True poetry...
Weilds the force and power
and lightning of words,
crafted to strike the soul.
My heart leaps, my eyes well up
A tone has been struck within me
and my whole being
...resonates.
Friday, October 3, 2008
The Worst Poem About Love
Love isn't everything.
Love doesn't wash dishes, or do the laundry.
Love doesn't commute forty-five minutes to a thankless, underpaid job.
Love doesn't wake up at two-thirty in the morning to comfort a toothache.
Love doesn't stop the leak in the bank account.
Love doesn't fill the bank account back up again.
The work must be done.
I'll pay the bills
I'll prepare the meals
I'll go to work, day after day
I'll raise the children
I'll be by your side as I watch you fade
My heart breaking inside as I watch your slack expression
And as we converse, I ignore your slurring speech
But I try to be strong, and smile, and make corny jokes
And hold your hand as you lie in your hospital bed
And I try not to wonder if you'll ever come home.
Because I love you, I'll do whatever needs to be done.
Love isn't everything.
But without Love, there's nothing.
Love doesn't wash dishes, or do the laundry.
Love doesn't commute forty-five minutes to a thankless, underpaid job.
Love doesn't wake up at two-thirty in the morning to comfort a toothache.
Love doesn't stop the leak in the bank account.
Love doesn't fill the bank account back up again.
The work must be done.
I'll pay the bills
I'll prepare the meals
I'll go to work, day after day
I'll raise the children
I'll be by your side as I watch you fade
My heart breaking inside as I watch your slack expression
And as we converse, I ignore your slurring speech
But I try to be strong, and smile, and make corny jokes
And hold your hand as you lie in your hospital bed
And I try not to wonder if you'll ever come home.
Because I love you, I'll do whatever needs to be done.
Love isn't everything.
But without Love, there's nothing.
Thursday, June 26, 2008
Summary of "The Negro Speaks of Rivers"
I'll say it again... I don't like poetry, and this poem is a good example of why.
"The Negro Speaks of Rivers" vaguely conjures up images of the ancient Negroes living near the Euphrates, Congo, and Nile rivers and then tries to juxtapose them with the Mississippi at the time of Abraham Lincoln. I suppose Langston Hughes is trying to draw some line that connects together the people that surrounded these rivers, but it's unclear what that connection actually is, except for the fact that they lived by rivers. Then he somehow tries to tie The Negro's soul to these rivers. He states twice, "My soul has grown deep like the rivers"--once near the beginning and again at the finish--but never explains how the rivers are deep, nor how his soul is deep, nor even how his soul has *grown* deep. Does this imply that the soul of "The Negro" used to be shallow? Or that it only grows deep with the passing of centuries? (And what about the souls of Negroes who don't live by any rivers...?)
It also seems like he's trying to remind us that The Negro is an ancient race and has known these ancient rivers. But he doesn't say why he's telling us this, or why it's important. It's almost like the near-senile musings of an old man, reminiscing about old acquaintances. I'm simply left wondering what the purpose of this is...
It seems that he's also making a veiled statement about how the Mississippi river represents the condition of The Negro in America. He's "seen its muddy bosom turn all golden in the sunset," seeming to indicate that The Negro was muddied, and then, after Abe Lincoln emancipated the slaves, the filthiness has been replaced, now showing a beautiful and golden future. Or maybe he's saying something else.
I really can't tell for sure what Langston Hughes is trying to tell us. I sure hope his message here wasn't terribly important, because I can't understand it.
-------
The Negro Speaks of Rivers
by Langston Hughes
I've known rivers:
I've known rivers ancient as the world and older than the
flow of human blood in human veins.
My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln
went down to New Orleans, and I've seen its muddy
bosom turn all golden in the sunset.
I've known rivers:
Ancient, dusky rivers.
My soul has grown deep like the rivers.
