Recently with family, I had the absolute pleasure of watching In My Blood It Runs, an Australian documentary by filmmaker and director Maya Newell. The film follows the story of (then) ten-year-old Dujuan Hoosan, an Aboriginal boy who is caught between two lives (and education systems) in the Northern Territory of Australia: the predominantly English-language system, with its focus on Western values and historical perspectives; and the stories of Arrernte and Garrwa culture in the Sandy Bore Homeland and Borroloola Community.
Put simply, In My Blood It Runs is one of the most remarkable documentaries that I have ever seen. As an Australian who lives a comfortable, middle-class life on the east coast of the continent and is a product of the nation’s public-education system, I have long been troubled by the history of the nation and the ongoing effects of colonisation, paternalism and assimilation on Aboriginal and Torres Strait Islander peoples. The film employs a narrative structure and cinematographic style that very impressively combines historical footage, intimate family moments and gorgeous views of the Central Australian landscape.
What impressed me most, however, was the creators’ intention to give agency to the Arrernte and Garrwa family participants, even handing cameras to them to contribute to the recording and overall production. More detail is listed on the ‘About’ page of the documentary’s website, such as the following excerpt:
As a brief aside, this commitment reminds me of an article that I read recently for my own research into podcasting by Day et al. (2017), called ‘The Expanding Digital Media Landscape of Qualitative and Decolonizing Research: Examining Collaborative Podcasting as a Research Method’. In this article, Day et al. (2017) explored the use of podcasting as a collaborative method to publicising the stories, ideas and knowledge of Indigenous peoples across Canada to improve water and environmental management. Based on the work of Linda Tuhiwai Smith and her text Decolonizing Methodologies: Research and Indigenous Peoples (1999), these researchers strived to produce new methods of sharing Indigenous peoples’ knowledge as it is—without a Western filter. The voices that you hear are the voices of the people.
The key term here, linking back to In My Blood It Runs, is ‘decolonising’. By handing cameras to the Arrernte people, by letting them speak without a non-Indigenous Australian person’s narration applied over the top, we see a beautiful representation of their very real struggles between two worlds. I was moved, for instance, by the genuine attempts of the Arrernte people to educate their children in their own language, keeping their tradition and stories of the Dreaming alive. All the same, I was troubled that the only real way to do this is in restricted circumstances at school or back at the homeland, and often in a visual way that relies on the transcription of their words in the Latin alphabet. Even with such wonderful attempts to maintain these cultures, the truly oral way of memorisation and intergenerational transmission is being lost, giving way to the visual bias of Western culture (as explored by media ecologists such as Walter J. Ong).
I believe that one of the greatest lessons that we can all learn from this film is to question the very purpose of education. Throughout the presented story, we see that Dujuan is fluent in three languages, intelligent and very charismatic. Yet, for all of this, he is seen as a failure in Australia’s more Western education system, which prioritises measurability and a path to the world of work. Dujuan is a self-proclaimed ‘bush kid’ who yearns to be with his homeland; he loves learning and connecting with his people and it just so happens not to be the kind of education that the Australian Government (and connected industries) would prefer.
I hope that as many Australians as possible will watch this documentary, not just to figure out how we can ‘close the gap’, but also to learn how we can improve—better yet, transform—our own views of what it means to be educated and live a full life, respecting our collective human stories and ensuring proper care for the natural environment.
If you are interested in watching In My Blood It Runs (within or outside of Australia), make sure to visit the documentary’s ‘Watch the Film’ webpage.
As a concluding thought, I realise that I am a white Australian who lacks specific, expert knowledge of the myriad Aboriginal and Torres Strait Islander peoples on this continent. If I have misrepresented any aspect of culture, language or history in this review, please do let me know and I will correct it. I am always seeking to learn more.
Every once in a while, a revolutionary app comes along that changes everything. Well this time, for me, it has been two different (and seemingly very simple) apps that work together in perfect harmony. Developed by John Siracusa of Accidental Tech Podcast (ATP), these two great apps are called Front and Center and SwitchGlass. To be clear, the text that follows is not a sponsored review; I only wish to share my honest personal experience and view of each app, as I’ve really come to enjoy both of them.
