Reading Old Books with New Tech

Thursday, May 27th, 2010

Foseti’s process for reading old books involves getting a Kindle, downloading Stanza, and then downloading books from Google Books in Adobe EPUB format and converting into Amazon Kindle format:

My wife got me a Kindle for something like $250. I’ve probably read almost 200 old books on it and paid $0 for each book. That’s a $/book cost of $1.25 and I’m still going.

In an afternoon, you’ll easily be able to transfer a couple hundred books to you Kindle. There’s no cheaper, easier way to read the best books in the world.

Tyler Cowen would add that you’re getting plenty of old, bad translations, but we do what we can.

Buckethead has gone with an iPad instead:

EPUBs from Gutenberg work great in Apple’s iBooks app. For an additional $2, I got the GoodReader app, which is an excellent PDF viewer. I actually prefer this option, because I can download the PDFs from Google Books, and they look charmingly old-timey on my iPad. The EPUBs from google are often twitchy — the OCR is not perfect. GoodReader also has the advantage of wireless syncing; you have to actually plug in the iPad to update the iBooks app.

I’m reading all three books from Moldbug’s challenge at once, which is slowing me down, but I’m enjoying bouncing back and forth. After that, I’ve got the entire Harvard Classics loaded up and ready to read.

It has been 100 years

Wednesday, May 26th, 2010

It has been 100 years, so Mark Twain’s autobiography will finally be published in its entirety:

The creator of Tom Sawyer, Huckleberry Finn and some of the most frequently misquoted catchphrases in the English language left behind 5,000 unedited pages of memoirs when he died in 1910, together with handwritten notes saying that he did not want them to hit bookshops for at least a century.

That milestone has now been reached, and in November the University of California, Berkeley, where the manuscript is in a vault, will release the first volume of Mark Twain’s autobiography. The eventual trilogy will run to half a million words, and shed new light on the quintessentially American novelist…

“He had doubts about God, and in the autobiography, he questions the imperial mission of the US in Cuba, Puerto Rico and the Philippines. He’s also critical of [Theodore] Roosevelt, and takes the view that patriotism was the last refuge of the scoundrel. Twain also disliked sending Christian missionaries to Africa. He said they had enough business to be getting on with at home: with lynching going on in the South, he thought they should try to convert the heathens down there.”

In other sections of the autobiography, Twain makes cruel observations about his supposed friends, acquaintances and one of his landladies.

Cory Doctorow says, ZOMG. Want to read right now!

Daria got the popular kids right, too

Saturday, May 22nd, 2010

Reihan Salam reviews MTV’s Daria, which just came out on DVD, and explains that it got the misfits right, but it got the popular kids right, too:

Daria centers on the adventures of Daria Morgendorffer, a keenly observant young woman who has little patience for the idiocies and indignities that define life at her drearily conventional suburban high school in the fictional town of Lawndale. At first, this provided plenty of fodder for cheap shots at the high-school establishment. Yet over the subsequent seasons, culminating in the brilliant TV movie Is It College Yet?, Daria became something different.

Rather than worship its all-knowing alternateen protagonists, the series humbled them, persuading them to let their guard down, open themselves to new experiences, and question their gut instincts. In the process, Daria became the greatest work of young adult fiction since the cave paintings at Lascaux.

A Libertarian Rebel

Friday, May 21st, 2010

Ridley Scott’s latest film returns Robin Hood to his roots as a libertarian rebel — which displeases many critics:

The new Ridley Scott film Robin Hood, which has opened to mixed reviews on its merits as entertainment, is also drawing some critics’ political ire. In New York’s leftist weekly, The Village Voice, Karina Longworth laments that “instead of robbing from the rich to give to the poor, this Robin Hood preaches about ‘liberty’ and the rights of the individual” and battles against “government greed”; the film, she scoffs, is “a rousing love letter to the tea party movement.”

On a similar note, the New York Times‘ A.O. Scott mocks Robin Hood as “one big medieval tea party”:

You may have heard that Robin Hood stole from the rich and gave to the poor, but that was just liberal media propaganda. This Robin is… a manly libertarian rebel striking out against high taxes and a big government scheme to trample the ancient liberties of property owners and provincial nobles.

Whatever one may think of Scott’s newest incarnation of the Robin Hood legend, it is more than a little troubling to see alleged liberals speak of liberty and individual rights in a tone of sarcastic dismissal. This is especially ironic since the Robin Hood of myth and folklore probably has much more in common with the “libertarian rebel” played by Russell Crowe than with the medieval socialist of the “rob from the rich, give to the poor” cliché. At heart, the noble-outlaw legend that has captured the human imagination for centuries is about freedom, not wealth redistribution — and this is reflected in many previous screen versions of the Robin Hood story.