1922
"The Negro Speaks of Rivers" vaguely conjures up images of the ancient Negroes living near the Euphrates, Congo, and Nile rivers and then tries to juxtapose them with the Mississippi at the time of Abraham Lincoln. I suppose Langston Hughes is trying to draw some line that connects together the people that surrounded these rivers, but it's unclear what that connection actually is, except for the fact that they lived by rivers. Then he somehow tries to tie The Negro's soul to these rivers. He states twice, "My soul has grown deep like the rivers"--once near the beginning and again at the finish--but never explains how the rivers are deep, nor how his soul is deep, nor even how his soul has *grown* deep. Does this imply that the soul of "The Negro" used to be shallow? Or that it only grows deep with the passing of centuries? (And what about the souls of Negroes who don't live by any rivers...?)
It also seems like he's trying to remind us that The Negro is an ancient race and has known these ancient rivers. But he doesn't say why he's telling us this, or why it's important. It's almost like the near-senile musings of an old man, reminiscing about old acquaintances. I'm simply left wondering what the purpose of this is...
It seems that he's also making a veiled statement about how the Mississippi river represents the condition of The Negro in America. He's "seen its muddy bosom turn all golden in the sunset," seeming to indicate that The Negro was muddied, and then, after Abe Lincoln emancipated the slaves, the filthiness has been replaced, now showing a beautiful and golden future. Or maybe he's saying something else.
I really can't tell for sure what Langston Hughes is trying to tell us. I sure hope his message here wasn't terribly important, because I can't understand it.
-------
The Negro Speaks of Rivers
by Langston Hughes
I've known rivers:
I've known rivers ancient as the world and older than the
flow of human blood in human veins.
My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln
went down to New Orleans, and I've seen its muddy
bosom turn all golden in the sunset.
I've known rivers:
Ancient, dusky rivers.
My soul has grown deep like the rivers.
1922
Wednesday, June 18, 2008
The "Real" Occurence at Owl Creek Bridge
(The prompt was to discuss "An Occurrence at Owl Creek Bridge" as an example of Literary Realism.)
Ambrose Bierce's "An Occurence at Owl Creek Bridge" is a good example of Literary Realism. Not only was it written during that American literary period, but also has the earmarks of a Realist work.
"The art of depicting nature as it is seen by toads," is how Bierce, with his biting wit, described Literary Realism in The Devil's Dictionary. Objectivity of the author is one of the characteristics of Realism. A Realist piece should consist of a detailed recounting of the people, places, things, and events, with no or limited commentary from the author. The entire Part I--the first seven paragraphs--of "An Occurrence at Owl Creek Bridge" is just that. Events are not explained beyond the unemotional description of their details. In fact, the opening sentences describe a terribly emotional sight:
This man is facing death by hanging! Death is among the most emotional and gripping situations that a reader can possibly be presented with, yet, in this Realist technique, it's described with an absolute emotional detachment--as if "seen by toads". The principal is that there is enough drama in these events by themselves that moralizing and judging commentary is not needed. These are stripped away to let the reader see drama in "real life" struggles. Additional artificial suspense, and other literary devices are also absent, again, to lay bare the human ordeal in it's "real" state.
Another signature, unique to Realism is that it "Renders reality closely and in comprehensive detail.... even at the expense of a well-made plot." (Campbell) The real story--the actual events that took place, not the fantasy in Peyton Farquhar's mind--is indeed rendered at the expense of a well-made plot. The author could have easily written the plot of Farquhar's dying hallucination as if it were the true story--the entire work is, after all, fiction. But, true to Realist form, the Romantic plot that would have made Peyton into a Hero of the South was sacrificed, and the pessimistic, more plausible--more "real"-- plot given in it's place.
But even in Farquhar's mental, heroic, Romantic journey, the Realist technique is at work. All the tiny details of life are noted:
This is a supreme example of close and comprehensive detail, and of faithfully representing "reality".
