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Umberto Eco on books

art, business, history, language & literature, on writing, religion / /

From Umberto Eco’s “Vegetal and mineral memory: The future of books” (Al-Ahram Weekly: 20—26 November 2003):

Libraries, over the centuries, have been the most important way of keeping our collective wisdom. They were and still are a sort of universal brain where we can retrieve what we have forgotten and what we still do not know. If you will allow me to use such a metaphor, a library is the best possible imitation, by human beings, of a divine mind, where the whole universe is viewed and understood at the same time. A person able to store in his or her mind the information provided by a great library would emulate in some way the mind of God. In other words, we have invented libraries because we know that we do not have divine powers, but we try to do our best to imitate them. …

First of all, we know that books are not ways of making somebody else think in our place; on the contrary, they are machines that provoke further thoughts. Only after the invention of writing was it possible to write such a masterpiece of spontaneous memory as Proust’s A la Recherche du Temps Perdu. Secondly, if once upon a time people needed to train their memories in order to remember things, after the invention of writing they had also to train their memories in order to remember books. Books challenge and improve memory; they do not narcotise it. …

YET IT IS EXACTLY AT THIS POINT that our unravelling activity must start because by hypertextual structure we usually mean two very different phenomena. First, there is the textual hypertext. In a traditional book one must read from left to right (or right to left, or up to down, according to different cultures) in a linear way. One can obviously skip through the pages, one—once arrived at page 300—can go back to check or re- read something at page 10—but this implies physical labour. In contrast to this, a hypertextual text is a multidimensional network or a maze in which every point or node can be potentially connected with any other node. Second, there is the systemic hypertext. The WWW is the Great Mother of All Hypertexts, a world-wide library where you can, or you will in short time, pick up all the books you wish. The Web is the general system of all existing hypertexts. …

Simply, books have proved to be the most suitable instrument for transmitting information. There are two sorts of book: those to be read and those to be consulted. As far as books-to-be-read are concerned, the normal way of reading them is the one that I would call the ‘detective story way’. You start from page one, where the author tells you that a crime has been committed, you follow every path of the detection process until the end, and finally you discover that the guilty one was the butler. End of the book and end of your reading experience. …

Then they are books to be consulted, like handbooks and encyclopaedias. Encyclopaedias are conceived in order to be consulted and never read from the first to the last page. …

Hypertexts will certainly render encyclopaedias and handbooks obsolete. Yesterday, it was possible to have a whole encyclopaedia on a CD-ROM; today, it is possible to have it on line with the advantage that this permits cross references and the non-linear retrieval of information. …

Books belong to those kinds of instruments that, once invented, have not been further improved because they are already alright, such as the hammer, the knife, spoon or scissors. …

TWO NEW INVENTIONS, however, are on the verge of being industrially exploited. One is printing on demand: after scanning the catalogues of many libraries or publishing houses a reader can select the book he needs, and the operator will push a button, and the machine will print and bind a single copy using the font the reader likes. … Simply put: every book will be tailored according to the desires of the buyer, as happened with old manuscripts.

The second invention is the e-book where by inserting a micro- cassette in the book’s spine or by connecting it to the internet one can have a book printed out in front of us. Even in this case, however, we shall still have a book, though as different from our current ones as ours are different from old manuscripts on parchment, and as the first Shakespeare folio of 1623 is different from the last Penguin edition. Yet, up to now e-books have not proved to be commercially successful as their inventors hoped. … E-books will probably prove to be useful for consulting information, as happens with dictionaries or special documents. …

Indeed, there are a lot of new technological devices that have not made previous ones obsolete. Cars run faster than bicycles, but they have not rendered bicycles obsolete, and no new technological improvements can make a bicycle better than it was before. The idea that a new technology abolishes a previous one is frequently too simplistic. Though after the invention of photography painters did not feel obliged to serve any longer as craftsmen reproducing reality, this did not mean that Daguerre’s invention only encouraged abstract painting. There is a whole tradition in modern painting that could not have existed without photographic models: think, for instance, of hyper-realism. Here, reality is seen by the painter’s eye through the photographic eye. This means that in the history of culture it has never been the case that something has simply killed something else. Rather, a new invention has always profoundly changed an older one. …

The computer creates new modes of production and diffusion of printed documents. …

Today there are new hypertextual poetics according to which even a book-to-read, even a poem, can be transformed to hypertext. At this point we are shifting to question two, since the problem is no longer, or not only, a physical one, but rather one that concerns the very nature of creative activity, of the reading process, and in order to unravel this skein of questions we have first of all to decide what we mean by a hypertextual link. …

In order to understand how texts of this genre can work we should decide whether the textual universe we are discussing is limited and finite, limited but virtually infinite, infinite but limited, or unlimited and infinite.

First of all, we should make a distinction between systems and texts. A system, for instance a linguistic system, is the whole of the possibilities displayed by a given natural language. A finite set of grammatical rules allows the speaker to produce an infinite number of sentences, and every linguistic item can be interpreted in terms of other linguistic or other semiotic items—a word by a definition, an event by an example, an animal or a flower by an image, and so on and so forth. …

Grammars, dictionaries and encyclopaedias are systems: by using them you can produce all the texts you like. But a text itself is not a linguistic or an encyclopaedic system. A given text reduces the infinite or indefinite possibilities of a system to make up a closed universe. If I utter the sentence, ‘This morning I had for breakfast…’, for example, the dictionary allows me to list many possible items, provided they are all organic. But if I definitely produce my text and utter, ‘This morning I had for breakfast bread and butter’, then I have excluded cheese, caviar, pastrami and apples. A text castrates the infinite possibilities of a system. …

Take a fairy tale, like Little Red Riding Hood. The text starts from a given set of characters and situations—a little girl, a mother, a grandmother, a wolf, a wood—and through a series of finite steps arrives at a solution. Certainly, you can read the fairy tale as an allegory and attribute different moral meanings to the events and to the actions of the characters, but you cannot transform Little Red Riding Hood into Cinderella. … This seems trivial, but the radical mistake of many deconstructionists was to believe that you can do anything you want with a text. This is blatantly false. …

Now suppose that a finite and limited text is organised hypertextually by many links connecting given words with other words. In a dictionary or an encyclopaedia the word wolf is potentially connected to every other word that makes up part of its possible definition or description (wolf is connected to animal, to mammal to ferocious, to legs, to fur, to eyes, to woods, to the names of the countries in which wolves exist, etc.). In Little Red Riding Hood, the wolf can be connected only with the textual sections in which it shows up or in which it is explicitly evoked. The series of possible links is finite and limited. How can hypertextual strategies be used to ‘open’ up a finite and limited text?

The first possibility is to make the text physically unlimited, in the sense that a story can be enriched by the successive contributions of different authors and in a double sense, let us say either two-dimensionally or three-dimensionally. By this I mean that given, for instance, Little Red Riding Hood, the first author proposes a starting situation (the girl enters the wood) and different contributors can then develop the story one after the other, for example, by having the girl meet not the wolf but Ali Baba, by having both enter an enchanted castle, having a confrontation with a magic crocodile, and so on, so that the story can continue for years. But the text can also be infinite in the sense that at every narrative disjunction, for instance, when the girl enters the wood, many authors can make many different choices. For one author, the girl may meet Pinocchio, for another she may be transformed into a swan, or enter the Pyramids and discover the treasury of the son of Tutankhamen. …

AT THIS POINT one can raise a question about the survival of the very notion of authorship and of the work of art, as an organic whole. And I want simply to inform my audience that this has already happened in the past without disturbing either authorship or organic wholes. The first example is that of the Italian Commedia dell’arte, in which upon a canovaccio, that is, a summary of the basic story, every performance, depending on the mood and fantasy of the actors, was different from every other so that we cannot identify any single work by a single author called Arlecchino servo di due padroni and can only record an uninterrupted series of performances, most of them definitely lost and all certainly different one from another.