As scholars have noted, the earliest Robin Hood ballads, which date back to the 13th or 14th century, contain no mention of robbing the rich to give to the poor. The one person Robin assists financially is a knight who is about to lose his lands to the machinations of greedy and unscrupulous monks at an abbey. (Corrupt clerics using the political power of the Church are among Robin Hood’s frequent targets in the ballads.) The Sheriff of Nottingham is Robin’s chief opponent; at the time, it was the sheriffs’ role as tax collectors in particular that made them objects of loathing by peasants and commoners. Robin Hood is also frequently shown helping men who face barbaric punishments for hunting in the royal forests, a pursuit permitted to nobles and strictly forbidden to the lower classes in medieval England; in other words, he is opposing privilege bestowed by political power, not earned wealth.

Later, the legend evolved and was adapted to more aristocratic tastes; by the 17th century, Robin Hood turned from an outlawed farmer into a dispossessed aristocrat and, eventually, a patron of the poor. Yet the fight for liberty and against tyrannical authority remained central to the story, particularly since Robin is often portrayed as a man fighting to reclaim his unjustly confiscated lands — and against high taxes.

China Marine

Monday, May 17th, 2010

The conclusion of HBO’s The Pacific depicts E.B. Sledge — who went on to write With the Old Breed: At Peleliu and Okinawa decades later — returning to the States and having trouble readjusting to civilian life in Mobile, Alabama. In a postscript it mentions that he eventually went on to get a Ph.D. in biology.

What it does not mention is that he finished off his military career as a China Marine:

After the fighting stopped, Sledge went to China, where everybody and his faction from Szechwan was struggling to fill the power vacuum left by the Japanese surrender, and where armed Japanese awaiting repatriation were frequently vital to keeping order. Sledge’s regiment was the first marine unit to return to Beijing, and he saw the last of the old China as well as the vanguard of the Communists. His local acquaintances were more numerous than the average marine’s and included middle-class professionals, his houseboy, and a Belgian priest. While on duty he rescued Chinese staff from dogs and tried to rescue fellow marines from their alcoholism. He was finally released to go home, long after many rear-echelon types.

221B Baker Street Illustration

Friday, May 14th, 2010

Russell Stutler’s 221B Baker Street Illustration confirms his obsessive Sherlock Holmes fan status:

I first drew the 221B Baker Street illustration in pen and ink in 1995. At that time I read the entire collection of sixty Sherlock Holmes stories twice in a row, back to back, and took notes of every detail I could find of the Baker Street flat which began to take shape in my imagination. In the years since that time, this illustration has appeared on many other other web sites, and in various languages. It has also appeared in print publications around the world such as the Financial Times in London.

As I mentioned in the interview with the Financial Times, this is the only depiction I know of that deals with the challenges found in “The Adventure of the Mazarin Stone” and reconciles them with the various descriptions found in other stories. If one could just ignore that story, then constructing a floor plan would be very easy — and most reconstructions of the Baker Street have apparently done just that. The Baker Street illustration published in Strand Magazine in 1950 addresses some of the problems in “The Adventure of the Mazarin Stone” but doesn’t deal with details found in other stories. I’ve posted my notes on every detail I’ve found so you can judge for yourself.

Frank Frazetta 1928-2010

Tuesday, May 11th, 2010

Legendary pulp artist Frank Frazetta has passed away:

In recent years, as reported here and elsewhere, the Frazetta estate had been much in dispute among his four children, following the death of his wife, Ellie. After some family squabbles that could only be called stressful and embarrassing, peace was made, however, and the sale of some of Frazetta’s most iconic paintings had begun, notably with the $1,000,000 sale of one of his paintings to a buyer believed to be Metallica’s Kirk Hammett. Another Frazetta painting was recently put up for auction, although it was not owned by the family.

Below is one of the last known public photos of Frazetta, shown in February at a family barbeque in Florida with his daughters and grand­daughter.

Two-Minute Twilight Zones

Sunday, May 9th, 2010

Episodes of The Twilight Zone compress down remarkably well to two minutes.

(Hat tip to Chris Moody.)

