Twitter and those 10000 character Tweets

Twitter is allegedly going to introduce 10000-character Tweets, and a lot of people do not like the idea at all.

As the old saying goes, The Devil is in the details, and a lot depends on exactly how they implement this and how people subsequently use it.

A lot of people are assuming a worst-case scenario; that Twitter are simply going to extend the maximum Tweet length and clumsily shoe-horn the results into the existing user interface. That would have the effect of destroyed a lot of Twitter’s unique identity and make it indistinguishable in many ways from Facebook or Google+. The user experience will be degraded a lot if you end up having to click “more..” on every other Tweet just to see that last two or three words. Or worse, if your entire screen is taken up by the sort of rambling poorly-formatted stream-of-consciousness screeds you frequently see on Facebook.

A better and more likely scenario might be a space for occasional longer-form content along the lines of a native rival to Medium, something that can be attached to a Tweet and displayed when you expand it much like pictures are handled now. James Worrad explains why he considers that could be a good thing; there is a place for longer-form content, but not everyone has the time and inclination to set up a blog especially for it, especially if they only post to it occasionally. It’s not something I have any need for, since I already have a blog. Anything I can’t express in 140 characters goes here rather than on Twitter.

But ultimately the brevity and succinctness enforced by Twitter’s existing 140-character limit is fundamental to Twitter’s identity. The user experience and the user interfaces of the various apps are built around a stream of small bite-sized pieces of information, and that’s actually what the bulk of the user base loves about the service. It’s not something that should be messed with lightly.

140-character Tweets and longer-form blog posts are really two quite different things. They have very different life-cycles; it’s common to see links on Twitter to blog or Medium posts from months or even years before if the content is still relevant. In contrast, the life-span of most Tweets can be measured in hours if not minutes.

Nobody knows precisely what Twitter are going to do. They’ve done unpopular things before, most notably the way they cut off so many third-party clients that had been crucial to Twitter’s early growth. They’ve done things that have had unforeseen longer-term consequences to Twitter’s culture before; I still think the worst toxicity of Twitter was encouraged when they introduced the Retweet. They’ve done things that degraded the UX before; look at the way inline images have encouraged mindless sharing of low-quality but emotionally-appealing content generated by sleazy meme-farms at the expense of intelligent conversation.

Those things are the reason why so many people are willing to imagine the worst and don’t trust Twitter not to screw things up.

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Cambridge Rock Festival announces first bands for 2016

The Cambridge Rock Festival, which takes place over the weekend of 4th to the 7th of August, have announced the first few bands for 2016.

Bands confirmed so far include Cregan & Co, The Mentulls, “who play the blues with a progressive twist, inspired by Camel and Focus”, Doris Brendell and Malaya Blue on Friday.  Saturday’s bill will include Carl Palmer, Hazel O’Connor, Hekz, the legendary Pink Faries, and local band Derecho. Sunday sees Focus, Curved Air, Purson and Anglo-Argentine band Yossarian.

There are quite a few more bands still to be announced, and hopefully we’ll see a few of the “regulars” added. It’s an interesting-looking bill so far, with what looks like a greater emphasis on both blues and progressive rock. There are a few regulars who have played CRF several times in the past, but there are also plenty of new names, including one or two who are long overdue.

Tickets are available now from the Cambridge Rock Festival website.

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Carbon Fibre is Misogynist!

Just when you thought Goldsmith’s College couldn’t get any weirder, here’s an academic paper claiming carbon fibre is misogynist. The link surfaced on Twitter after its author got into an online fight with Richard Dawkins, which sounds like the sort of fight you want both sides to lose.

It’s been suggested the whole thing is a Sokal-style hoax, but I’m not sure. Poes Law and all that.

