Redesigning My Website with Dreamweaver

(Note: This refers to an older version of the site, before I moved it to WordPress.)

I’ve recently upgraded my software skills. I’ve been learning to useDreamWeaver (a vast, complex, and very powerful website creation software) with the help of lynda.com, recommended to me by a friend. Lynda provides software training in the form of online videos; for $25 a month, you can go through any of their courses, in whole or in part, at your own pace. I would not normally have had the patience to sit through hours of watching someone explain software, but it was just right for my semi-brain-dead state at the time, and I learned enough to completely overhaul my own site.

I had been using a very old version of Microsoft FrontPage. It used to do everything I needed, but the site has grown far beyond anything I had originally imagined, and I couldn’t make design changes without doing them manually on every single page – and there are over 200 pages now. I was also embarrassed to realize that the underlying technology of my site (plain, old-fashioned HTML) was woefully out of date – not a good showcase for my supposed web-building skills.

So I have redone the site completely, using DreamWeaver’s template and library features and CSS (cascading style sheets) to create and manage a complex design. Next time I feel like completely overhauling it, I may go all-CSS, the still-more-modern way do websites.

I bought more server space, so that I don’t have to take things out in order to put new things in. I have so much room now that I have posted all the completed (or nearly) chapters of my fantasy novel, “Ivaldi”; you can download them here. I will also, over time, add many more photos to the site.

Although the main purpose of the site is vanity publishing, I also use it as a laboratory for online marketing, as discussed earlier. And it wouldn’t be terrible to actually earn something on it, in return for all the effort I put in.

Traffic to my site is decent, considering my marketing budget of zero; it’s been rising steadily, and currently stands at about 250 visitors per day. In that previous article, I discussed how this was achieved. It’s an ongoing process; I drop by some online groups most days, partly to keep traffic flowing to my site, but, on some, more because I’ve made friends there and enjoy the company. And my presence has netted me at least one client – see my newest baby, Tartarugatours.com.

Commonly-accepted wisdom is that it’s impossible to make money from sites that are primarily about the words written on them; even if you’re the New York Times, you can have droves of visitors as long as you’re giving it all away, but the minute you ask for money, most of your audience vanishes. So what’s a starving webmaster to do? No one is paying for my writing (not on the web, anyway), and I don’t have anything to sell except my skills.

Could I get people to buy things linked from my site, so that I get a cut? I’ve been trying that for a while, with the Amazon links that you find all over the site. I’m trying to be honorable about it – I don’t recommend anything that I haven’t actually read or seen myself, and I don’t provide general “buy from Amazon” ads. Perhaps because of these limits, I’ve netted a grand total of $18.67 from Amazon.com thus far, and a big fat zero from Amazon.co.uk (wassamatta – don’t you Brits read anymore? <grin>).

So now I’m experimenting with the classic source of Internet revenue: paid advertising. I’m trying out Google AdSense. The deal is that I add some code from them (Javascript) to whichever of my web pages I desire. There are a variety of ad types and sizes to choose from, and it’s possible, as I have done, to customize the colors to match your page. Once it’s in place, the Google code scans the page, and serves up ads related to the text on the page. When anybody actually clicks on an ad link, whether they buy anything or not, I earn money.

I’ve started this experiment with some of the most-hit pages on my site. Many of you who read this newsletter originally found me because you’re interested in Italy, so you may be surprised to hear that my most popular pages are not the Italy ones, although the Italy section is the most popular area of the site (and the biggest).

The most common entry page on my site – that is, the first page that many visitors see, usually because they have been led to it by a search on Google or Yahoo – is about Buffy; I think most people are finding it as a result of searches for photos of Amber Benson and other Buffy and Angel cast members. Which is interesting, because, if you go to Google’s image search and type in “Amber Benson” or “James Marsters,” my page is far from the top of the search results. This means that people are digging a long way into their search results to get to my page. Fans are always looking for new material, I guess; at least my photos are original.

So I placed a Google ad spot on that page. The context-sensitive ads showing up here are predictable: action figures, comics, and Buffy DVDs from Amazon (I have also maintained my own Amazon link at the bottom of that page). Another popular page is the miniskirt one. This was a little harder for Google to deal with; at the moment it’s showing an ad for designer mini-kilts (expensive ones, at that).

There are some glitches. Although I’ve specified that the site language is English, ads have turned up in German and Italian – the latter logically enough, on my restaurants page, which contains many Italian words and names. Can’t quite figure out where the German came from.

So we’ll see how it goes. I may never earn much money on this, either, but it’s something new to play with and learn about.

