Quotulatiousness

July 1, 2020

The Somme then and now … in full HD

Filed under: Britain, Europe, France, History, Military, WW1 — Tags: , , — Nicholas @ 02:00

MC C
Published 1 Aug 2016

100 years ago Malins and McDowell exposed their film to the light capturing a moment in time.

It’s very difficult to understand and watch the original film as they were very limited by technology and the danger. Malins risked his life on several occasions making this film, being right on the front line with a huge box camera sticking out above the trench. After watching the film many times, over many years, I wanted to find these locations and stand in their foot prints and re-film.

Some locations were easy to find, some took much research and some I haven’t yet been able to locate, but all the ones in this documentary are within yards to feet of where they filmed originally, none are guesses or just possibilities. I hope you enjoy watching and it helps you to understand please leave comments this is worth more to me than earning money I ask for nothing but love remarks.

May 13, 2020

Okay, I’ll be careful not to call this “deceptive advertising” in future

Filed under: Business, Technology — Tags: , , — Nicholas @ 05:00

At View from the Porch, Tam explains why digital camera terminology sometimes seems to be deliberately deceptive:

The disconnect comes when you run into the “luxury” or “enthusiast” end of the compact camera market, where the physical size of the 1″ sensor in cameras like Sony’s RX100 line or the Canon PowerShot G7/G9 is touted as a selling point.

Because the sensor itself is not physically an inch in any dimension. For that matter, a tiny 1/2.5″ sensor isn’t two fifths of an inch in any dimension either.

Small CCD/CMOS video sensors are labeled based on the size of video tube they replace. These tubes had a rectilinear imaging surface inside the cylindrical glass vacuum tube. Inside a 1″ tube would be an imaging surface measuring 16mm diagonally, or a little less. When solid state sensors started replacing tubes forty years ago, they were labeled according to the tube they’d replace.

So to this day, a sensor 16mm (or a bit less) diagonally is still called a 1″ sensor.

For that matter, “35mm” film is only 35mm if you measure from edge-to-edge, sprocket holes and all. “Full Frame/35mm” sensors are only about 29mm diagonally; there aren’t any digital sprocket holes.

Just like we still “dial” and “hang up” our cell phones, even though phones with dials and handsets that you hang on the wall are a vanishing memory, digital imaging technology is still named after the analog technologies it supplanted.

November 10, 2019

QotD: Dunning-Kruger Club

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

So, someone in a Facebook discussion brought up the usual “wOrKs fOr mE” nonsense to rationalize his love for an objectively awful pistol and when called on it, used every gun forum bubba trope you can think of to double down.

A friend mentioned that it was ignorant bro stuff like this that was causing him to seek out other hobbies, to which I ruefully commented that every hobby has its equivalent; guns and shooting aren’t unique.

And then someone else dropped the bomb:

    “[Name Redacted], if you don’t recognize this behavior in other hobbies, it’s because you’re the one doing it.”

Ouch.

But the First Rule of Dunning-Kruger Club is “You don’t know that you’re in Dunning-Kruger Club.”

Tamara “Tam Slick” Keel, “The First Rule of Dunning-Kruger Club…”, View from the porch, 2019-09-30.

July 2, 2019

Antifa strikes back against the White Patriarchy … by assaulting a gay, visible minority journalist

Filed under: Media, Politics, USA — Tags: , , , , — Nicholas @ 05:00

Andy Ngo suffered potentially serious injuries in an assault by Antifa “activists” during a Portland demonstration:

Andy Ngo, a photojournalist and editor at Quillette, landed in the emergency room after a mob of antifa activists attacked him on the streets of Portland during a Saturday afternoon demonstration.

The assailants wore black clothing and masks, and were engaged in a counter-protest against several right-wing groups, including the Proud Boys. Ngo is a well-known chronicler of antifa activity, and has criticized their illiberal tactics on Fox News. He attended the protest in this capacity — as a journalist, covering a notable public event.