Revealed respectively on ATP episodes no. 360 and no. 365, each app restores a key feature of the now defunct 32-bit app DragThing, which functioned as an organisational tool and app switcher in earlier versions of Mac OS / Mac OS X / macOS and which went beyond the standard Dock. Siracusa shared that while he has been able to adapt many of his computer habits during DragThing’s absence, he has continued to miss two key features, namely: (1) the Classic Mac OS behaviour of clicking on a single window of an app and having all associated windows of that app come to the front as well; and (2) having a dedicated, on-screen app switcher that one can click with a mouse cursor, rather than relying on the command-tab app switcher or other navigational features.
Both of these functions may sound incredibly specific and obscure and Siracusa has even been so blunt as to discourage people from purchasing his apps from the Mac App Store, as they are particular to his computing preferences.
Listening to both ATP episodes, I was curious to try the apps to see if they would fit how I work. After purchasing both and trying them with normal daily use of my Mac, I’d like to share further details of my experience below.
Front and Center (AU$7.99)
As already stated, Front and Center’s entire purpose is to restore the classic behaviour of bringing all app windows to the front when clicking on only one of the windows belonging to that app, in instances when more than one window is open for that app. For example, if you are running an app like iA Writer with multiple document windows open (as I do) and you click on just one of those windows while it is behind another app, all iA Writer windows will leap to the front. This is the default behaviour, with the option of shift-clicking to match the usual setting of having only individual windows come to the front.
As far as running Front and Center goes, there is no main app window with which to interact; it is purely a clicking behaviour. Siracusa has, however, created a very thoughtful and well-designed preference window that enables the user to customise the function, switching between ‘Classic’ and ‘Modern’ options, as well as the choice to show or hide the app’s icon in the Dock. I love the attention to detail in this simple window and the option to hide the icon is fantastic, as there is no need to increase visual clutter on the screen. With the process essentially invisible, this behaviour becomes the new norm. You can view the preference window below, with my current options selected.
Indeed, having these settings activated I can now see why Siracusa was unable (or just unwilling) to adjust his behaviour. Clicking on a window and expecting all the others to come to the front just makes sense. If I’m editing a document and wishing to draw text from others that I have open, it seems right that everything should follow it, rather than having to fish around for the other windows, drag things around and just create further mess on the desktop.
The idea of SwitchGlass may seem odd; why on Earth would I need a visible app switcher when I already have the Dock and additional features such as command-tab and Mission Control to alternate between windows? It certainly didn’t click for me at first. Looking at the new app switcher that was sitting on my screen, it seemed to be further visual clutter, until I realised that it could rectify a long-standing issue that I had with launching and navigating between apps on my Mac. Stay with me here.
For many years, I have oscillated between having only very few apps in my Dock to having way too many there. Quite often, I’ve settled on only having a few so that I found it easier to identify and click on only my most crucial and frequently-used apps. The issue with this, however, is that I’ve had to go to Launchpad (which I’ve never really liked or wished to organise) or open Spotlight to search for an app that isn’t in my Dock. The Home Screen (on which Launchpad is based) makes sense on iPad and Spotlight is great for opening apps on iPhone, however I find them just a bit too much on the Mac, where we have so much more space. Furthermore, with these less crucial apps now open in a more minimalistic Dock, their icons sit at the end of the Dock and change in order depending on when I open them. This is poor for consistency and recognition of icons.
With SwitchGlass, I’ve realised that I can now include as many apps as I wish in my Dock permanently—even if they’re really small—and I can use Siracusa’s new app switcher on the opposite side of my screen with larger icons to swap between running apps in a more visible and quicker fashion.
To give you a better visual idea, see a screen shot of my desktop below, with a full Dock on the left and SwitchGlass running at the top-right of the screen.
I can still use Mission Control or the command-tab switcher if I wish, however now there is something that is always available and that rests roughly where I settle my mouse cursor. I can now use the Dock for launching apps with recognisable, unchanging positions and rely on SwitchGlass to swap quickly between those that are running.
Furthermore, as is the case with Front and Center, SwitchGlass includes an even more customisable preferences window that enables you to select a precise position, alter the menu bar icon and even change the margin, padding and other dimensions of the switcher and icons. See a screen shot of my own preferences below.
As Siracusa has stated repeatedly, these apps are not for everyone. I have certainly had to change my own long-held habits… but I’m glad that I did.
