Wealthcare

Wednesday, September 23rd, 2009

Jonathan Chait of The New Republic takes the recent upsurge of interest in Ayn Rand — and publication of books about Rand — as an excuse to attack Rand and her followers — and anyone against government redistribution of wealth.

Some of his attacks on Rand and her Randroids could be considered fair:

  • She once wrote to a friend that “it’s time we realize — as the Reds do — that spreading our ideas in the form of fiction is a great weapon, because it arouses the public to an emotional, as well as intellectual response to our cause.” She worked both to propagate her own views and to eliminate opposing views.
  • Rand’s hotly pro-capitalist novels oddly mirrored the Socialist Realist style, with two-dimensional characters serving as ideological props.
  • The subculture that formed around her — a cult of the personality if ever there was one — likewise came to resemble a Soviet state in miniature.
  • Ultimately the Objectivist movement failed for the same reason that communism failed: it tried to make its people live by the dictates of a totalizing ideology that failed to honor the realities of human existence.
  • Her ideological purity and her unstable personality prevented her from forming lasting coalitions with anybody who disagreed with any element of her catechism. Moreover, her fierce attacks on religion — she derided Christianity, again in a Nietzschean manner, as a religion celebrating victimhood — made her politically radioactive on the right.
  • Ludwig von Mises once enthused to Rand, “You have the courage to tell the masses what no politician told them: you are inferior and all the improvements in your condition which you simply take for granted you owe to the effort of men who are better than you.” Rand articulated the terror that conservatives felt at the rapid leveling of incomes in that era — their sense of being singled out by a raging mob.
  • Rand’s most enduring accomplishment was to infuse laissez-faire economics with the sort of moralistic passion that had once been found only on the left.

Other attacks misunderstand — or misrepresent — what Rand believed and professed:

In essence, Rand advocated an inverted Marxism. In the Marxist analysis, workers produce all value, and capitalists merely leech off their labor. Rand posited the opposite.

Rand clearly respected honest labor — the architect-hero of The Fountainhead chooses to work in a quarry rather than prostitute his artistic skills.

When she attacked the “looters and moochers” stealing from society’s productive elements, she was attacking politicians and their cronies — the same corrupt politicians, special interests, and corporate fat-cats the Left attacks.

The important difference was that Rand did not see The Rich as a monolithic — and evil — entity. She saw successful businessmen who became wealthy by creating wealth as heroes, while she saw political cronies who became wealthy by redirecting wealth to themselves as villains — “looters and moochers”.

But Chait would rather prop up Straw Men, like the notion that all conservatives support The Rich against The Poor, rather than supporting creators over thieves, or that all conservatives see wealth as a perfect reflection of someone’s contribution to society.

Google Lets You Custom-Print Millions of Public Domain Books

Thursday, September 17th, 2009

Google now lets you custom-print millions of public domain books through their partner On Demand Books and the Espresso Book Machine:

And now Google Book Search, in partnership with On Demand Books, is letting readers turn those digital copies back into paper copies, individually printed by bookstores around the world.

Or at least by those booksellers that have ordered its $100,000 Espresso Book Machine, which cranks out a 300 page gray-scale book with a color cover in about 4 minutes, at a cost to the bookstore of about $3 for materials. The machine prints the pages, binds them together perfectly, and then cuts the book to size and then dumps a book out, literally hot off the press, with a satisfying clunk. (The company says a machine can print about 60,000 books a year.)

That means you can stop into the Northshire Bookstore in Manchester, Vermont, and for less than $10, custom-order your own copy of Dame Curtsey’s Book of Candy Making, the third edition of which was published in 1920 and which can only be found online for $47.00 used.

Dane Neller, On Demand Books CEO, says the announcement flips book distribution on its head.

“We believe this is a revolution,” Neller said. “Content retrieval is now centralized and production is decentralized.”


On Demand Books suggests that book stores price the books at about $8, leaving retailers with a $3 profit after both Google and On Demand Books collect a buck-a-book fee. Google plans to donate its share to a yet-unspecified charity, which might be a reaction to its messy legal and public policy fight over a copyright settlement that covers books that are still in copyright. (All the books that are being added to On Demand Books repertoire in this agreement are out of copyright in the country where it will be printed.)

