The Boxer Who Won’t Quit

Saturday, September 27th, 2008

Boxer Ricardo Mayorga has a media-savvy schtick that has led Reed Albergotti to call him The Boxer Who Won't Quit:

After one grueling workout last month in Florida, he toweled off and walked outside the gym. His coach handed him some fresh fruit to eat for recovery and an assistant produced a lighter. Soon Mr. Mayorga was taking a deep drag from a Marlboro, looking relieved and relaxed. “I’ve been smoking since I was 13,” he said. “It seems to be working for me, so why stop?”

Mr. Mayorga’s assistant, Anthony Gonzalez, says that when the boxer isn’t training, he smokes as many as three packs, or 60 cigarettes, a day.
[...]
As he ascended in boxing, Mr. Mayorga says he originally tried to hide his smoking habit for fear that promoters would scold him. After beating Mr. Lewis in 2002, Mr. Mayorga was sitting in the training room with his coach and smoking a cigarette when Alan Hopper, a publicist for promoter Don King, walked in. His coach frantically grabbed the cigarette and attempted to put it out, but instead of lecturing the fighter, Mr. Hopper told him to light up another one and found him a bottle of beer to take to the press conference. When Mr. Mayorga started taking questions from the media while drinking and smoking, an image was born.

Jonathan Harris collects stories

Thursday, September 25th, 2008

Jonathan Harris collects stories — nonfiction stories, which he collects via web-crawling software and then visualizes, also via software:

(Some meta-humor: I feel like Jonathan Harris’s robot army is watching me, waiting to strike.)

Some Words with a Mummy

Tuesday, September 16th, 2008

I started my Halloween-themed reading early, I suppose, when I decided to read a few short stories by Poe, including a satire of his that I’d never read, Some Words with a Mummy, in which a group of Egyptologists apply some electricity from a “Voltaic pile” to an ancient mummy in their possession — and the mummy, which has not had its brain and entrails removed, comes back to life:

Morally and physically — figuratively and literally — was the effect electric. In the first place, the corpse opened its eyes and winked very rapidly for several minutes, as does Mr. Barnes in the pantomime, in the second place, it sneezed; in the third, it sat upon end; in the fourth, it shook its fist in Doctor Ponnonner’s face; in the fifth, turning to Messieurs Gliddon and Buckingham, it addressed them, in very capital Egyptian, thus:

“I must say, gentlemen, that I am as much surprised as I am mortified at your behaviour. Of Doctor Ponnonner nothing better was to be expected. He is a poor little fat fool who knows no better. I pity and forgive him. But you, Mr. Gliddon — and you, Silk — who have travelled and resided in Egypt until one might imagine you to the manner born — you, I say who have been so much among us that you speak Egyptian fully as well, I think, as you write your mother tongue — you, whom I have always been led to regard as the firm friend of the mummies — I really did anticipate more gentlemanly conduct from you. What am I to think of your standing quietly by and seeing me thus unhandsomely used? What am I to suppose by your permitting Tom, Dick, and Harry to strip me of my coffins, and my clothes, in this wretchedly cold climate? In what light (to come to the point) am I to regard your aiding and abetting that miserable little villain, Doctor Ponnonner, in pulling me by the nose?”

The mummy explains that his people’s natural lifespan is hundreds of years, and that he was embalmed specifically so that he could be revived again later, to live his life in installments, across more than one millennium, which surprises the modern men, who assume that ancient Egypt was primitive:

“The long duration of human life in your time, together with the occasional practice of passing it, as you have explained, in installments, must have had, indeed, a strong tendency to the general development and conglomeration of knowledge. I presume, therefore, that we are to attribute the marked inferiority of the old Egyptians in all particulars of science, when compared with the moderns, and more especially with the Yankees, altogether to the superior solidity of the Egyptian skull.”

“I confess again,” replied the Count, with much suavity, “that I am somewhat at a loss to comprehend you; pray, to what particulars of science do you allude?”

