Space 2099

Thursday, January 14th, 2010

I only have the vaguest recollections of Space 1999, but now it has been “rebooted” as Space 2099 — unofficially:

A Space 1999 fan named Eric Bernard has boiled down most episodes of the first three seasons of the show into easy-to-watch chunks of 2-3 minutes each. And he’s added more effects, attempted to create better continuity, and even edited dialogue so that everybody says they’re in 2099 instead of 1999. Essentially, he’s made the show addictively watchable again.

For each episode Bernard supplies a summary and explains what he’s changed:

This episode contains several modifications the major one being at the crucial moment when the second nuclear waste dump explodes. This event now creates a rupture in the fabric of space sucking the moon into its void and propulsing it into an uncharted area of the universe. At the end, the decision to stay on Moonbase Alpha is now a more obvious one and John Koenig alone assumes responsibility. Fans will also notice that the travel tube has been adapted to look more accurate with the actual studio set and that the Meta signal has been removed to be re-used in another context later in the series.

The Straw Ghosts of Christmas Past, Present, and Future

Tuesday, January 12th, 2010

Annotated Christmas Carol by Charles DickensI haven’t read much Dickens, and I hadn’t read any in years — decades, really — but I recently finished reading a beautifully annotated version of A Christmas Carol that I received as a gift.

Now, even as a kid in school I understood that Dickens was a social reformer — which was presented as an unalloyed good, by the way — but reading A Christmas Carol as an adult, I can’t help but dwell on the fact that the whole thing is a transparent effort to prop up a conservative straw man and to knock him back down again — and light him on fire, too, I suppose.

Scrooge is a miser and a misanthrope, and Dickens makes every effort to associate miserliness and misanthropy with conservatives like Edmund Burke, with economists like Thomas Malthus, and with anyone else who might dare to suggest that the world does not run on wishful thinking.

It does not take long for him to get down to it. In the second paragraph of the first chapterStave 1, in Dickens’ “carol in prose” — he makes a sarcastic reference to the wisdom of our ancestors. That’s a not-so-subtle jab at Edmund Burke‘s Speech on Conciliation with the American Colonies:

I set out with a perfect distrust of my own abilities, a total renunciation of every speculation of my own, and with a profound reverence for the wisdom of our ancestors, who have left us the inheritance of so happy a Constitution and so flourishing an empire, and, what is a thousand times more valuable, the treasury of the maxims and principles which formed the one and obtained the other.

Apparently Dickens had a series of fake books made up for his own Wisdom of Our Ancestors library shelf: Ignorance, Superstition, The Block, etc.

When Scrooge’s nephew invites him to dinner, Scrooge says that he will indeed come to see him — in Hell. This is censored, of course, but you get the idea:

Scrooge said that he would see him — yes, indeed he did. He went the whole length of the expression, and said that he would see him in that extremity first.

This is all just a set-up though:

But why? cried Scrooge’s nephew. Why?

Why did you get married? said Scrooge.

Because I fell in love.

Because you fell in love! growled Scrooge, as if that were the only one thing in the world more ridiculous than a merry Christmas. Good afternoon!

In an era before modern contraception — and “loose” morals — not getting married was birth-control, and “sensible” people understood that a man should not marry until he could support a family.

But that kind of cold, economical thinking gets ascribed to a man who tells his nephew to go to Hell for inviting him to Christmas dinner.

We’re just getting warmed up though for the visit from the warm-hearted souls collecting charity for the poor:

At this festive season of the year, Mr Scrooge, said the gentleman, taking up a pen, it is more than usually desirable that we should make some slight provision for the Poor and destitute, who suffer greatly at the present time. Many thousands are in want of common necessaries; hundreds of thousands are in want of common comforts, sir.

Are there no prisons? asked Scrooge.

Plenty of prisons, said the gentleman, laying down the pen again.

And the Union workhouses? demanded Scrooge. Are they still in operation?

They are. Still, returned the gentleman, I wish I could say they were not.

