Quotulatiousness

March 22, 2018

The social media mistake

Filed under: Liberty, Media, Politics, Technology — Tags: , , , , — Nicholas @ 03:00

Robert Tracinski explains why the move to social media was dangerous to free public discourse despite the otherwise-attractive nature of TwitFaceTube and other factions of the social media Borg:

Was social media a mistake? Two recent events crystallized my answer to this question. First, conservative comedian Steven Crowder had his Twitter account suspended for a week because he posted a video on YouTube that was critical of “gender fluidity” and used a Bad Word. The video was also pulled from YouTube, which you might not think of as a social media platform, even though it definitely is.

Then Brandon Morse noticed Twitter was preventing him from tweeting a link to an article by a controversial conservative columnist. This follows stories of Google-owned YouTube “demonetizing” videos by conservatives, unplugging them from the ability to make money from ads, and Facebook and Google targeting conservative sites for hilariously inaccurate and tendentious “fact checks.” It’s becoming clear that the big social media companies are targeting ideas and thinkers on the Right, and not just the far-out provocateurs and trolls like Milo Yianopoulos, but everyone.

What strikes me most is the contrast between this and the Internet era before social media, before Facebook, Twitter, and YouTube swallowed up everything. I’m talking about the 2000s, the great era of the blogs. Do you remember what that blog era was like? It felt like liberation.

The era of blogging offered the promise of a decentralized media. Anybody could publish and comment on the news and find an audience. Guys writing in their pajamas could take down Dan Rather. We were bypassing the old media gatekeepers. And we had control over it! We posted on our own sites. We had good discussions in our own comment fields, which we moderated. I had and still have an extensive e-mail list of readers who are interested in my work, most of which I built up in that period, before everybody moved onto social media.

But then Facebook, Twitter, and YouTube came along and killed the blogs. There were three main reasons they took over.

I have various social media accounts, but in most cases I just use them to link to my blog posts. The old saw about never reading the comments applies with even greater force to most of the social media platforms. I don’t do “breaking news” on the blog, because that’s one thing social media can do better — most of my regular visitors come here once a day to see what I’ve posted since their last visit, not to check for smoking hot takes on something that happened in the last fifteen minutes. For immediacy, the social media sites will win over the blogs (and even the mainstream media, in many cases).

H/T to American Digest for the link.

March 14, 2018

“[Jordan Peterson has] been described as ‘rightwing’ or ‘far right’ by journalists who have apparently forgotten how to think”

Filed under: Australia, Media, Politics — Tags: , , , — Nicholas @ 03:00

In The Guardian, Gareth Hutchens discusses the rise of Jordan Peterson:

Professor Jordan B Peterson is not yet a household name in Australia.

But he’s in the middle of a speaking tour that has found an enthusiastic audience. All four speaking events have sold out, including his Sydney and Brisbane shows this week. Organisers know they could have booked more venues.

Why are Australians paying to hear him talk?

Peterson loathes identity politics, rails against postmodernism and “neo-Marxism”, and despises gender studies and political correctness. He asserts the biological differences between men and women, and delivers pep talks on how to live a meaningful life and how to find the right partner.

He gives lectures on the truths embedded in myths and legends that are thousands of years old.

To appreciate where he’s coming from, it helps to be familiar with Nietzsche and Dostoevsky and their premonition that the death of mass belief in God would lead to nihilism and/or the rise of totalitarian value systems as alternatives.

I’ve watched Peterson’s online lectures for a while now, after he became an internet celebrity in late 2016.

It’s been fascinating witnessing media outlets trying to come to terms with him. He’s been described as “rightwing” or “far right” by journalists who have apparently forgotten how to think.

Does he belong to the far right because he loathes political correctness, identity politics and postmodernism? Noam Chomsky has made similar criticisms for decades. As did Christopher Hitchens.

