Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
Brian Micklethwait on "Real Democracy Now" in Parliament Square this afternoon
Rocco on "Real Democracy Now" in Parliament Square this afternoon
Six Thousand on Some batsman – some neck
Darren on Some batsman – some neck
Michael Jennings on Thoughts on habits and on changing incentives with the passing of time
Rob Fisher on Thoughts on habits and on changing incentives with the passing of time
James on Charlie Hebdo demo in Trafalgar Square
Brian Micklethwait on Charlie Hebdo demo in Trafalgar Square
Tom on Charlie Hebdo demo in Trafalgar Square
Tom on Golden Gate being built – Severn Road Bridge ditto – C20 photography – Hitler's paintings
Most recent entries
- Scandinavia comes out on top according to the HDI …
- Drone on the White House lawn
- BMdotcom What if? of the day
- Move over CND
- Photographers - photographers with hats (one of the hats being rather scary)
- “Real Democracy Now” in Parliament Square this afternoon
- Big cats jacket
- Drugs drones
- Some batsman – some neck
- Thoughts on habits and on changing incentives with the passing of time
- BMdotcom (mathematical (and sporting)) quote of the day
- Two pictures of the Shard behind some railings
- Smartphones and tablets at the Charlie Hebdo demo
- A feline Friday at Guido
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Category archive: The internet
Lexington Green, here:
What if … ?
What would a history of the British Empire look like if it did not use the “rise and fall” metaphor?
What would that history look like if it examined not just the political framework or just the superficial gilt and glitter, or just the cruelty and crimes, but the deeper and more enduring substance?
What if someone wrote a history of the impact of the English speaking people and their institutions (political, financial, professional, commercial, military, technical, scientific, cultural), and the infinitely complex web of interconnections between them, as a continuous and unbroken story, with a past a present … and a future?
In other words, what if we were to read a history that did not see a rising British Empire followed by a falling Empire, then a rising American Empire which displaced it, but an organism which has taken on many forms over many centuries, and on many continents, but is nonetheless a single life?
What if we assume that the British Empire was not something that ended, but that the Anglosphere, of which the Empire was one expression, is something that has never stopped growing and evolving, and taking on new institutional forms?
What if it looked at the unremitting advance, the pitiless onslaught, universal insinuation, of the English speakers on the rest of the world, seizing big chunks of it (North America, Australia), sloshing up into many parts of it and receding again (India, Nigeria, Malaya), carving permanent marks in the cultural landscape they left behind, all the while getting wealthier and more powerful and pushing the frontiers of science and technology and all the other forms of material progress?
What if jet travel and the Internet have at last conquered the tyranny of distance which the Empire Federationists of a century ago dreamed that steam and telegraph cables would conquer? What if they were just a century too early?
I recall musing along the same kind of lines myself, a while back.
The important thing is, this mustn’t be advertised first as a plan. If that happens, then all the people who are against the Anglosphere, and who prefer places like Spain and Venezuela and Cuba and Hell, will use their ownership of the Mainstream Media to Put A Stop to the plan. What needs to happen is for us to just do it, and then after about two decades of us having just done it, they’ll realise that it is a fate (as the Hellists will describe it) accompli.
Because, guess what, we probably are already doing it.
This morning I had fun keeping half an eye on one of those Big Bash 20/20 games they are having just now over in Oz.
This morning‘s hero was a certain Jordan Silk of the Sydney Sixers, who slogged five such boundaries against the Sydney Thunder. And thanks to the www, I immediately learned about what a long neck the man has.
Silk has a huge neck, but Small has no neck at all. I imagine the (cricket part of the) internet is awash with pictures of these two guys, side by side.
The game was what they call these days a roller coaster ride. One moment half of Sydney was cheering. Next moment it was the other half cheering. Thunder looking like walking it, with the sixers on seventy something for 5 after 13 overs. Then someone is reminded of his team’s name and hits three consecutive sixes to swing it the Sixers’ way. But the Sixers still need way over fifty off the last three overs. In over 18, they get 25! But, next (penultimate) over: 1, 4, W, 1, 1, 1. Thunder look like winners. Sixers still need 23 of just the one last over. Someone called Lalor then comes on to bowl the last over, with bowling figures so far of 3 overs 1 maiden (a maiden in 20/20 being a miracle) 6 runs 4 wickets. And Lalor then goes for 23, and the Sixers win on the last ball. Jordan Silk and his big neck score two sixes off balls 2 and 3 of the final over. But Silk gan only get a single off ball 4, which swings the match back towards Thunder. But then, a tailender, needing 8 off two balls, promptly hits two fours, from his second and third balls faced.