The Treadmill and the Poor Law are in full vigour, then? said Scrooge.

Both very busy, sir.

Oh! I was afraid, from what you said at first, that something had occurred to stop them in their useful course, said Scrooge. I’m very glad to hear it.

Under the impression that they scarcely furnish Christian cheer of mind or body to the multitude, returned the gentleman, a few of us are endeavouring to raise a fund to buy the Poor some meat and drink, and means of warmth. We choose this time, because it is a time, of all others, when Want is keenly felt, and Abundance rejoices. What shall I put you down for?

Nothing! Scrooge replied.

You wish to be anonymous?

I wish to be left alone, said Scrooge. Since you ask me what I wish, gentlemen, that is my answer. I don’t make merry myself at Christmas and I can’t afford to make idle people merry. I help to support the establishments I have mentioned: they cost enough: and those who are badly off must go there.

Many can’t go there; and many would rather die.

If they would rather die, said Scrooge, they had better do it, and decrease the surplus population. Besides — excuse me — I don’t know that.

But you might know it, observed the gentleman.

It’s not my business, Scrooge returned. It’s enough for a man to understand his own business, and not to interfere with other people’s. Mine occupies me constantly. Good afternoon, gentlemen!

Dickens seems to feel that the poor are innocent victims and that there’s nothing to be gained by punishing them for being poor — which is interesting in light of his own early life experience:

John Dickens’s tenuous prosperity as a clerk in the Navy Pay Office afforded a few years of private education of the young Charles at William Giles’s School, in Chatham.

This period came to an abrupt end after John Dickens had spent beyond his means in entertaining and otherwise maintaining his social position, and was imprisoned in the Marshalsea debtor’s prison. [...] Dickens later used the prison as a setting in Little Doritt.

Just before his father’s arrest, 12-year-old Dickens had begun working ten-hour days at Warren’s Blacking Warehouse, on Hungerford Stairs, near the present Charing Cross railway station. He earned six shillings a week pasting labels on jars of shoe polish. This money paid for his lodgings with Mrs. Roylance and helped support his family.

Mrs. Roylance, Dickens later wrote, was “a reduced old lady, long known to our family”, and whom he eventually immortalized, “with a few alterations and embellishments”, as “Mrs. Pipchin”, in Dombey & Son. Later, lodgings were found for him in a “back-attic…at the house of an insolvent-court agent, who lived in Lant Street in The Borough…he was a fat, good-natured, kind old gentleman, with a quiet old wife; and he had a very innocent grown-up son; these three were the inspiration for the Garland family in The Old Curiosity Shop.

The mostly unregulated, strenuous — and often cruel — work conditions of the factory employees (especially children) made a deep impression on Dickens. His experiences served to influence later fiction and essays, and were the foundation of his interest in the reform of socio-economic and labour conditions, the rigours of which he believed were unfairly borne by the poor.

More than anything, he seems bitter that he went from studying to be a little gentleman to working as a common labourer — when it wasn’t his fault.

Anyway, the whole “carol” recoils at the conclusions of Malthus, while nonetheless centering on a family without the means to support its many children. Bob Cratchit apparently has no better options than to work for Scrooge — which seems odd, for a finance clerk working in London — and Scrooge does not pay him enough to feed and clothe his family. At his current salary, he cannot afford to keep all six children, including the crippled Tiny Tim, alive and well. Thus, Tiny Tim is destined to die — despite asking God to bless us, every one — until Scrooge has his change of heart and increases Cratchit’s pay.

I guess we’re not supposed to ask, What if the Cratchits had waited a year or two to get married?, as Scrooge must certainly have suggested. Then they would have had five children, not six, all well fed and well clothed, and we wouldn’t have had to wipe away the tears thinking about poor Tiny Tim.

But I guess it’s better to feel bad, gloriously bad, about the Poor, than to avoid the problem in the first place. Avoiding the problem is heartless and cruel.

