In February, Alyssa Rosenberg wrote an excellent and nuanced examination of the paradox of Ender’s Game, and the tricky negotiation of consuming valuable works by reprehensible artists. In the 1930s and 1940s, George Orwell produced article after article trying to navigate the treacherous intersections of literature with the personal and political. But even now, there’s no map. It is unconscionable to keep supporting Card, to buy his books, to afford him any further platform. But if we all walk away and keep walking, someday a kid is going to reach for the touchstone that I clung to — and come up empty.
Once, early in our correspondence, Card and I talked about villains. I don’t remember the exact words, but Card’s advice stuck with me: to find something worth loving in every antagonist. It’s the lesson that made Speaker for the Dead my partner’s favorite book in the Ender series: that no one is all good or all bad; that most of us live the lives we think we have to.
via Orson Scott Card: Mentor, Friend, Bigot | Underwire | Wired.com.
David Denby: “American Hustle” Review : The New Yorker
“Inside Llewyn Davis” and “Nebraska” are the current standards of what a serious Hollywood movie looks like. “American Hustle” offers so many easy pleasures that people may not think of it as a work of art, but it is. In the world that Russell has created, if you don’t come to play you’re not fully alive. An art devoted to appetite has as much right to screen immortality as the most austere formal invention. ♦
via David Denby: “American Hustle” Review : The New Yorker.
David Simon: 'There are now two Americas. My country is a horror show' | World news | The Observer
And that’s what The Wire was about basically, it was about people who were worth less and who were no longer necessary, as maybe 10 or 15% of my country is no longer necessary to the operation of the economy. It was about them trying to solve, for lack of a better term, an existential crisis. In their irrelevance, their economic irrelevance, they were nonetheless still on the ground occupying this place called Baltimore and they were going to have to endure somehow.
That’s the great horror show. What are we going to do with all these people that we’ve managed to marginalise? It was kind of interesting when it was only race, when you could do this on the basis of people’s racial fears and it was just the black and brown people in American cities who had the higher rates of unemployment and the higher rates of addiction and were marginalised and had the shitty school systems and the lack of opportunity.
And kind of interesting in this last recession to see the economy shrug and start to throw white middle-class people into the same boat, so that they became vulnerable to the drug war, say from methamphetamine, or they became unable to qualify for college loans. And all of a sudden a certain faith in the economic engine and the economic authority of Wall Street and market logic started to fall away from people. And they realised it’s not just about race, it’s about something even more terrifying. It’s about class. Are you at the top of the wave or are you at the bottom?
So how does it get better? In 1932, it got better because they dealt the cards again and there was a communal logic that said nobody’s going to get left behind. We’re going to figure this out. We’re going to get the banks open. From the depths of that depression a social compact was made between worker, between labour and capital that actually allowed people to have some hope.
via David Simon: ‘There are now two Americas. My country is a horror show’ | World news | The Observer.
How Apple's Lightning-Plug Guru Reinvented Square's Card Reader | Wired Design | Wired.com
How a Custom Chip Creates a Cascade of Consequences
The even greater undertaking with the new Reader, however, was the development of a custom chip, built from the ground up. “It’s not typical for a startup to do that,” Dorogusker says. “It’s a little bit of upfront cost to build this from scratch.” But the benefits were huge. After all, this tiny fleck is the brains of the operation. And by building their own chip, Square was able to improve several aspects of the product–its performance, its size, and its overall reliability–in one stroke.
On one level, developing a custom chip gave Square total control over the processes at the heart of the product: Decoding the magnetic signal from the credit card, encoding the electrical signal being sent to the smartphone, and all the encryption that happens in between. “We take all of that very seriously,” Dorogusker says. “We know exactly what we need. Off the shelf solutions could do what we wanted but had a bunch of extra.”
In terms of the design of the internals, though, the chip offered another fantastic advantage: an opportunity to ditch the Reader’s battery. The old version relied on a coin cell, which added around two millimeters to the overall thickness of the device. With their own chip, though, Square was able to be much more efficient in their use of power, to the point that they could draw all they needed from the smartphone via the audio jack. As a result, the new Reader dropped the battery and two millimeters along with it. “For the nerds on the team, that is crazy awesome,” Dorogusker says.
via How Apple’s Lightning-Plug Guru Reinvented Square’s Card Reader | Wired Design | Wired.com.
