are grouting colours named after eyeshadows?

A few days on and the bathroom project is making some progress. There's been plenty of ripping out at the start and another good skipsworth of junk on the front drive. I've designated next Tuesday to get it removed.

Meantime I'm wondering about the pipes that will need to take an excursion through the back of one of our wardrobes. I've always wondered what that red tap did that's in the cupboard.

For the moment the barely remaining space in the garage is taken up with a new bath and a rather large quantity of plasterboard and tiles. Ooops, and a wrong shaped shower head. Its supposed to be round its turned up square.

Then there's still some important decisions to make about whether the grouting should be antracita, manhattan or gris. It all sounds very eyeshadow to me.

squeezing TSS and IF metrics from the Garmin

Thursday evening I was out for an agreeable supper in a fancy restaurant. It's another one of the times when I've not got around to posting anything to the blog, but it does open a slot for me to back-post in a handy reference table.

The handy reference table is for the general opposite of what I was doing Thursday evening. Eating duck egg amuse bouche followed by courses that could have ended with a serious amount of chocolate (except I managed to side-step the pudding).

So my handy reference table comes courtesy of an article by two wheel blogs about cycling.

Some might know I've set up my bike with a gadget that stores various metrics that can be uploaded to spreadsheets and the internet. There's all the usual stuff about speed, pedalling rate and calories, but I thought it would be interesting to try out the extra measures (I'd call them proxy metrics) that show (a) how demanding a particular ride is and (b) what state it's left me in. I've been using trainingpeaks.com for this.

There's a measure called Intensity Factor (IF) as a way to show the difficulty of a particular session and the Training Stress Score (TSS) relates to the personal impact it will have and how long to recover.

There's loads of cleverness around all of this, but I'm more interested in figuring out whether one ride I do is measurably more demanding than another. One way I tell is by how clammy I feel by the end, but I thought it would be fun to play around with the numbers too.

Hence the simple ready reckoner, which gives me a sense of what is happening.

I thought I'd also post my current plots from when I started the current measures in January.

It shows that I could ride a fairly short distance and it would seem like a fairly 'intense' ride. Through January the perceived intensity of individual rides started to lessen (see the blue dots dropping), presumably as I got more used to what I was doing. The actual loading of the rides varied somewhat (the red dots for each ride), but were mainly within a middle band.

The most interesting line is the blue one which is gently rising. That's supposed to be my general bicycling fitness, which does seem to be going up. Empirically that also seem to be the case because as an example I did around 18 miles this morning with relative ease. I'd have been spluttering a bit more a few weeks ago when I did this.

The pink dip in the middle of the range is a week when I was away somewhere and didn't do any cycling at all. It shows my residual degree of fatigue dropping until I restarted (it soon gets back to the same level though).

I'm doing this for fun, and don't necessarily have the charting model very well calibrated at the moment, but it sort of feels as if its saying the right kind of things.

I've also separately noticed that except for weekends I seldom cycle for more than an hour in one go. I'm thinking I should tip over the hour in the week now the weather and hours of daylight are improving.

If I can get it working properly I'll probably post an update, because rather than just counting miles and calories, this has some interesting potential.

For fans of detail, the amuse bouche evening is the second red/blue dot pair from the right hand end of the x-axis. Oops, do I see a small dip afterwards?

it was a dark and stormy night

It's been quiet project in the background, up until now. Moving stuff out of the bathroom, ahead of redecoration.

Well, replacement, actually.

Ever since that time the bath overflowed and the ceiling below developed rivulets of water, it's been on the list.

There's a sort of frieze running around the walls, which has been painstakingly repaired with Pritt-stik and then Blu-tac at different times. The cupboard contained some potions from around 2003, which would probably have caused all manner of lively side-effects.

There was a mock cup-cake fizz-bomb in one of the cupboards which rather disappointingly became an orange shiny disk when dropped into some bath water. It was okay, but I suspect one of the magic ingredients had somehow decayed.

Then there's the loo-seat that suffered an unfortunate collapse when a friend was staying. We never did get to the bottom of it. The replacement, manufactured in Turkey, was hastily bought from a local shop and has never matched the rest of the room.

