Author Archives: Tim Hall

Moderating Twitter

Twitter has a troll problem.

If you’re white, male, not a celebrity and don’t tend to say anything much that’s controversial, then blocking the occasional drive-by troll works perfectly well. If at least one of those things doesn’t apply to you there’s plenty of evidence that Twitter is a little bit broken and better blocking and moderation functionality is needed.

Twitter does have a function to report abuse, but I’m seeing complaints that it’s far too cumbersome, and that has a (possibly deliberate) effect of limiting its use. At least one person has noted that it takes more effort to report an account for abuse than it does for a troll to create yet another throwaway sock-puppet account, a recipe for a perpetual game of whack-a-mole.

In contrast, here’s the Report Abuse form from The Guardian’s online community. There is no real reason why reporting abuse on Twitter needs to be any more complicated than this.

Grainiad Abuse Report
And here’s dropdown listing the reasons. Not all of those would be appropriate for Twitter; “Spam” and “Personal Abuse” certainly are, the others less so.

Grainiad Abuse Report 2
While I approve of Twitter taking a far tougher line against one-to-one harassment, I am not at all convinced that more generalised speech codes are appropriate for a site on the scale of Twitter. Such things are perfectly acceptable and even expected for smaller community sites where it’s part of the deal when you sign up and reflects the ethos behind the site. Indeed, most such community sites are only as good as their moderation, and there are as many where it’s done badly as those where it’s done well. We can all name sites where either lack of moderation or overly partisan moderation creates a toxic environment.

But for a global site with millions of users the idea of speech codes opens a lot of cans of worms which ultimately boil down to power. Who decides what is and isn’t acceptable speech? Whose community values should they reflect? Who gets to shut down speech they don’t like and who doesn’t? I can’t imagine radical feminists taking kindly to conservative Christians telling them what they can or cannot say on Twitter. Or vice versa.

Better to make it easier for groups of people whose values clash so badly that they cannot coexist in the same space to be able to avoid one another more effectively. Yes, there is a danger of creating echo-chambers; as I’ve said before, if you spend too much time in an echo-chamber, then your bullshit detectors cease to function effectively. But Twitter’s current failure mode is in the other direction; pitchfork-wielding mobs who pile on to anyone who dares to say something they don’t like, overwhelming their conversations.

At the moment, the only moderation tool available to individual users is the block function, which is a bit of a blunt instrument, and is only available retrospectively, once the troll has already invaded your space.

There are other things Twitter could implement if they wanted to:

For a start, now that Twitter has threaded conversations, how about adding the ability to moderate responses to your own posts ? Facebook and Google+ both allow you delete other people’s comments below your own status updates. The equivalent in Twitter would be to allow you to delete other people’s tweets that were @replies to your own. If that’s too much against the spirit of Twitter, which it may well be, at least give the power to sever the link so the offending tweet doesn’t appear as part of the threaded conversation.

Then perhaps there ought to be some limits to who can @reply to you in the first place. I’ve seen one suggestion for a setting that prevents accounts whose age is below a user-specified number of days from appearing in your replies tab, which would filter out newly-created sock-puppet accounts. A filter on follower count would have similar effect; sock-puppets won’t have many friends.

Another idea would be to filter on the number of people you follow who have blocked the account. This won’t be as much use against sock-puppets, but will be effective against persistent trolls who have proved sufficiently annoying or abusive to other people in your network.

All of these are things which Twitter could implement quite easily if the will was there. But instead they seem more interested spending their development effort on Facebook-style algorithmic feeds.

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enkElination – Tears of Lust

enkElination - Tears of LustJust when it seemed that Valkyrie-fronted metal has reached saturation point, along comes Anglo-Finnish outfit enkElination to suggest that there’s life in the genre yet.

enkElination take their name from the Finnish word for “Angel”, and began in London back at the end of 2011 as a collaboration between opera-trained singer Elina Siirala and guitarist Shadow Venger. With a support for Van Canto and a slot at the prestigious Bloodstock metal festival in August under their belts, 2014 sees the release of their début album.

Although their music contains more than enough pomp enkElination steer away from the wall of sound approach taken by some of the more symphonic European bands, using even keys relatively sparingly. Instead the emphasis is on the guitars and Elina Siirala’s remarkable soprano voice. It’s all crunching riffs and big soaring choruses, and the songs are short and punchy, nothing longer than five minutes. Comparisons with Within Temptation and early Nightwish are inevitable, and there occasional moments that sound like Tarja fronting an early incarnation of The Reasoning.