Another example would be a jazz jam session. … What I want to say is that we are already accustomed to the idea of the absence of authorship in popular collective art in which every participant adds something, with experiences of jazz-like unending stories. …

A hypertext can give the illusion of opening up even a closed text: a detective story can be structured in such a way that its readers can select their own solution, deciding at the end if the guilty one should be the butler, the bishop, the detective, the narrator, the author or the reader. They can thus build up their own personal story. Such an idea is not a new one. Before the invention of computers, poets and narrators dreamt of a totally open text that readers could infinitely re-compose in different ways. Such was the idea of Le Livre, as extolled by Mallarmé. Raymond Queneau also invented a combinatorial algorithm by virtue of which it was possible to compose, from a finite set of lines, millions of poems. In the early sixties, Max Saporta wrote and published a novel whose pages could be displaced to compose different stories, and Nanni Balestrini gave a computer a disconnected list of verses that the machine combined in different ways to compose different poems. …

All these physically moveable texts give an impression of absolute freedom on the part of the reader, but this is only an impression, an illusion of freedom. The machinery that allows one to produce an infinite text with a finite number of elements has existed for millennia, and this is the alphabet. Using an alphabet with a limited number of letters one can produce billions of texts, and this is exactly what has been done from Homer to the present days. In contrast, a stimulus-text that provides us not with letters, or words, but with pre-established sequences of words, or of pages, does not set us free to invent anything we want. …

At the last borderline of free textuality there can be a text that starts as a closed one, let us say, Little Red Riding Hood or The Arabian Nights, and that I, the reader, can modify according to my inclinations, thus elaborating a second text, which is no longer the same as the original one, whose author is myself, even though the affirmation of my authorship is a weapon against the concept of definite authorship. …

A BOOK OFFERS US A TEXT which, while being open to multiple interpretations, tells us something that cannot be modified. … Alas, with an already written book, whose fate is determined by repressive, authorial decision, we cannot do this. We are obliged to accept fate and to realise that we are unable to change destiny. A hypertextual and interactive novel allows us to practice freedom and creativity, and I hope that such inventive activity will be implemented in the schools of the future. But the already and definitely written novel War and Peace does not confront us with the unlimited possibilities of our imagination, but with the severe laws governing life and death. …

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How changes in glass changed working conditions

business, history, science, technology / /

From Nicholas Carr’s “(re)framed” (Rough Type: 3 June 2011):

I’m reminded of an interesting passage in the book Glass: A World History:

As we have seen, one of the rapid developments in glass technology was the making of panes of window glass, plain and coloured, which was particularly noticeable in the northern half of Europe [after the twelfth century]. One very practical effect of this was on working conditions. In the cold and dark northern half of Europe people could now work for longer hours and with more precision because they were shielded from the elements. The light poured in, yet the cold was kept out. Prior to glass only thin slivers of horn or parchment were used and the window spaces were of necessity much smaller and the light admitted, dimmer.

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Saul Bass changed how audiences view movie credits

art, history / /

From Christian Annyas’s “Saul Bass Title Sequences“:

“PROJECTIONISTS – PULL CURTAIN BEFORE TITLES”.

This is the text of a note that was stuck on the cans when the reels of film for “The Man With the Golden Arm” arrived at US movie theatres in 1955.

Until then the credits were referred to as ‘popcorn time.’ Audiences resented them and projectionists only pulled back the curtains to reveal the screen once they’d finished.
Saul Bass’ powerful title sequence for “The Man With the Golden Arm” changed the way directors and designers would treat the opening titles.

…

“For the average audience, the credits tell them there’s only three minutes left to eat popcorn. I take this ‘dead’ period and try to do more than simply get rid of names that filmgoers aren’t interested in. I aim to set up the audience for what’s coming; make them expectant.” — SAUL BASS

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Clay Shirky on the changes to publishing & media

art, business, history, social software, tech in changing society, technology / /

From Parul Sehgal’s “Here Comes Clay Shirky” (Publisher’s Weekly: 21 June 2010):

PW: In April of this year, Wired‘s Kevin Kelly turned a Shirky quote—“Institutions will try to preserve the problem to which they are the solution”—into “the Shirky Principle,” in deference to the simple, yet powerful observation. … Kelly explained, “The Shirky Principle declares that complex solutions, like a company, or an industry, can become so dedicated to the problem they are the solution to, that often they inadvertently perpetuate the problem.”

…

CS: It is possible to think that the Internet will be a net positive for society while admitting that there are significant downsides—after all, it’s not a revolution if nobody loses.

…

No one will ever wonder, is there anything amusing for me on the Internet? That is a solved problem. What we should really care about are [the Internet’s] cultural uses.

…

In Here Comes Everybody I told the story of the Abbot of Sponheim who in 1492 wrote a book saying that if this printing press thing is allowed to expand, what will the scribes do for a living? But it was more important that Europe be literate than for scribes to have a job.

…

In a world where a book had to be a physical object, charging money was a way to cause more copies to come into circulation. In the digital world, charging money for something is a way to produce fewer copies. There is no way to preserve the status quo and not abandon that value.

…

Some of it’s the brilliant Upton Sinclair observation: “It’s hard to make a man understand something if his livelihood depends on him not understanding it.” From the laying on of hands of [Italian printer] Aldus Manutius on down, publishing has always been this way. This is a medium where a change to glue-based paperback binding constituted a revolution.

…

PW: When do you think a similar realization will come to book publishing?

CS: I think someone will make the imprint that bypasses the traditional distribution networks. Right now the big bottleneck is the head buyer at Barnes & Noble. That’s the seawall holding back the flood in publishing. Someone’s going to say, “I can do a business book or a vampire book or a romance novel, whatever, that might sell 60% of the units it would sell if I had full distribution and a multimillion dollar marketing campaign—but I can do it for 1% percent of the cost.” It has already happened a couple of times with specialty books. The moment of tip happens when enough things get joined up to create their own feedback loop, and the feedback loop in publishing changes when someone at Barnes & Noble says: “We can’t afford not to stock this particular book or series from an independent publisher.” It could be on Lulu, or iUniverse, whatever. And, I feel pretty confident saying it’s going to happen in the next five years.

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These are their brilliant plans to save magazines?

business, politics, teaching / /

From Jeremy W. Peters’ “In Magazine World, a New Crop of Chiefs” (The New York Times: 28 November 2010):

“This is the changing of the guard from an older school to a newer school,” said Justin B. Smith, president of the Atlantic Media Company. The changes, he added, were part of an inevitable evolution in publishing that was perhaps long overdue. “It is quite remarkable that it took until 2010, 15 years after the arrival of the Internet, for a new generation of leaders to emerge.”