According to Ngo, his attacker stole his camera equipment. But video footage recorded by another journalist, The Oregonian‘s Jim Ryan, clearly shows an antifa activist punching Ngo in the face. Others throw milkshakes at him:

Quillette posted their reaction to the attack:

All revolutionary movements seek to sanctify their lawless behaviour as a spontaneous eruption of righteous fury. In some cases, such as the Euromaidan movement in Ukraine, this conceit is justified. But usually their violence is a pre-meditated tactic to intimidate adversaries. Or as Bolshevik theorist Nikolai Bukharin put it, “In revolution, he will be victorious who cracks the other’s skull.”

The Antifa thugs who attacked Quillette editor and photojournalist Andy Ngo in Portland yesterday did not quite manage to crack his skull. But they did manage to induce a brain hemorrhage that required Ngo’s overnight hospitalization. (For those seeking to support Ngo financially as he recovers, there is a third-party fundraising campaign.) […]

Andy Ngo is an elfin, soft-spoken man. He also happens to be the gay son of Vietnamese immigrants — salient details, given Antifa’s absurd slogans about smashing the heteronormative white supremacist patriarchy. Like schoolboy characters out of Lord of the Flies, these cosplay revolutionaries stomp around, imagining themselves to be heroes stalking the great beast of fascism. But when the beast proves elusive, they gladly settle for beating up journalists, harassing the elderly or engaging in random physical destruction.

Antifa’s first prominent appearance was in 2017, when black-clad protestors at Berkeley used violence to shut down an appearance by provocateur Milo Yiannopoulos. This set a pattern whereby their rallies have been presented as counter-demonstrations aimed at “taking back the streets” from right-wing groups. But more and more, this conceit has dissolved into farce — as in Washington last year, when Antifa gangs showed up to protest largely non-existent conservative protestors. “Again and again, small groups of Antifa members harassed, threatened and occasionally jostled reporters,” the Washington Post reported. “The activists demanded not to be photographed as they marched down public streets — even as many of them hoisted their own phone cameras and staged their own photo ops.”

Update: I’m told that this is the lawyer who will be acting on Mr. Ngo’s behalf:

June 27, 2018

Canada’s odd approach to open data

Filed under: Cancon, Government, Liberty, Media — Tags: , , — Nicholas @ 03:00

Michael Geist the contrast between what the Canadian government says about access to information and what they actually do:

The Liberal government has emphasized the importance of open data and open government policies for years, yet the government has at times disappointed in ways both big (Canada’s access-to-information laws are desperately in need of updating and the current bill does not come close to solving its shortcomings) and small (restrictive licensing and failure to comply with access to information disclosures).

For example, late last year, I noted that government departments had oddly adopted a closed-by-default approach to posting official photographs on Flickr. Unlike many other governments that use open licenses or a public domain approach, Canadians looking for openly licensed photographs for inclusion in learning materials, blog posts, or other content must rely on foreign governments. The restrictive licensing approach remains in place: those seeking photos on Flickr from the G7 will find Prime Minister Justin Trudeau’s are “all rights reserved” but other governments attending the summit – including the United States, United Kingdom, Norway, and South Africa – all facilitate re-use of their photos through open licensing.

A restrictive approach to disclosing information about completed access-to-information requests has also emerged in recent months. Open disclosure of the completed requests benefits both the public and the government. For the public, completed requests are there for the asking as they can be obtained on an informal basis at no cost. For the government, completed requests can sometimes provide the information requested by the public, thereby reducing costs and saving time for government officials. For many years, the government maintained a database known as CAIRS, which featured lists of completed access to information requests. After that was cancelled, the government created an open government page that includes the last two years of requests (the information is searchable or downloadable). According to the site:

    Government of Canada institutions subject to the Access to Information Act (ATIA) are required to post summaries of processed ATI requests. You can search these summaries, which are available within 30 calendar days after the end of the month. Searches can be made by keywords, topic or field of interest. If you find a summary of interest, you can also request a copy of the previously released ATIA records.

But you can’t access them until they’ve been published, and several government departments are as much as a year behind in making these records available.