Bierce also seems to use this work as a demonstration of the distinction between Romanticism and Realism. The vivid visions that ran through the mind of Peyton Farquhar as he hanged in his noose are much like a fantastical plot of a traditional Romantic story. And even from inside his own visions, Peyton seems to be mimicking the traditional Romantic. He comments to himself, "What splendid effort!--what magnificent, what superhuman strength!," as he imagines his hands freeing their bonds, and then watching as "the cord fell away." These heroic, superhuman, feats are marks of a Romantic protagonist--the antithesis of a Realist character. But, outside of his mind, the depressing reality was that he "was dead; his body, with a broken neck, swung gently from side to side beneath the timbers of the Owl Creek bridge." This seems to indicate the entire attitude of Realism against Romanticism: that Romantic notions are useless delusions, whereas Realism is the raw drama of life.
-----
Campbell, Donna M. "Realism in American Literature, 1860-1890." Literary Movements. Last Modified 02/06/2007. Accessed 6/17/2008..
Bierce, Ambrose The Devil's Dictionary.
Ambrose Bierce's "An Occurence at Owl Creek Bridge" is a good example of Literary Realism. Not only was it written during that American literary period, but also has the earmarks of a Realist work.
"The art of depicting nature as it is seen by toads," is how Bierce, with his biting wit, described Literary Realism in The Devil's Dictionary. Objectivity of the author is one of the characteristics of Realism. A Realist piece should consist of a detailed recounting of the people, places, things, and events, with no or limited commentary from the author. The entire Part I--the first seven paragraphs--of "An Occurrence at Owl Creek Bridge" is just that. Events are not explained beyond the unemotional description of their details. In fact, the opening sentences describe a terribly emotional sight:
"A man stood upon a railroad bridge in northern Alabama, looking down into the swift water twenty feet below. The man's hands were behind his back, the wrists bound with a cord. A rope closely encircled his neck."
This man is facing death by hanging! Death is among the most emotional and gripping situations that a reader can possibly be presented with, yet, in this Realist technique, it's described with an absolute emotional detachment--as if "seen by toads". The principal is that there is enough drama in these events by themselves that moralizing and judging commentary is not needed. These are stripped away to let the reader see drama in "real life" struggles. Additional artificial suspense, and other literary devices are also absent, again, to lay bare the human ordeal in it's "real" state.
Another signature, unique to Realism is that it "Renders reality closely and in comprehensive detail.... even at the expense of a well-made plot." (Campbell) The real story--the actual events that took place, not the fantasy in Peyton Farquhar's mind--is indeed rendered at the expense of a well-made plot. The author could have easily written the plot of Farquhar's dying hallucination as if it were the true story--the entire work is, after all, fiction. But, true to Realist form, the Romantic plot that would have made Peyton into a Hero of the South was sacrificed, and the pessimistic, more plausible--more "real"-- plot given in it's place.
But even in Farquhar's mental, heroic, Romantic journey, the Realist technique is at work. All the tiny details of life are noted:
"He felt the ripples upon his face and heard their separate sounds as they struck. He looked at the forest on the bank of the stream, saw the individual trees, the leaves and the veining of each leaf--saw the very insects upon them: the locusts, the brilliant-bodied flies, the grey spiders stretching their webs from twig to twig. He noted the prismatic colors in all the dewdrops upon a million blades of grass. The humming of the gnats that danced above the eddies of the stream, the beating of the dragon flies' wings, the strokes of the water-spiders' legs, like oars which had lifted their boat--all these made audible music. A fish slid along beneath his eyes and he heard the rush of its body parting the water."
This is a supreme example of close and comprehensive detail, and of faithfully representing "reality".
Bierce also seems to use this work as a demonstration of the distinction between Romanticism and Realism. The vivid visions that ran through the mind of Peyton Farquhar as he hanged in his noose are much like a fantastical plot of a traditional Romantic story. And even from inside his own visions, Peyton seems to be mimicking the traditional Romantic. He comments to himself, "What splendid effort!--what magnificent, what superhuman strength!," as he imagines his hands freeing their bonds, and then watching as "the cord fell away." These heroic, superhuman, feats are marks of a Romantic protagonist--the antithesis of a Realist character. But, outside of his mind, the depressing reality was that he "was dead; his body, with a broken neck, swung gently from side to side beneath the timbers of the Owl Creek bridge." This seems to indicate the entire attitude of Realism against Romanticism: that Romantic notions are useless delusions, whereas Realism is the raw drama of life.
