Google Glass: there'll be tears before bedtime

Bettings on the first lawsuit?

Mmm, in two minds, or should that be having double vision over Google Glass.

Can’t be the only one still wary of people approaching one on Westminster Bridge waving their arms like an Italian chef and talking animatedly, seemingly to themselves. Are they hands-free on their phone talking to a chum in Kilmarnock, or a recent escapee from a facility who might toss one summarily over the parapet merely for looking at them awry? And now people will be issuing instructions to their glasses, or rather the embedded computer screen in their specs’ interactive Google Glass, something recent facility escapees likely do anyway, possibly imagining they already have a computer screen there. How much more wary will that make you feel as you’re crossing a bridge alone at dusk, or standing too close to the crowded Underground platform edge?

At the same time, trying to navigate the side streets with the map app on the phone, or sat nav, can be a literal pain in the neck. So I can see the advantages and convenience of being able to see your directions on your specs.

I’m also of the generation where wearing glasses as a kid, especially if pink plastic NHS-issue with the obligatory sticking plaster holding together the broken bridge, labelled you four eyes, specstic, Joe 90, Piggy (see Lord of the Flies) or, for some reason the one I found least offensive, Milky Bar Kid.  But now the bespectacled boot will be on the other foot and the Google Glass generation presumably won’t be seen dead without their intelligent face furniture. And, as they’re already used to donning specs, not to mention finding them first thing in the morning crushed under the pillow or suspended from the toothbrush stand, existing glasses wearers will also be the most successful early adopters of the new technology. Finally, we’ll be ahead of the pack and be able to look down our noses through our Google Glass at the uninitiated as their heads swim trying to focus going down the stairs.

So far, according to Google’s YouTube vid, besides using them as a heads up walking or driving sat nav, you’ll be able to  take pictures  or video with your Google Glass glasses – generally, it seems according to the film, while , stunt flying, skiing or roller coastering – or you can browse the web or skype.  All you have to do is say “OK glass, take a picture” etc.  You can see how that is going to make you appear one anchovy short of a pizza.

And you’ll probably be able to do more besides following Google Glass glasses experiments with real users – as opposed to Google people, including Sergey Brin himself, who was recently spotted putting a pair through their navigation technology paces on the New York subway. Had he even thought of consulting the map?

The company is currently looking for 8000 “bold, creative individuals” in the US to field-test them (for which privilege they will have to pay $1500 to buy their own). As part of the deal they have to say how they’d use them in their 50-word application for the trial and are being invited to come back later with other ideas and “be part of shaping the future of Glass” – there’s an ambition.

Google Glasses guinea pigs have to be 18,  pick up their specs in New York, Los Angeles or San Francisco and get their applications in by 02.59 am US Eastern Time (for some reason) on February 28.

As well as talking to your Google Glasses, it seems, you will be able to listen to them through your skull. A patent filing to the Federal Communications Commission included a system for playing sound via a “bone-conduction” device rather than earphones or plugs (buds to our US readers).

So when will Google Glasses be on general release and all of us trying to look at at least two things at once?  There seems to be no definite date yet, but it will likely be sooner rather than later given that others are snapping at Google’s smart specs heels. Motorola is on the case with a more technical “headset computer system” for professional users like engineers and emergency services, while Oakley has Airwave ski goggles with a heads up display giving the wearer’s speed and telling them what music they’re listening too in cases where they’ve taken a tumble, bumped their heads and forgotten. 

Other companies offered up prototypes of similar devices at the last Las Vegas Consumer Electronics Show in LA.  Among them were Vuzix, with its Android-driven M100 smartphone specs including computer screen and video.

Also driving the market are forecasts that annual international  “wearable mobile” sales could be worth over $1.5 bn as soon as 2014.

However, you do also wonder how soon after these things become de rigeur for the wired that the first lawsuit will be lodged against Google and/or Apple by someone who walks under the bus or taxi they neither saw nor heard due to videoing and following directions on their glasses, while listening to AC/DC or talking to someone on their iPhone.

As a further caution before the big launch, Google could also do worse than watch that Steve Martin comedy film classic The Jerk.  Here the humble gas pump attendant Navin R Johnson (Martin) helps out a customer with loose specs by welding a small wire prop-cum-handle to the bridge. This becomes the patented Optigrab and makes Johnson a fortune, but then ruins him when it renders wearers cross-eyed and they launch a class action. He’s left with just a remote control, a thermos and a paddleball. Even his dog Shithead deserts him.

Mr Brin, you have been warned. 

Photograph: Getty Images

Mike Jeffree edits the Timber Trades Journal.

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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