Quotulatiousness

December 11, 2013

Canada Post to phase out home delivery

Filed under: Cancon, Humour, Politics — Tags: , , , — Nicholas @ 16:10

I haven’t had home delivery of my mail for the last few decades, but for folks downtown it’s going to be an unwelcome change. The decision forced itself on the crown corporation through the arcane workings of economic reality: it just costs too much money to deliver to those millions of homes (a tweet I forgot to save said it cost over $200 per year for home delivery and just over $100 for communal mailboxes). The news is not going down well with at least one member of the official opposition, as Colby Cosh pointed out in a series of tweets:

I’ve heard all of these responses many, many times

Filed under: Humour, Technology — Tags: , — Nicholas @ 11:08

This was posted to Google+ the other day, and it’s pretty accurate:

Programmer top 20 replies

The media and the Mandela funeral

Filed under: Africa, Britain, Media — Tags: , , , — Nicholas @ 10:29

In the Guardian Simon Jenkins discusses the way the media covered Nelson Mandela’s funeral:

Enough is enough. The publicity for the death and funeral of Nelson Mandela has become absurd. Mandela was an African political leader with qualities that were apt at a crucial juncture in his nation’s affairs. That was all and that was enough. Yet his reputation has fallen among thieves and cynics. Hijacked by politicians and celebrities from Barack Obama to Naomi Campbell and Sepp Blatter, he has had to be deified so as to dust others with his glory. In the process he has become dehumanised. We hear much of the banality of evil. Sometimes we should note the banality of goodness.

Part of this is due to the media’s crude mechanics. Millions of dollars have been lavished on preparing for Mandela’s death. Staff have been deployed, hotels booked, huts rented in Transkei villages. Hospitals could have been built for what must have been spent. All media have gone mad. Last week I caught a BBC presenter, groaning with tedium, asking a guest to compare Mandela with Jesus. The corporation has reportedly received more than a thousand complaints about excessive coverage. Is it now preparing for a resurrection?

More serious is the obligation that the cult of the media-event should owe to history. There is no argument that in the 1980s Mandela was “a necessary icon” not just for South Africans but for the world in general. In what was wrongly presented as the last great act of imperial retreat, white men were caricatured as bad and black men good. The arrival of a gentlemanly black leader, even a former terrorist, well cast for beatification was a godsend.

[…]

Mandela was crucial to De Klerk’s task. He was an African aristocrat, articulate of his people’s aspirations, a reconciler and forgiver of past evils. Mandela seemed to embody the crossing of the racial divide, thus enabling De Klerk’s near impossible task. White South Africans would swear he was the only black leader who made them feel safe — with nervous glances at Desmond Tutu and others.

South Africa in the early 90s was no postcolonial retreat. It was a bargain between one set of tribes and another. For all the cruelties of the armed struggle, it was astonishingly sparing of blood. This was no Pakistan, no Sri Lanka, no Congo. The rise of majority rule in South Africa was one of the noblest moments in African history. The resulting Nobel peace prize was rightly shared between Mandela and De Klerk, a sharing that has been ignored by almost all the past week’s obituaries. There were two good men in Cape Town in 1990.

Edward Snowden interviewed by Time

Filed under: Liberty, Technology, USA — Tags: , , , , — Nicholas @ 09:50

He may not have made the cover as “person of the year”, but he’s still very newsworthy:

For Snowden, those impacts are but a means to a different end. He didn’t give up his freedom to tip off German Chancellor Angela Merkel about the American snoops on her cell phone or to detail the ways the NSA electronically records jihadi porn-watching habits. He wanted to issue a warning to the world, and he believed that revealing the classified information at his fingertips was the way to do it. His gambit has so far proved more successful than he reasonably could have hoped — he is alive, not in prison, and six months on, his documents still make headlines daily — but his work is not done, and his fate is far from certain. So in early October, he invited to Moscow some supporters who wanted to give him an award.

After the toasts, some photographs and a brief ceremony, Snowden sat back down at the table, spread with a Russian buffet, to describe once again the dystopian landscape he believes is unfolding inside the classified computer networks on which he worked as a contractor. Here was a place that collected enormous amounts of information on regular citizens as a precaution, a place where U.S. law and policy did not recognize the right to privacy of foreigners operating outside the country, a place where he believed the basic freedoms of modern democratic states — “to speak and to think and to live and be creative, to have relationships and to associate freely” — were under threat.

“There is a far cry between legal programs, legitimate spying, legitimate law enforcement — where it is targeted, it’s based on reasonable suspicion, individualized suspicion and warranted action — and the sort of dragnet mass surveillance that puts entire populations under a sort of an eye and sees everything, even when it is not needed,” Snowden told his colleagues. “This is about a trend in the relationship between the governing and governed in America.”