Quite a game.
The one thing I really do not like about cricket writing is whether to put two or 2, four or 4, six or 6, twenty or 20, etcetera. Comments about that, anyone?
Here’s a nice coincidence. There I was writing about how I went from being, in my teens, a bad pen-and-ink picture-maker to, from around 2000 onwards, a far happier digital-photographic picture maker. And here is a picture that captures that kind of metamorphosis perfectly:
It’s one of these pictures by Christoph Niemann. Niemann’s pictures bring to mind that phrase used by one of the alter egos of Barry Humphries, Barry McKenzie, who described paintings as “hand done photos”. These pictures really do only work as photos. Until they are photoed, the job is not done. But the hand-done bit is essential to what they are.
One thing about these pictures that I particularly like, apart from the basic fact that I like them, is their very favourable effort-to-impact ratio. For my taste, too much of the picture-making displayed at Colossal consists of stuff that is quite nice to look at, but which took an absurdly huge amount of time and effort to contrive. Also, there is often no logical or even meaningful connection between how the pictures are contrived and how they end up looking. So, you’ve made a table cloth out of seeds. Clever you. But, why? Niemann’s pictures answer this question perfectly.
But then again, the internet being the internet, if your elaborately pointless pictures catch people’s fancy and thousands glance at them, then I guess that, if you put in a lot of time and effort, you may well reckon than all the time and effort was worth it, especially if you had fun spending it and doing it. And of course it is digital photography that transforms a laboriously produced one-off item of visual art that took far too much time and effort to do, into a mass experience that it made sense to spend a lot of time and effort doing. But, most of these intricate sculptures and pictures at Colossal are just sculptures and pictures that were then photographed. Niemann’s pictures are real Hand Done Photos.
As for me, between being a bad pen-and-ink picture maker and an okay-to-good digital photographer, I endured a big interval during which I made hardly any pictures of any kind. My pictorial enthusiasm expressed itself in the design of pamphlets, and graphic design generally. Basically I became a desktop publisher. (I even earned money doing this.) First I just did publishing, on a desktop, paper-scissors-glue-photocopier. Then computers arrived, and I was an early adopter of “desktop publishing”. Then the internet arrived, and drew a big line under all that stuff. I shovelled all my pamphlets onto the internet, and became a blogger. And, I bought my first digital camera. At first, blogging and digital photography did not mix very well. Now, they mix very well indeed.
My thanks to Tony, for his and his family’s hospitality during the last week and more, and for this photo, which he took in Quimper recently, and kindly emailed to me a few days ago. I couldn’t then pay attention to it, but it was waiting for me when I got home:
What this shows is how Quimper Cathedral looked before they put two big(ger) spikes on the top of it, in the nineteenth century, thus making it look how it looks now.
I can find nothing about this transformation on the internet, let alone any repro of this actual map. Odd. Odd, that is, unless it is all there and I merely couldn’t find it. That would not be odd at all.
As discussed in this earlier posting, here is a chunk of Frisby, from his book Bitcoin: The Future of Money? (pp. 197-201 – the chunk entitled “Beware the hype cycle"). And for the reasons stated in that earlier posting, this posting might rather suddenly disappear, so if you feel inclined to read it, do so now. And then when you have, buy the book and tell me that you have done this in the comments, because this might cheer up any passing authors or publishers:
There is a cycle that a new technology passes through as it goes from conception to widespread adoption. The research company Gartner has dubbed it the ‘hype cycle’. It has five phases: the technology trigger, the peak of inflated expectations, the trough of disappointment, the slope of enlightenment and the plateau of productivity.
In the first phase the new technology is invented. There is research and development and some early investment is found. The first products are brought to market. They are expensive and will need a lot of improvement, but they find some early users. The technology clearly has something special about it and people start getting excited. This is the ‘technology trigger’. The internet in the early 1990s is a good example.
