Arts & Letters

Blame it on Ka

This is a follow up to my last post on Stephen King’s Dark Tower series. I just finished the latest installment of said series, entitled Song of Susannah. In some ways I’m not very happy with it, but I’m willing to give King the benefit of the doubt. I still don’t expect to like the ending, and King seems to be dropping hints all over the place indicating that my fears are well founded. I referenced one in my last post, but there were others in this book, such as this one in which Roland talks to a “fictional” Stephen King who is afraid he won’t finish the story:

“I’m afraid.”

“I know, but we’ll try–”

“It’s not that. I’m afraid of not being able to finish.” His voice lowered. “I’m afraid the Tower will fall and I’ll be held to blame.”

“That is up to ka, not you,” Roland said, “Or me.”

I didn’t much like the idea of King writing himself into the story, but the way he did so was agreeable enough (I don’t like that he did it at all, but considering that he did, it could have been worse). In any case, it’s stuff like that excerpt that make me think King is trying to lower expectations. What’s more, he’s blaming it on ka (for the uninitiated, ka is roughly translated as “destiny” though there is more to it than that)! He’s done this before too – in my last post I referenced the cliffhanger ending of the third Dark Tower novel, The Waste Lands. He claimed that the ending just felt right, that “the wind just stopped blowing” and that the book should end where it did. Further, he claimed that he didn’t even know how it would end. Six years later, he wrote the next book in the series and finally resolved that conflict. Such an event, if we are to take King at his word, strengthens the suspicion that he’s just making this up as he goes along. Naturally, I’m worried about how this is going to end.

On the bright side, Song of Susannah was a quick, fun read – a real page-turner. And I do think King could pull this thing off, but I’m very suspicious. Or perhaps I’m just subconsciously trying to set the standards low so I won’t be disappointed in the series when it ends (a la my post on expectations and The Village).

Bracing for Disappointment

I’m currently reading the latest installment of Stephen King’s Dark Tower series, entitled Song of Susannah. The series started over twenty years ago, with the publication of The Gunslinger. The series tells the tale of Roland of Gilead, the last gunslinger, and his quest for the Dark Tower. Along the way, he picks up 3 companions, and they travel along a challenge ridden path, filled with imaginative characters and landscapes. It’s astoundingly ambitious, and the story has always had a teasing sort of visible potential.

Unfortunately, I’ve often felt that King doesn’t know how to end his novels – it seems like he just makes up a bunch of compelling concepts, follows through a bit, then promptly corners himself. He sometimes manages to weasel his way out of it, but I don’t generally end up satisfied. Even within the Dark Tower series, he’s done some odd things (namely, the way he ended the third book – The Waste Lands – was a cliffhanger, and he didn’t write the next book for 5 years). So naturally I’m a little apprehensive about the impending end of the Dark Tower series.

I read a part last night which made me feel like King knows we’re not going to like it. It’s a piece of dialogue between two characters (actually two personalities in the same person, but I digress), but it might as well be between King and his audience:

And remember Susannah-Mio, if you want my cooperation, you give me some straight answers.

I will, the other replied. Just don’t expect to like them. Or even understand them.

What do you–

Never Mind! Gods, I never met anyone who could ask so many questions! Time is short!

Ok, so it’s unfair to put those words in King’s mouth like that, but that’s basically how I think the rest of the series is going to go – he’s going to answer a lot of the questions he brought up, but I don’t expect to like them, or even understand them. It just feels like he’s making it up as he’s going along, and he’s written himself into a corner again, with no way out. I hope I’m wrong, and I don’t want to write King off completely, but if the chapter that follows the exerpt above is any indication, I’m worried.