In this paper I am concerned with instances in which carbon fiber extends performances of masculinity that are attached to particular kinds of hegemonic male bodies. In examining carbon fiber as a prosthetic form of masculinity, I advance three main arguments. Firstly, carbon fiber can be a site of the supersession of disability that is affected through masculinized technology. Disability can be ‘overcome’ through carbon fiber. Disability is often culturally coded as feminine (Pedersen, 2001; Meeuf, 2009; Garland-Thompson 1997). Building on this cultural construction of disability as feminine, in and as a technology of masculine homosociality (Sedgwick, 1985), carbon fiber reproduced disability as feminine when carbon fiber prosthetic lower legs allowed Oscar Pistorius to compete in the non-disabled Olympic games. Secondly, I argue that carbon fiber can be a homosocial surface; that is, carbon fiber becomes both a surface extension of the self and a third party mediator in homosocial relationships, a surface that facilitates intimacy between men in ways that devalue femininity in both male and female bodies. I examine surfaces as material extensions of subjectivity, and carbon fiber surfaces as vectors of the cultural economies of masculine competition to which I refer. Thirdly, the case of Oscar Pistorius is exemplary of the masculinization of carbon fire, and the associated binding of a psychic attitude of misogyny and power to a form of violent and competitive masculine subjectivity. In this article I explore the affects, economies and surfaces of what I call ‘carbon fiber masculinity’ and discusses Pistorius’ use of carbon fiber, homosociality and misogyny as forms of protest masculinity through which he unconsciously attempted to recuperate his gendered identity from emasculating discourses of disability. Ph’nglui Mglw’nafh Cthulhu R’lyeh wgah’nagl fhtagn

Ok, so I added the last line :)

But surely if H.P.Lovecraft was writing today, his equivalent of The Esoteric Order of Dagon wouldn’t be a Presbyterian sect that had gone off the rails, but would be located deep within the humanities department of a second-rate university.

Has the author wandered so far down the postmodernist rabbit-hole that many, many, SAN rolls have been lost?

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Star Wars Monopoly: The Thing That Should Not Be

Star Wars Monopoly.There’s a Star Wars edition of Monopoly, and there is controversy of the absence of the new film’s female lead, Rey

It’s a legitimate complaint, of course. But there’s a another issue too. Star Wars is all about lightsabre duels and space dogfights. What does it have to do with a board game about property speculation? Especially such a dreadful one?

Monopoly is an awful stupid game that has almost certainly done more than any other game to put generations of people off boardgames for life. It needs to die. It persists because people who themselves do not themselves play boardgames keep buying it as Christmas or birthday presents for their grandchildren or great nieces and nephews out of misplaced nostalgia for their own childhoods.

With the notable exception of Scrabble, that’s probably true of a lot of older household-name family boardgames. Boardgames have evolved tremendously in recent year, and games like Settlers of Catan or Carcassonne are superior in just about every possible way. But out of all those supposedly ‘classic’ games, Monopoly is still by far the worst of the lot.

The world does not need a totally cynical Star Wars tie-in edition.

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Karnataka announce 2016 tour

Karnataka have announced an extensive tour across April, May and June covering much of the UK as well as dates in The Netherlands, Belgium, Germany and Italy, promoting their highly-aclaimed album “Secrets of Angels”.

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What was the last album you bought from an artist that was new to you, purely on the basis of a personal recommendation, without having heard it first?  Leave your answers in the comments.

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Now they’ve discovered four new elements and filled the seventh row of the Periodic Table, two of them ought to be called Iommium and Lemmium. Because they are all both heavy and metal.

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In a lacerating blog post, Troy Hunt asks how are websites still screwing up these user experiences?!. Almost all these horrors are related to monetising the sites; examples of how websites are locked into a zero-sum game with each other and end up in a race to the bottom.

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“A fight between the childish politics of the 1970s and the equally childish politics of the 1950s” – The best description of the culture wars in science fiction fandom I’ve yet seen.

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2015 in Live Music – Ten of the Best

Touchstone Farewell Gig

It’s harder to rank gigs in any kind of order than it is for records, since you can’t relive a one-off experience. These ten are those which have particularly stuck in the mind, and there is probably a bias towards the end of the year since those are freshest in the memory.

The Marillion Convention

There is nothing else quite like the fan conventions Marillion hold every other year. They see the band perform seven hours of music over three nights including a lot of rarely-played material, all before an audience of fanatical hardcore fans. This year’s was no exception, the highlight of which was the double album “Marbles” played in full on the Saturday night.