As this excitement grows, we move into the second phase. The media start talking about this amazing new technology. Speculative money piles in. All sorts of new companies spring up to operate in this new sector. Many of them are just chasing hot money and have no real product to offer. They are sometimes fraudulent. This new technology is going to change the world. The possibilities are endless. We’re going to cure diseases. We’re going to solve energy problems. We’re going to build houses on the moon. This is the ‘peak of inflated expectations’. This was the internet in 2000.
But at some point, the needle of reality punctures the bubble of expectation, and we move into the third phase. Actually, this technology might not be quite as good as we thought it was; it’s going to take a lot of work to get it right and to make it succeed on a commercial scale. A great deal of not particularly rewarding hard work, time and investment lies ahead. Forget the ideas men – now we need the water-carriers. Suddenly, the excitement has gone.
Negative press starts to creep in. Now there are more sellers than buyers. Investment is harder to come by. Many companies start going bust. People are losing money. The hype cycle has reversed and we have descended into the ‘trough of disappointment.’ This was the internet between 2000 and 2003.
But now that the hot money has left, we can move into phase four. The incompetent or fraudulent companies have died. The sector has been purged. Most of those that remain are serious players. Investors now demand better practice and the survivors deliver it. They release the second and third generation products, and they work quite well. More and more people start to use the technology and it is finally finding mainstream adoption. This was the internet in 2004. It climbed the ‘Slope of Enlightenment’, the fourth phase of the hype cycle, and entered the ‘Plateau of Productivity’ - phase five - which is where the likes of Google, Amazon and eBay are today.
Of course, cycles like this are arbitrary. Reality is never quite so simple. But it’s easy to make the case that crypto-currencies in late 2013 reached a ‘peak of inflated expectations’.
Perhaps it was not the. It wasn’t Bitcoin’s dotcom 2000 moment – just a peak on a larger journey up. Many Bitcoin companies, for example, are not even listed on the stock market. Greater manias could lie ahead.
But it’s also easy to make the case that it ws the peak of inflated expectations. In the space of three or four years, Bitcoin went from an understated mention on an obscure mailing list to declarations that it was not only going to become the preferred money system of the world, but also the usurper of the existing world order. At $1,000 a coin, some early adopters had made a million times their original investment. Speculators marvelled at the colossal amount of money they were making. The media were crazy for it. Bitcoin was discussed all over television.
It caught the imagination of the left, the right and the in-between. Computer boffins marvelled at the impossibly resilient code. Economists and libertarians marvelled at the politics of a money without government or border. There were early adopters, from the tech savvy to the black markets (black markets are usually quick to embrace new technology - pornography was the first business sector to actually make money on the internet, for example).
Every Tom, Dick and Harry you met under the age of 30 with an interest in IT was involved in some Bircoin start-up or other. Either that or he was designing some new alt currency - some altcoins were rising at over a thousand per cent per day. ‘Banks, governments, they’re irrelevant now,’ these upstarts declared.
I suggest that in late 2013 we hit the peak of the hype cycle - the peak of inflated expectations. Now Bitcoin is somewhere in the ‘trough of disillusionment,’ just like the internet in 2001. The price has fallen. There have been thefts. Some of the companies involved have gone bankrupt.
The challenge now is for all those start-ups to make their product or service work. They have to take Bitcoin from a great idea and a technology that works to something with much wider ‘real world’ use. They have to find investment and get more and more people to start using the coins. This is a long process.
There are many who will disagree with this interpretation. And, with investment, it is dangerous to have rigid opinions – I reserve the right to change my mind as events unfold.
This morning I did a rather negative would-be posting about some Art, Art which had at first rather appealed to me but which, upon further consideration, I decided I did not much like or admire.
But then I realised that my rule for stuff that other people are doing with their own time and money and others are buying and enjoying with their own money and time is for me just to walk away. Why moan? The world is full of stuff I don’t much care for. So long as I don’t get taxed to pay for it, or made to pay attention to it against my will, what on earth is the point of me seeking it out and bitching about it?
