Download for MAC. Version: 1.2.9 File Size: 6 MB System Requirements: macOS/OS X 10.7 or plus (including Sierra, El Capitan, Yosemite, Mavericks, Mountain Lion,. Wow it really is a lonely manor.:(Zalokhnir Nov 30, 2012 @ 11:54pm ok Meowmix author Nov 30, 2012 @ 3:04pm I haven't messed with this thing since I made it. Nov 01, 2020 Mac users have it rough. You get some of the best hardware on the market with super polished, stable software—and so few games to play on it. But just because developers aren't releasing their.

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Tweetie for Mac was the lonely, neglected app in the Loren Brichter-created Twitter app triumvirate. Tweetie on the iPhone became Tweetie 2, and then morphed into the official Twitter app. And it’s excellent. Twitter on the iPad received some sharp criticisms when it arrived, but it too has evolved into greatness.

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And yet there sat the original version of Tweetie for Mac, with its iPhone-inspired interface and its lack of native retweets, aging unfavorably in light of numerous younger Twitter client upstarts.

That all changed on Thursday with the latest step in Tweetie for Mac’s life, which emerged from its cocoon as Twitter for Mac, available for free via the Mac App Store.

When I launched Twitter for Mac for the first time, I knew instantly what the knee-jerk complaints would be. It doesn’t look quite like a Mac app. It looks more than a bit like an iOS app that’s missing the iOS device itself.

Standing there by itself, it looks okay. But on a Mac desktop littered with other windows, there’s definitely something off about it:

There’s no title bar. The Close/Minimize/Resize circles are non-standard and monochromatic. You can drag the window from anywhere on the black bar, but not from the theoretical title bar region.

Macworld’s own Jason Snell mentioned on Twitter that the app looks a bit like a Dashboard widget that flew the coop. He’s not wrong. Again, to me, that’s what many iPhone apps look like. But for the side tabs, doesn’t Twitter for Mac seem right at home in this frame?

So yes, Twitter for Mac looks a bit out of place. I’d be more comfortable if a few missing options were in place: a more Mac-like window (with a title bar), an adjustable font size and color (the gray text is my least favorite part), and the option to display both real names and usernames at the same time. And I wish that—like Hibari and Twitterrific—Twitter would show everyone’s replies to me in my timeline.

But even as-is, Twitter has become my new favorite Mac Twitter client. (I’m not alone.) It just does so much very, very well:

That last bullet deserves some explanations of its own.

On a regular tweet, pressing the right-arrow key leads to an in-app view of the user’s profile, focused on their timeline, with tabs for their replies, their favorites, and their profile data. On a tweet with an image link, it opens the image right within the app. On a reply, it again opens up that conversation view.

In fact, you can navigate Twitter with only the arrow keys, if you’re so inclined. Arrow up and down through tweets, tap right on a conversation to expand it, tap down to go through that conversation, tap right to go into a user’s profile, and so on. Then left arrow your way back out again.

Hold down the Option key when you hit the right arrow, and you get (surprise!) options. On a tweet with an image link, Option-Right Arrow lets you choose whether to see the picture or the user’s profile.

As you arrow through tweets, you’ll note that the scrolling seems to invoke a little bit of gravity. (The same isn’t true for mouse scrolling, though it should be.)

The more you use Twitter for Mac, the more apparent its flaws become, but the more obvious it becomes that this is where the Mac is going. (I could have written, “For better or worse…”, but I’ve become convinced that, long-term, it’s for better, so I dropped the conditional.)

Remember that the next iteration of Mac OS—Lion—is about bringing some innovations from iOS back to the Mac. Apps on the Mac should and will continue to feel Mac-like, but it makes good sense for them to become more iOS-like, too. My two-year-old is an expert iPad and iPhone user, and has been for six months.

Modern touchscreen interfaces—on iOS devices and their competitors—often tend to rely on drilldown mechanisms for navigation. There’s a feeling of tapping down deeper into an app—whether navigating mailboxes in Mail, or RSS feeds in NetNewsWire or Reeder. On iOS, and especially on the iPhone, such navigation is seemingly necessary because of the limited screen real estate.

Twitter for Mac has the advantage of your (comparatively) enormous monitor, and yet it too employs a drilldown-style interface. That interface, coupled with smooth and subtle animations, helps you keep track of where you are in the app—precisely the way the app works on your iOS device. It doesn’t need to do that, but I believe Twitter correctly concluded that the approach offers mental navigation benefits, in addition to space-saving ones.

Twitter for Mac isn’t perfect. I miss features from each Twitter client I leave behind. But more than anything, the app feels like the future. Not the 2030 future—the late 2011 future.

Lex Friedman is a frequent Macworld contributor, and a too-frequent Twitterer.

The Palace (or Palace Chat, Chat Palace, Palace) is a computer program to access graphical chat room servers, called palaces, in which users may interact with one another using graphical avatars overlaid on a graphical backdrop. The software concept was originally created by Jim Bumgardner and produced by Time Warner in 1994, and was first opened to the public in November 1995.

While there is no longer any official support for the original program, a new client has been developed and is actively maintained by Jameson Heesen. Many chat servers are still operating and can be found on the Palace Portal Live Directory.^[2] Palace clients and servers are available for Mac OS 9, Mac OS X, Linux, and Microsoft Windows.

