Yellowcard: Silent Lights and Sounds

Yellowcard: Lights and Sounds CD cover

Stu­pid DRM. My com­puter, of course, gets around the copy pro­tec­tion on this CD instantly. My DVD player (which I use as a CD player: shut up Steve, CD play­ers don’t sound a-few-hundred-dollars bet­ter, so I don’t care! ;-) ), on the other hand, can’t play the damn thing. As of right now I’m rip­ping it to my com­puter (loss­lessly with FLAC) and will have a pres­tine, non-DRM copy on a burnt CD for my use in a mat­ter of minutes.

And if a friend ever asks if they can bor­row my Yel­low­card CD (bought on a whim know­ing only one of their songs, I’ll add), I’ll be sure to lend them the ver­sion that works bet­ter: The one I burnt myself, with­out your stupid-arse soft­ware all over it.

Oh, yeah, and I’ll hes­i­tate to pur­chase EMI CDs in the future. All other DRM-encumbered crap I’ve bought in the past has at least had the cour­tesy to work in my DVD player (this one made detec­tion take ages, then picked it up as a VCD with wierd timecoding) — this is the bar­rier at which point it becomes infi­nitely eas­ier to use Peer-to-Peer than buy things that look like they might be inter­est­ing in a CD store.

With phys­i­cal media, I can (read: should be able to) toss it in any­thing and expect it to work instantly (no rip­ping required, etc.).

And, you know, if I wind up using Peer-to-Peer for this kind of stuff, my loss­less (yeah, that’s CD qual­ity, not MP3 junk) audio col­lec­tion will be shared back with the rest of the world. Yes, even the CDs you make it harder for me to use legit­i­mately. I will fig­ure out a way to get them onto my com­puter (or some­one else will with another CD), and I will use shar­ing net­works if scum­bag con­tent providers pro­vide me with suf­fi­cient impe­tus to do that.

(Inci­den­tally, if any­one wants to bor­row a non-DRM-encumbered Yel­low­card CD…)

SoundConvert 2.0

I posted sev­eral months ago on con­vert­ing ACT files recorded on an MP3 player to some­thing read­able on a com­puter. It’s prob­a­bly with­out com­pe­ti­tion the most-read and commented-on post on this site: there are many peo­ple out there who are look­ing for a tool to do this. And it seems that the ACT files gen­er­ated by newer MP3 player devices aren’t com­pat­i­ble with the older convertors.

So, one of the read­ers, Phil “Mum­bles”, dis­cov­ered a tool that works for this stuff. He’s sent me the file after hav­ing cut it down from 8MB for a few apps to under 300KB for the just new sound con­ver­tor tool.

You can down­load it here — please post if it works or doesn’t work with your MP3 player/recorder so that other peo­ple look­ing for infor­ma­tion on their device can find it.

One clos­ing note from Phil:

and BTW,

It appears to hang if you don’t let it run its course (gives a not respond­ing msg). the “hang” grows accord­ingly with the .act file size.

Cheers

Phil

# by Josh on September 30th, 2005 Tags: , , ,
| 133 Comments »

Ansearch answers

All had been quiet on the Ansearch front as I awaited a response from Ansearch CEO Dean Jones, promised a hair under two weeks ago when I alluded to an ear­lier analysis/criticism I’d writ­ten when talk­ing about the state of play with Aus­tralian search engines, specif­i­cally refer­ring to the then-newcomer Ansearch.

Dean picked up my post via Tech­no­rati, a blog search engine that uses RPC update ser­vices to track what peo­ple are talk­ing about in real-time. I was suit­ably impressed by this dili­gence and appar­ent desire to hear what the mar­ket has to say about their prod­uct: could this be the same com­pany whose birth was so marred by a spat of cyber-squatting, in what Dean Jones was reported to have described as a fit of “youth­ful exu­ber­ance”?

Appar­ently so. Ansearch’s begin­nings, though marred by dubi­ous prac­tices1, received praise from var­i­ous quar­ters of the main­stream press — or, at least, those quar­ters not con­trolled by News Corp, whose domains had come under threat. How­ever, the Inter­net com­mu­nity responded qui­etly, and those voices that were heard were mostly of dis­dain at Ansearch’s domain practices.

