Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
Tom on Pavlova reflected in double glazing
Tom on Smart face on smartphone
Tom on The Shard was looking very special today
Alan Little on Out and about with GD1 (2): How mobile phones both cause and solve meeting up problems
Brian Micklethwait on Unusual bench?
Stewart on Unusual bench?
6000 on The Shard was looking very special today
Rob Fisher on Smart face on smartphone
Southall on A posh white van and a not so posh white van
Darren on England crush NZ (and Surrey beat Leicester)
Most recent entries
- Moving speaker – unmoving listeners, video holder and books
- Pavlova reflected in double glazing
- Out and about with GD1 (3): Baritone borrows my charger
- Out and about with GD1 (2): How mobile phones both cause and solve meeting up problems
- Unusual bench?
- More keeping up of appearances
- Cats and cricket – cats and drones
- Two strangers photoed by Mick Hartley and show there (and here) without their permission
- You can tell that drones have arrived because now they are being turned into a sport
- The Shard was looking very special today
- Windsor Castle from the top of the RAF Memorial
- Photoing old Dinky Toys in Englefield Green
- Cat picture on white van
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we make money not art
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Category archive: Links
One of my favourite buildings that I’ve never seen is the recently completed (quite recently completed - 2008) Oslo Opera House, which looks like this:
Sooner or later, some big public building was bound to be built like this, with a roof that doubles up as a big public open space, where you can walk to the highest spot on the building’s roof, without once having to go indoors.
Oslo Opera has become a new landmark for the city and proved an instant success with both locals and tourists.
And of course, that roof doesn’t have to be the bland and featureless desert that this one is, in this picture. Sooner or later, it will acquire roof clutter! Perhaps it already has.
As entire cities compete with one another for tourists, buildings like this, with walkabout roofs, will surely become ever more common, as ever more tourists search, as I search, for places up in the sky from which to take tourist snaps. It is no accident that I found the above picture and quote at a site called Visit Norway. (Although sadly, this Visit Norway site fucks with the links and causes them not to work, and these fucked links also fuck with subsequent links which are none of Visit Norway’s damn business. This caused me major problems, until I just stripped out all Visit Norway linkage, at which point sanity was restored. So if you care, you’ll have to find the damn place for yourself. I think Visit Norway was trying to help. It failed. Norway, sort this out.)
Even as I praise this building, I make no judgement about what goes on inside it. The point of these “iconic” buildings - horizontal Big Things - you might say, is that they are fun to visit, regardless of their mere indoor contents. See also: Tate Modern. After all, one of the advantages of a roof like this is that the roof can be enjoyed even as the inside of the building can be entirely ignored.
What got me writing about this Oslo building was a recent posting at Dezeen, featuring another proposed building by the same architects, Snohetta (which has a forward slash through the “o") which uses the same trick, of people being able to walk up to the top in a big zig zag. This time it is a museum in Budapest:
And oh look, I went to the Sn o-with-forward-slash hetta website, and here is another Snohetta proposal, using the same trick, for another opera house, this time in Busan, South Korea:
With the design of the Busan Opera, the opera is no longer a passive playground for the elite but becomes interactive, democratic space, responding to the public’s ambitions and interests.
This is architect speak for:
People can walk about on the roof and take photos without having to sit through some stupid damn opera.
And oh look, again. Snohetta have also proposed that a new media centre in Vienna should look like this:
Look again, and you encounter the Barack Obama Presidential Center:
These last two are not so zig zag, but the principle is the same.
London awaits you, Snohettans.
The other day, I forget which one, I worked something out that had been confusing me. Why, given all the fun I get out of photography and given all the time I spend doing it and thinking about it, have I not immersed myself in all the technicalities of photography? Why is it that the only setting on my camera that I regularly use is the one called “Automatic”? Why am I no nearer to understanding manual focussing than I was a decade ago?
The answer is that it is the point-and-shoot sort of photography that strikes me as the most interesting sort of photography now happening. Not in art galleries where the latest black-and-white photos of plague victims or under-age African soldiers are on display, in photos that cost more to buy than paintings and took more trouble to produce. That is all so twentieth century, and even, actually, nineteenth century. What counts now, for me, are the photos you can take with your mobile phone camera, or with the jumped-up mobile phone camera that I use, and the sort of photos that regular people are now able to take, of regular stuff rather than of foreign catastrophes that someone will pay them to take art-gallery standard photos of.
