Tag Archives: Apple

Fiddly

I got up this morning and, like on most mornings, one of the first things I did was brush my teeth. It’s a simple process, just part of the minutiae of daily life. But as with so many of those little things we do every day, it’s a less-than-ideal experience. After fumbling to pull the toothbrush from the cup — where its bulbous, rubberized handle was wedged against the bulbous, rubberized handles of the other toothbrushes necessary for a household of four — and nearly dumping them all into the sink along the way, I took my frustration to Twitter:

It got me thinking about a recent post on Daring Fireball, where John Gruber expressed his frustrations that some people — even Apple Store “geniuses” — were telling iPhone owners that they need to occasionally force-quit all of the apps in their recently-used items tray. He followed up on that post on his podcast, The Talk Show, where he described the experience of operating systems where you are expected to manually monitor and adjust their states as being “fiddly.”

I’ve been thinking about that word, “fiddly,” a lot since then. I think it applies to a lot more than smartphone OSes. I’ve spent a great deal of my life dealing with overwhelming frustration at the clumsiness, the fiddliness, of everyday objects: cheap plastic toys that break easily, things that stick to other things when they shouldn’t or don’t when they should, tools that cannot adequately perform the tasks they are expressly intended for, etc.

As someone who’s not inclined to tinker with objects, much less invent solutions to their shortcomings, that frustration usually just burns off as simmering rage. But as I pondered the nature of fiddliness, and the ideal of the iPhone as a “non-fiddly” object, a couple of thoughts occurred to me:

1. It is the purpose of design to reduce the fiddliness in the world.

2. Very few makers of physical objects today follow #1.

Gary Hustwit’s documentary Objectified is focused on the design of everyday objects, and those who have excelled at creating objects that are, for lack of a better word, as non-fiddly as possible. Two people featured in the documentary are Dieter Rams, the legendary German designer who led Braun’s industrial design team in the 1950s and 1960s, and Jonathan Ive, the head of Apple’s industrial design team today. Both Rams and Ive share a passion for making objects that work. Form not only follows function, form is function. It’s a seamless integration of purpose and style that makes the objects a delight to use.

And that’s a very rare thing today, indeed.

Reflections on (my own) uninformed speculation as pertains to a possible “iTV” from Apple

I don’t have any inside sources of information on the inner workings at Apple. I get most of my information from a handful of well-regarded tech blogs. (See the link list at the bottom of this post.) In fact, I would probably be doing the world a service by deleting my blog entirely and setting up my URL as a redirect to daringfireball.net.

But my lack of well-sourced information doesn’t preclude the formation of opinions, based on what I’ve heard. On rare occasions, those opinions might even merit sharing with others, and today I think may be one of those times.

The topic is an Apple-branded television, and whether or not such is coming in 2012, or ever. I was inspired to reflect on this after today’s post on the topic on Revert to Saved.

Past performance as an indicator of… something

I have a poor record regarding Apple rumors. I insisted in early 2007 that Apple couldn’t possibly be developing a smartphone. (You won’t find any traces of that insistence here, however, as I did have the good sense not to publish anything about it.)

Most smartphones then on the market sucked. I couldn’t envision what an Apple phone might look like, especially one with a touch screen and only one button. Much like The Homer, my mental abomination would likely resemble a cross between a Nintendo DS and the Cinco-Fone. Besides, it would have to be called the iPhone, and Cisco already owned that name. We know how that turned out.

In late 2009 and early 2010, I couldn’t imagine Apple releasing a tablet. (And that time around I had plenty of stupid stuff to say on the matter.) Every tablet I’d seen before that sucked, and I was certain there would be issues with screen resolution.

We know how that turned out.

Now, an Apple-branded TV, or, as the rumors would have it, iTV. Most TVs today suck, and there are few pieces of technology known to humanity more craptastic than a cable TV set-top box. There are open questions pertaining to the potential device’s screen dimensions. (Today’s flood of rumors says they’ll come in three sizes.) And, of course, ITV is already the name of a British network.

Given the eerie similarity of this scenario to the seemingly insurmountable challenges Apple previously faced with the iPhone and iPad, therefore, I am forced to deduce that Apple must have a TV in development, and… we know what it will be called.

Don’t listen to me

Where Apple excels is not in creating whole new technologies, but rather in combining existing and emerging technologies in novel ways, and optimizing the hell out of their performance. And they integrate their hardware seamlessly with software platforms that deliver content and experiences to create a cohesive and engaging ecosystem that no one else can match.