Strangely enough, my orig­i­nal post wasn’t about any of that. I hadn’t heard of Ansearch until I read an arti­cle on them in the SMH — an arti­cle which reads a lit­tle too much like a rehashed press release for my lik­ing: the tell­tale sign is in the clos­ing sen­tence “Ansearch is the search engine divi­sion of Optum Ltd.” — if it were filed in the Busi­ness sec­tion of their paper, I’d under­stand, but it wasn’t.

I wan­dered over to their site, played around for a bit, and decided their offer­ing was mediocre. In hind­sight, it prob­a­bly didn’t help that I wasn’t shop­ping for any­thing in par­tic­u­lar — accord­ing to a ZDNet arti­cle, “In the short term [Ansearch] is focus­ing very heav­ily on the com­mer­cial end of the market.” — but at that point in time, I also don’t think they’d tuned their list­ings par­tic­u­larly well, as a search for Dash­Lite turned up my Word­Press hack over com­mer­cial list­ings for the actual Dash­lite brand I inad­ver­tantly used.

I say “at that point in time”, because it appears to have sub­stan­tially improved since, as per Jones’ claim: “Much has changed since your first arti­cle on us some 6 months ago.”

Much improved, it seems, on sev­eral fronts. Their core offer­ing has shaped up nicely, and some facets of my ini­tial com­plaints regard­ing acces­si­bil­ity have been met. Their ancil­lary prod­uct offer­ings seem to have devel­oped nicely: Ansearch CEO Jones claims “Each of [our prop­er­ties] goes through up to 7 stages rang­ing from an ini­tial, sim­ple SERP/Directory style page through to a more involved ser­vice, mini por­tal, search tool, etcetera.” He went on to say that these ancil­lary prop­er­ties (such as http://www.picsearch.com.au/, http://www.videosearch.com.au/, http://www.thefreedictionary.com.au/ and http://www.messengers.com.au/ amongst sev­eral oth­ers) are cur­rently being actively sep­a­rated from the core Ansearch site (he described it as “quar­an­ti­ning”), and the exact direc­tion of a num­ber of these projects would become clear over the com­ing months, with the appoint­ment of a full time man­ager of these online properties.

I’m a tad con­cerned about his descrip­tion of their strat­egy with regard to these — he said this would become clear over the months to come, and I’m hang­ing off two words here: dis­trib­uted por­tal. Whilst I can see this as being of value to users (espe­cially for generic, non-brand-specific/legally dubi­ous domains such as jokes.com.au and the ones listed above), it doesn’t seem to fit Ansearch’s core strength as I per­ceive it: as a com­mer­cial por­tal, and not as another Google. “We are not aim­ing to be another Google… we don’t have their bud­get and, to be frank, there are enough peo­ple try­ing to clone them: why build another?”

In fact, Jones sug­gested that Ansearch’s strengths lie in that it is not the ubiq­ui­tous search behe­moth, and that its index is “some­thing unique… some­thing faster… [and] against the so called “arms race” of search (my SE has more links than yours etc…)”. I’d agree this is indeed a strength, and also a rea­son for them not to try and be a por­tal. Aus­tralia already has Yahoo! and NineMSN for domes­tic por­tals, and I’m strug­gling to see what Ansearch will do to dif­fer­en­ti­ate them­selves in this: but I’m happy to be surprised!

Ansearch appar­ently holds an index of only 500,000 web­sites con­sid­ered by its met­rics to be “most pop­u­lar”. I argued that this was poten­tially a bad thing as rel­e­vant con­tent might lie out­side this realm: for exam­ple, this web­site per­forms well when peo­ple search for reviews of the HP 2610 or infor­ma­tion about Apache on Ubuntu linux or ACT files from MP3 play­ers that record audio, but isn’t included in Ansearch’s core index.

Which is per­fectly valid, for a commercially-focussed site, I just think they could be miss­ing out a lit­tle bit. They can lever­age on my con­tent for their adver­tis­ing impres­sions and poten­tial click­throughs, because they have more valu­able con­tent show­ing up in their list­ing along­side adver­tised prod­ucts. If some­one reads my HP 2610 review after hav­ing found it in Ansearch, and decides they’d like to buy it and remem­bers hav­ing seen a “Buy HP print­ers!” ad on Ansearch, they’ll most likely click “back”. It’s abstract, behav­ioural stuff, but valu­able nonetheless.