Werner Herzog on the Obscenity of the Jungle

Wednesday, May 5th, 2010

Please watch the first minute or so of Werner Herzog on the obscenity of the jungle to familiarize yourself with the art-house film-maker’s world view and way of speaking:

Now, fully familiarized, enjoy this reading of a classic:

The rise of content farms

Tuesday, May 4th, 2010

The Economist describes the rise of content farms:

Clever software works out what internet users are interested in and how much advertising revenue a given topic can pull in. The results are sent to an army of 7,000 freelancers, each of whom must have a college degree, writing experience and a speciality. They artfully pen articles or produce video clips to fit headlines such as “How do I paint ceramic mugs?” and “Why am I so tired in winter?”

Although an article may pay as little as $5, writers make on average $20-25 an hour, says Mr Kydd. The articles are copy-edited and checked for plagiarism. For the most part, they are published on the firm’s 72 websites, including eHow, answerbag and travels.com. But videos are also uploaded onto YouTube, where the firm is by far the biggest contributor. Some articles end up on the websites of more conventional media, including USAToday, which runs travel tips produced by Demand Media. In March, Demand Media churned out 150,000 pieces of content in this way. The company is expected to go public later this year, if it is not acquired by a big web portal, such as Yahoo!, first.

The problem with content farms, ASU journalism professor Dan Gillmor says, is that they swamp the internet with mediocre content.

The upside is that “the firm is at least interested in what people want to know — which is nothing to sneer at.”

Just the Good Parts

Monday, May 3rd, 2010

I’m beginning to wish William Goldman had been brought on to produce The Pacific, just the good parts:

They’re kissing again, do we have to hear the kissing part?

Skip on to the Fire Swamp, I say.

Ultimate Parkour Challenge

Thursday, April 29th, 2010

MTV’s Ultimate Parkour Challenge doesn’t seem quite ready for prime time, but the spectacular moments are quite spectacular — and scary:

Would You Like to Play a Game?

Monday, April 26th, 2010

Scott Brown looks back at WarGames, the film that turned geeks and phreaks into stars — and notes that it didn’t even start off as a film about hacking into NORAD’s computer system:

In 1979, Walter Parkes, the future head of DreamWorks Pictures, was a young screenwriter with the outlines of an idea he’d developed with Lawrence Lasker, a script reader at Orion Pictures. Called The Genius,it was a character film about a dying scientist and the only person in the world who understands him — a rebellious kid who’s too smart for his own good. The idea of featuring computers and computer networks would come later.

Walter Parkes, Screenwriter: WarGames is looked upon as technologically prescient, but we actually started off with a concept that had nothing to do with technology.

Lawrence Lasker, Screenwriter: We were complete newbies. In 1979, we didn’t even know that home computers could hook up to other computers.

Peter Schwartz, Futurist and creative consultant: I spent 10 years at the Stanford Research Institute, from 1972 to the end of 1981. That’s where all this began. Walter and Larry came to SRI with a script idea called The Genius. And it was about a boy and a relationship he had with a great scientist named Falken, who was basically Stephen Hawking.

Lasker: For me, the inspiration for the project was a TV special Peter Ustinov did on several geniuses, including Hawking. I found the predicament Hawking was in fascinating — that he might one day figure out the unified field theory and not be able to tell anyone, because of his progressive ALS. So there was this idea that he’d need a successor. And who would that be? Maybe this kid, a juvenile delinquent whose problem was that nobody realized he was too smart for his environment. That resonated with Walter. So I said, let’s actually go talk to people about how a kid could get in trouble and get discovered by a brainy scientist and take it from there.

Parkes: Before our conversation, the Falken character was just a way to access the adult side of the movie. It wasn’t even much about computers yet.

Schwartz made the connection between youth, computers, gaming, and the military — and The Genius began its long morph into WarGames.

Schwartz: There was a new subculture of extremely bright kids developing into what would become known as hackers. SRI was in Palo Alto, and all the computer nerds were around: Xerox PARC, Apple just starting — it was all happening right there. SRI was node number two of the Internet. We talked about the fact that the kinds of computer games that were being played were blow-up-the-world games. Space war games. Military simulations. Things like Global Thermonuclear War. SRI was one of the main players in this. SRI was, in fact, running computerized war games for the military.

The Only Thing That Can Stop This Asteroid is Your Liberal Arts Degree

Friday, April 23rd, 2010

The only thing that can stop this asteroid is your liberal arts degree:

I don’t need some pencilneck with four Ph.D’s, one-thousand hours of simulator time, and the ability to operate a robot crane in low-Earth orbit. I need someone with four years of broad-but-humanities-focused studies, three subsequent years in temp jobs, and the ability to reason across multiple areas of study. I need someone who can read The Bell Jar and make strong observations about its representations of mental health and the repression of women. Sure, you’ve never even flown a plane before, but with only ten days until the asteroid hits, there’s no one better to nuke an asteroid.