Google spokeswoman Jennie Johnson notes that “Most people can’t get into the Harvard Library, but you can print their books next door,” at the Harvard Bookstore.

Astro Boy Gets the Hollywood-Blockbuster Treatment

Wednesday, September 16th, 2009

Hollywood always claims that its latest adaptation will be faithful to the original, and it’s almost always an outright lie. Now Astro Boy gets the Hollywood-blockbuster treatment — and Hollywood’s hoping it doesn’t end up like Speed Racer:

For starters, it’s not live-action; it’s CG produced by Imagi Studios, Hong Kong’s version of Pixar. The company’s founder, Francis Kao, not only secured the movie rights but also hired the son of Astro Boy creator (and god of manga) Osamu Tezuka as a creative consultant.

“I was encouraged to expand on the universe,” says the flick’s director, David Bowers. “But at its core the movie is still faithful to the original.” Case in point: Our favorite rocket tyke sports a windbreaker and slacks (good-bye red undies and go-go boots), but his original powers (x-ray vision and turbo butt) remain unchanged.

Movie Studios See a Threat in Growth of Redbox

Wednesday, September 9th, 2009

Redbox offers $1 DVD rentals through its bright-red vending machines — and, as always, Hollywood feels threatened:

“These machines are to the video industry what the Internet was to the music business — disaster,” said Ted Engen, president of the Video Buyers Group, a trade organization for 1,700 local rental stores.

Mr. Engen is enlisting lawmakers to attack Redbox for renting R-rated movies to underage viewers — the machines simply ask customers to confirm that they are 18 or older by pressing a button — and trying to rally the Screen Actors Guild and other unions.

“It’s going to kill the industry,” said Gary Cook, business manager for UA Local 78, which represents studio plumbers.

Redbox is riding several trends:

For starters, the dismal economy has made people think twice about buying DVDs, especially as the likes of Redbox have made renting easier. Consumers are also tiring of the clutter: The average American household with a DVD player now has a library of 70 DVDs, according to Adams Media Research.

Over all, DVD sales are down 13.5 percent for the first half of 2009 compared to the first half of 2008, according to the Digital Entertainment Group, a trade organization. Studios say some new titles are selling 25 percent fewer copies than expected. Rental revenue is up about 8 percent over the same period, according to the group.

Retailers, struggling to keep people shopping, have realized that having a DVD kiosk in a store creates foot traffic, making it easier for companies like Redbox to sign wide-ranging installation agreements. Some partners, like Walgreens, have offered discounts that essentially make rentals free.

Redbox currently buys DVDs wholesale, rents them repeatedly for $1 per day, and then sells the DVDs into the used-DVD market. This upsets the studios:

By signing deals with Redbox, Paramount and Sony got the kiosk operator to agree to destroy their discs rather than resell them.

What happened to Second Life?

Wednesday, September 9th, 2009

What happened to Second Life?, Cringely asks:

Facebook is hot right now and Second Life is not, and some of that comes down to the difference between fantasy and reality. Second Life is a fantasy environment — an EverQuest without the quest — and that’s the problem. It has the heavy processing requirements of a game without the rich textural depth of a Tolkein or even of real life.

Facebook, being tied to the real lives of the people involved in it, never runs out of anything, whether it is server power (minimal requirements there. at least in comparison to Second Life) or stuff to talk about. Second Life is barren in comparison. By attempting to imitate life, it pales beside the real thing.