Whether it’s valu­able enough for them to bother is another mat­ter. “We spi­der our own con­tent… some­thing that over time will be done daily,” says Jones. “Hav­ing only 500,000 web­sites will allow us to index sites more often, and as is the case with the ‘site info’ pages, pro­vide far more info on these pages.” Which is a value-add, and worth pre­serv­ing. If that’s all resources per­mit, I think they’re doing the right thing as is. Jones openly admits Ansearch’s index of pop­u­lar­ity “has a com­mer­cial flavour to it” — and rightly so. Given their much-touted gen­der and age demo­graphic based search fea­ture, this makes sense.

Their index of pop­u­lar­ity seems to be fairly slow-moving. “Monthly we add around 20,000 sites… and take out 20,000.” I’d guess this would be the low­est 20,000 that gets shuf­fled, and this seems to make sense. One has to won­der whether all the higher-ranking pages can have sub­stan­tially fresh con­tent month after month, but pre­sum­ably they do — it’s one of the things the SEO experts have always cried from rooftops.

It was inter­est­ing to hear Jones speak­ing about these peo­ple, too: amus­ing, even! Web devel­op­ers the world over often join in spec­u­la­tion as to what exactly makes search engines tick, such that we can boost our clients (or employ­ers) website’s per­for­mance. It seems the reverse is also true: search engines all over the world sim­i­larly spec­u­late as to what those hor­ri­ble devel­op­ers are doing to screw with their indexes day in and day out!

I don’t say this in jest, and I believe they’re right to com­plain: “The larger SE’s are hav­ing a very tough time com­ing up with clever ways to index con­tent to counter SEO… only to have SEO’rs quickly find ways around it. Cat and mouse…” I think “counter SEO” was a poor choice of words, given that rel­e­vant con­tent should hope­fully still be rewarded, but his point stands.

Just as inter­est­ing is Ansearch’s strat­egy to avoid falling prey to dodgy SEO tactics:

By only index­ing the root page, we remove almost all SEO trick­ery. This works in 2 ways. Firstly, peo­ple rarely put spam on their home page — that is, door­way pages, link farms, etc. usu­ally reside away from the main index… and, sec­ondly, it deletes mul­ti­ple results from the same web­site. It also stops the site owner/webmaster from say­ing they are rel­e­vant to 100 or 1000 key­words or phrases.

Kids, we just found a new argu­ment against clients who love their splash pages!

Con­tent rich front pages aren’t, how­ever, an absolute solu­tion (at least, not in Ansearch’s index). Accord­ing to Jones, Ansearch’s pol­icy of “rank­ing sites in true usage pop­u­lar­ity, both on and off­site” is “SEO proof… or at the very least, extremely resis­tant.” I’d agree it’s a pow­er­ful met­ric, but my reser­va­tions above still stand.

One caveat of Ansearch’s algo­rithm that appears poten­tially exploitable is its fail­ure to exclude con­tent in the from indexing. I don't just speak of standard meta author/keywords data, but of something else.

A screenshot highlighting the inclusion of information between style tags in Ansearch's index

As high­lighted in the screen­shot above (click for orig­i­nal page, link may expire), Ansearch’s list­ing is includ­ing con­tent between <style> tags. This presents poten­tial for SEO abuse2, as most browsers hap­pily over­look errors in CSS — and <style> tags can be placed towards the top of a doc­u­ment: if we are to believe the SEO myths, increas­ing their rel­e­vance in engines. Of course, it’s entirely pos­si­ble the con­tent bears no weight at all — but the ques­tion of why it is stored in their index at all remains unanswered.

This is another rea­son to reward web­sites that use seman­tic markup prop­erly, though at this stage that would exclude dis­pro­por­tion­ate amounts of the web, so I under­stand engines’ hes­i­tance to embark on any­thing like this. It’s not some­thing a lot of sites use”, says Jones, before con­tin­u­ing “but it will be used more and more in the future.” Well, so much of the web com­mu­nity hopes.