-----
Campbell, Donna M. "Realism in American Literature, 1860-1890." Literary Movements. Last Modified 02/06/2007. Accessed 6/17/2008.
Bierce, Ambrose The Devil's Dictionary.
Friday, June 13, 2008
Summary of "Because I Could Not Stop for Death"
This is the kind of poem that makes me hate poetry.
After reading this poem several times, I still had absolutely no idea what Dickinson was trying to communicate. All I gathered was that she was riding in a carriage, slowly, past a schoolyard, then through fields of grain, and eventually to a house that was buried up to it's roof. It was here in this house that she spent centuries, though it felt like less than a day.
So, after reading some interpretations of this poem, and a little bit about Emily Dickinson, I could grasp more of its meaning, but still not completely. Here's as much as I got:
I assume that Dickinson was beginning to be aware of her mortality at the time she wrote this. I imagine she's thinking that, when she gets old, she will still be working away, keeping busy, and not simply waiting to die, but Death will "kindly" come when it's time.
As Death arrives and takes her away, the carriage held "Ourselves"--she and Death--"And Immortality". Knowing that she attended a Seminary and was a devout Christian, I'm sure that this is a reflection of her faith. She recognizes that with Death, comes Immortality, so she has no reason to fear Death--but also no reason to seek it.
So, when Death arrives, she puts away her "labors" and "leisures"--the things of life--and gracefully goes without a struggle, on this new journey.
Now, I really don't know what she means when she describes Death taking her through the stages of life represented by the shool, the fields, and the setting sun. Is she seeing her own life pass before her eyes? Or is it a representation of her new immortal journey, with a new childhood, mid-life, and sunset?
And then why, if she's dead, is she getting cold? Maybe it's just a device for her to explain that she's wearing something like a wedding gown, indicating again that she's looking at death/immortality as a new life, rather than an end. (but then, if that's what she means, why doesn't she just say that?)
Then, finally she arrives at a house--a tomb? a sepulchre? (or is it a hobbit's hole?)--her final resting place. But this part I don't understand: Why is she then stuck in her grave for eternity if she's immortal? Why isn't her immortal soul off in a heaveny mansion, leaving her dead and useless body in the ground? Perhaps the specific doctrines of her faith would explain this? Maybe she is simply using the tomb::house metaphor to symbolize that she will be comfortable in her new existence--so comfortable that she didn't even notice when centuries have passed.
Now, while I'm sure that Emily Dickinson was trying to communicate something about accepting Death as an inevitable part of life, this communication is vague and limited by cramming these thoughts into a few lines of obscured language. If I have to try this hard to understand her message, perhaps the author has done a poor job of using language.
-------
Because I Could Not Stop for Death
by Emily Dickinson
Because I could not stop for Death –
He kindly stopped for me –
The Carriage held but just Ourselves –
And Immortality.
We slowly drove – He knew no haste
And I had put away
My labor and my leisure too,
For His Civility –
We passed the School, where Children strove
At Recess – in the Ring –
We passed the Fields of Gazing Grain –
We passed the Setting Sun –
Or rather – He passed us –
The Dews drew quivering and chill –
For only Gossamer, my Gown –
My Tippet – only Tulle –
We paused before a House that seemed
A Swelling of the Ground –
The Roof was scarcely visible –
The Cornice – in the Ground –
Since then – 'tis Centuries – and yet
Feels shorter than the Day
I first surmised the Horses' Heads
Were toward Eternity –
After reading this poem several times, I still had absolutely no idea what Dickinson was trying to communicate. All I gathered was that she was riding in a carriage, slowly, past a schoolyard, then through fields of grain, and eventually to a house that was buried up to it's roof. It was here in this house that she spent centuries, though it felt like less than a day.