Highlights include the dramatic title track that opens the album, the over the top melodrama of “Chimeras”, “Changeling” with echoes of Polish goth-metallers Closterkeller, and the closing ballad “Last Time Together”. But there’s no real filler on this album; the songwriting is both consistently strong throughout and displays plenty of variety. But it’s Finnish-born Elina Siirala who emerges as the real star. Displaying similarities to fellow-Finn Tarja Turunen, the power and range of her voice completely dominates the whole record. In an age where there are now plenty of metal bands fronted by opera-trained sopranos, she still manages to stand out in what has become a crowded field.

Even if enkElination aren’t really doing anything spectacularly new, the combination of some very strong songwriting, immaculate production and stunning vocals makes “Tears of Lust” a highly enjoyable album.

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Cambrian Coast Line Reopens

The new bridge at Pont Briwet (photo from Network Rail)
(Photo from Network Rail)

The Cambrian Coast railway is now re-opened with trains again able to run the full length of the line following completion of the railway part of the new bridge at Pont Briwet just south of Penrhyndeudraeth.

The entire line was forced to close following the severe storms in January. The southern section reopened in stages during the spring following repairs to the sea defences at Tywyn and Barmouth, but until now trains had been unable to run north of Harlech due to the ongoing bridge reconstruction work.

The reopening means that Porthmadog, Cricceth and Pwllheli are once again connected to the main line rail network, although it was still possible to reach Porthmadog via the narrow-gauge Ffestiniog Railway.

The fact that there was never any doubt over the line’s future says something abou the change in political climate towards rail over the past couple of decades. Back in the early 1970s the line was under thread of closure; indeed it got as far as closure notices posted at stations. At the end of the decade the future again hung in the balance as the mile-long Barnouth Bridge was being eaten by worms. But today, although it still runs at a loss, it’s recognised as being an important part of a regional economy that relies heavily on tourism.

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Opeth – Pale Communion

Opeth Pale CommunionOpeth’s eleventh studio album, “Pale Communion” has been one of the most anticipated releases of the year. Their last album, 2011′s “Heritage” ended up strongly dividing opinion. For every fan who applauded their exploration of new sonic territories there seemed to be another who bemoaned their move away from the metal roots.

If there is still anyone hoping for a return to the growly death metal of Deliverance, they are probably going to disappointed. For Pale Communion is a development and refinement of the direction expressed on Heritage. Only it is a far stronger album.

Like Heritage, it’s a swirling maelstrom of classic 70s sounds given a modern sensibility, Ã…kerfeldt’s evocative lead guitar style shares space with Mellotron and Hammond organ; there are bits of hard rock, jazz, pastoral folk-prog and what sounds like horror-movie soundtrack, sometimes in the same song. There is even one brief moment that evokes a darker and more sinister version of The Eagles.

But ultimately it still sounds quintessentially Opeth; Ã…kerfeldt’s very distinctive approach to melody and harmony shines through even though the instrumentation has a different emphasis compared to their metal past; more keys and layered vocals and less emphasis on guitar. There is a heaviness there, but it’s not so much the heaviness of walls of guitars as it is a kind of dark intensity. And it’s balanced by moments of delicate beauty; Ã…kerfeldt is still an absolute master of dynamics.

Pale Communion is best described as combination of the best elements of Heritage and their previous non-metal Damnation with a bit of Storm Corrosion thrown in for good measure. There is certainly something of the same feel as Steve Wilson’s recent solo work; since Steve Wilson’s and Mikael Ã…kerfeldt’s careers have been joined at the hip for well over a decade this shouldn’t really be any surprise. If Heritage was something of an experimental album, then Pale Communion is the results of those experiments. In some ways it is to Heritage what Pink Floyd’s “Meddle” was to the earlier “Atom Heart Mother”.

This is not only one of the best albums of 2014, but is every bit as good as anything Opeth have released in their career.

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Rent-Seekers : Michael Bolton on ISO 29119

In Rising Against the Rent-Seekers, testing Blogger Michael Bolton is under no illusions as to the real agenda behind proponents of ISO 29119. This particular observation is very, very telling:

If you want to be on the international working group, it’s a commitment to six days of non-revenue work, somewhere in the world, twice a year. The ISO/IEC does not pay for travel expenses. Where have international working group meetings been held? According to the http://softwaretestingstandard.org/ Web site, meetings seem to have been held in Seoul, South Korea (2008); Hyderabad, India (2009); Niigata, Japan (2010); Mumbai, India (2011); Seoul, South Korea (2012); Wellington New Zealand (2013). Ask yourself these questions:

  • How many independent testers or testing consultants from Europe or North America have that kind of travel budget?
  • What kinds of consultants might be more likely to obtain funding for this kind of travel?
  • Who benefits from the creation of a standard whose opacity demands a consultant to interpret or to certify?

It’s not exactly difficult to answer those three questions, is it?

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If a Dalek’s immune system is lots of tiny Beholders, are there little Gelatinous Cubes inside every Cyberman?