So, my inability to predict or even imagine what Apple has in the pipeline is partly a failure of imagination, and partly a lack of knowledge of the kinds of hardware and software engineering that Apple is keeping under wraps, guarded with jealous secrecy unmatched by any business or government agency on Earth.

So what?

So what, indeed? What is Apple doing, and more importantly, will it be awesome? Scratch that: How awesome will it be?

But the biggest question I actually have right now is: How much of this (hypothetical) iTV was invented before Steve Jobs died, and how much of Apple’s mojo did he take with him? In the coming months we should have an answer. This will be Apple’s first major product introduction of the post-Jobs era, and it will tell us how well that obsessive attention to detail has truly been woven into the “Apple DNA.”

Further reading

As promised, here’s a list of some of my favorite tech blogs/podcasts at the moment. I subscribe to their RSS feeds and check them daily.

Post script

I cranked out the bulk of this post in the Notes app on my iPhone while standing in a hallway, waiting for SLP. I had the idea in my head and I wanted to get it written before I lost it. I’m not sure what that really says about anything, but I thought it was worth noting.

New adventures in hi-fi… er, iTunes Match

As successful as iTunes has been in transforming both the music industry and the music listening experience, it has, from the beginning, been hamstrung by restrictions imposed by the outmoded, fearful major record labels.

Little by little, Apple has whittled away at those restrictions while managing to create a hugely successful business — iTunes has for several years been the largest music retailer in the world. First there was iTunes Plus: a boost in quality and a victory for users with the elimination of DRM copy restrictions. And now we have the real game changer: iTunes Match.

For $25 per year, you can now store your music “in the cloud.” iCloud, to be specific. That annual subscription allows you to create a centralized, comprehensive library of all of your digital music on Apple’s servers, and accessible from any of your computers and iOS devices. No more worrying about limited disk space or struggling with syncing issues. It just works.

In principle.

In practice? Well, I put iTunes Match to the test today. My music library poses a few unique challenges to this new service:

  • My library consists of over 18,000 songs, and more than 140 GB of data.
  • My main computer is a MacBook Air with a 128 GB hard drive, so I keep a “master” library on an external hard drive and a day-to-day library on the internal hard drive.
  • My main iOS device is a 32 GB iPhone 4, which has been syncing with the “day-to-day” iTunes library on my Mac’s internal hard drive.
  • SLP and I have our own iTunes accounts but have long desired to have a single shared music library.
  • My music library consists mostly of non-iTunes Plus tracks: a mix of DRM-laden 128 kbps iTunes tracks, ripped CDs, and tons of MP3s downloaded from Amazon.com.

With these factors in play, I had some specific goals for iTunes Match, roughly in this order:

  1. Move my “master” library from an external hard drive that sits on my desk, into iCloud where all of our devices can access it.
  2. Free up precious storage space on my MacBook Air and iPhone.
  3. Upgrade old DRMed 128 kbps iTunes tracks to higher-quality, DRM-free, 256 kbps versions.
  4. Consolidate SLP’s purchased iTunes music (around 600 songs) with my main library.
  5. Clean up duplicate tracks.

Spoiler alert: I pretty much knew going into it that the last of those items was going to get worse before it got better. But there were still plenty of surprises (good, bad and ugly) along the way.

The journey of 1,000 miles (or 18,000 songs) begins with a single step

I began my iTunes Match journey about two weeks ago, as soon as iTunes Match became available to the public. (For what it’s worth, I’m registered as an iOS developer, so I had access to the beta, but was never able to get it working properly.) The first goal was to get all of my music loaded into the system, and for the most part that went fine. Which is to say, it went… and went… and went… and w…e…n…t… fine. Loading the 4,000 or so songs I kept on my internal hard drive was fairly inconsequential. The process completed in a couple of hours while I went about my work that day. But then when the time came to fire up the external drive and load the remaining 14,000 or so songs… hmm. How can I put this? I guess the plus side was that I could leave it unattended and sleep, because it took three nights (overnight) to finish.

At that point I left things alone for a while, as I was too busy at the time to devote an entire day to organizing and cleaning up my music library. I did, however, get to play around with the overall iTunes Match experience for a week or so, and I discovered the following:

The good:

  • Having my complete music library at my fingertips on any device is amazing.
  • Streaming works great on the Mac, iPhone and Apple TV. Just pick a song and within a few seconds it starts playing.