So, after reading some interpretations of this poem, and a little bit about Emily Dickinson, I could grasp more of its meaning, but still not completely. Here's as much as I got:
I assume that Dickinson was beginning to be aware of her mortality at the time she wrote this. I imagine she's thinking that, when she gets old, she will still be working away, keeping busy, and not simply waiting to die, but Death will "kindly" come when it's time.
As Death arrives and takes her away, the carriage held "Ourselves"--she and Death--"And Immortality". Knowing that she attended a Seminary and was a devout Christian, I'm sure that this is a reflection of her faith. She recognizes that with Death, comes Immortality, so she has no reason to fear Death--but also no reason to seek it.
So, when Death arrives, she puts away her "labors" and "leisures"--the things of life--and gracefully goes without a struggle, on this new journey.
Now, I really don't know what she means when she describes Death taking her through the stages of life represented by the shool, the fields, and the setting sun. Is she seeing her own life pass before her eyes? Or is it a representation of her new immortal journey, with a new childhood, mid-life, and sunset?
And then why, if she's dead, is she getting cold? Maybe it's just a device for her to explain that she's wearing something like a wedding gown, indicating again that she's looking at death/immortality as a new life, rather than an end. (but then, if that's what she means, why doesn't she just say that?)
Then, finally she arrives at a house--a tomb? a sepulchre? (or is it a hobbit's hole?)--her final resting place. But this part I don't understand: Why is she then stuck in her grave for eternity if she's immortal? Why isn't her immortal soul off in a heaveny mansion, leaving her dead and useless body in the ground? Perhaps the specific doctrines of her faith would explain this? Maybe she is simply using the tomb::house metaphor to symbolize that she will be comfortable in her new existence--so comfortable that she didn't even notice when centuries have passed.
Now, while I'm sure that Emily Dickinson was trying to communicate something about accepting Death as an inevitable part of life, this communication is vague and limited by cramming these thoughts into a few lines of obscured language. If I have to try this hard to understand her message, perhaps the author has done a poor job of using language.
-------
Because I Could Not Stop for Death
by Emily Dickinson
Because I could not stop for Death –
He kindly stopped for me –
The Carriage held but just Ourselves –
And Immortality.
We slowly drove – He knew no haste
And I had put away
My labor and my leisure too,
For His Civility –
We passed the School, where Children strove
At Recess – in the Ring –
We passed the Fields of Gazing Grain –
We passed the Setting Sun –
Or rather – He passed us –
The Dews drew quivering and chill –
For only Gossamer, my Gown –
My Tippet – only Tulle –
We paused before a House that seemed
A Swelling of the Ground –
The Roof was scarcely visible –
The Cornice – in the Ground –
Since then – 'tis Centuries – and yet
Feels shorter than the Day
I first surmised the Horses' Heads
Were toward Eternity –
Monday, June 18, 2007
Mistake University - An Education Like No Other
This was a timed writing. The prompt was: "Write an essay of explanation (300 - 500 words)in which you explain to the reader your academic plans for the next two or three years. Be sure to include in your explanation not only your goals during this time, but the means or strategies you have of achieving those goals. Write your essay to an audience of prospective students who may benefit from your planning and motivation for achieving higher education."
I wanted to take it a different direction, but, because this was a school assignment, had to answer the prompt. So, here it is. I was given 4 hours to complete this; I did it in 2:39. I scored 92/100
When it comes to getting a college education, perhaps someone can learn more from my mistakes than from the things I've actually done right. I know many other twenty- and thirty-somethings, in my situation: Blessed with an aptitude for computers and technology, and thus have been able to build a fairly successful ten-year career without the aid of a post-secondary education. Until now.
Recently I've found that my career--and income potential--is limited from real advancement. What's holding me back? That rite of passage into the "professional" world: the Degree. Oh, sure, I can keep doing what I'm doing, and maybe, if I'm lucky, get a raise here and there, but more than likely, my value to employers will actually decrease as I age. I've finally figured out that in order for me to get ahead, I need to get an education.
At this point, I've only planned as far as obtaining an Associates of Science degree by the end of next year. I started taking online classes through the community college last fall, and I plan on continuing that pattern until I finish my A.S. A full load of twelve units per semester (four classes) is too big of a burden for this working student, but nine units is doable. With the few classes I've taken at other institutions included as transfer credits, I should easily be able to obtain my two-year degree early next year.