This formed part of Ansearch’s defense for not hav­ing embraced seman­tic markup from the out­set. Accord­ing to Jones, it’s built on a tech­nol­ogy devel­oped for a pre-April 2000 (dot com crash) search engine — so that par­tially excuses the markup at launch time. Jones’ first com­ment on their fail­ure to use seman­tic markup was sim­ply that “The majors [Google and Yahoo!] don’t use it” — something I’d dis­pute the valid­ity of, as Ansearch isn’t a “major” player, and, as has been estab­lished, is chas­ing a fairly dif­fer­ent mar­ket sec­tor. Their core busi­ness is search, but it’s a dif­fer­ent breed of search con­ducted in a dif­fer­ent way: and seman­tic markup and acces­si­bil­ity is a dif­fer­ent way. Encour­ag­ingly, Jones sees the poten­tial for embrac­ing seman­tic markup in the future on both tech­ni­cal and com­mer­cial grounds: “It makes sense to use it and as it does open us to a wider audi­ence with var­i­ous devices used to browse our site.”

He didn’t cite the “reduced band­width expen­di­ture as a result of light­weight code” rea­son, pre­sum­ably because their host, OzHosting/Destra charges only for the link, not for trans­fers over this, on their ded­i­cated server range.

Irre­spec­tive of their rea­sons, the future of Ansearch in terms of markup is promising:

Our long term goal is to have Ansearch web­site designed with­out any tables and heav­ily styled using the CSS, which even­tu­ally will gives us more con­trol on how we present our site to dif­fer­ent media types.

Ansearch has gone through sev­eral minor enhance­ments over the past 6 months with the releases of ver­sions 1 to 1.3. We are cur­rently plan­ning a major update for ver­sion 2.0 and the issues [of seman­tic markup and sep­a­ra­tion of pre­sen­ta­tion and con­tent] will be addressed.

But as we know, markup isn’t every­thing: con­tent is what ranks well in search engines erm… con­tent is what draws an audi­ence. Ansearch’s explo­ration into the devel­op­ment of por­tal envi­ron­ments is some­thing to be watched with inter­est over the com­ing months, as well as its other busi­ness aspects, includ­ing an adver­tis­ing net­work known as Soush that remains slightly enig­matic, and the mys­te­ri­ously named “Fac­tory” division.

An announce­ment is expected to be filed with the ASX later this week out­lin­ing some­thing of Ansearch’s future direc­tion: At this stage, I’m inclined to believe that the future is a pos­i­tive one, as Ansearch dis­tances itself from its much-criticised prac­tices at launch, to a diverse range of prod­uct offer­ings that uniquely ful­fil the needs of Aus­tralian Inter­net users.

Update: A fol­lowup to this has been posted, in response to a crit­i­cism that this review was overly tech­ni­cal in nature. Read on!

Notes

1 Jus­ti­fied with the catch-cry “MSN do it, so we can, too!” — to which the only sen­si­ble reply is, “yes, but MSN do it with Inter­net Explorer, and as soon as you go and write your own web browser, feel free to hijack as many unused pages as you want.“
2 I noti­fied Ansearch of this shortly prior to pub­li­ca­tion in the hope that, if this is indeed an issue, it will be resolved before this post is noticed and widely acted upon. One hopes this poten­tial prob­lem dis­ap­pears quickly.

Opera + Flash = Snappy

I wrote some time ago about Opera per­form­ing bril­liantly and how, when Fire­fox col­lapsed on me (it’s still a bit shaky — middle-click open­ing of new tabs is now rather flawed, even in the ‘fixed’ release), I fell in love with it. Well, as much as one can with a piece of soft­ware, anyway.

I also wrote briefly of how Tori told me about a very cool media ser­vice called Garage­Band, which pub­lishes music from inde­pen­dent artists free of charge, even going so far as to offer (shock, hor­ror) un–DRM–encum­bered MP3 down­loads of the vast major­ity of tracks.

So where does Flash fit into all of this?

