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Category archive: Computer graphics

Tuesday June 20 2017

Why do people get so angry about other people who photo their food before eating it?

Here is a pizza that I photoed, before eating it, when we all went out to dinner following GD2’s end of third year singing recital:

image

And very tasty it was too.  Thank you Da Mario‘s, if that’s how you say it.

Does the very thought of me taking the above photo, in a restaurant, annoy you?  Why?  Seriously, why?  By this I don’t mean: stop feeling annoyed you fool.  By why I mean why.  What is this feeling?

I’m not sure I can prove it, but I am rather sure that a similarly small but definite spasm of annoyance is felt when the same people who disapprove of food photoing observe other photoers using selfie sticks.

Yes, I think I have it.  What food photoing and selfie sticks have in common, beyond the obvious fact that both involve photoing, is that both practices are very visible.  If they bother you, they are hard to ignore, like a slight but irregular noise when you are trying to get to sleep, or people shouting near you in an already noisy (but predictably so and thus ignorably so) tube train.

The fact of these practices being so visible is what amplifies the annoyance.

Getting back to that food photoing thing in particular, why be annoyed?

Could it be that photography has now become something very different in recent years, but that some people need to do some catching up?  The marginal cost of the next photo you take is now: zero.  The marginal cost of the next phone communication you send: also zero.  So, taking and sending a photo of what you are about to eat is of no more consequence than just telling someone you are about to consume a rather good pizza, over the phone, with mere words.  A pizza photo says, quickly, what is in it, what sort of pizza it is, how big, and so forth, just as you might if you were talking about it.  A photo thrown into the conversation is just illustrated chit-chat.

But photography, traditionally, has tended to be a much more slow, solemn and artistic and expensive thing.  And the more artistic and cultured you are, or think that you are, the more you will know this.  Do these damn people think that every damn food photo they commit and emit is some sort of eighteenth century Dutch still life painting?

Well, it kind of is, or kind of can be.  But basically, no.  If you think they think this, you’ll think them very silly.  But, they don’t think this.  What they are doing is not Big Art, even if at its best casual photoing can resemble Big Art.  What they are doing with their food photos is small talk.

Could that be something to do with it?

Also in play are the more ignoble feelings aroused by others (a) enjoying themselves (b) not caring who knows it, and (c) not caring, in particular, about you and any moans you might have about what they are doing and how they are drawing attention to themselves.  You just know that if you said to them: Excuse me, would you mind not doing that? - they’d say something along the lines of: yes we would mind not doing that, get stuffed.  Eat you own damn food and stop complaining about us photoing ours, you idiot.  And they’d be right.  And you’d know it.

Thursday June 01 2017

Should a tube map look like this, which shows the real places and distances of everything, but is confusing, especially if you are looking at the middle …

image

… ?

Or like this, which is the usual way you see tube maps, all designed, with inner suburban distances shortened, to make everything more clear, especially in the crowded middle …

image

… ?

Answer, do the map as a .gif and show both, morphing into each other.

Now that TV screens for advertising are becoming ubiquitous at tube stations, seemingly costing hardly any more than paper of the same size (changed by hand from time to time), why not have TV screens at tube stations with .gifs like this on show?  Maybe you could have buttons on them, so individual viewers could switch from one to the other in their own time?  Would this cause arguments between rival viewers?  Revised suggestion: Have three displays on one screen: on the left, real distances; .gif in the middle; “designed” on the right.

Wednesday May 17 2017

Today I had a New Zealand day.

In the afternoon I had a whole lot of fun catching up with Tony, whom I last saw in about 1763.  Well, 1984, to be exact.  Still a long time ago.  Apparently Chris Tame and I and the Alternative Bookshop and all that had a big impact on his early thinking.  Tony is a New Zealander, who lives in New Zealand with Mrs Tony and the three grown-up Baby Tonys, and he is now on a flying visit back to Europe with Mrs Tony.  Message to Tony: here is Samizdata.

And then after that I attended a double talk at the Adam Smith Institute, by two other New Zealanders, about what we Brits can learn from them about how to make the best of Brexit.  Here are four of the photos I took.  On the left, two of the graphics, 1.1 being the one on the screen before they got started, and the other being about New Zealand immigration, which is apparently a lot better system than ours is.

imageimageimage
imageimageimage

And on the right, the two speakers.  The first one turned out to be a German New Zealander.  Fair enough.  He talked about immigration, and he knows a lot about that.