The bad:

  • Browsing can be slow, sometimes painfully so, with a large library. This is especially a problem on the iPhone.
  • Cover art is often missing. I haven’t yet determined if it’s just not being downloaded, or if it’s not attached to the albums in iCloud, either.

The ugly:

  • Syncing an iOS device with iTunes on your computer can become a real mess. It’s hard to delete anything: like Michael Myers, no matter how many times you shoot him or stab him or stick a hanger in his eye, he just keeps getting up and coming back to get you. OK, bad analogy. But it almost feels that way.
  • Sometimes you don’t really want to remember just how many songs by Edison Lighthouse, England Dan and John Ford Coley, or Peppermint Trolley Company you own. It would be nice to have more filtering options than: a) just what’s on your device, or b) the whole shebang.

The big day arrives

Today I finally decided that I could afford to put off almost all of my real work for an entire day and devote my attention singularly to the task of getting iTunes Match fully synced, and SLP’s music fully integrated into the main library. To be honest, however, it’s not just today. I began the process at around 8:00 last night, worked until just after midnight, resumed from 7:00 to 8:30 this morning, then worked on it straight from 10:30 AM to 3:30 PM and again from about 7 PM to 10 PM, when I began writing this post. That’s 13 1/2 hours total, or approximately 2.66 seconds per each of the 18,266 tracks in my library. YMMV, as they say, but I’d guess it’s reasonable, if you’re trying to budget some time, to assume that you’ll need about 3 seconds times the number of tracks in your library. (And I’m still not really done.)

I took some notes today as I was going about things. Here are some pertinent observations:

Some things were just plain gone. I’m pretty sure this was the fault of my own carelessness in keeping my various pre-iTunes Match libraries in sync, but it’s worth noting that two conspicuous omissions in my library were The King Is Dead by The Decemberists and The King of Limbs by Radiohead. Coincidence?! I think… well, actually, yes, I do think it was probably just a coincidence. Luckily I was able to track down backups of both of those albums, but now I wonder what else is missing that I’m forgetting about.

“Matched” tracks are hit-and-miss. I’m sure Apple is relying on some very powerful algorithms to analyze each track in your library, in order to determine whether or not it matches a track that already exists on iTunes. It’s clearly not just relying on title-and-artist matching like the longstanding (and semi-useless) “Display Duplicates” option. One of the big selling points of iTunes Match is that if your music is available on iTunes, even if you didn’t buy it there, you’ll get the (usually higher-quality) iTunes version instead of the original version in your library, saving you time and saving Apple server space, as well. (Macworld’s Jason Snell has written an excellent tutorial on how to upgrade your tracks.)

The algorithms aren’t perfect, however, and I was annoyed to discover numerous cases where all but one or two tracks of an album were “matched” and could be replaced with 256 kbps iTunes versions, but the other tracks were rejected, for reasons unknown, and were stuck with the inferior quality versions I had to begin with.

Duplicates are a mess. Apple has done a lot to try to make it easy for you to find and weed out duplicate tracks, but you still have to do it. I appreciate that they don’t just assume which tracks you will or won’t want and automatically delete things capriciously, but I still wish there were a more efficient way to trim the excess.

Cloud symbols and error messages could use some clarification. Neven Mrgan has a great summary of the icons and his interpretations of their meanings, but I encountered too many dialog boxes today with useless statements like “This item is not eligible for iCloud” or “The track could not be downloaded because an unknown error occurred.”

If you’re trying to consolidate tracks from two separate iTunes accounts into a single library, you’re on your own. While the 10-device limit on DRMed iTunes tracks, and iTunes’ ability to be authorized for multiple accounts on a single device, allows for this kind of consolidation, Apple has not gone out of its way to support such activities. In my situation, I was dealing with a large number of SLP’s iTunes purchases that were no longer on any of our devices. I happened to have a spare Mac in my office with an empty iTunes library, so I logged into SLP’s iTunes account on that Mac and used the “Purchased” link in the iTunes Store to re-download all of her music in prep for eventual syncing with the main library.

