A book of images from a photo shoot at Mosman Bay in 2013. Late afternoon, with long shadows; the conditions isolate the small toadfish who swim amidst more than a century of building rubble left over from the construction of the seawall, during the reclamation of mudflats to produce a parkland. The images from this shoot are paired as colour, and high contrast black & white variants.

This 30 page book is published in DRM-Free Fixed-Layout EPUB format.

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Eddie Cartridge, and Janelle Tan – Machine Intelligence researchers and former partners.

Separated following the takeover of their mutual employer, which saw Eddie made redundant, life has lead them to radically different outcomes. Eddie is homeless, unemployed, down to his last few dollars, and living under the streets. Janelle is engaged to their former employer, living in a penthouse, and travelling to work by helicopter.

Eddie has been offered a job – subvert a Machine Intelligence for a critical window of time. The job has a payday large enough that he can escape this awful city – a middle-class-authoritarian city state, where the streets are always clean, and welfare benefits are tied to medical tracking implants which monitor sobriety, amongst other things.

The first problem, is that Eddie is not fast enough to out-react, and out-think a Machine Intelligence. He’ll need an edge, in the form of The Deathline – a neuro-accelerating hallucinogen.

The second problem, Eddie has never used The ‘Line before, and has no supply contacts for this highly illegal substance. He must reconnect with Janelle, who consumed prodigious quantities during their time together, to find out if she still has access to anyone who can supply what he needs.

For Janelle, contact with Eddie has contained a revelation which forces her to question her recent past, and to reassess her relationship with her fiancé. Will she abandon her comfortable, “perfect” life, and be reclaimed by the world of The Deathline?

The world is one in which Machine Intelligence is the supreme power, where a failed nuclear strike has fractured America into three separate nations, Europe is stricken by secessionary conflicts, and new Machine Intelligence-equipped non-geographic distributed states are beginning to emerge.

This 232 page book is published in DRM-Free Fixed-Layout EPUB format.

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For a couple of years, my work C45C4D3 (Cascade) was hanging in the Makerspace of Noosa Library. It went in before Covid, and it wasn’t until early 2024 that I was able, physically and emotionally to inspect it.

The results are not good. What the hanging system was doing, is bending the main board of the work, and putting a twisting pressure through the corner of the work at its weakest point (where the bolt is drilled through).

Knowing I needed a more robust solution, that would both relieve the board of flexing stress when it was in storage, and provide a better hanging option, I went in to Sketchup and started modelling. I ended up getting in touch with my inner Isambard Kingdom Brunel.

The final plan provides a modular structure, that requires only three distinct pieces of 50mm x 5mm angle in mild steel. They’re designed so that they’re symmetrical, and can be flipped end-over-end for left and right side applicability. Once its all affixed to the work, it should be protected when hanging, in storage, and during transport.

Gather ’round children, for a tale of a technological, and chronological trainwreck.

It was a dark, and stormy night…

…I was working on trying to bring some old Aperture Libraries into Capture One, and the imports were failing, with an error:

Catalog import failed. The Library is currently open.

Checking Capture One’s support site yielded only a support article about a lock file, but it was for Capture One catalogues not Aperture libraries.

What I should have done right here is file a support request with Capture One, wait for an answer, and stop work.

That sentence is in the voice of me as the protagonist narrator, over a still frame of me about to do the thing I most definitely should not have done.

What I did, as the footage resumes playing, was to try troubleshooting, so I could provide Capture One’s support people with an isolation of the problem.

My first thought was that the problem may be because the Aperture libraries that were failing were those which I had exported from my main Aperture catalogue running on my Mac Mini, while it was accessing images on a drive shared over the network from my Mac Pro workstation. Ok, so booting up the Mac Mini, enabling File Sharing on the Mac Pro, and then enabling the file Sharing user’s access to the photo drive…

Re-exporting the libraries confirmed the problem wasn’t a one-off.

Eventually, what I realised is I had to export the library to a local folder on the Mac Mini, then copy it to the Mac Pro. From there, the library opens fine in Capture One.

So, the problem is that when Aperture writes the library to a network location, it leaves a lock file in place, which trips up Capture One.

Problem solved; I exported all the particular libraries I wanted to re-process to a local drive on the Mac Mini, then copied them across to the Mac Pro, shut the Mac Mini down, and went to go back to Capture One on the Mac Pro.

I filled in a support ticket with Capture One’s support staff, to see if they’d encountered the problem, as I hadn’t been able to see it described in their support site.

As an aside; If you’re setting up a support site for a piece of software, why not try structuring your knowledge base of answers based upon the menu structure of the program. So if I have a problem with the function File > Import Catalogue > Aperture Library, let me navigate to that and see all the issues related to importing Aperture Libraries.