For me, this is one of the great benefits that has been brought about by the internet. In the age of the mass media, you had this whole tribe of professional hacks who, day after day, week after week, were made to pay attention to things which quite often they would rather not have been paying attention to. Inevitably, an air of irritation, even hatred, entered the souls and writings of these people. The subtext, and often the text, was: I wouldn’t have picked this in the first place. Only the Culture vultures who really were allowed to pick whatever cultural prey they were inclined to descend upon were able to communicate genuine pleasure, because they were the only Culture vultures who truly felt pleasure. The rest of Culture writing was a mixture of grudging reportage and grumbling, with the occasional cheer when some hack found himself not clock watching, not trying to think of what the hell nice things he could say about something he considered nasty, or worse, just … shrug.
But now a tidal wave of amateurs has crashed into the culture-writing game and it has become, well, a game. It has become fun. We bloggers and twitterers pick on stuff we like, and say: hey, this is cool, this is fun, this is good, this is something I really enjoyed immersing myself in. Maybe you’ll like it too. Commenters and other twitterers then say things like: well, I prefer this, or this, or that or that. If, on the other hand, you said you didn’t like something or other, the response from other www-chatterers is, not unnaturally, just to say: well then why the rude word do you waste your time moaning about it? Walk away. If what you are moaning about is some Big Thing, heavily promoted, made much of, that everyone else seems to be paying attention to, fair enough, you are warning the rest of us off it. But if it is just some little thing you found on the internet and you don’t like it, so rude-word-ing what?
For as long as there was just the one big Culture, that the media people agreed or had to agree was It, then all who wanted to be Cultural had to pay attention to that Culture, whether they liked It or not. It was their duty, just as it was the duty of professional Culture-writers to write about It, to pay attention to It. There was an air of joylessness and obligation about It all, like a queue in a passport office.
Favourite-blogger-of-mine Mick Hartley has written from time to time about the way that Art is now turning into fairground entertainment, often implying that this is a bad thing. I also notice this when I visit London’s South Bank Arts enclave, which now has a much more “visitor attraction” feel to it than it used to have. Hartley does do quite a lot of moaning, but mostly the Cultural stuff he does now is drawing attention to something he likes, thinks deserves to be more noticed, more enjoyed, more celebrated. His posting today is a perfect example of this. It’s not Art, it’s street art. Street art is fun, it appeals to people, and it is also where a lot of the official Art action is now, because the Artists know that these street people are upstaging them.
Political money is now tighter than it was a decade and more ago, and if the Arts fraternity want yet more money, they must try appealing to their audiences rather than baffling them or insulting them. They must now try to give pleasure, the way they tended not to in the twentieth century.
But there is more than economics going on here. After all, there is still a hell of a lot of Official Money being competed for. There is still a great big Culture out there, still being paid for, if not enjoyed. No, the other difference is that there is also that damned internet out there, where regular punters get to say what they really think about it all. If they are being got at by Culture, they can now get back at it, by saying: bollocks, and: I prefer this, or this, or that or that. It’s a different world.
And you’ll never know what it was I just moaning about. I will instead look for other things, that I actually like.
The sort of place I will be looking will be at places like Colossal, which, by the way, is where I found the thing that I liked at first but then didn’t like, that got me started on all this. I don’t like everything at Colossal by any means. But I like a lot of it.
Or, maybe this is really a posting that is not really about Art as such, more about getting old, as so many postings here are. As you get old, you stop worrying about what Art is, if you are one of those people who ever did worry. You just stop paying attention to Art, as in: Where Art Is Going. It will go where it goes, and you go where you want to go. It’s not the world getting happier. It’s not Art getting more fun. It’s just you. It’s just me.
Ah blogging. You can change your mind in mid posting, or even right at the end if you feel inclined. What’s that you say? You disapprove. I must make up my mind. Must I? I tell you what, you go away and read something else, something you’d prefer. This was just a bit of fun, and for you it wasn’t. Forget about it.
See number 4 of these mistranslations. See also, number 2: “RACIST PARK”; number 9: “BAG OF SHIT”; number 16: “Deformity Toilet”; and number 19 (which I have seen before I’m almost sure): “Translate server error”.
Got this via here, of all places, the one he chose being number 6: “Entrance only with Herr Hitler”.
The lion statues in Tragalgar Square are famous, and they deserve to be. But there is another lion statue in London that I am also fond of, namely the one on the far side of Westminster Bridge from the Houses of Parliament. I like, when I walk along beside the river next to St Thomas’ Hospital, to photo it lined up with the Wheel.