Here our whole party, joining voices, detailed, at great length, the assumptions of phrenology and the marvels of animal magnetism.

The satire gets interesting when it moves away from technology and the sci-fi premise that the Egyptians did in fact have higher technology than then-modern “Yankees”:

This disconcerted us so greatly that we thought it advisable to vary the attack to Metaphysics. We sent for a copy of a book called the “Dial,” and read out of it a chapter or two about something that is not very clear, but which the Bostonians call the Great Movement of Progress.

The Count merely said that Great Movements were awfully common things in his day, and as for Progress, it was at one time quite a nuisance, but it never progressed.

We then spoke of the great beauty and importance of Democracy, and were at much trouble in impressing the Count with a due sense of the advantages we enjoyed in living where there was suffrage ad libitum, and no king.

He listened with marked interest, and in fact seemed not a little amused. When we had done, he said that, a great while ago, there had occurred something of a very similar sort. Thirteen Egyptian provinces determined all at once to be free, and to set a magnificent example to the rest of mankind. They assembled their wise men, and concocted the most ingenious constitution it is possible to conceive. For a while they managed remarkably well; only their habit of bragging was prodigious. The thing ended, however, in the consolidation of the thirteen states, with some fifteen or twenty others, in the most odious and insupportable despotism that was ever heard of upon the face of the Earth.

I asked what was the name of the usurping tyrant.

As well as the Count could recollect, it was Mob.

Excellent election-year reading, that.

The New Pranksters

Sunday, September 14th, 2008

The Old Pranksters of the ’60s and ’70s are upset that The New Pranksters of today aren’t subversive enough:

Improv Everywhere pranks have typically been aimed at the consumer culture. In one 2006 stunt, 80 people dressed in what looked like Best Buy employee uniforms — blue shirts and khakis — walked around in one of the chain’s stores in Manhattan, much to the confusion of everyone around them. Mr. Todd says a store employee called the police and the pranksters disbanded after the authorities arrived. Best Buy spokeswoman Susan Busch says the company “took it in good stride” and would only object if the prank interfered with customers shopping.

Last year, the group sent 111 shirtless men into an Abercrombie & Fitch in New York City, in a spoof of the chain’s use of bare-chested hunks in its ad campaigns. The men (some fat, some thin) were told to say they were shopping for a shirt. Spokesman David Cupps says the company has no comment.

The group also sent more than 50 redheads to stand in front of a Manhattan Wendy’s and chant “No pigtails!” in a mock protest of what they said was the inaccurate portrayal of redheads in the chain’s ad campaign. Company spokesman Bob Bertini says the stunt was a minor distraction and showed people “engaging with the brand.”

In fact, some advertisers are starting to see the marketing value of pranks. Taco Bell recently hired Mr. Todd to stage a “freeze” in a new restaurant in Flushing, N.Y., where paid extras posing as employees and patrons simply froze in place, baffling the actual customers. The stunt was later used in a viral marketing campaign for the restaurant’s Frutista Freeze drink, and a video of the prank has been viewed 500,000 times online, says Taco Bell spokesman Will Bortz. “We thought it was brilliant,” he says.

I love the indignation of “serious” pranksters:

Some of Mr. Todd’s admirers objected, however. “Taco Bell killed the freeze,” says David Kartsonis, a 21-year-old video and TV producer from Redondo Beach, Calif., who helps organize events for GuerilLA. He says he won’t do the stunt now because it’s been overexposed. Mr. Kartsonis also complains that Improv Everywhere’s videos seem geared more toward viral popularity online than in-the-moment fun: “They spend a lot more time worrying about the end viewer. We focus on people who are actually there at the time enjoying it.”

Mr. Todd says he did the Taco Bell stunt after the freeze craze had passed; freezes have already been performed in 50 countries, he says.

