Quotulatiousness

August 4, 2022

“Klaus Schwab, it turns out, is Supervillain Thomas Friedman”

Filed under: Books, Economics — Tags: , , , — Nicholas @ 05:00

Chris Bray somehow manages to girds his loins to take on a task that most of us would run screaming from: actuall reading a book by Klaus Schwab:

Seeing roughly 4,000 references a day to Klaus Schwab and the World Economic Forum, it occurred to me late last week that I’d never gone to the source — I’ve never read a book by Klaus Schwab. So I set out to read the one the Dutch parliamentarian asked his prime minister about, the one about the Great Reset, which Schwab co-wrote with Thierry Malleret. It’s a little like saying, “Man, you know, I’ve never gone swimming in the sewer,” and then pulling on your swimsuit.

So.

First, if you weigh about ten pounds, I can report that the book is the perfect size and shape for lounging.

This is the only value the book provides to the world, and I recommend the immediate deployment of all remaining copies to the one population that can actually use them. Personal to Klaus Schwab: Give the next book a scratchy cardboard cover. Just trust me on this.

As for the book’s relationship to humans: Klaus Schwab, it turns out, is Supervillain Thomas Friedman. Being shrewd, he notices things: Did you know that a lot more people are online now than twenty years ago? Did you know that many objects are now connected to the Internet, from “electric grids and water pumps, to kitchen ovens and agricultural irrigation systems”, and that objects didn’t used to be connected to the Internet? Did you realize that this shift is causing change? When we talk about the pace of change, reader, we are talking about a term called velocity, and a lot of change happening quickly has a high velocity.

If you’ve ever worked for a corporate middle manager who held meetings to encourage the team to think outside the box, you’ve already read Klaus Schwab. We get an endless stream of tautological management-speak, encouraging leaders to embrace transformation by adopting a transformational approach, leading to transformational action and transformational policy caused by a transformational something or other. Page 63: “Innovation in production, distribution, and business models can generate efficiency gains and new or better products that create higher value added, leading to new jobs and economic prosperity.” Innovation can create things that are new, he explained, showing why he’s one of our best-known and most powerful economic experts. A warning to the world: If Kamala Harris and Klaus Schwab ever end up alone in a room together for a sustained and direct conversation, the banality will attain critical mass, and we will all die in a world-consuming implosion.

And here’s the key to the man’s power and status: He sounds like them. He talks to the governing class in language they recognize, telling them the things they already think. He went to a place where people already were, and he told them he led them there.

Barbarian Europe: Part 5 – The Vandals in Africa

Filed under: Africa, Europe, History — Tags: , , , , — Nicholas @ 04:00

seangabb
Published 21 May 2021

In 400 AD, the Roman Empire covered roughly the same area as it had in 100 AD. By 500 AD, all the Western Provinces of the Empire had been overrun by barbarians. Between April and July 2021, Sean Gabb explored this transformation with his students. Here is one of his lectures. All student contributions have been removed.
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Boris wanted to be another Churchill, but he turned out to be another Lloyd George

Filed under: Britain, History, Politics — Tags: , , , , — Nicholas @ 03:00

Long before Boris Johnson achieved his goal of becoming Prime Minister, he was consciously modelling himself on Winston Churchill … but his real life adventure showed him to be much more the next coming of an earlier PM than Churchill:

Boris Johnson labours under the illusion that he is another Churchill. Actually the resemblance, astonishing both in gross and in detail, is to Churchill’s other great contemporary, David Lloyd George.

Indeed, the parallels between the two men and their careers are so close that it’s tempting to give Karl Marx’s dictum yet another dust-down and talk of history happening twice: first as tragedy and then as farce. Which would make Boris Johnson Napoleon III to the Welsh Wizard’s imperial premiership.

Which, to be truthful, sounds about right.

[…]

Consider A.J.P. Taylor’s masterly pen-portrait of Lloyd George:

He had no friends and did not deserve any. He repaid loyalty with disloyalty. He was surrounded by dependants and sycophants, whom he rewarded lavishly and threw aside when they had served their turn. His rule was dynamic and sordid at the same time. He himself gave hostages to fortune by the irregularity of his private life. But essentially his devious methods sprang from his nature. He could do things no other way.