Is it rightwing to lament the damage done to the left by the increasing tendency of leftist students on North American campuses to harass people who challenge their ideological orthodoxy? Nicholas Christakis, a sociologist and physician from Yale University, who is a self-confessed progressive, says he can’t understand their behaviour. Bret Weinstein, a former biology professor of Evergreen State College, says he can’t understand it either. He considers himself “deeply progressive” but he says the left is “eating itself.”

Peterson deserves to be taken seriously.

March 12, 2018

QotD: Punctuation

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

The rules [of punctuation] we’re taught in school are the syntactic ones; in these, punctuation is a part of the grammar of written English and the rules for where you put it are derived from grammatical phrase structure and pretty strict. Lynne Truss of Eats, Shoots & Leaves fame is an exponent of this school. But there is another…

Punctuation marks originated from notations used to mark pauses for breath in oral recitations, but 17-to-19th-century grammarians tied them ever more tightly to grammar. There remains a minority position that language pedants call “elocutionary” – that punctuation is properly viewed as markers of speech cadence and intonation. Top-flight copy editors know this: the best one I ever worked with was a syntactic punctuationist on her own hook who noted that I’m an elocutionary punctuationist and then copy-edited in my preferred style rather than hers. (That, my friends, is real professionalism.)

And why am I an elocutionary punctuationist? Because I pay careful attention to speech rhythm and try to convey it in my prose. Not all skilled writers do this, but elocutionary punctuation survives in English because it keeps getting rediscovered for stylistic reasons. Consider Rudyard Kipling or Damon Runyon – two masters of conveying the cadences of spoken English in written form; both used elocutionary punctuation, though perhaps not as a conscious choice.

To an elocutionary punctuationist, the common marks represent speech pauses of increasing length in roughly this order: comma, semicolon, colon, dash, ellipsis, period. Parentheses suggest a vocal aside at lower volume; exclamation point is a volume/emphasis indicator, and question mark means rising tone.

In normal usage, most of the differences between the schools show up in comma placement. But in less usual circumstances, elocutionary punctuationists will cheerfully countenance written utterances that a grammarian would consider technically ill-formed. Here’s an example: “Stop – right – now!” The dashes don’t correspond to phrase boundaries, they’re purely vocal pause markers.

Eric S. Raymond, “Extreme punctuation pedantry”, Armed and Dangerous,

March 9, 2018

QotD: Contempt for science

Filed under: Education, Media, Quotations, Science — Tags: , , , — Nicholas @ 01:00

The waging of a “war on science” by right-wing know-nothings has become part of the conventional wisdom of the intelligentsia. Even some Republican stalwarts have come to disparage the GOP as “the party of stupid.” Republican legislators have engaged in spectacles of inanity, such as when Sen. James Inhofe, chair of the Committee on Environment and Public Works, brought a snowball to the Senate floor in 2015 to dispute the fact of global warming, and when Rep. Lamar Smith, chair of the House Committee on Science, Space, and Technology, pulled quotes out of context from peer-reviewed grants of the National Science Foundation so he could mock them (for example, “How does the federal government justify spending over $220,000 to study animal photos in National Geographic?”).

Yet a contempt for science is neither new, lowbrow, nor confined to the political right. In his famous 1959 lecture “The Two Cultures and the Scientific Revolution,” C.P. Snow commented on the disdain for science among educated Britons and called for a greater integration of science into intellectual life. In response to this overture, the literary critic F.R. Leavis wrote a rebuttal in 1962 that was so vituperative The Spectator had to ask Snow to promise not to sue for libel if they published the work.

The highbrow war on science continues to this day, with flak not just from fossil-fuel-funded politicians and religious fundamentalists but also from our most adored intellectuals and in our most august institutions of higher learning. Magazines that are ostensibly dedicated to ideas confine themselves to those arising in politics and the arts, with scant attention to new ideas emerging from science, with the exception of politicized issues like climate change (and regular attacks on a sin called “scientism”). Just as pernicious is the treatment of science in the liberal-arts curricula of many universities. Students can graduate with only a trifling exposure to science, and what they do learn is often designed to poison them against it.