The squeaking yellow rubber ducks have been packed into a temporary crate, but I do expect them to resurface at some point after the bathtub has been replaced. It's probably also time for the swirly ceiling to go.

There's still things to decide too. Some of the tiling needs to match a new kind of wall colour. Then there's the mirror. Should it be hotel huge or something with interesting edges? Decisions...

Whilst this work proceeds, I shall try not to join the great unwashed.

growing younger

Sitting in a wine bar with a friend. We were sharing a bottle of something red. From Argentina. Malbec, from Adrianna's vineyard. Slightly more expensive than we'd intended, but we'd split the tab at the end.

And chatting, of course.

We're both people who have adapted our lifestyles. Set up our companies, re-jigged our ways of working. Creating our own agendas. He put it well.

"If I'd stayed doing the same thing in two years I'd have grown two years older a day at a time. This way I get to grow a day younger each day."

There is fun going forward.

don't look back in anger

A last minute decision as I left home for my travels this week was to slip a DVD into my bag. It was a loose one from a box set, in one of those thin plastic space saving wallets.

It was the first three episodes of the 1996 Peter Flannery's 'Our Friends in the North' which we seem to have as a box set but I'd never got around to watching.

Well, not since it was first screened on BBC television back in the 1990s.

The original screening was one of those 'imprint' type series where you feel like you've lived it by the end. Like looking at the cover of Sergeant Pepper is almost enough to recreate the sensation of listening to the album (even as I type it I can hear the opening track). There's a cliché about 'unforgettable', but it does sometimes genuinely apply.

That's probably why the DVD had languished shamefully unwatched at the back of the cupboard. I now can safely report it is still as great to watch today as it was when it was made. What's also interesting is the 'different things I know' between the first time I watched it and now.

It is set across the decades from the 1960s to the 1990s, tracking four friends whose lives intersect mainly around Newcastle plus some story lines that drift into the Soho area of London. It's a story of England as much as a story of the friends.

It covers city hall corruption, sleaze, three day working weeks, rock 'n roll, property backhanders, a dodgy Metropolitan police force, politics, miners' strikes and more. That's the backdrop against which the characters engage and the related front stories of their intertwined relationships play out.

There's Daniel Craig playing a loose cannon Geordie, Christopher Ecclestone as the idealist Nicky seeking a better future, Gina McKee whose Mary falls into a fractured marriage with Mark Strong's failed musician the womanising Tosker. The rest of the cast provide authentic supporting roles as the story unfolds.

The whole series is nine episodes, lasting about ten and a half hours, I've had to stop the world for a little while to watch them again, in just three sittings.

I wondered if the memorable close to the series would still work. It does.

a speedy day in Wales

A quick visit to Wales for some meetings. Cardiff for a day that was one of those blurs of whizzing around office blocks and meeting rooms.

So I learnt a new word for elevator - the Welsh word 'lifti' although I can't remember the Welsh words for 'up' and 'down'.

I might not have had much time for a look around, but I did spot a few red dragons.

musing on everything's amazing and nobody's happy

Some videos arrived to add to the bike turbo. It's a mix of routes with scenery and simulated gradients. Hmm, hamster wheel springs to mind?

I've loaded the first one onto the computer but it's taking about an hour to copy everything from the DVD onto the hard disk.

There's a few things to remark upon here. The PC I'm using is the inexpensive one I bought in supermarket with the groceries. It's connected to the internet via wi-fi broadcast from the house. The bike is connected to the same PC via ANT +. The DVD has control signals that can tell the bike where it is on the video and set the resistance/gradient accordingly.

The video gives a selection of routes including the Arizona desert, some pretty French villages in the Dordogne and a route around some French mountains.

So, having listened to that old and funny Louis CK clip on Conan O'Brien talking about technology nowadays, I thought it's best to back off from being irritated about the long load time of the software.

Testing the TACX TTS4

It was chucking it down with rain this morning which was something of a deterrent to bicycling.

I know, I should go out whatever the weather, but it seemed very cold as well and a day at complete odds with the sunshine of yesterday.

It gave me an excuse to try a ride using the bicycle turbo unit, which is my alternative to hitting the streets. I'd also recently ordered an updated training package to go with the TACX Booster unit.