Fantastical Mechanical Music Machines

My husband owns a Yamaha Disklavier, an acoustic piano with a digital interface that allows it to be controlled by, or to record into, a computer, usingMIDI. Today in Lecco, I had a chance to observe some of this instrument’s ancestors, part of a show by the Associazione Italiana Musica Meccanica (the Italian Association for mechanical music).

In a sense, these wonderful creatures are giant music boxes. We’ve all seen the cheap music boxes you can buy in souvenir shops: a wind-up mechanism attached to a small metal cylinder that has with little pins sticking out at intervals. As the cylinder turns, the pins brush across a series of graduated metal prongs, making a brief, tinny melody.
The machines I saw today went far beyond that. The gentleman shown above described his as the jukebox of its day – it’s even coin-operated. This “cylinder piano” and its kin were used in taverns and dance halls in Italy until the 1920s or 30s. In this model, the pins on the cylinder cause the piano hammers to trip just as a finger pressing on a key would; an octave and a half of metal chimes (on the left) add variety to the sound.

The challenge was always how to change the tune. The model shown above could hold ten tunes on a single cylinder – not one after the other as you go around the cylinder, but side by side. To change the tune, you move a lever that ratchets the cylinder sideways.

The solution to getting more songs onto a cylinder is track pitch (the distance between one track of data and the next – a term familiar in modern digital data storage). The closer the rows of pins, and the smaller the levers that read them, the more information (music) fits onto a single storage unit, in this case a large metal cylinder. The technology and know-how to create these cylinders barely exists anymore; one of the last people who could do it was videotaped demonstrating the process just before he died.

jaquard mechanism

This huge, elaborate music machine (brought to Lecco on a 3-meter trailer) uses a punched-card system very similar to the Jacquard loom. The hinged cards fold up into thick little books, each holding a three- to five-minute tune:

books for mechanical music

Compulsory School Age, Bought Diplomas

There have been two big pieces of news in Italian education this week:

The Education Ministry has announced that the age for compulsory schooling will be raised from its current 15 to 18 years. Parents and communities will be tasked with enforcing attendance, on pain of fines. (This law already exists for under-15s, though it doesn’t seem to be enforced with much success.)

The law further requires that everyone leave the system with some sort of diploma or qualification. There is more flexibility in choosing which qualification you come out with, because the new law mandates complete transferability of credits between different kinds of institutions. There will also be a work-study/formal apprenticeship program, in which on-the-job experience can be translated into scholastic credits and, again, transferability between this and classroom programs is supposed to be guaranteed. I don’t see how, in practical terms, this will be accomplished. Even the “experimental” liceo artistico now has a curriculum heavy with academic subjects such as physics; how could a student transfer from an apprenticeship program INTO a liceo without the background courses needed to keep up with the current year’s work?

The other piece of news, in ironic juxtaposition with the first, has been a scandal over hundreds or thousands of high school diplomas that were purchased rather than earned. 23 people have been arrested in several cities for their involvement with accredited private schools which guaranteed a diploma for anyone willing to pay fees up to 8000 euros. The “students” never even needed to show up for a class or test; everything was taken care of, from falsified attendance records to papers and exams written for them and graded by compliant teachers. In one case, an institution was accredited on the basis of a building, complete with “students” and “teachers,” specially hired for the day.

The clients of this system were naturally wealthy; the list apparently includes the children of VIPs, and some soccer players who materially were not able to spend time sitting in a classroom. This gives no comfort about the qualifications of a bank financial adviser of our acquaintance – a former soccer player.

Raising the Roof: Expanding Housing Space Vertically

For several months now, we’ve had a close-up view of a major construction project in a neighboring building. When you buy a top-floor apartment in an Italian condominium building, you often (usually?) also buy the right to some or all of the attic space under the slanted the roof, called the solaio. Where building codes permit, you can use this to increase the size of your home, by transforming the solaio into living space, sometimes lifting the roof while you’re at it. Most new townhouses (rowhouses, to Brits) are designed this way, with a top floor mansarda, a room carved out under the slanted roof. These often have only skylights for looking out of – a terrible waste of a top-floor view – but the better-architected ones have real windows, and sometimes terraces sunk into the pitch of the roof.

There are tax advantages to building this way, because, under Italian property tax law, any space with average headroom less than a certain height is not considered living space, and is therefore taxed at a lower rate than other parts of the home. A lower tax rate also applies to the underground and semi-underground rooms that you find in homes that are built into a hillside (as many are in Lecco) – if it can’t have a window, taxes are lower.