Steven Pinker, “The Intellectual War on Science”, Chronicle of Higher Education, 2018-02-13.

March 7, 2018

The History of Sci Fi – Jules Verne – Extra Sci Fi – #1

Filed under: Books, History, Media — Tags: , — Nicholas @ 06:00

Extra Credits
Published on Mar 6, 2018

Let’s start our journey to the center of hard science fiction: the works of Jules Verne, who imagined the technological wonders humanity could — and would — create in the twentieth century.

March 6, 2018

Playboy‘s extortion attempt against Boing Boing dismissed

Filed under: Law, Liberty, Media, Technology, USA — Tags: , , , — Nicholas @ 05:00

Back in January, I linked to the bizarre story of Playboy attempting to sue Boing Boing for the terrible crime of … linking. On the web. I’m not making this up. Thankfully, common sense finally did triumph as reported on Monday:

In January, we let you know that Playboy had sued us. On Valentine’s Day, a court tossed their ridiculous complaint out, skeptical that Playboy could even amend it. Playboy didn’t bother to try.

We are grateful this is over. We are grateful for the wonderful work of the EFF, Durie Tangri, and Blurry Edge, our brilliant attorneys who stood up to Playboy‘s misguided and imaginary claims. We are glad the court quickly saw right through them.

Playboy damaged our business. This lawsuit cost our small team of journalists, artists and creators time and money that would otherwise have been focused on Boing Boing‘s continued mission to share wonderful things.

QotD: Baseball versus modern art

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

By now I hope the problems here are obvious. Hessenius notes at the linked essay that “The heart of the sports complex support over the past fifty years has been the farm team system,” and that the arts have lessons to learn from that fact. I can only speak for visual art, but there the continuity between the creative acts we engaged in as children and what goes on in the lofty regions of the professional world, by design, have little or nothing to do with each other. A painter I know in grad school — someone deeply thoughtful about materials and surfaces — was told by his department head a couple of months ago that she thought it was important to transcend the romantic idea of the artist working alone in his studio and contemplate how to become a better global citizen. Art that succeeds in doing this sort of thing, or appearing to do this sort of thing, wins praise for raising serious questions about this issue or that one.

Baseball hasn’t spent a hundred years smashing its own conventions. Baseball players don’t endeavor to turn hitting into a critique of late capitalism. Baseball doesn’t call upon fans to comprehend discussion full of coinages by PhD students trying to impress their dissertation committees, or implicitly punish them for having bourgeois values. Audiences instinctively and rightly hate this kind of pretentiousness.

Franklin Einspruch, “Why Sports Are Surging But the Arts Are Not”, Artblog.net, 2016-07-15.

March 5, 2018

Gender War

Filed under: Humour, Media — Tags: , , — Nicholas @ 02:00

Owen Benjamin
Published on 10 Mar 2017

Watch this video to understand how men think, how women think, and why this narrative of gender conflict hurts everyone. I do it in a funny way because I’m a comedian, but there is a lot of truth in this. Not because I’m smart, but because I’ve made an unbelievable amount of mistakes in my life and don’t like to repeat them.

if you want to listen to my podcasts or see me live check out hugepianist.com
much love.

H/T to Rick McGinnis for the link.

March 3, 2018

5 Great Libertarian Movies!

Filed under: Economics, Liberty, Media — Tags: , — Nicholas @ 06:00

ReasonTV
Published on 2 Mar 2018

Forget the Oscars! Here are five great movies made over the past quarter-century that any libertarian will (must?) enjoy.
_____

The Incredibles (2004)

This Pixar film directed by Brad Bird is so full of speeches extolling individualism, it sometimes sounds like an Ayn Rand novel (in fact, Rand is clearly part of inspiration for the character of Edna Bird). Even the supervillain in The Incredibles is a creature of self-invention and self-improvement. While the Incredibles are born with their powers, Syndrome is a normie who worships Mr. Incredible and is desperate to be his sidekick.

