Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
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Most recent entries
- Tim Marshall on the warming of the Arctic
- The outdoor map next to the Twelvetrees Crescent Bridge over the River Lea
- Marc Sidwell on experts
- Guess what this is
- Robots build a bridge
- The Robert Stephenson statue at Euston
- Cruelty to a fake animal – kindness to a fake animal
- Shopping Trolley Spiral beside the River Lea
- An Underground sermon
- Rubbish blogging
- Tim Marshall on the illiberal and undemocratic Middle East
- Opera North’s Ring
- An important game and only a game
- Making blue by copying tarantulas
- An old person television set
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6000 Miles from Civilisation
A Decent Muesli
Adventures in Capitalism
Alex Ross: The Rest Is Noise
Another Food Blog
Antoine Clarke's Election Watch
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Burning Our Money
Chase me ladies, I'm in the cavalry
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Conservative Party Reptile
Counting Cats in Zanzibar
Deleted by tomorrow
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Everything I Say is Right
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we make money not art
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Category archive: Links
Recently, word reached me, via his daughter, that one of the regular readers of this blog (such people apparently exist) – I’ll call him “Tony” (on account of his name being Tony) – was greatly entertained when he followed one of the links on the left, in one of my interminable lists of mostly obsolete internet destinations to Chase me, ladies, I’m in the cavalry.
I say greatly entertained. The report was that Tony’s head exploded with fluids and splutters of all sort. Basically, his face and mouth and throat all stopped functioning in their usual fashion and instead suffered a sort of biological combination of an earthquake and a meltdown and a volcanic eruption.
Following this report, I took another look at CMLIITC myself, and for a while, as I meandered through his archives, I was merely quite entertained. But then I read this posting ...:
VIBRATING AB BELT CHANGED MY LIFE
I recently bought an All-Star Deluxe Ab Belt. Three months ago I was a fat cunt. Now I’m a fat cunt with a vibrating belt.
… and the exact same thing started happening to me. Until that moment I had not realised that I wasn’t fully well, but I found myself trying to laugh and cough at the same time, and the same disgusting fluids and substances started bursting out of my face as had burst from Tony’s face.
I think that, aside from its wit, it was the brevity of the posting that wrongfooted this. Because of this brevity, the punch line sucker punched me in the face earlier than I had become used to and before I had in any way been able to surmise what it was going to be, as I surely would have been able to do if I had had longer to prepare my defence against it. This is a regular comedic method, I think.
What Harry Hutton looks like now makes very good sense.
Friday is my day for cats and other creatures, but it is also David Thompson’s day for more substsantial collections of all this weird and wonderful on the internet, and one ephemeron (ephemeros? ephemerum?) in his collection today is this:
Brutalist colouring book. Because concrete needs colour.
I followed that link.
Brutalism lovers, sharpen your cold grey and warm grey pencils and add some colour to some great concrete constructions. First edition of 500 hundred copies. Each copy is numbered.
Ooh. First edition. Numbered copies. Very arty. Sign of the times? I want it to be.
I have long thought that the brutalities of brutalism could use a bit of softening, and actually, a lot of softening. With colour. Bring it on.
Someone who agreed with me, from way back was, actually, would you believe?: Le Corbusier. He was into bright colours to soften the brutalities of his brutalism, from the getgo.
(See also: these colourful kittens. No softening needed there, but it was done anyway.)
Recently, I have been posting (for example here and here and there) photos that I took quite a while back, of scenes that are now different or in some way ephemeral, that fact often being noted in the postings themselves.
Here is another such:
This photo, taken in November 2003, is ephemeral in two ways.
First, there are men at work on the top of the Gherkin there. The photo is not technically that good, if only because the camera wasn’t that good, and neither was the light on that particular day. But, click to get it twice as big, and you will surely agree that men is definitely what we do see there. Never before that day had I seen men at work on the top of the Gherkin, unless you count before it was finished (buildings still being built being another rich source of ephemera), and never have I seen this since that day. It may be that these guys were in fact finishing the Gherkin, in some way that I don’t know about. Whatever, there they are.
And the second ephemeral thing about this photo is that it dates from the time when the Gherkin stood in something approximating to splendid isolation. The same shot taken from the same spot today (outside Liverpool Street Station) would surely contain a Cheesegrater at the very least, and probably several other Big Things.
Spent my evening getting my colour printer back in business. Took me five minutes to find the on/off switch.
Quite often, I settle down to write something for here, and end up with something which would go equally well at Samizdata. Whenever I realise this, I tend to put whatever it is at Samizdata, and leave only the less political and more “trivial” (the “s because trivia is often not at all trivial) stuff for here. Often, these are pieces that I would never have written had I not started out writing them for here.
Today I just did this again, in a piece about people who are F4BF (famous for being famous), and about the contribution that such persons make to the world.
The rest of today is set aside for more tidying up, so that may well be it, for here, for today.