How Marvel Went from Bankruptcy to $4B Buyout

Thursday, September 3rd, 2009

Chris Zook examines how Marvel went from bankruptcy to a $4B buyout — and naturally he sees the same four-part pattern he discovered at Bain:

  1. The renewal of Marvel was based not on leaping to new hot markets, or dramatic new technologies, but the reapplication of the strongest assets in the company’s historic core — its loyal customer base, its stable of 5,000 characters, its library of 30,000 market-tested stories, and its brand.
  2. Profitability in the entertainment world has shifted dramatically from channels (e.g., stations, magazines) to proprietary content and from analog to digital. Marvel’s strategy follows the profit pool.
  3. The most successful strategic transformations are not those that find a large singular opportunity, but those that find a repeatable formula to take the strongest elements in its core and reapply them to new situations over and over. This is quintessentially true in the case of Marvel’s stream of movies, games, self-production initiatives, and even treatment of individual characters (e.g., Spiderman I, II, III….).
  4. We found that 90% of strategic comebacks were fueled, in part, by assets in the original core business when it was at its best that were adapted to a new environment and took on new value that had not been previously recognized. This was true of IBM’s service business that led its turnaround, or Harman Kardon’s automotive business that fueled its renewal, and even of Apple’s software interface differentiation and young and loyal customer base.

Neither Steam Nor Punk

Thursday, September 3rd, 2009

I don’t know how a post-apocalyptic animated movie, based on an Academy Award-winning short — with an intro by Ray Kurzweil — slipped under my radar, but 9 did. (It opens one week from today, on 9/9/09.)

A fan of the original short described its rag-doll heroes as stitchpunk, and the name stuck. In fact, the notion that the film’s setting and aesthetic are steampunk has stuck too, even though there’s very little Victorian about the whole thing. It’s a whole lot more Eastern Bloc, as Shane Acker, its creator, explains:

The design of the short film was inspired by the work of several stop-motion animated masters; Jan Švankmajer, the Brothers Quay, and the Lauenstein brothers. [...] For that scenic design, I was inspired by photographs of European cities destroyed in World War II, as well as the fantasy artwork of Zdzislaw Beksinski.

For the film, Jeff van der Meer gives an overview of steampunk, including its history, which seems to reinforce my point:

But it wasn’t until 1987 that K.W. Jeter coined the term “Steampunk” to describe his new novel Infernal Devices. In the pages of Locus Magazine (#315, April 1987), Jeter rather blithely wrote, “I think Victorian fantasies are going to be the next big thing, as long as we can come up with a fitting collective term…like ‘steampunks,’ perhaps.” Jeter, along with fellow writers Tim Powers (Anubis Gates) and James Blaylock (the novella “Lord Kelvin’s Machine”), spearheaded the Steampunk literary movement, despite being largely forgotten by the Steampunk community today.

Blaylock and Jeter in particular are to Steampunk what John Fitch was to the Steamboat. Fitch created a working steamboat, but Robert Fulton made the steamboat commercially successful. In the case of Steampunk, the iconic cyberpunks Bruce Sterling and William Gibson together play the role of Fulton. Their The Difference Engine (1990) is most often cited as the seminal Steampunk novel.

The Difference Engine could be seen as “historical cyberpunk,” another term for Steampunk. Set primarily in 1855, The Difference Engine posits an alternate reality in which Charles Babbage successfully built a mechanical computer, thus ushering in the Information Age at the same time as the Industrial Revolution. Juxtaposing Lord Byron, airships, and commentary on the unsavory aspects of the Victorian era, the novel’s many Steampunk pleasures include a vast and somewhat clunky mechanical AI housed in a fake Egyptian pyramid. Sterling and Gibson, like Moorcock, also comment on the negative role of new technology in propping up regimes, with a powerful British Empire facilitating the fragmentation of the United States into several less powerful countries, such as the Republic of California and the Republic of Texas. However, The Difference Engine, by positing a premature information revolution, also focuses on repression through invasion of privacy caused by an all-seeing mechanical “Eye.”

In the mid-80s, the hip new movement in science fiction was cyberpunk, which stood utopian science fiction on its head, emphasizing “high tech and low life” — cybernetics and punk — and how “the street finds its own uses for things.”

Authors who weren’t part of the hip new movement naturally resented that fact. I assume that’s what Jeter was getting at when he quipped, “I think Victorian fantasies are going to be the next big thing, as long as we can come up with a fitting collective term…like ‘steampunks,’ perhaps.”

The Difference Engine, on the other hand, actually transferred the cyberpunk ethos to the Age of Steam — where it didn’t belong, I might add — to create a true steampunk story — if not a reasonable projection of how Babbage’s analytical engine might have influenced history had it worked. Since then, the term has evolved to cover just about anything involving “retro” technology — or Victorian fashion.