…

At Time, the world’s largest magazine publisher, Mr. Griffin said he wanted to reintroduce the concept of “charging a fair price, and charging consumers who are interested in the product.” In other words, consumers can expect to pay more. “We spent a tremendous amount of money creating original content, original journalism, fact-checking, sending reporters overseas to cover wars,” he said. “You name it. What we’ve got to do as a business is get fair value for that.” Supplementing that approach, Mr. Griffin said, will be new partnerships within Time Warner, Time Inc.’s parent company, that allow magazines to take advantage of the vast film and visual resources at their disposal. One such partnership in the planning stages, he said, is a deal between a major cosmetics company and InStyle to broadcast from the red carpets of big Hollywood events like the Academy Awards and the Screen Actors Guild Awards.

…

But one thing Mr. Harty said the company was examining: expanding its licensed products. The company already pulls in more than a billion dollars a year selling products with a Better Homes and Gardens license at Wal-Mart stores. It is now planning to sell plants and bulbs with the magazine’s imprimatur directly to consumers. “We have relationships with all these consumers,” Mr. Harty said. “How can we figure out how to sell them goods and services? We believe that’s a key.”

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David Pogue’s insights about tech over time

business, history, technology / /

From David Pogue’s “The Lessons of 10 Years of Talking Tech” (The New York Times: 25 November 2010):

As tech decades go, this one has been a jaw-dropper. Since my first column in 2000, the tech world has not so much blossomed as exploded. Think of all the commonplace tech that didn’t even exist 10 years ago: HDTV, Blu-ray, GPS, Wi-Fi, Gmail, YouTube, iPod, iPhone, Kindle, Xbox, Wii, Facebook, Twitter, Android, online music stores, streaming movies and on and on.

…

With the turkey cooking, this seems like a good moment to review, to reminisce — and to distill some insight from the first decade in the new tech millennium.

Things don’t replace things; they just splinter. I can’t tell you how exhausting it is to keep hearing pundits say that some product is the “iPhone killer” or the “Kindle killer.” Listen, dudes: the history of consumer tech is branching, not replacing.

…

Things don’t replace things; they just add on. Sooner or later, everything goes on-demand. The last 10 years have brought a sweeping switch from tape and paper storage to digital downloads. Music, TV shows, movies, photos and now books and newspapers. We want instant access. We want it easy.

…

Some people’s gadgets determine their self-esteem. … Today’s gadgets are intensely personal. Your phone or camera or music player makes a statement, reflects your style and character. No wonder some people interpret criticisms of a product as a criticism of their choices. By extension, it’s a critique of them.

…

Everybody reads with a lens. … feelings run just as strongly in the tech realm. You can’t use the word “Apple,” “Microsoft” or “Google” in a sentence these days without stirring up emotion.

…

It’s not that hard to tell the winners from the losers. … There was the Microsoft Spot Watch (2003). This was a wireless wristwatch that could display your appointments and messages — but cost $10 a month, had to be recharged nightly and wouldn’t work outside your home city unless you filled out a Web form in advance.

…

Some concepts’ time may never come. The same “breakthrough” ideas keep surfacing — and bombing, year after year. For the love of Mike, people, nobody wants videophones!

…

Teenagers do not want “communicators” that do nothing but send text messages, either (AT&T Ogo, Sony Mylo, Motorola V200). People do not want to surf the Internet on their TV screens (WebTV, AOLTV, Google TV). And give it up on the stripped-down kitchen “Internet appliances” (3Com Audrey, Netpliance i-Opener, Virgin Webplayer). Nobody has ever bought one, and nobody ever will.

Forget about forever — nothing lasts a year. Of the thousands of products I’ve reviewed in 10 years, only a handful are still on the market. Oh, you can find some gadgets whose descendants are still around: iPod, BlackBerry, Internet Explorer and so on.

But it’s mind-frying to contemplate the millions of dollars and person-years that were spent on products and services that now fill the Great Tech Graveyard: Olympus M-Robe. PocketPC. Smart Display. MicroMV. MSN Explorer. Aibo. All those PlaysForSure music players, all those Palm organizers, all those GPS units you had to load up with maps from your computer.

Everybody knows that’s the way tech goes. The trick is to accept your
gadget’s obsolescence at the time you buy it…

Nobody can keep up. Everywhere I go, I meet people who express the same reaction to consumer tech today: there’s too much stuff coming too fast. It’s impossible to keep up with trends, to know what to buy, to avoid feeling left behind. They’re right. There’s never been a period of greater technological change. You couldn’t keep up with all of it if you tried.

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The widespread corruption at the heart of Greek culture

business, history, law, politics / /

From Michael Lewis’s “Beware of Greeks Bearing Bonds” (Vanity Fair: 1 October 2010):

In just the past decade the wage bill of the Greek public sector has doubled, in real terms—and that number doesn’t take into account the bribes collected by public officials. The average government job pays almost three times the average private-sector job. The national railroad has annual revenues of 100 million euros against an annual wage bill of 400 million, plus 300 million euros in other expenses. The average state railroad employee earns 65,000 euros a year. Twenty years ago a successful businessman turned minister of finance named Stefanos Manos pointed out that it would be cheaper to put all Greece’s rail passengers into taxicabs: it’s still true. “We have a railroad company which is bankrupt beyond comprehension,” Manos put it to me. “And yet there isn’t a single private company in Greece with that kind of average pay.” The Greek public-school system is the site of breathtaking inefficiency: one of the lowest-ranked systems in Europe, it nonetheless employs four times as many teachers per pupil as the highest-ranked, Finland’s. Greeks who send their children to public schools simply assume that they will need to hire private tutors to make sure they actually learn something. There are three government-owned defense companies: together they have billions of euros in debts, and mounting losses. The retirement age for Greek jobs classified as “arduous” is as early as 55 for men and 50 for women. As this is also the moment when the state begins to shovel out generous pensions, more than 600 Greek professions somehow managed to get themselves classified as arduous: hairdressers, radio announcers, waiters, musicians, and on and on and on. The Greek public health-care system spends far more on supplies than the European average—and it is not uncommon, several Greeks tell me, to see nurses and doctors leaving the job with their arms filled with paper towels and diapers and whatever else they can plunder from the supply closets.

…

A handful of the tax collectors, however, were outraged by the systematic corruption of their business; it further emerged that two of them were willing to meet with me. The problem was that, for reasons neither wished to discuss, they couldn’t stand the sight of each other. This, I’d be told many times by other Greeks, was very Greek.

…

Tax Collector No. 1—early 60s, business suit, tightly wound but not obviously nervous—arrived with a notebook filled with ideas for fixing the Greek tax-collection agency. He just took it for granted that I knew that the only Greeks who paid their taxes were the ones who could not avoid doing so—the salaried employees of corporations, who had their taxes withheld from their paychecks. The vast economy of self-employed workers—everyone from doctors to the guys who ran the kiosks that sold the International Herald Tribune—cheated (one big reason why Greece has the highest percentage of self-employed workers of any European country). “It’s become a cultural trait,” he said. “The Greek people never learned to pay their taxes. And they never did because no one is punished. No one has ever been punished. It’s a cavalier offense—like a gentleman not opening a door for a lady.”