Governor Palin and Senator Clinton address the nation

Sunday, September 14th, 2008

Governor Palin and Senator Clinton address the nation:

From Film, to Game, to Bargain Bin

Saturday, September 13th, 2008

While video games based on movies are generally of excremental quality, Chris Bateman notes, they still sell well — and there are sound reasons for the path From Film, to Game, to Bargain Bin:

Film-to-game adaptations are a merchandising proposition — the whole basis of the commercial viability of the form is to get the game on the shelves when it can share in the hype of the movie (thus saving on marketing costs). Consequently, the damned souls condemned to work on a film-to-game adaptation are immediately up against the clock. The famed E.T. The Extra-Terrestrial game had to be made in six weeks — when this is taken into account, its poor quality is perhaps more forgiveable.

That’s just the beginning of the problem though. Not only do you have insufficient time to work on these kinds of projects, but you are usually working solely from the screenplay (because you have to start work before principal photography has begun) and so if the goal of the project is to have the game represent the film, you can look forward to a panoply of crises later in the project as you discover your game doesn’t match the film at all. Not to mention that as well as having a publisher interfering with the development process, you also have the licensors from the movie studio interfering — and this usually means even more disastrously ill-conceived feedback than usual.
[...]
And let’s not forget, many of these games do sell rather well. Sales figures below half a million are quite rare for a big film-to-game license, and figures around a million are common. These aren’t exactly a high watermark figure (five, ten and fifteen million unit sales exist for the best titles in the current market) but they probably bespeak of a project in profit. Remember that E.T. game that everyone likes to knock? It still sold 1.5 million units. The game is only considered a failure because Atari paid too much for the license and thus manufactured too many units trying to hit the break point; if their bid had been reasonably judged, they would still have made a profit on this title, irrespective of the quality of the game.

The ghastly truth of the matter is that many perfectly well-made games do not sell in unit numbers on a par with the film-to-game adaptations, which underscores the reason for the adaptations in the first place: the commercial reality is that you’re going to sell more copies of a mediocre game with a strong brand license (especially with simultaneous release) than of a well-designed original game at least nine times out of ten, if not more. If you’re an investor (instead of, say, a gamer), which proposition do you think you’re going to prefer?

So, how do you end up with a quality film-based game, like GoldenEye?

GoldenEye, for instance, was not released to coincide with the 1995 Bond film of the same name, and was in fact released to coincide with the following Bond movie (Tomorrow Never Dies) in 1997. The team had the time they needed to get the game as good as it could be, and it benefited from superior review scores, word-of-mouth and all the other advantages of a quality game title that didn’t have to be rushed to master.

Also, if a film doesn’t suggest a game that hardcore gamers will like, how about not trying to make a game for hardcore gamers? Make a game for the audience you have:

Most videogames are too difficult for the mass market audience — many adaptations shouldn’t be making a game for the hobbyists at all, they should be making it for the actual audience such a licensed game will receive. It seems like a no-brainer, and yet developers get this wrong time and time again.

Case in point, Traveller’s Tales 2003 Finding Nemo game was monstrously old school in its design sensibilities; it’s hard to believe that the audience for the film who were then interested in the game could possibly have their play needs met by this sequence of unceasing pain. Yet the game sold in good numbers (about 1.12 million units in the US on the PS2) — on the back of the popularity of the brand. I do not think it is much of a stretch to suggest a more forgiving, more casual-friendly game design could have been delivered on the same resources but have better met the needs of the audience for a Finding Nemo branded game, and benefited from better sales on the back of better word-of-mouth and fewer returns.

Take Distorted and Psychedelic iPhone Photos

Friday, September 12th, 2008

Take Distorted and Psychedelic iPhone Photos:

The iPhone has no physical shutter and instead uses photon gating on its CMOS sensor. Some parts of the image are recorded before others, much like with a scanner. The iPhone’s CMOS scanner seems to be a lot slower than, say, the CMOS sensor on your Canon point and shoot camera. Therefore, as the camera is recording the image, any changes over that small but significant amount of time are recorded. Examples of this effect from photography days of yore (caused by old focal-plane shutters that were very slow) are the famous Lartigue photo of the leaning race car. It’s also known in a related form as slit-scan photography.

