September 9th, 2012
I think Charlie Stross may have been lightly traumatised by his latest book signing tour:
I am going to have this recurring nightmare for the next few years … I'm trapped in a reality TV show after the model of "The Apprentice", in which the marketing folks at a publisher responsible a bunch of aspiring authors are gifted with the marketing and promotion budget of a best-seller to spend on their pool of newbies, in a gruesome elimination match to see who can survive the signing tour. Sort of like "The Hunger Games" for authors.
How can we make a reality TV show out of this?
Here's my idea: first, we need a Publisher. Preferably a charismatic, intense, skinny English guy with a posh accent. (Hello, Tim!) We also need a Production Company, a TV content maker, with a budget. As TV programming costs on the order of a megabuck per hour, and signing tours cost maybe a kilobuck per author per day (including travel, hotels, guides, and so on), they can afford to front the cost of about a dozen signing tours for first-time authors. No publisher in their right mind will turn down that sort of free marketing money (in exchange for allowing a camera crew to shadow the authors), and the hapless midlist grunts are of course not going to turn down a marketing budget a bazillion times bigger than their book advances (plus, the chance to look good on TV). [...]
September 9th, 2012
September 7th, 2012
From a 1999 interview with Alan Moore about the influence of Jack Kirby on his work:
Well, I'll have to go all the way back to my very early childhood for that. I first discovered comics when I was about seven; this would have been around 1959 or 1960. When I said "comics" I meant American comics; I had read the homegrown British fare before that, but when I first came across the Superman and Batman comics of the time, the first couple of appearances of the Flash, things like that, these were a revelation. I became completely addicted to American comics, or specifically to the DC Comics that were available at the time. I can remember that I'd seen this peculiar-looking comic that I knew wasn't DC hanging around on the newsstand and it looked too alien. I didn't want to risk spending money upon it when it wasn't stuff that I was already familiar with. And then I can recall on one day, I think I was ill in bed – I'd been seven or eight at the time – and my mother said that'd she get me a comic to cheer me up while I was confined to the bed. I knew that the only comic that I could think of that I hadn't actually bought was a Blackhawk comic that I'd seen around. So I was trying to convince her to sort of pick up this Blackhawk comic, kind of explaining to her what it was and that it was a bunch of people in blue uniforms. Much to my initial disappointment she brought back Fantastic Four #3, which I read. It did something to me. It was the artwork mainly. It was a kind of texture and style that I've just never seen before. The DC artists at the time, I didn't really know their names, but their style was the one I was accustomed to: Very clean, very wholesome looking, and here was something with craggy shadows with almost a kind of rundown look to a lot of it. It was immediate; literally, from that moment I became a devoted fan of the Fantastic Four and the other Marvel books when they came out – particularly those by Kirby. I mean, it was Kirby's work that I followed more than anybody else as I was growing up. Just the work in Thor and "Tales of Asgard," the Fantastic Four during that long classic stretch in the middle, and then when Kirby went over to DC and the Fourth World books. This was around the time that I was approaching my psychedelic teenage years and the subject matter of these books seems to be changing along with me. I absorbed actively every line he drew in those years, or at least the ones that I was able to lay my hands on. There's something about the dynamism of Kirby's storytelling. You never even think of it as an influence. It's something that you grew up with, kind of understanding that this is just the way that comics were done. So I'd say yeah, that I would account for the influence of Jack Kirby upon my own work. It's almost like a default setting for my own storytelling. It's sort of like if you can tell a story the way Kirby would have, then at least that's proper comics; you're doing your job okay.
September 5th, 2012
(I meant to post about this days ago, but because I'm an idiot I've kept putting off writing about it.)
The UK government is running a consultation on the introduction of a system of requiring Internet Service Providers to block 'Adult' content by default. This is a horrible idea for all sorts of reasons:
- As anyone who was ever used a network with a content filtering system in place knows, they're hopelessly unreliable. They either block far too much, or they block so selectively that they're ineffective. So, in short, they don't achieve their stated aim, and they cause all sorts of collateral damage along the way.
- If parents want to block their kids' internet access, there's been software available for years to let them do this. It tends not to work very well (see 1 above), or to be hard to install without the help of their tech-savvy kids – hence the request that governments force ISPs to do the job for them. None of which implies that the standards of the most censorious of parents should be applied to everyone: any such system should be offered on an opt-in basis, not as the default.