I really liked this when I saw it. You wouldn’t want a guide lion, but, that’s the joke.
And this other guy liked it too:
I couldn’t wait for Friday to come round so I could show these snaps to you people. Inconveniently, I took them on a Saturday.
It turns out that with us, cats are cats. Then they go outdoors and become lions. They get on better with us than they do with each other. They have evolved to manipulate us into feeding and sheltering them.
With the arrival of the internet, the evolution of cats has entered a new and more intense phase.
LATER: Although guide lions probably wouldn’t work, here’s a 2012 story about a guide cat, who guides a dog.
SUNDAY: I was back there yesterday, and that bit of yellow writing wasn’t there when I first photoed this guide dog lion:
And they have also sorted out that strap around the lion’s front.
More about what is going on here, here.
While rootling around in the www like it was about 2003, I found this piece, dating from 2009, which was all about this apparently pretty but otherwise unremarkable abstract picture:
In case you don’t already know what is going on here, the big story here is that the blue bits and the green bits are the same colour. What colour your eyes see something as depends on the other colours in the immediate vicinity.
The writer linked to above found this graphic here, which you can too if you do a bit of scrolling down.
If you saw this around 2009, or something similar around 2003, then apologies for the repetition. That early period of blogging, just after 2000, will always seem to me like a fleeting golden age, when everything of this sort was being discovered and passed on for the very first time. Because we could. Before, we couldn’t. Now, we could. But now (as in now), most of this sort of trivia has been in circulation for a decade, and it lacks the impact it once had. We bloggers must find new things to say, to cover for the fact that blogging itself is no longer new. This is not a bad thing.
Taking the first question first: is it practise or practice?
This is the kind of question that, in the days before the www, used to rattle about inside several million heads for decades on end. As it so happens, it did so rattle in mine. But for a decade and more now, such questions could and can be answered, and today I answered this question for myself, by finding my way, very quickly, pretty much as soon as I started trying, to this site. I’d been meaning to do this for a long time. Today, I did. What it says at the other end of that link, assuming I read it right, is that practice is the noun and practise is the verb, as with advice and advise. I know, you knew that. I must be an uneducated pillock not to know it. But, although in many ways not an uneducated pillock, I was for many decades just that, in this particular way. Besides which, the essence of educatedness is not mere knowledge, it is knowing that one needs to acquire this or that further item of further knowledge, and if far later than is dignified, well so be it.
I’m not saying that this answer is correct. I’m just saying that from now on, this is the answer I will try to apply whenever the practice/practise dilemma presents itself to me.
Moving on to the question in the brackets above. Answer: no. The site where I found this answer (right or wrong) is called “Future Perfect”, and its subtitle is “Improving Written Communications”. Like, that’s all it would take to make the future perfect. I do not believe this. I get it. Future perfect is also a piece of grammar, and grammar is (along with spelling) one of the things this place is about. Ho ho. But, future perfect?
Perfect communication could just mean perfectly expressed abuse. Remember that fish in Hitchhiker’s Guide, which enabled everyone to communicate perfectly with everyone else, and which started terrible wars, because now everyone could understood everyone else’s insults. Perfect communication is indeed, maybe, part of the perfect future, but saying perfectly nice things is also an important part of perfection, I would say. And that’s quite aside from the fact that actual perfection would also be terrible, for other reasons.
From early in the afternoon of Tuesday, yesterday, until early this morning, this blog was out of action. I couldn’t read it myself, let alone post anything:
The non-functioning of BrianMicklethwaitDotCom took out my emailing abilities as well. If anyone tried to email and got told to get stuffed, please try again - especially if it concerned the meeting at my home this coming Friday evening, at which Priya Dutta is going to speak about education.
I don’t suppose many people suffered much, but I did, because I didn’t know if and when BMDC was ever going to come back to life.
The problem was something to do with the internet provider (which has recently changed hands) for my Hoster. But spare a thought for Hoster. I wasn’t his only client ringing up in a state. He had lots of others doing the exact same thing. He told me that he will be changing his internet provider asap, but that he couldn’t do that until his internet provider came back on line and he was able to make the necessary arrangements.
Meanwhile, I really need to change how I do email.
More times like these. I have had a great deal too many and too much of these sorts of times lately.