In short, I take point-and-shoot pictures because I like to be part of history, and this is where the history of photography now is. (If you disagree, realise that what you are reading is not an argument. It is a description of a feeling.)
What I have is called a “bridge” camera, but all that this means is that it is a bog-standard point-and-shoot camera that takes somewhat better photos when you go click, and which has a twiddly screen, and a lens that can go from close-up to mega-zoom without any faffing about with multiple lenses. I have the best cheap camera that I can get, rather than the cheapest proper camera. Oh, you can set my camera on manual and go all Real Photographer with it. But if you want to do that, you should have a proper Real Photographer camera, not a bridge camera, and you should have a rucksack full of lenses, each perfect for each oh-so-carefully-taken shot. What “bridge” means is the best camera you can have without having to give any thought to “photography”. Instead, you just think about the picture. More precisely, you think about what you see and which of the things that you see are the most interesting, and why.
My camera is not really any sort of “bridge”. Bridge suggests that I am going somewhere with it, somewhere different, as in different from the technical point of view. But I’m not. Technically, I am staying right where I am. If I am getting better at photography, it is because I am getting better at choosing what to point my camera at.
A bridge camera is rather like “crossover” music in that respect. Crossover music is not for people who are actually doing any crossing over, from one sort of music to any other sort of music. Crossover music is its own sort of music. The people who like crossover music (and there’s nothing wrong with that) are people who like crossover music and who will continue to listen to crossover music, with no actual crossing over from any other sort of music to any other sort of music happening at all.
No links, because I thought of this all by myself.
Nothing from me here today, but something at Samizdata (which makes a change), in the form of a remarkable song lyric from the 1920s by Cole Porter. Pure libertarianism. They maybe did not have the word back then (I don’t know), but they certainly had the thing itself:
Live and let live, and remember this line:
Your business is your business,
And my business is mine.
Here is a London picture, with the River Thames turned into a floor, very badly carpeted with very bad carpet tiles:
It’s Google Maps’s 3D-isation of London.
Despite the bad river carpeting, I would like to explore this Virtual London. But none of the reports I read of this exciting new virtuality tell me how can do this. Can I? And if I can, will I have to pay?
I love this, from AndrewZ at Samizdata, commenting on this piece by Natalie Solent, which quotes a couple of particularly demented pieces of writing in the Guardian, about cupcake fascism (this phrase should never be forgotten) and about the horrors of tourism. (Natalie has been agreeably busy at Samizdata of late.)
The online edition of any newspaper that isn’t behind a paywall relies on advertising to generate income and this depends on maximising the number of page views. The simplest way to do that is to publish outrageous and provocative opinions that will attract links from elsewhere and start a blazing row among the regular commenters. The great liberal newspaper of old is now little more than a group blog that trolls its own readers for advertising revenue.
No link from here to the original pieces, about cupcake fascism or tourism. Oh no. BmdotCOM is not falling into that trap.
Now that I have read the rest of them, I can report that all the comments at Samizdata on this posting are pretty good and worth a look.
One of the rules I have developed for my own photographic activities is to try always to take pictures, in among all the merely nice pictures, which tell me where I was and what these nice pictures were of.
I do not always follow this rule. Rules are like that. The ones you follow all the time, automatically, don’t have to be rules. It’s the rules you often break which are nevertheless good which have to be rules, to persuade you to follow them more than you would otherwise.
Here, for instance, is a fun snap:
That was taken on June 29th 2007, 5.38pm (plus 30 seconds), a fact which I now know because my camera automatically recorded it. I called the photo ArtHasItsUses, as this young guy is demonstrating. But, where are we? I have two other snaps of the same scene, but none of them include any information about exactly where we are, like a street name. Nor did I photo the plaque at the bottom of the sculpture, as I often do. This would likewise have given me some useful words to google, and offered me the opportunity to supply a link to other works by the same artist. But I did neither of these sensible things.
I tried following the phone number that you can see behind the Thing, but before anything would tell me anything about that (maybe) then the anythings in question demanded to know all kinds of things about me, and I gave up.
I understand that many cameras nowadays automatically record exact place of shot along with exact time of shot. Mine is not such a camera.
A vague clue is that, judging by other photos taken somewhat earlier, I appear to have been in the general vicinity of Islington, North London. But where? And what is this rather agreeable Thing? Who did it? Anybody?
