I read C.S. Lewis’s “Narnia” books as a child, and have dim memories of enjoying them. Because of this, and because the trailers for the upcoming movie look gorgeous, I have been planning to see The Lion, the Witch, and the Wardrobe when it comes out. As preparation I thought it would be a good idea to reread the series. To my great disappointment, I’ve discovered that they don’t hold up well under adult perception — in fact, that Lewis’s creation is morally and dramatically incoherent in a deep and damaging way.
Manolo the Shoeblogger writes in The
Paradox of Not Caring: “claiming to not care about the clothes, to
not be concerned about what one wears, it the paradox, for the clothes
worn by one who claims not to care make as much the statement as those
worn by one who dresses with the purpose.” He’s got a point. And yet,
there is a difference between fashionistas like most of his fans and
anti-fashionistas like me, and it’s an important one.
The Brussels Journal reports that the
French government has officially declared the banlieu riots over. The
Police figures are at exactly 98 cars torched on Wednesday
night. This, the police say, isa normal average.Consequently
the 20th consecutive night of violence was declared the last one.
Yes, you read that correctly. 98 car-torchings a night is
“normal” in the glorious Fifth Republic in 2005. Civil order in the
banlieus has collapsed, but instead of addressing the breakdown the
French response is to define it out of existence. (In other breaking
news, war is peace, freedom is slavery, and ol’ George Orwell is
spinning in his grave.)
The American mainstream media, alas, have so much invested in the belief
that Eurosocialism is what we ought to be doing that they’ll
certainly take this as an excuse to drop the story. They’d rather cover
fictional riots in New Orleans than factual ones in Orleans, if only because
they can more easily blame George Bush for the former.
The article also observes:
…the French state was obliged to borrow money last week to pay the
wages of its civil servants.The money has run out. One must
concede: this is no example of a strong state.
My previous prediction
stands. We’ve seen only the beginnings of the reckoning for decades
of folly. I expect to have the last laugh on every single one of the
useless idiots who insisted on the superiority of “humane” European
welfare-statism over American cowboy capitalism. But I don’t expect to
enjoy that laugh very much, because the payback is going to be brutal,
bloody, and horrible.
Went to see the latest Harry Potter flick last night and got —
no, I won’t say “assaulted”, I’ll say “oozed on” by the infomercials
Regal Cinemas started running earlier this year, some sludge called
“The 2wenty” that tries to be trendy and hip and cool and attractive
and fails miserably on all four counts.
I deduce from the existence of this thing that either (a) ad
executives have the brains of planaria, or (b) they’re engaged in a
conspiracy to waste their clients’ money. The 2wenty isn’t even the
kind of in-your-face bad that leaves an impression — it’s just
unbelievably lame-ass bland, a kind of elevator music dressed up
in video effects.
It’s all the more unbelievable that this thing got produced
because, presumably, it was done by people who get paid to be current
with popular culture. I’m just a 47-year-old white computer geek but
it is dead clear that even I have way more street cool than
whatever “creatives” they found to put the 2wenty
together, fo’shizzle. How did that happen? On the
production values alone they have to be sinking at least $300K a pop
into these, and they can’t out-hip one single aging baby-boomer?
Geez…I think I’m offended as much by their incompetence as by
Neil Postman and Naomi Klein and their ilk have made a growth
industry out of running around whining about consumer culture, how
it’s all a spectacle designed to distract people from what’s really
important. Never mind that their definition of “what’s really
important” is tired Marxist bullshit…if this is
representative of what the merchants of spectacle are pumping out,
they have no worries. The 2wenty couldn’t do an effective job of
distracting a hyperactive three-year-old. It’d be more likely
to put the tyke to sleep.
Ah well. I look on the bright side. When Big Media wastes money
and putative talent on this scale, it’s good news for the rest of us.
It’s resources they’re not spending on screwing up our culture or our
legal/political system in more effective ways.
UPDATE: After some discussion, my wife and I think we may have identified the 2wenty’s target demographic — early-teenage girls of the mall-rat persuasion.
In 1997 I was delighted by Grosse Point Blank, John
Cusack’s masterpiece about a hitman who finds himself (in both senses
of the phrase) at his high-school reunion. I loved that movie for its
action, its dark comedy, and a script that never stopped being
wickedly intelligent for even a second. I’ve been waiting nearly ten
years for Cusack to do a movie as funny and as plain damn
I’ve spent large parts of the last week editing maps for a game
system I’m working on. I’ve been using the GIMP graphics editor, and I’m pretty
impressed with it. I haven’t found anything I can’t easily make it do
— except, oddly enough, draw straight lines between defined
endpoints. (I suspect there’s actually a way to do this using the
I have a requirement to prepare about six different variants of a
base map, using the same topographic map but with different
arrangements of national borders. I’ve handled this by creating a
multi-layered XCF file with the topo map as the background and the
different borders as optional overlays.
OK, so I save the variants to flat PNGs by hand whenever I change the
image, but that’s a pain. What I wanted was a way to put in my makefile
instructions that say, for each variant map, that it depends on the XCF
and the way to make it is to composite a particular selected subset of layers
by running GIMP in batch mode.
Fortunately, GIMP has an embedded Scheme interpreter that’s good
for exactly this kind of thing. Looking at some Python-Fu code by
Carol Spears taught me enough about the API to get started; the fact
that I’m an old LISP head got me the rest of the way.
Here it is.
;; Batch-mode select and save of a layer set as a PNG. ;; Has to be copied into ~/.gimp-2.2/scripts to work ;; ;; Note: This assumes that gimp-drawable-get-name returns a list with ;; the actual string name as its car. This is what gimp-2.2 does, but ;; not what the documentation says it should do! (define (layer-set-saver infile select outfile) (let* ((image (car (gimp-file-load RUN-NONINTERACTIVE infile infile))) (layers (cadr (gimp-image-get-layers image))) (ind 0)) (while (< ind (length layers)) (let* ((layer (aref layers ind)) (layer-name (car (gimp-drawable-get-name layer)))) (gimp-drawable-set-visible layer (if (member layer-name select) 1 0))) (set! ind (+ ind 1))) (file-png-save-defaults RUN-NONINTERACTIVE image (car (gimp-image-flatten image)) outfile outfile) ) (gimp-quit 0) )
Here's one of my makefile productions. The second arg is a list of layer names.
basic.png: basic.xcf gimp -i -b '(layer-set-saver "basic.xcf" (quote ("topographic" "skinny-borders" "grey-switzerland")) "basic.png")'
Apologies for the long line.
LISP truly is The Language That Will Not Die. And that’s a good thing.
I’ve added a pointer to Peter Norvig’s excellent essay “Teach Yourself Programming In Ten Years”.
The HOWTO itself is here.
A bit of blogging for the record here. Doc Searls wrote:
“The Commons” and “the public domain” might be legitimate concepts
with deep and relevant histories, but they’re too arcane to most of
us. Eric Raymond has told me more than once that the Commons Thing
kinda rubs him the wrong way. [...] (Maybe he’ll come in here and
correct me or enlarge on his point.)
This is what I emailed him in response:
Secularists and leftists enjoy sneering at conservative Christians who believe in the Rapture and other flavors of millenarianism. Reasonably so: it takes either a drooling idiot or somebody who has deliberately shut off most of his brain, reducing himself to an idiotically low level of critical thinking, to believe such things. The draw, of couse, is that each individual fundamentalist implicitly believes he will be among the saved — privileged to honk a great big I TOLD YOU SO! at all those sinners writhing in the lake of fire.
It is therefore more than a little amusing to notice how prone these ‘sophisticated’ critics are to their own forms of idiotic millenarianism.