Perfidious Literature

For the past week or so, some perfidious folk have been posting about a list of “great works” that had been circulating the net. I won’t go into the details of the list, nor will I denote which works I’ve read (I’ve read several, but not a ton and not as much as several of the people who responded to that post), but I did want to comment on their attempt to revise the list to include some science fiction and humor. In addition to the list cited above, they came up with:

HST: Fear and Loathing in Las Vegas

Miller: The Canticle of Leibowitz

O’Rourke: Parliament of Whores

Stephenson: Cryptonomicon

Bester: The Stars My Destination

Heinlein: The Moon is a Harsh Mistress

Toole: Confederacy of Dunces

Pynchon: Gravity’s Rainbow

Bukowski: Run With The Hunted

Burroughs: Naked Lunch

Hammett: The Maltese Falcon

An excellent list, though I have only read a few of them (and if they weren’t in the book queue, they are now). Then they went ahead and asked for some more, with the following ground rules:

First, nothing newer than, say, about 1970. Works need some time to settle into a canon, and we should not be thinking about something written after I was born. Second, philosophy and history should be eliminated from the list unless they have compelling literary value. Clausewitz is terrifically important, but nearly unreadable. Gibbon however, is a delight to read as well as being profoundly ensmartening. Third, light on the poetry. And fourth, no matter how painful it is, no more than one example of an artist?s work unless they are a) Shakespeare, b) writing in two distinctly different genres/modes, or c) both.

With those rules in mind, Buckethead came up with these additions:

Milton, John – Paradise Lost

Chandler, Raymond – The Long Goodbye

God – The Bible

Gibbon – The Decline and Fall of the Roman Empire

Frank Herbert – Dune

J.R.R. Tolkien – The Lord of the Rings

These additions to the original list turn out to be more in line with what I tend to read. In general, these sorts of lists tend to eschew genre, especially science fiction, fantasy, horror, and even mystery, which is why I like the additions so much. So in the spirit of this discussion, I’d like to make a few humble additions.

  • More Than Human by Theodore Sturgeon: This exceptional 1953 novel about a group of misfits banding together for survival should be accepted as a genuine piece of literature. It is a powerful novel, and it’s just as relevant as Bradbury, Heinlein or Asimov.
  • I am Legend by Richard Matheson: I’ve mentioned this novel on the blog several times before, but it’s worth repeating: This 1954 novel is a study of isolation and grim irony that turns the traditional vampire story on its head. This might be one of the most influential novels you’ve never heard of, as there have been many derivatives, particularly in film. This is the sort of novel that gets passed over becaues it is a genre piece (and, even worse, it’s about vampires!) However, even a short glimpse at it’s contents reveals that it cannot be relegated to the obscurity of the horror bin…
  • The Haunting by Shirley Jackson: This 1959 book is a classic that is rightly praised as one of the finest horror novels ever written. Undeniably creepy, but still profound and worthy of a list such as this…
  • Foundation by Isaac Asimov: This was a difficult choice, as there is a lot to choose from when it comes to Asimov. But this is the work he is best known for, and there is a reason for that. When I refer to Foundation, I’m referring to the three central novels (really 1 story made up of 8 short stories collected in 3 volumes, which is why I’m bending the rules slightly to include this one). These were originally written between 1942 – 1949, and they have aged well.

Honorable mentions or novels at least worthy of consideration would include the works of H.P. Lovecraft, Kafka, and Arthur C. Clarke (and I think I might even favor Rendezvous with Rama over 2001, though it’s a toss-up). Again, all of these novels are generally passed over in discussions of high literature simply because they are genre pieces. However, whatever respect that science fiction or horror have gained, these works are at least party responsible for…

Just for fun, and to keep up with this perfidious discussion, here are the books I’ve been reading recently. I tend to read more fiction than non-fiction, but that has been steadily changing as time goes on. In any case, I’m only including the last few… Here they are:

Fiction

The Confusion by Neal Stephenson (current)

Dark Tower V: Wolves of the Calla by Stephen King

Ender’s Game by Orson Scott Card

Da Vinci Code by Dan Brown

Galveston by Sean Stewart

The Crying of Lot 49 by Thomas Pynchon

Quicksilver by Neal Stephenson

1984 by George Orwell (re-read)

Red Army by Ralph Peters

Watchmen by Alan Moore & Dave Gibbons (illustrator)

