Over the years I’ve written a lot of troubleshooting posts on my blog, describing problems I’ve run into and how I solved them in hopes that other people with the same problems might find it helpful.

I’m starting to collect them on a mini-site that’s not a blog: Hyperborea Tech Tips.

Several things came together to inspire me to reorganize those posts:

  • Tinkering with IndieWeb.
  • Building a Gemini capsule.
  • Opening the developer tools on one of my WordPress-powered blog pages. There’s no reason a 500-word article should need 400KB and a dozen connections!
  • Keeping multiple WordPress blogs up to date with security fixes.
  • Reading about the garden and stream metaphor. (via)

The essence of the garden and stream is that we’ve gotten used to a constant, time-based stream of information, but some things are better handled as an idea-based, organically-growing and cultivated collection. Sometimes you want to post a status update to social media (into the stream), but sometimes you want to update a Wiki page (taking care of the garden).

A lot of stuff isn’t here because it belongs in a stream. It’s here because it became more convenient than copying a template, writing the page, adding links and uploading everything over FTP.

I’d already mirrored some of these troubleshooting posts on my Gemini capsule, so I figured they’d be a good place to start.

My goals with the sub-site:

  • Deeper dive into Eleventy, the static site generator I’d used to archive my Les Misérables commentary.
  • Dig into IndieWeb.
  • Light as possible. One CSS file, images only for content, system fonts, no JavaScript unless I have a specific thing that needs it. (And if I do have to add JavaScript, only include the parts I need, not half a megabyte of some framework or another.)
  • Look somewhat decent (and legible!) on screens from cell phone up to widescreen desktops.
  • Create a reusable template, both for my own projects and for other people.
  • Be at least as useful as the original blog posts, if not more!

This doesn’t seem to be a very common problem, given that when I searched for it I only found a single result on Google, but in case someone else out there runs into the same issue, I thought I’d write it up so they can find it.

I tried to register a Wacom Intuos drawing tablet. The way you do this is you open the Wacom software and click on the registration banner, which then opens your default web browser to the registration page on Wacom’s website, pre-filled with a serial number and some authorization token. If you’re already logged into a Wacom account, it should just register it immediately. Or you can create an account first.

The problem: I got a banner at the top with the error, “Profile ID Missing.” I went back to the Wacom Desktop Center, which popped up the registration banner again. Clicked again. Same problem.

Google search for Wacom register "Profile Id Missing" with one result, and the we've omitted similar results message.
Technically there was another result…which was another view of the same reviews.
The only reference I found when searching for wacom register "Profile ID Missing" was a German-language review review on the Amazon.de listing for an Intuos tablet. “Was zum Teufel ist eine Profile-ID?” They solved it by uninstalling and reinstalling the Wacom software, and for whatever reason, the registration link worked that time.

Before I got to that point, I tried something I didn’t think would work: I clicked in the URL bar on Firefox and hit Enter, causing it to reload the page. (I forget whether I’d already tried hitting the reload button.) Weirdly enough, it worked, and it registered the tablet. Finally!

To keep myself from getting distracted by too many notifications on my phone, I ask myself the following questions whenever a new category pops up:

  • Will I need to act on it? (Likes/favorites are nice, but I don’t need to respond.)
  • How time-sensitive is it? (“Your ride is here” is more time sensitive than planning a get together for next weekend.)
  • How important? (“Server down” is more important than a project update. A conversation is more important than a newsletter.)
  • Is it actually for me, or is it an ad for the app service?

Then I turn off what I don’t need, turn off sound on the less urgent ones, and customize sounds for the most important ones.

So I hear when a text or instant message comes in, but not email or social media. When I pick up my phone I see emails, mentions & replies, but not favorites or boosts, etc.

It helps me a lot with alert overload. YMMV.

I’ve seen The Last Jedi twice now. I’m still not sure how I’d rank it, but the performances are way better than most of the prequel trilogy, and the story is the first theatrical Star Wars to break new ground in ages.

I’ll admit there’s a lot of stuff that happened that I didn’t like, but it made sense within the story context, and it was done in an interesting way. And there was a lot of cool stuff too…including a ton of blink-and-you’ll-miss-it details that I missed the first time through.

What do you mean, “Like?”

I learned years ago that “stuff happened that I didn’t like” and “it was badly made” are two separate comments on a movie, TV show, book, or other work of art.

Do I like the reason Luke left? No, but it makes sense. (A lot more sense than him joining the Dark Side with a resurrected clone of Darth Sidious, TBH.) When you think about it, it’s probably the best explanation they could have come up with for why Luke would decide that he’s part of the problem and remove himself from the galactic stage. It would have to be something majorly traumatic that he would blame himself for.

Do I like that the Resistance command don’t trust each other enough to share plans? No, but again it makes sense under the circumstances, and it feeds into the themes.

Structure and Hope

The Last Jedi feels different from the other Star Wars films. It’s a lot of separate threads that seem mostly unconnected but come together toward the end into a clear picture. Rey’s journey is critical, as is Kylo Ren’s, as is the link between their journeys. Luke’s reasons for being on the island, and his triumphant return, are tied deeply into the plight of the Resistance as it battles the loss of hope, which we see in the slow attrition of the fleet chase, the breakdown of trust within command, and finally the point where they’re reduced to one small band making what could well be a last stand.

