A film from the Competitive Enterprise Institute, adapted from the 1958 essay by Leonard E. Read. For more about I, Pencil, visit www.ipencilmovie.org
November 15, 2012
I, Pencil: The Movie
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November 2, 2012
The rise of celebrity endorsements is a sign of political immaturity
In sp!ked, Patrick West points out that celebrities who push political agendas or social issues are actually a sign of the failure of the political class:
This paradoxical egotism — protesting against ‘selfish’ right-wing people in order to make you appear morally superior — was mercilessly parodied in the 2004 film Team America: World Police. In it, marionettes representing the likes of Susan Sarandon, George Clooney and Matt Damon are shown as self-important dupes of Kim Jong-Il, parroting liberal-left vacuities. ‘As actors’, says Janeane Garofolo’s puppet, ‘it is our reponsibility to read the newspapers, and then say what we read on television like it’s our own opinion’. Like all good parodies, it helped to change the way people think. Sean Penn’s intervention on the matter of the Falkland Islands earlier this year generated unflattering comparisons to the movie, and I imagine Matt Damon still fears to speak on humanitarian issues, lest he be met with a collective cry of ‘Matt Day-Mon’.
Still, this hasn’t deterred the likes of Clooney and Whoopi Goldberg continuing to make known their support for the Democrats — who are liberal-left, and therefore Good People — in opposition to the Republicans, who are right-wing and by extension Bad People. Now from the pop world they have been joined by Katy Perry, who last week performed at a Las Vegas fundraiser for President Obama in the forthcoming presidential election, and by Madonna, who on Saturday declared at a concert in New Orleans: ‘I don’t care who you vote for as long as you vote for Obama.’ Having been met with jeers and booing, the Material Girl backtracked. ‘Seriously, I don’t care who you vote for as long as you take responsibility for the future of your country’, she recanted. ‘Do not take this privilege for granted. Go vote.’ Other Democrat supporters include Bruce Springsteen, Beyonce, Will.i.am and Jay-Z.
[. . .]
In terms of hollow egotism, popstars are not far removed from actors. The latter are fantasists and (literally) professional liars, pretending to be someone they aren’t, displaying emotions they don’t have. Popstars are often likewise insecure, craving attention and praise, to be told what good people they are — and consequently ensure that the world knows it.
They have been up to this sort of thing for years. Consider the self-important proclamations of John Lennon, imagining no possessions but having lots of them, Sting’s crusade to save the Brazilian rainforest and its noble savages and, of course, Bono, the humanitarian tax-avoider. The latter two featured in Band Aid, an ostentatiously big-hearted scheme that raised funds for governments in desperate need of more Mercedes-Benzes and Kalashnikovs. This is what happens when you combine paradoxical egotism and a Something Must Be Done mentality. Today, it’s the same toxic compound — intensified — that’s behind the grandstanding and aggressive ‘caring’ censoriousness you see on Twitter.
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October 31, 2012
The science of “shaken, not stirred”
Ah, those dedicated researchers at The Register! This time, they’ve got Gavin Clarke looking into the famous dry martini of James Bond:
“A distressingly large amount of rubbish is talked about cocktails,” Noel Jackson, top boffin at the Life Science Centre in Newcastle-Upon-Tyne, tells The Reg.
Jackson, a Cambridge-University-educated chemist, has all the straight-up science on alcohol.
“We do a lot of debunking of things that people think are true,” he tells us. “There’s this business of shaken versus stirred. Once you heard it said from people in the cocktail world that shaking ‘bruises’ a liquid! That’s rubbish.”
The Reg, as part of our ongoing celebration of James Bond’s fiftieth year on film, was talking to Jackson about one of the signature elements of the 007 package: the dry vodka martini. Shaken, not stirred.
Jackson comes on the best of recommendations. We were put onto him by the boffins of the UK’s National Physical Laboratory, who have been instrumental in such developments as packet-switched networking and the “Dambuster” bouncing bomb of World War II fame.
“What he doesn’t know about drinks, doesn’t need to be known,” they told us.
We spoke to Jackson about chemicals and thermal dynamics. We start with flavour, and that means talking alcohol.