What this means in iPhone terms is that if the subject or camera is moving — and if the ambient light is bright enough to allow for a fast shutter speed — the subject doesn’t blur, but rather distorts. Usually the result is pretty unpredictable, but with some practice one can see how certain effects can be created.

(Hat tip to Mike.)

A New View On TV

Thursday, September 11th, 2008

Economic researchers present A New View On TV:

The variation Mr. Gentzkow and Mr. Shapiro exploited was the timing of the introduction of TV into different cities. Television began taking off in the U.S. in 1946, after a wartime ban on TV production was lifted. But the Federal Communications Commission stopped granting new commercial television licenses from September 1948 to April 1952 while it made changes in allocating broadcast spectrum. There was a long lag between when some cities got television and when others did.

The economists then looked at results of a survey of 800 U.S. schools that administered tests to 346,662 sixth-grade, ninth-grade and 12th-grade students in 1965. Their finding: Adjusting for differences in household income, parents’ educational background and other factors, children who lived in cities that gave them more exposure to television in early childhood performed better on the tests than those with less exposure.

Naturally, TV helps children from non-English-speaking families the most.

Perhaps Everything Bad is Good for You?

(Hat tip to Tyler Cowen.)

Roald Dahl’s wartime sex raids

Monday, September 8th, 2008

Drawing on previously unpublished letters, Jennet Conant has written a comprehensive account of children’s author Roald Dahl’s raucous wartime exploits:

His conquests included Millicent Rogers, the glamorous heiress to a Standard Oil fortune; and Clare Boothe Luce, a right-wing congresswoman and the sexually frisky wife of the publisher of Time magazine.

Dahl would later complain to friends that Boothe Luce, 13 years his senior, had left him “all f***** out” after three nights of bedroom capers.

“Dahl’s superiors watched his rake’s progress with grudging admiration,” Conant writes in The Irregulars, to be published in Britain on September 9. “A certain amount of hanky-panky was condoned, especially when it was for a good cause.”

Injured during training as an RAF pilot, Dahl fought in the Middle East before he was declared unfit to fly and was shipped to the Washington embassy in 1942. He immediately cut a swathe as a 6ft 6in battle-scarred pilot who was nonetheless horrified to find himself “in the middle of a cocktail mob in America”.

Making Canned Halloween Monstrosities

Sunday, September 7th, 2008

Making Canned Halloween Monstrosities looks like good, clean fun. The label reads:

Unknown Specimen
Recovered from chest cavity of decayed animated corpse. Animation of corpse ceased upon removal. Specimen began to dissolve within moments of removal from host. Dissolution ceased with formaldehyde and acetone.
Haiti, 1894

The specimen is in fact an expands-in-water snake in a bottle from the dollar store:

  • The snake was cut up a little before being put into the jar to make it look somewhat decayed when it expanded.
  • A few grains of instant coffee were added to the water to give it a murky brown look.
  • A small spoonful of used coffee grounds was added to the water to enhance the “decayed” sort of look.

Look on my shirts, ye mighty, and despair!

Friday, September 5th, 2008

Jeremy Kalgreen says, Look on my shirts, ye mighty, and despair!

Shoe Circus Commercial

Friday, September 5th, 2008

Who is the ad wizard who came up with this Shoe Circus Commercial?

Munich’s Master Poster Artist

Friday, September 5th, 2008

Donald Pittenger calls Ludwig Hohlwein Munich’s Master Poster Artist:

Science!

Thursday, September 4th, 2008

Proclaim your support for Science! with these t-shirts by Jeremy Kalgreen:

(Hat tip to Mike.)

Google Chrome

Wednesday, September 3rd, 2008

In case you haven’t heard, Google has announced its own browser, Google Chrome, via online comic.



If that’s insufficiently geeky for your taste, please realize that the comic is by Scott McCloud, of Understanding Comics fame.