Gravity’s Rainbow by Thomas Pynchon

Non-Fiction

Benjamin Franklin by Walter Isaacson (current)

Bringing Down the House by Ben Mezrich

Parkinson’s Law by C. Northcote Parkinson

Blind Man’s Bluff by Sherry Sontag

On War by Carl Von Clausewitz

There you have it. If you’d like to share what you’ve been reading lately, feel free to leave a comment…

The Unglamorous March of Technology

We live in a truly wondrous world. The technological advances over just the past 100 years are astounding, but, in their own way, they’re also absurd and even somewhat misleading, especially when you consider how these advances are discovered. More often than not, we stumble onto something profound by dumb luck or by brute force. When you look at how a major technological feat was accomplished, you’d be surprised by how unglamorous it really is. That doesn’t make the discovery any less important or impressive, but we often take the results of such discoveries for granted.

For instance, how was Pi originally calculated? Chris Wenham provides a brief history:

So according to the Bible it’s an even 3. The Egyptians thought it was 3.16 in 1650 B.C.. Ptolemy figured it was 3.1416 in 150 AD. And on the other side of the world, probably oblivious to Ptolemy’s work, Zu Chongzhi calculated it to 355/113. In Bagdad, circa 800 AD, al-Khwarizmi agreed with Ptolemy; 3.1416 it was, until James Gregory begged to differ in the late 1600s.

Part of the reason why it was so hard to find the true value of Pi (π) was the lack of a good way to precisely measure a circle’s circumference when your piece of twine would stretch and deform in the process of taking it. When Archimedes tried, he inscribed two polygons in a circle, one fitting inside and the other outside, so he could calculate the average of their boundaries (he calculated ? to be 3.1418). Others found you didn’t necessarily need to draw a circle: Georges Buffon found that if you drew a grid of parallel lines, each 1 unit apart, and dropped a pin on it that was also 1 unit in length, then the probability that the pin would fall across a line was 2/π. In 1901, someone dropped a pin 34080 times and got an average of 3.1415929.

π is an important number and being able to figure out what it is has played a significant factor in the advance of technology. While all of these numbers are pretty much the same (to varying degrees of precision), isn’t it absurd that someone figured out π by dropping 34,000 pins on a grid? We take π for granted today; we don’t have to go about finding the value of π, we just use it in our calculations.

In Quicksilver, Neal Stephenson portrays several experiments performed by some of the greatest minds in history, and many of the things they did struck me as especially unglamorous. Most would point to the dog and bellows scene as a prime example of how unglamorous the unprecedented age of discovery recounted in the book really was (and they’d be right), but I’ll choose something more mundane (page 141 in my edition):

“Help me measure out three hundred feet of thread,” Hooke said, no longer amused.

They did it by pulling the thread off of a reel, and stretching it alongside a one-fathom-long rod, and counting off fifty fathoms. One end of the thread, Hooke tied to a heavy brass slug. He set the scale up on the platform that Daniel had improvised over the mouth of the well, and put the slug, along with its long bundle of thread, on the pan. He weighed the slug and thread carefully – a seemingly endless procedure disturbed over and over by light gusts of wind. To get a reliable measurement, they had to devote a couple of hours to setting up a canvas wind-screen. Then Hooke spent another half hour peering at the scale’s needle through a magnifying lens while adding or subtracting bits of gold foil, no heavier than snowflakes. Every change caused the scale to teeter back and forth for several minutes before settling into a new position. Finally, Hooke called out a weight in pounds, ounces, grains, and fractions of grains, and Daniel noted it down. Then Hooke tied the free end of the thread to a little eye he had screwed on the bottom of the pan, and he and Daniel took turns lowering the weight into the well, letting it drop a few inches at a time – if it got to swinging, and scraped against the chalky sides of the hole, it would pick up a bit of extra weight, and ruin the experiment. When all three hundred feet had been let out, Hooke went for a stroll, because the weight was swinging a little bit, and its movements would disturb the scale. Finally, it settled down enough that he could go back to work with his magnifying glass and his tweezers.

