducing our oil consumption and carbon footprint.

Great idea - I agree!

So, what would that look like?
Unfortunately, Ontario only produced about 17,000,000,000 watts at its peak for the overnight period 8:00pm last night to match consumption.

So, to maintain current consumption and add the load of 20% of Ontario vehicles charging overnight, we'll need to bump overnight generation by 62% to support our goal. Ontario has that capacity, but would likely not generate it at current overnight rates as more expensive generation would need to be activated to get there, so it potentially turns the overnight period into "peak consumption" period.

Unless you think the world will never run out of affordable oil or gasoline (I don't know what you'd reference to support this), shouldn't this be enough to convince most people that we need to deal with this problem, and that it might be better to look at our living/working arrangements to remove the car from the equation as much as possible?

Sunday, January 29, 2017

HMV Canada bankruptcy and thinking about digital music and Spotify streaming

HMV Canada's bankruptcy

Even if you regularly visited their stores, I think you knew it was only a matter of time until they weren't there anymore. It's now been confirmed as HMV Canada prepares to shut down its remaining stores in the first half of 2017.

I'm quite disappointed about this, but I don't think that anyone could call it sudden. It's has been like awaiting the closing chapter of a terminal illness.

I visited the HMV at 333 Yonge in Toronto quite regularly until they recently removed its "find in store" feature that let you know if something was in stock before going there, which made a 40-min roundtrip walk a bit riskier than it would have been otherwise. I'd often use this feature in the past to see if what I was looking for was in stock at that store or at the nearby Eaton Centre store (which already closed its doors in December 2016). And if it was in stock, I'd pay a bit more than it cost to be delivered to my door from Amazon to walk over there and buy it.

It's nice to have memories of physical acquisition associated with some of your favourite music, and gifts somehow seemed a bit more personal if you took the time to go and hand-pick the album you thought they'd really like. It's been a long time, however, that I've used a music store for discovery. The few times over the past few years that I've taken a chance and bought music based on browsing in HMV without hearing it first, I have been disappointed.

And, more recently, it felt like HMV didn't really want to sell you music quite as much as they used to. They wanted to sell you pop culture references and fee-based loyalty programs - similar to how you get the sense that Best Buy doesn't much value you buying a TV from them because they don't make money these days until you buy the extended warranty.

Digital music

I listen to a lot of music - whether at home, in transit, or in the car, I often have something playing. And I've always bought the music I like. So much goes into the production of music that I can't imagine doing it any other way and feeling good about it.

And, I like looking at a wall of CDs, but they long ago exceeded my carrying capacity. And mainly for this reason, I started buying digital music a couple of years ago and saved the CD purchase for the times when it was a particularly special album.

More recently, I've also added Spotify to the mix as a discovery tool. It's an incredible platform but I'm not fully comfortable with what it represents.


There's a lot to like about Spotify:
  • Great for discovering new music through dynamic personalized playlists
  • Nice selection of curated playlists organized around genres or moods
  • Recommendations get better the more you use it
  • Very good for finding "that song you heard 15 years ago that you just remembered and want to listen to again".
  • Reasonable compromises for unconnected (offline) listening.
But also some significant downsides:
  • It seems to encourage and emphasize the new. There's only so much music I can listen to - especially if it's really good music that encourages repeat listening.
  • It's hard to argue that using Spotify compensates lesser-known artists well, though I'm sure record companies and some big names are quite well-compensated.
  • It seems that you get the best use of Spotify in terms of recommendations and discovery if you use the Spotify platform to listen to all of your music (rather than mixing it with music you've purchased off the platform).
And some disappointments:
  • If you believe the Spotify charts, the whole world is now listening to pretty much the same music. Which makes the multitude of international charts a bit redundant.
  • So much of the new is new only in name and not in sound, melody, production, or concept. Listening to the "new pop music" playlists is almost like listening to different remixes of a archetypal song that came out 2 years ago. It has always been this way to some extent, but these new remixes of 2-year-old music now happen weekly, and in large volumes!
  • It seems to more recently be encouraging the release of singles over albums. I'm a fan of the thoughtfully-constructed album. But this is somewhat compensated for by the return of vinyl, which has led to many albums being edited down to a 30-45 min length back from the 60-70 min that came in with the original migration from vinyl to CD. For one reason or another, I like the focus of many of these shorter albums.
Because of this cornucopia of "issues", I've developed the pattern of trying out new music on Spotify. If I really like the album, I buy it digitally or on CD depending on how great it is. Doing it this way, the artists gets compensated more fully, and I can still use the platform for its very valuable discovery angle.

The downside of doing this is that I don't listen to the music I like the most on Spotify in volumes  that lets Spotify know that I really like the music. All of those repeated listens after buying the elsewhere don't help the service understand what I like and thereby improve its recommendations.

And because of this mixed-use, it does make me wonder if I'm wasting my money. On the other hand, I've avoided buying albums that I might have bought and only listened to once or twice, so it's probably of net-benefit.

With all of that said, I've largely relegated Spotify to the role of "discovery platform". I can only listen to so much music. And the artist getting compensated fairly is more important than me being able to find even more music than I have time to listen to.

I will miss HMV, but as with many deceased musicians, I really lament the passing of the HMV that existed 15 years ago in the ecosystem that existed 15 years ago than the one whose elegy I am writing today.