When it comes to Front and Center, it simply feels natural to have all windows spring to the front. As a kid, I used Classic Mac OS in the 1990s but did not remember this behaviour as the years went on, as my brain had been reset to the general defaults of the following Mac OS X design and user interface.
Regarding SwitchGlass, I’m simply excited to have a really useful tool permanently on my desktop that makes my computing experience quicker. I’m dragging windows around less and searching less for the apps that I want to launch.
Apple’s desktop operating system still offers a level of customisation that many users enjoy and I hope that the company pays attention to the efforts of devoted third-party developers, whether newer to the development game like Siracusa or veterans such as James Thomson, whose now defunct DragThing is obviously still missed by numerous users. I’m a very enthusiastic user of iOS, however the possibility and availability of tools like these are a testament to the continuing power and versatility of the Mac as a platform.
Each year, Natasha and I attend the Spanish Film Festival at Palace Cinemas in Sydney. We also go to the German and Greek festivals when we can, however the Spanish festival has become our annual tradition, as we have been going since we first got together.
This year, we made a point of seeing a film called Carmen and Lola, which I believe exemplifies the amazing kinds of storytelling that one can find beyond Hollywood.
The film follows the story of two young women, Carmen and Lola, who live in a close-knit gypsy community in the suburbs of Madrid. Both must grapple with the heavy expectations of their respective families: Carmen is engaged to be married and must come to terms with the idea that she is to be a housewife and raise as many children as possible; and Lola is somewhat of a black sheep, choosing to continue her school education and dreaming of a life at university. Furthermore, she has a passion for street art and graffiti and is also coming to terms with her love for women. They both become friends at the local market where they work and in their repeat encounters, develop a relationship and complicity that threatens to destabilise their own connections to their families.
Carmen and Lola is a beautiful film that deals with themes of love, family, friendship and tradition. Whilst the gypsy families in the film obviously love their children and wish the very best for them, their expectations are framed by years of strict, intergenerational tradition and patriarchy. Men are truly privileged—considerably more than in the surrounding non-gypsy community—and women are expected to forsake all education and any other kind of creative or professional ambition.
Music is used sparingly throughout the film, playing mainly in the form of live performance by characters, such as bands or accompanying audio systems at parties and get-togethers. This allows the viewer to experience the pure emotion of the film, without any soundtrack music telling you how to feel (as is so often the case in Hollywood movies). Simultaneously, this lack of a consistent, dominating soundtrack works with a range of long and close shots to create somewhat of a claustrophobic feel for the viewer. It almost feels like on-screen theatre. Madrid’s gypsy community is so separate from the outside world and we only hear the voices, traditional music and often drawn-out, empty silence of these underprivileged streets. The rest of the city is visible but just out of reach.
In the genuine representation of these characters, as Carmen and Lola walk the streets and go about their day, they are followed by a kind of silence—one that makes you feel like someone, perhaps a neighbour, is always watching.
As Hollywood goes about recycling stories and remaking superhero movies endlessly, many viewers will often say ‘There’s nothing good at the movies anymore’. On the other hand, foreign-language filmmakers from Europe and beyond are making unbelievably real, relatable stories that employ motifs, characters and techniques that create a totally alternative experience. As I watched Carmen and Lola, I felt the same suffocation and pressure that they did in their insular world. Films should transport you and this one certainly did.
Whenever I happen to stick on the radio or browse the top charts on Apple Music, I’m often disappointed by the waves of new music that I encounter. A lot of it continues to be disposable and entirely forgettable, failing to push music into really new and interesting directions.
For some reason, the nation of Iceland appears to be immune to this musical mediocrity, with bands and artists like Björk, Sigur Rós, Of a Minor Reflection and Of Monsters and Men continuing to release truly impressive albums that defy your expectations.
Neo-classical composer Ólafur Arnalds is no exception to this Icelandic trend. With his latest album, re:member, he has created something both beautiful and technologically innovative. The album was created with his new musical system, called Stratus. The system includes two self-playing pianos,which are triggered by a central piano that is played by Arnalds. The custom-built piano software is the result of two years of research and work by audio developer and composer Halldor Eldjarn. As Arnalds plays a note on the piano, two different notes are generated subsequently by the Stratus system, which creates unpredictable harmonies and melodies to form songs.