The scale of Greek tax cheating was at least as incredible as its scope: an estimated two-thirds of Greek doctors reported incomes under 12,000 euros a year—which meant, because incomes below that amount weren’t taxable, that even plastic surgeons making millions a year paid no tax at all. The problem wasn’t the law—there was a law on the books that made it a jailable offense to cheat the government out of more than 150,000 euros—but its enforcement. “If the law was enforced,” the tax collector said, “every doctor in Greece would be in jail.” I laughed, and he gave me a stare. “I am completely serious.” One reason no one is ever prosecuted—apart from the fact that prosecution would seem arbitrary, as everyone is doing it—is that the Greek courts take up to 15 years to resolve tax cases. “The one who does not want to pay, and who gets caught, just goes to court,” he says. Somewhere between 30 and 40 percent of the activity in the Greek economy that might be subject to the income tax goes officially unrecorded, he says, compared with an average of about 18 percent in the rest of Europe.

The easiest way to cheat on one’s taxes was to insist on being paid in cash, and fail to provide a receipt for services. The easiest way to launder cash was to buy real estate. Conveniently for the black market—and alone among European countries—Greece has no working national land registry. “You have to know where the guy bought the land—the address—to trace it back to him,” says the collector. “And even then it’s all handwritten and hard to decipher.”

…

On he went, describing a system that was, in its way, a thing of beauty. It mimicked the tax-collecting systems of an advanced economy—and employed a huge number of tax collectors—while it was in fact rigged to enable an entire society to cheat on their taxes.

…

Tax Collector No. 2—casual in manner and dress, beer-drinking, but terrified that others might discover he had spoken to me—also arrived with a binder full of papers, only his was stuffed with real-world examples not of Greek people but Greek companies that had cheated on their taxes. He then started to rattle off examples (“only the ones I personally witnessed”). The first was an Athenian construction company that had built seven giant apartment buildings and sold off nearly 1,000 condominiums in the heart of the city. Its corporate tax bill honestly computed came to 15 million euros, but the company had paid nothing at all. Zero. To evade taxes it had done several things. First, it never declared itself a corporation; second, it employed one of the dozens of companies that do nothing but create fraudulent receipts for expenses never incurred and then, when the tax collector stumbled upon the situation, offered him a bribe. The tax collector blew the whistle and referred the case to his bosses—whereupon he found himself being tailed by a private investigator, and his phones tapped. In the end the case was resolved, with the construction company paying 2,000 euros. “After that I was taken off all tax investigations,” said the tax collector, “because I was good at it.”

…

The Greek state was not just corrupt but also corrupting. Once you saw how it worked you could understand a phenomenon which otherwise made no sense at all: the difficulty Greek people have saying a kind word about one another. Individual Greeks are delightful: funny, warm, smart, and good company. I left two dozen interviews saying to myself, “What great people!” They do not share the sentiment about one another: the hardest thing to do in Greece is to get one Greek to compliment another behind his back. No success of any kind is regarded without suspicion. Everyone is pretty sure everyone is cheating on his taxes, or bribing politicians, or taking bribes, or lying about the value of his real estate. And this total absence of faith in one another is self-reinforcing. The epidemic of lying and cheating and stealing makes any sort of civic life impossible; the collapse of civic life only encourages more lying, cheating, and stealing. Lacking faith in one another, they fall back on themselves and their families.

The structure of the Greek economy is collectivist, but the country, in spirit, is the opposite of a collective. Its real structure is every man for himself. Into this system investors had poured hundreds of billions of dollars. And the credit boom had pushed the country over the edge, into total moral collapse.

…

The Vatopaidi monastery, along with 19 others, was built in the 10th century on a 37-mile-long-by-6-mile-wide peninsula in northeast Greece, called Mount Athos. Mount Athos now is severed from the mainland by a long fence, and so the only way onto it is by boat, which gives the peninsula the flavor of an island. And on this island no women are allowed—no female animals of any kind, in fact, except for cats. The official history ascribes the ban to the desire of the church to honor the Virgin; the unofficial one to the problem of monks hitting on female visitors. The ban has stood for 1,000 years.

…

The ferry chugs for three hours along a rocky, wooded, but otherwise barren coastline, stopping along the way to drop monks and pilgrims and guest workers at other monasteries. The sight of the first one just takes my breath away. It’s not a building but a spectacle: it’s as if someone had taken Assisi or Todi or one of the other old central-Italian hill towns and plopped it down on the beach, in the middle of nowhere. Unless you know what to expect on Mount Athos—it has been regarded by the Eastern Orthodox Church for more than a millennium as the holiest place on earth, and it enjoyed for much of that time a symbiotic relationship with Byzantine emperors—these places come as a shock. There’s nothing modest about them; they are grand and complicated and ornate and obviously in some sort of competition with one another. In the old days, pirates routinely plundered them, and you can see why: it would be almost shameful not to, for a pirate.

…

Otherwise the experience was sensational, to be recommended to anyone looking for a taste of 10th-century life. Beneath titanic polished golden chandeliers, and surrounded by freshly cleaned icons, the monks sang; the monks chanted; the monks vanished behind screens to utter strange incantations; the monks shook what sounded like sleigh bells; the monks floated by waving thuribles, leaving in their wake smoke and the ancient odor of incense. Every word that was said and sung and chanted was Biblical Greek (it seemed to have something to do with Jesus Christ), but I nodded right along anyway. I stood when they stood, and sat when they sat: up and down we went like pogos, for hours. The effect of the whole thing was heightened by the monks’ magnificently wild beards. Even when left to nature, beards do not all grow in the same way. There are types: the hopelessly porous mass of fuzz; the Osama bin Laden/Assyrian-king trowel; the Karl Marx bird’s nest. A surprising number of the monks resembled the Most Interesting Man in the World from the Dos Equis commercial. (“His beard alone has experienced more than a lesser man’s entire body.”)

…

For most of the 1980s and 1990s, Greek interest rates had run a full 10 percent higher than German ones, as Greeks were regarded as far less likely to repay a loan. There was no consumer credit in Greece: Greeks didn’t have credit cards. Greeks didn’t usually have mortgage loans either.

…

But this question of whether Greece will repay its debts is really a question of whether Greece will change its culture, and that will happen only if Greeks want to change. I am told 50 times if I am told once that what Greeks care about is “justice” and what really boils the Greek blood is the feeling of unfairness. Obviously this distinguishes them from no human being on the planet, and ignores what’s interesting: exactly what a Greek finds unfair. It’s clearly not the corruption of their political system. It’s not cheating on their taxes, or taking small bribes in their service to the state. No: what bothers them is when some outside party—someone clearly different from themselves, with motives apart from narrow and easily understood self-interest—comes in and exploits the corruption of their system.

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Shelby Foote on how the Civil War changed the gender of the teaching profession

business, education, history, teaching / /

From Carter Coleman, Donald Faulkner, & William Kennedy’s interview of Shelby Foote in “The Art of Fiction No. 158” (The Paris Review: Summer 1999, No. 151):

About the time that war started I think roughly eighty-five or ninety percent of the teachers in this country were men. After the war was over something like eighty-five to ninety percent of teachers were women.