I’ve seen your work and it’s damn impressive. Your midterm paper on the semiotics of Band of Outsiders turned a lot of heads at mission control. Your performance in Biology For Non-Science Majors was impressive, matched only by your mastery of second-year Portuguese. And a lot of the research we do here couldn’t have happened without your groundbreaking work on suburban malaise and its representation and repression in John Hughes’ films.

I don’t know who Michael Lacher, the writer, is, but I like the cut of his jib.

Paying for Channels You Never Watch

Monday, April 19th, 2010

Erick Schonfeld shares an estimate from the hardly disinterested Convergence Consulting Group that 800,000 US households have abandoned their TVs — or, rather, their cable and satellite TV subscriptions — for Net-based options, like Hulu, Netflix, etc.

He introduces the idea with a common complaint:

Have you had enough of paying your cable company through the nose for 800 channels, when all you really watch is maybe 20 or 30?

MG Siegler shares a similar sentiment:

Most people pay in excess of $50 a month (and some much more) to the cable companies. For what? Mostly for a bunch of crap they don’t want and will never watch (nor would they even have time to). The problem is that the cable companies have refused to move towards an a-la-carte offering, even though there is a clear demand for it.

I hate to break this to everyone, but, no, you’re not paying for hundreds of cable channels you never watch. Yes, you are paying for a package that includes hundreds of cable channels, and, yes, you rarely if ever watch most of them, but, no, that does not mean that you’re paying for hundreds of cable channels you never watch.

Confused? I’ll explain.

Most of us have a very strong instinct that if, say, we’re paying $40 a month for 400 channels, then we really should only have to pay that $0.10 per channel for the dozen or so channels we really watch — maybe a bit more. Heck, even $1 per channel we really watch would seem like a bargain.

Wait, what just happened there? Did you notice? We assumed that one channel would cost one-four-hundredth as much as 400 channels — and that the cable company should pass along the savings to us, the consumers. But there are no savings.

If the cable company could send you just the dozen channels you want — or even just the dozen specific shows you watch — it wouldn’t save them a dime. It wouldn’t save the networks creating the shows a dime either. It doesn’t cost your provider money for you to watch a show the networks have already created and that they’re already broadcasting over their cable or satellite network.

Was it expensive to create the show? Yes, very. Was it expensive to lay cable or to shoot satellites into space? Yes, very. Is it less expensive if you decide not to watch Bravo, ever? No.

Ordinary people’s economic intuitions assume that a product is a commodity like grain. It should cost the consumer just a bit more than it costs the middle-man, to cover some small amount of overhead. But the networks and the cable and satellite providers are running enterprises with enormous up-front sunk costs that they need to recoup and very low variable costs that give them the high margins to make that possible. They’re all overhead.

How does a producer charge for a product that costs an enormous amount to develop but a negligible amount to share? That’s hard to do. He can’t typically charge the first guy $100 million, to cover his costs, and then charge everyone else a penny, or give it away, or whatever — although that’s not too far from the Renaissance Italian model for commissioning great works of art.

The cable company might ask you which one channel you really, really like and then charge you $40 per month for that one channel — or more realistically just $30, or $20, or $10, or whatever. How much they can get depends how much you like ESPN, or SyFy, or whatever.

But then they have (a) less revenue and (b) a bunch of channels — and all that cable bandwidth — they’ve paid for going to waste, earning nothing.

They’d be happy to sell you a second channel. In fact, they more or less have to, because they can’t support their business on $10 per month from die-hard ESPN fans, plus $10 per month from die-hard SyFy fans, etc. But what price do they charge?  If they go à la carte and charge $8 per channel, they lose $2 per die-hard fan who would have happily paid $10, but they presumably sell more subscriptions. If they charge $5 per channel, they have to sell twice as many channel subscriptions as at $10 per channel — and they’re still missing out on all the sales they could make to people who wouldn’t mind getting Animal Planet for $1 per month.

So what do they do? They give you a bundle of channels — which is like charging you $10 for your favorite channel, $8 for your second-favorite, $5 for your third-favorite, and so on, down to pennies for the channels you watch when “nothing’s on”. And the dozens of channels you never watch are in fact free.

And they never had to figure out which channels were whose favorites, so they didn’t have to charge different people different amounts for the same channels, which would really upset them — if it were explicit.