And, of course, the experiment was a failure. Why? The scale was not precise enough! The book is filled with similar such experiments, some successful, some not.

Another example is telephones. Pick one up, enter a few numbers on the keypad and voila! you’re talking to someone halfway across the world. Pretty neat, right? But how does that system work, behind the scenes? Take a look at the photo on the right. This is a typical intersection in a typical American city, and it is absolutely absurd. Look at all those wires! Intersections like that are all over the world, which is the part of the reason I can pick up my phone and talk to someone so far away. One other part of the reason I can do that is that almost everyone has a phone. And yet, this system is perceived to be elegant.

Of course, the telephone system has grown over the years, and what we have now is elegant compared to what we used to have:

The engineers who collectively designed the beginnings of the modern phone system in the 1940’s and 1950’s only had mechanical technologies to work with. Vacuum tubes were too expensive and too unreliable to use in large numbers, so pretty much everything had to be done with physical switches. Their solution to the problem of “direct dial” with the old rotary phones was quite clever, actually, but by modern standards was also terribly crude; it was big, it was loud, it was expensive and used a lot of power and worst of all it didn’t really scale well. (A crossbar is an N� solution.) … The reason the phone system handles the modern load is that the modern telephone switch bears no resemblance whatever to those of 1950’s. Except for things like hard disks, they contain no moving parts, because they’re implemented entirely in digital electronics.

So we’ve managed to get rid of all the moving parts and make things run more smoothly and reliably, but isn’t it still an absurd system? It is, but we don’t really stop to think about it. Why? Because we’ve hidden the vast and complex backend of the phone system behind innocuous looking telephone numbers. All we need to know to use a telephone is how to operate it (i.e. how to punch in numbers) and what number we want to call. Wenham explains, in a different essay:

The numbers seem pretty simple in design, having an area code, exchange code and four digit number. The area code for Manhattan is 212, Queens is 718, Nassau County is 516, Suffolk County is 631 and so-on. Now let’s pretend it’s my job to build the phone routing system for Emergency 911 service in the New York City area, and I have to route incoming calls to the correct police department. At first it seems like I could use the area and exchange codes to figure out where someone’s coming from, but there’s a problem with that: cell phone owners can buy a phone in Manhattan and get a 212 number, and yet use it in Queens. If someone uses their cell phone to report an accident in Queens, then the Manhattan police department will waste precious time transferring the call.

Area codes are also used to determine the billing rate for each call, and this is another way the abstraction leaks. If you use your Manhattan-bought cell phone to call someone ten yards away while vacationing in Los Angeles, you’ll get charged long distance rates even though the call was handled by a local cell tower and local exchange. Try as you might, there is no way to completely abstract the physical nature of the network.

He also mentions cell phones, which are somewhat less absurd than plain old telephones, but when you think about it, all we’ve done with cell phones is abstract the telephone lines. We’re still connecting to a cell tower (which need to be placed with high frequency throughout the world) and from there, a call is often routed through the plain old telephone system. If we could see the RF layer in action, we’d be astounded; it would make the telephone wires look organized and downright pleasant by comparison.

The act of hiding the physical nature of a system behind an abstraction is very common, but it turns out that all major abstractions are leaky. But all leaks in an abstraction, to some degree, are useful.

One of the most glamorous technological advances of the past 50 years was the advent of space travel. Thinking of the heavens is indeed an awe-inspiring and humbling experience, to be sure, but when you start breaking things down to the point where we can put a man in space, things get very dicey indeed. When it comes to space travel, there is no more glamorous a person than the astronaut, but again, how does one become an astronaut? The need to pour through and memorize giant telephone-sized books filled with technical specifications and detailed schematics. Hardly a glamorous proposition.

Steven Den Beste recently wrote a series of articles concerning the critical characteristics of space warships, and it is fascinating reading, but one of the things that struck me about the whole concept was just how unglamorous space battles would be. It sounds like a battle using the weapons and defenses described would be punctuated by long periods of waiting followed by a short burst of activity in which one side was completely disabled. This is, perhaps, the reason so many science fiction movies and books seem to flaunt the rules of physics. As a side note, I think a spectacular film could be made while still obeying the rules of physics, but that is only because we’re so used to the absurd physics defying space battles.