That is the thing that led him to break the law, the notion that mass surveillance undermines the foundations of private citizenship. In a way, it is the defining critique of the information age, in which data is increasingly the currency of power. The idea did not originate with Snowden, but no one has done more to advance it. “The effect has been transformative,” argues Julian Assange, the founder of WikiLeaks, who has been helping Snowden from the confines of the Ecuadorean embassy in London. “We have shifted from a small group of experts understanding what was going on to broad public awareness of the reality of NSA mass surveillance.” If Facebook’s Mark Zuckerberg is the sunny pied piper of the new sharing economy, Snowden has become its doomsayer.

The overpraising of popular culture

Filed under: Books, Media — Tags: , , , — Nicholas @ 09:37

In the Wall Street Journal, Terry Teachout comes not to praise Leonard Elmore:

… It used to be that we didn’t take popular culture seriously, but now we don’t take anything else seriously.

Do I exaggerate? Consider the endless encomia that greeted the airing in September of the final episode of “Breaking Bad,” which the Daily Beast described as “a perfect, A-1 piece of televisual filmmaking…an unparalleled valedictory achievement.” Or Tuesday’s announcement by LA Weekly that it’s cutting back its theater reviews from seven per issue to two. Or the fact that no classical musician has appeared on the cover of Time magazine since 1986. Or…but why go on? You know as well as I do that in postmodern America, pop culture gets most of the ink. It always has, but nowadays it also receives the kind of dead-serious critical attention in the academy and elsewhere that used to be reserved for high art — and increasingly it does so to the exclusion of high art.

[…]

Once again, it’s not my purpose to demean pop culture. I think that most of the best movies made in America in the 20th century were crime dramas, screwball comedies and westerns. But there’s more to life than getting your head blown off in a drug deal, and more to be said about love than can be crammed into a 32-bar ballad. Novels like Flannery O’Connor’s Wise Blood, plays like Tennessee Williams’s “The Glass Menagerie,” ballets like Jerome Robbins’s “Dances at a Gathering,” paintings like Jacob Lawrence’s “Migration Series,” musical compositions like Aaron Copland’s Piano Sonata: These are large-scale works of art that aim higher than their popular counterparts. (In fact, that’s not a bad rough-and-ready definition of high art.) Mere ambition, mind you, is not in and of itself a good thing, any more than bigger is by definition better, but we’re cheating ourselves when we direct our attention solely to less ambitious art.

H/T to Kathy Shaidle for the link.

The legacy of id Software’s Doom

Filed under: Gaming, Technology — Tags: , — Nicholas @ 09:10

Following up from yesterday’s post on the 20th anniversary, The Economist also sings the praises of Doom:

Yet for Babbage, the biggest innovation of Doom was something subtler. Video games, then and now, are mainly passive entertainment products, a bit like a more interactive television. You buy one and play it until you either beat it or get bored. But Doom was popular enough that eager users delved into its inner workings, hacking together programs that would let people build their own levels. Drawing something in what was, essentially, a rudimentary CAD program, and then running around inside your own creation, was an astonishing, liberating experience. Like almost everybody else, Babbage’s first custom level was an attempt to reconstruct his own house.

Other programs allowed you to play around with the game itself, changing how weapons worked, or how monsters behaved. For a 12-year-old who liked computers but was rather fuzzy about how they actually worked, being able to pull back the curtain like this was revelatory. Tinkering around with Doom was a wonderful introduction to the mysteries of computers and how their programs were put together. Rather than trying to stop this unauthorised meddling, id embraced it. Its next game, Quake, was designed to actively encourage it.

The modification, or “modding” movement that Doom and Quake inspired heavily influenced the growing games industry. Babbage knows people who got jobs in the industry off the back of their ability to remix others’ creations. (Tim Willits, id’s current creative director, was hired after impressing the firm with his home-brewed Doom maps.) Commercial products — even entire genres of games — exist that trace their roots back to a fascinated teenager playing around in his (or, more rarely, her) bedroom.

But it had more personal effects, too. Being able to alter the game transformed the player from a mere passive consumer of media into a producer in his own right, something that is much harder in most other kinds of media. Amateur filmmakers need expensive kit and a willing cast to indulge their passion. Mastering a musical instrument takes years of practice; starting a band requires like-minded friends. Writing a novel looks easy, until you try it. But creating your own Doom mod was easy enough that anyone could learn it in a day or two. With a bit of practice, it was possible to churn out professional-quality stuff. “User-generated content” was a big buzzword a few years back, but once again, Doom got there first.

Powered by WordPress