A fun bit of news on the cats front today illustrates how seriously the oh-so-serious Guardian now takes the whole cats thing, along with the rest of the media after a decade and more of cattery on the internet.
A cat-blogger lady called Jackie Smith has done a book of cat pictures, called Cat Walk:
I don’t think Cat Walk is book about cats. It’s about learning to see beauty within arms reach. It’s about hunting for words like a mouse hunts for cats. It’s about walking, but not really covering distance. The same paths are travelled, but each time the light, the season, the thoughts inside make it different. It does have something to do with the character of cats, but also to do with writing, looking, seeing, being in a place.
This man should be told.
My favourite bit is where she says “It’s about hunting for words like a mouse hunts for cats”. Because it’s not enough to hunt down the right words. You have then to arrange them in the right order. I mean, a mouse hunting for cats? That’s some mouse you got there lady.
New Yorker classical music critic Alex Ross writes about how he still loves his classical CDs. Partly, he admits, it’s nostalgia. CDs were such a huge leap forward when they first arrived that that moment of pure joy is very hard to turn your back on. I can still remember what my first CDs were: Nielsen 3, Brahms Sextets, Barenboim complete Beethoven piano sonatas, Strauss Alpine Symphony … Then there was the realisation that classical CDs would just get cheaper and cheaper and abundanter and abundanter, and then very soon the reality of that happy circumstance. Gramex Boss Hewland prices his stuff with more than half an eye to what Amazon charges, and it remains worthwhile to visit Gramex from time to time, even as all the other central London second hand CD emporia have faded away. He piles them high and sells them cheap.
Yes, the physical space occupied by CDs is a problem. Those piles can get very high. (Visit my home to see that problem on an enormous scale.) But, for me, the internet remains an unenticing place to purchase and play classical music. I have accumulated some virtual titles, as a result of buying them new on Amazon and having an additional “cloud” version of the same thing piped into my computer. But I wouldn’t want to be without the CDs whose purchase provoked this additional twenty first century response.
I wrote recently about the value of keeping things separate, in my case my big home computer and my music making equipment. Even as my big home computer continues not to materialise, I still have music as good as ever, with no messing with some new kind of system to make it work.
But the central problem with classical music on the internet is that it remains, I believe, a mess. Pop music having overwhelmed classical music economically during the last hundred years or so, pop music is the big driver of internet music, and internet music is entirely organised for the benefit of pop fans, and their discreet tracks. We classicists are liable, as Alex Ross explains, to get lumbered with such things as John Eliot Gardiner’s Beethoven Nine labelled as being the work of Lyuba Organosova, merely because she tops of the list of soloists for the final movement. The labelling of classical tracks on Amazon, where they offer you little snippets to listen to, is routinely done by naming the pieces with such things as their tempo or loudness markings, while neglecting to tell you what the piece is or what number movement it is. They just can’t be bothered to get it right. Fair enough. I understand why they can’t be bothered. We classicists aren’t worth bothering with. Buy the CD or don’t and consider yourself lucky, is the message. Until someone really big and well organised does bother about it, classical music on the internet will remain an off-putting afterthought, piggybacking systems devised for something else, rather than an enticing attraction.
When things get reissued, the labelling is liable to go completely to buggery. I, for instance, have that Barenboim set of Beethoven sonatas on EMI from way back, long before the internet, when it first came out as a set of CDs. Since then it has been reissued. So, when the internet tries to assist me in cataloguing recordings I myself have made of it onto my hard disc, it gets it all wrong. Useless.
Classical music on the internet will eventually get sorted out. And when it does, I will, if not dead, presumably hear about it from my classical music mags. A consensus will be announced, saying things like “Classical CDs really are pointless nowadays”, and when you read such articles, it will, after about a decade of premature enthusiasm of the geek-bollocks sort ("all you have to do is blah blah dance on the head of twenty seven pins blah blah blah turn seventy three cartwheels blah blah blah what could be easier? … yes it might all crash but to solve that blah blah blah ..."), eventually become true. A actual, real world majority of Classical freaks will be using this single, best arrangement, and it will work, all the time, like email. Or not.
Even when such a new classical dispensation does emerge, I will probably not bother to switch. It’s not just sunk costs; it will also be declining costs. As internet classical music becomes ever more appealing, so the price of mere CDs will sink and sink, until all of them can be purchased by me from Amazon, for £0.01 plus postage.