- Even if you completely trust the intentions of the current government and of the people who like this idea, putting a system like this in place gives a future government the tools to block whatever content they like. This is a (small) step towards our one day having the Great Firewall of the United Kingdom.
The consultation can be found here. There's a response form you can download and complete, or you could use the online response system produced by the Open Rights Group which copies your response to your MP.
The consultation closes on 6 September 2012 (yes, tomorrow), so if you're in the UK and you care about this get thee to one of the links above and let the Department for Education know what you think.
September 5th, 2012
Dan Hill has posted an essay he wrote as an introduction to Curious Rituals, a project about "gestures, postures and digital rituals that typically emerged with the use of digital technologies".
For some years I've been collating a list in a text file, which has the banal filename "21st_century_gestures.txt". These are a set of gestures, spatial patterns and physical, often bodily, interactions that seemed to me to be entirely novel. They all concern our interactions with The Network, and reflect how a particular Networked development, and its affordances, actually results in intriguing physical interactions. The intriguing aspect is that most of the gestures and movements here are undesigned, inadvertent, unintended, the accidental offcuts of design processes and technological development that are either forced upon the body, or adopted by bodies.
Walking around "eating the world with your eyes", as the fictional design tutor in Chip Kidd's novel The Cheese Monkeys puts it, you can't help but observe the influence of The Network on our world. Yet The Network is often still spoken about as if it were somehow something separate to Us, as if it were an ethereal plane hovering above us, or perhaps something we might be increasingly immersed in but still separate to our bodies, to our selves. This doesn't feel accurate now. There is no separate world, and this list indicates how we are even changing what our bodies do in entirely emergent, or at least unplanned, everyday fashion, in response to The Network's demands. [...]
The Curious Rituals team have created a video to illustrate how A Digital Tomorrow might work:
September 5th, 2012
David Hepworth would like to see a proper David Bowie exhibition:
I'd like to see his childhood bedroom recreated, displays of Bromley town centre through the years, old school books, cheap guitars, bassdrum pedals, a chronology of his haircuts, marked-up tape boxes, old contracts, personal letters, sketches, false starts, crossings-out, studio logs, mixing consoles, bits of kit, clipping from FAB 208, preposterous film scripts, storyboards for videos, things thrown on stage by fans and, most of all, a royalty statement for Tin Machine.
September 5th, 2012
I wonder how many science fiction writers have drafted stories where this phenomenon is a deeply meaningful, possibly even elegiac, symbol of … something or other…
While the $5.50 nylon flags are still waving on the windless orb, they are not flags of the United States of America anymore. All Moon and material experts have no doubt about it: the flags are now completely white. If you leave a flag on Earth for 43 years, it would be almost completely faded. On the Moon, with no atmospheric protection whatsoever, that process happens a lot faster. The stars and stripes disappeared from our Moon flags quite some time ago.
Alternatively, this is just another attempt by NASA to drum up support for another series of moonshots:
Mr President, we can't let the next passing alien invasion fleet think we've surrendered. We must go back and plant a pristine flag at Tranquility, oh, every decade or so.
September 2nd, 2012
One of Ken MacLeod's story stories is being adapted as a student graduation film, Scattered:
When there is no history, it's hard to face the truth about the past
Scattered is the graduation project of MetFilm School students Joshua Bregman (writer-director) and Victoria Naumova (producer). We are both big fans of science-fiction genre and it's been our on-going dream to shoot a sci-fi film.
After a 15 year wait, Conal is going to meet his father for the first time. His father Keith is the world's most notorious criminal, convicted of a crime which changed history itself. Convinced of his father's innocence, Conal needs Keith's help to set the record straight. But his quest for justice takes an unexpected turn and Conal soon finds himself confronted with the unimaginable.
This atmospheric ﬁlm is the first ever screen-adaptation of the work of award-winning sci-ﬁ author Ken MacLeod. Scattered examines society's relationship with its past through a son's relationship with his father, and challenges our established ideas of destruction and terrorism through a crime that is as surprising as it is all-consuming. As all great sci-ﬁ should, Scattered offers a vision of the future that illuminates the present. [...]