None of this is to say that technological advances aren’t worthwhile or that those who discover new and exciting concepts are somehow not impressive. If anything, I’m more impressed at what we’ve achieved over the years. And yet, since we take these advances for granted, we marginalize the effort that went into their discovery. This is due in part to the necessary abstractions we make to implement various systems. But when abstractions hide the crude underpinnings of technology, we see that technology and its creation as glamorous, thus bestowing honors upon those who make the discovery (perhaps for the wrong reasons). It’s an almost paradoxal cycle. Perhaps because of this, we expect newer discoveries and innovations to somehow be less crude, but we must realize that all of our discoveries are inherently crude.

And while we’ve discovered a lot, it is still crude and could use improvements. Some technologies have stayed the same for thousands of years. Look at toilet paper. For all of our wondrous technological advances, we’re still wiping our ass with a piece of paper. The Japanese have the most advanced toilets in the world, but they’ve still not figured out a way to bypass the simple toilet paper (or, at least, abstract the process). We’ve got our work cut out for us. Luckily, we’re willing to go to absurd lengths to achieve our goals.

Pynchon : Stephenson :: Apples : Oranges

The publication of Cryptonomicon lead to lots of comparisons with Thomas Pynchon’s Gravity’s Rainbow in reviews. This was mostly based on the rather flimsy convergences of WWII and technology in the two novels. There were also some thematic similarities, but given the breadth of themes in Gravity’s Rainbow, that isn’t really a surprise. They did not resemble each other stylistically, nor did the narratives really resemble one another. There was, I suppose, a certain amount of playfulness present in both works, but in the end, anyone who read one and then the other would be struck by the contrast.

However, having recently read Stephenson’s Quicksilver, I can see more of a resemblance to Pynchon. With Quicksilver, Stephenson displays a great deal more playfulness with style and narrative. He’s become more willing to cut loose, explore language, fit the style to the situation he is describing and even slip out of “novel” format, whether it be the laundry list compilation style of Royal Society meeting notes (for example, pages 182 – 186), the epistolatory exploits of Eliza (pages 636 – 659 among many others), or theater script format (pages 716 – 729). Stephenson isn’t quite as spastic as Pynchon, but the similarities between their styles are more than skin deep. In addition to this playfulness in the narrative style, Stephenson, like Pynchon, associates certain styles with specific characters (most notably the epistolatory style that is used for Eliza). Again, Stephenson is much less radical than Pynchon, and only applies a fraction of the techniques that Pynchon employs in his novel, but Stephenson has progressed nicely in his recent works.

Most of the time, Stephenson is considerably more prosaic than Pynchon, and even when he does branch out stylistically, it is done in service of the story. The Eliza letters again provide a good example. The epistolatory style allows Stephenson to write for a different audience. We know this, and thus Stephenson has a good time messing with us, especially towards the end of the novel where he takes it a step further and shows Eliza’s encrypted letters and journal entries as translated by Bonaventure Rossignol (in the form of a letter to Louis XIV). All of this serves to further the plot. Pynchon, on the other hand, is more concerned with playfully exploring the narrative by experimenting with the English language. The plot takes a secondary role to the style, and to a certain extent the style drives the plot (well, that might be a bit of a stretch) and while Pynchon is one of the few who can pull it off, Stephenson’s style doesn’t really compare. They’re two different things, really.

