Apple’s unveiling of the Macintosh nearly a quarter century ago heralded a new era of computing.
The Mac was the first computer to use a graphical user interface and a mouse. It was the computer for the masses that didn’t want to bother with command line interfaces and balky hardware.
The computer was finally a completely self-contained package, and as an added benefit was an attractive piece of hardware, even when it wasn’t turned on.
Few can doubt that personal computing would have charted a different future without the Macintosh. Yet, as things turned out, within six years the Mac would see a steady decline in sales following the introduction of Windows 3.0 and the desire among computer users to work outside of the Mac’s confinements.
Where once consumers found the Mac’s turnkey simplicity reassuring, they now hungered for additional hardware which, quite literally, didn’t fit inside the box Apple provided. This luxury was standard on the competing IBM-compatible platform, allowing users to add their own hardware and software with ease.
As a trailblazer, the Macintosh was a milestone in the development of home computing, and by extension, the Internet. The Mac also earned a pedestal in the collection of the Museum of Modern Art for its design aesthetic. The sustaining elements of the computing revolution weren’t unique to Apple–the company merely made those elements more attractive.
Nearly a generation later, Apple is once again trying to create a totally controlled, self-contained environment–this time not for computers, but for music and entertainment. However, the market served with Apple’s iPod devices is far more digitally sophisticated than those early computer users. And today’s legions of tech-savvy music listeners are not likely to accept the company’s shackles for long.
Despite popular conception, Apple did not invent the digital portable music player. What Apple did was take a product that was slowly working itself into the hands of willing consumers and make it sexy. In addition to making the product attractive to consumers, Apple was able to sell the concept of portable digital music, just as it had with home computing decades earlier.
But even as consumers have purchased Apple’s devices in droves, they’ve come to realize that there’s more to digital music than what’s contained in the little white box. Other, arguably superior devices are now on the market; more are being introduced regularly. These players offer features that will become the sustaining elements of the digital entertainment revolution–they will be smart devices with IP connectivity and increased onboard storage.
We’re already beginning to see this paradigm shift. Consider the following industry changes, which have occurred in the last several years:
- Traditional audio manufacturers–Denon, Yamaha, Bose–are bringing to market equipment boasting super storage, connectivity and the ability to play multiple audio formats.
- TiVo and other set-tops are tapping their storage and processing abilities for more than time-shifting TV shows.
- All the major cell phone manufacturers have phones with increased storage, processing power, connectivity and use of different audio and video formats in their five-year design plans. This year alone we’ve seen a significant increase in the number of new music phones and a clear shift in the marketing to consumers.
The greatest objective for today’s music listeners–what they regard as their inalienable right–is absolute portability: music that can be accessed anywhere, at anytime. Today’s consumers want their music immediately available at home, in their car, at work, on their phones, at a party, or while working out at the gym, without the hassle of using multiple devices that are each tethered to different services.
In such an open-source world of unfettered digital entertainment, the device is a means, not an end, to set listeners free. Why then, in the long term, would anyone accept the limitations of the proprietary lockout of the iPod and iTunes? Once the digital revolution stabilizes, we’ll be left with a wide range of devices that can play music seamlessly. Everything from car dashboards and cell phones to stereo consoles at home or work will give us access to our entertainment.
In the not-so-distant future, Apple will again be acknowledged for introducing consumers to new technology and marketing the first truly successful line of digital music players–products that the masses lusted after, but eventually moved beyond.
The technological aesthetic created by Apple has earned it a rightful place in design history. However, a new generation of device makers and consumers is writing the next chapter in digital music history.
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Leopard, the update to Apple’s operating system for its computers, will be released on 26 October.
Due in June the update was delayed by four months as Apple deployed engineers to work on its iPhone.
Leopard is the sixth version of the operating system to appear since OS X made its debut in 2001.
Apple said it had more than 300 new features onboard including one named “Time Machine” that automatically backs up important files.
Pre-order online
Also inside Leopard is the finished version of the “Boot Camp” utility that allows people to run copies of Windows XP or Vista on their Mac.
In a statement Apple said it hoped the release of Leopard would boost the prospects of its home computers.
Market data compiled by Gartner suggests that Apple is now the third largest computer manufacturer in the US. It has a 6.4% share of the computer market, said the analyst firm, up from 5% a year ago.
Apple owners can pre-order the software via the company’s online shop. In the UK the price for a single version will be £85. A family pack, which means it can be installed on up to five computers, will cost £129.
In the US prices for these packages will be $129 and $199 respectively. Prices for Apple products in the UK and Europe tend to be higher than direct currency conversions suggest.
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Apparently putting your iPhone in airplane mode is not the digital equivalent of returning your seatback to the upright position.
A flight attendant for ATA Airlines recently asked a flier watching a movie midflight on the way to Hawaii to shut off his iPhone, not for the perfectly reasonable reason that the man was watching the inane Jennifer-Love Hewitt vehicle I Know What You Did Last Summer, but because you’re not allowed to use cell phones inflight. Casey, the iPhone user, told Consumerist that he tried several times to explain to the flight attendant that the iPhone was in “airplane mode,” with all the radios disabled. But the flight attendants did not accept that explanation, and continued to insist that FAA regulations prohibit talking on cell phones when the cabin door is closed, despite the fact that Casey wasn’t actually talking and the fact they were over the middle of the Pacific Ocean.
As happens with these things, people got huffy, tempers flared, and Casey eventually found himself talking to a few bemused policemen in Hawaii. He reported that the flight attendant changed his story several times, first telling police that the airplane wasn’t shielded for any type of electronic device (although apparently everybody else’s MP3 players were fine), then telling police the plane wasn’t shielded for “ONLY (emphasis his) phones in airplane mode.” Casey was allowed to go, and apparently was not sentenced to watch Heartbreakers in its entirety to get a better sense of what might have provoked the flight attendant.
I’m sure there’s more to this story. I’m playing a game of phone tag with ATA, and decided to post and update later if I hear back from them. It also brings up a few interesting points.
First of all, “airplane mode” doesn’t appear to be a universally defined state of being by the FCC, FAA, the airlines or the mobile phone industry, and perhaps it should. Apple’s Web page on the iPhone’s airplane mode clearly states, “If you turn on airplane mode, the wireless features of iPhone are disabled, and if allowed by the aircraft operator and applicable laws and regulations (emphasis mine), you can continue to use the non-wireless features after takeoff.
Some airlines explicitly state that you can use a mobile phone in airplane mode over 10,000 feet. Others don’t get into it, and just say you can’t use mobile phones while in the air. So it might very well be ATA’s policy to prohibit the use of mobile phones under any circumstances, just like it’s their policy to shoehorn passengers into seats best suited for those under 5 feet tall.
I also wonder if smartphones will eventually force the FAA to make a decision about the use of mobile phones during flights. There may be legitimate reasons to disable wireless networking or calling on airplanes, whether those are technical concerns both in the air and on the ground, or whether it’s merely a nod to flyers who don’t want to hear one end of a five-hour conversation. But there’s an awful lot of things you can do with mobile computers that don’t involve wireless networking, from listening to music or watching movies to playing games or even composing documents with an expandable keyboard. As long as people are allowed to use their iPods, laptops, and portable DVD players above 10,000 feet, it seems silly to prohibit the use of a properly silenced smartphone just because it also happens to be a phone.
But we’re talking about airlines and the government, so silly things happen all the time. Some consistency on mobile phone usage would be nice from the airline industry, but I’d prefer they figure out an whole new operating model that actually works before taking on matters such as these.
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