Pros vs. Joes Finale

Saturday, March 29th, 2008

One of my guilty pleasures is Pros vs. Joes, in which “ordinary Joes” compete against retired professional athletes. Actually, I often fast-forward through whole chunks of it — the basketball portions, in particular — but I enjoy the football portions, and I love the combat-sport portions.

And I’ve been waiting all season for the episode with Bob Sapp. In case you’re not familiar, Bob Sapp is a ludicrously huge man — 6’5″ and 375 lbs., lean — who used to play in the NFL before fighting in Japan.

The Joes were terrified. Imagine their surprise when they found out that he was blocking for Jamal Anderson too, before it even came to the kickboxing portion of the show.

One odd element of the show is that the Proes clearly are not giving it 100 percent; they’re toying with the Joes. On some plays, Jamal Anderson slips a tackle, turns around, stops, waits for the Joe to chase after him, run backwards toward the end zone, then stops, drops his head, and knocks down his tackler, before stepping back into the end zone for a touchdown.

Other times, he gets caught.

Anyway, watching ordinary Joes, even really athletic Joes, try to stay in the ring with Bob Sapp is just plain scary.

Baby Got Stats

Saturday, March 29th, 2008

I guess it’s nerdcoreBaby Got Stats.

If you’re not familiar with nerdcore — and the geeks who take it far, far too seriously — watch the Nerdcore For Life trailer:

Dancing a Song With the Full-Body Wiimote Music Controller Suit

Saturday, March 29th, 2008

Tom Tlalim is now Dancing a Song With the Full-Body Wiimote Music Controller Suit:

Soon after the Nintendo Wii’s release, hackers immediately began uncovering ways to use its unique motion-sensing controller to interface with other things — PCs, musical instruments, you name it. But Tom Tlalim, an Israeli-born composer who now lives in the Netherlands, may have outdone them all: His full-body, eight-piece “suit” of Wiimotes interfaces fully with custom software to turn his entire body into an electronic instrument that responds to his every motion. In his suit, Tlalim doesn’t play songs. He dances them.

“W_space,” as his suit has been christened, uses up to eight Wiimotes attached to the wearer’s arms and legs to form what is effectively a DIY motion-capture suit. The accelerometers on the Wii send tilt and acceleration readings to an open-source music synthesis software package called SuperCollider, for which Tlalim wrote a custom module that translates the data from W_space’s Wiimotes and allows them to manipulate and create sounds of various timbres in real time.

For Tlalim, the Wiimotes mean that he no longer needs to be hunched in front of a computer screen when he plays.

It all started with a single Wiimote, and some code to let it emulate a Theramin. (I’ve discussed the Theremin before.) Here’s where it led:

I can’t say I share his taste in music — or dance — but it’s an interesting use of technology. Of course, I’d be inclined to use a full Wiimote suit for a fighting game…

Food Fight

Thursday, March 27th, 2008

Food Fight is darkly fascinating, “an abridged history of American-centric warfare, from WWII to present day, told through the foods of the countries in conflict”:

The creator answer some FAQs:

  • The food in this film was consumed either by myself or my dog after shooting. None of the cast went to waste.
  • The software used was photoshop and after effects.
  • The film took me 3 months to do.
  • Although it seems like stop motion, most of it was stop motion created within After effects, using keyframe animation. I am basically moving the food around within the the program, frame by frame, which is the same as traditional stop motion, only it’s digital.

He also provides a breakdown of the battles portrayed and a cheat sheet of the foodstuffs used.

Major Boobage

Thursday, March 27th, 2008

I just about choked while watching the opening minutes of the latest South Park, which I did not yet know was titled Major Boobage.

You see, Kenny starts trippin’, the background turns to outer space, and he falls into a sports car as it descends to the nearest planet’s surface. Yes, it’s an homage to 1981′s Heavy Metal.

This clip isn’t from the opening, but it’s a later scene in the same vein:

As long as I’m sharing South Park clips, here’s another fave:

That brings back some memories — of the 25th century.

Addendum: The whole Major Boobage episode in now online — but not embeddable. The scene in question is from minute two through minute four, almost exactly.