The second guy talked about agriculture and about fishing.

Sunday April 30 2017

I am intrigued by how political opinions influence aesthetic feelings.  Can you think that something is beautiful merely because it is the way that you think, in a political sort of way, that it ought to be?  I say: yes.

I am now experiencing an illustration of this tendency recently.  And the effect was thrown into sharp relief by the fact that I changed my idea of what the thing was, and that changed how I felt about it aesthetically.  Although the thing itself hadn’t changed at all, I immediately found myself liking the look of it better.  I had felt it to be ugly.  Now, although I wouldn’t call this thing very beautiful, I don’t see it as ugly any more.

This is the thing that I had been regarding as ugly, It is to be seen across the road from Victoria Station:

image

The ugliness of it is in its non-symmetry, and in the utterly irrational and incoherent contrast between the rectangular block in the middle of it and the curvey bits on the top and at one end.  Why would you make a thing looking like that?

The best way to see how ugly this thing is (or was), is to look at it from above.  Here is the google satellite version:

image

But then what should have been obvious to me all along became obvious.  The rectangular block wasn’t designed into the building we are looking at.  It had been there all along.  The curvey bits had merely been added to the rectangular block, at one end and on the top.  This building wasn’t all one design.  It was a doubling up of designs:

image

There you see a photo, which I took in 2009, of this thing while they were doing it.  It doesn’t prove that it was done in two entirely distinct stages, of which this is merely the second stage, but it seems to suggest that.  The new building activity seems to concern the curvey bits on the top.  The scaffolding next to the rectangular bits looks much more like the kind of scaffolding you put up when you are merely revamping an already existing building.  And that, I am almost sure, is what is happening there, to the rectangular bits.

What I now see when I look at this ungainly thing is that rather than it being a very ugly piece of one-off design, I now see it as a charmingly quaint urban agglomerative confluence of constrasting styles, such as London contains a hundred examples of, and hurrah for London.  London itself, as a whole, is just such a multiple design confluence.  Old meets new, and both live to tell the tale.  Or in this case new meets newer.  This weird-looking building is a two-off design, you might say.  It is a two-off design, and it looks exactly the sort of way a two-off design ought to look.

If I am wrong about it being a two-off design and I learn that actually it was all designed at once, I’ll probably go back to thinking it ugly.

Here are some more pictures of it that I have taken since then, from various angles:

image

That picture, to my eye, makes it look downright beautiful.  As does this next one, taken looking into the evening sun from the top of Westminster Cathedral, even more so:

image

But now, the plot thickens, or maybe that should be: the plot gets thinner, back to its original state.

My internet searching skills are very primitive.  I have just had yet another go at finding out what this odd building is called, at any rate by those who own it or who are in the business of renting it out.  And I have finally managed to learn that they call it “The Peak”.  Heaven knows why.  It doesn’t look like much of a peak.

Anyway, knowing this, I eventually found my way to this description of The Peak.  And what do you know?  (More precisely: What the hell do I know?) It would appear that this ungainly thing was what I had originally assumed it to be: a one-off design.  The whole thing was built all in one go.  So what had seemed obvious to me was not even true, let alone obvious.

The Sheppard Robson designed building adjoins the Apollo Theatre and replaces two existing structures. The Vauxhall Bridge Road and Wilton Road elevations incorporate robust Portland stone-clad columns and spandrels with intricately designed glass solar shading louvres between.

The louvres provide a dynamic visual effect to the building both during the day and at night. The prow of the building facing Victoria Street is curved, following the site boundary, and an arcade has been provided at street level to substantially increase the pavement width along one of the busiest pedestrian thoroughfares in central London.

So, what will I now feel about this building?  Will I go back to feeling that it is ugly?

This will not be a decision.  It will simply be a fact, which I will discover by introspection.  How do I now feel?  As of now: not sure.  My mind may decide that, because it had, for a while, been deceived by this building, and dislike it more than ever before.  But, I am starting to suspect that, having found beauty in this object, even though this finding was based on an error, my mind will be reluctant to surrender this happy feeling.