Like an animated version of Richard Nixon, Syndrome’s ambition ultimately gets the best of him.

The Barbarian Invasions (2003)

Québécois director Denys Arcand’s brilliant sequel to The Decline of the American Empire is the single-best depiction of the depredations of socialized medicine. Canada’s health-care system is so sclerotic that the movie’s protagonist, a retired academic named Rémy, cannot even score the drugs he needs to commit suicide until his estranged son, a banker, buys them on the black market.

Even more disturbing is the moment when the terminally ill Rémy and his former colleagues admit that their intellectual faddishness led them to embrace every awful left-wing “ism” of the past 30 years despite their massive human toll.

Dallas Buyers Club (2013)

Set in the 1980s, Matthew McConaughey plays Ron Woodroof, a boozey roughneck who is given 30 days to live after being diagnosed with AIDS. Faced with a death sentence, he schools himself on a wide variety of treatments, first in Mexico and then all over the world. With the help of a cross-dressing party girl named Rayon, Woodroof skirts FDA prohibitions against importing, using, and selling unapproved drugs by creating a “buyers club,” in which members pay a monthly fee and assume all risks.

The depiction of official indifference to patient suffering and the bureaucratic quashing of medical freedom even for people who are certain to die is inspirational, especially now that even Donald Trump has endorsed “right-to-try” legislation that would allow terminally ill patients access to non-approved medicines.

Joy (2015)

Jennifer Lawrence became a mega-star playing the anti-government rebel Katniss Everdeen in The Hunger Games movies. While there’s no shortage of libertarian sentiment coursing through that trilogy, it’s actually a quieter movie starring Lawrence that embodies libertarian virtues of hard work, commercial innovation, and entrepreneurship.

In Joy, Lawrence plays real-life “Miracle Mop” inventor Joy Magano, who helped make cleaning your floors easier while making herself rich. The film is nothing less than a paean to capitalism’s genius at allowing self-expression and self-fulfillment.

In a dramatic scene with Bradley Cooper, who plays an executive at a home-shopping network, Joy summarizes in a few sentences what it took Joseph Schumpeter, Friedrich Hayek, and Milton Friedman whole books to say.

As former Reason Editor Virginia Postrel wrote, the film “acknowledges the wealth-creating value of incremental improvements even in the most mundane items.”

Ghostbusters (1984)

Released in 1984, Ghostbusters quickly became one of most successful comedies in film history.

The movie was perfectly in synch with the Reagan Revolution’s valorization of business and demonization of government. Ghostbusters begins with a team of paranormal investigators getting kicked out of Columbia University and starting a ghost-hunting business. But even though New York is literally being invaded by evil spirits, the real villain of the movie is not the otherwordly demon Gozer but an Environmental Protection Agency bureaucrat named Walter Peck, who shuts down their operation and puts the city at risk.

Well, what do you think? How far off the mark are we? What great libertarian movies would you add to the list? Let us know in the comments.

Produced by Todd Krainin. Written and narrated by Nick Gillespie.

February 26, 2018

India’s largest newspaper on Justin Trudeau’s “disaster visit”

Filed under: Cancon, India, Media, Politics — Tags: , , , , — Nicholas @ 03:00

Paul Wells linked to this story in the world’s largest circulation English language newspaper, The Times of India:

Justin Trudeau and family during India visit
Image via NDTV, originally tweeted by @vijayrupanibjp

Canadian prime minister Justin Trudeau’s visit was a disaster that has little parallel in India’s recent diplomatic history. But as the Canadian prime minister returned home on Saturday after almost a week of recurrent diplomatic missteps, ironically, it may have provided the opportunity to reset relations between Canada and India.