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…

December 17, 2017

Thomas Train Stunts

Filed under: Randomness — Tags: , , — Nicholas @ 02:00

5MadMovieMakers
Published on 4 Dec 2017

Thomas the Tank Engine goes pro skater and pulls off some sick jumps with his train friends. Filmed with an iPhone SE at 120 frames per second.

December 13, 2017

Coming way too soon

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

Charles Stross is a highly dependable source of nightmare fuel in his SF/horror writings. He’s just as disturbing when he points out real developments about to go mainstream:

AI assisted porn video is, it seems, now a thing. For those of you who don’t read the links: you can train off-the-shelf neural networks to recognize faces (or other bits of people and objects) in video clips. You can then use the trained network to edit them, replacing one person in a video with a synthetic version of someone else. In this case, Rule 34 applies: it’s being used to take porn videos and replace the actors with film stars. The software runs on a high-end GPU and takes quite a while — hours to days — to do its stuff, but it’s out there and it’ll probably be available to rent as a cloud service running on obsolescent bitcoin-mining GPU racks in China by the end of next week.

(Obvious first-generation application: workplace/social media sexual harassers just got a whole new toolkit.)

But it’s going to get a whole lot worse.

What I’m not seeing yet is the obvious application of this sort of deep learning to speech synthesis. It’s all very well to fake up a video of David Cameron fucking a goat, but without the bleating and mindless quackspeak it’s pretty obvious that it’s a fake. Being able to train a network to recognize the cadences of our target’s intonation, though, and then to modulate a different speaker’s words so they come out sounding right takes it into a whole new level of plausibility for human viewers, because we give credence to sensory inputs based on how consistent they are with our other senses. We need AI to get the lip-sync right, in other words, before today’s simplistic AI-generated video porn turns really toxic.

(Second generation application: Hitler sums it up, now with fewer subtitles)

There are innocuous uses, of course. It’s a truism of the TV business that the camera adds ten kilograms. And we all know about airbrushing/photoshopping of models on magazine covers and in adverts. We can now automate the video-photoshopping of subjects so that, for example, folks like me don’t look as unattractive in a talking-heads TV interview. Pretty soon everyone you see on film or TV is going to be ‘shopped to look sexier, fitter, and skinnier than is actually natural. It’ll probably be built into your smartphone’s camera processor in a few years, first a “make me look fit in selfies” mode and then a “do the same thing, only in video chat” option.

October 3, 2017

QotD: Generation selfie

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

There was a whole section of the catalog I picked up in which the models obscured their faces with their phones by taking selfies. Unlike most models these days, who affect a look of unutterable misery (perhaps it is not an affectation, given that they are not allowed to eat and are treated like slaves), the models taking selfies looked very happy, at least in those pictures in which it was possible to discern their facial expression. Perhaps, then, it is in looking at oneself that true happiness lies, at least for some people.

Certainly, at every famous tourist site these days one sees whole troops of people taking pictures of themselves: me and the Mona Lisa, me and the Eiffel Tower, me and Big Ben, me and the Empire State Building, me and Mount Everest. It is the me that counts in these photos, of course; no one’s friends really care about Mount Everest, and even concern for the me is relative. A selfie with Mount Everest is like an alibi when one has been accused of claiming to have been there without having been there; the proof is in one’s phone, although it must be admitted that these days, with an ability to alter photos at will that would have brought joy to Stalin’s heart, anything can be arranged. I read in the memoir of a French model that, having starved mannequins to the size of minus 6, they are fattened up a little afterwards by computer at the printing stage: a remarkable testimony to mankind’s capacity to combine wickedness with stupidity.

The selfie is an example of the new social contract brought about by the social media: You pretend to be interested in me if I pretend to be interested in you. Thus, I agree to look at your selfie at Machu Picchu if you agree to look at mine at Angkor Wat. And this, after all, is as it should be, because it is a long way to go to either of those if no one believes you have been. A classic book is a book that everyone wishes he had read; a wonder of the world is a place at which everyone wishes he had been photographed.