Incidentally, I have already posted here a photo of the roof of this building, and in particular of the crane that sprouts out of that roof to clean the windows.  I’m talking about the last of the three photos in this posting.

Thursday April 20 2017

I always know when I am on the right track as a blogger.  It’s when someone quotes me.  (It’s usually either the Quotulator (I was most recently quotulated by him in this posting) or 6k.) This means (a) that I have said something interesting and somewhat novel, and (b) that I have said it well.  (b)-ing I do, on its own, regularly.  I regularly say obvious, banal, boring things clearly and fluently.  Don’t we all?  Nobody copies and pastes (b)-ing.  Frustratingly, I also do quite a lot of (a)-ing on its own, meaning: I say something interesting, but say it very badly and confusingly, with constant self-interruptions, this paragraph perhaps being yet another example of (a)-ing.  Nobody quotes (a)-ing either, because it just confuses and irritates people.  You have to do (a)-ing and (b)-ing all at once before you get quoted by anyone.

So, if 6k has just been quoting me, I must have said something good and said it right, right?  And 6k has just been quoting me:

First this, from earlier this week:

I still hate and fear golf.

And then this, from the posting that that recent posting linked back to:

I remember once having a go at it, when I was at my expensive public school in the middle of the last century.  I still remember hitting one golf ball really sweetly and deciding, right then and there, that I would never do this again, because if I did, there was a definite danger that golf would take over my entire life.  And I wasn’t having that.

Sadly for me, though, this is not the perfect piece of writing that I yearn to contrive, every time I place my fingers above my keyboard to start to type in this stuff.  It was not, that is to say, the blogging equivalent of a perfectly hit golf shot.  (a)-ing and (b)-ing were not perfectly combined. There is one crucial word missing.  Where it says: “… there was a definite danger that golf would take over my entire life”, I should have put “… there was a definite danger that playing golf would take over my entire life.”

Playing cricket, as a life-time occupation excluding all else besides doing whatever work was needed to stay alive, never appealed to me, for the simple reason that I was always hopelessly bad at playing cricket.  A cricketing life would have been a life of constant humiliation at the hands of all the other, better cricketers.  The occasional well flighted off-break or decently played single out to extra cover would not have begun to compensate for all the contemptuous fours and sixes hit off me (if and when I ever bowled) or the flying stumps (if and when I finally got to bat).  You can’t play cricket alone, against only yourself.  You have to have opponents, and if these opponents are almost always better than you, you aren’t going to have a huge amount of fun.

But playing golf is different.  Basically, no matter how they dress it up, golf is, or at any rate can be, a solitary game.  It is a game you can play against only yourself, and for me that would be a fair contest, rather than the permanent humiliation that me playing cricket regularly (by its nature, necessarily, against other cricketers) would have been.

6k notes that do I “love cricket”, and I do.  But to be more exact, what I love is following cricket, not playing it.  And following cricket, at any rate the way I like to follow it, fits in perfectly with me also having a life doing other more meaningful things besides following cricket.

What I love about cricket is, yes, the game itself, but also the minutiae of its progress - the verbal commentaries and the numbers and the dots, the runs and the wickets, the constant flow of data.

Football is not like this, for me.  The actual processes don’t appeal to me nearly so much.  All that passing and tackling and dribbling and creating and missing half-chances.  These processes only really matter, to me, if they result in a goal, and in a way they only matter to anyone if they result in a goal.  With football, it’s only goals that count.  Only goals determine who wins.  And only the goals really speak to me, so I prefer to watch, if I watch football at all, the recorded highlights of football, and the more highlighty the better.  (This is not an argument that you should stop loving football or playing in or going to watch football matches or watching entire games of football on your television.  I am merely describing how football does and does not appeal to me.)

Cricket, on the other hand, and unlike football, emits this constant gush of truly meaningful information, information which all adds up to winning or losing.  And I relish the decoding of this information in the same way that an MI6 analyst must relish being able to tell what is happening out there also only by looking at data on a computer screen.