Nate has a great post on this very subject, and he shows that a comparison of Quicksilver with Pynchon’s novel Mason & Dixon is more apt:

The style of Mason Dixon is a synthesis of old and new that hews remarkably close to the old. Stephenson, on the other hand, writes in a much more modern style, only occasionally dotting his prose with historical flourishes … The distinction here is an old one; classical rhetoricians spoke of Asiatic versus Attic style – the former is ornate, lush, and detailed, while the latter is lean, clean, and direct. Stephenson is a master of Attic style – a fact that’s often obscured because, while his sentences are direct and elegant, their substance is often convoluted and complex. You can see it more clearly in his nonfiction – look at his explanation of the Metaweb for an excellent example. Pynchon, as an Asiatic writer, will elicit more “oohs” and “ahhs” for the power and grace of his prose, but will tend to lose his readers when he’s trying to be florid and tackling difficult material at the same time. Obviously, both authors will tend toward the Attic or the Asiatic at different points, but in general, Stephenson wants his language to transparently convey his message, while Pynchon demands a certain amount of attention for the language itself.

I haven’t read Mason & Dixon (it’s in the queue), but from what I’ve heard this sounds pretty accurate. Again, he makes the point that Pynchon and Stephenson are on different playing fields, appropriating their styles to serve different purposes… and it shows. Stephenson is a lot more fun to read for someone like me because I prefer storytelling to experimental narrative fiction.

I recently read Pynchon’s The Crying of Lot 49, and was shocked by the clarity of the straightforward and yet still vibrant prose. In that respect, I think Stephenson’s work might resemble Crying more than the novels discussed in this post…

Update: As I write this, Pynchon is making his appearance on the Simpsons. Coincidence?

Each will have his personal Rocket

I finally finished my review of Thomas Pynchon’s novel Gravity’s Rainbow. Since I blogged about the novel often, I figured I’d let everyone know it’s out there. Oddly, when writing the review, I wrote the last paragraph first:

If I were to meet Thomas Pynchon tomorrow, I wouldn’t know whether to shake his hand or sucker-punch him. Probably both. I’d extend my right arm, take his hand in mine, give one good pump, then yank him towards my swinging left fist. As he lay crumpled on the ground beneath me, gasping in pain, I’d point a bony finger right between his eyes and say “That was for Gravity’s Rainbow.” I think he’d understand.

Heh. I also wrote up a rather lengthy selection of quotes from the novel, with some added commentary. And in case you missed the previous bloggery about Gravity’s Rainbow, here they are, in all their glory:

Update: Only marginally on-topic, but Pynchon is due to be on the Simpsons this season. Typical hermit-like behavior. Thanks to Nate for the link. Also, I recently completed Quicksilver and wanted to comment on the differences/similarities between Pynchon and Stephenson, but it turns out that Nate has already done so on his blog a while back. He does a great job, but I still think I’ll be posting something on that subject relatively soon…

Error, Calibration, and Defiant Posturing

I’m still slogging my way through Neal Stephenson’s Quicksilver, and I recently came across a passage that I found particularly insightful (or, at least, that overlaps some of my interests). I’m tempted to reproduce the entire chapter, but will limit it for the sake of brevity. The two characters involved in the scene are an ambitious former-slave woman named Eliza, and famed astronomer, mathematician and physicist Christiaan Huygens. Huygens is observing the sun so as to correct any error in his clocks (even a well made clock drifts and must be calibrated from time to time) and this act is used as a metaphor to describe people. The quote is from pages 715-716 of my edition:

   “…Imagine my parents’ consternation. They had taught me Latin, Greek, French and other languages. They had taught me the lute, the viol, and the harpsichord. Of literature and history I had learned everything that was in their power to tech me. Mathematics and philosophy I learned from Descartes himself. But I built myself a lathe. Later I taught myself how to grind lenses. My parents feared that they had spawned a tradesman.”

   “No one is more pleased than I that matters turned out so well for you,” Eliza said, “but I am too thick to understand how your story is applicable to my case.”

   “It is all right for a clock to run fast or slow at times, so long as it is calibrated against the sun, and set right. The sun may come out only once in a fortnight. It is enough. A few minutes’ light around noon is all that you need to discover the error, and re-set the clock–provided that you bother to go up and make the observation. My parents somehow knew this, and did not become overly concerned at my strange enthusiasms. For they had confidence that they had taught me how to know when I was running awry and to calibrate my behavior.”