Knowing I wouldn’t need to continue having file sharing on, I disabled it, and then removed the sharing user from the Photo drive permissions.

Then Time Machine began to run… and continued to run… a lot longer than it usually does. Once it had finished, I noticed that rather than the 1.5TB of free space my Time Machine drive should have, there was now only 80GB of free space. Thinking backwards, the horror of what had happened began to dawn upon me (is this sounding like The Martian where he shorts the probe with the drill?).

By performing a recursive addition, and then removal of a user permission from my photo drive, I’d somehow caused Time Machine to think the entire drive needed to be backed up afresh. That may not have been so bad, except for a decision by Apple engineers; on a 4TB drive, there should be a minimum of 80GB of free space on a Time Machine backup. So despite the entire new backup fitting within the space available on the drive, Time Machine deleted two months of my oldest backups to free up that extra space.

I went into the commandline, and using the tmutil command, removed the new giant snapshot, but unfortunately that didn’t liberate any space on the drive. I ran Time Machine again to see if it would do the same huge backup a second time, and it didn’t, but still no liberation of space. Deciding I was tired of fighting with it, I decided to take the drive (and it’s twin which had avoided the problem) out of service entirely, they’re now stored in split locations having served only 14 months of use.

So, I brought in a new pair of drives, 8TB this time, and we’ll see if Time Machine can behave in a more orderly fashion this time around.

Eventually I heard back from Capture One’s support folks; the Aperture lock file is located in the Library’s package contents in:

Database/apdb/lockfile.pid

Removing that file solves the problem.

Uniforms have been a part of my life for as long as I can remember. The primary school uniform; a simple blue collared shirt, and grey shorts. High school; a tie, blazer, and starch-stiffened straw hat. Scouts; a pseudo-militiary green shirt & shorts combination, with a neckerchief held together with the amusingly named “woggle”. Air Training Corps; an airforce-based version of Cadets, compulsory service while in High School, blue slacks, shirt, tie, navy scratchy woollen jumper, and a forage cap.

Post school I landed traumatised in the Goth scene, and subcultural uniforms became the rest of my life – something you never really grow out of if you were in a particular time in which subcultures were a thing.

And pathetically, many dedicated followers of fashion become kinkily attached to their adopted styles, and become Style-Mongers; promoting their narrow range of looking, speaking and thinking, as if all previous modes of being have been erased, and no alternative could possibly supplant the present one.

Tenacious style-mongering is always found among those too young to have experienced the inevitability of stylistic burnout. But in fact, the rise of new titillation, the peaking to saturation, the descent to tiresome, and finally the relegation to a timeless limbo of nostalgia is the fate of all styles.

Except, of course, Cubism.

Crosley Bendix – Style.

So it was when I decided part of de-cluttering life was removing daily pain-points like the way cotton t-shirts always seem to get deodorant marks in the armpits, and they’re never cut right – too boxy, or too short. Prior to travelling to Japan, I bought a few really nice marino-blend thermal shirts. They were expensive, but so much more pleasant, and practical than my normal wardrobe. Seeing the superseding model on sale recently at 50% off, I dropped the equivalent of three weeks rent on buying ten of them. I am living the uniform life. Not only uniform black, but literally the same shirt every day.

The other variable I decided to remove from life was bad sleep.

The fourth most expensive thing I’ve ever purchased – a memory-foam mattress and power-articulated bed frame.

It’s the best sleep I’ve ever had.

So there’s two major variables I’ve just edited out of life, what to wear, and will I get a good night’s sleep… Solved.

I have a new book released today!

This was done as a quickie, while I was stalled on Day And Night, and reminded me of how well I’ve centred on a working production process to make tings like this. Total turnaround, given the images were already done, was about three days.

I recently encountered an interesting glitch with my Finder-based Zero DAM setup. I was looking for photos I knew I had taken, but they weren’t showing up in the timeframe I knew they should be appearing, for the camera I knew they had been captured upon. Eventually I managed to find a couple of the images from the day’s shooting, but it was only two out of ninety-two images. So what was up with the others?

In terms of their EXIF data, and their Finder properties, there was no discernible difference between the images Spotlight could find, versus those which seemed invisible to Spotlight-based Finder searching.

More perplexing, turning off spotlight indexing for the drive made the images reappear in searches based upon the date the images were photographed. Turning indexing back on, made the images disappear from the search results within a minute.

So, something about Spotlight’s indexing process was excluding the images from any sort of spotlight-based search. I tried pretty much every method for deleting the spotlight index for the drive, without success; as soon as the index was re-enabled, the images disappeared.

Then, I started to think about one issue macOS has – Extended File Attributes. These can cause all sorts of problems, so I installed Xattred from Eclectic Light and compared the files which Spotlight could find, with those it could not.