Jimmy Fallon and The Muppets Sing "12 Days of Christmas"

Tuesday, January 12th, 2010

For his Christmas episode, Jimmy Fallon sang “12 Days of Christmas” with the Muppets (and the Roots):

The “original” version featured John Denver and appeared on the album A Christmas Together and on the 1979 TV special A Christmas Together with John Denver and The Muppets — which does not appear to be available on DVD. Sigh.

I miss Jim Henson’s voice, of course, but I must admit that I like Pepe the Prawn and Rizzo the Rat.

The song has a number of variations:

It has been suggested by a number of sources over the years that the pear tree is in fact supposed to be perdrix, French for partridge and pronounced per-dree, and was simply copied down incorrectly when the oral version of the game was transcribed. The original line would have been: “A partridge, une perdrix.”

Some misinterpretations have crept into the English-language version over the years. The fourth day’s gift is often stated as four calling birds but originally was four colly birds, using another word for a blackbird.

The fifth day’s gift of gold rings refers not to jewellery but to ring-necked birds such as the ring-necked pheasant. When these errors are corrected, the pattern of the first seven gifts all being birds is restored. There is a version of “The Twelve Days of Christmas” that is still sung in Sussex in which the four colly birds are replaced by canaries.

A minor variant includes the singing of “golden” rather than “gold” rings, to avoid having to stretch “gold” into two syllables (“go-old”).

John Stossel’s Show on Atlas Shrugged

Monday, January 11th, 2010

I find it difficult to watch popular commentary shows, even in the rare case, like John Stossel’s show on Atlas Shrugged, where I don’t despise both sides of the debate:

If you’re going to make the case for Rand’s ideas, to a popular audience feeling betrayed by Wall Street, I think you need to clarify that the heroes of Atlas Shrugged aren’t “the rich” — the Paris Hiltons of the world — but the productive. The villains of the work are wealthy businessmen too — businessmen who use government to their own ends.

White Messiahs in Film and History

Sunday, January 10th, 2010

David Brooks laments that Avatar is just another White Messiah fable:

This is the oft-repeated story about a manly young adventurer who goes into the wilderness in search of thrills and profit. But, once there, he meets the native people and finds that they are noble and spiritual and pure. And so he emerges as their Messiah, leading them on a righteous crusade against his own rotten civilization.

Avid moviegoers will remember A Man Called Horse, which began to establish the pattern, and At Play in the Fields of the Lord. More people will have seen Dances With Wolves or The Last Samurai.

White Messiahs exist in history too, Steve Sailer adds:

By the way, during WWII, anthropologist Carleton Coon was officially assigned by the O.S.S. to be the White Messiah of North Africa, Lawrence of Morocco, if the Germans transited Spain and landed an army behind the U.S. Army. Coon, the kind of two fisted brawler admired by barbarians, was to take to the hills and rally his friends in the Rif Mountain tribes to fight irregular war against the Germans.
[...]
There are more than a few White Messiahs in history, besides Lawrence. Latin American history abounds with White Messiahs. For example, Subcommandante Marcos, the mysterious and charismatic masked leader of the 1994 Chiapas Indian rebellion in southern Mexico, is the Mexico City college professor son of parents who were born in Spain. Originally, Mayan Indians were supposed to be the press spokesmen for this postmodern rebellion, but the Mayans failed to dazzle on the first TV announcement, so the tall white guy in the ski mask took over the airtime and became the face/mask of this movement for Indian rights.

The leader of the Shining Path guerillas in Peru was a white philosophy professor named Abimael Guzman.

Fidel Castro’s father was born in Spain.

Che Guevara, who fought in Cuba, Congo and Bolivia, was a half Irish and half aristocratic Spanish Argentine. At the end of The Motorcycle Diaries, Che (played by Gael Garcia Bernal) experiences an epiphany: “We are a single mestizo race, from Mexico to the Magellan Straits.” But, Che’s father noted: “In my son’s veins flowed the blood of the Irish rebels. Che inherited some of the features of our restless ancestors… which drew him to distant wandering, dangerous adventures, and new ideas.”