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Don DeLillo on how film has changed our society completely

art, business, language & literature / /

From Adam Begley’s interview of Don DeLillo in “The Art of Fiction No. 135” (The Paris Review: Fall 1993, No. 128):

Film allows us to examine ourselves in ways earlier societies could not—examine ourselves, imitate ourselves, extend ourselves, reshape our reality. It permeates our lives, this double vision, and also detaches us, turns some of us into actors doing walk-throughs. In my work, film and television are often linked with disaster. Because this is one of the energies that charges the culture. TV has a sort of panting lust for bad news and calamity as long as it is visual. We’ve reached the point where things exist so they can be filmed and played and replayed.

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Ray Bradbury on an encounter that changed his life

art, history, language & literature / /

From Sam Weller’s interview of Ray Bradbury in “The Art of Fiction No. 203” (The Paris Review: Spring 2010, No. 192):

Circuses and carnivals were always passing through Illinois during my childhood and I was in love with their mystery. One autumn weekend in 1932, when I was twelve years old, the Dill Brothers Combined Shows came to town. One of the performers was Mr. Electrico. He sat in an electric chair. A stagehand pulled a switch and he was charged with fifty thousand volts of pure electricity. Lightning flashed in his eyes and his hair stood on end.

The next day, I had to go the funeral of one of my favorite uncles. Driving back from the graveyard with my family, I looked down the hill toward the shoreline of Lake Michigan and I saw the tents and the flags of the carnival and I said to my father, Stop the car. He said, What do you mean? And I said, I have to get out. My father was furious with me. He expected me to stay with the family to mourn, but I got out of the car anyway and I ran down the hill toward the carnival.

It didn’t occur to me at the time, but I was running away from death, wasn’t I? I was running toward life. And there was Mr. Electrico sitting on the platform out in front of the carnival and I didn’t know what to say. I was scared of making a fool of myself. I had a magic trick in my pocket, one of those little ball-and-vase tricks—a little container that had a ball in it that you make disappear and reappear—and I got that out and asked, Can you show me how to do this? It was the right thing to do. It made a contact. He knew he was talking to a young magician. He took it, showed me how to do it, gave it back to me, then he looked at my face and said, Would you like to meet those people in that tent over there? Those strange people? And I said, Yes sir, I would. So he led me over there and he hit the tent with his cane and said, Clean up your language! Clean up your language! He took me in, and the first person I met was the illustrated man. Isn’t that wonderful? The Illustrated Man! He called himself the tattooed man, but I changed his name later for my book. I also met the strong man, the fat lady, the trapeze people, the dwarf, and the skeleton. They all became characters.

Mr. Electrico was a beautiful man, see, because he knew that he had a little weird kid there who was twelve years old and wanted lots of things. We walked along the shore of Lake Michigan and he treated me like a grown-up. I talked my big philosophies and he talked his little ones. Then we went out and sat on the dunes near the lake and all of a sudden he leaned over and said, I’m glad you’re back in my life. I said, What do you mean? I don’t know you. He said, You were my best friend outside of Paris in 1918. You were wounded in the Ardennes and you died in my arms there. I’m glad you’re back in the world. You have a different face, a different name, but the soul shining out of your face is the same as my friend. Welcome back.

Now why did he say that? Explain that to me, why? Maybe he had a dead son, maybe he had no sons, maybe he was lonely, maybe he was an ironical jokester. Who knows? It could be that he saw the intensity with which I live. Every once in a while at a book signing I see young boys and girls who are so full of fire that it shines out of their face and you pay more attention to that. Maybe that’s what attracted him.

When I left the carnival that day I stood by the carousel and I watched the horses running around and around to the music of “Beautiful Ohio,” and I cried. Tears streamed down my cheeks. I knew something important had happened to me that day because of Mr. Electrico. I felt changed. He gave me importance, immortality, a mystical gift. My life was turned around completely. It makes me cold all over to think about it, but I went home and within days I started to write. I’ve never stopped.

Seventy-seven years ago, and I’ve remembered it perfectly. I went back and saw him that night. He sat in the chair with his sword, they pulled the switch, and his hair stood up. He reached out with his sword and touched everyone in the front row, boys and girls, men and women, with the electricity that sizzled from the sword. When he came to me, he touched me on the brow, and on the nose, and on the chin, and he said to me, in a whisper, “Live forever.” And I decided to.

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William Burroughs on the necessary changes in biology

art, language & literature, science / /

From Conrad Knickerbocker’s interview of William S. Burroughs in “The Art of Fiction No. 36” (The Paris Review: Fall 1965, No. 35):

Science eventually will be forced to establish courts of biologic mediation, because life-forms are going to become more incompatible with the conditions of existence as man penetrates further into space. Mankind will have to undergo biologic alterations ultimately, if we are to survive at all. This will require biologic law to decide what changes to make. We will simply have to use our intelligence to plan mutations, rather than letting them occur at random. Because many such mutations—look at the saber-toothed tiger—are bound to be very poor engineering designs. The future, decidedly, yes. I think there are innumerable possibilities, literally innumerable. The hope lies in the development of nonbody experience and eventually getting away from the body itself, away from three-dimensional coordinates and concomitant animal reactions of fear and flight, which lead inevitably to tribal feuds and dissension.

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David Foster Wallace on the impossibility of being informed & the seduction of dogma

art, education, history, language & literature, law, politics / /

From David Foster Wallace’s “Introduction” (The Best American Essays 2007):

Here is an overt premise. There is just no way that 2004’s reelection could have taken place—not to mention extraordinary renditions, legalized torture, FISA-flouting, or the
passage of the Military Commissions Act—if we had been paying attention and handling information in a competent grown-up way. ‘We’ meaning as a polity and culture. The premise does not entail specific blame—or rather the problems here are too entangled and systemic for good old-fashioned finger-pointing. It is, for one example, simplistic and wrong to blame the for-profit media for somehow failing to make clear to us the moral and practical hazards of trashing the Geneva Conventions. The for-profit media is highly attuned to what we want and the amount of detail we’ll sit still for. And a ninety-second news piece on the question of whether and how the Geneva Conventions ought to apply in an era of asymmetrical warfare is not going to explain anything; the relevant questions are too numerous and complicated, too fraught with contexts in everything from civil law and military history to ethics and game theory. One could spend a hard month just learning the history of the Conventions’ translation into actual codes of conduct for the U.S. military … and that’s not counting the dramatic changes in those codes since 2002, or the question of just what new practices violate (or don’t) just which Geneva provisions, and according to whom. Or let’s not even mention the amount of research, background, cross- checking, corroboration, and rhetorical parsing required to understand the cataclysm of Iraq, the collapse of congressional oversight, the ideology of neoconservatism, the legal status of presidential signing statements, the political marriage of evangelical Protestantism and corporatist laissez-faire … There’s no way. You’d simply drown. We all would. It’s amazing to me that no one much talks about this—about the fact that whatever our founders and framers thought of as a literate, informed citizenry can no longer exist, at least not without a whole new modern degree of subcontracting and dependence packed into what we mean by ‘informed.’8

…

8 Hence, by the way, the seduction of partisan dogma. You can drown in dogmatism now, too— radio, Internet, cable, commercial and scholarly print— but this kind of drowning is more like sweet release. Whether hard right or new left or whatever, the seduc- tion and mentality are the same. You don’t have to feel confused or inundated or ignorant. You don’t even have to think, for you already Know, and whatever you choose to learn confirms what you Know. This dog- matic lockstep is not the kind of inevitable dependence I’m talking about—or rather it’s only the most extreme and frightened form of that dependence.