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October 28, 2012
Malaysian group calls for “Films that carry confusing messages” to be banned
A Bollywood film is at the centre of controversy in Malaysia:
An influential Muslim youth group said today that Bollywood superstar Shah Rukh Khan’s “My Name Is Khan” movie confuses Muslims as it promotes liberal Islam and religious pluralism, and warned Malaysian broadcasters not to air the hit film.
The Muslim youth group’s statement comes after the Malay right-wing group Perkasa’s call last week for Muslims nationwide to boycott award-winning singer Jaclyn Victor for singing the Malay-language Christian song “Harapan Bangsa”, which she has said is meant for Christians.
“Angkatan Belia Islam Malaysia (ABIM) strongly protests the screening of ‘My Name Is Khan’ on TV3 on the second Hari Raya Aidil Adha.
“Films that carry confusing messages clearly shouldn’t (tidak wajar) be screened by a main Malaysian television station,” the group’s vice-president Ahmad Saparudin Yusup said in a statement today.
He questioned the timing of the film screening, saying that it raises the question of where the “media’s care and responsibility in their broadcasting materials” went.
H/T to Blazing Cat Fur for the link.
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October 19, 2012
Why James Bond drove an Aston Martin instead of a Jaguar
At The Register, John Oates looks at 007’s motor cars over the years:
What car should James Bond really drive? It’s a hotly disputed question.
Our man on film is closely associated with the Aston Martin, the DB5 initially and DBS V12 of late. Clearly the producers of recent Bond outings hope to identify their character with the spirit of an earlier time regarded as iconic and special. And they should, because the DB5 is both of these.
All of which is rather odd, because the book that introduced James Bond — Casino Royale — referred to a 4.5 litre Bentley with an Amherst Villiers supercharger. However, this is Bond’s personal car, and hobby, rather than work vehicle. We’re told he bought it almost new in 1933 and stored it through the war.
“Bond drove the car hard and well and with an almost sensual pleasure.”
[. . .] Jaguar’s E-type had set the world on fire that year. It had a slightly smaller engine at launch than the DB5, but was 500 pounds lighter and looked like no other car before it. By 1964 the engine had increased to a 4.2 litre brute not far off that in Bond’s Bentley.
Broccoli supposedly called Jaguar to ask for a couple of E-types — the car had come out the previous year and was welcomed by Enzo Ferrari as the most beautiful car in the world. It cost half the £4,175 an Aston-Martin would set you back.
So Broccoli rang Jaguar boss Sir William Lyons and asked to borrow a couple for the film. Lyons told him to get stuffed. To be fair to Lyons his firm was already struggling to make enough E-types to satisfy the public clamour for the car.
So Broccoli phoned Aston Martin and Bond ended up in a DB5 instead.
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September 26, 2012
Coptic Christians and “The Innocence of Muslims”
Strategy Page has an article about the history of the Copts in Egypt after the Muslim take over:
An ugly and ancient aspect of Islamic culture recently triggered violent demonstrations throughout the world. The cause was a low-budget film (“The Innocence of Moslems”) made by an Egyptian-American Coptic Christian. A minority of Moslems have always been particularly sensitive about their religion and how it should be practiced. These conservatives have gone by many names over the centuries. The most common tags these days are Salafists and Wahhabis. These fanatic minorities have exercised an influence on Islamic culture far larger than their numbers (usually less than 10-20 percent) would suggest.
[. . .]
This brings us back to “The Innocence of Moslems” and why it was created by an Egyptian Christian who had fled his homeland. He’s one of many, actually. Some 1,500 years ago most Egyptians were Christians, nearly all of them belonging to the local Coptic sects. Then the Moslems invaded in the 7th century and used threats and financial incentives to encourage conversion to Islam. After three centuries of this, Moslems were the majority. Ever since, Egyptian Moslems have sought, often with violence, to convert the remaining Egyptian Christians (currently about ten percent of the population). Some converted, but increasingly over the last century, Copts have simply fled the country. Those who left had bitter, and ancient, memories of Moslem persecution. That apparently led to making the “The Innocence of Moslems” (allegedly financed by Copts in Egypt).