Concept and Design[edit]

The Palace has a flexible avatar system that allows users to combine small, partially transparent images to create a unique look. Once the member has created an avatar, the member can pick up various pieces of clothing or other items, such as hats, handbags, cans of soda, candy bars, bicycles, or hand tools. Dollz originated in The Palace.

By default, users are represented by sphericalsmiley faceemoticons, but can also wear bitmaps called props. User messages appear as chat bubbles above their avatar, similar to those in comic books, and stored in a chat log. Each room in a palace is represented by a large image that serves as a backdrop for users. By clicking on certain areas in a room called doors, users can travel either to different rooms in the same palace, another palace server, or an address leading to a different service, such as websites and email. In some rooms, users are allowed to paint on the backdrop using a simple suite of drawing tools similar to oekaki.

History[edit]

The Palace was originally created by Jim Bumgardner and produced by Time Warner Interactive in 1994, with its official website launching to the public in November 1995.^[1] Bumgardner incorporated many features of Idaho, an in-house authoring tool he had previously developed for making multimedia CD-ROMs. One of the features of Idaho was IPTSCRAE, a Forth-like programming language. The name is a play on the word 'script' in Pig Latin. One of the unique features of the Palace for its time was that the server software was given away for free and ran on consumer PCs, rather than being housed in a central location. Two of the original beta testers, Ben LaCascia(Now Bethany O'Brien), and Justice LeClaire are still active(as of 2/2020).

From around 1997, artists began to use the Palace as a site for experimental live performance. Notably, the group Desktop Theatre staged interventions and performances in their own and public Palaces from 1997 until 2002. In 1997 they presented 'waitingforgodot.com' at the Third Annual Digital Storytelling Festival, which took an interesting turn when another Palatian changed their name to Godot and arrived in the performance.^{[citation needed]} Other artists working in The Palace include Avatar Body Collision (2002-2007).^[3]

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Palace Chat's popularity peaked around 1999–2000, when nu metal band Korn had their own palace chat room that fans could download from korn.com^{[citation needed]}. Palace's popularity at this time could also be attributed to a palace which focused on the cartoon South Park, as well as the Sci Fi channel's Mothership palace. There was even a link to the South Park palace on the Comedy Central website at the time.^[4]

The Palace was the subject of a number of sales between companies until 2001, when Open Text Corporation purchased the rights to the Palace software and technology as part of a bankruptcy settlement.^[5] The software is currently unsupported by Open Text or any of its previous owners, and many members of the community now consider the software abandonware and provide support for existing versions on unofficial web sites. The original thepalace.com domain was bought by a long time Palace user, and is now used as a directory for other sites.

Official Palace software development ceased when Communities.com declared bankruptcy, but at least four groups are working on Palace protocol compatible clients. One of the biggest contributions came from Ruben Pizarro, known as oORubenOo only 13 years old at the time, was successfully able to reverse engineer the most important protocol packets talk (Windows) & xtlk (Unix) for proper communication between the client and server.

All of these new clients support improved high-color avatars, larger room backgrounds (also in high-color), and modern sound formats (such as MP3), and are designed for modern operating systems. However, there are some drawbacks to the new clients, such as not being fully compatible with older clients (because of the latter's limitations), and many users have chosen to remain with older alternatives.

One of the first comprehensive psychological studies of avatar communities, conducted by John Suler, took place at the Palace. This collection of essays, entitled Life at the Palace, consists of an analysis of Palace history, social relationships, 'addiction,' and deviance. Suler's work focused on the unique aspects of interacting via avatars and in a graphical space.^[6]

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Privacy[edit]

Signing into The Palace does not require any registration or personal information. To begin chatting, users download the client, set their user handle and login to a server. A child filter is enabled on the client by default, which filters out chat servers with an Adult ranking and inappropriate language used in chat rooms.

Other Clients[edit]

• PalaceChat, created by Jameson Heesen (known in the community as PaVVn), which supports all original features of The Palace, as well as high-quality backgrounds and avatars, larger rooms and videos. This is the primary client in use.^{[citation needed]}
• Linpal, an open source Linux client using GTK+.
• Phalanx, by Brainhouse Laboratories.

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Incompatible Palace-like Clients[edit]

• The Manor, written by a former Palace lead developer. The Manor includes embedded Python for user and room scripting with an encrypted data stream. Supports importing Palace avatars. Both new incarnations of The Palace support larger room sizes and 32-bit color avatars.
• Worlize, an online virtual world utilizing user-generated content
• OpenVerse, an open-source visual chat program written in TCL/Tk.

See also[edit]

References[edit]

1. ^ ^abSuler, John (January 1997). 'Psychology of Cyberspace - History of The Palace'. Psychology of Cyberspace. Retrieved June 24, 2020.
2. ^'Palace Portal Live Directory'.
3. ^'www.avatarbodycollision.org'. www.avatarbodycollision.org.
4. ^'South Park'. 15 November 1999. Archived from the original on 15 November 1999.
5. ^'Archived copy'. Archived from the original on 2017-05-13. Retrieved 2016-10-09.CS1 maint: archived copy as title (link)
6. ^'Life at the Palace'.