The software is called TACX TTS 4 (no idea what it stands for) and it provide a way to get the readouts from the bike displayed directly onto the computer using the ANT+ protocol.

My bike already has a magnet on one of the rear spokes and another magnet on one of the pedals and a little radio sensor picks up the pedalling rate (cadence) and speed. Add a heart rate monitor and the main telemetry is all provided. The Garmin Edge 800 unit I have reads all of these signals and tracks my course using GPS when I'm out on the roads. It gives me speed, heart-rate, calories, cadence, amount climbed and a few other statistics.

The Tacx unit does a similar thing although it is designed to be stationary. The extra facility is that it will simulate terrain to make the ride easier or more difficult by applying an electronically controlled magnetic brake, either from the small control unit on the handlebars or via the PC.

Anyway, I loaded the new version of the software into the PC and restarted everything. Hooray - it worked immediately. The PC software found all of the various ANT+ readouts (I had to re-introduce it to the heart rate monitor) and then I was in business.

I tried a couple of the pre-programmed rides - firstly a simple 0.7% downhill slope for 6 miles to get used to the software. It worked fine. Then a small section of a French mountain pass - which had a decent video playback including oncoming cars and people standing looking over the edge of the river valley admiring the view. This was just a demo of less than a mile but ran quite smoothly.

There's also a facility to program in one's own circuits using google maps. Literally draw the circuit and then feed it into the TACX and Google earth will render a real-time playback. I've done this before on a previous version of the software but haven't yet figured out how to copy them across to this new release. I've previously recreated local courses that I've actually cycled (which works quite well - either uploading the exact co-ordinates collected from the Garmin or drawing them using Google) but it would be fun to do some other more exotic locations.

Next was a small circuit of an Italian virtual reality village. There were three scenarios to choose; a rugged downhill mountain bike area through woodland, a series of steep mountain rides and the one I chose (chicken!) which was called valleys. There were about half a dozen different valley rides pre-programmed and I looked for the one with the least steep profile - it was about 6 miles.

So I set off through the rolling countryside, with tractors mowing fields, birds tweeting and a flock of crows occasionaly swirling overhead. The ride became steep for a few minutes but was mainly flat as it meandered around a village, along a waterside front and then up a short hill before a few more loops to the finish.

Six miles in idyllic sunny Italian countryside.

I decided to look outside before maybe doing a further 15 or so miles.

The earlier rain had turned to snow.

I knew that the turbo made sense in certain conditions.

in which i finally see The Artist

We were in Mayfair on Saturday evening and stopped off at the Curzon to see "The Artist". I know everyone else has seen it and it's won all of the prizes, but I was actually a little bit underwhelmed.

The lead actors were charming enough, the doggy was cute and the story was heavily signposted along the way with plenty of 'those bits' that you want to get from this type of film. It had clearly been made with some affection for the genre.

But I was waiting for it to add something, rather than being a very good copy with high fidelity music. Sure, there were a couple of scenes with (shock horror) sound, and some borrowed musical soundtrack too, but I couldn't help thinking I'd prefer to watch "Singin' in the rain" to get roughly this movie's plot line.

The other thing was the filming of the story. There was quite an art to some of the ways that people shot the old monochrome and I was expecting to see some of this in the film's tones. There's some of this done to good effect in the stills from the picture, but I felt that the main filming was fairly bland in nature rather than stylised - almost as if someone had just shot a colour film, desaturated it to a slight beige and then boosted the white on whoever was the star.

I know I'm in a minority here, but it isn't really a film I'd particularly want to see again, despite it winning so many awards.

Capital moment

I'm reading that John Lanchester novel called Capital at the moment. It's about people who live in a London street and how their lives are separate but intertwined.

I originally downloaded it from Amazon, after it came up as a plausible (to me) recommendation. That was before I noticed the huge marketing that the book seems to be getting, with a full back page advert in the newspaper the other day and an interview with Lanchester on Newsnight.

My motives were somewhat simpler for buying it, it was about London and originally I thought it was about an ordinary street called Pepys Road, which I imagined to be something like the North London Victorian Road I'd once lived in.