There is scarcely a single word that does not apply equally to Boris Johnson.

These two extraordinary, outsize personalities also benefitted from extraordinary times. Lloyd George became prime minister in 1916 at the nadir of the First World War when it seemed, as he himself wrote, “we are going to lose this war”. Johnson reached Number Ten at a comparable moment in domestic affairs, when the three year-long crisis brought about by the furious rear-guard action of the Remainer elites against the Brexit referendum threatened to turn into a sort of national nervous breakdown.

Both therefore took the premiership over the political corpse of their failed predecessor (Herbert Asquith and Theresa May), and both were haunted by their unquiet ghosts. Finally, both had a single, though infinitely difficult, job: Lloyd George’s was to win the war; Johnson’s to cut the parliamentary Gordian knot and “Get Brexit Done”. And both were given, or took, carte blanche to do it.

Taylor makes no bones about it and calls Lloyd George “dictator for the duration of the war”. He even invokes the comparison with Napoleon I. Contemporaries, like the former Tory premier, A. J. Balfour, used the same language: “If [Lloyd George] wants to be dictator, let him be. If he thinks he can win the war, I’m all for him having a try.”

Markings used in Woodworking | Paul Sellers

Filed under: Tools, Woodworking — Tags: , , — Nicholas @ 02:00

Paul Sellers
Published 14 Apr 2022

Woodworking marks we use in the laying out process for joinery are usually made with pencils, knives, and marking gauges of different types, and those new to using hand tool methods might feel confused as to when to use what type during layout.

In this video, we show where and when to use temporary pencil lines in preparation for permanent marks with knives and marking gauges so that after the joinery is completed, all visible markings disappear with the completion of each joint.
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QotD: Errol Flynn versus Basil Rathbone in the 1938 Adventures of Robin Hood

Filed under: Britain, History, Media, Quotations — Tags: , , , — Nicholas @ 01:00

A lot of swordfighting in medieval-period movies is even less appropriate if you know what the affordances of period weapons were. The classic Errol Flynn vs. Basil Rathbone duel scene from the 1938 Adventures of Robin Hood, for example. They’re using light versions of medieval swords that are reasonably period for the late 1100s, but the footwork and stances and tempo are all French high line, albeit disguised with a bunch of stagey slashing moves. And Rathbone gets finished off with an epée (smallsword) thrust executed in perfect form.

It was perfect form because back in those days acting schools taught their students how to fence. It was considered good for strength, grace, and deportment; besides, one might need it for the odd Shakespeare production. French high-line because in the U.S. and Europe that was what there were instructors for; today’s Western sword revival was still most of a century in the future.

This scene exemplifies why I find the ubiquitousness of French high-line so annoying. It’s because that form, adapted for light thrusting weapons, produces a movement language that doesn’t fit heavier weapons designed to slash and chop as well as thrust. If you’re looking with a swordsman’s eye you can see this in that Robin Hood fight. Yes, the choreographer can paste in big sweeping cuts, and they did, but they look too much like exactly what they are – theatrical flourishes disconnected from the part that is actually fighting technique. When Flynn finishes with his genuine fencer’s lunge (not a period move) he looks both competent and relieved, as though he’s glad to be done with the flummery that preceded it.

At least Flynn and Rathbone had some idea what they were doing. After their time teaching actors to fence went out of fashion and the quality of cinematic sword choreography nosedived. The fights during the brief vogue for sword-and-sandal movies, 1958 to 1965 or so, were particularly awful. Not quite as bad, but all too representative, was the 1973 Three Musketeers: The Queen’s Diamonds, a gigantic snoozefest populated with slapdash, perfunctory swordfights that were on the whole so devoid of interest and authenticity that even liberal display of Raquel Welch’s figure could not salvage the mess. When matters began to improve again in the 1980s the impetus came from Asian martial-arts movies.

Eric S. Raymond, “A martial artist looks at swordfighting in the movies”, Armed and Dangerous, 2019-01-13.

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