100 Quotes Every Geek Should Know

Friday, January 8th, 2010

Ken Denmead has compiled 100 quotes every geek should know — and quibble over. Some examples:

  1. “Strange women lying in ponds distributing swords is no basis for a system of government. Supreme executive power derives from a mandate from the masses, not from some farcical aquatic ceremony.” — Dennis the Peasant, Monty Python and the Holy Grail
  2. “Three rings for the Elven kings under the sky, seven for the Dwarf lords in their halls of stone, nine for the mortal men doomed to die, one for the Dark Lord on his dark throne, in the land of Mordor where the shadows lie. One ring to rule them all, one ring to find them, one ring the bring them all, and in the darkness bind them. In the land of Mordor where the shadows lie.” — LOTR
  3. “I’m sorry, Dave. I’m afraid I can’t do that.” — HAL, 2001: A Space Odyssey
  4. “Spock. This child is about to wipe out every living thing on Earth. Now, what do you suggest we do….spank it?” — Dr. McCoy, Star Trek: The Motion Picture
  5. “With great power there must also come — great responsibility.” — Amazing Fantasy #15 (August 1962)
  6. “If you can’t take a little bloody nose, maybe you oughtta go back home and crawl under your bed. It’s not safe out here. It’s wondrous, with treasures to satiate desires both subtle and gross; but it’s not for the timid.” — Q, Star Trek: The Next Generation “Q Who?”
  7. “Five card stud, nothing wild. And the sky’s the limit” — Captain Jean Luc Picard, uttering the last line of the series, Star Trek: The Next Generation “All Good Things…”
  8. “If you think that by threatening me you can get me to do what you want… Well, that’s where you’re right. But — and I am only saying that because I care — there’s a lot of decaffeinated brands on the market that are just as tasty as the real thing.” — Chris Knight, Real Genius
  9. “We’re all very different people. We’re not Watusi. We’re not Spartans. We’re Americans, with a capital ‘A’, huh? You know what that means? Do ya? That means that our forefathers were kicked out of every decent country in the world. We are the wretched refuse. We’re the underdog.” — John Winger, Stripes
  10. “If I’m not back in five minutes, just wait longer.” — Ace Ventura, Ace ventura, Pet Detective

Jimmy Fallon & The Muppets Perform "One"

Friday, January 8th, 2010

Jimmy Fallon & The Muppets perform an “impromptu” rendition of "One":

The Long Tentacle of H.P. Lovecraft in Manga

Thursday, January 7th, 2010

Despite my youthful interest in all things Japanese and my geek-requisite interest in the sanity-blasting horror of H.P. Lovecraft, I’ve never had much interest in their intersection — that is, in the long tentacle of H.P. Lovecraft in manga, where the New Englander’s distaste for slimy aquatic creatures meets up with the modern Japanese taste for shockingly violent and fetishistic entertainment.

Perhaps most shocking to me though is that classical Japanese artist Hokusai — of crashing-wave fame — has a claim to the tentacle-fetish genre, with his own 1820 woodcut, The Dream of the Fisherman’s Wife. (East is East, and West is West…)

On a less creepy note, some elements of Lovecraft’s work don’t quite translate — or transliterate:

One curiosity of Japanese translations of Lovecraft is that, since the Japanese language is phonetic, Lovecraft’s intentionally unpronounceable alien names — R’lyeh, Cthulhu, N’kai, Shub-Niggurath, etc. — are unavoidably made pronounceable.

(The Japanese written language isn’t simply phonetic; its two syllabaries restrict writing to consonant-vowel pairs — ka, ki, ku, ke, ko, etc.)

The Art of Golf Course Architecture

Wednesday, January 6th, 2010

Golf course architecture is one of the world’s most expansive but least recognized art forms, Steve Sailer claims:

Yet this curiously obscure profession can help shed light on mainstream art, sociology, and even human nature itself, since the golf designer, more than any other artist, tries to reproduce the primeval human vision of an earthly paradise.