I only ever actually attend a cricket game as a special and very occasional treat.  I wouldn’t want to watch cricket, for real, in person, at the actual ground, day after day.  The very second-hand and rather arms-length nature of cricket data is, for me, all part of what fun it is to be receiving it.  Having played enough actual cricket in my extreme youth to have the game imprinted into me, like a first language, I know how diabolically difficult it is to do what good cricketers do routinely.  When, as happens from time to time, my computer screen announces a “w” (somebody just got “out"), I feel the same lurch of emotion that the real spectators and participants enjoy or suffer.  When I see a “4” reported at Cricinfo, and then read some guy telling me that it was a good shot rather than a mis-hit, I get almost the same pleasure from that as I would have got from actually seeing it.

Especially entertaining is if, say, an IPL team needs to clobber a boundary off the final ball of a T20 game (never mind – it’s just a sort of cricket game) to win, but will otherwise lose, and then a “6” shows up on the screen.  Hey, how about that!  Or, if a limited overs win-or-lose, no-draws-allowed game ends with, say, one team needing three to win off the last two balls (I seem to recall something like this happening in the IPL a couple of days ago), but with only one wicket left, and the penultimate ball suddenly announces itself to have been a “w”.  Game over.  Wow.

(Although, I have to admit that a big spread of Premier League games on a Saturday afternoon, with goals erupting quite regularly, and then final whistles all being blown in a sudden rush, is fun, provided your team’s circumstances mean that you have firm preferences for several of these games rather than just the one game.  Lots of significant games then adds up to something almost as continuously amusing as a single game of cricket.  To me.  (This is not an argument, see above ...)

I know, all very childish.  But following sport is rather childish.  And there’s nothing wrong with such childishishness provided that it doesn’t totally take over your entire life and turn you into a permanent twelve-hours-a-day seven-days-a-week child.  Because, what I especially love about following cricket is that I can combine it with other things.  Life, when I am following cricket, can go on.

I can now even carry a 1960s mainframe computer around with me in my pocket.  I can keep up with any games of cricket that are happening while being out and about in London, meeting colleagues and friends, and taking photos.  My cricket machine even doubles up as an A-Z map, complete with a blue blob that says “you are here”.  Amazing.  In short, and although there are days when it threatens to, merely following cricket has not totally taken over my life.  There are even days when my real life is so diverting that I neglect cricket entirely, and have to catch up later.

All of which means that when 6k says that what puts me off golf is its pleasure to pain ratio, and that he feels just the same about cricket, and how come I don’t? - well, with respect, and all my fault for failing to clarify the difference between playing golf and following cricket, but he has it all wrong.  Following cricket is continuous squirts of fun into the texture of everyday life, all pleasure and no grief.  Playing golf threatened continuous squirts of pleasure, but no everyday life at the same time.  It threatened a completely different life for me, and an utterly vacuous one, like being a drug addict (very like being a drug addict), with all my spare time and spare cash consumed by it.  Like playing outdoor solitaire, all the time and not doing anything else, and perhaps even stealing money to fund the habit.  (I am also terrified of actual drugs, for the same reasons.)

Because the thought of playing golf during every spare hour I had filled and fills me still with such horror, I have even avoided following golf, for fear that merely following golf might become a gateway drug to actually playing golf.  You want continuous data?  Golf, like cricket, supplies a constant gush of it.  But cricket data never says to me that I ought to pick up a bat or a ball and start trying to play the game, again.  I know my limitations.  Following golf?  Well, I just can’t take that risk.

Monday April 17 2017

Then being five and a half years ago, with a sunset behind it and some birds in front of it:

image

The structure in the foreground there is …:

image

… which is on the other side of the River from me, across Vauxhall Bridge Road and turn ride along the path next to the River.

Right now, Battersea Power Station is in a rather different state, which you can actually see rather well in that famous view from Ebury Bridge Road, looking out over the railway lines that leave Victoria to go south over the River:

image

The whole area, in it and around it, is being turned into apartments.  They’re even going to have their own new tube station, at the far end of a new bit of the Northern Line.

On the same day I took this photo (and all the other photos mentioned in that posting (most especially these ones)), I also took these photos of what is happening in and around the Power Station:

imageimageimageimageimage

The first one there was taken from Battersea Park railway station, the other two shots from nearer to all the building.  That fake-up of how it will look tells you ... how it will look.  If you are a helicopter traveller.

What’s happening in Battersea is the one great exception to the otherwise inexorable drift of London’s centre of gravity eastwards.

Tuesday April 11 2017

I like this footbridge, and I like this photo of this footbridge:

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I took this photo on the same day I took this gasometer with towers photo, and these cat photos.