What is striking about this album is its subtlety and its feeling of optimism and hopefulness. Quite often, such piano music would probably be described by many as aimless, however, Arnalds is a master of holding listeners’ attention, guiding them through an often mysterious, other-worldly soundscape.
For me, this album definitely passes what I call the ‘HomePod test’. In my experience at home, Apple’s HomePod offers absolutely superb audio separation and deep bass without distortion or excessive vibration. Arnalds’s re:member sounds like it was made almost with the HomePod in mind, including shimmering, high piano notes contrasting with deep, drawn-out bass throughout many of the tracks. Each and every part of any given song shines and is clearly discernible.
Two particular stand-outs on the album (besides the opening title track) are partial and ekki hugsa, which demonstrate this HomePod-readiness. I’m typically the kind of person who detests the use of anything other than title case in my music library (harking back to my old manual iTunes file-tagging days), however, Arnalds has convinced me otherwise here. The use of lower-case letters on each track title seems fun and alternative, giving even more of a positive and informal feel to a neo-classical album.
For such a tiny nation, Iceland certainly has its act together and keeps producing impressive material. I wish that musicians in other countries would sort theirs out.
You can stream the album re:member here on Apple Music.
As I become more of a crusty, old curmudgeon (now at the ripe, old age of 26), I’m becoming increasingly intolerant of much of the popular music that is released today.
I often spend time thinking about what defines my musical taste and which particular genres I enjoy most… it can be difficult and is highly dependent on the mood of any given day.
An album to which I frequently listen for relaxation and general nostalgia is the greatEternal Nightcapby Australian band The Whitlams. Released in 1997, its lead singleNo Aphrodisiactook first place in national radio stationTriple J’s Hottest 100at the time and took the band to a high level of Australian reverence. It also features a fantastic trio of related songs under the shared moniker ofCharlie, all of which deal with issues such a substance abuse and depression. There’s even a fantastic cover of Bob Dylan’s classicTangled up in Blue.
When most people think of classic Australian bands, they mention names such as AC/DC, INXS, Midnight Oil and other typical rock outfits. To me, The Whitlams are the quintessential Australian group. Diverse in sound, cheeky and at times dry in their lyrics, they capture a feeling that makes sense to both urban and regional audiences, driven by precise piano melodies.
It’s hard to pin the band to a particular genre… kind of pop-rock, sort of folk, semi-alternative and at times easy listening and funk. Frontman Tim Freedman’s vocals are often not even akin to traditional singing; I would call his style ‘rhythmic enunciation’.
This album has always been a favourite of mine and was a staple in many long road trips when I was a child in the back seat of the family car. If you’re not familiar with the band and are after something that’s a bit different,check out this album.
A short time ago, Apple released a new product; no, it isn’t a computer, in fact, it isn’t electronic at all. It’s a book, and a beautiful book at that. Titled Designed by Apple in California, the book chronicles the last 20 years of Apple product design, with a suave introduction by none other than Chief Design Officer Jony Ive. The photos were taken by Andrew Zuckerman.
Upon hearing of the book, I knew that I had to have it. I already possess Iconic: A Photographic Tribute to Apple Innovation, by Jonathan Zufi, and that does a fantastic job of tracing Apple’s entire product history. A book by Apple, however, is unique and intriguing. It is both a product in its own right and an ingenious marketing tool.
Apple’s own effort, eight years in the making, is somewhat different from Iconic in the sense that it only focuses on the last 20 years. Apple doesn’t often look back, as many analysts have noted. In this case, however, it has looked back to the point of Apple’s metaphorical ‘rebirth’, with the return of co-founder Steve Jobs. The book is even dedicated to him.
Before even opening the packaging, it’s a product to behold. The outer packaging is in fact a part of the overall book product, acting as a protective cover and with an elegant Apple product decoration on the inside.
The design of this book is very impressive, as it uses ‘specially milled German paper with gilded matte silver edges’. These page edges beautifully mimic the aluminium sheen of Macs’ unibody enclosures.
Even the ink on the inside has been considered, as certain product images act differently under direct light. Take, for example, the first product that is featured: the iMac from 1998. The computer’s translucent plastic body remains matte on the page, whilst holes in the body and chrome finishes reflect light as the page is turned. This is an outstanding effect, and one can’t help but think of the more skeuomorphic design that was used in earlier versions of OS X and iOS. These printed images behave like the real-world products that they represent, just as digital buttons, icons and finishes once represented the real. This style was eventually replaced with the more minimalistic, flat design that we know today, but it makes complete sense now in a book that attempts to showcase design, without the actual products in front of the reader.