On Saturday, Indian government officials were angry at suggestions by Canadian officials that India was responsible for Khalistani terrorist Jaspal Atwal getting a visa to India and used his presence to embarrass Trudeau.

Trudeau, in his meeting with prime minister Narendra Modi, also complained that his visit had been shadowed by a single issue. Atwal got a visa because he was taken off the blacklist some years ago. But he was part of a number of Trudeau’s own events that did not involve the Indian government at all.

A prime ministerial visit to a foreign country for a week with a thin official component is always fraught with danger. In addition, moving the official meetings to the very end of the trip indicated that the government meetings were an after-thought. Most foreign leaders who throw in other events almost always front-load the official meetings, and then go on to business or tourism events.

Here, it was clear from the start that Trudeau came to India to score with his Sikh constituency back home — four out of the six cabinet ministers who travelled with him were Sikh, as were an overwhelming number of MPs who also travelled with him. Until the media barrage in India forced the Canadian side to change tack, Trudeau was not even ready to meet Amarinder Singh, chief minister of Punjab. Even the Canadian high commissioner’s official reception was a celebration of Punjab with the prime minister himself waltzing in on bhangra beats.

February 22, 2018

The worst episode of The Avengers? “How to Succeed … at Murder”

Filed under: Britain, Media — Tags: , , , , — Nicholas @ 03:00

In a column ostensibly devoted to the British Labour party’s ongoing ructions over their “all women shortlist” problems, David Cole recaps what he calls the worst episode of the brilliant 1960s British TV show The Avengers:

(Image via Aveleyman.com)

When I think of The Avengers, what comes to mind is not the bloated comic-book franchise in which overpaid actors cavort in front of a greenscreen for the masturbatory pleasure of nerds. No, to me, there is and will always be only one Avengers, and that’s the 1960s British crime and espionage TV series. As a kid, it was my favorite show, and I have fond memories of rushing home from elementary school every day to catch Emma Peel (my favorite of John Steed’s female partners) in action.

Among Avengers superfans, there is one episode that is generally considered the worst. Indeed, the episode is outright despised, because in a series lauded (and properly so) for being a trailblazer when it came to presenting strong, intelligent, and independent action heroines, the episode “How to Succeed…at Murder” is seen as a giant chauvinistic step backward. It’s known as the “anti-feminist” episode, the one that took the show’s message of female empowerment and stood it on its head. “How to Succeed…at Murder” was first broadcast in March 1966. The setup is typical Avengers-style mystery. Prominent businessmen are being murdered by unknown assailants, and it’s up to Steed and Peel to get to the bottom of it. It turns out, a group of sexy female ballet students have created a secret society dedicated to the destruction of powerful men. They use their feminine charms to get hired as secretaries, only to quickly begin taking control of the business to the point that when they murder the boss, ownership falls to them. The society’s motto is “Ruination to all men.”

Mrs. Peel infiltrates the group and learns that the girls take their orders from a female marionette, which seems to speak and move on its own. In a voice somewhat resembling that of a drag queen, the marionette explains the group’s mission: “To take woman out of the secretary’s chair and put her behind the executive desk. To bring men to heel and put women at the pinnacle of power.”

The marionette’s “helper” is Henry, the clumsy, doughy owner of the ballet school where the secret society meets.

Emma is soon exposed as an infiltrator, and it’s up to Steed to confront the evil ballerinas on their home turf. “No man will dominate us again,” the girls crow as they hold Steed at gunpoint. However, the unflappable Steed quickly deduces that the marionette is actually being controlled remotely by…Henry. Yep, these women had a male boss all along! Revealed as the mastermind, Henry tearfully explains that following the loss of his late wife’s ballet company at the hands of greedy investors, he vowed vengeance against powerful businessmen (it’s also revealed that the marionette is crafted in his wife’s image, and Henry, his mind bent by grief, actually believes he’s his dead wife when he gives the puppet voice). To achieve his revenge against the business world, Henry took advantage of the anti-male sentiments of his students. “No man will ever dominate you?” Steed mockingly asks the girls. “You’ve been taking orders from a man all this time!” As the murderous dancers stand crestfallen, their mouths agape, their boastfulness sapped, Emma disarms the lead girl and beats the living crap out of each and every one of them.

