Quotulatiousness

April 3, 2013

A “Bechdel Test” for writing about women in science

Filed under: Media, Science — Tags: , , , — Nicholas @ 13:52

If you haven’t heard of the original “Bechdel Test“, here’s the gist:

The Bechdel test is used to identify gender bias in fiction. A work passes the test if it features at least two women who talk to each other about something other than a man. Commentators have noted that a great proportion of contemporary works fail to pass this threshold of representing women. The test was originally conceived for evaluating films, but has since been applied to other media.

Have you ever noticed that articles in the media about female scientists always include details they would never have if the article was about a man? In too many cases, these details predominate over the actual scientific work of the person being profiled. Christie Aschwanden suggests that we adopt a variant of the Bechdel test for science writing:

It’s time to stop this nonsense. We don’t write “Redheads in Science” articles, so why do we keep writing about scientists in the context of their gonads? Sexism exists, and we should call it out when we see it. But treating female scientists as special cases only perpetuates the idea that there’s something extraordinary about a woman doing science.

So Finkbeiner has adopted a new approach. “I’m going to cut to the chase, close my eyes, and pretend the problem is solved; we’ve made a great cultural leap forward and the whole issue is over with,” she says. “And I’m going to write the profile of an impressive astronomer and not once mention that she’s a woman.” In other words, “I’m going to pretend she’s just an astronomer.”

It’s a fine idea. In the spirit of the Bechdel test, a metric that cartoonist and author Alison Bechdel created to measure gender bias in film, I’d like to propose a Finkebeiner test for stories about women in science. The test could apply to profiles of women in other fields, too.

To pass the Finkbeiner test, the story cannot mention

  • The fact that she’s a woman
  • Her husband’s job
  • Her child care arrangements
  • How she nurtures her underlings
  • How she was taken aback by the competitiveness in her field
  • How she’s such a role model for other women
  • How she’s the “first woman to…”

Here’s another trick. Take the things that are said about a female subject and flip them around as if they were said about a male. If they sound ridiculous, then chances are good they have no business in the story. For instance, in his Guardian profile of preeminent physicist Lisa Randall, John Crace writes, “No matter how much she bends time, there’s no escaping the fact that she’s just turned 43 and that if she wants to have kids she’s going to have to get on with it soon.” No one would possibly write such a thing about a man of her age and status.

October 27, 2012

In praise of (invisible) editors

Filed under: Books, Media, Technology — Tags: — Nicholas @ 11:32

I don’t have a huge library of ebooks: partly because I’m still years behind in reading my actual printed book backlog, and partly because I’m not over-fond of reading books off a screen. However, I’ve often heard from those who do read some of their books in ebook format that typos are much more common there than in the printed versions:

… the reason for so many typos here is that almost no self-publishers are passing their work under the nose of an editor. Perhaps this distinction is easier if I use the English English words, editor and subeditor (or “sub”). An editor decides on what is going to be published, how stories are going to be tackled. A sub does the work that is lacking here. Correcting typos, making sure sentences are whole, perhaps rewriting the occasional line to make it flow.

What almost everyone who hasn’t worked for a newspaper doesn’t understand is that all of the copy in anything has been passed under such a nose. The subs rescue many of us from the its/it’s problems, dangling participles (not that I even know what that is) and so on. One of the things that everyone writing online has had to learn (or relearn!) is all of these rules. For we don’t have subs online.

We’ve all also had to learn (or relearn) that subbing your own writing is near impossible. The eye just skips over some of the things that a writer is prone to. Sure, spellcheckers help but they’re not perfect. And they won’t help with grammar or the its/it’s thing, or “arc” and “are”.

So this is the first reason that many ebooks are filled with mistakes and typos. Many are being written by those who don’t know about the vital function of the sub and wouldn’t afford one even if they did. And given that it is incredibly difficult to sub your own work this might well be a problem that doesn’t have a solution.

October 22, 2012

Want to learn a new language? How about proto-Elamite?