But it wasn’t that easy. At first, a bunch of the songs wouldn’t download. I realized it was because they were still DRM versions, and that I needed to pay another $25 for an iTunes Match subscription on SLP’s iTunes account to get them. Even then, there were a number of weird issues with tracks being unavailable. Strangely, it seemed that in some cases, if I already had some of those tracks in the master iTunes library, and had already downloaded 256 kbps versions of them, it would not allow me to download them on this second computer. This leads me to believe that there is some hidden mechanism whereby Apple does still keep track of even the DRM-free tracks that have been downloaded, and if they’ve been “transferred” (as it were) to another user’s library, they become unavailable to the original user. This is just a guess, but it seems to fit my experience. (On a related side note, since this second computer was not yet authorized with SLP’s iTunes account, I needed to authorize it — which was triggered by attempting to play a song — before iTunes Match would work properly.)

What if your music is no longer available in the iTunes store? I’m sure this is one of the most commonly asked questions about iTunes Match, and I’m sure Apple has given very reassuring scripted answers, but it still remains as perhaps the biggest risk you take in trusting your music to the cloud. Tracks that iTunes fails to match and has to upload should be no problem, but once you’re relying solely on a “matched” track — or, for that matter, a “purchased” or “protected” track — you’re at the mercy of Apple and the record labels keeping the music available. I initially noted this as merely a point to ponder, but during the process of integrating libraries I encountered the problem firsthand. SLP had an album that was DRMed 128 kbps, but which is no longer available in the iTunes Store, at all. Luckily I had it copied to my master library already, or I wouldn’t have even known it existed. As it was, I was stuck with an album of low audio quality and that iTunes refused to load into iTunes Match. (It was “ineligible.”)

I hit upon a hokey workaround solution, one that is flawed mainly in that it results in further compression/degradation of the sound quality of the tracks, but at least it’s a way to get the music into iTunes Match. I burned a CD of the album, then re-ripped that CD back into iTunes, DRM free. (That’s the old school way of circumventing iTunes DRM, circa 2004.) It worked, but of course I’ll always know that the sound quality is sub-128 kbps. (Not that it matters much to me, as it’s an album I’ll probably never listen to.) This led me to a related discovery…

Burning a CD of DRMed tracks, re-ripping it, and uploading the results to iTunes Match will not get you “matched” DRM-free 256 kbps versions. Granted, my sample size here is pretty small — two tracks — but I suspect this is deliberate (if it’s possible). In addition to the aforementioned unavailable album, I found two other tracks from SLP’s library that stubbornly refused to load into iTunes Match, even though the rest of the tracks from the albums they were on were recognized and “matched” with no problem. So I burned them onto a CD, re-ripped the CD, and loaded the tracks into iTunes Match. No match. Just the further-compressed versions based on the original DRMed 128 kbps tracks.

Corrupted files? Are you kidding me? I had been wondering what might happen if files got corrupted, either during upload or download. Unfortunately, I found out. Just another meaningless error message with no real indication of a solution. I’m a few thousand tracks into the “upgrade” process so far, and to this point I’ve had four songs fail to download due to an “unknown error.” The behavior is the same in most cases: the song appears to download several times in quick succession. As soon as the progress bar gets to the end, it starts over again. After maybe 5 attempts, it stops with an error number (sometimes err = -100000, sometimes err = 11111). I think it may be necessary to contact iTunes customer support to resolve the issue, but I want to wait until I’ve finished downloading all of my music, to see if it happens with any other songs first.

So, is it all worth it?

I still have a nagging fear that some kind of catastrophic data loss is just around the corner, but so far I am inclined to say that iTunes Match definitely is worth it. It was delayed by a few weeks and still seems like it may have been rushed out the door, but I am hopeful that most of the current glitches and usability issues will be resolved over time. It would be nice if it “just worked,” as we Apple fanbois are so frequently inclined to say, but knowing the complexity of the task at hand, it’s a nearly superhuman achievement, even flawed as it is today.

At the moment I still have almost 3000 low-quality tracks that are eligible for an upgrade (using Jason Snell’s smart playlists), not to mention countless duplicates to weed out and a few other stray errors (in my nightmares, clouds have exclamation points) to contend with. But I think the biggest testament to the magnitude of Apple’s accomplishment is that it’s actually gotten me excited about “the cloud,” something I’ve looked upon disdainfully for years.

Is iCloud deleting your iCal events? Here’s a possible solution

Like many Apple enthusiasts, I spent much of the day yesterday updating software. Mac OS X 10.7.2, iTunes 10.5, iOS 5, and… iCloud. I’ve been relying on MobileMe for a little over a year to keep my mail, notes and calendars (mostly) in sync. I was not an “early adopter” with MobileMe, so I escaped the first-day glitches that promted Steve Jobs to declare the system’s launch “not our finest hour.”