For the last week or two or more, I have been unable to reach the 6k blog, which is one of my favourites. I’ve been able to reach everything else I wanted to, but not 6k. Odd. My computer has been behaving strangely in recent weeks, so it’s almost certainly me rather than him. Or maybe, as The Guru suggests, it might be my internet provider. Whatever the reason, it’s been a frustration and a worry.
But today, for no reason that I can think of, I clicked on 6k yet again, and back it came, like it had never been away.
To celebrate, here are some more lighthouses, something which 6k likes, and which in a more ignorant and casual way I do too:
That’s a crop from the middle of a hastily snatched shop-window shot, full of reflections and general confusion. Memo to self. Next time I visit my friends in Brittany: better lighthouse shots. Of postcards, of toy lighthouses like these ones (I seem to recall entire walls of lighthouses in tourist crap shops), and of actual lighthouses.
6k likes lighthouses so much that the little square graphic at the top of the window where his blog is windowed, or whatever is the word for that, is a red, white and blue square from a red and white lighthouse picture.
Friday was the day here for cats, but now I have widened it to all kinds of creatures, cats included.
This week, a snake! On a vintage car!
I took these pictures in the square next to Quimper Cathedral, in the summer of 2008:
The snake is most clearly to be seen in pictures 1.2, 2.1, 2.2 and 3.3. I think it must be some sort of air intake, for the engine, or for something. But what do I know?
Berliet seems to be an enterprise that makes lorries these days. But if you scroll down through the images you get when you type “berliet” into google images, you start to see vintage cars, in among the more recent lorries.
If you scroll down at this site, you get to something that looks like the above vehicle. And if it is the same vehicle, or something very similar, then it is a 1907 Berliet C2 Double-Phaeton, or something very similar.
There’s a number plate on the front of my Berliet, which says: 1909 VS 29. I thought that might be a clue, rather than, you know, a number plate, so I tried “Berliet 1909 VS 29” with google images, and guess what I found. A Berliet “Double Phaeton” at a car museum in Malaga.
I even found a photo of the car in question, with a ludicrously long internet address attached to it, which I now offer you, in the hope that it works
Well, the link does seem to work, but if it doesn’t, take my word for it. Although this is not the same car as my one above, it is very similar. So similar that the car in the Andalusian museum also has, just like my car has, attached to its side, with its mouth wide open, sucking in air, … a snake. Weird.
Earlier today I stuck up a biggish piece at Samizdata entitled Thoughts on the politics of coastlines, about the age-old conflict between land powers and sea powers.
That’s the nearest thing I could quickly find in my photo-archives to a relevant picture, of a ship near London Gateway, which I paid several visits to, way back in 2013. That’s as close as I’ve been to a British coast any time recently.
Here. The fourth of five postings at Samizdata today, so far.
Except that just now I came across this bizarre bridge, in Poole, of all places:
Amusing Planet amuses again.
City A.M. Is so excited that the headline writer, as of now, has decided that there is only one i in ambitious:
That headline is recycled here in case they correct it. Thereby establishing that the (more) mainstream media behave just as I do, when it comes to correcting their mistakes. Or else, alerting you to a permanently wrong headline, whichever. And I’m guessing that even if they do correct the headline, they may feel obliged to keep the link spelling as it started out.
But more to the point, this ambtious plan refers to driverless flying cars, driverless flying cars that look like this:
When I first set eyes on that picture, my reaction was: That’s not a car, that’s a drone. City A.M. agrees:
The futuristic, if slightly terrifying sounding vehicle, has been unveiled by Chinese tech company Ehang and manages to combine the top two trends predicted to dominate this year’s biggest tech show - drones and driverless cars - and claims to be the first Autonomous Aerial Vehicle in the world. Or, in other words, a driverless flying car.
Are you sceptical? I am. But City A.M. continues:
Ehang claims the 184 is already at the point of becoming a commercially selling vehicle, albeit with a £130,000-£200,000 price tag. Belive it or not, it’s not just a concept - it’s already preparing for pre-orders and plans to ship to customers this year.
Well, I’m not sure that I do “belive” it, but I would be fascinated to be proved wrong.
Bizarre new forms of transport are definitely the Thing of the New Year, here at BrianMicklethwaitDotCom. I haven’t been especially looking for such things. They have merely presented themselves to me. But now, perhaps (although I promise nothing), I will start looking for such things. Anyone come across any other crazy transport stuff lately?
LATER: I googled “ambtious”, and was informed of a horse called “Ambtious Dragon”. So, some kind of Chinese neologism? But it turned out that this was a headline misprint also.
... causing them to stay stuck inside my head for ever.
That’s it really. Provided something can get out of hand inside a head.
What I am talking about, in the event that you don’t already recognise the syndrome, is that you think of something to put on your blog, and start seeking out links, and you find highly pertinent links to add, but at the far end of them, you find further highly pertinent things to add to the original posting, until it ceases entirely from being the piece of fun that blogging ought mostly to be, and becomes a giant piece of homework that never gets done.
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.