Filed under: History, Middle East, Science — Tags: , , , — Nicholas @ 09:10

If you have the ability to decode the world’s oldest undeciphered texts, you can be our first proto-Elamite scholar:

“I think we are finally on the point of making a breakthrough,” says Jacob Dahl, fellow of Wolfson College, Oxford and director of the Ancient World Research Cluster.

Dr Dahl’s secret weapon is being able to see this writing more clearly than ever before.

In a room high up in the Ashmolean Museum in Oxford, above the Egyptian mummies and fragments of early civilisations, a big black dome is clicking away and flashing out light.

This device, part sci-fi, part-DIY, is providing the most detailed and high quality images ever taken of these elusive symbols cut into clay tablets. This is Indiana Jones with software.

It’s being used to help decode a writing system called proto-Elamite, used between around 3200BC and 2900BC in a region now in the south west of modern Iran.

And the Oxford team think that they could be on the brink of understanding this last great remaining cache of undeciphered texts from the ancient world.

October 6, 2012

Here’s a potentially viable secondary market for SF hardcovers

Filed under: Books, Business, Media — Tags: , — Nicholas @ 11:14

Charles Stross updates his readers on what’s in the writing and production pipeline, and in the process discovers a niche market that might just be viable:

[…] Because if there’s one thing guaranteed to annoy everyone, it’s embarking on a project that is bound to be at least a year late …

What’s the problem? Well, I only get one slot per 12 months with my main publishers, and they’re nailed down years in advance. And the 2013 slot is currently occupied by Neptune’s Brood, which I finished writing in July this year, about six months later than originally expected. Neptune’s Brood is notionally a space opera, but I prefer to think of it as a parable about the banking liquidity crisis of 2008; the setting is recycled from Saturn’s Children, albeit 5000 years later and without the overt Heinlein homage (and the characters). Unfortunately I’m a slow learner. A chunk of the action takes place on (or rather in) an aquatic super-earth with no land masses: consequently, the early cover art treatments rely on the theory that the book will sell best if, rather than somehow conveying the message that it’s about fractional-reserve banking fraud in a slower than light universe, the cover promises MERMAID BOOBIES!!!1!!

Hmm.

(I wonder if there’s a secondary market for fake dust-jackets for the easily-embarrassed reader, bearing the correct name and title but a different illustration? Signed by the author, even …!)

For example, here is the original cover for Saturn’s Children:

September 23, 2012

Plagiarism in the Globe and Mail

Filed under: Cancon, Media — Tags: , , — Nicholas @ 10:21

Writing at Maclean’s, Colby Cosh outlines the case against Globe and Mail columnist Margaret Wente and the Globe‘s public editor Sylvia Stead:

Journalistic plagiarism is ordinarily regarded as what a lawyer would call a strict-liability offence. It may not be deserving of a career death penalty in any particular case, but the evidence of plagiarism usually suffices to establish the crime. Stead’s procedure as a public editor appears to involve looking into the soul of the accused and searching therein for gremlins. Does she, one wonders, believe in the objective existence of plagiarism at all? Again, she does not use the term, and she will not believe that Wente had heard even a rumour, even a whisper, of Gardner’s prior work for the Citizen.

Well, it is not likely there will ever be a case in which Stead is presented with close-up video footage of Wente using her mouse to highlight someone else’s words and pressing Control-C and Control-V. That is why the strict-liability standard is usual. If Stead will not apply it — if she is willing to accept any denial from a fellow Globe lifer, however preposterous — then how can she ever, as an impartial judge of journalism ethics, deliver a conviction? Can it be that the whole point is to have the appearance of accountability without the actual possibility of it?

Update, 24 September: Chris Selley in the National Post:

I think I’ve narrowed down my top two discreditable aspects, though: One, Stead’s reference to the fact that Wente “writes three times a week,” which could only pertain to a defence of overwork; and two, this astonishing sentence: “There appears to be some truth to the concerns but not on every count.”