If you’re curious to have a closer look at this hardcover book, you’ll have to visit one of only a selection of Apple stores. I visited the Sydney store on George Street, where both the large and small versions were displayed on custom book stands close the Apple Watch tables.
The small version, which I purchased, cost AU$289. Whilst quite expensive, the price is ultimately reflected in the quality of the product. Check out the book online here.
Some analysts and fans are concerned about the amount of retrospection that Apple has been doing of late (e.g. the recent MacBook Pro reveal video). I’m not concerned, in fact, I’m excited. Apple’s strength has always been in communicating its brand and product stories, and this is another way of doing precisely that. The company is recalling its past and understanding where its successes (and failures) lie.
Looking back at this company’s past makes me even more excited about its future.
I’ve downloaded many, many apps since my first iPhone in 2008. At my most extreme, I had 245 apps installed and neatly organised in folders, fully alphabetised and categorised. In more recent times, I decided that things had become ridiculous; I had to let go of some apps to restore some sanity to my home screen. Nowadays, I have only around 75 apps on my iPhone, and I’m much more critical of every free and priced app download. For an app to make its way onto my home screen, it had better be good.
Well, an app came along that is most definitely worth it.
Hyper by Antihero, Inc. is a fantastic, new app, which I can only describe as the perfect synthesis of on-demand web video and curated, almost broadcast-style content. Every day, the app team trawls the Web, searching for what it believes are the ten best videos of the day. Once selected, they land on Hyper’s menu, each with a beautiful, bold title, the duration and easy sharing options linked to the share-sheets available in iOS.
The app made its first appearance on the new Apple TV, with an easy-to-use, swipeable interface that is optimised for the new Siri Remote.
The iPad version followed soon afterwards, with the iPhone left until last. This is rather interesting, as the iPhone is often first on developers’ minds for apps, whether they are games, utilities or steaming libraries. The iPhone is where the cash is. In this case, it’s obvious that the team had nailed the interface for TV first, and decided to take the time to translate the experience in a considerate way for smaller displays.
Not only do they curate content for each day, they also group the best of the week into an easy weekend recap, so that you can catch up on what you might have missed.
It’s the synthesis, however, that makes this app so much fun to use. You choose the content that you want to watch (curated according to your interests upon first use), without having to search for it yourself. Yes, it’s a first-world problem, but who has the time to subscribe to 500 YouTube channels and check push notifications all day?
While I often start each morning scrolling through the feed in my Apple News app, I end each day with a visit to Hyper. Furthermore, if you’re the type to watch videos on your commute each morning, the videos actually download automatically over Wi-Fi early in the day, so you can watch it on-the-go without worrying about nasty data charges.
I could go on about this app all day; I’ve learnt and laughed a lot using it. There have been awesome videos from social organisations, YouTubers and various other documentary, sport and comedy sites. The folk at Hyper have great taste.
Do yourself a favour and try the app. It’s well worth your time, and if anything, will bring a bit of focus to your digital life.
Well, I spent about seven months waiting for the Apple Watch, along with many others around the world, and it’s finally here. This waiting period saw Apple further refine the device’s battery power, readying the retail try-on experience, online pre-order process and of course, allowing time for developers’ app submissions, which now number at least 3500. It’s impressive that a first-generation product has such a great app marketplace already.
Over time, having read many blogs and watched many videos (Apple and third-party) about the product, I was optimistic about the Apple Watch. Sure, I expected there to be a few first-generation glitches and shortcomings, but I was generally optimistic. Now that the device has been released, the general reaction to the watch has been positive, and Apple is thought to have sold at least two million of them as initial pre-orders.
Many consumers, it still seems, are sceptical of the device:
“It’s just another screen in my life.”;
“It’s too expensive.”;
“The battery life will not last long enough.”; and
“It will make everyone anti-social.”
Most of all, there is the question as to what on Earth the watch actually for… what is its purpose? Well, I hope to explain its purpose to you after a week’s worth of experience with the device.