Incoming, entitled “Request Link Removal”:
I am contacting you on behalf of Eurostar, we work with their Online Marketing team and are currently reviewing the number of links pointing to the Eurostar website. In order to comply with Google’s regulations, there are a number of links which we are required to remove or nofollow. We have identified such links from your website and would like to request that you either remove the link or add a nofollow tag to it.
The link(s) we wish to be removed can be found here:
[original link written out but it doesn’t fit properly here]
Please can you let me know once you have altered the link or if you have any questions,
SEO Account Executive
360i | 62-70 Shorts Gardens | Covent Garden| London, WC2H 9AH
The link in the above email is to an entire month of postings here, so it took me a while to find the offending link in question. I was half hoping I wouldn’t find it, so I could send a sarky email back saying: Be more specific. Which posting? No such luck. It’s in this posting, where is says “November”. Worth following that link because it is to one of my very best ever (I think) photos.
I don’t understand what a “nofollow tag” is or how to make such a thing work, so I just removed the link.
My link originally went “http(semicolon)//stpancras.eurostar.com/en-gb/why-we-moving” (I’ve changed “:” to “(semicolon)” there to stop this version causing more grief). Trying StPancrasDotEurostarDotCom now gets Google saying:
Oops! Google Chrome could not find stpancras.eurostar.com. Did you mean: www.eurostar.com/stpancras
Interesting that Google omits the question mark there, I think.
So, presumably this is a case of an old Eurostar website that they no longer want anyone reading.
Or is it? I don’t know. Can anyone tell me more about what just happened?
To me, it all has a slightly objectionable taste to it. The link to our site no longer works, so you must remove your link to it. Why? Why can’t the link just not work any more? Does it clog up the internet, or something, with repeated attempts to make the link work? Is that what this is about?
Yes, I’m afraid I’ve been doing rather a lot of quota posting of late.
So anyway, here’s the link.
And here is the quota photo:
That’s actually one of my more favourite recent photos. It was taken just before Christmas, in Twickenham, where Patrick Crozier lives, through the window of a shop where they sell … things like that.
I like the water on the window.
You were not slow. I am in the habit of arranging blog posts on a daily schedule, but fumbled the date and 19 became 9 so it appeared to be ancient when it was in fact early.
You must have seen it rather quickly, I’m flattered.
Actually what I saw quickly was the automatic email that I automatically got from Libertarian Home about the latest posting there. I clicked on it, read the Sermon, was impressed, shoved it up at Samizdata, then blogged about the process here. In among all that, I noticed that the posting was dated Feb 9th, and mentioned that I had been rather slow to notice it in the posting here, but not there. All this in the space of about an hour and a half.
The upshot of which is a posting that now declares itself to have arrived at Libertarian Home on Feb 19, but which has meanwhile already become the SQotD for Feb 18.
A while back, I wrote here, at the start of a posting about Manx Cats, this:
Inevitably, this blog, if it persists much longer, will become more and more concerned with the experience of getting old, ...
That posting was about the thing of “sort of” knowing stuff, as you get older. I “sort of” knew that Manx cats don’t have tales. You vaguely remember having once known something. That kind of thing.
This posting now is also about that aging process. Because, when the above email arrived, I should have realised that something bizarre was happening over at LH with regard to dates. I mean, if this Rob Waller Sermon had really been up for the last ten days, how come I had missed it all that time, even though I regularly visit LH? And how come I was only now receiving an automatic email about it?
I never consciously thought it through, but my “sort of” thought process was that either LH was confused or I was, and I just assumed without thinking about it that the confusion must be mine, on account of me having now entered the years of frequent and soon perpetual confusion, about everything. You are now reading prose written by a man who has started to forget, while in the bath, whether he has stood up and washed his private parts yet, or not yet, and who has hence started to do this either twice or not at all. Simon Gibbs, on the other hand, is a smart young guy. He has a smart young wife and a smart young home. He has a paid job and a life. That he might have got his blog posting dates in a muddle just did not occur to me.
I spent all my blogging time today concocting this posting, which is very long (being a review of my past year) and has twelve of my photos in it (one from each month). Enjoy.
ls Happy Old Year right? As in: hope you had one. I rather think it might be, for today. Anyway, I hope you did.
I have categorised this under, among other things, “Friends”, because if you are reading this today, or at all frankly, then you are.
So instead, here is a link to a story, from April 2011, about Copenhagen’s Sperm Bike. How did I miss this? Probably because the site is called Treehugger, and peddles stuff about the need to screw up Western Civilisation because of the weather getting too hot if we don’t.