What is that primeval human vision of an earthly paradise?

Research since the early 80s shows that humans tend to have two favorite landscapes. One is wherever they lived during their adolescence, but the nearly universal favorite among children before they imprint upon their local look is grassy parkland, and that fondness survives into adulthood.

Richard Conniff wrote in Discover: “In separate surveys, Ulrich, Orians, and others have found that people respond strongly to landscapes with open, grassy vegetation, scattered stands of branchy trees, water, changes in elevation, winding trails, and brightly lit clearings…”

In one amusing study, 1001 people from 15 different countries were surveyed about what they’d like to see in a painting. Then the sponsors of the research, conceptual art pranksters Komar and Melamid, painted each country’s “Most Wanted Painting.” Even though the researchers hadn’t mentioned what type of picture it should be, the consensus in 13 of the 15 cultures favored landscapes and 11 of the 15 looked surprisingly like golf courses.

All over the world, people want to see grassland, a lake, and some trees, but not a solid forest. And they always want to see it slightly from above. The project was intended to satirize popular taste, but it ended up revealing much about about human desires.

So golf courses look like happy hunting grounds, where one might expect to find tasty hoofed animals — with a touch of something dangerous:

The distinction Edmund Burke made in 1757 between the “sublime” and the “beautiful” applies to golf courses. The beautiful is some pleasing place conducive to human habitat — meadows, valleys, slow moving streams, grassland intermingled with copses of trees, the whole English country estate shtick. The sublime is nature so magnificent that it induces the feeling of terror because it could kill you, such as by you falling off a mountain or into a gorge.

Beautiful landscapes are most suited for building golf courses, since a golf course needs at least 100 acres of land level enough for a golf ball to come to rest upon. But golfers get a thrill out of the mock sublime, where you are in danger of losing not your life, but your mis-hit golf ball into a water hazard or ravine. One reason that Pebble Beach on the Monterey Peninsula is so legendary is because it combines sublime sea cliffs with beautiful (and thus functional for golf) rolling plains (My father, though, almost walked off the cliff in the middle of the eighth fairway at Pebble Beach and into the wave-carved chasm, which probably would have satisfied Burke’s theoretical rigor.)

White Telephone Movies

Tuesday, January 5th, 2010

Depression-era movies about rich people, like Philadelphia Story, are known as white telephone movies, Steve Sailer says, because only millionaires could finagle a non-black telephone out of the Bell monopoly back then:

Perhaps the contemporary equivalents made by Nancy Meyer (writer director of the aptly named What Women Want with Mel Gibson) could be called Viking range movies because they are heavy on high-end kitchen appliance porn.

Movie stars tend to emerge from tumultuous upbringings

Monday, January 4th, 2010

Movie stars tend to emerge from tumultuous upbringings, Steve Sailer says:

For example, I don’t know how many current stars spent a couple of years living in hippie communes as children. [Meryl] Streep, in contrast, has always seemed like the supremely professional product of a proper upbringing. This perhaps made her less sympathetic when she was young in a sort of Jack Nicklaus-Peyton Manning way, but she’s enjoying the benefits of an improbably long career today.

The Gospel According to James

Sunday, January 3rd, 2010

It’s fitting that Avatar arrived at Christmastime, Ross Douthat says, because it’s a crass embodiment of capitalistic excess wrapped around a deeply felt religious message:

It’s at once the blockbuster to end all blockbusters, and the Gospel According to James.

But not the Christian Gospel. Instead, “Avatar” is Cameron’s long apologia for pantheism — a faith that equates God with Nature, and calls humanity into religious communion with the natural world.

In Cameron’s sci-fi universe, this communion is embodied by the blue-skinned, enviably slender Na’Vi, an alien race whose idyllic existence on the planet Pandora is threatened by rapacious human invaders. The Na’Vi are saved by the movie’s hero, a turncoat Marine, but they’re also saved by their faith in Eywa, the “All Mother,” described variously as a network of energy and the sum total of every living thing.