Here’s the thing. I have some experience cornering plagiarists, and these are two of their standard defences: “Most of the allegations aren’t that bad,” which of course says nothing about the worst of them; and “I’m so busy,” which isn’t a defence at all but rather an appeal for clemency. And yet here is Sylvia Stead, Public Editor of The Globe and Mail, effectively raising these arguments on Wente’s behalf. This isn’t public editing; it’s public relations, and inept public relations at that.

August 9, 2012

QotD: “No one is patriotic about taxes”

Filed under: Britain, Bureaucracy, Government, Quotations, WW2 — Tags: , , , — Nicholas @ 08:54

The money situation is becoming completely unbearable. . . . Wrote a long letter to the Income Tax people pointing out that the war had practically put an end to my livelihood while at the same time the government refused to give me any kind of a job. The fact which is really relevant to a writer’s position, the impossibility of writing books with this nightmare going on, would have no weight officially. . . . Towards the government I feel no scruples and would dodge paying the tax if I could. Yet I would give my life for England readily enough, if I thought it necessary. No one is patriotic about taxes.

George Orwell, diary entry for 9 August, 1940.

July 25, 2012

Reason.tv: Fan fiction versus copyright

Filed under: Books, Cancon, Law, Liberty, Media — Tags: , , , , — Nicholas @ 09:34

“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.

July 12, 2012

The newest literary subgenre: the stream of unconsciousness

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

James Courter in the Wall Street Journal:

Is it true that college students today are unprepared and unmotivated? That generalization does injustice to the numerous bright exceptions I saw in my 25 years of teaching composition to university freshmen. But in other cases the characterization is all too accurate.

One big problem is that so few students are readers. As an unfortunate result, they have erroneous, and sometimes hilarious, notions of how the written language represents what they hear. What emerged in their papers and emails was a sort of literary subgenre that I’ve come to think of as stream of unconsciousness.

Some of their most creative thinking was devoted to fashioning excuses for tardiness, skipping class entirely, and failure to complete assignments. One guy admitted that he had trouble getting into “the proper frame of mime” for an 8 a.m. class.

Then there were the two young men who missed class for having gotten on the wrong side of the law. They both emailed me, one to say that he had been charged with a “mister meaner,” the other with a “misdeminor.”

July 1, 2012

H.L. Mencken’s New Dictionary turns 70

Filed under: Books, History, Humour, Media, Quotations, USA — Tags: , , , , — Nicholas @ 10:52

Terry Teachout celebrates the 70th anniversary of the original publication of H.L. Mencken’s New Dictionary of Quotations on Historical Principles From Ancient and Modern Sources:

The “New Dictionary” was a byproduct of its prolific editor’s fanatically industrious journalistic career. For years Mencken maintained a card file of quotations “that, for one reason or another, interested me and seemed worth remembering, but that, also for one reason or another, were not in the existing quotation-books.” In 1932 he decided to turn it into a book. When the “New Dictionary” finally saw print a decade later, Time praised it as “one of the rare books that deserve the well-worn phrase ‘Here at last.'”

Painstakingly organized and cross-referenced by subject, with each entry arranged in chronological order by date of original publication, the “New Dictionary” is formidably wide-ranging. Indeed, the only major writer missing from its index is Mencken himself. (“I thought it would be unseemly to quote myself,” he told a curious reporter. “I leave that to the intelligence of posterity.”) Its 1,347 pages abound with such innocent-sounding rubrics as “Civilization,” “Flag, American,” “Hell,” “Hypocrisy,” “Old and New” and “Science and Religion.” At first glance you might mistake it for a cornucopia of the world’s wisdom—but don’t let appearances fool you. The fathomlessly cynical Mencken wisely warned his readers in the preface that the “New Dictionary” was aimed at “readers whose general tastes and ideas approximate my own…. The Congressman hunting for platitudes to embellish his eulogy upon a fallen colleague will find relatively little to his purpose.”