This is what the Sperm Bike looks like:
If you are wondering about how the steering works, I think this explains it.
This is a memo from me to me, and also an email to a friend, about another great photo op that I don’t want to forget about until I’ve done it.
The friend wants us to meet up at this, which has excellent views of both the Gherkin and the Shard, from approximately as high up as they are. This is me saying yes I very much want to do this. I am always on the lookout for such lookouts, and further suggestions are always very welcome.
Located on the 38th & 39th floors of the Heron Tower, SUSHISAMBA delivers a unique blend of Japanese, Brazilian and Peruvian cuisine, culture, music and striking design to the City of London.
Yeah yeah, foreigners cooking and overcharging for it. I get it. But what can I see? What can I photograph?
Europe’s two highest dining outdoor terraces flank the restaurant, offering unparalleled views of the City to the west and the Olympic Park to the east. Award-winning architects Cetra Ruddy designed the restaurant’s 13,423-square-foot (1,247-square-meter) space, which has direct access via two scenic lifts from a dedicated entrance on Bishopsgate. The venue is open daily for lunch and dinner, offering outdoor dining, a bar and lounge, and premier event space.
Scenic lifts. Sounds terrific. Even better if you get stuck in the scenic lift for ten minutes (not for ten hours), two thirds of the way up.
SUSHISAMBA’s menus offer an inventive culmination of three cuisines. Guests will be treated to Brazilian Churrasco and Moqueca, Peruvian Anticuchos and Seviches; and Japanese tempura and sushi.
With any luck, the lack of proper meet+2veg food, which does not taste like it was assembled in an explosives factory, will put enough people off going to this place to give me a reasonably free run of it, and plenty of photo ops. But that might be hoping for too much, and anyway, you only ever really find out what’s what with a deal like this when you actually go there, which I most definitely intend to do.
A link to this posting will go to the friend. I find that this personal blog is good for writing emails to people. What I have found myself doing recently is writing the email as a blog posting, and then emailing them the mere link, introduced with a brief summary of it. That way you achieve email brevity and say what you really want to say about whatever it is, and you get more readers for what you have written, in this case a not quite so tiny trickle. (I’ve sent the link to this posting, about how I want a new sofa/bench, to all sorts of people.)
The merging of the public and the private, which is a big story of the century so far, and which I will definitely be writing about some more, in other blog postings but not this one.
Prominent opinionators don’t need to alert the world to the fact that some opinion they said or wrote is being attended to, a bit more than the world might otherwise have assumed. It’s rather like how heads of state don’t have to dress up in fancy uniforms with lots of medals attached to prove how important they are. Everyone already knows. Lesser persons, whose upward social motions either happen through their own continuing social climbing efforts or do not happen at all, cannot afford to be so tasteful and fastidious.
The Samizdata posting that the Quotulator quotulates from, which says that, in the Quotulator’s words, Obama is doing quite well at the things he cares about, was partly the result of something that my friend Alastair James said to me recently, to the effect that rather too many recent Samizdata postings consisted of someone saying something that everyone who reads and writes for or comments at Samizdata agrees with, and then lots of commenters saying: I agree. I agree.
That’s one of things it says here. But don’t go there. You’d be wasting your time. All that the bit of it that concerns the above says is: “You can achieve everything you want if you’re unambitious enough.”
I get really pissed off with links that say something, and you go there, and all it is is someone saying what you’ve just read already, with no elaboration or justification or illustration or explication or any other sort of ation, of the sort that all links used to take you to. I am sure Twitter has its uses, but I wish people wouldn’t link to it in this annoyingly disappointing way.
This is a short posting, just to make a note of some links that I have acquired, to things about Emmanuel Todd. Microsoft is in the habit of shutting down my computer without warning, and I don’t want to have to go hunting for them again.
Here is a review of a new book about America called America 3.0 (which I already have on order from Amazon), by James Bennet and Michael Lotus. This book includes some of Todd’s ideas about family structure by way of explaining why the America of the near future will be particularly well suited to the free-wheeling individualism of the next few years of economic history.
In this review, T Greer says:
I was delighted to find that much of this analysis rests of the work of the French anthropologist Emmanuel Todd. I came across Mr. Todd’s work a few months ago, and concluded immediately that he is the most under-rated “big idea” thinker in the field of world history.
Greer also makes use of this map, which first appeared in this New York Times article:
Slowly, very slowly, Emmanuel Todd is starting to be noticed in the English speaking world.