   “Now I think I understand,” Eliza said. “It remains only to apply this principle to me, I suppose.”

   “If I come down in the morning to find you copulating on my table with a foreign deserter, as if you were some sort of Vagabond,” Huygens said, “I am annoyed. I admit it. But that is not as important as what you do next. If you posture defiantly, it tells me that you have not learned the skill of recognizing when you are running awry, and correcting yourself. And you must leave my house in that case, for such people only go further and further astray until they find destruction. But if you take this opportunity to consider where you have gone wrong, and to adjust your course, it tells me that you shall do well enough in the end.”

I’ve written about this sort of thing before, only applied to systems rather than clocks or people. One of the things I left out of this quote is actually quite important: “Of persons I will say this: it is difficult to tell when they are running aright but easy to see when something has gone awry.” And the same goes for systems, too. I’ve often commented on the intelligence community, and one of the truisms of intelligence is that when it is going well, it is transparent – you don’t know it is there. We don’t reveal intelligence successes, because to do so would prevent us from further exploiting an asset, and so on. But when there is an intelligence failure, it is quite obvious to all, even if it was debatably unavoidable.

One could go crazy applying this concept to the world of current events, but I suppose that it is such an interesting point precisely because it is so broadly applicable.

Update: Removed some of the specific current events originally referenced in this post, as they distracted from the general point and I wanted to be able to refer back to this without worrying about that.

Recent and Future Consumption

For reasons which are unclear to me, my recent movie viewing has been somewhat limited. I shall have to remedy that. I’ve seen the big blockbusters, but I have no offbeat recommendations (as I usually do) at this time. As far as the biggies go, Matrix Revolutions wasn’t that bad until the ending, which blew. It’s not so much that it didn’t make sense as that it was so poorly communicated. Up until then I was very entertained (unless I started thinking about it and nitpicking), which was pretty much all I expected. Brad Wardell apparently saw a different, much better, version of the film. Widge provides an alternate ending (pdf) (an overall treatment, actually), one of millions that frustrated fans have made up.

Master and Commander was beautifully shot and well done overall, but the entire middle section drags and could have benefitted from some judicious editing (so could both of the Matrix sequels, come to think of it). Elf was funny and suprisingly innocent. Could be a good thing or a bad thing, depending on what type of person you are…

Recent listening has also been curtailed, thanks to a rogue car stereo that is taking longer than expected to fix. Stupid car. Anyway, the latest Guster album has grown on me significantly (though I still don’t love it) since I last mentioned it, but the new A Perfect Circle album stinks and doesn’t show any signs of growing on me. A pity, that. Let’s hope Maynard doesn’t let this bleed through (no pun intended, see below) to Tool…

New NIN album, to be titled bleedthrough, is coming “soon.” I’ll let you know how it is when it comes out in 2006. As usual, Meathead weighs in on this news with his unique brand of NIN-oriented wit and insight.

The public’s reaction to BLEEDTHROUGH’s title has been mixed. While some fans love it because it sounds “goth” and “angsty,” others hate it because they feel it sounds “goth” and “angsty.”

A few song titles have been released, and his thoughts on their effectiveness, especially that of “My Dead Friend,” are hilarious. I don’t give a crap about album or song titles (and I don’t generally listen to the lyrics either) so I’ll have to wait until “soon” becomes “now” before I can pass any judgement…

The Kill Bill: Volume 1 soundtrack is twisted and groovy (kinda like the movie). From the kickass trailer music of Tomoyasu Hotei’s “Battle Without Honor or Humanity” to Isaac Hayes’ “Run Fay Run” to Santa Esmeralda’s crazed cover of “Don’t Let Me Be Misunderstood,” it’s an interesting album to say the least…

A friend recently blessed me with two supposed classics of electronica, U.N.K.L.E.’s Psyence Fiction and Coldcut’s Journeys by DJ. Psyence Fiction has some great moments and several good songs, but wasn’t particularly brilliant. Journeys by DJ was ho-hum, but scored extra points for using the Doctor Who theme in a few tracks.