He wasn’t kidding. Look up “Evolution,” for example, and you’ll find this 1925 statement by the Bible-thumping evangelist Billy Sunday: “If a minister believes and teaches evolution, he is a stinking skunk, a hypocrite, and a liar.” Look up “Critic” and you’ll be confronted with a rich catalog of ripe insults, among them this passage from Samuel Coleridge’s “Modern Critics”: “All enmity, all envy, they disclaim, / Disinterested thieves of our good name: / Cool, sober murderers of their neighbor’s fame.” Or check out “Irish,” under which can be found no less than a page of invidious comments, including a sideswipe from, of all people, Gerard Manley Hopkins: “The ambition of the Irish is to say a thing as everybody says it, only louder.”

Teachout is the author of a brilliant biography of Mencken: The Sceptic: A Life of H.L. Mencken, which I happen to be re-reading at the moment. For more on Mencken himself, the wikipedia entry is here.

April 18, 2012

Summing up the career of Hunter S. Thompson, graphically

Filed under: Books, History, Media, USA — Tags: , , , , , — Nicholas @ 00:03

At BoingBoing, Mark Frauenfelder reviews Gonzo: A Graphic Biography of Hunter S. Thompson by Will Bingley and Anthony Hope-Smith:

180 pages isn’t much room to examine a life in minute detail. Instead, Bingley tells a story (as if it were written, quite convincingly, by Thompson himself) of Thompson’s frantic search to find meaning in the turbulent era he lived in. Bingley’s story is about a passionate, rebellious genius who sprinted too fast at the beginning of a long-distance race, collapsed early, and spent his remaining decades burnt-out, crawling bewilderedly.

The book’s forward, written by Thompson’s longtime editor, Alan Rinzler, is especially revealing. Rinzler believes that Thompson could have been the “heavyweight champion of American letters,” but his self-destructive behavior, which got worse with each passing year, ruined that opportunity.

[. . .]

After Lono, says Rinzler, “Hunter’s substance abuse, writer’s block and brief attention span were increasing exponentially. He’s slip out to see his dealer and come back so tanked he couldn’t think straight.” Thompson’s work became a series of “repetitious, mediocre, regurgitated articles and books and collections he allowed to be issued and reissued over the last 30 years of his life.”

The Curse of Lono was the last book by Thompson I read, but I don’t doubt Rinzler’s assessment of the quality of Thompson’s books that followed. (Thompson’s awful “Hey Rube!” columns for an ESPN website were enough to keep me uninterested in his newer books). But his earlier work, especially Hell’s Angels, is so good that I will always admire Thompson as a heavyweight contender who showed a very promising start.

I eagerly read much of Thompson’s early work (Fear and Loathing in Las Vegas, Fear and Loathing on the Campaign Trail, The Great Shark Hunt, Hell’s Angels, and The Curse of Lono) in the early-to-mid 80’s, but tapered off soon after that. Several years ago, I picked up a remaindered copy of Hey Rube: Blood Sport, the Bush Doctrine, and the Downward Spiral of Dumbness Modern History from the Sports Desk and it was the literary equivalent of Rome after too many Goth and Vandal sackings: you could still see some great bits and pieces, but everything else had been broken, burned, hacked, and slashed.

March 11, 2012

The creativity switch

Filed under: Media, Randomness — Tags: , , — Nicholas @ 00:08

As a life-long non-creative person, I found this article to be of interest:

Creativity can seem like magic. We look at people like Steve Jobs and Bob Dylan, and we conclude that they must possess supernatural powers denied to mere mortals like us, gifts that allow them to imagine what has never existed before. They’re “creative types.” We’re not.

But creativity is not magic, and there’s no such thing as a creative type. Creativity is not a trait that we inherit in our genes or a blessing bestowed by the angels. It’s a skill. Anyone can learn to be creative and to get better at it. New research is shedding light on what allows people to develop world-changing products and to solve the toughest problems. A surprisingly concrete set of lessons has emerged about what creativity is and how to spark it in ourselves and our work.

The science of creativity is relatively new. Until the Enlightenment, acts of imagination were always equated with higher powers. Being creative meant channeling the muses, giving voice to the gods. (“Inspiration” literally means “breathed upon.”) Even in modern times, scientists have paid little attention to the sources of creativity.