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Coppola on changes in the movie industry

business, social software, tech in changing society / /

From Bloomberg’s “Francis Ford Coppola Sees Cinema World Falling Apart: Interview” (12 October 2009):

“The cinema as we know it is falling apart,” says Francis Ford Coppola.

“It’s a period of incredible change,” says the director of “The Godfather” and “Apocalypse Now.” “We used to think of six, seven big film companies. Every one of them is under great stress now. Probably two or three will go out of business and the others will just make certain kind of films like ‘Harry Potter’ — basically trying to make ‘Star Wars’ over and over again, because it’s a business.”

…

“Cinema is losing the public’s interest,” says Coppola, “because there is so much it has to compete with to get people’s time.”

The profusion of leisure activities; the availability of movies on copied DVD and on the Internet; and news becoming entertainment are reshaping the industry, he says. Companies have combined businesses as customers turn to cheap downloads rather than visit shops or movie theaters.

“I think the cinema is going to live off into something more related to a live performance in which the filmmaker is there, like the conductor of an opera used to be,” Coppola says. “Cinema can be interactive, every night it can be a little different.”

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Various confidence scams, tricks, & frauds

business, history, law, science, security / /

From “List of confidence tricks” (Wikipedia: 3 July 2009):

Get-rich-quick schemes

Get-rich-quick schemes are extremely varied. For example, fake franchises, real estate “sure things”, get-rich-quick books, wealth-building seminars, self-help gurus, sure-fire inventions, useless products, chain letters, fortune tellers, quack doctors, miracle pharmaceuticals, Nigerian money scams, charms and talismans are all used to separate the mark from his money. Variations include the pyramid scheme, Ponzi scheme and Matrix sale.

Count Victor Lustig sold the “money-printing machine” which could copy $100 bills. The client, sensing huge profits, would buy the machines for a high price (usually over $30,000). Over the next twelve hours, the machine would produce just two more $100 bills, but after that it produced only blank paper, as its supply of hidden $100 bills would have become exhausted. This type of scheme is also called the “money box” scheme.

…

The wire game, as depicted in the movie The Sting, trades on the promise of insider knowledge to beat a gamble, stock trade or other monetary action. In the wire game, a “mob” composed of dozens of grifters simulates a “wire store”, i.e., a place where results from horse races are received by telegram and posted on a large board, while also being read aloud by an announcer. The griftee is given secret foreknowledge of the race results minutes before the race is broadcast, and is therefore able to place a sure bet at the wire store. In reality, of course, the con artists who set up the wire store are the providers of the inside information, and the mark eventually is led to place a large bet, thinking it to be a sure win. At this point, some mistake is made, which actually makes the bet a loss. …

Salting or to salt the mine are terms for a scam in which gems or gold ore are planted in a mine or on the landscape, duping the greedy mark into purchasing shares in a worthless or non-existent mining company.[2] During the Gold Rush, scammers would load shotguns with gold dust and shoot into the sides of the mine to give the appearance of a rich ore, thus “salting the mine”. …

The Spanish Prisoner scam – and its modern variant, the advance fee fraud or Nigerian scam – take advantage of the victim’s greed. The basic premise involves enlisting the mark to aid in retrieving some stolen money from its hiding place. The victim sometimes believes he can cheat the con artists out of their money, but anyone trying this has already fallen for the essential con by believing that the money is there to steal (see also Black money scam). …

Many conmen employ extra tricks to keep the victim from going to the police. A common ploy of investment scammers is to encourage a mark to use money concealed from tax authorities. The mark cannot go to the authorities without revealing that he or she has committed tax fraud. Many swindles involve a minor element of crime or some other misdeed. The mark is made to think that he or she will gain money by helping fraudsters get huge sums out of a country (the classic Nigerian scam); hence marks cannot go to the police without revealing that they planned to commit a crime themselves.

…

Gold brick scams

Gold brick scams involve selling a tangible item for more than it is worth; named after selling the victim an allegedly golden ingot which turns out to be gold-coated lead.

…

Pig-in-a-poke originated in the late Middle Ages. The con entails a sale of a (suckling) “pig” in a “poke” (bag). The bag ostensibly contains a live healthy little pig, but actually contains a cat (not particularly prized as a source of meat, and at any rate, quite unlikely to grow to be a large hog). If one buys a “pig in a poke” without looking in the bag (a colloquial expression in the English language, meaning “to be a sucker”), the person has bought something of less value than was assumed, and has learned firsthand the lesson caveat emptor.

…

The Thai gem scam involves layers of con men and helpers who tell a tourist in Bangkok of an opportunity to earn money by buying duty-free jewelry and having it shipped back to the tourist’s home country. The mark is driven around the city in a tuk-tuk operated by one of the con men, who ensures that the mark meets one helper after another, until the mark is persuaded to buy the jewelry from a store also operated by the swindlers. The gems are real but significantly overpriced. This scam has been operating for 20 years in Bangkok, and is said to be protected by Thai police and politicians. A similar scam usually runs in parallel for custom-made suits.

…

Extortion or false-injury tricks

The badger game extortion is often perpetrated on married men. The mark is deliberately coerced into a compromising position, a supposed affair for example, then threatened with public exposure of his acts unless blackmail money is paid.

…

The Melon Drop is a scam in which the scammer will intentionally bump into the mark and drop a package containing (already broken) glass. He will blame the damage on the clumsiness of the mark, and demand money in compensation. This con arose when artists discovered that the Japanese paid large sums of money for watermelons. The scammer would go to a supermarket to buy a cheap watermelon, then bump into a Japanese tourist and set a high price.

…

Gambling tricks

Three-card Monte, ‘Find The Queen’, the “Three-card Trick”, or “Follow The Lady”, is (except for the props) essentially the same as the probably centuries-older shell game or thimblerig. The trickster shows three playing cards to the audience, one of which is a queen (the “lady”), then places the cards face-down, shuffles them around and invites the audience to bet on which one is the queen. At first the audience is skeptical, so the shill places a bet and the scammer allows him to win. In one variation of the game, the shill will (apparently surreptitiously) peek at the lady, ensuring that the mark also sees the card. This is sometimes enough to entice the audience to place bets, but the trickster uses sleight of hand to ensure that they always lose, unless the conman decides to let them win, hoping to lure them into betting much more. The mark loses whenever the dealer chooses to make him lose. This con appears in the Eric Garcia novel Matchstick Men and is featured in the movie Edmond.

A variation on this scam exists in Barcelona, Spain, but with the addition of a pickpocket. The dealer and shill behave in an overtly obvious manner, attracting a larger audience. When the pickpocket succeeds in stealing from a member of the audience, he signals the dealer. The dealer then shouts the word “aqua”, and the three split up. The audience is left believing that “aqua” is a code word indicating the police are coming, and that the performance was a failed scam.

In the Football Picks Scam the scammer sends out tip sheet stating a game will go one way to 100 potential victims and the other way to another 100. The next week, the 100 or so who received the correct answer are divided into two groups and fed another pick. This is repeated until a small population have (apparently) received a series of supernaturally perfect picks, then the final pick is offered for sale. Despite being well-known (it was even described completely on an episode of The Simpsons and used by Derren Brown in “The System”), this scam is run almost continuously in different forms by different operators. The sports picks can also be replaced with securities, or any other random process, in an alternative form. This scam has also been called the inverted pyramid scheme, because of the steadily decreasing population of victims at each stage.