Sure enough, a culprit was found:

com.apple.metadata:kMDItemSupportFileType

…with the properties:

<?xml version="1.0" encoding="UTF-8"?>
<!DOCTYPE plist PUBLIC "-//Apple//DTD PLIST 1.0//EN" "http://www.apple.com/DTDs/PropertyList-1.0.dtd">
<plist version="1.0">
<array>
 <string>iPhotoPreservedOriginal</string>
</array>
</plist>

Deleting this attribute from the file made it instantly show up in Spotlight searches.

The question; how to do this for any file on my photo drive, when I couldn’t use spotlight to find or identify them. After a bit of searching online I came across the answer using terminal:

xattr -rd com.apple.metadata:kMDItemSupportFileType (drag the target location here)

Something on the order of a thousand photos which were effectively missing in my Zero DAM system instantly reappeared as I applied this procedure to camera directories (it’s recursive, so will apply to the contents of any subfolder) where I had identified “missing” images.

Problem solved.

Edit: Hello Eclectic Light readers ;)

Written for the character Homolka, as played by Tim Curry in the film.

City of Zinj, city of Zinj.
Wealth without limit! And I will posses it!

This monkey has seen,
this Ape knows the way.
This man with the glove gave it the means to say.

The eye who is watching, the eye who sees all.
My plan is unfolding, for I too hear the call.
Of madness in jungles, of legends and tales,
The treasure is waiting, my plans MUST prevail!

I’ll join in their party, advise as I can.
Wearing the disguise of a philanthropist man.

All those who had mocked me,
And all disbelief.
Paying bribes to that warlord, a secondrate thief!

But this talking monkey, this primate, this ape.
My ticket to riches, it can only be fate,
that this Company scion, his fiancé as well,
and the monkey researcher are all drawn to this hell.

This terror, this darkness, to sanity’s fringe!

Where my destiny leads,

all of my dreams hinge.

On finding my fortune, In the City of Zinj.

One of the issues with the EPUB workflow, is that EPUB documents are .zip compressed. This makes proofing & previewing while you’re working problematic, as some reading apps can’t deal with uncompressed documents. With Apple’s deprecation of EPUB authoring and proofing support:

As documented here.

…proofing on an iPad became a pain point that made the work simply not fun to do.

I’ve been thinking about a solution to this on and off for a while now, and a solution hit me that has obviously been percolating up for a while.

Use iFrames.

I don’t know why I didn’t think of this sooner, but the solution is at once clever, and so straightforward it makes me feel stupid for having not seen it earlier.

What you do, is set up the entire document of facing pages using an iFrame for each page, and then set the iFrame sources to the xhtml files inside your EPUB development directory.

Thus the HTML:

<!DOCTYPE html>
<html>
<head>
 <title>The Title</title>
 <link rel="stylesheet" href="styles.css">
</head>
<body>
 <div id="the_container">
  <div class="spread rightonly">
   <iframe src="path-to-your-dev.epub/OEBPS/cover.xhtml"></iframe>
  </div>
  <div class="spread doublepage">
   <iframe src="path-to-your-dev.epub/OEBPS/inside_front-cover.xhtml"></iframe>
   <iframe src="path-to-your-dev.epub/OEBPS/page_001.xhtml"></iframe>
  </div>
 
  ...
  
  <div class="spread doublepage">
   <iframe src="path-to-your-dev.epub/OEBPS/page_120.xhtml"></iframe>
   <iframe src="path-to-your-dev.epub/OEBPS/inside_back-cover.xhtml"></iframe>
  </div>
  <div class="spread leftonly">
   <iframe src="path-to-your-dev.epub/OEBPS/back-cover.xhtml"></iframe>
  </div>
 </div>
</body>
</html>

And then the CSS:

html, body {
 margin: 0;
 padding: 0;
}

body {
 background-color: gray;
 transform: scale(0.5); /* set the zoom degree to view */
 transform-origin: 50% 0; /* centres the zoom in the middle of the browser */
}

iframe { /* the width and height of the EPUB's declared viewport */
 border: 0;
 width: 1200px;
 height: 800px;
 margin: 0;
 padding: 0;
}

#the_container {
 width: 2400px; /* double your EPUB's viewport width */
 min-width: 2400px;
 margin-right: auto;
 margin-left: auto;
}

#the_container div {
 margin-top: 10px;
 margin-bottom: 10px;
}

.spread {
 width: 100%;
 display: flex;
}

.rightonly {
 flex-direction: row-reverse;
}

.doublepage, .leftonly {
 flex-direction: row;
}

The nifty thing is the transform scale and origin in the body tag’s CSS, so you can scale the whole thing down if the spread won’t fit in your display’s available space, or if you want a more document-wide overview.

Enjoy.

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