But over the past decade, that has begun to change. Imagination was once thought to be a single thing, separate from other kinds of cognition. The latest research suggests that this assumption is false. It turns out that we use “creativity” as a catchall term for a variety of cognitive tools, each of which applies to particular sorts of problems and is coaxed to action in a particular way.

January 22, 2012

Transitioning from “shithole specialist” to ordinary journalist

Filed under: Humour, Media, Middle East — Tags: , , — Nicholas @ 12:28

Everyone changes to some degree as they get older. Some get wiser, some just get older. Others, like P.J. O’Rourke, have to cope with wrenching career changes:

After the Iraq War I gave up on being what’s known in the trade as a “shithole specialist.” I was too old to be scared stiff and too stiff to sleep on the ground. I’d been writing about overseas troubles of one kind or another for 21 years, in 40-some countries, none of them the nice ones. I had a happy marriage and cute kids. There wasn’t much happy or cute about Iraq.

Michael Kelly, my boss at The Atlantic, and I had gone to cover the war, he as an “imbed” with the Third Infantry Division, I as a “unilateral.” We thought, once ground operations began, I’d have the same freedom to pester the locals that he and I had had during the Gulf War a dozen years before. The last time I saw Mike he said, “I’m going to be stuck with the 111th Latrine Cleaning Battalion while you’re driving your rental car through liberated Iraq, drinking Rumsfeld Beer and judging wet abeyya contests.” Instead I wound up trapped in Kuwait, bored and useless, and Mike went with the front line to Baghdad, where he was killed during the assault on the airport.

[. . .]

Apparently shorts and T-shirts are what one wears when one is having fun. I don’t seem to own any fun outfits. I travel in a coat and tie. This is useful in negotiating customs and visa formalities, police barricades, army checkpoints, and rebel roadblocks. “Halt!” say border patrols, policemen, soldiers, and guerrilla fighters in a variety of angry-sounding languages.

I say, “Observe that I am importantly wearing a jacket and tie.”

“We are courteously allowing you to proceed now,” they reply.

This doesn’t work worth a damn with the TSA.

Then there’s the problem of writing about travel fun, or fun of any kind. Nothing has greater potential to annoy a reader than a writer recounting what fun he’s had. Personally — and I’m sure I’m not alone in this — I have little tolerance for fun when other people are having it. It’s worse than pornography and almost as bad as watching the Food Channel. Yet in this manuscript I see that, as a writer, I’m annoying my reader self from the first chapter until the last sentence. I hope at least I’m being crabby about it. Writers of travelogues are most entertaining when — to the infinite amusement of readers — they have bad things happen to them. I’m afraid the best I can do here is have a bad attitude.

Paulo Coelho: Pirate my work!

Filed under: Books, Law, Liberty, Media, Technology — Tags: , , , — Nicholas @ 11:48

Paulo Coelho finds himself on the opposite side of an issue from where he “should be”:

As an author, I should be defending ‘intellectual property’, but I’m not.

Pirates of the world, unite and pirate everything I’ve ever written!

The good old days, when each idea had an owner, are gone forever. First, because all anyone ever does is recycle the same four themes: a love story between two people, a love triangle, the struggle for power, and the story of a journey. Second, because all writers want what they write to be read, whether in a newspaper, blog, pamphlet, or on a wall.

The more often we hear a song on the radio, the keener we are to buy the CD. It’s the same with literature.

The more people ‘pirate’ a book, the better. If they like the beginning, they’ll buy the whole book the next day, because there’s nothing more tiring than reading long screeds of text on a computer screen.

H/T to Cory Doctorow for the link.

January 13, 2012

Continuators: heroes or villains?

Filed under: Books, Media — Tags: , , , — Nicholas @ 09:58

“What’s a continuator?” I pretend to hear you ask. Those are the folks who pick up the fallen pen of other (almost always greater) authors to write endings for unfinished works:

There’s a long list of great authors who have left work unfinished, often because of illness or death. Jane Austen, the Bronte sisters, Albert Camus, Franz Kafka, to name but a few. An industry has grown up around them, of so-called “continuators” — writers eager to finish the stories that they began.