There's an immediate difference that this street's houses have all done rather well and are now worth silly money, despite the collection of 'all walks of life' characters assembled to drive the various plot lines.

There's Roger the banker, Freddy the (Senegalese) footballer. There's an anonymous artist and a corner shop run by the Kumars, sorry, the Kamals. Throw in a political refugee as a traffic warden and we almost have that card game complete. Who has got Zbigniew, the Polish plumber?

We had builders, postmen, teachers, the man who owned huskies, a Greek restaurant owner, a security alarm firm and shop assistants as neighbours in our version of the story. Before we got robbed. Twice. So we left.

I'm only part way through the novel at the moment but starting to get a feeling that the ensemble are there to play their relevant parts in a slightly predictable and caricatured way. A sort of distant pair of tweezers picking through scraps of humanity. Perhaps that is the point, but the background premise around London 'doing alright' despite the banking crisis and still the place people want to 'come to' rather than 'escape from' could be explored with more vigour.

It'll be a race against time for me now though, because such is the marketing and media interest that yesterday evening I heard it being advertised as next week's "Book at Bedtime" on Radio Four.

revenge of the auto bots

There's been quite a bit in the news today about the new T&Cs for Google and the aggregation of some 70 different sets of conditions, spread across a whole raft of intertwined software.

I've previously wondered what happens as the marketplace consolidates down to a few main players and the degree to which various things overlap.

In my case there's been another system which has changed ownership/branding/software recently. Its called Twaitter and I used to use it to drive some robotic twittering based upon a few of the characters from my novel, "The Triangle".

So @trianglejake, @trianglebigsy, @chuckmanners and @triangleclare would send each other little messages on fairly long timer loops (measured in days, weeks and months).

And it sort of worked for the last couple of years. They all got followers (more than me in some cases) and I shipped a few copies of the book.

Of course, I could't resist a couple of extra characters just for fun - Mr Bubble @bubbleOoO - which just tweets strings of OOOooos and Mr Tic-Tac, which sends occasional updates on the number of tic-tacs being consumed.

I'd originally set them all up as experiments and they happily babbled away until recently.

"Twaitter is now Gremln."

Everything is supposed to have been transferred across seamlessly (anyone remember Haloscan?)

I can see the various ex twaitter accounts in Gremln.

I can even open the special new control panels.

But that's about it. I can't stop the messages, change them and some of Mr Bubble's are even appearing as if they have been generated by rashbre central - which to me is a sort of privacy infringement.

Don't let the cute little logos fool you, I suspect there is a missing letter in Gremln.

never let me go

I'd originally started to write this post a few months ago when the Kazuo Ishiguro story called 'Never Let Me Go' was running as a movie on television. I read the novel quite a long time ago but only saw the (similar) movie recently, and then watched it again on Monday as it's flittering around again on Sky.

I think when it was first on movie release it didn't get such good reviews from the critics. Contrastingly, I found its slower pace and surprisingly accepting attitudes of the main players made for quite an interesting thought piece. The main character behaviours are just not as one might expect.

The premise is a sort of alternative state of Britain, which has made some different scientific discoveries and has developed clone humans to use for spare parts.
Instead of setting it in some sort of Total Recall/Bladerunner/Terminator-esque world, we have English boarding schools, quaint farmyards and seaside homes.

Keira Knightley, Carey Mulligan and Andrew Garfield play Ruth, Kathy and Tommy - three young 'donors' who have been raised through the cloning process via a special school and are on the paths to their own destruction, yet accepting it in a surprisingly calm manner. I won't relate the whole story here, suffice to say their paths are quite intertwined.

There's a few more science fiction type stories that deal with the ideas of this novel, but I was reminded by its contrasts of the scenes in "O Lucky Man" when the Malcolm McDowell coffee salesman stumbles into a science research project which involves experiments with people and animals.

It's like the ideas in "O Lucky Man" with its altogether more jarring story have morphed into something both more genteel and also industrialised. A kind of erosion of the sensibilities.

Both stories play around with the role of the state and in the case of this novel and film there's the inevitable commercialisation of the processes involves, which ominously become more production lined for the successors of Ruth, Kathy and Tommy.