Theodore Dalrymple, “Suit Yourselfie”, Taki’s Magazine, 2017-09-16.

May 4, 2017

Ultimate Camera Bag for Less than $60

Filed under: Technology — Tags: — Nicholas @ 02:00

Published on 23 Apr 2017

Ultimate Street Photographers Bag –

December 6, 2016

Bowmanville, Ontario from 1984-2016 in Google Timelapse

Filed under: Cancon — Tags: , , , , , — Nicholas @ 09:57

Description from the Timelapse page:

Timelapse

Timelapse is a global, zoomable video that lets you see how the Earth has changed over the past 32 years. It is made from 33 cloud-free annual mosaics, one for each year from 1984 to 2016, which are made interactively explorable by Carnegie Mellon University CREATE Lab’s Time Machine library, a technology for creating and viewing zoomable and pannable timelapses over space and time.

Using Earth Engine, we combined over 5 million satellite images acquired over the past three decades by 5 different satellites. The majority of the images come from Landsat, a joint USGS/NASA Earth observation program that has observed the Earth since the 1970s. For 2015 and 2016, we combined Landsat 8 imagery with imagery from Sentinel-2A, part of the European Commission and European Space Agency’s Copernicus Earth observation program.

October 25, 2016

The War Photographer – Ernest Brooks I WHO DID WHAT IN WW1?

Filed under: Britain, Europe, History, Military, WW1 — Tags: — Nicholas @ 02:00

Published on 24 Oct 2016

Ernest Brooks’ photos from World War 1 have become icons of the entire war and are even recognised today. But his experience as an official war photographer was not always glorious and especially in the beginning he staged photos instead of showing the real horrors of the war. But as the war dragged on, more and more photos captured small moments in this gigantic conflict that showed the humanity behind the numbers.

March 2, 2016

QotD: Pictures of Mohammed

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

While some Muslims were outraged by a magazine printing cartoon pictures of Muhammad, we have to step back and calmly ask, are pictures of Muhammad really forbidden in Islam? – the answer might surprise you.

Numerous passages in the Qur’an prohibit idolatry, and worshipping statues or pictures, but there is not even single verse in the Qur’an that explicitly or implicitly says not to have any pictures of Muhammad. This bears repeating: There is not a single verse in the Qur’an that prohibits making or having pictures of Muhammad or people or animals or trees. In fact, there are some verses in the Qur’an which mention images in a positive context and which therefore presuppose that some statues or images were approved by God, see the article Muhammad and Images.

However, the vast majority of Muslims are Sunni Muslims, who regard six authorized collections of hadiths as the highest written authority in Islam after the Qur’an. The hadiths are records, often very detailed, of what Muhammad taught and did. We give multiple quotations to show that these teachings are not confined to just one writer/collector, but are spread throughout the different hadith collections.

Where multiple trustworthy hadiths agree, Sunni Muslims will take this as binding. In other words, people today are kicked out of Islam, or even killed based on the hadiths.

Pictures of Muhammad are “not exactly” forbidden in the hadiths either. The hadiths do not single out Muhammad’s picture. Rather, in the hadith we find the prohibition of all pictures of people or animals, which would include pictures from a camera.

For example, Sahih Muslim vol.3 no.5268 (p.1160) says, “Ibn ‘Umar reported Allah’s Messenger (may peace be upon him) having said: Those who paint pictures would be punished on the Day of Resurrection and it would be said to them: Breathe soul into what you have created.”

Notice that the prohibition was not just against idolators who made pictures, or even Muslims who made pictures for other reasons, but for anyone who made pictures.

Sahih Muslim vol.3 no.5271 (p.1161) gives a little more detail: “This hadith has been reported on the authority of Abu Mu’awiya though another chain of transmitters (and the words are): ‘Verily the most grievously tormented people amongst the denizens [inhabitants] of Hell on the Day of Resurrection would be the painters of pictures.”

“Narrated ‘Aisha: Allah’s Apostle said, ‘The painter of these pictures will be punished on the Day of Resurrection, and it will be said to them, Make alive what you have created.’” Bukhari vol.9 book 93 no.646 p.487. no.647 p.487 is the same except it is narrated by Ibn ‘Umar.