There have been a number of continuations of Austen’s Sanditon, including efforts by Juliette Shapiro and Reginald Hill, author of the Dalziel and Pascoe series. Austen had only got 11 chapters in when she stopped, enough to establish the characters, but leaving the continuators plenty of room for manoeuvre.

But why would a writer choose to finish the work of another author, rather than create original work? Surely that leads to pastiche?

It’s dangerous territory, suggests Prof John Mullan, who is currently writing a book on Austen. “What we expect when we read the work of Austen, or Dickens, or Laurence Sterne, is a particular voice, and that’s terribly difficult to bring off.”

It’s a risky strategy for an author, but perhaps it speaks to a profound need in all of us. The literary critic Frank Kermode wrote in his book Sense of an Ending about our deep-rooted need to be rewarded with conclusions.

John Sutherland, emeritus professor at University College London, agrees. “Kermode famously observed that when we hear a clock go tick tick tick, what we hear is tick tock tick tock, because we like beginnings and endings. We’re hardwired, like lemmings going over a cliff.”

My experiences with continuators has been quite mixed. I’ve never been able to read anything by Spider Robinson since he “finished” a novel from Robert A. Heinlein’s very early period. I hated it so much that it actually diminished my admiration for Heinlein’s entire body of work (I eventually recovered). On the other hand, I quite enjoyed Great King’s War which was a sequel to H. Beam Piper’s Kalvan of Otherwhen. John F. Carr and Roland J. Green did an excellent job of writing in the same voice as Piper and took his characters in believable directions.

January 8, 2012

The Joyce Estate provides useful ammunition to those opposed to longer copyright terms

Filed under: Books, Economics, Law, Media — Tags: , — Nicholas @ 10:42

The works of James Joyce have finally (re-)entered the public domain:

On the last day of 2011, the 70th anniversary year of his death, James Joyce’s work finally passed out of copyright. It was the dawn of a new age for Joyce scholars, publishers and biographers who are now free to quote or publish him without the permission of the ferociously prohibitive Joyce estate.

Over the past 20 years the right to quote from or publish Joyce’s work has been a matter of increasingly heated debate. The estate’s most vocal trustee, Stephen Joyce, the author’s grandson, earned himself the reputation as the most intractable defender of any copyright in modern times. His truculence (often verbal and colourful) towards those wishing to quote or publish his grandfather’s words dated from the mid-1970s, when biographer Richard Ellmann published some of Joyce’s “pornographic” letters to his wife Nora and some suggestive ones to a clandestine lover in Zurich. On becoming a trustee, Stephen was determined to prevent any further such revelations.

He outraged a meeting of Joyce scholars in Venice in 1988 by announcing that he had destroyed around a thousand letters to Joyce from his troubled daughter Lucia, as well as some to her from Samuel Beckett, the love of her young life. The following year he forced Brenda Maddox to delete a postscript concerning Lucia from her biography Nora: The Real Life of Molly Bloom. However, in 1991, the 50th anniversary of his death, Joyce’s copyright lapsed and for a time he could be quoted freely without permission. But in 1995 copyright in Europe was extended to 70 years, so the rights reverted to the estate.

[. . .]

The intention of the literary guardian is often not just to protect the reputation and prestige of an individual or family but also to safeguard the integrity of a work against experimentation, revision or trivialisation. Samuel Beckett, for example, refused to allow women to take the leading roles in Waiting for Godot, an indignant Orwell stopped his publisher publicising Nineteen Eighty-Four as a romantic thriller and the Joyce estate refused Kate Bush permission to include the final, seductive words of Molly Bloom from Ulysses in a song.

But there is also a certain power and prestige in being the literary executor of a famous writer. People pay heed to one’s words, come cap-in-hand to one’s door with requests, and the trustee of manuscripts is free to grant or deny favours with a lordly nod or dismissive gesture. It is a power jealously guarded and sometimes remorselessly implemented.

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