…

Visitors to Las Vegas or other gambling towns often encounter the Barred Winner scam, a form of advance fee fraud performed in person. The artist will approach his mark outside a casino with a stack or bag of high-value casino chips and say that he just won big, but the casino accused him of cheating and threw him out without letting him redeem the chips. The artist asks the mark to go in and cash the chips for him. The artist will often offer a percentage of the winnings to the mark for his trouble. But, when the mark agrees, the artist feigns suspicion and asks the mark to put up something of value “for insurance”. The mark agrees, hands over jewelry, a credit card or their wallet, then goes in to cash the chips. When the mark arrives at the cashier, they are informed the chips are fake. The artist, by this time, is long gone with the mark’s valuables.

False reward tricks

The glim-dropper requires several accomplices, one of whom must be a one-eyed man. One grifter goes into a store and pretends he has lost his glass eye. Everyone looks around, but the eye cannot be found. He declares that he will pay a thousand-dollar reward for the return of his eye, leaving contact information. The next day, an accomplice enters the store and pretends to find the eye. The storekeeper (the intended griftee), thinking of the reward, offers to take it and return it to its owner. The finder insists he will return it himself, and demands the owner’s address. Thinking he will lose all chance of the reward, the storekeeper offers a hundred dollars for the eye. The finder bargains him up to $250, and departs.…

The fiddle game uses the pigeon drop technique. A pair of con men work together, one going into an expensive restaurant in shabby clothes, eating, and claiming to have left his wallet at home, which is nearby. As collateral, the con man leaves his only worldly possession, the violin that provides his livelihood. After he leaves, the second con man swoops in, offers an outrageously large amount (for example $50,000) for such a rare instrument, then looks at his watch and runs off to an appointment, leaving his card for the mark to call him when the fiddle-owner returns. The mark’s greed comes into play when the “poor man” comes back, having gotten the money to pay for his meal and redeem his violin. The mark, thinking he has an offer on the table, then buys the violin from the fiddle player (who “reluctantly” sells it eventually for, say, $5,000). The result is the two conmen are $5,000 richer (less the cost of the violin), and the mark is left with a cheap instrument.

…

Other confidence tricks and techniques

…

The Landlord Scam advertises an apartment for rent at an attractive price. The con artist, usually someone who is house-sitting or has a short-term sublet at the unit, takes a deposit and first/last month’s rent from every person who views the suite. When move-in day arrives, the con artist is of course gone, and the apartment belongs to none of the angry people carrying boxes.

…

Change raising is a common short con and involves an offer to change an amount of money with someone, while at the same time taking change or bills back and forth to confuse the person as to how much money is actually being changed. The most common form, “the Short Count”, has been featured prominently in several movies about grifting, notably Nueve Reinas, The Grifters and Paper Moon. A con artist shopping at, say a gas station, is given 80 cents in change because he lacks two dimes to complete the sale (say the sale cost is $19.20 and the con man has a 20 dollar bill). He goes out to his car and returns a short time later, with 20 cents. He returns them, saying that he found the rest of the change to make a dollar, and asking for a bill so he will not have to carry coins. The confused store clerk agrees, exchanging a dollar for the 20 cents the conman returned. In essence, the mark makes change twice.

…

Beijing tea scam is a famous scam in and around Beijing. The artists (usually female and working in pairs) will approach tourists and try to make friends. After chatting, they will suggest a trip to see a tea ceremony, claiming that they have never been to one before. The tourist is never shown a menu, but assumes that this is how things are done in China. After the ceremony, the bill is presented to the tourist, charging upwards of $100 per head. The artists will then hand over their bills, and the tourists are obliged to follow suit.

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The future of news as shown by the 2008 election

business, history, politics, tech in changing society / /

From Steven Berlin Johnson’s “Old Growth Media And The Future Of News” (StevenBerlinJohnson.com: 14 March 2009):

The first Presidential election that I followed in an obsessive way was the 1992 election that Clinton won. I was as compulsive a news junkie about that campaign as I was about the Mac in college: every day the Times would have a handful of stories about the campaign stops or debates or latest polls. Every night I would dutifully tune into Crossfire to hear what the punditocracy had to say about the day’s events. I read Newsweek and Time and the New Republic, and scoured the New Yorker for its occasional political pieces. When the debates aired, I’d watch religiously and stay up late soaking in the commentary from the assembled experts.

That was hardly a desert, to be sure. But compare it to the information channels that were available to me following the 2008 election. Everything I relied on in 1992 was still around of course – except for the late, lamented Crossfire – but it was now part of a vast new forest of news, data, opinion, satire – and perhaps most importantly, direct experience. Sites like Talking Points Memo and Politico did extensive direct reporting. Daily Kos provided in-depth surveys and field reports on state races that the Times would never have had the ink to cover. Individual bloggers like Andrew Sullivan responded to each twist in the news cycle; HuffPo culled the most provocative opinion pieces from the rest of the blogosphere. Nate Silver at fivethirtyeight.com did meta-analysis of polling that blew away anything William Schneider dreamed of doing on CNN in 1992. When the economy imploded in September, I followed economist bloggers like Brad DeLong to get their expert take the candidates’ responses to the crisis. (Yochai Benchler talks about this phenomenon of academics engaging with the news cycle in a smart response here.) I watched the debates with a thousand virtual friends live-Twittering alongside me on the couch. All this was filtered and remixed through the extraordinary political satire of John Stewart and Stephen Colbert, which I watched via viral clips on the Web as much as I watched on TV.

What’s more: the ecosystem of political news also included information coming directly from the candidates. Think about the Philadelphia race speech, arguably one of the two or three most important events in the whole campaign. Eight million people watched it on YouTube alone. Now, what would have happened to that speech had it been delivered in 1992? Would any of the networks have aired it in its entirety? Certainly not. It would have been reduced to a minute-long soundbite on the evening news. CNN probably would have aired it live, which might have meant that 500,000 people caught it. Fox News and MSNBC? They didn’t exist yet. A few serious newspaper might have reprinted it in its entirety, which might have added another million to the audience. Online perhaps someone would have uploaded a transcript to Compuserve or The Well, but that’s about the most we could have hoped for.

There is no question in mind my mind that the political news ecosystem of 2008 was far superior to that of 1992: I had more information about the state of the race, the tactics of both campaigns, the issues they were wrestling with, the mind of the electorate in different regions of the country. And I had more immediate access to the candidates themselves: their speeches and unscripted exchanges; their body language and position papers.

The old line on this new diversity was that it was fundamentally parasitic: bloggers were interesting, sure, but if the traditional news organizations went away, the bloggers would have nothing to write about, since most of what they did was link to professionally reported stories. Let me be clear: traditional news organizations were an important part of the 2008 ecosystem, no doubt about it. … But no reasonable observer of the political news ecosystem could describe all the new species as parasites on the traditional media. Imagine how many barrels of ink were purchased to print newspaper commentary on Obama’s San Francisco gaffe about people “clinging to their guns and religion.” But the original reporting on that quote didn’t come from the Times or the Journal; it came from a “citizen reporter” named Mayhill Fowler, part of the Off The Bus project sponsored by Jay Rosen’s Newassignment.net and The Huffington Post.