In response the Egyptian government issued arrest warrants for seven Copts (including the man believed behind the film) and an American clergyman noted for his anti-Moslem attitudes. All eight are accused of having something to do with the film. This is a largely symbolic gesture, as all those being sought by the police are outside the country. Copts living outside Egypt frequently say unkind things about Egypt and Islam, but these comments are usually ignored inside Egypt. Meanwhile, a senior Pakistani government official has offered $100,000 of his own money for whoever kills the Egyptian-American man responsible for the film.
Islamic terrorism often gets explained away as being a reaction to Western imperialism, or colonialism or simply cultural differences. No one, especially in the Islamic world, wants to admit that the cause of it all is religious fanatics who would rather appear righteous than be righteous.
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September 12, 2012
The real reason for the Cairo and Benghazi attacks
Tim Cavanaugh on the real as opposed to claimed reason for the attacks on American diplomats in Egypt and Libya:
Mohamed al-Zawahiri, brother of al Qaeda chief Ayman al-Zawahiri, says he called a “peaceful protest” in Cairo as part of the 9/11 anniversary attacks on U.S. embassies that left the U.S. ambassador to Libya dead and the U.S. embassy in Egypt in shambles.
The putative cause of the attack in Cairo was anger over a satirical movie depicting the founder of Islam’s life. The attacks in the adjacent North African countries, both of which last year saw secular autocrats toppled, came on a day commemorating the Zawahiri family’s direct role in coordinated terror attacks that killed more than 3,000 people from more than 60 nations.
[. . .]
But there is no real point in rebutting Zawahiri’s stated claims about a movie. I’m not even sure the movie Innocence of Muslims exists, given that producer Sam Bacile told the Wall Street Journal it had a budget of $5 million, and that doesn’t match up with the production value in Bacile’s trailer. (Bacile’s “100 Jewish donors” seem to be the real victims here.)
The purpose of the attacks in Egypt and Libya was for the Sunni leadership to show it can unleash mob attacks against American diplomatic assets. (There may be some historical exceptions, but it’s more or less axiomatic than mob attacks cannot happen without government approval.) That point has been received by everybody except U.S. State Department employees.
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August 30, 2012
August 29, 2012
QotD: Government funding for the arts “stinks in God’s nostrils”
There’s at least a third reason to stop state funding of the arts, and it’s the one I take most seriously as a literary scholar and writer. In the 17th century, a great religious dissenter, Roger Williams (educated at Cambridge, exiled from the Massachusetts Bay Colony), wrote the first case for total separation of church and state in the English language. Forced worship, said Williams, “stinks in God’s nostrils” as an affront to individual liberty and autonomy; worse still, it subjugated theology to politics.
Something similar holds true with painting, music, writing, video and all other forms of creative expression. Forced funding of the arts — in whatever trivial amounts and indirect ways — implicates citizens in culture they might openly despise or blissfully ignore. And such mandatory tithing effectively turns creators and institutions lucky enough to win momentary favour from bureaucrats into either well-trained dogs or witting instruments of the powerful and well-connected. Independence works quite well for churches and the press. It works even more wonderfully in the arts.
Nick Gillespie, featured guest for “Economist Debates: Arts Funding”, The Economist, 2012-08-29
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August 16, 2012
QotD: Old wines
Some people poo-poo the idea of old wines because they lack the fresh fruit they expect to have in their wines. I for one embrace older wines, if for nothing else you’re tasting a piece of history. Hopefully by now you’ve seen the movie Sideways think back, to Maya and Miles sitting on her porch talking about old wines: “I like to think about the life of wine … How it’s a living thing. I like to think about what was going on the year the grapes were growing; how the sun was shining; if it rained. I like to think about all the people who tended and picked the grapes. And if it’s an old wine, how many of them must be dead by now. I like how wine continues to evolve, like if I opened a bottle of wine today it would taste different than if I’d opened it on any other day, because a bottle of wine is actually alive. And it’s constantly evolving and gaining complexity. That is, until it peaks … And then it begins its steady, inevitable decline.”
