Its about the end of the day. I’m in Anaheim (my birthplace, by the way) for Macromedia MAX 2005. Its been a very cool conference for the first day and perhaps the biggest developer conference I’ve ever seen.

My early session was Flex Frameworks by Stephen Webster and Alistair McLeod. I’ve looked into Cairngorm before and, since my experience with J2EE was limited, I found myself trudging through all the MVC layers. I wish I could have seen this talk about 6 months ago as it was a breathe of fresh air. It helped me to see what goes where and how easy it is to add functionality to an application.

The next session was Architecting Flex Applications by Matt Chotin. This was a little rehash of the earlier session but it did include some useful new information. The preview of states and messaging in Flex 2 was especially interesting.

The General Session was a series of cool demonstrations and upcoming features in Flash and Flex. From my vantage point (as a Flex coder who is designing a front-end to a BI tool) the best was a demonstration of the NetWeaver component called Visual Composer from SAP. One of my complaints about BI tool vendors has been their lack of a quality web front end. Microstrategy, Cognos, SAS, and others have high-quality tools for drilling and disecting data, but their web tools are usually ugly looking DHTML messes. SAP has figured out how to take an interface that interacts with a UML-type object data model and then generate a Flash-based front end (via Flex). It’s elegant and it’s user-friendly.

More tomorrow.

Neil Gaiman’s American Gods is turning out to be one of my favorite books. In a way that I wouldn’t have thought possible, Gaiman characterizes American culture by its gods. Here is the full editorial review by Therese Littleton:

American Gods is Neil Gaiman’s best and most ambitious novel yet, a scary, strange, and hallucinogenic road-trip story wrapped around a deep examination of the American spirit. Gaiman tackles everything from the onslaught of the information age to the meaning of death, but he doesn’t sacrifice the razor-sharp plotting and narrative style he’s been delivering since his Sandman days. Shadow gets out of prison early when his wife is killed in a car crash. At a loss, he takes up with a mysterious character called Wednesday, who is much more than he appears. In fact, Wednesday is an old god, once known as Odin the All-father, who is roaming America rounding up his forgotten fellows in preparation for an epic battle against the upstart deities of the Internet, credit cards, television, and all that is wired. Shadow agrees to help Wednesday, and they whirl through a psycho-spiritual storm that becomes all too real in its manifestations. For instance, Shadow’s dead wife Laura keeps showing up, and not just as a ghost–the difficulty of their continuing relationship is by turns grim and darkly funny, just like the rest of the book. Armed only with some coin tricks and a sense of purpose, Shadow travels through, around, and underneath the visible surface of things, digging up all the powerful myths Americans brought with them in their journeys to this land as well as the ones that were already here. Shadow’s road story is the heart of the novel, and it’s here that Gaiman offers up the details that make this such a cinematic book–the distinctly American foods and diversions, the bizarre roadside attractions, the decrepit gods reduced to shell games and prostitution. “This is a bad land for Gods,” says Shadow. More than a tourist in America, but not a native, Neil Gaiman offers an outside-in and inside-out perspective on the soul and spirituality of the country–our obsessions with money and power, our jumbled religious heritage and its societal outcomes, and the millennial decisions we face about what’s real and what’s not. –Therese Littleton