No pictures of people or animals according to Bukhari vol.4 book 54 no.447-450 p.297-299.

Conclusion: It is clear that the hadiths prohibit pictures of animals or people, especially in homes. There is no focus on pictures of Muhammad per se. All pictures of people and animals are forbidden. It is a completely general prohibition.

Answering Islam

November 21, 2015

This is just creepy – post-mortem photography of the Victorian era

Filed under: Europe, History, Technology, USA — Tags: — Nicholas @ 03:00

Open Culture on the thankfully brief popularity of post-mortem photography (photos of the recently deceased as if they were merely sleeping):

The 19th century witnessed the birth of photography. And, before too long, Victorian society found important applications for the new medium — like memorializing the dead. A recent post on a Dutch version of National Geographic notes that “Photographing deceased family members just before their burial was enormously popular in certain Victorian circles in Europe and the United States. Although adults were also photographed, it was mainly children who were commemorated in this way. In a period plagued by unprecedented levels of infant mortality, post-mortem pictures often provided the only tangible memory of the deceased child.”

post-mortem-pic-3

November 19, 2015

“Changing Canada’s copyright term … means two decades where zero historical work enters the public domain”

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

There may be good parts of the Trans-Pacific Partnership deal, but there are emphatically bad parts, as Jesse Schooff describes in the particular case of the arbitrary extension of copyright in Canada from fifty years to seventy years:

One of the TPP areas of scope which is critical to discuss is the section on copyright. At this point, several notable bloggers* have covered the TPP’s copyright extension provisions in great detail. But what do those provisions mean for you? Let’s bring it down to the ground. For example: folks in my demographic seem to love seeing old-timey photos of their city. Here in Vancouver, exploring our retro-downtown through old photographs of various eras is practically an official pastime.

A quality source of such photo collections is a city’s municipal archives. Traditionally, an archives’ mandate is to store physical objects and documents, which include the physical “analog” photos taken during most of the 20th century. “Great!” someone might say, “the archives can just digitize those photos and put them up on their website, right?”

Let’s ignore the fact that the solution my strawperson proposes has a host of logistical issues attached, not the least of which is the thousands of work-hours required to digitize physical materials. Our focus is copyright — just because the archives has the original, physical photo in their collection doesn’t mean that they own the rights to it.

You have to remember that our newfangled, internet-enabled society is relatively new. When I was a child, if a person wanted to see a historical photo from a city archives, they would actually have to physically GO to said archives and ask an archivist to retrieve the appropriate fonds containing the photo. Journalists and other professionals likely did this regularly, but for the most part, the public at large didn’t usually head down to a municipal building and ask an archivist to search through their collection just to look at a few old photos.

Today, things are much different. If a municipal archives has digitized a significant portion of, say, their collection of 19th and 20th century historical photos, then those photos can be curated online; made accessible to the public at large for everyone to access, learn from, and enjoy!

[…]

Some of the photos, we’ll call them “Group A”, were explicitly released into the public domain by the photographer, so those are okay to use. Another bunch, “Group B”, are photos whose photographer died more than fifty years ago (1965 and before); any copyright on these photos is expired. Some “Group C” photos were commissioned by a businesses, or the rights were specifically sold to a corporation, which means that the archives will have to get permission or pay a fee to make them available online. Most frustrating is the big “Group D”, whose authorship/ownership is sadly ambiguous, for various reasons**. It would be risky for the archives to include the Group D photos in their collection, since they might be violating the copyright of the original author.

So already, knowing and managing the tangle of copyright laws is a huge part of curating these event photos. Hang on, because the TPP is here to make it even worse.

It’s been long-known that the United States is very set on a worldwide-standard copyright term of seventy years from the death of the author. Sadly, such a provision made it into the TPP. Worse still, a release by New Zealand’s government indicates that this change could be retroactive, meaning that those photos in my hypothetical “Group B” would be yanked out of the public domain and put back under copyright.

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