And the trip to Canto Bight? For all the whining about it, I think it’s thematically more important than the chase. It shows people taking advantage of both sides of the conflict, and it shows ordinary civilians being oppressed…and that epilogue.

The First Order does everything they can to snuff out that spark of hope, and almost succeeds…but it flares again. We see it with Luke, and with Rey, but their actions only preserve what’s left. It still feels like a hollow victory until we see the epilogue and realize that the spark has taken hold, and is growing again — and that’s inspired as much by one kid’s encounter with Finn and Rose as the legend of Luke Skywalker.

Take out Canto Bight and you take out the epilogue. Take out the epilogue and you’re left with an unremittingly bleak story. Bleaker than Revenge of the Sith…but only* because we already knew where RoTS had to go.

Uncharted Regions

This is the first time since 1983 that there’s been real uncertainty about the future in a Star Wars movie. We didn’t know where The Empire Strikes Back was going, or Return of the Jedi. The prequel trilogy had a lot of surprises along the way, but we knew it would end with Anakin turning to the dark side and helping wipe out the Jedi, Palpatine becoming the Emperor, and the Republic becoming the Empire. I loved Rogue One, but again, we knew what it was building up to. And The Force Awakens was too focused on bringing fans back into the fold with familiarity to break new ground.

The Expanded Universe quickly set up a new status quo and told episodic stories within that setting. Some changes would stick over time, but you knew at the end of the day Leia was rebuilding the Republic, Luke was rebuilding the Jedi, and so on. Eventually they broke out of it and started making big changes with New Jedi Order, and subsequent stories that moved toward the more distant future of Legacy, but it was only a secondary canon, blessed but less official than the movies.

Now? We have no idea what might happen next. We can hope that the First Order will be defeated, because that’s the kind of story Star Wars is, but we have no idea what the cost will be, or who will make it through to the end, who might redeem themselves or turn to darkness.

And I have to wonder if that’s part of the backlash: Star Wars has been a familiar place for decades, and now that certainty is gone.

Cool stuff

So, some of those great details that I didn’t notice the first time through:

  • When Leia floats through the ruined bridge, she passes through the hologram of Snokes’ flagship, disrupting it just like Holdo’s hyperspace maneuver does later in the movie.
  • After Luke’s projection is finished, he sees two suns and the Force theme swells. The first time through I was so caught up in worry about Leia (tied up with Carrie Fisher’s death) that I didn’t quite notice. The second time through, I knew what was happening with her, but I just lost it at this moment.
  • The kid with the Resistance ring at the end doesn’t grab his broom and lift it – the broom moves to his hand.

*Well, that and Lucas didn’t manage to convey as much emotional heart in the prequels as he did in ANH or the other directors did w/ Empire & Jedi. They all felt slightly detached. And I’ve seen the actors in enough other movies to know it wasn’t their fault.

We went out to see two plays* last week: The Glass Mendacity in LA and Ordinary Days at SCR.

The Glass Mendacity is a spoof of Tennessee Williams, mashing together The Glass Menagerie, Cat on a Hot Tin Roof, and A Streetcar Named Desire into one messed-up family gathering, played as comedy instead of tragedy. There’s Big Daddy and Big Amanda Dubois; their son Brick (played by a mannequin) and his wife Maggie the Cat; their daughter Blanche and her husband Stanley Kowalski; their youngest daughter Laura; and a gentleman caller, who appears in the final sce–okay, he shows up in scene one and never leaves. It’s funny on its own, but absolutely hilarious if you know the plays being parodied.

The production we saw was at the Ark Theatre. It’s a tiny theater upstairs in the historic building that houses the Hayworth Theatre. In the 1920s, even office buildings had character! The lobby is basically entry-level landing to the rear stairway, but they’ve managed to fit in a small bar and a couple of tables.

Ordinary Days is a slice-of-life musical about four people in New York City: a couple just moving in together, a grad student, and an artist. Their stories intersect, and each reaches an epiphany about his or her life over the course of the story. The music reminded me a bit of Stephen Sondheim and a bit of Stephen Schwartz. The cast was good, and the set design did a great job of suggesting various locations in an enormous city.

This was the first show I’d seen at South Coast Repertory’s Julianne Argyros Stage. Somehow I managed to go a whole decade without seeing anything at SCR at all, and the other shows I’ve seen over the last year were all in what used to be the main stage. In my head, I still had the image of the old second stage, a box-shaped studio, up until the point that we walked in the door to see a proscenium stage and a house with a balcony and box seats. I might actually have missed this one, except we ran into one of my music theater teachers from college on the way to Xanadu last month, and he was rehearsing this show as the musical director and accompanist.

Both shows are still running. The Glass Mendacity runs through January 30, and Ordinary Days runs through January 24.

*Hooray for cheap tickets at Goldstar. ← (Darn right, it’s an affiliate link! If you sign up using it, they’ll give me $1 off my next purchase!)