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I wonder what the internet would have looked like had micropayments for content been the default model rather than advertising? Had that happened, then I bet spam would have been far less of a problem.

Posted on by Tim Hall | 2 Comments

Calling time on the ice bucket challenge

I am sick of this ice bucket nonsense, I know I’m not the only one, and I can’t wait for it to die down. It’s like the mass hysteria following the death of Princess Diana, where half the country were caught up in it and the other half were left wondering if they were the last sane person left in the country.

I have even had to shut down all my social media accounts until the whole thing blows over. I know it’s all for charity, but despite all the money it’s raising there is something deeply disturbing about the whole thing. Many people seem to think that if something is for a good cause their methods should be above criticism. Others may be reluctant to voice their concerns publicly less they look like curmudgeonly party-poopers.

Well, bollocks to that.

The traditional means of doing stupid things for charity is to invite other people to sponsor you. Nobody should have a problem with that. But the ice bucket challenge doesn’t work like that.

It’s the coercive element to the whole thing that’s deeply troubling. Charity is supposed to be voluntary; it should be up to you to decide how much you can afford to give, and it should be up to you to decide which charities are most deserving of your support. Trying to force people to donate to a specific cause or face social sanction crosses a significant ethical line. The way supporters try to shout down any criticism makes it clear that this is an aspect they really don’t want to talk about. Unfortunately the “success” of the ice bucket challenge sets a dangerous precedent, and there’s a high probability that other charities will be tempted to take similar ethically-questionable approaches in the future.

Worse, the whole thing has nasty overtones of bullying, and I was getting the impression from my Twitter feed that quite a few people were being pressurised against their will. Performing acts of public humiliation for other people’s entertainment is fine for people with an exhibitionist streak, which explains its popularity with attention-seeking celebrities and cynical politicians. But for some of those who are more camera-shy the prospect of being “nominated” is genuinely frightening, and I know there are plenty of other people who have shut down their social media accounts for the duration.

If you’ve willingly made a public idiot of yourself by dousing yourself in ice-cold water, good for you. But if you’ve then pressurised anyone else into doing the same, refused to take an initial “No” for an answer, or threatened to nominate someone who know will hate it, then you are guilty of bullying. If this is really the case, it might not be a bad thing to ackowledge this and give a sincere apology to  your victim.

And if you read this and think it would be a “larf” to try and challenge me, you’re a dick. As Will Wheaton famously said, “Don’t be a dick”.

Comments are disabled on the post. I’m not really interested in a “debate” on the issue, and this post may well attract more trolls than I have the mental energy to deal with.

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Resonance Festival, Balham

Resonance Festival

The Resonance Festival held at the very beginning of August was a four-day charity event held in The Bedford in Balham, featuring bands from all aspects of the contemporary progressive rock scene, everything from the traditional and the neo to the avant garde. I couldn’t get to the first two days, the evening only events featuring Mostly Autumn, Also Eden and Lifesigns. But I did attend the all-day events of Saturday and Sunday where the three rooms played host to a wide variety of bands.

The biggest room, the magnificent circular Globe was booked for a comedy night on the Saturday, but it was still available during the afternoon. So that became the acoustic stage for the day. First up was looping guitar maestro Matt Stevens, conjuring tapestries of sound from a battered acoustic guitar and an array of looping pedals. He’s a familiar sight on the prog circuit having opened for just about everyone, but he’s still an entertaining performer no matter how many times you’ve seen him.

After The Far Meadow, whose competent neo-prog was spoiled by terrible sound, it was back to The Globe for a beautiful set from Luna Rossa, the acoustic duo of Anne-Marie Helder and Jon Edwards of Panic Room. They’re not “Panic Room unplugged”, but a completely separate side-project playing their own material rather than Panic Room songs. With Jon on piano and Anne-Marie adding some acoustic guitar and flute, their beautiful set featured songs from the album “Sleeping Pills and Lullabies”, a couple of interestingly-reworked covers, and one new number offering a tantalising glimpse of their second album that they’re currently part-way through recording.

Anna Phoebe and her band were the first all-instrumental act of the weekend. With lead instruments of violin and acoustic guitar for much of the set, they were the missing link between rock and gypsy jazz. Anne Phoebe is a stunning virtuoso musician with a dramatic stage presence to match.

Matt Stevens celebrated his birthday by returning to the stage a second time, this time in electric mode with a full band in the shape of The Fierce and The Dead. They’re not an easy band to describe, but their instrumental sound driven by interlocking guitars with a raw sound comes over as a kind of punk version of King Crimson. It was intense and Earth-shatteringly loud, and the audience staggered out of the room wondering exactly what had hit them.