We are looking down from the road bridge that takes Twelvetrees Crescent over the River Lea and Bow Creek.  It’s a delightful spot, to be found at the top right end of the Limehouse Cut.  On the right, we see the Limehouse Cut about to make its bee-line for the Limehouse Basin.  And on the left, the River Lea is about to wend its very winding way down to the River.  Where the Lea empties itself into the Thames is right near where I took these fish photos.

The reason I cross-reference all these photo-postings of mine is because the idea of these expeditions is not just to see amusing things in isolation, but in addition to that to build up the bigger picture in my mind of what that part of London, and in particular its waterways, is like.  All these walks need to join up with each other, in reality and in my head.  The latter I achieve by trawling back through my photo archives, by repeatedly meandering about in google maps, and by connecting up this blog posting with that one.  And by going on more expeditions.

Saturday April 08 2017

Today I had what I suspect may prove to be a once-in-a-lifetime experience.  I say that because it was so boring that I may never do it again.  I walked the length of the Limehouse Cut:

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The thing about the Limehouse Cut is that it is dead straight, as purely man-made things so often are.  So, when you are walking along next to it, you find yourself staring forwards at an infinitely receding, dead straight, unchanging canal-side path.  The Limehouse Cut is dead straight, and hence dead boring.

Click on that dreary little map of the Limehouse Cut, above, and you will get the context, which shows also how most waterways in London look.  Not straight.  And that makes them much more amusing to walk next to.  Usually, when walking beside a London waterway, there are constant twists and turns.  New things regularly come into view.  The whole atmosphere of the journey keeps changing.  But when things straighten out, like they did today, it can get very repetitious.

Here are some pictures that make that point:

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I have long noticed something similar when it comes to walking along roads.  Long straight boulevards are an ordeal.  Twisty and turny walks, with lots of visual variety and with obstacles in the way so you can’t see miles ahead, are, I find, much more appealing.

The point is variety.  Anything that just keeps repeating itself is dull.  Even if it is something you might think picturesque, like a waterway with lots of boats on it.  But that gets dull also.

I was actually not surprised by this.  I was expecting it.  But, I was hoping against hope that there might be a good view in the distance, like the Shard maybe.  Or that it wouldn’t be boring.  Well, it wasn’t entirely boring.  There were things to see that were surprising.  Plus there was a park that I was able to visit.  But basically, it was boring.

But the thing was, what if the Limehouse Cut was really exciting?  I had to make quite sure that this was not so.  So, there was a meaningful mission today, and it was accomplished.  And it didn’t take that long.

Wednesday March 29 2017

Last Saturday, I journeyed forth to check out a statue.  I’ve been reading this book, which got me interested in Frederick, Duke of York, second son of George III and C-in-C of the British Army, for real, not ceremonially.  A hugely important figure in British military history, apparently, and there is a statue of him at the top of a column, right across the road from where he used to work, where he used to work being a walk away from where I live.  I’ve always liked this statue, and its column, but had never, until now, given a thought to what the bloke at the top of it had done to deserve it, for deserve it he did.

But before I checked that out, I encountered, in Parliament Square, that big Anti-BREXIT demo, and since today is a rather important date, BREXIT-wise, I’ll leave the Duke of York to other days, and focus on that demo, and in particular on all the signs that I saw.  The light was very bright, so here, with many a shadow getting in the way, are most of the signs that I saw:

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Given that I personally voted BREXIT, why did I go to all the bother (and when I do this kind of thing it is a lot of bother) of showing all these snaps here?

Here are a few reasons:

I was struck by the enthusiasm and inventiveness and personal commitment on show, especially illustrated by the number of hand-done signs I saw.  This enthusiasm is a significant political fact of our time, I think, no matter what you think of it.  My personal opinion is that it is going to do terrible damage to the British left, in a sort of mirror image way to the damage that Britain’s participation in the EU did to the British right.  (See this posting and this posting, at Samizdata.)