My long term educational "goals" can hardly be called goals--they've always been more like dreams. I have had the notion for many years that I would become a robotics engineer. To that end, I plan on getting a Bachelor's Degree in Electronic or Computer Engineering--or both. Also, because of my recent work as a technical instructor--truly the best and most enjoyable job I've ever had--I now want to get a Teaching Certificate as well. To advance in either field, robotics or education, I will need to earn at least a Bachelor's degree, and will probably also need to do some post-graduate work. I haven't yet figured out any details as to which university I will attend to attain such a degree--the "figuring-out" will probably come later this year. The B.S. will likely take me at least another two years to complete.
I wish that I had done all this long before now. It would have been easier to get a degree when I was younger, before I made too much money to qualify for grants, before I had a family, and before I had to worry about being a responsible adult. But, I can't turn back the clock. I've learned from my mistakes and I'm working now toward an education.
I wanted to take it a different direction, but, because this was a school assignment, had to answer the prompt. So, here it is. I was given 4 hours to complete this; I did it in 2:39. I scored 92/100
When it comes to getting a college education, perhaps someone can learn more from my mistakes than from the things I've actually done right. I know many other twenty- and thirty-somethings, in my situation: Blessed with an aptitude for computers and technology, and thus have been able to build a fairly successful ten-year career without the aid of a post-secondary education. Until now.
Recently I've found that my career--and income potential--is limited from real advancement. What's holding me back? That rite of passage into the "professional" world: the Degree. Oh, sure, I can keep doing what I'm doing, and maybe, if I'm lucky, get a raise here and there, but more than likely, my value to employers will actually decrease as I age. I've finally figured out that in order for me to get ahead, I need to get an education.
At this point, I've only planned as far as obtaining an Associates of Science degree by the end of next year. I started taking online classes through the community college last fall, and I plan on continuing that pattern until I finish my A.S. A full load of twelve units per semester (four classes) is too big of a burden for this working student, but nine units is doable. With the few classes I've taken at other institutions included as transfer credits, I should easily be able to obtain my two-year degree early next year.
My long term educational "goals" can hardly be called goals--they've always been more like dreams. I have had the notion for many years that I would become a robotics engineer. To that end, I plan on getting a Bachelor's Degree in Electronic or Computer Engineering--or both. Also, because of my recent work as a technical instructor--truly the best and most enjoyable job I've ever had--I now want to get a Teaching Certificate as well. To advance in either field, robotics or education, I will need to earn at least a Bachelor's degree, and will probably also need to do some post-graduate work. I haven't yet figured out any details as to which university I will attend to attain such a degree--the "figuring-out" will probably come later this year. The B.S. will likely take me at least another two years to complete.
I wish that I had done all this long before now. It would have been easier to get a degree when I was younger, before I made too much money to qualify for grants, before I had a family, and before I had to worry about being a responsible adult. But, I can't turn back the clock. I've learned from my mistakes and I'm working now toward an education.
Wednesday, June 13, 2007
The Format War
This isn't one of my better works, but I turned it in. I scored 92/100. I really wanted to go into much greater detail than 300-500 words would allow--I already hit over 900 words. This is by no means a comprehensive look at the current format war between Blu-ray and HD DVD. It is simply an explanation that there is a format war, and what it's about.
Nearly 25 years ago American consumers were first given the possibility of affordably keeping a library of movies and watching them at home. VCRs and video cassettes had become cheap enough that the average American household could start building a collection of video tapes containing major release movie titles. But they faced a decision whether to use VHS or Betamax video tape format. By the late 1980's the format war was over. Betamax was no longer a competitor and the VHS format had won by a landslide.
In 1996, the DVD was born (Taylor). The advantages that DVDs offered over the VHS video tapes were so great that in only five years DVD players were outselling VCRs (Equinox). Consumers replaced their prized collections of movies on VHS for the same titles--and more--on DVD.