David Simon: 'There are now two Americas. My country is a horror show' | World news | The Observer
It took a working class that had no discretionary income at the beginning of the century, which was working on subsistence wages. It turned it into a consumer class that not only had money to buy all the stuff that they needed to live but enough to buy a bunch of shit that they wanted but didn’t need, and that was the engine that drove us.
It wasn’t just that we could supply stuff, or that we had the factories or know-how or capital, it was that we created our own demand and started exporting that demand throughout the west. And the standard of living made it possible to manufacture stuff at an incredible rate and sell it.
And how did we do that? We did that by not giving in to either side. That was the new deal. That was the great society. That was all of that argument about collective bargaining and union wages and it was an argument that meant neither side gets to win.
Labour doesn’t get to win all its arguments, capital doesn’t get to. But it’s in the tension, it’s in the actual fight between the two, that capitalism actually becomes functional, that it becomes something that every stratum in society has a stake in, that they all share.
The unions actually mattered. The unions were part of the equation. It didn’t matter that they won all the time, it didn’t matter that they lost all the time, it just mattered that they had to win some of the time and they had to put up a fight and they had to argue for the demand and the equation and for the idea that workers were not worth less, they were worth more.
via David Simon: ‘There are now two Americas. My country is a horror show’ | World news | The Observer.
Lost in Translation Movie Review (2003) | Roger Ebert
I can’t tell you how many people have told me that just don’t get “Lost in Translation.” They want to know what it’s about. They complain “nothing happens.” They’ve been trained by movies that tell them where to look and what to feel, in stories that have a beginning, a middle and an end. “Lost in Translation” offers an experience in the exercise of empathy. The characters empathize with each other (that’s what it’s about), and we can empathize with them going through that process. It’s not a question of reading our own emotions into Murray’s blank slate. The slate isn’t blank. It’s on hold. He doesn’t choose to wear his heart on his sleeve for Charlotte, and he doesn’t choose to make a move. But he is very lonely and not without sympathy for her. She would plausibly have sex with him, casually, to be “nice,” and because she’s mad at her husband and it might be fun. But she doesn’t know as he does that if you cheat it shouldn’t be with someone it would make a difference to.
There is wonderful comedy in the film, involving the ad agency’s photo shoot for the Suntory Scotch commercial and Bob’s guest shot on the “Japanese Johnny Carson.” But Coppola remains firmly grounded in reality. The Japanese director seems to be spouting hysterical nonsense until you find a translation online and understand what he’s saying and why. He’s not without humor. The translator seems to be simplifying, but now we understand what she’s doing. There’s nothing implausible about the scene. Anyone who watches Japanese TV, even via YouTube, knows the TV show is straight from life. Notice the microscopic look Murray gives the camera to signal “just kidding.”
What is lost in translation? John understands nothing of what Charlotte says or feels, nor does he understand how he’s behaving. (Ribisi’s acting in the scene where he rushes out saying he loves her is remorselessly exact). Bob’s wife and assistant don’t understand how desperately indifferent he is to the carpet samples. And so on. What does get translated, finally, is what Bob and Charlotte are really thinking. The whole movie is about that act of translation taking place.
via Lost in Translation Movie Review (2003) | Roger Ebert.
Jony Ive’s Secret Coffee Ritual
Jony Ive and his elite design team at Apple are coffee snobs. And rightfully so.
Coffee is the fuel that drives their brainstorming sessions, which are arguably the most important meetings in the design department. These sessions are where Apple has birthed some of the greatest products of all-time: the iMac, the iPod, the iPhone, and the iPad.
In this guest post by Leander Kahney (author of Jony Ive: The Genius Behind Apple’s Greatest Products), you’ll learn the secret coffee ritual performed by Jony Ive’s design team.
Remember: Apple’s standards are notoriously high. As is the case with their products, Apple’s coffee is not for those with meager budgets…or without Monk-ish tendencies.
HOWEVER, for almost every uber-expensive ideal, I’ve indicated the Poor Man’s alternative that I personally use. It’s not hard to cheaply get it about 90% right.