Less than a day into my experience with iCloud, I’d have to say that this launch also is not Apple’s “finest hour.” There have been numerous complaints today about iCloud mail outages (following what I have observed as several days of flaky MobileMe mail performance). But without a doubt the biggest issue for me personally has been related to iCal.

After completing the iCloud transition yesterday, to my dismay I discovered that all of my iCal events were duplicated! My MobileMe account and my iCloud account were both showing up, with all of the same events. Now, in retrospect, the correct thing to do would probably have been to go to Preferences > Accounts and just delete the MobileMe account from my iCal configuration. But is that what I did? Why, no, of course not! I proceeded to delete all of my individual MobileMe calendars. That appeared to do the trick. The iCloud calendars were still there, and every event was just showing up once.

But then this morning I sat down at my computer and discovered — to my horror — that everything was gone. At some point yesterday, when I wasn’t looking, MobileMe and iCloud synced up, and deleted all of my events.

Time Machine to the rescue!

I opened up my Time Machine backup from yesterday afternoon… sometime just before I had made the iCloud transition. I drilled down to [home]/Library/Calendars. (Note that Library is now a hidden folder, but I have my system set to show hidden files and folders*.) I found the multitude of .ics files that represent each individual calendar event, and dragged them into iCal. At first, things seemed great… until I noticed that one by one, the events started disappearing from my calendar again! Apparently iCloud didn’t like having these events show up in the calendar in this way — probably because it recognized them as being events I had “deleted” yesterday — so it “helpfully” removed them again.

AAAAARGH!!! How am I supposed to get these events back into iCal when iCloud just deletes them as soon as they’re added?! Then it hit me… you don’t have to put events into iCloud calendars.

iCal also allows you to created local calendars (“On My Mac”). My solution was to — temporarily — create new “On My Mac” calendars, add the events to those calendars, then export those calendars and import them back into the iCloud calendars. (Then the “On My Mac” calendars can be deleted.) It worked!

Here are step-by-step instructions to do what I did, in case you’ve found yourself in the same conundrum.

1. Find the old calendars in your Time Machine backup. You could open Time Machine to do this, but I like to just explore the disk in the Finder. (The remaining instructions assume you’re taking my approach.) The most important thing is to determine the date and time when your last “good” iCal backup would be. Drill down into that backup to your home directory (that would be something like [drive name]/Users/[username]), and then to Library/Calendars. (Remember that Library may be hidden; if so, see the footnote below.) You’ll see one or more weirdly-named folders. Each of these represents a separate calendar in iCal. Inside each is a directory called Events, and inside that are all of the events on that calendar, each with a filename ending in .ics. If you have more than one calendar folder, you can tell which calendar this is by selecting one of the events in the Finder; its icon will show its date and title. Keep this folder open; you’ll need to come back to it in a later step.

2. Create a new “On My Mac” calendar in iCal. Go to File > New Calendar > On My Mac. Call this calendar whatever you want. If you have multiple calendars, like I do, you’ll need to repeat this process for each of them separately (to keep your events from all getting jumbled together in one calendar).

3. Set the new “On My Mac” calendar as the default calendar. This can be found under iCal > Preferences > General > Default Calendar. When you drag events into iCal, it automatically assigns them all to the default calendar, so this is a pretty important step. Reassigning the events to a new calendar once they’ve already been imported can be a pain.

4. Drag all of the backed-up events into iCal. Go back to the Time Machine backup window you left open in step 1, select all of the .ics files, and drag them into the iCal window. Depending on how many there are, it may take a while for them all to load. Once they’re in, proceed to the next step.

5. Export the “On My Mac” calendar. It can be tricky to make sure you’re getting iCal to export the correct events. Click the Calendars button in the upper left of the iCal window (on the brown “binding” of the cutely skeuomorphic interface), find the “On My Mac” calendar that you’ve added all of the events to, and right-click (Control-click) that calendar to get a contextual menu. Click Export... and follow the prompts. I recommend saving the exported file to your desktop.

6. Set the appropriate iCloud calendar as the default calendar. This is a repeat of step 3, but this time you’re changing it to the iCloud calendar you want the events to be loaded into.

7. Import the exported calendar file into the iCloud calendar. Go to File > Import > Import... and locate the file you created in step 5.

8. Delete the “On My Mac” calendar. Once you’ve completed the import (and have confirmed that the events are not disappearing), you can safely delete the “On My Mac” calendar you created. Click the Calendars button in the brown “binding” again, right-click (Control-click) the “On My Mac” calendar, and select Delete from the contextual menu.