The Demystifying Adventures of the Amazing Randi

Tuesday, September 1st, 2009

The demystifying adventures of the Amazing Randi are likely coming to a close — he’s 81 years old and fighting cancer. Here’s how he got started:

When Randi was 15, he heard of a preacher in his hometown of Toronto who claimed he could read minds. Randi had been reading every book he could find on magic and illusions, so he thought he could figure out what trick the preacher was using on his flock.

One Sunday morning, Randi watched the preacher set up a classic “one ahead” scam, using information obtained ahead of time to trick the crowd into believing he could read minds. Randi took the stage as he imagined his hero Houdini might have done and preached to the congregation about being duped, explaining the trick. He was immediately run out of the church.

Dissidence would become a regular reaction to Randi, who was born Randall James Hamilton Zwinge in 1928. He describes himself as a quick learner but a bit of a rabble-rouser — he was once kicked out of his Sunday school class for heresy.

When he was 12, he stumbled into a matinee performance by famed magician Harry Blackstone Sr., who made a woman float in the air just feet from the stunned boy. “That got me,” Randi says. “That grabbed me, and it never let go. It’s still got a hold of my head right now.”

A year after the church incident, Randi was in a bicycle accident that left him in a full-body cast for 13 months. Randi figured that even confined to the cast, he could still perform at nightclubs as a mentalist. “In those days, they were paying me $70 a week,” he says. “Now that was a lot of Canadian dollars, I can tell you.” He decided he would make it clear at the end of every show that he was simply using illusions. But he was disturbed when audience members would insist he had paranormal powers — ironically ignoring the only bit of truth he’d spat out all night. People seemed to want to believe in the supernatural.

Before he graduated high school, Randi left town with the carnival, performing as “Prince Ibis.” At age 22, he pulled off a highly publicized escape from a Quebec City jail cell, a trick Houdini used to perform. A local newspaper dubbed him “L’étonnant Randi” — the Amazing Randi, “with an i at the end,” he says, “like Houdini.” For three decades, Randi toured the world by train, plane, and ship, headlining marquees from the Deep South to the Far East. He was bound in straitjackets and dangled over waterfalls; buried alive; and handcuffed and locked in an oversized milk jug.

But Randi could never shake the need to educate the naive. Working at nightclubs in East Asia, he learned new con-man techniques, and when he came back, he had a bug for debunking. In the 1960s, he hosted a radio show in New York in which he would, among other things, argue with astrologers (“Complete woo-woo,” he recalls) and confront chiropractors (“Three chiropractors, three completely different diagnoses”).

The height of his fame came when Johnny Carson invited him onto The Tonight Show. Carson had him back 37 times, and the two became good friends. “Johnny was a very skilled magician, very accomplished,” Randi says.

Living in northern New Jersey, Randi befriended other great American thinkers, including astronomer Carl Sagan and science fiction writer Isaac Asimov. Randi and Asimov would sing Gilbert and Sullivan tunes together deep into the night. “He had such a wonderful voice,” Randi remembers. Randi and Sagan would discuss their shared love of astronomy; Sagan helped name a comet after Randi.

Randi even played himself on an episode of Happy Days — he levitates Mrs. Cunningham, and in the final shot, he steals Fonzie’s patented “Ehhh.” At one point, Randi toured with Alice Cooper, cutting off the rock god’s head with a trick guillotine at the end of every show.

In the ’70s, Americans developed a new fascination with all things paranormal — crystals, Tarot cards, astrology parties. Randi found the trends disturbing; he was particularly irked by a young Israeli named Uri Geller, who said he could bend spoons with his mind and read the thoughts of strangers. Geller appeared on countless television shows and was featured in magazines in dozens of languages.

The degree to which people took Geller seriously bothered Randi. Reputable scientists from several labs studied “the Geller effect,” how brainwaves affect pliable metal. Those scientists no longer discuss those experiments. In 1987, Sen. Claiborne Pell (D-R.I.), former chairman of the Senate Foreign Relations Committee, invited Geller to the floor of Congress to send positive brain waves to then-Soviet leader Mikhail Gorbachev. The senator and the psychic later claimed at least partial success.