With the recent advent of High-Definition television (Hi-Def or HD for short) came the demand for Hi-Def video discs. Hi-Def videos use anywhere between four and sixteen times the amount of data as Standard Definition video (the ordinary TV quality video we've been watching for decades). With the increased requirements from Hi-Def, our beloved DVDs won't be able to handle feature-length movies. Consumers are now being offered two competing discs to replace DVDs. As a result, we're facing the format war all over again, this time with two different discs: Blu-ray and HD-DVD.
In June 2007, we're still in the heat of the format war that began roughly five years ago. Sony, with the support of several other companies, created the Blu-ray Disc format (abbreviated BD), so named because of the blue laser used in reading the discs. The HD DVD format (which also uses a blue laser) was created primarily by Toshiba. The two companies are in a game of leapfrog, making improvements to their formats. In one example, the HD DVD format was first standardized with a maximum storage capacity of 15 Gigabytes (GB). Shortly thereafter, Sony touted that Blu-ray offered a capacity of 25 GB. Toshiba countered by doubling the capacity of the HD DVD format with new double-layer technology to 30 GB. Sony reacted and, using the same technology, doubled the Blu-ray format to 50GB, where it stands today. Recently, Toshiba retaliated by announcing triple-layer technology that will be used to push the HD DVD discs up to 51 GB. And on it goes.
Both sides know that the moment there is a clear leader, that lead will turn into a landslide. But, determining which format is winning is hotly debated. Each side spouts statistics trying to show the world that their format is the winner in this war, but the stats don't necessarily represent the truth. The numbers are handpicked and spin-doctored to give the impression of victory. One side will state that it's winning by the quantity of movie titles released under its format, and the other will show that it's leading with the number of discs purchased for their format. One side will proclaim itself the victor in the total number of players sold, and the other will counter with statistics showing more players sold for the current year. And the numbers are constantly changing from month to month, quarter to quarter.
An article by Martin Lynch in The Inquirer from June 7th, 2007 is a good example of how confusing and volatile this horse race is. "Figures from March estimate that Sony shipped 5.5 million [PlayStation 3] consoles [with Blu-ray players] by March, but has only sold over three million of them." (Lynch). Lynch goes on to explain that a recent announcement by a Toshiba exec has the potential to launch HD DVD ahead of Blu-ray: starting in "2008, every Toshiba laptop will sport a HD DVD drive as standard....IDC estimated that Toshiba sold 9.2 million laptops in 2006," (Lynch) which should equate to putting somewhere near 10 million HD DVD players in the hands of consumers by the end of 2008--just from Toshiba laptops, not counting stand alone HD DVD players. The article doesn't mention that Sony may return the blow and add Blu-ray drives as standard to Sony Vaio laptops.
It doesn't look like there will be a winner anytime soon. Early adopters and videophiles may want to pick their favorite format and root for their team, but it's risky at this date, for the average consumer to jump in on the side of one format or the other. Combo players (players that work with both formats) are available so that consumers can get the benefits of Hi-Def video now without waiting to see which disc format wins. Combo players, however, are still beyond the budget of most of us. The safe route is to wait and see who wins the format war before ditching your collection of DVDs for the next big thing. Who knows, the way it looks now, maybe these two sides will keep battling it out, and in a year or two there will be another upstart technology that beats them both.
Sources Cited:
Taylor, Jim DVD Demystified "DVD Frequently Asked Questions (and Answers)" Jan 2007. Viewed June 2007
Equinox (user alias) Movie-List "Movie-List Forums" “DVD: A Quick History and Facts” December 2002. Viewed June 2007
Lynch, Martin The Inquirer "HD DVD has a secret weapon: Toshiba drops a bomb" June 7, 2007
Nearly 25 years ago American consumers were first given the possibility of affordably keeping a library of movies and watching them at home. VCRs and video cassettes had become cheap enough that the average American household could start building a collection of video tapes containing major release movie titles. But they faced a decision whether to use VHS or Betamax video tape format. By the late 1980's the format war was over. Betamax was no longer a competitor and the VHS format had won by a landslide.