It's a crowdfunded project, so I've thrown a few quid their way. Who knows, a decade from now these folks might be gearing up to shoot the Fall Revolution series, and it all started here.
[Via The Early Days of a Better Nation]
September 1st, 2012
Alex Pappademas lists Twenty things about David Lynch's 'Fire Walk With Me' on its 20th anniversary:
Does it work if you haven't seen the TV show? As Lynch might put it, gosh, no. (It's a prequel, but it bends time and space to wrap up a few stray plot threads from the series – if you're working your way through the show on DVD, treat the movie like a coda or you'll be lost.) But that's what's fascinating about it – in some ways, Lynch's most uncompromising and unrelenting movie is the one he made while beating the dead ghost-horse of a canceled soap opera. Let us now appreciate the most underappreciated David Lynch movie that doesn't involve sandworms and Sting in metal bikini briefs. [...]
For all that I loved the TV series I've not seen Fire Walk With Me since watching it in the cinema 20 years ago. I didn't much like it, but I can't remember why. If nothing else, Alex Pappademas has persuaded me that when I eventually get round to a re-watch of the TV show I'm going to have to cap it with the prequel.
August 31st, 2012
The Osmonds 1974 – Fiddler On The Roof Medley.
You know, Fiddler On the Roof used to be my favourite film musical. Now, I don't know if I'll be able to watch it again without getting flashbacks of this … performance.
August 30th, 2012
Last.fm are trying to figure out what mood you're in based on various characteristics of the music you listen to:
As a first taster we've put together a visualization of your musical mood over the past 120 days, based on automatically computed machine tags for the tracks which you've scrobbled during that time. While individual tags are still far from perfectly accurate, we think that when taken together over all your listening week by week they still paint an interesting picture – one that stands a chance of reflecting real changes in your musical life.
My results over the last 120 days suggest that I was at my saddest over most of July. I can't say that I remember being noticeably less happy than I was before and since then, but that probably doesn't prove much. I may simply have failed to notice that I was sad.
One last point. If it was Facebook doing this, wouldn't we think it a bit creepy for them to be trying to figure out our moods? Is it OK for Last.fm to do this because people who use their service tend to like having their music habit dissected, summarised and analysed anyway?
August 30th, 2012
Fireworks as you probably haven't seen them before.
I'm no photographer so I can't judge how clever this effect is; I can but admire the results.
August 28th, 2012
Usenet at 32:
Usenet is 32 years old. You'd be forgiven for thinking that it's a near-dead, cobweb-covered discussion forum platform, but actually it's more popular today than ever before, and it's thriving as an alternative to Bittorrent. [...]
It's interesting to read about some of the clever ways people are using Usenet to distribute other people's content nowadays, but it's a damned shame that Usenet as a discussion forum stagnated.
Web-based discussions are all very well, but as far as I can see even now there's nothing out there that comes close to the flexibility of a good Usenet client that allowed you to follow a series of discussion groups and use scoring and filtering to show you the threads you'd most likely be interested in and block content from known trolls and idiots.
August 26th, 2012
August 26th, 2012
Upon watching the trailer for Branded, I had four thoughts:
- Leelee Sobieski looks distractingly like Helen Hunt.
- I wish the trailer didn't sound so much like Michael Bay's Transformers movies in places.
- There had better be a scene where the main character gets into a prolonged fistfight when he tries to get another character to put on the glasses.
- After watching the trailer a couple of times, I have absolutely no clue whether this is going to be amazing or abysmal.
August 25th, 2012
August 24th, 2012
West Midlands police have had a few problems with a system designed to pinpoint firearms as they're being used:
Police have admitted that gunfire sensors put up in parts of Birmingham have not been as accurate as hoped.
The Shotspotter Gunshot Location System was introduced where there was a high number of firearm incidents in 2010.
Police said of the 1,618 alerts from the system since November, only two were confirmed gunfire incidents. It also missed four confirmed shootings.
At the time they were put up, West Midlands Police said the devices had about an 85% accuracy rate and could detect a gunshot within 25m (82ft).
The best part is why the system performed so poorly:
Ch Supt Burgess said the system learnt to detect the sound of gunfire after installation.
Part of the reason Shotspotter had "struggled to work", unlike in the US, was due to the small number of gunshots being fired, he added.
So, not all bad news then.
[Via The Yorkshire Ranter]