A screenshot of the GarageBand Flash player, about to be discussed

Well. About that. Garage­Band has this nifty Flash player thing going, which is very cool, except for when you’re using Fire­fox: every time I have it run­ning whilst try­ing to do any­thing in the back­ground (that is, within Fire­fox, in another tab or some­thing), the audio buffer dies until what­ever I’m doing in the back­ground has started to ren­der (or maybe resolved a host, or some­thing… whatever).

Opera, on the other hand, han­dles this flaw­lessly. The win­dow pops open, Flash loads faster (notably, using exactly the same plu­gin as the Mozilla fam­ily, if I recall cor­rectly), and I can do what­ever I want in the back­ground with­out it skip­ping a beat. And that, ladies and gen­tle­men, is how a browser should be.

# by Josh on August 2nd, 2005 Tags: , , ,
| No Comments »

GarageBand.com

GarageBand: Discovering the best in independent music

Tori pointed me to some music on this web­site today and it’s sur­pris­ingly good qual­ity… at least, so far as I can judge — which is con­fined to “well pro­duced” and “that sounds good/nice”! At least some of it is under Cre­ative Com­mons licens­ing, which is inter­est­ing. Good stuff.

Oh, and a tip: Per­son­ally, I think the best way to lis­ten is to go to a genre you’re a fan of and start a player with all tracks and just keep click­ing “Next” if you don’t like a par­tic­u­lar track. Of course, you can down­load all the mate­r­ial as well, but if you want to use it like stream­ing radio then that’s the way to go.

# by Josh on July 23rd, 2005 Tags:
| No Comments »

Portrayal of value changes by transformation

I wanted to call this post “The por­trayal of changes in social par­a­digms through trans­for­ma­tion [of texts]”, but even I recog­nised that to be too long a title (and this tem­plate is unfor­giv­ing — must design a new one some­time!). With­out fur­ther ado;

The way a con­tem­po­rary com­poser trans­forms an older text inevitably reflects the way that val­ues in soci­ety have changed over time.” Dis­cuss in rela­tion to Ham­let and Rosen­crantz and Guilden­stern are Dead. 1485 words.

The trans­for­ma­tion of a text into a new one, whether through appro­pri­a­tion or extrap­o­la­tion of the orig­i­nal work, inevitably involves the reflec­tion of a dif­fer­ent social par­a­digm that is itself a prod­uct of the con­text in which it exists. The impact of soci­ety and cul­tural influ­ence upon a text’s com­po­si­tion is pro­found and, with­out a doubt, may be viewed as reflec­tive of the period in which it was cre­ated. This notion may be applied not only to the con­tem­po­rary trans­for­ma­tion, but also to ‘orig­i­nal’ com­po­si­tions, which are sim­i­larly reflec­tive of the val­ues of their period.

In this way, it is pos­si­ble to deter­mine the soci­etal val­ues implicit in each of the stud­ied texts, Shakespeare’s Ham­let and Stoppard’s trans­for­ma­tion, Rosen­crantz and Guilden­stern are Dead. Sep­a­rated by sev­eral cen­turies of social change, tur­moil, and gen­eral upheaval, it should come as no sur­prise that the val­ues pre­sented within both these texts are hardly con­gru­ent. Ham­let is a renais­sance fig­ure, a thinker, an intel­lec­tual – and res­olutely out of place in the con­text he finds him­self. Torn between his con­flict­ing com­pul­sions to enact revenge in accor­dance with the expec­ta­tions of the time and his own sense of moral­ity, Shakespeare’s pro­tag­o­nist is depicted in his demise, a spi­ral of ‘mad­ness’ either con­trived or gen­uine (“When the wind is southerly,/I know a hawk from a hand­saw.” 2.2.347). This may be per­ceived as dis­so­nant with the accepted val­ues of the period, but for closer exam­i­na­tion of the cat­a­lysts lead­ing to Hamlet’s con­di­tion – in typ­i­cal Eliz­a­bethan style, the cause of such tur­moil and unrest is no inter­nal con­di­tion, but rather the dis­rup­tion of an estab­lished order – the great chain of being.