First of all, I’d like to talk about the hardware and industrial design of the Apple Watch. I purchased a 42mm Apple Watch Sport in the space-grey aluminium finish with black fluoroelastomer sport band. This model retails in Australia for $579. The watch is impressively light, and sits comfortably on my wrist, despite the concerns of many that the 42mm version of any of the watches would be too big and thick… and believe me, my wrists are aren’t that big. The Apple Watch (stainless steel) and Edition (18-karat gold) models are of exactly the same dimensions, but weigh a bit more respectively (not so much so that they are uncomfortable… I have tested the stainless steel model with Milanese Loop).
The anodised aluminium case is smooth and consistent in its finish. The band is soft and supple, without feeling flimsy. The Retina display is also beautiful, presenting great picture quality, typography, brightness and colour.
On the right-hand side of the case (assuming you’ve configured the watch for use on your left wrist), you can find the digital crown and side-button. The digital crown is great to use, acting as the watch’s input mechanism for zooming and scrolling, making up for its smaller display than iPhones and iPad. You can scroll through lists using the touch-screen and you can zoom into photos by double-tapping, but using the crown is much nicer. The screen remains unobstructed and the motion is smooth and almost oily-feeling. The side-button is devoted to your favourite watch friends and the Digital Touch function, which I discuss more later in this article.
The back of the watch also boasts a beautiful, circular engraving of text, denoting the model and serial number, wrapping around the four light sensors that monitor health during everyday activity and specified workout sessions.
With regard to the hardware, my first week with Apple Watch has been brilliant. Even as one of the cheaper Sport models, the watch is fashionable, comfortable and exceptionally well-made. Apple has put a lot of consideration into making something that anyone can be proud to wear, even as fashion items for women. What other wearable tech product can do that?
Moving onto Apple’s watchOS, while reminiscent of its bigger brothers OS X (desktop) and iOS (mobile), is quite a different beast. Yes, it uses a minimalist design language, but rather than employing bright, white app backgrounds, the watch uses black backgrounds for high-contrast with white text. The heavy use of black is also an effective method of conserving battery power. The watch uses Apple’s custom font San Francisco rather than traditionally-used fonts like Helvetica Neue, Lucida Grande and Myriad Pro. This choice was to make it easier to read on a smaller display, and it works. Furthermore, with accessibility settings, the boldness and size can be adjusted along with colour to fit more or make the text easier to read if you have poor vision.
Upon turning on the watch for the first time, I was instructed to set it up by connecting to my iPhone via Bluetooth and configuring it with the Apple Watch app. This was an absolute breeze to set up, requiring Bluetooth and the camera to scan the display. The Apple Watch app for iPhone is really easy to use, as it mirrors the layout and functionality of the Settings app on iPhone, albeit with toggles for the watch, including app installation, app layout, connectivity and so on. Many of these things are configurable on the watch too, but can be done more easily on the iPhone all at once if you’re already using.
watchOS, as I stated earlier, is reminiscent of iOS, but works differently. Yes, there is an app home screen, but the basis of the watch is the watch face, which lives in the centre of the displayed app universe. Native apps live on the Apple Watch, and for the moment third-party apps are extensions of those already residing on the iPhone. Third-party apps will behave more like native ones later this year, according to Apple, but for the moment this is of no concern. Contrary to some reports of constant slowness in loading, my experience has been great. I’ve only had two apps that froze or slowed down upon startup, and I am sure that future updates will resolve this.
The watch faces, as the centre of the device’s app universe, are fantastic. I spent a number of days trying to conclude which one I liked best. I jumped from the “extra-large” face that only shows the time in large type, to the simple face with adjustable complications, then finally the modular interface. This is all really a matter of taste. Apple has included 10 faces, most of which can be extensively customised in aesthetic and function. The modular face was my personal choice as it is bold, simple and yet still shows rich information in such a small space, each of which can be tapped, taking you directly to the app. Rich information on the screen enables you to keep fewer tools in your Glances section, which is a swipe up from the bottom of the screen. I have found the app glances for TripView, Shazam, Twitter and the Music app particularly useful, as I have instant access on my wrist to train times, my iPhone’s music library, trending topics and the ability to identify unknown music instantly.