If you’d like a taste of the original movie, this Heavy Metal trailer, for the remastered video, should give you the feel:

Robert Kaplan on ‘The Ghost War’

Tuesday, March 25th, 2008

This review certainly caught my eye. Robert Kaplan on ‘The Ghost War’:

In The Ghost War, the New York Times reporter Alex Berenson has fashioned a smart, economically written spy novel that imagines a future clash with the Chinese. As such, it’s a novel for policy wonks, with a very sophisticated vision of how a conflict with China could come about, akin to the kind of war-gaming scenarios that occupy Washington strategists. Here, a power struggle between the military and civilian wings of the Chinese leadership and the accidental ramming of a Chinese trawler by an American destroyer ignite an unwelcome conflict. Adding to the complexity is a new alliance between China and Iran, a secret one between China and the Taliban, the attempted defection of a North Korean spy to the West and the usual moles on each side.

How a Film Triggered a Global Panic

Monday, March 24th, 2008

It’s “mission accomplished” for Dutch populist Geert Wilders. How a Film Triggered a Global Panic — before it got made or shown:

In the November 2006 elections, the Freedom Party (Partij voor de Vrijheid), which liberal politician Geert Wilders, 45, had established two years earlier, won nine of the 150 seats in the Dutch parliament. Not unlike van Gogh, Wilders seems to gravitate toward conflict. He is as popular as he is controversial. His friends value him for his directness, while his enemies disparage him as a populist walking in the footsteps of murdered politician Pim Fortuyn.

Wilders, who believes that the Netherlands has been “taken hostage” by well-intentioned people on the left, wants to see the country “returned to the people.” He wants both the Koran and Hitler’s “Mein Kampf” to be banned in the Netherlands, because, as he claims, they incite people to commit acts of hate and violence. He also wants the country to deport criminals with dual citizenship to their countries of origin. Wilders was voted “politician of the year” by Dutch public broadcaster NOS in December 2007.

Wilders isn’t exactly free to enjoy the tribute, though. He is under 24-hour police protection and has slept in a different place every night since Islamic Web sites first began calling for his beheading. While the police take the death threats seriously, Wilders is more relaxed. “You don’t get used to it,” he said in an interview, “but you learn to live with the threat.”

In late November 2007, Wilders announced that he was working on a film that would depict “the intolerant and fascist nature of the Koran.” Spokespeople from the Dutch interior and justice ministries expressed their concern about the project, but they also stressed that they had no power to dissuade the parliamentarian from going through with his plan or to prevent the film from being broadcast.

Since then, a film that no one has seen and of which no one can say that it will ever exist has become a daily topic of discussion and speculation in the Netherlands. Wilders is fueling the debate by occasionally announcing how far along the project is. In an article he wrote for the newspaper De Telegraaf in late January 2008, he announced that the film would be released in March. According to Wilders, it would be shown on a split screen, with verses and suras from the Koran on one side and examples of Sharia law being carried out on the other, including a beheading and a stoning. If Dutch television networks are unwilling to broadcast the film, Wilders said he would show it on YouTube.

This triggered a panic in the Netherlands that could only be likened to the dread leading up to a massive storm. The Dutch ambassador in Malaysia warned that protests could lead to “dozens of deaths.” Dutch ambassadors in Islamic countries were instructed to increase security measures and distance themselves from the Wilders film, while counterterrorism experts at home began making preparations for the day of the broadcast. These included meetings with representatives of Muslim congregations, who Dutch officials hoped would have a moderating effect on their brothers and sisters.

It didn’t help when the Grand Mufti of Syria, Dr. Ahmad Badr Al-Din Hassoun, in a speech to the European Parliament in Strasbourg, France, pointed out the dangers that the Dutch and the rest of the world could face. “If Wilders tears up or burns a Koran in his film, it will mean, quite simply, that he is encouraging war and bloodshed. If there is unrest, bloodshed and violence after the broadcast of the Koran film, Wilders will be responsible.” Instead of reprimanding the Syrian grand mufti for his words, European Union parliamentarians celebrated him as an ambassador of peace, tolerance and “intercultural dialogue.”

Whatever its intent, his message was heard. In early March, a few hundred Afghans demonstrated against the Wilders film in the northern Afghani city of Mazar-e-Sharif, where they burned Dutch flags and called for the withdrawal of Dutch NATO units from Afghanistan. This prompted NATO Secretary General Jaap de Hoop Scheffer to express his concern that broadcasting the film could have an “impact” on the troops stationed in Afghanistan.

A few days later, the Dutch foreign minister asked the EU to support the Dutch position. He said that the Dutch believe in freedom of expression, but are against portraying all Muslims as extremists. At the same time, the “terror alarm” in the Netherlands was raised to its second-highest level. The government of Prime Minister Jan-Peter Balkenende appealed to Wilders to abandon his plan to broadcast the film. On the one hand, Balkenende said, “constitutional freedoms must be defended, while extremism and terrorism must be fought.” On the other hand, he continued, “we must consider the consequences of our actions and may not endanger the things that are valuable to us all.”