Speaking of which, it looks like the BBC will be bringing back Doctor Who, though the good doctor has yet to be cast. In the mean time, check out these animated episodes (which I had no idea even existed). [via Crooked Timber]

I’ve noticed that my recent television viewing has been mostly limited to cartoons. The Simpsons, South Park, Family Guy, and other Adult Swim type stuff. My friends force me to watch 24 and I’ll catch an occasional hockey game though, so it’s not all cartoons…

I recently purchased the NHL 2004 video game, and it has since eaten my soul. Sports games always cracked me up because they release a new one every year that is usually only marginally different than the previous year’s game (often the most significant change is to reflect current rosters). But the trend recently is to include some sort of General Management meta-game where you get to play General Manager and deal with contracts, trades, ticket-prices, etc… NHL 2004 is the first hockey game that I’ve played that has this feature, and it does put a whole new spin on what is otherwise not much different than NHL 1998. Then again, I’m not sure anything beats the halcyon days of the early 1990s NHL games… the player control in 2004 is a little disorienting compared to previous games, but we have still come a long way…

As for reading, I’m still chugging away at Quicksilver, which bogged down for a bit and is now picking up again. I’m not really sure what it’s about yet, and from what others have said, I’m not sure it is about anything. Yet. Still two more books coming where he’ll no doubt expand on that. For now it seems like nothing more than a ribald series of intellectual or picaresque adventures that are related but not oriented in any one direction. Yet.

Update 11.27.03 – DyRE informs me that I must have transposed a couple of numbers and that we should expect the new NIN album sometime around 2060, not 2006. My mistake.

The Iraqi Art Scene

Steve Mumford’s latest Baghdad Journal is up, and it is, as usual, excellent. In it, he actually focuses on the burgeoning Iraqi art scene (How dare he? I’ve become so accustomed to his other observations that I was somewhat surprised to see him talking about art. Then I remembered that he is an artist and that his articles are published in an internet art magazine. Duh.) Instead of showcasing Mumford’s art, as previous installments have done, this article exhibits the works of various Iraqi artists that Mumford was impressed with (and for good reason, at least according to my unrefined eyes). The artistic community is growing in Iraq, in no small part due to the newfound access they have to information from around the world…

Of the younger generation, Ahmed Al-Safi is a particularly talented painter and sculptor who’s managed to make a living selling his art. He paints simple, almost crudely rendered figures reminiscent of the German Neo-Expressionists of the 1980s (whose work he immediately investigated on the web when I told him about them). Ahmed has a wonderful studio in the slummy but picturesque part of town near Tarea Square, where he has bronze-casting facilities.

Emphasis mine. Change is coming to the Iraqi art scene, and while they are now soaking up that which is newly available to them, I find myself eager to see what the Iraqis contribute back to the world art scene…

One widely repeated observation here is that abstraction was a convenient technique for a time when all narrative content was suspect. Everyone expects art to change with the passing of Saddam’s regime, though at this point, no one I talked to is making any predictions about future trends in Iraqi art. I’ve seen no video art and practically no photography in Baghdad. Installation art is unknown. Indeed, few artists in Iraq have even heard of Andy Warhol. Now that communication with the rest of the world is starting to open up, Iraqi artists will discover just how large an ocean they’re swimming in.

I’m not an artist, but I know what I like and if the art that Mumford posted is any indication, I hope and believe we’ll find that the Iraqis will be strong swimmers in the large ocean of art. More on this subject later…

Update: I just thought I’d pick one of my favorite paintings to display here…

Muayad Muhsin

oil on canvas

2002

Mumford describes Muayad Muhsin as “a younger surrealist painter from Hilla” and I like this painting a lot. I don’t know art, but have some general knowledge of the visual medium from film, and while it may be foolish to apply film theory to art, I think it might provide some insight. The cool colors suggest an aloof tranquility, a calmness, but the oblique angle produces a sense of visual irresolution and unresolved anxiety. It suggests tension, transition, and impending change. The end result is a feeling of calm, but tense and unstable, transition. It seems appropriate…