One of the oldest wines I can remember drinking was a 1970 Chateau Haut Bailly … it sticks in my mind cause it has special meaning in a couple of ways. It was the first time I had tried a wine from the year of my birth, and two I had it on the occasion of my engagement when my family had gathered around for a dinner to celebrate. I thought there was no better time to show off something old from a great Bordeaux vintage. Most dismissed the brownish liquid in their glass and turned their nose up at the interesting, and admittedly, odd smells emanating from the glass; but I relished in it and more people should learn and understand that if you spent X number of years cooped up in a bottle (in this case some 38 years +) you’d be a little crabby when you emerged too; but with a little time and a little air I’m sure you’d come around — start feeling like a more mature version of your old self … the same can be said for wine.
Michael Pinkus, “Tasting Old Wines from the Chateau”, Ontario Wine Review, 2012-08-16
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July 25, 2012
Reason.tv: Fan fiction versus copyright
“It takes a big studio to make The Avengers, but it doesn’t necessarily take a big studio to write a piece of Avengers fan fiction,” says Georgetown University law professor and fan fiction advocate Rebecca Tushnet. “Big content companies largely recognize that fan activities are really good for them because they engage people.”
The growing popularity of fan fiction, a genre in which fans create their own stories featuring characters or settings from their favorite works of popular culture, raises thorny copyright issues. “Given how broad copyright is now, it’s now possible to say fan fiction is an infringing derivative work,” Tushnet explains. “In order to deal with that…we now talk about fair use, which allows people to make fair, limited uses of works without permission from the copyright owner.”
As a member of the Organization for Transformative Works, Tushnet works to defend fan fiction creators caught in the legal debate between protected intellectual property and fair use.
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July 14, 2012
QotD: Monty Python fans
Monty Pythonites are a specific breed of movie quoters, ones you have to handle gently, like Renaissance Faire people and Dungeons & Dragons players (and if we’re being honest, the Venn Diagram on those three groups probably isn’t too complicated). Your film editor says this without judgment; I spent a fair amount of high school trading lines from the Parrot Sketch and “nudge nudge” with my friends, which probably (partially) explains why I didn’t spent a fair amount of high school on, y’know, dates. So my love for MPATHG is strong, but I (and all of us Python fans) must at least make the effort to resist the urge to insert “It’s just a flesh wound” and “It’s only a model” and “Ni” into every social situation. That said, if you can find an reasonable excuse to say “Supreme executive power derives from a mandate from the masses, not from some farcical aquatic ceremony” in an everyday conversation, well, I’m not going to judge you.
Jason Bailey, “The Movies People Need to Stop Quoting”, Flavorwire, 2012-07-12
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June 18, 2012
The wins and losses in the C-11 copyright reform bill
Michael Geist on the good and the bad aspects of bill C-11 which will probably pass third reading today in the House of Commons and be sent to the Senate for approval:
There is no sugar-coating the loss on digital locks. While other countries have been willing to stand up to U.S. pressure and adopt a more flexible approach, the government, led by Canadian Heritage Minister James Moore on the issue, was unwilling to compromise despite near-universal criticism of its approach. It appears that once Prime Minister Stephen Harper made the call for a DMCA-style approach in early May 2010, the digital lock issue was lost. The government heard that the bill will hurt IP enforcement, restrict access for the blind, disadvantage Canadian creators, and harm consumer rights. It received tens of thousands of comments from Canadians opposed to the approach and ran a full consultation in which digital locks were the leading concern. The NDP, Liberals, and Green Party proposed balanced amendments to the digital lock rules that were consistent with international requirements and would have maintained protection for companies that use them, but all were rejected. [. . .]