Enjoy the obsessive detail…
via Jony Ive’s Secret Coffee Ritual.
The Death Dealer | The Verge
Ross, the cult intervention specialist, agrees that the media has a responsibility to its viewers. Oprah brought James Arthur Ray into millions of homes, asking her audience to trust him. She made him wealthy and famous. When James Frey admitted to fabricating portions of his Oprah-endorsed memoir, she publicly chastised him for duping her. When three people died following a teacher Oprah endorsed, the Browns point out, she remained silent. According to Ross, she failed her viewers, and without apology continues to promote “these kind of fringe people that could do the public harm.”
And in the United States, it’s largely caveat emptor when it comes to choosing a teacher. As Ross points out, the $11 billion “self-improvement” industry is largely unregulated (which even market researchers admit is probably hampering it). First Amendment protections offer broad protection for self-help claims. Kevin Trudeau, a late-night infomercial pitchman who claimed mystical connections similar to James Arthur Ray’s, was recently jailed for contempt of court after the Federal Trade Commission accused him of false advertising — including the idea that “coral calcium” cured cancer. But he’s an exception. Most self-help promoters make claims so vague as to be beyond the reach of the FTC or fraud laws.
The Browns worry that their daughter’s death has changed nothing
That puts the burden of being informed on consumers, and the Browns worry that people will find it too easy to blame their daughter for her own death. They fear that people might consider her to be naive or gullible. “‘A middle-aged woman in Sedona, Arizona, who was an idiot, did this stupid thing and is dead,’” George Brown says. “We weren’t going to stand for that.” Kirby was curious, ambitious, and hardworking. As Ginny describes it, she was “drunk on life.” Like Ray, she was constantly reinventing herself. Those characteristics led her to James Arthur Ray.
via The Death Dealer | The Verge.
Why Smaug Still Matters
There are dragons that would likely make Tolkien despair that no glimpse of Fairie could be found in their multicolored hides. And that’s natural; those of us who grew up with Smaug and his increasingly numerous successors will inevitably twist and turn dragons into new forms. But it’s worthwhile to look back at that older version of the modern dragon and think about what we can learn about heroism from a potent, if fallible, foe. Perhaps Smaug’s most worthy successors can be found less among the population of dragons than among the wider spectrum of science fiction and fantasy antagonists. At first glance, for example, the xenomorphs from the Alien franchise could hardly be more different from Smaug; they lack his mythological heritage and his fondness for conversation. But they share that “bestial life” that Tolkien found so lacking in Beowulf, that sense that exist as more than mere antagonists and possess their own interior lives, even if those interior lives are completely foreign to us humans. And while they seem nearly impossible to kill, they can bring out hidden strengths in the right protagonist.
A dragon may be more of an idle fancy now than it was in Tolkien’s day, but that doesn’t detract from the magnificence of Smaug. Smaug doesn’t necessarily offer a template for dragons, but he does remind us to be thoughtful about our approach to monsters and to find worthy—and sometime unexpected—heroes to challenge them.
via Why Smaug Still Matters.
Not everyone is going to like the thing you made, and that’s okay | WIL WHEATON dot NET
When I was younger, I would have completely ignored the first one, and obsessively focused on the second one to the point of feeling shitty about myself. Part of having Imposter Syndrome is believing that people who praise you are dupes, while the people who criticize you can actually see through everything. But the thing is, the guy who isn’t thrilled has every right to feel that way, and I don’t take it personally. Not everyone digs what I do and what I bring to a project, and that’s totally cool. At the same time, it’s also pretty awesome that a lot of people do dig what I bring to a project, and that is also cool.
Consider this, about having perspective on criticism: If you enjoyed making a thing, and you’re proud of the thing you made, that’s enough. Not everyone is going to like it, and that’s okay. And sometimes, a person who likes your work and a person who don’t will show up within milliseconds of each other to let you know how they feel. One does not need to cancel out the other, positively or negatively; if you’re proud of the work, and you enjoyed the work, that is what’s important.Don’t let the fear of not pleasing someone stop you from being creative.
The goal isn’t to make something everyone will love; the goal is to get excited, and make a thing where something wasn’t before
via Not everyone is going to like the thing you made, and that’s okay | WIL WHEATON dot NET.