Randi tried to spread the message that Geller’s techniques were simple charlatan tricks, old Israeli shtick masked by a trustworthy voice and a warm smile. Randi performed Geller’s tricks himself for Barbara Walters. He arranged for Johnny Carson’s staff to foil Geller on The Tonight Show. “I’m just feeling very weak tonight,” Geller explained to Carson when he couldn’t perform anything supernatural.

In 1975, Randi published his first book, The Magic of Uri Geller, later retitled The Truth About Uri Geller. A series of lawsuits and countersuits between Randi and Geller ensued. Geller won a suit against Randi in a Japanese court, claiming Randi had defamed him, but the judge awarded Geller 500,000 yen, or just $2,000. Randi boasts that he has never paid a dime to anyone who has sued him.

How I got out of writing an essay on H.G. Wells’ The Time Machine

Tuesday, September 1st, 2009

I recently re-read Wells’ The Time Machine, which made Justin Kahn’s How I got out of writing an essay on H.G. Wells’ The Time Machine that much more amusing:

January 17, 2005

I received the syllabus for my Humanities course. A humanities course should not be required for my B.Sc. degree in Physics. To add insult to injury, we are supposed to do an analysis of Wells’ The Time Machine. We are to focus on the historical context when the topic is time travel?

Who reads a book on a time machine for social insights? I would do anything to get out of this essay.

At dinner, my friends complained about this assignment. I tell them a way out: I will build a time machine.

They mocked me, but they will see.

Disney to buy comic book powerhouse Marvel for $4B

Monday, August 31st, 2009

Disney to buy comic book powerhouse Marvel for $4B in cash and stock:

Disney said Marvel shareholders will receive $30 per share in cash, plus 0.745 Disney shares for every Marvel share they own. That values each Marvel share at $50 based on Friday’s closing stock prices.

Marvel shares jumped $10.17, or 26 percent, to $48.82 shortly after the market opened. Disney shares fell 47 cents, or 1.8 percent, to $26.37.

It doesn’t look like the market thinks Disney is going to see too many “positive synergies” from adding Spider-Man and Iron Man to Mickey Mouse and Donald Duck.

Annotated Walking Dead Google Map

Saturday, August 29th, 2009

I was mildly disappointed by the Walking Dead compilation I read, but I’m still intrigued by this annotated Google map that shows the real-life locations of the fictional events that take place throughout the zombie apocalypse.

(Hat tip to Boing Boing.)

Mike Judge on Extract

Friday, August 28th, 2009

Terry Gross of NPR’s Fresh Air interviews Mike Judge on Extract, his new movie starring Arrested Development‘s Jason Bateman — who plays the head of a vanilla-extract company.

This inverts the point of view of Judge’s early cult-hit, Office Space, which is from the hapless employees’ point of view. Only after Office Space and after Beavis and Butthead had grown did Judge understand the plight of the hapless employer.

He also discusses Idiocracy. I was hoping he’d mention Cyril M. Kornbluth’s The Marching Morons, from 1951 — which I recently read, in The Science Fiction Hall of Fame, Volume Two — because it is clearly the basis for his movie.

Through the interview I found out that King of the Hill is only now coming to a close — and The Goode Family has already been cancelled. Sigh. At least I got to listen to an NPR host ask Judge about the show — delightfully awkward.

Kill Adolf

Friday, August 28th, 2009

Steve Sailer suggests that Quentin Tarantino’s gifts may be better suited to a different career:

Surely, for example, Tarantino would have made an ideal Artistic Director of the Roman Colosseum during its heyday under the Emperor Commodus. “I’ve got it! We’ll start with a Mexican standoff among three gladiators, 27 Christians, two Nile crocodiles, and a giant squid. They eyeball each other tensely… suddenly, all hell breaks loose!”