Since the Conservatives took power in 2006, there were effectively four bills: the Pre-Bill C-61 bill that was to have been introduced by Jim Prentice in December 2007 but was delayed following public pressure, Bill C-61 introduced in June 2008, and Bill C-32/C-11, which was introduced in June 2010 (and later reintroduced in September 2011). The contents of December 2007 bill was never released, but documents obtained under the Access to Information Act provide a good sense of what it contained (a call was even scheduled on the planned day of introduction between Prentice and U.S. Ambassador David Wilkins to assure the U.S. that digital locks were the key issue and would not be altered). This chart highlights many of the key issues and their progression over the years as the public became increasingly vocal on copyright:
Issue Pre-Bill
C-61 (2007)Bill C-61
(2008)Bill C-11
(2012)Fair Dealing Expansion No No Yes (education, parody, satire) Format Shifting No Limited (only photographs, book,
newspaper, periodical, or videocassette)Yes (technology neutral, no
limit on number of copies, includes network storage, and no reference
to contractual overrides)Time Shifting No Limited (no network PVRs,
Internet communications)Yes (C-61 limitations removed) Backup Copies No No Yes User Generated Content Exception No No Yes Statutory Damages Cap No Limited ($500 cap for
downloading)Yes (Max of $5000 for all
non-commercial infringement)Enabler enforcement provision No No Yes Internet Publicly Available
Materials Exception for EducationYes Yes Yes Public Performance in Schools No No Yes Technology Neutral Display
Exception in SchoolsNo No Yes Limited Distance Learning
ExceptionYes Yes Yes Limited Digital Inter-Library
LoansYes Yes Yes Notice-and-Notice Yes Yes Yes Notice-and-Takedown No No No Three Strikes//Website Blocking No No No Internet Location Tool Provider
Safe HarbourYes Yes Yes Broadcaster Ephemeral Change No No Yes Expanded Private Copying Levy No No No Commissioned Photograph Change Yes Yes Yes Alternate Format Reproduction No No Yes [. . .]
Public engagement on copyright continuously grew in strength – from the Bulte battle in 2006 to the Facebook activism in 2007 to the immediate response to the 2008 bill to the 2009 copyright consultation to the 2010 response to Bill C-32. While many dismissed the role of digital activism on copyright, the reality is that it had a huge impact on the shape of Canadian copyright. The public voice influenced not only the contents of the bill, but the debate as well with digital locks the dominant topic of House of Commons debate and media coverage until the very end. Bill C-11 remains a “flawed but fixable” bill that the government refused to fix, but that it is a significantly better bill than seemed possible a few years ago owes much to the hundreds of thousands of Canadians that spoke out on copyright.
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June 6, 2012
Cassy’s guide to naming spaceships
You have to put a bit more thought into how you name your spaceships, people of the future!
Dear People of the Future,
Congratulations! If you’re reading this, you’ve just received a state-of-the-art spacecraft, and you’re probably about to take it on an extremely dangerous mission. Your journey may even concern the safety and continued survival of the human race.
But don’t worry! I’m betting your new ride is pretty sick. It’s probably got a warp drive and maybe a solar sail and lots of other technology I couldn’t even begin to understand.
At this point, you’re probably wondering: What should I name my spacecraft?
It’s good advice. Really. But I was surprised to find that there had been a USS Custer, a USS General Burnside, and even the USS Benedict Arnold.
H/T to John Turner for the link.
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June 5, 2012
The US military’s SF research emporium
John Turner sent me a link to this amusing little survey of what the US military’s R&D organization is willing to admit they’re working on and how it might be helpful in case of an alien invasion:
As summer blockbuster season kicks into high gear, big-budget action movies like The Avengers, Battleship, and Prometheus remind us that there’s one thing that unites Americans: Our shared fear of an alien attack. They also remind us that when the invading space fleet arrives, humanity is not going to surrender without a fight to our intergalactic invaders. Instead, we will band together to fight off their incredibly advanced weaponry with our … well, with what, exactly? Are we really ready to battle our would-be alien overlords?
Luckily, the Pentagon’s Defense Advanced Research Projects Agency, better known as DARPA, as well as some of the world’s largest weapons manufacturers, are dreaming up the weapons of the future today. With the help of everything from lasers on jets to hypersonic planes to invisibility cloaks, we just might be able to make the battle for Earth a fair fight. You may think we’re joking, but why else would NASA be uploading The Avengers to the International Space Station if not as a training manual? Here’s a look at some of the most space-worthy inventions being cooked up now.
An issue for any unmanned, armed vehicle (whether land, sea or air) is the security of communications from the controller to the vehicle. Recent use of such devices has almost always been in combat against relatively low-tech opponents who did not have jamming or hacking capabilities (although the UAV forced down in Iran may signal the end of the easy period for combat UAVs). Earlier discussions of benefits and drawbacks to unmanned fighters are here, here, and here.
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