Second, many people whom I like and respect, some of them people of the left but most of them not, nevertheless voted against BREXIT, for reasons I thoroughly respect.  Much of the motivation behind the vote against BREXIT was libertarian in spirit, and much of the motivation behind the vote for BREXIT was anti-libertarian in spirit.  I voted the way I did despite all that, because of my pessimism about the future development of the EU, and because in my opinion the EU brought out the very worst in our politicians and public officials.  Turned them all into a pack of bloody liars, basically.  But those who did not see it that way had their reasons.  This posting is my nod towards all those who disagreed with me in this great matter.

Third, this posting reflects a photographic enthusiasm of mine, which is for large sets of objects which are all of the same kind, yet all different from one another.  I reacted, photographically, to this demo, in the exact same way that I reacted to an NFL jamboree that I encountered a few years back, in Trafalgar Square, where I found myself snapping lots of NFL name-and-number shirts, likewise all the same yet all different.

And see also this demo.

I have included a few signs which verge on self-parody.  1.1: “I AM QUITE CROSS”, made me chuckle, and wonder whose side they were on.  As did 9.1 and 9.2, “Tut” and “DOWN WITH THIS SORT OF THING”, the latter being a sign that goes back to Father Ted.  11.2, “mewn” baffles me, though.  What is that?  Does it mean: me-EU-UN?

Monday March 20 2017

This evening I attended a talk at Christian Michel’s, about (and against) major increases in the human lifespan.

The speaker quoted luminaries saying that infinite life would lead to infinite meaningless of life.  People would just get bored.  It is death that gives life its meaning.  Immortality would drain the meaning out of life.

But from the floor came a different surmise, to the effect that the imminence of death, to some anyway, causes a slowing down, a draining away of zest.  Greatly prolonged life - accompanied by the enhanced and prolonged energy and zestfulness that would make prolonged life enjoyable, rather than merely bearable, or worse, unbearable - would surely cause many now considered old to get stuck seriously into new projects, confident that they would have a serious amount of time and energy left to devote to them.  Something like immortality would cause more lust for life, rather than less.  People who expect to die soon are now inclined just to sit back and wait for it.

When I first encountered a primitive version of the very word processing that I am indulging in right now, nearly fifty years ago now, I hurled myself into learning to type, confident that the investment of time and effort would more than pay for itself.  Had I been nearly seventy when I first encountered word processing for the first time, would I have bothered with it?  Probably, not.  If, on the other hand, I could now confidently expect another seventy or so years of active life, would I now be more inclined to adapt to new techniques and processes?  Yes.  I am pretty much certain that I would be more adventurous, more willing to invest time and energy, if the pay-off was going to be five or more decades of further potential impact rather than just the one decade or so that I now anticipate.

The speaker from the floor who expressed this most eloquently was Chris Cooper, who is giving my next Last Friday of the Month talk, on March 31st, on the subject of the rise of the robots.  Chris thinks they will become our robot overlords.

What I can say with confidence is that one of the reasons I don’t now get stuck into new ways of doing things, new ways that might greatly improve things for me, is that whereas the investment of effort and energy would be unchanged from what was required fifty years ago, the benefits I can expect to gain, now that death looms, will be greatly diminished.

So, if death did not now loom ...

Friday March 17 2017

My day in Highbury and Islington (and Canonbury) began with me not seeing much in the way of Big Things from Islington Highbury Fields.  But very quickly, I made my way to the north eastern end of New River Walk, and took the walk along it.

The thing is, Google Maps, what with it being so easy to change the scale of, can mislead about how far apart things are.  One Google map shows you a big area, that it will take you a day to explore properly.  But then, following further button pushing, another map, which looks like it is of an equally big area, is actually of a place you can be all over within less than two hours.  So it was last Monday.

Everything that day was smaller and more suburban and contrived and just nice, compared to what I had been expecting and compared to what the more northerly bits of the New River are like, when GodDaughter One and I checked them out, back in 2015.

In particular, the New River Walk turned out to be a piece of miniature canal that has been turned into a tiny, elongated version of Hyde Park, thanks to some lottery money that was bestowed upon it in the nineties, complete with fountains, and ducks, and carefully manicured footpaths, and views of nearby affluent houses and apartments, thus:

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It’s the sort of place I am happy to have visited just the once, to check out what it is.  But it isn’t really my kind of place.

But, this is Friday, and there were ducks.  And dogs.  Quite a lot of dogs actually.  Also lots of signs saying don’t let the dogs do dog do, or if the dogs do do dog do, then do tidy it up.