Wilders reaction was clear. “The cabinet is falling onto its knees before Islam and capitulating,” he said, characterizing Balkenende as “an anxious man who has chosen the side of the Taliban.”

A Viewer’s Guide to Judo

Monday, March 24th, 2008

The Wall Street Journal offers up A Viewer’s Guide to Judo — which isn’t particularly instructive:

The real news is simply that the Wall Street Journal is talking about judo.

As Easy As A.B.C.

Monday, March 24th, 2008

A couple months ago, when I watched H.G. Wells’ Things to Come, it led me to pick up a used copy of The Science Fiction Stories of Rudyard Kipling, which includes two stories about a future world “ruled” by the Aerial Board of Control: With the night mail and As Easy As A.B.C.

Kipling’s A.B.C. doesn’t really rule the planet the way Wells’ league of super-scientists, Wings Over the World, does though. The A.B.C. is more like the laissez-faire British Empire, keeping its hands off of things until someone threatens the free flow of (aerial) trade.

The story involves civil unrest in the Chicago of the future, and our heroes come to the rescue — that is, they rescue Chicago from democracy:

Suddenly a man among them began to talk. The Mayor had not in the least exaggerated. It appeared that our Planet lay sunk in slavery beneath the heel of the Aerial Board of Control. The orator urged us to arise in our might, burst our prison doors and break our fetters (all his metaphors, by the way, were of the most medieval). Next he demanded that every matter of daily life, including most of the physical functions, should be submitted for decision at any time of the week, month, or year to, I gathered, anybody who happened to be passing by or residing within a certain radius, and that everybody should forthwith abandon his concerns to settle the matter, first by crowd-making, next by talking to the crowds made, and lastly by describing crosses on pieces of paper, which rubbish should later be counted with certain mystic ceremonies and oaths. Out of this amazing play, he assured us, would automatically arise a higher, nobler, and kinder world, based — he demonstrated this with the awful lucidity of the insane — based on the sanctity of the Crowd and the villainy of the single person. In conclusion, he called loudly upon God to testify to his personal merits and integrity. When the flow ceased, I turned bewildered to Takahira, who was nodding solemnly.

This is a future that has lived through populist democracy and mob rule. Kipling appends something called MacDonough’s Song, apparently from the not-so-distant past of this lawful, non-democratic future:

Whether the State can loose and bind
  In Heaven as well as on Earth:
If it be wiser to kill mankind
  Before or after the birth —
These are matters of high concern
  Where State-kept school men are;
But Holy State (we have lived to learn)
  Endeth in Holy War.

Whether The People be led by the Lord,
  Or lured by the loudest throat:
If it be quicker to die by the sword
  Or cheaper to die by vote —
These are the things we have dealt with once,
  (And they will not rise from their grave)
For Holy People, however it runs,
  Endeth in wholly Slave.

Whatsoever, for any cause,
  Seeketh to take or give,
Power above or beyond the Laws,
  Suffer it not to live!
Holy State or Holy King —
  Or Holy People’s Will —
Have no truck with the senseless thing.
  Order the guns and kill!

  Saying — after — me: —

Once there was The People — Terror gave it birth;
Once there was The People and it made a Hell of Earth.
Earth arose and crushed it. Listen, O ye slain!
Once There was The People — it shall never be again!

“We own ourselves,” the non-democrats say.

Anyway, I was shocked to come across such a clearly non-Progressive story. It reminded me of Mencius Moldbug and of Bryan’s Caplan’s Myth of the Rational Voter.

Berg to direct ‘Dune’ for Paramount

Wednesday, March 19th, 2008

Berg to direct 'Dune' for Paramount:

Peter Berg is attached to direct a bigscreen adaptation of Frank Herbert’s classic sci-fi novel Dune for Paramount Pictures.

Kevin Misher, who spent the past year obtaining the book rights from the Herbert estate, will produce via his Par-based shingle.

Herbert’s 1965 novel is a sweeping, futuristic tale set on the remote desert planet Arrakis, which produces the interstellar empire’s sole source of the spice Melange — used for distant space travel. An empirewide power struggle ensues over the control of the spice. Berg would be the latest helmer to take a crack at the property, which spawned a 1984 David Lynch film as well as a 2000 Sci Fi Channel miniseries starring William Hurt.