The Session at The Swansea Jazz Festival

One cannot live on prog alone, so The Swansea Jazz festival is always a good opportunity to explore something outside of the usual comfort zone. Some sets had far too many bass solos, but this New Orleans-based quintet were the undoubted highlight, with a frontline of sax and trumpet. The first solo from trumpeter Steven Lande was like hearing a really good blues or metal guitarist cutting loose.

Ramblin Man Fair

My first open air festival since High Voltage in London a few years back took place in leafy Maidstone. Saturday saw great sets in the sunshine from Touchstone, Blue Öyster Cult and the legendary Camel, the only disappointment being the lacklustre phoned-in set from Dream Theater. But the musical highlight was much of Sunday, with a bill beginning in the rain with Anna Phoebe, Knifeworld (“Excuse me while I towel down my guitar”), The Pineapple Thief and Riverside, and ending in a mesmerising set from headliners Marillion after the clouds cleared and the moon came out.

King Crimson at Hackney Empire

The unexpected emergence of a new incarnation of King Crimson didn’t disappoint in the slightest, and the seven-piece lineup with three drummers went from intense improvised jazz-metal workouts to fresh interpretations of the stately magnificence of their 70s classics. Some too-cool-for-school mainstream critics just didn’t get it at all, but it was their loss; the set included superb performances of some of the greatest music of the 20th Century, and that’s not something you say lightly.

Steven Wilson at The Royal Albert Hall

In terms of profile, Steven Wilson stands head and shoulders above any other contemporary progressive rock act, able to sell out venues that are otherwise the preserve of the 70s legends of the genre. I made the mistake of booking for just one of the two nights rather than both, for the sets were completely different. So I didn’t get to see the bulk of “Hand. Cannot. Erase.” played live, but did see Porcupine Tree classics and an intense “Raider II”. It was still an amazing experience.

Gazpacho & Iamthemorning at Islington Academy

I got wind of this gig via a fan of Iamthemorning who was wondering aloud if headliners Gazpacho were worth seeing live. Both bands turned out to be mesmerising; the way you could have heard a pin drop during the acoustic support act really says it all, and the headliner’s absolute mastery of atmospherics managed to outdo even Marillion. Progressive rock needs more violins.

Gloryhammer at Islington Academy

One support band of 2015 deserve a mention. Scotland’s heroes were special guests to Finnish power-metallers Stratovarious, and it’s been a while since I’ve seen a support act so completely outclass the headliners. They has better songs, better stagecraft, and a level of fire & passion that the headliners completely lacked.

Public Image Limited at Reading Sub89

The artist formerly known as Johnny Rotten has still got it, and his singing style is totally unique. The other three quarters of PiL are tremendous musicians; a tight rhythm section and always inventive guitarist in Lu Edmonds meant that you spent as much time listening to the bass grooves or the guitar lines as the vocals. It’s a long way from classic rock, but it’s got more in common with the avant-garde end of progressive rock than you might think.

Touchstone & Magenta at Leamington Assembly

The farewell show for Kim Seviour and Rob Cottingham pulled a packed crowd to the magnificent central England venue. Because Kim had suffered a throat infection days before they gig, they added former Mostly Autumn singer Heather Findlay to the band as cover, and the band turned into a kind of heavy metal ABBA. It certainly brought a triumphal close to one chapter in the Touchstone story. And that’s before any mention of special guests Magenta, with a performance strong enough have been in this list in its own right.

Mostly Autumn at Leamington Assembly

Rather than their customary multi-date Christmas tour, Mostly Autumn decided to end 2015 with a single showcase gig in a central venue, what an event it turned out to be. Five hours of music included remarkably varied acoustic set that featured Angela Gordon singing lead at one point, a mesmerising but all-too-short set from violinist Anna Phoebe, what was probably the last full performance of “Dressed in Voices”, a Mostly Floyd set that was far, far better than any sceptics expected, and those traditional Christmas covers. And stunning versions of the rarely-played “The Night Sky” and “The Gap Is Too Wide”.

Those were just some of the many highlights of a great year of live music. Honourable mentions to Panic Room, Karnataka, Chantel McGregor and Luna Rossa, which have featured in this blog a lot, and to New Model Army and Lazuli, both “new” to me in terms of seeing live.

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