Monday March 13 2017

The omniscient short-term weather forecasters have ordained that today’s weather will be very good, so I will go somewhere, and take photos.

Here is where I plan to go:

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I am interested in Highbury Fields, from where I hope to be able to see Big Things, uninterrupted by the leaves that will spoil such views later in the year.  And I will also, if I have time, investigate the thin strip of green that goes through where it says CANONBURY, a little bit to the south east.  This is part of the New River, more northerly bits of which I earlier explored with Goddaughter One.

I now plan to go there, because I am so old I now need a plan, in order to get out of the house, good and early, in the first place.

Sunday March 05 2017

Via this posting at the Scott Adams blog, I first learned, just now, about Robots Read News.

All the pictures in this cartoon series are identical.  Only the words change.  Yet, the words on their own would probably not be so effective.

I especially enjoyed the first two comments on the above posting:

AtlantaDude:

If the Robot knows he is superior, I would expect him to be more condescending, and less angry - insulting humans in more subtle and clever ways than simply calling us stupid meat sacks, etc.

Scott Adams:

I am going for insensitive not angry. Part of the joke is that objectivity is indistinguishable from hate.

My next Brian’s Last Friday speaker (March 31) will be my Libertarian Friend from way back, Chris Cooper, talking about the rise of the robots.  They will rule us, he says, if I understand him correctly.  But maybe I don’t because he and I are both meat sacks.  Maybe he is expressing himself badly.  Or maybe I am misunderstanding him.  Or maybe both.  That I am understanding him correctly suddenly seems like a one in four chance.

Saturday February 25 2017

imageI am hopeless at drawing, as you can see.

But having been watching the Six Nations rugby tournament for the last few weeks, and having in particular been listening to the various television commentators, I feel the need to offer you all this attempt at a cartoon.

Anyone who wants to copy this, or indeed copy it and improve the graphics, is most welcome.  I am surely not the first to have thought of this particular observation.

(There was a bit of fiddling about with the presentation of this, on account of my software not actually showing me exactly how a posting like this will look.  Sorry about that.)

Sunday February 12 2017

I just started watching the Opera North Ring Cycle on BBC4 TV.  Very good.

The basic problem with The Ring is how to stage it, and how to do the costumes.  Extreme Trad, where they all dress like nineteenth century fictional fantasy characters almost always looks ridiculous, like a bunch of opera singers clumping about in silly costumers on a daft stage, which is of course what they are.  (The only way to do that would be to do it as a fantasy cartoon movie.  Which I hope somebody will eventually get around to doing.) But modern costumes on a stage that looks like the inside of a nuclear power station is even sillier, because it plays havoc with Wagner’s very carefully scripted symbolism.  You end up with blokes who look like merchant bankers or geography teachers, holding spears and waving them at steam turbines, or some such ancient-modern mish-mash.  Either that or they go totally modern, and rewrite the opera.  Yes.  They literally do not perform Wagner.  If you change the Rhine and its maidens into a nightclub and some strippers, that’s something else, and something else pretty damn stupid.

What Opera North have done is film a stage performance.  The singers all wear suits and dresses, albeit suits and dresses that were very carefully chosen.  And then on top of that is photographically superimposed Wagner scenery, and, when it helps (it often does), simple words on the screen to tell you what is happening.  Plus, because it’s the telly, you get subtitles to tell you what they’re singing about.  (CDs have the best costumes, i.e. no damn costumes, but you do need to know what they’re singing, if you don’t do German.) It’s hard to describe, but I don’t need to, because you can sample it here, it you care to.

The Rhinemaidens are three opera singers in matching dresses on a stage, with wateriness added on top of them.  At no point are you asked to believe that they are actually swimming about, naked, under water for minutes on end, and singing.  I have never before not seen that scene look totally ridiculous, one way or another, and I bet it was totally ridiculous, one way or another, on the first night.  This time, it was not ridiculous.  That’s how very, very good this production was.

I particularly liked how, when Donner was summoning forth the right sort of weather for the Gods to enter Valhalla, at the end of Das Rhinegold, he was dressed like a conductor.  He was dressed that way throughout, but it worked especially well for that moment.

Loge was particularly good, both as an actor and as a singer.  His look and manner reminded me a bit of Stan Laurel.