The project is out to writers, with the producers looking for a faithful adaptation of the Hugo- and Nebula Award-winning book. The filmmakers consider its theme of finite ecological resources particularly timely.

Arthur C. Clarke’s Epitaph

Wednesday, March 19th, 2008

When asked by Wired in 1993 if he had put any thought into what he would want on his epitaph, Clarke said he had:

“Oh, yes,” he said. “I’ve often quoted it: ‘He never grew up; but he never stopped growing.‘”

Arthur C. Clarke, Premier Science Fiction Writer, Dies at 90

Wednesday, March 19th, 2008

Arthur C. Clarke, Premier Science Fiction Writer, Dies at 90:

Arthur C. Clarke, a writer whose seamless blend of scientific expertise and poetic imagination helped usher in the space age, died early Wednesday in Colombo, Sri Lanka, where he had lived since 1956. He was 90.

Rohan de Silva, an aide, confirmed the death and said Mr. Clarke had been experiencing breathing problems, The Associated Press reported. He had suffered from post-polio syndrome for the last two decades.

The author of almost 100 books, Mr. Clarke was an ardent promoter of the idea that humanity’s destiny lay beyond the confines of Earth. It was a vision served most vividly by “2001: A Space Odyssey,” the classic 1968 science-fiction film he created with the director Stanley Kubrick and the novel of the same title that he wrote as part of the project.

NPR actually got that last bit wrong, earlier this evening, stating that he wrote the novel, 2001, which was later made into the movie. The movie and novel we both based on a short story:

The Cold War also forms the backdrop for “2001.” Its genesis was a short story called “The Sentinel,” first published in a science fiction magazine in 1951. It tells of an alien artifact found on the Moon, a little crystalline pyramid that explorers from Earth destroy while trying to open. One explorer realizes that the artifact was a kind of fail-safe beacon; in silencing it, human beings have signaled their existence to its far-off creators.

In the spring of 1964, Stanley Kubrick, fresh from his triumph with “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb,” met Mr. Clarke in New York, and the two agreed to make the “proverbial really good science fiction movie” based on “The Sentinel.” This led to a four-year collaboration; Mr. Clarke wrote the novel and Mr. Kubrick produced and directed the film; they are jointly credited with the screenplay.

Many reviewers were puzzled by the film, especially the final scene in which an astronaut who has been transformed by aliens returns to orbit the Earth as a “Star-Child.” In the book he demonstrates his new-found powers by detonating from space the entire arsenal of Soviet and United States nuclear weapons. Like much of the plot, this denouement is not clear in the film, from which Mr. Kubrick cut most of the expository material.

I have added The Collected Stories of Arthur C. Clarke to my to-read list.

Pilot: May have shot down Saint-Exupery

Monday, March 17th, 2008

Pilot: May have shot down Saint-Exupery:

A former pilot for Nazi Germany’s air force writes in a forthcoming book that he believes he shot down the author of The Little Prince, Antoine de Saint-Exupery.

The aviation pioneer’s Lockheed Lightning P-38 disappeared July 31, 1944. In the book, former Luftwaffe pilot Horst Rippert says he believes that he shot down the plane — although he is not completely sure.

Le Figaro magazine published extracts of the book, “Saint-Exupery, the ultimate secret,” over the weekend. [...] Rippert says in the book that he is a fan of the author’s works.

“In our youth, at school, we had all read him. We loved his books,” he said. “If I had known, I would not have opened fire. Not on him!”

Warners connected to the film ‘Bone’

Monday, March 17th, 2008

This could be good news. Warners connected to the film ‘Bone’:

Warner Bros. has picked up rights to “Bone,” the acclaimed independent comic book series from artist Jeff Smith. Dan Lin will produce.

Of course, the last time Bone looked like it might get turned into a film, things didn’t work out:

An animated version was in development at Nickelodeon Films but fell through, partly because Smith was displeased that the studio was aiming it for kids and wanted the film to include pop songs.

Why do you buy the rights to something like Bone if you don’t want to produce something like Bone?

David Mamet: Why I Am No Longer a ‘Brain-Dead Liberal’

Thursday, March 13th, 2008

David Mamet explains why he is no longer a “brain-dead liberal”:

I wrote a play about politics (November, Barrymore Theater, Broadway, some seats still available). And as part of the “writing process,” as I believe it’s called, I started thinking about politics. This comment is not actually as jejune as it might seem. Porgy and Bess is a buncha good songs but has nothing to do with race relations, which is the flag of convenience under which it sailed.