You cannot read a review of this episode on any Avengers fansite without encountering the words “sexist,” “reactionary,” or “misogynistic.” The vitriol stems from the fact that the man-hating feminists turn out to be gullible morons. In their fanatical crusade against male domination, they inadvertently allowed a weak, delusional man-who-believes-he’s-a-woman to dominate and control them.

February 18, 2018

QotD: The “rules” of Twitter

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

• How dare you talk about A when B is infinitely more important?

• If I disagree with you, you’re almost certainly arguing in bad faith and probably evil as well.

• You are personally responsible, in toto and in perpetuity, for everything that your friends, colleagues, and/or ancestors have ever said, done, or thought.

• Sentences #2 and #3 do not apply to me.

Terry Teachout, “Twitter, in four sentences”, About Last Night, 2015-06-22.

February 16, 2018

Trump’s Fake News: Deep Breaths and Fact-Checking Might Just Save America

Filed under: Humour, Media, Politics, USA — Tags: , , , — Nicholas @ 04:00

ReasonTV
Published on 15 Feb 2018

President Trump labels whatever he dislikes as “fake news,” and makes up his own, but the media is part of the problem. In the latest “Mostly Weekly,” Andrew Heaton provides a solution.

—————-

Donald Trump tends to call whatever he dislikes “fake news,” from inconvenient facts to unfavorable reporting. Even though the President himself is less a font of truth and more a spigot of self-serving exaggeration and insults.

But Trump isn’t all wrong when he labels reporting against him as fictitious or slanted. Reporters have become so enraged with the President that in their hurry to lambast him, they sometimes forget about fact checking and standard quality controls.

The result is that actual “fake news” is slipping into major news outlets. When hit pieces turn out to be false, they bolster Trump’s claims about the media and discredit journalists in the eyes of his supporters.

In the latest “Mostly Weekly” Andrew Heaton explains the relationship between “Trump Derangement Syndrome,” fake news, and a solution for the media.

Mostly Weekly is hosted by Andrew Heaton, with headwriter Sarah Rose Siskind.

Script by Sarah Rose Siskind with writing assistance from Andrew Heaton and Brian Sack.

Special guest appearance by Brian Sack as “TV doctor”

Edited by Austin Bragg and Siskind.

Produced by Meredith and Austin Bragg.

Theme Song: Frozen by Surfer Blood.

February 14, 2018

Viral mapping by Sasha Trubetskoy

Filed under: Australia, Cancon, History, Media — Tags: — Nicholas @ 03:00

Have you seen this map by Sasha Trubetskoy?

Click to embiggen.

It wasn’t the first time one of his maps went viral, but it provided him a key insight into getting his maps in front of a large number of people:

I learned from Reddit that if a Canadian sees something that mentions Canada, they will upvote out of solidarity. You can game that. So I made a map of every Canadian province, if every Canadian province proposal had succeeded. Not many people know Jamaica was going to be part of Canada. That map got me on Huffington Post Canada.

I was like, Canada worked, let’s try Australia. Same idea, every Australian state proposal. That worked too.

A very popular recurring theme in viral maps is a fictional subway network of some sort. I can see why people like that. It’s cute, it’s bright colors, everything’s nice and organized, it’s fun to look at.

Somehow I stumbled upon the idea of representing the ancient Roman road network. I tried to make it look like a modern publication that the actual Roman Empire would have, like little leaflets at the train station. The map is in Latin. I don’t know Latin, but I have a knack for picking up little bits and pieces, maybe born out of necessity from my childhood. My parents come from Moscow, and at home we only spoke Russian. My grandma speaks French.