In 1996, the DVD was born (Taylor). The advantages that DVDs offered over the VHS video tapes were so great that in only five years DVD players were outselling VCRs (Equinox). Consumers replaced their prized collections of movies on VHS for the same titles--and more--on DVD.
With the recent advent of High-Definition television (Hi-Def or HD for short) came the demand for Hi-Def video discs. Hi-Def videos use anywhere between four and sixteen times the amount of data as Standard Definition video (the ordinary TV quality video we've been watching for decades). With the increased requirements from Hi-Def, our beloved DVDs won't be able to handle feature-length movies. Consumers are now being offered two competing discs to replace DVDs. As a result, we're facing the format war all over again, this time with two different discs: Blu-ray and HD-DVD.
In June 2007, we're still in the heat of the format war that began roughly five years ago. Sony, with the support of several other companies, created the Blu-ray Disc format (abbreviated BD), so named because of the blue laser used in reading the discs. The HD DVD format (which also uses a blue laser) was created primarily by Toshiba. The two companies are in a game of leapfrog, making improvements to their formats. In one example, the HD DVD format was first standardized with a maximum storage capacity of 15 Gigabytes (GB). Shortly thereafter, Sony touted that Blu-ray offered a capacity of 25 GB. Toshiba countered by doubling the capacity of the HD DVD format with new double-layer technology to 30 GB. Sony reacted and, using the same technology, doubled the Blu-ray format to 50GB, where it stands today. Recently, Toshiba retaliated by announcing triple-layer technology that will be used to push the HD DVD discs up to 51 GB. And on it goes.
Both sides know that the moment there is a clear leader, that lead will turn into a landslide. But, determining which format is winning is hotly debated. Each side spouts statistics trying to show the world that their format is the winner in this war, but the stats don't necessarily represent the truth. The numbers are handpicked and spin-doctored to give the impression of victory. One side will state that it's winning by the quantity of movie titles released under its format, and the other will show that it's leading with the number of discs purchased for their format. One side will proclaim itself the victor in the total number of players sold, and the other will counter with statistics showing more players sold for the current year. And the numbers are constantly changing from month to month, quarter to quarter.
An article by Martin Lynch in The Inquirer from June 7th, 2007 is a good example of how confusing and volatile this horse race is. "Figures from March estimate that Sony shipped 5.5 million [PlayStation 3] consoles [with Blu-ray players] by March, but has only sold over three million of them." (Lynch). Lynch goes on to explain that a recent announcement by a Toshiba exec has the potential to launch HD DVD ahead of Blu-ray: starting in "2008, every Toshiba laptop will sport a HD DVD drive as standard....IDC estimated that Toshiba sold 9.2 million laptops in 2006," (Lynch) which should equate to putting somewhere near 10 million HD DVD players in the hands of consumers by the end of 2008--just from Toshiba laptops, not counting stand alone HD DVD players. The article doesn't mention that Sony may return the blow and add Blu-ray drives as standard to Sony Vaio laptops.
It doesn't look like there will be a winner anytime soon. Early adopters and videophiles may want to pick their favorite format and root for their team, but it's risky at this date, for the average consumer to jump in on the side of one format or the other. Combo players (players that work with both formats) are available so that consumers can get the benefits of Hi-Def video now without waiting to see which disc format wins. Combo players, however, are still beyond the budget of most of us. The safe route is to wait and see who wins the format war before ditching your collection of DVDs for the next big thing. Who knows, the way it looks now, maybe these two sides will keep battling it out, and in a year or two there will be another upstart technology that beats them both.
Sources Cited:
Taylor, Jim DVD Demystified "DVD Frequently Asked Questions (and Answers)" Jan 2007. Viewed June 2007
Equinox (user alias) Movie-List "Movie-List Forums" “DVD: A Quick History and Facts” December 2002. Viewed June 2007
Lynch, Martin The Inquirer "HD DVD has a secret weapon: Toshiba drops a bomb" June 7, 2007
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