But my play, it turned out, was actually about politics, which is to say, about the polemic between persons of two opposing views. The argument in my play is between a president who is self-interested, corrupt, suborned, and realistic, and his leftish, lesbian, utopian-socialist speechwriter.

The play, while being a laugh a minute, is, when it’s at home, a disputation between reason and faith, or perhaps between the conservative (or tragic) view and the liberal (or perfectionist) view. The conservative president in the piece holds that people are each out to make a living, and the best way for government to facilitate that is to stay out of the way, as the inevitable abuses and failures of this system (free-market economics) are less than those of government intervention.

I took the liberal view for many decades, but I believe I have changed my mind.

As a child of the ’60s, I accepted as an article of faith that government is corrupt, that business is exploitative, and that people are generally good at heart.

These cherished precepts had, over the years, become ingrained as increasingly impracticable prejudices. Why do I say impracticable? Because although I still held these beliefs, I no longer applied them in my life. [...] I found I had been — rather charmingly, I thought — referring to myself for years as “a brain-dead liberal,” and to NPR as “National Palestinian Radio.”

This is, to me, the synthesis of this worldview with which I now found myself disenchanted: that everything is always wrong.

And, I wondered, how could I have spent decades thinking that I thought everything was always wrong at the same time that I thought I thought that people were basically good at heart? Which was it? I began to question what I actually thought and found that I do not think that people are basically good at heart; indeed, that view of human nature has both prompted and informed my writing for the last 40 years. I think that people, in circumstances of stress, can behave like swine, and that this, indeed, is not only a fit subject, but the only subject, of drama.

I’d observed that lust, greed, envy, sloth, and their pals are giving the world a good run for its money, but that nonetheless, people in general seem to get from day to day; and that we in the United States get from day to day under rather wonderful and privileged circumstances—that we are not and never have been the villains that some of the world and some of our citizens make us out to be, but that we are a confection of normal (greedy, lustful, duplicitous, corrupt, inspired—in short, human) individuals living under a spectacularly effective compact called the Constitution, and lucky to get it.

For the Constitution, rather than suggesting that all behave in a godlike manner, recognizes that, to the contrary, people are swine and will take any opportunity to subvert any agreement in order to pursue what they consider to be their proper interests.

To that end, the Constitution separates the power of the state into those three branches which are for most of us (I include myself) the only thing we remember from 12 years of schooling.

The Constitution, written by men with some experience of actual government, assumes that the chief executive will work to be king, the Parliament will scheme to sell off the silverware, and the judiciary will consider itself Olympian and do everything it can to much improve (destroy) the work of the other two branches. So the Constitution pits them against each other, in the attempt not to achieve stasis, but rather to allow for the constant corrections necessary to prevent one branch from getting too much power for too long.

Rather brilliant. For, in the abstract, we may envision an Olympian perfection of perfect beings in Washington doing the business of their employers, the people, but any of us who has ever been at a zoning meeting with our property at stake is aware of the urge to cut through all the pernicious bullshit and go straight to firearms.

I found not only that I didn’t trust the current government (that, to me, was no surprise), but that an impartial review revealed that the faults of this president—whom I, a good liberal, considered a monster—were little different from those of a president whom I revered.

Bush got us into Iraq, JFK into Vietnam. Bush stole the election in Florida; Kennedy stole his in Chicago. Bush outed a CIA agent; Kennedy left hundreds of them to die in the surf at the Bay of Pigs. Bush lied about his military service; Kennedy accepted a Pulitzer Prize for a book written by Ted Sorenson. Bush was in bed with the Saudis, Kennedy with the Mafia. Oh.

And I began to question my hatred for “the Corporations” — the hatred of which, I found, was but the flip side of my hunger for those goods and services they provide and without which we could not live.

And I began to question my distrust of the “Bad, Bad Military” of my youth, which, I saw, was then and is now made up of those men and women who actually risk their lives to protect the rest of us from a very hostile world. Is the military always right? No. Neither is government, nor are the corporations — they are just different signposts for the particular amalgamation of our country into separate working groups, if you will. Are these groups infallible, free from the possibility of mismanagement, corruption, or crime? No, and neither are you or I. So, taking the tragic view, the question was not “Is everything perfect?” but “How could it be better, at what cost, and according to whose definition?” Put into which form, things appeared to me to be unfolding pretty well.

Read the whole thing. Then read Masks in a Pageant by William Allen White. I haven’t read it, but Mamet recommends it highly. I suppose you might consider reading some Mamet too.