So the folks next door have only recently had the scaffolding removed from their building, after months of construction. I originally thought that this was about cleaning and repairing the outside of the building, as had been done to our building last summer (and very annoying it was to have scaffolding blocking our balcony all summer. The landlord had conveniently not mentioned that, and it started going up the day after we moved in). But the scaffolding in this case went up beyond the edge of the roof, and in short order they had ripped the roof completely off and redone it, maybe a little higher than it was before. They put a new plywood skin in place and covered it with plastic sheeting, held down by a lattice of thin laths.

Then they let it sit for quite a while. I don’t know if the weather was simply too bad to be working up there – we had a very long, cold winter, and could hear the plastic sheets flapping in the wind all night – or if there was some reason the whole thing had to sit for a while. At any rate, after some weeks they came back with terracotta roof tiles and new copper sheeting for the gutters and the bottoms of the chimneys. These are cheerful bright metal right now, but with exposure will soon turn green.

Then, having completed an intact roof, they cut holes in it for terraces and skylights. Don’t quite see the logic here – why would you build a new roof and then cut holes in it? Why not just leave the holes you would need to begin with? But that’s what they did. The final touch was to water-blast the outside of the entire building to clean it, before the scaffolding went down – a sop to the downstairs neighbors for having put up with the scaffolding for so long.

The interior still appears unfinished, or I’m guessing it is since terrace doors have not been put in yet. I haven’t seen much activity lately, but maybe it’s taking place indoors.

Americans may ask themselves why Italians go to so much trouble and expense to make such extensive renovations – if you need more room, why not just buy a bigger place? One reason is expense: housing costs are very high in many parts of Italy, and the considerablec legal and financial transaction costs of buying and selling property are an additional burden. The cost of moving itself is also high, especially when you consider that you will strip the place you are leaving down to bare walls – kitchen cabinets, light fixtures, everything but the toilet goes with you. The place you move into will be similarly stripped, so you need electricians, plumbers, etc. to help you reinstall everything. You’ll probably also want it painted before you move in. Italians are rather sensible on this score: house paint is all water-based and easy to work with. But ceilings are high, so you need ladders and long-handled rollers – easiest to leave it to a specialist.

For many Americans, especially young ones, moving means getting a bunch of friends (paid in beer) to help you pack boxes and load and unload a U-Haul trailer. Americans tend to have a lot of stuff, but it’s usually more easily-moved stuff than Italians have. In Italy, you need a team of specialists to disassemble enormous closets (no such thing as built-in here), take down those kitchen cabinets and put them back up (fitting them into a new space usually requires a carpenter), and so on. Most of us live in condominium buildings, and you don’t use the building elevator for moving: it’s usually too small to hold a lot of what needs moving. Your moving company will show up with an extending crane on the back of a truck, so that furniture and boxes can be passed out a window to a van waiting in the street below, even from a high floor.

So where do you park the crane? The street is full of parked cars, and, frequently, so are the sidewalks. You need a permit from the city to block off the street and sidewalk that day, putting up signs in advance to let people know not to park there. Professional moving companies will do this for you; on a DIY move, you’ve got to, well, do it yourself.

Aside from the costs and hassle of moving, there is the Italian propensity to stay in one place. When people do decide to move, they often look for a new home in the same neighborhood where they’re already living, or even in the same building. There are many cases of grown and married children living in the same building as their parents, giving easy access to famously intrusive Italian mothers-in-law – a large number of Italian marriages have foundered on this arrangement, but no one ever seems to learn the lesson. In fact, home-enlargement projects often come about because of parents making more room for their grown children, or the children, in turn, making room for their aged parents to live with them. The strength of the Italian family unit, for better and for worse, is thus reflected in architectural habits.

My Technical Writing

WinOnCD Documentation

User comment from CNet on WinOnCD 5 (US release, November 2002): “I definitely am not a techy and I had no problems. The reason is because I carefully read the manual. The manual is detailed. It took a number of hours to digest. There is a learning curve, but after some practice everything worked as described.”

“…Roxio’s excellent online help is friendly and logical…” – Review of WinOnCD 6 in PC World (UK), February, 2003.

Kudos from Long Ago

Manual for Easy-CD Pro, reviewed in InfoWorld, June 6, 1994:

“We generally don’t expect documentation to be better than the program it describes, but in the case of Easy-CD Pro, it is. Even though the product design is inconsistent, the 100-page manual does a great job of explaining the product from a functional point of view. It is cleanly printed, well indexed, and conceptually informative… On-line help is beautifully organized and cross-indexed, and context sensitive almost everywhere.”

Deirdré Straughan on Italy, India, the Internet, the world, and now Australia