Latin has six cases, Russian has six cases, and they’re essentially the same. I had an intuition, like, how would I say this in Russian? Then replace the words with Latin. It turns out that’s a fantastic way of doing it.

H/T to Colby Cosh for the link.

February 10, 2018

When cinematography wins out over reality

Filed under: Books, Media, Space — Tags: , , , , — Nicholas @ 05:00

Earlier this month, Charles Stross talked about why he’s been reading less and less science fiction lately, and touched on SF movies and (for example) why George Lucas chose to model space combat on World War 1 aircraft battles:

When George Lucas was choreographing the dogfights in Star Wars, he took his visual references from film of first world war dogfights over the trenches in western Europe. With aircraft flying at 100-200 km/h in large formations, the cinema screen could frame multiple aircraft maneuvering in proximity, close enough to be visually distinguishable. The second world war wasn’t cinematic: with aircraft engaging at speeds of 400-800 km/h, the cinematographer would have had a choice between framing dots dancing in the distance, or zooming in on one or two aircraft. (While some movies depict second world war air engagements, they’re not visually captivating: either you see multiple aircraft cruising in close formation, or a sudden flash of disruptive motion — see for example the bomber formation in Memphis Belle, or the final attack on the U-boat pen in Das Boot.) Trying to accurately depict an engagement between modern jet fighters, with missiles launched from beyond visual range and a knife-fight with guns takes place in a fraction of a second at a range of multiple kilometres, is cinematically futile: the required visual context of a battle between massed forces evaporates in front of the camera … which is why in Independence Day we see vast formations of F/A-18s (a supersonic jet) maneuvering as if they’re Sopwith Camels. (You can take that movie as a perfect example of the triumph of spectacle over plausibility at just about every level.)

… So for a couple of generations now, the generic vision of a space battle is modelled on an air battle, and not just any air battle, but one plucked from a very specific period that was compatible with a film director’s desire to show massed fighter-on-fighter action at close enough range that the audience could identify the good guys and bad guys by eye.

Let me have another go at George Lucas (I’m sure if he feels picked on he can sob himself to sleep on a mattress stuffed with $500 bills). Take the asteroid field scene from The Empire Strikes Back: here in the real world, we know that the average distance between asteroids over 1km in diameter in the asteroid belt is on the order of 3 million kilometers, or about eight times the distance between the Earth and the Moon. This is of course utterly useless to a storyteller who wants an exciting game of hide-and-seek: so Lucas ignored it to give us an exciting game of …

Unfortunately, we get this regurgitated in one goddamned space opera after another: spectacle in place of insight, decolorized and pixellated by authors who haven’t bothered to re-think their assumptions and instead simply cut and paste Lucas’s cinematic vision. Let me say it here: when you fuck with the underlying consistency of your universe, you are cheating your readers. You may think that this isn’t actually central to your work: you’re trying to tell a story about human relationships, why get worked up about the average spacing of asteroids when the real purpose of the asteroid belt is to give your protagonists a tense situation to survive and a shared experience to bond over? But the effects of internal inconsistency are insidious. If you play fast and loose with distance and time scale factors, then you undermine travel times. If your travel times are rubberized, you implicitly kneecapped the economics of trade in your futurescape. Which in turn affects your protagonist’s lifestyle, caste, trade, job, and social context. And, thereby, their human, emotional relationships. The people you’re writing the story of live in a (metaphorical) house the size of a galaxy. Undermine part of the foundations and the rest of the house of cards is liable to crumble, crushing your characters under a burden of inconsistencies. (And if you wanted that goddamn Lucasian asteroid belt experience why not set your story aboard a sailing ship trying to avoid running aground in a storm? Where the scale factor fits.)

Whatever you do, don’t go asking him about Han Solo’s claimed Kessel Run in less than 12 parsecs…

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