Meanwhile, I like that my CD filing system (aka my CD collection) is always accurate. When I dig up a CD that says it is so-and-so’s recording of Brahms 4, it is, and then when I play it, it will be played in the right order. Notes will be to hand to read about this recording if I want to, conveniently stored right next to the CD.
I do have lots of virtual music, as an addendum to my CDs, like those files that Amazon spontaneously volunteers, and like stuff I have recorded from the radio. But the latter starts out being called something like DAB002, and I have never sorted out how to file it conveniently, or even to edit it into individual performances. Life is too short to be bothering. Why edit, when CDs are already edited. Virtual music is strictly an afterthought for me. Plastic music remains the thing itself, for me. And (see above) I don’t believe I’m just being sentimental, even if I am somewhat.
This afternoon, The Guru is coming by to reconstruct God, so God (the other one) willing, I will be back in serious computing business by this evening.
When I was recently in Brittany, my hosts supplied me with a state-of-the-art laptop and a state-of-the-art internet connection. These last few days, without God (my one) and having to make do with Dawkins (my obsolete and clunky little laptop, the thing I am typing into now), I have felt less connected to the world than I did in Brittany. I am connected, after a fashion. But Dawkins is so slow and clunky that I have been doing only essentials (like finding out about England being hammered in the ODI yesterday), and checking incoming emails, and shoving anything however bad up here once every day. It’s like I’ve regressed to about 2000.
I have managed to put up a few pictures here, in God’s absence. But Dawkins’ screen makes these pictures look terrible. I am looking forward to seeing God’s version of these pictures and hope they will be greatly improved compared to what I am seeing now.
Thank God (the other one) I haven’t been depending on God (my one) for music. As I have surely explained here many times, one big reason I prefer CDs (and separate CD players scattered around my home) to all this twenty first century computerised music on a computer is that if God goes wrong, as he just has, I don’t lose music. I also have music concerts recorded off of the telly, onto DVDs, which I can play on my telly, which is likewise a completely separate set-up to God.
In general, the argument against having everything done by one great big master computer is that when something goes wrong with that master computer, everything else in your life also goes wrong, just when you may need those things not to. One of the things that willgo wrong, rather regularly, with your all-in-one master computer is when this or that particular one of its excessively numerous functions becomes seriously out of date. I mean, if it has a vacuum cleaner included, what happens if vacuum cleaners suddenly get hugely better? In Brian world, all I have to do is get another new and improved vacuum cleaner, and chuck out the old one. In all-in-one master computer world, you are stuck with your obsolete vacuum cleaner. Or, if you can, you have to break open your all-in-one master computer and fit a new vacuum cleaner, and probably also lots of other new stuff to make sure the new vacuum cleaner works, which buggers up a couple of your other functions that used to work fine but which no longer work fine. Or at all. I prefer to keep things simple, and separate.
Something rather similar applies with how to handle (the other) God. That is another arrangement you don’t want to have running the whole of your life for you either. It’s okay if you do God for some of the time and keep Him in his place, but you want scientists telling you about science, doctors about medicine, and your work colleagues about your work, and so on. If, on the other hand, absolutely everything in your life, and worse, everything in the entire world you live in, is controlled by ((your version of) the other) God, everything is very liable to go to Hell. (Aka: Separation of Church and State. Aks: don’t be a religious nutter.)
I have my own particular take on (the other) God, which is that He is made-up nonsense. But just as wise believers in (the other) God don’t let that dominate their thinking on non-God things, nor do I think that my opinions about (the other) God can explain everything else as well. These opinions merely explain the particular matter of (the other) God being made-up nonsense.
Do not, as they say, put all your eggs in one basket.
MAYOR OF LONDON Boris Johnson has announced that the capital will have access to 5G mobile connectivity by 2020, allowing Londoners to download a film in less than a second.
Not that I understand nearly completely what that means, and certainly not that I understand nearly completely what that might possibly mean for me. But, … wow.
I’m guessing that Mayor Boris is doing that old politician trick of standing next to something that looks good, but which he had nothing to do with. Or is actual politics involved in contriving this seeming miracle? Is it done with wires? Do the wires need the Mayor to let his roads be dug up?
Comments will be particularly welcome on this.