If this narrative arc sounds familiar, that’s because pantheism has been Hollywood’s religion of choice for a generation now. It’s the truth that Kevin Costner discovered when he went dancing with wolves. It’s the metaphysic woven through Disney cartoons like “The Lion King” and “Pocahontas.” And it’s the dogma of George Lucas’s Jedi, whose mystical Force “surrounds us, penetrates us, and binds the galaxy together.”

Hollywood keeps returning to these themes because millions of Americans respond favorably to them. From Deepak Chopra to Eckhart Tolle, the “religion and inspiration” section in your local bookstore is crowded with titles pushing a pantheistic message. A recent Pew Forum report on how Americans mix and match theology found that many self-professed Christians hold beliefs about the “spiritual energy” of trees and mountains that would fit right in among the indigo-tinted Na’Vi.

As usual, Alexis de Tocqueville saw it coming. The American belief in the essential unity of all mankind, Tocqueville wrote in the 1830s, leads us to collapse distinctions at every level of creation. “Not content with the discovery that there is nothing in the world but a creation and a Creator,” he suggested, democratic man “seeks to expand and simplify his conception by including God and the universe in one great whole.”

Today there are other forces that expand pantheism’s American appeal. We pine for what we’ve left behind, and divinizing the natural world is an obvious way to express unease about our hyper-technological society. The threat of global warming, meanwhile, has lent the cult of Nature qualities that every successful religion needs — a crusading spirit, a rigorous set of ‘thou shalt nots,” and a piping-hot apocalypse.

At the same time, pantheism opens a path to numinous experience for people uncomfortable with the literal-mindedness of the monotheistic religions — with their miracle-working deities and holy books, their virgin births and resurrected bodies. As the Polish philosopher Leszek Kolakowski noted, attributing divinity to the natural world helps “bring God closer to human experience,” while “depriving him of recognizable personal traits.” For anyone who pines for transcendence but recoils at the idea of a demanding Almighty who interferes in human affairs, this is an ideal combination.

Indeed, it represents a form of religion that even atheists can support. Richard Dawkins has called pantheism “a sexed-up atheism.” (He means that as a compliment.) Sam Harris concluded his polemic “The End of Faith” by rhapsodizing about the mystical experiences available from immersion in “the roiling mystery of the world.” Citing Albert Einstein’s expression of religious awe at the “beauty and sublimity” of the universe, Dawkins allows, “In this sense I too am religious.”

The question is whether Nature actually deserves a religious response. Traditional theism has to wrestle with the problem of evil: if God is good, why does he allow suffering and death? But Nature is suffering and death. Its harmonies require violence. Its “circle of life” is really a cycle of mortality. And the human societies that hew closest to the natural order aren’t the shining Edens of James Cameron’s fond imaginings. They’re places where existence tends to be nasty, brutish and short.

Religion exists, in part, precisely because humans aren’t at home amid these cruel rhythms. We stand half inside the natural world and half outside it. We’re beasts with self-consciousness, predators with ethics, mortal creatures who yearn for immortality.

This is an agonized position, and if there’s no escape upward — or no God to take on flesh and come among us, as the Christmas story has it — a deeply tragic one.

Pantheism offers a different sort of solution: a downward exit, an abandonment of our tragic self-consciousness, a re-merger with the natural world our ancestors half-escaped millennia ago.

But except as dust and ashes, Nature cannot take us back.

The superior virtues of a primitive, indigenous culture

Sunday, January 3rd, 2010

Erik Falkenstein found Avatar visually dazzling but totally cliché — and he has a few things to say about the superior virtues of a primitive, indigenous culture:

The funny thing is that everyone knows primitive indigenous white cultures, such as those in Appalachia (rural America), are backward: illiterate, racist, sexist, and homophobic. They have high rates of crime, drug use, and incest. Their religiosity is not admirable, it merely highlights their devotion to dogma.

However, given the current enlightened tribalism white trash has no analogue among brown, black, yellow and now blue hominids. I guess the marginal effect of education on rational self-interest is high only for Europeans; everyone else simply knows that ‘playing nice’ is an optimal strategy in dynamic interactions.