I could spend a long time talking about all of the apps on this device, but by far the best experiences I’ve had so far have been with Messages, Mail, Phone, Activity and Workout apps, as well as Digital Touch… all of the default stuff! What Apple has achieved here is a super-convenient shrinking of useful iPhone apps to provide über-convenience for the wrist, but with a focus on what is essential to enable smooth, ‘glance-able’ experiences. I’ve loved being able to answer phone calls on my wrist at home, use Siri to dictate messages (text and audio form), read entire e-mails and track my activity throughout the day.
I was initially a little bit worried that the Apple Watch’s notifications would be obtrusive, distracting me more than my iPhone ever has. This has not been the case. The Apple Watch is an amazing filter, gently tapping me on the wrist with its taptic engine whenever I receive a notification, giving me the power decide what to act on and when. It may sound strange, but it has saved me time. I no longer check my phone for the sake of it, or get lost in apps, distracted from the initial reason that I picked up my iPhone. The watch keeps me informed in a subtle way that no one else can hear or feel, and most importantly, it makes me use my iPhone less.
Apple CEO Tim Cook and designer / Head of Human Interface Jony Ive weren’t kidding when they said that Apple Watch is the most personal device they’ve ever made and that it helps you to live a better day. Consistent reminders to stand, calorie-tracking and more keep me aware of my movement, and subsequently have made me feel better. The ability to send cute little sketches makes you feel way more connected to this thing than you do with a phone. Digital Touch, whilst viewed as a gimmick by some, is truly great. It just feels different, the same way that emoji in messages is so much more fun these days than the early days of e-mail and SMS.
All of thee amazing functions are delivered in something that truly does last all day. Sure, the battery doesn’t last for months or years like traditional, mechanical watches, but look at the extensive use cases and apps available for this device at this price. I have not run out of battery on any day so far, even with consistent scrolling, exercise and notification checking, and have ended each day with no less than 25 per cent charge left. I find that to be exceedingly impressive.
So, coming back to the whole idea of this post, what is the Apple watch actually for? Where does it fit in the world of computers? Desktops and laptops are the hub, or basis, of our computing experiences, largely for storage and heavy content creation. iPhones, built on the enormous success of the iPod, are our mobile computers, giving us instant informational access around the world, and even tools for productivity and creativity. The iPad, while still questioned, sits between the iPhone and desktop, providing simple yet powerful computing to novices and pros alike. Sometimes you just need that bit of extra space over an iPhone, or want to sit on the lounge with it like a magazine. Hell, you may even want to create an album with it.
The watch, for many people, is not as clear in its purpose, even with a long marketing campaign across numerous media by Apple. After a week with the device, I feel that I can explain it. Much like the rest of Apple’s products, which as Steve Jobs said, stand at the intersection of technology and the liberal arts, the watch stands at the intersection of technology and fashion. The Watch is powerful, informational, quick and simple, helping you to monitor your health, stay connected with people and even filter the noise that bombards you during the day. Most importantly, however, it is personal. The focus on fashion gives you choice to have a different band, a different case material, a different watch face. Apple has long been criticised for its supposedly inferior level of customisation on iPhones when contrasted to Google’s Android OS. Well here, Apple has beaten all other wearable products. This product is personal and helpful, and you feel proud to wear it. Other wearables have felt downright geeky, except for perhaps the Moto 360. As time goes on, and more software features, health sensors and designs are added, the wearable space will only improve.
So, if you want something cool and personal to wear on your wrist, that will make you focus on improving your health and cutting down on the time you spend rudely staring at your phone in the company of others, buy an Apple Watch.
For screenshots and a more visual impression of what the watch can actually do, please check out the gallery below.
The watch face at the centre of the app universe…
One of the many cool watch faces, ‘Astronomy’ enables you to zoom backwards and forwards through time using the digital crown, seeing all of the planets of the Solar System in their actual positions.
The heart-rate monitor in the Glances section is pretty quick to read your heartbeat.
Ahhh, TripView Glance… how useful you are!
Quick toggles for settings as a Glance
Shazam displays an album cover following the successful identification of a song.
Shazam can also display lyrics in time with the music as it plays.
Digital Touch is just super-simple and fun, but only works between Apple Watches.
Trending topics on Digg, a news aggregating app
Yelp results are clean and easy to read and also include helpful reviews like in iOS.
Maps is super-slick and pretty quick too.
Main menu in the Apple Watch app for iOS
The Weather app is really handy, with full time break-downs.
The Workout app is a pleasure to use and is really motivating.