9. There’s no step 9!

* To get your system to show hidden files and folders, open up Terminal and type this: defaults write com.apple.Finder AppleShowAllFiles TRUE then hit Return, type this: killall Finder and hit Return again.

A tale of two decades

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way — in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.

–Charles Dickens, A Tale of Two Cities

We’re approaching the tenth anniversary of two pivotal events in the early 21st century. One is perhaps the darkest day America has faced since, at least, World War II. The other was the seemingly inauspicious debut of an electronic device that would soon herald an era of unprecedented advancement in consumer technology.

That I should even place the World Trade Center attacks and the introduction of the iPod into the same blog post, much less the same sentence, is surely offensive to some and perhaps befuddling to most of the rest. But I think it cannot be denied that, while September 11, 2001 ushered in one of the darkest political times in American history, at least the darkest in my lifetime, October 23, 2001 — the day Steve Jobs introduced the first iPod — was perhaps the day that we formally entered “the future” as I (and many others like me) envisioned it in childhood: dazzling technological devices that we can carry around in our pockets and, increasingly, seem capable of doing just about anything.

As New York solemnly builds a monument to the tragic loss of over 3,000 lives on that Tuesday morning, an event that will surely be commemorated in countless ways by millions of Americans next month, we technophiles are learning about more sad news, with the resignation of Steve Jobs as CEO of Apple. Though he’s intensely private about his personal life, it is well known that Steve Jobs underwent surgery for pancreatic cancer in 2004, had a liver transplant in 2009, and has had limited involvement with Apple’s day-to-day operations since he took medical leave this past January. His resignation yesterday may mean his health has suffered further declines, but that is not for us to dwell on. Leave Steve alone to enjoy his life as best he can, for as much as he has left of it.

Personal concerns aside, the departure of Steve Jobs marks the end of an era. It would be little exaggeration to declare the past decade “The Decade of Apple” in terms of technology. Apple didn’t invent every technology it sells; like any modern company it relies upon the past developments of others, just as it outsources its manufacturing to companies like Foxconn in China. But the thing that Apple has done, largely due to Steve Jobs and his visionary leadership, is invent ways to turn these technologies into compelling, “magical,” transformative devices. And along the way he has transformed Apple into a finely tuned machine itself, capable of creating these products of unparalleled originality and unlimited usefulness, at highly competitive (sometimes unmatchable) prices, with such efficiency that the company has gone from “90 days away from bankruptcy” (as it was so famously described just before Jobs’ return at the end of 1996) to vying with Exxon to be the most valuable publicly traded company in the world.

I’ve read plenty of gloom-and-doom speculation about the future of Apple without Steve Jobs, especially in the last 15 hours or so since the announcement of his resignation. Most of it is utterly ludicrous. New CEO Tim Cook and the rest of his executive team are more than capable of carrying on producing great products without Steve Jobs (or with him in a far more limited role as Chairman of the Board). Whether, over the longer term, they’ll be able to continue inventing new products as transformative as the iPod, iPhone and iPad (and whether they’ll all have to have names starting with “iP”), only time will tell. But now is clearly not the time to sell Apple stock, if you own any. (And if you don’t, maybe you should buy some… which is what I should probably be doing right now instead of writing this.)

A tale of two decades. While the September 11 attacks, and the wars, economic turmoil and political polarization that followed them, have made the last decade one of the most difficult in our nation’s history, Steve Jobs and his work at Apple have led the way for the past decade to become one of the most exciting and transformative we’ve ever seen in terms of technological advancement and, in particular, what technology can do to improve people’s everyday lives.

So, thank you, Steve Jobs, for providing a counterpoint to what was otherwise a dark decade of foolishness, incredulity and despair. Thank you for bringing to the world your wisdom, belief and hope. I spend much of every day relying on Apple devices, from using the C25K app on my iPhone during my morning run, to building websites in BBEdit on my MacBook Air, to relaxing in the evening watching “Mad Men” on Netflix with my Apple TV.

There are plenty of things going on in the world right now that are cause for sadness, frustration, anger, confusion, and despair. But the simple joy and unprecedented utility of these devices that Steve Jobs and the rest of the minds at Apple have created give me hope. If people can produce things so well-designed, so incredibly useful, so delightful, then perhaps, someday, we can get all of the rest right too.