Shakespeare’s pre­oc­cu­pa­tion with roy­alty and the lives of those con­ven­tion­ally con­sid­ered ‘pow­er­ful’ presents a stark con­trast to the mes­sage of Stoppard’s later work. Stop­pard takes the roy­alty, these ‘pow­er­ful’, and places them in a role of illu­sion. The Play­ers in Rosen­crantz and Guilden­stern are these roy­alty. They are the embod­i­ment of fig­ures from Ham­let, and hold to the val­ues of that period – val­ues cri­tiqued by Stop­pard as being out­moded, irrel­e­vant after hun­dreds of years that saw indus­tri­al­i­sa­tion, the rise of ‘free­think­ing’ intel­lec­tual move­ments, and the demise of absolute val­ues in favour of the indi­vid­u­al­is­tic par­a­digm of which his play appears to be a pro­po­nent. This con­cern is enun­ci­ated through ongo­ing con­flict por­trayed between the blurred col­lec­tive iden­tity of Rosen­crantz and Guilden­stern and these “actors” – Guildenstern’s recur­ring crit­i­cism of these actors is that they are “the oppo­site of peo­ple”, and this is a crit­i­cism that is sounded in response to the dif­fer­ent val­ues they are seen to embody.

Indeed, Stoppard’s assig­na­tion of the roles of the orig­i­nal cast in veiled form to these derisively-termed “actors” is itself a device to fur­ther this crit­i­cism. They are pre­sented as hav­ing fore­sight, with quips such as “I should con­cen­trate on not los­ing your heads” used through­out the text – this dra­matic irony fore­shad­ow­ing the sub­se­quent demise of Stoppard’s unwit­ting heroes. Viewed in terms of the con­tex­tual insight this grants the respon­der into the period of both texts com­po­si­tion, this presents a dis­par­ity in basic belief sys­tems – the play­ers, the rem­nant of Eliz­a­bethan val­ues in this play, are shown to believe in pre­des­tined fate, hold­ing faith in an omnipo­tent direc­tional force guid­ing events. Con­versely, the pro­tag­o­nists of this trans­for­ma­tion ques­tion mean­ing and the nature of mean­ing, ques­tion their direc­tion, and, whilst appear­ing to at times accept the con­cept of fate, gen­er­ally reject the idea that this fate holds any inher­ent direc­tion. In this way, the val­ues of the text may be, per­haps, con­sid­ered more nihilis­tic than exis­ten­tial, although this of course remains open to debate.

As a prod­uct of its time, how­ever, Rosen­crantz and Guilden­stern are Dead serves to com­mu­ni­cate rather clearly the dra­matic change in val­ues between Shakespeare’s period and its own. Nietzsche’s famously decon­tex­tu­alised line, “Gott ist tot” (God is dead) is per­haps reflec­tive of the predica­ment expe­ri­enced by Stoppard’s pro­tag­o­nists when viewed against their actor-counterparts in Shake­spearean set­ting – in con­text, Niet­zsche speaks not of the lit­eral death of God, but sim­ply of the appar­ent decline in humanity’s recog­ni­tion of God as a reck­on­ing force in their lives. “God is dead. God remains dead. And we have killed him.”

This decline in recog­ni­tion of the super­nat­ural as a key influ­ence upon human­ity at a broader soci­etal level may be viewed as (at least in part) respon­si­ble for the change in atti­tudes dis­played between the ‘orig­i­nal’ and appropriated/transformed work. Shakespeare’s play Ham­let revolves around a con­cern which has arisen as the result of death. Death, not as an abject and pathetic end to real­ity – although pathos may be a device used by the bardic play­wright. It is more than this – it is a cat­a­lyst, a dri­ving force for the events of the text. Ham­let may be read as a revenge tragedy, and, in this read­ing, the con­sid­er­a­tion of the respon­der is drawn to the plight of the pro­tag­o­nist, Ham­let. He despairs not for his tem­po­ral loss, although that may be a part of it. If that were the extent of the protagonist’s con­cerns, Claudius would be killed with­out such exten­sive pro­cras­ti­na­tion on Hamlet’s part.