He would also have served admirably as the Idea Man in the Ministry of Truth’s Fiction Department. Here’s an extract from Winston Smith’s diary that’s Tarantinoesque avant la lettre:

April 4th, 1984. Last night to the flicks. All war films. One very good one of a ship full of refugees being bombed somewhere in the Mediterranean. Audience much amused by shots of a great huge fat man trying to swim away with a helicopter after him. First you saw him wallowing along in the water like a porpoise, then he was full of holes and the sea round him turned pink and he sank as suddenly as though the holes had let in the water. Audience shouting with laughter when he sank.

Granted, if Tarantino worked for Minitrue, this bit of action would have been preceded by 17 minutes of exhaustively clever dialogue riffing on sinking ship scenes from old movies, famous and obscure. The default trajectory of Tarantino’s screenwriting is to dissipate momentum until the story lies dead in the water, only to desperately jolt it back to life via carnage.

The Land Ironclads

Saturday, August 22nd, 2009

H.G. Wells’ The Land Ironclads famously predicted the modern tank — in 1903, well before the first tank saw combat in 1916 — but it also predicted trench warfare and stormtrooper tactics:

The young lieutenant lay beside the war correspondent and admired the idyllic calm of the enemy’s lines through his fieldglass.

‘So far as I can see,’ he said at last, ‘one man.’

‘What’s he doing?’ asked the war correspondent.

‘Field-glass at us,’ said the young lieutenant.

‘And this is war?’

‘No,’ said the young lieutenant, ‘it’s Bloch.’

‘The game’s a draw.’

‘No! They’ve got to win or else they lose. A draw’s a win for our side.’
[...]
They had been there a month. Since the first brisk movements after the declaration of war things had gone slower and slower, until it seemed as though the whole machine of events must have run down. To begin with, they had had almost a scampering time; the invader had come across the frontier on the very dawn of the war in half-a-dozen parallel columns behind a cloud of cyclists and cavalry, with a general air of coming straight on the capital, and the defender horsemen had held him up, and peppered him and forced him to open out, to outflank, and had then bolted to the next position in the most approved style, for a couple of days, until in the afternoon, bump! they had the invader against their prepared lines of defence.

He did not suffer so much as had been hoped and expected: he was coming on, it seemed, with his eyes open, his scouts winded the guns, and down he sat at once without the shadow of an attack and began grubbing trenches for himself, as though he meant to sit down there to the very end of time. He was slow, but much more wary than the world had been led to expect, and he kept convoys tucked in and shielded his slow-marching infantry sufficiently well to prevent any heavy adverse scoring.

‘But he ought to attack,’ the young lieutenant had insisted.

‘He’ll attack us at dawn, somewhere along the lines. You’ll get the bayonets coming into the trenches just about when you can see,’ the war correspondent had held until a week ago.

The young lieutenant winked when he said that.

When one early morning the men the defenders sent to lie out five hundred yards before the trenches, with a view to the unexpected emptying of magazines into any night attack, gave way to causeless panic and blazed away at nothing for ten minutes, the war correspondent understood the meaning of that wink.

‘What would you do if you were the enemy?’ said the war correspondent, suddenly.

‘If I had men like I’ve got now?’

‘Yes.’

‘Take those trenches.’

‘How?’

‘Oh — dodges! Crawl out half-way at night before moon-rise, and get into touch with the chaps we send out. Blaze at ‘em if they tried to shift, and so bag some of ‘em in the daylight. Learn that patch of ground by heart, lie all day in squatty holes, and come on nearer next night. There’s a bit over there, lumpy ground, where they could get across to rushing distance — easy.

In a night or so. It would be a mere game for our fellows; it’s what they’re made for…. Guns? Shrapnel and stuff wouldn’t stop good men who meant business.’

Robert Zemeckis circles "Yellow Submarine" remake

Friday, August 21st, 2009

Robert Zemeckis is in negotiations to direct a remake of the 1968 animated Beatles feature “Yellow Submarine” for the Walt Disney Studios:

Like all Zemeckis’ animated productions — among them “The Polar Express” and “Beowulf” — “Submarine” would be done in performance capture and would be a digital 3D endeavor.

I don’t want to sound like a Blue Meanie, but seriously?