Saturday ended with the symphonic majesty of The Enid. Much like their performance at HRH Prog back in March, the set mixed older favourites with newer material from “Invictia”, ending with a mesmerising “Dark Hydraulic” and a version of Barclay James Harvest’s “Mockingbird”. There is nobody else remotely like The Enid, and they, perhaps more than any other band embody the spirit of everything progressive rock is about.

So ended the first day, and that was just the highlights; there are also honourable mentions to Unto Us, who bravely playing their set with a laptop replacing their ailing drummer, and the avant-noise of Trojan Horse, a band with feet in enough different camps they do supports for the likes of post-punk veterans The Fall.

Sunday’s bill was a day of clashes between the various stages, made worse by timings going awry which made it easier to wander from stage to stage seeing what sounded interesting rather than planning things too much in advance. Early bands included Rat Face Lewey, a very young power trio, at times verging on punk, at others playing some more melodic guitar lines, and Hekz with their strongly song-focussed prog-metal. Vocals are often the weak link in prog-metal, but Hekz’ Matt Young had quite a remarkable voice.

Maschine were the first band on the main stage, now in its rightful place in The Globe, and started late because of technical problems. Although to some extent they’re a vehicle for Luke Machin’s virtuoso guitar playing, there’s some solid composition behind all the flash. They’re the missing link between prog-metal and jazz-fusion. Quite a bit of their entertaining set was new, as yet unrecorded material alongside highlights from their début “Rubidium”. They’re not quite the same without Georgia, though.

King Bathmat were actually three-quarters of King Bathmat, since they were without their keyboard player and played as a power trio. In such a stripped-down form they sounded like a completely different band than they do on record, but nevertheless did make a strong impression, dominated by John Bassett’s psychedelic lead guitar. Because the two sets clashed I only caught the end of Synaesthesia’s set, but what little I heard it seemed like their set was something special indeed, a remarkable combination of youthful enthusiasm and compositional maturity well beyond their years.

Mr So and So turned out to be one of the unexpected highlights of the weekend, with a really powerful performance. They’re a band representing the song-centric side of things with distinctive use of dual male-female lead vocals. Their set was tight and intense with both guitar crunch and soaring melodies, with Charlotte Evans giving a very strong vocal performance, and some tremendous shredding from Dave Foster.

Former Enid guitarist Frances Lickerish threw a complete curveball and had to be the strangest act of the weekend. He started out playing some solo instrumental pieces on, of all things a lute, before being joined by vocalist Hilary Palmer for some genuine medieval songs. It seemed like folk’s revenge for Prog taking over Cropredy this year, and made Blackmore’s Night look like the Dungeons and Dragons parody it is. He even played a few bars of Smoke on the Water. On a lute.

At this point things started to go really pear-shaped. Swedish proggers Änglagård, making a very rare UK appearance were due on the main stage at 6:30. But despite already being allocated a two-hour setup time, they were nowhere near being ready to go at the scheduled time, and were ultimately well over an hour late, throwing the rest of the timings into disarray. I appreciate that a band relying so much on temperemental vintage gear (including two Mellotrons) might suffer from technical problems. But I was told the exact same thing happened last year at Night of the Prog at Loreley, which makes we wonder if a band like this should really be playing festivals at all.

The delay did give the chance to check out the other two stages, with some in-your-face metal from Jupiter Falls, and an entertaining unplugged set from 70s veterans Gnidrolog. Änglagård finally did hit the stage very, very late with their largely instrumental and very retro classic prog sound. It was a swirling mix of flute, Hammond, Mellotron, Fender Rhodes, saxes and an array of percussion instruments including a massive gong. All very heady stuff, although there was always the nagging doubt at the back of the mind that this was all a Spinal Tap style parody of prog excess.

Headliners Bigelf came on very late, and played a truncated set despite the hastily extended curfew. But it all proved worth the wait, and they blew everyone away, sounding like a cross between The Crazy World of Arthur Brown and early Queen. Few people in the prog world have such a magnetic stage presence as frontman and keyboard player Damon Fox. He completely dominates the stage, playing a Hammond B3 with one hand and a Mellotron with the other while singing lead at the same time. With a setlist drawn heavily from “Cheat the Gallows” and “Into the Maelstrom” they bought the festival to a spectacular if somewhat belated close.

Resonance was an entertaining festival, and the variety of acts covered almost all corners of progressive rock’s increasingly large tent. The only failing was that the whole thing was probably a little over-ambitious with three stages and far too many bands to be able to see everyone. One thing that amused me was the way the bar kept running out of real ale; did nobody tell them what prog fans drink?

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Empty Yard Experiment – GHHR‬

Track from the multi-national prog-metal band with a big following in the middle-east. Prog metal is not just a European and American thing. Their album “Kallisti” is released on September 29th.

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