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David Foster Wallace on being a tourist

commonplace book, politics / /

From David Foster Wallace’s “Consider the Lobster” (Gourmet: ):

As I see it, it probably really is good for the soul to be a tourist, even if it’s only once in a while. Not good for the soul in a refreshing or enlivening way, though, but rather in a grim, steely-eyed, let’s-look-honestly-at-the-facts-and-find-some-way-to-deal-with-them way. My personal experience has not been that traveling around the country is broadening or relaxing, or that radical changes in place and context have a salutary effect, but rather that intranational tourism is radically constricting, and humbling in the hardest way—hostile to my fantasy of being a real individual, of living somehow outside and above it all. (Coming up is the part that my companions find especially unhappy and repellent, a sure way to spoil the fun of vacation travel:) To be a mass tourist, for me, is to become a pure late-date American: alien, ignorant, greedy for something you cannot ever have, disappointed in a way you can never admit. It is to spoil, by way of sheer ontology, the very unspoiledness you are there to experience. It is to impose yourself on places that in all noneconomic ways would be better, realer, without you. It is, in lines and gridlock and transaction after transaction, to confront a dimension of yourself that is as inescapable as it is painful: As a tourist, you become economically significant but existentially loathsome, an insect on a dead thing.

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80% of all spam from botnets

business, security / /

From Jacqui Cheng’s “Report: botnets sent over 80% of all June spam” (Ars Technica: 29 June 2009):

A new report (PDF) from Symantec’s MessageLabs says that more than 80 percent of all spam sent today comes from botnets, despite several recent shut-downs.

According to MessageLabs’ June report, spam accounted for 90.4 percent of all e-mail sent in the month of June—this was roughly unchanged since May. Botnets, however, sent about 83.2 percent of that spam, with the largest spam-wielding botnet being Cutwail. Cutwail is described as “one of the largest and most active botnets” and has doubled its size and output per bot since March of this year. As a result, it is now responsible for 45 percent of all spam, with others like Mega-D, Xarvester, Donbot, Grum, and Rustock making up much of the difference

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David Foster Wallace on rock, the rise of mass media, & the generation gap

art, history, language & literature, on writing / /

From Larry McCaffery’s “Conversation with David Foster Wallace” (Dalkey Archive Press at the University of Illinois: Summer 1993):

Rock music itself bores me, usually. The phenomenon of rock interests me, though, because its birth was part of the rise of popular media, which completely changed the ways the U.S. was unified and split. The mass media unified the country geographically for pretty much the first time. Rock helped change the fundamental splits in the U.S. from geographical splits to generational ones. Very few people I talk to understand what “generation gap” ‘s implications really were. Kids loved rock partly because their parents didn’t, and obversely. In a mass mediated nation, it’s no longer North vs. South. It’s under-thirty vs. over thirty. I don’t think you can understand the sixties and Vietnam and love ins and LSD and the whole era of patricidal rebellion that helped inspire early postmodern fiction’s whole “We’re-going-to-trash-your-Beaver Cleaver-plasticized-G.O.P.-image-of-life-in-America” attitude without understanding rock ‘n roll. Because rock was and is all about busting loose, exceeding limits, and limits are usually set by parents, ancestors, older authorities.

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Social software: 5 properties & 3 dynamics

business, history, politics, security, social software, tech in changing society / /

From danah boyd’s “Social Media is Here to Stay… Now What?” at the Microsoft Research Tech Fest, Redmond, Washington (danah: 26 February 2009):

Certain properties are core to social media in a combination that alters how people engage with one another. I want to discuss five properties of social media and three dynamics. These are the crux of what makes the phenomena we’re seeing so different from unmediated phenomena.

A great deal of sociality is about engaging with publics, but we take for granted certain structural aspects of those publics. Certain properties are core to social media in a combination that alters how people engage with one another. I want to discuss five properties of social media and three dynamics. These are the crux of what makes the phenomena we’re seeing so different from unmediated phenomena.

1. Persistence. What you say sticks around. This is great for asynchronicity, not so great when everything you’ve ever said has gone down on your permanent record. …

2. Replicability. You can copy and paste a conversation from one medium to another, adding to the persistent nature of it. This is great for being able to share information, but it is also at the crux of rumor-spreading. Worse: while you can replicate a conversation, it’s much easier to alter what’s been said than to confirm that it’s an accurate portrayal of the original conversation.

3. Searchability. My mother would’ve loved to scream search into the air and figure out where I’d run off with friends. She couldn’t; I’m quite thankful. But with social media, it’s quite easy to track someone down or to find someone as a result of searching for content. Search changes the landscape, making information available at our fingertips. This is great in some circumstances, but when trying to avoid those who hold power over you, it may be less than ideal.

4. Scalability. Social media scales things in new ways. Conversations that were intended for just a friend or two might spiral out of control and scale to the entire school or, if it is especially embarrassing, the whole world. …

5. (de)locatability. With the mobile, you are dislocated from any particular point in space, but at the same time, location-based technologies make location much more relevant. This paradox means that we are simultaneously more and less connected to physical space.

Those five properties are intertwined, but their implications have to do with the ways in which they alter social dynamics. Let’s look at three different dynamics that have been reconfigured as a result of social media.

1. Invisible Audiences. We are used to being able to assess the people around us when we’re speaking. We adjust what we’re saying to account for the audience. Social media introduces all sorts of invisible audiences. There are lurkers who are present at the moment but whom we cannot see, but there are also visitors who access our content at a later date or in a different environment than where we first produced them. As a result, we are having to present ourselves and communicate without fully understanding the potential or actual audience. The potential invisible audiences can be stifling. Of course, there’s plenty of room to put your head in the sand and pretend like those people don’t really exist.

2. Collapsed Contexts. Connected to this is the collapsing of contexts. In choosing what to say when, we account for both the audience and the context more generally. Some behaviors are appropriate in one context but not another, in front of one audience but not others. Social media brings all of these contexts crashing into one another and it’s often difficult to figure out what’s appropriate, let alone what can be understood.

3. Blurring of Public and Private. Finally, there’s the blurring of public and private. These distinctions are normally structured around audience and context with certain places or conversations being “public” or “private.” These distinctions are much harder to manage when you have to contend with the shifts in how the environment is organized.

All of this means that we’re forced to contend with a society in which things are being truly reconfigured. So what does this mean? As we are already starting to see, this creates all new questions about context and privacy, about our relationship to space and to the people around us.

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The future of TV is the Internet

business, social software, tech in changing society / /

From Paul Graham’s “Why TV Lost” (Paul Graham: March 2009):

About twenty years ago people noticed computers and TV were on a collision course and started to speculate about what they’d produce when they converged. We now know the answer: computers. It’s clear now that even by using the word “convergence” we were giving TV too much credit. This won’t be convergence so much as replacement. People may still watch things they call “TV shows,” but they’ll watch them mostly on computers.

…

Whether [TV networks] like it or not, big changes are coming, because the Internet dissolves the two cornerstones of broadcast media: synchronicity and locality. On the Internet, you don’t have to send everyone the same signal, and you don’t have to send it to them from a local source. People will watch what they want when they want it, and group themselves according to whatever shared interest they feel most strongly. Maybe their strongest shared interest will be their physical location, but I’m guessing not. Which means local TV is probably dead. It was an artifact of limitations imposed by old technology.

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