In his famous solil­o­quy of Act III, Ham­let declares in response to the ques­tion of killing Claudius or his own sui­cide – “Thus con­science does make cow­ards of us all” – He dare not act for fear of damna­tion. The ori­gins of this moral­ity are impor­tant, though not rel­e­vant to the present dis­cus­sion – of greater rel­e­vance is the very notion of damna­tion. Ham­let believes what Rosen­crantz and Guilden­stern do not in Stoppard’s cre­ation of some cen­turies later – con­se­quence in death. “Here one minute and gone the next and never com­ing back – an exit, unob­tru­sive and unannounced…”

Stoppard’s pro­tag­o­nists, there­fore, can­not under­stand the appar­ently ridicu­lous pre­oc­cu­pa­tion with death held by the play­ers. It is bio­log­i­cal. Stop­pard reduces it to nat­ural process through the cre­ation of dia­logue which dis­cusses death at this level alone – “Another curi­ous sci­en­tific phe­nom­e­non is the fact that the fin­ger­nails grow after death, as does the beard.” This line fits into dia­logue as another expres­sion of futil­ity, as Stoppard’s pro­tag­o­nists are also chief pro­tag­o­nists in this work. It is pri­mar­ily exis­ten­tial in nature, and such triv­i­al­i­ties serve to rein­force this notion that mean­ing is shaped by the individual.

This triv­i­al­i­sa­tion of death through­out the work builds to a great dis­play of poignancy in Guildenstern’s emo­tive, dra­matic dis­play of angst at the play­ers’ por­trayal of this phe­nom­e­non. Stage direc­tions call for scorn, deri­sion. It is melo­dra­matic, even. And, chiefly, it is a par­ody. Guilden­stern stands, takes to the lead­ing player with a knife. He is con­vinced he has killed him. The blade goes “in up to the hilt”, and the player falls, Guilden­stern mak­ing his final state­ments with con­vic­tion – after this point, he is “tired, drained” – “If we have a des­tiny, then so had he – and if this is ours, then that was his – and if there are no expla­na­tions for us, then let there be none for him –”

The player rises. It is a defeat of the melo­drama, of the poignancy of death. After this point, that notion is utterly defeated in this work. “Deaths for all ages and occa­sions! Deaths by sus­pen­sion, con­vul­sion, con­sump­tion, inci­sion, exe­cu­tion, asphyx­i­a­tion and mal­nu­tri­tion –! Cli­matic car­nage, by poi­son and by steel –! Dou­ble deaths by duel –! Show!” The melo­drama of death is sar­cas­tic only in this work – and, accord­ing to the stage direc­tions, in per­fect con­for­mance with the clos­ing scene of Ham­let. The trans­for­ma­tion does not sub­stan­tially alter the con­tent here, but rather the por­trayal of the same. Stoppard’s mas­ter­ful use of dra­matic devices and irony serves to cre­ate a work entirely dif­fer­ent in nature to Shakespeare’s text; this is not achieved solely through the fore­ground­ing of minor­ity characters.

Stoppard’s work is seen to con­vey the val­ues of its time and, through this, demon­strate the changes in val­ues wit­nessed between Eliz­a­bethan times and the 1960’s not through vivid expo­si­tion and melo­drama as seen in Guildenstern’s emo­tive dec­la­ra­tion against the actors, but rather through sub­tle dra­matic devices and tech­niques. Com­ment on death, amongst other themes, is deliv­ered instead through crafted silence, con­fu­sion, inac­tion. “And he dis­ap­pears from view. Guil does not notice.” “Our names shouted in a cer­tain dawn … a mes­sage … a sum­mons … there must have been a moment, at the begin­ning, where we could have said – no. But some­how we missed it.”

Stoppard’s pro­tag­o­nists fall to the unguided arms of fate, and are pro­jected on a course towards their inevitable, incon­se­quen­tial demise. “And [Guil] dis­ap­pears.

Reflec­tion of change is inevitable, as Stoppard’s mes­sage is shaped by a social par­a­digm for­eign to the orig­i­nal work, and this dis­par­ity in val­ues is inher­ently con­veyed through transformation.

MP3 player and ACT files

Speak­ing more regard­ing my MP3 player/voice recorder/toy in gen­eral. Read the rest of this entry »

# by Josh on November 8th, 2004 Tags: , , , , ,
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