Turn On, Tune In, Veg Out

Thursday, December 31st, 2009

When Star Wars Episode III came out a few years ago, Neal Stephenson remarked that very little of it made any sense, taken as a freestanding narrative — but that didn’t seem to matter at all to millions of people who were happy to veg out:

To geek out on something means to immerse yourself in its details to an extent that is distinctly abnormal — and to have a good time doing it. To veg out, by contrast, means to enter a passive state and allow sounds and images to wash over you without troubling yourself too much about what it all means.

In corporate-speak, there is a related term used when someone has committed the faux pas of geeking out during a meeting. “Let’s take this offline,” someone will suggest, when the PowerPoint slides grow dark with words. Literally, it means, “I look forward to geeking out on this topic — later.” But really it’s a polite synonym for “shut up already!”

The first “Star Wars” movie 28 years ago was distinguished by healthy interplay between veg and geek scenes. In the climactic sequence, where rebel fighters attacked the Death Star, we repeatedly cut away from the dogfights and strafing runs — the purest kind of vegging-out material — to hushed command bunkers where people stood around pondering computer displays, geeking out on the strategic progress of the battle.

All such content — as well as the long, beautiful, uncluttered shots of desert, sky, jungle and mountain that filled the early episodes — was banished in the first of the prequels (“Episode I: The Phantom Menace,” 1999). In the 16 years that separated it from the initial trilogy, a new universe of ancillary media had come into existence. These had made it possible to take the geek material offline so that the movies could consist of pure, uncut veg-out content, steeped in day-care-center ambience. These newer films don’t even pretend to tell the whole story; they are akin to PowerPoint presentations that summarize the main bullet points from a much more comprehensive body of work developed by and for a geek subculture.

Now geeks get the geeky elements through tie-in novels, comics, and animated shows, while everyone else enjoys the two-hour cinema spectacle for its visceral thrills alone.

But Stephenson isn’t examining just the shift in media:

“Concentrate on the moment. Feel, don’t think. Trust your instincts,” says a Jedi to the young Anakin in Episode I, immediately before a pod race in which Anakin is likely to get killed. It is distinctly odd counsel coming from a member of the Jedi order, the geekiest people in the universe: they have beards and ponytails, they dress in army blankets, they are expert fighter pilots, they build their own laser swords from scratch.

And (as is made clear in the “Clone Wars” novels) the masses and the elites both claim to admire them, but actually fear and loathe them because they hate being dependent upon their powers.

Anakin wins that race by repairing his crippled racer in an ecstasy of switch-flipping that looks about as intuitive as starting up a nuclear submarine. Clearly the boy is destined to be adopted into the Jedi order, where he will develop his geek talents — not by studying calculus but by meditating a lot and learning to trust his feelings. I lap this stuff up along with millions, maybe billions, of others. Why? Because every single one of us is as dependent on science and technology — and, by extension, on the geeks who make it work — as a patient in intensive care. Yet we much prefer to think otherwise.

Scientists and technologists have the same uneasy status in our society as the Jedi in the Galactic Republic. They are scorned by the cultural left and the cultural right, and young people avoid science and math classes in hordes. The tedious particulars of keeping ourselves alive, comfortable and free are being taken offline to countries where people are happy to sweat the details, as long as we have some foreign exchange left to send their way. Nothing is more seductive than to think that we, like the Jedi, could be masters of the most advanced technologies while living simple lives: to have a geek standard of living and spend our copious leisure time vegging out.

If the “Star Wars” movies are remembered a century from now, it’ll be because they are such exact parables for this state of affairs. Young people in other countries will watch them in classrooms as an answer to the question: Whatever became of that big rich country that used to buy the stuff we make? The answer: It went the way of the old Republic.

Ringing of the Bells

Friday, December 25th, 2009

The Swedish Chef, Beaker, and Animal perform the Ringing of the Bells: