Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
Tom on Pavlova reflected in double glazing
Tom on Smart face on smartphone
Tom on The Shard was looking very special today
Alan Little on Out and about with GD1 (2): How mobile phones both cause and solve meeting up problems
Brian Micklethwait on Unusual bench?
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6000 on The Shard was looking very special today
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Southall on A posh white van and a not so posh white van
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Most recent entries
- What writing for Samizdata should now (for me) mean
- Cannon Street Station at the end of the street
- Smoke over west London
- Moving speaker – unmoving listeners, video holder and books
- Pavlova reflected in double glazing
- Out and about with GD1 (3): Baritone borrows my charger
- Out and about with GD1 (2): How mobile phones both cause and solve meeting up problems
- Unusual bench?
- More keeping up of appearances
- Cats and cricket – cats and drones
- Two strangers photoed by Mick Hartley and show there (and here) without their permission
- You can tell that drones have arrived because now they are being turned into a sport
- The Shard was looking very special today
- Windsor Castle from the top of the RAF Memorial
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Category archive: Bloggers and blogging
This is another of those “memo to self” postings. Well, really, all the postings here are memos to self, but this one is more than usually of that sort.
Earlier today, I managed, at last, finally, to do a Samizdata posting, after a gap of well over a month. It seems to have been quite well received, which is very nice, but really the big thing for me now is that I have done it, well received or not.
And in the course of doing it, I think I have identified an error in my thinking about how I should be writing about Samizdata. I think I was in the grip of what “writing for Samizdata” was supposed to be, for me, and what writing for Samizdata was supposed to be was writing one or nearly one Samizdata posting per day. And then, there came a time when I was unable to do this. And since I couldn’t do it, I pretty much stopped doing it. By aiming at too difficult a target, I was failing, day after day, and that made me just give up totally. That is very silly. But that, I think, is part of what was happening.
But now (in fact the change is long overdue) I think the time has come to revise my model of what writing for Samizdata should now, for me, mean. Me writing for Samizdata means not that I post something on Samizdata pretty much every day, but rather, that I work on my next Samizdata posting, pretty much every day. This means, for example, that by close of play tomorrow, I should have made some headway, not necessarily very much, just some, towards doing another posting there. The sequence of events will be: decide to what write about at Samizdata, and then start. Make some headway every day. Work at it. Polish it. Try to make it good. When it is good, or seems so, then publish. And if that takes a week, it takes a week. The idea of doing something once a day survives, but not in the form of a finished blog posting once a day, just some work on a blog posting, every day. Believe it or not, I took several days to concoct this latest posting, coming back to it again and again. And that felt like the way I should now be doing it.
The thing is, posting something here every day is quite easy. Not a total breeze you understand, but quite easy. This is because my standards here are very low. When I say something, I do mean something, aka anything. But Samizdata demands stuff that is better than that. It demands stuff that has been polished, worked on, really thought about. In 2005 you could shovel any old junk onto Samizdata and get thousands of readers, and we did, and actually it was pretty good stuff because we had all spent the previous quarter of a century thinking about it, and because we knew that thousands of people were reading it, and commenting in their hundreds. Now, that doesn’t work, or not for me. I now feel that Samizdata, unlike this place, needs better than just any old thing if it is to compete with the mainstream internet media, as it now does.
We shall see.
I am working on a quite big and unwieldy architecture posting just now, but this probably won’t be ready to go any time today, or even soon, so I’ll instead write a little essay on a related matter. Which is: Why I feel more comfortable writing about architecture, of the contemporary and hence controversial sort, than I do about contemporary interior design. The contrast between how fascinated I am by the architectural stuff (this is the posting that got me going with the architectural posting that I am now working on) at one of my favourite internet sites, Dezeen, and the indifference I feel concerning Dezeenery about interior matters, is becoming ever more extreme. I mean, designer X has designed a chair. And what does it look like? It looks like a chair. Hoo ray.
It’s not that I dislike or oppose interior design. It’s just that I feel that what I feel about it, or for that matter what anybody else feels about it, is of no public significance. We can all just pick whatever interior designs and objects appeal to us, and let others do the same. Interior design is not a political problem. There is therefore nothing vitally important to be said about it. Why argue, when there is no need to argue?
If you are one of those people who likes to tease out why you feel the way you do, about everything in general and interior design in particular, fine. Blog away about wallpaper, tea kettles, tables, chairs, standard lamps, stoves and suchlike, all you like. You’ll surely find plenty of readers, probably a great many more than I have. You certainly will if you specialise, as I do not. I write about such things myself, from time to time, when the mood takes me.
But on the whole, it tends not to. When the answer the question is: each to his own, and when that answer basically takes care of it, I generally don’t feel like adding very much.
You could say that this mood, of insignificant self-scrutiny, is upon me right now. After all, who cares what I put on my blog? If you don’t like it, don’t read it, problem solved. Choosing a blog to read is like choosing a chair. Nobody else need be consulted, or imposed upon.
But architecture is different. We can’t each step outside into a city like London and each have exactly the London that we want. If I am to have those new Big Things that I like so much, you also have to put up with them, even if you hate them. It therefore feels right to me to be explaining, to the entire world (even if most of the world pays no attention), just what it is about these Big Things that I like so much. It makes sense for me to say (even if I haven’t done much of this lately) why I came to hate most modernistical architecture when I was in my twenties, and why I think that modernistical architecture has improved so very, very much since that time, at any rate in the places I mostly walk about in and see in photos.
For the same reason, it also makes sense, to me, for me to be celebrating roof clutter, cranes, this or that piece of public or semi-public sculpture, these or those public signs. It is because these are public issues. Political issues, even. Definitely political, in the case of those signs I just linked to. Things like these have positive (mostly, in my case) or negative (perhaps in yours) externalities attached to them.
Actually, it is most unlikely that you hate all the publicly obtrusive things that I love, because you wouldn’t want to be reading such opinions, day after day. But, you get my point.
Part of getting old (new category here – I still have a lot of categorising to do so bear with me on that) is that you just forget to do things, even things that you like. Thus, I have recently been forgetting to read Anton Howes. Today I remembered, and started reading, in particular, this posting, which is most recent as of now.
Uber isn’t a taxi company; it is a market. It provides a trust-based platform made up of assurances and ratings in order to let anyone ask “Can I have a ride? / Want a ride?” without sounding creepy.
I will now read the whole thing.
Just before Christmas, Goddaughter 2 arranged for the two of us to see and hear a dress rehearsal of a Royal Opera House Covent Garden production of Verdi’s Un ballo in maschera. This was, for all practical purposes, a performance. I didn’t much care for Verdi before I went to this event, and I still don’t, but the show was at least notable for the outstanding singing of the lead tenor, Joseph Calleja, a new name to me. I was extremely happy whenever he was singing. (He has a blog.) The rest of the show I found somewhat forgettable, mainly because Verdi seems to have been opposed to doing nice tunes that you can remember, unlike my operatic composer favourites, Mozart, Puccini, and Richard Strauss.
But very memorable indeed, almost as good as Calleja’s singing, was the bar we visited afterwards, which is right next to the main performing space.
From the outside the opera house and the bar look like this:
The bar being the thing on the left as we look there.
And on the inside, the bar looks like this:
The ROH refers to this place as the Paul Hamlyn Hall. What regular people call it for real I have no idea, but I like it.
I especially like that disembodied clutch of drinkers, suspended up there as if in mid air, but actually in mid mirror.
Here is a closer look at that same feature:
I know exactly what is going on here, and how this weird effect is achieved, but still I’m impressed.
A bit of hasty googling has failed to tell me what this place used to be and when it was first built. I’m guessing it was at first something to do with selling fruit and/or veg, but that’s only a guess. Anyone?
Yesterday evening’s rather blatant quota photo was because yesterday, I (a) failed to do my blogging duties here in the morning, and then (b) went on a photo-walk, from which I returned in a state of exhaustion. It was all I could then do to pick out just the one nice photo and shove it up, accompanied by just enough words for me not seem rude.
Single photos are good when I have nothing much to say, nor much time or energy to say it with, because they take very little time to do or to look at. They don’t exhaust me. Nor do they take up much of your time unless you decide that you would like them to. It’s up to you. You can be done with a photo in a second, literally, while still quite liking it. Or, you can contemplate it for as long as you like, even for as long as it might take you to read a quite long essay. What you do not want from a blogger who is posting only for the sake of it is a long essay, which turns out to be saying nothing. That you can not get a nice little second of fun from and be off, certain that you probably missed very little. Hence quota photos. Hence also quota quotes, provided they are short, and to a point.
Today I decided that I would like to do one of those “A Year In …” postings, at the end of this year, featuring newspaper front pages, one for each month. Everything hinged on whether I’d happened already to have taken any pictures of front pages during January.
And, I had. These front pages:
And I expanded the picture, and scrolled across. Tax demands. Some NHS politics ruckus. Snow warning. Something to do with racing, which anyway is not properly visible. Yawn yawn yawn yawn. And then there’s that “Big D”. I still don’t know what “Big D” stands for. It’s incomprehensible. But look at this subheading:
That’ll do. The rest will have to be rather better, helping readers to remember big stories of the year, but this little story will do for starters. The project survives.
A rather more serious newspaper page which I also photoed in January, not a front page but it got my attention, was this, from the Evening Standard of January 21st:
Latest news about that:
Badawi is serving 10 years in prison, and has also been sentenced to 1,000 lashes for blog posts criticizing Saudi Arabia’s clerics.
The first 50 lashes were delivered on Jan. 9 and Amnesty said he’s had none since then.
His detention and sentence have stirred up worldwide condemnation.
Amnesty being one of the chief stirrers. Good for Amnesty.
“Insulting Islam” is what Badawi has been convicted of. Carry on handing out punishments like that for “crimes” like that, and the “insults” hurled at the evil monstrosity that is Islam can only grow in volume.
Islam. The bad stuff in it is bad. And the supposedly good stuff in it only helps the bad stuff to go on doing bad, which means that the “good” stuff is bad also.
At this blog, I am finding my one-a-day habit quite easy to stick with. Part of this, I think, is that the penalty (in my mind) of failing to do something today is (in my mind) very large, by which I mean very large when set beside the effort of doing something (which can be something very easy to do).
Most people talk about habits and how you get into them as if they are all about, well, habit. The brain is automatically triggered to do whatever it is, whenever, each day, or whenever you have just done something else. You lock your door when you leave your home when nobody else is there. After dinner, you immediately wash up. Whatever. It becomes painful to neglect such habits. And there is, I’m sure, plenty of truth to such notions.
But the relationship between cost and benefit is also significant, regardless of mere mental triggers. The longer you have been able to stick with a good habit, the worse it feels to break it, because of all that past investment. On the other hand, the penalty for sticking with a bad habit (like me failing, yet again, to do a Samizdata posting after a longish dry spell there) is not great. Percentage-wise it is tiny. Instead of your dry spell lasting twenty days, it lasts twenty one days. Big deal.
This is surely part of why getting out of a bad habit is very hard, at first, and getting into a good habit is hard, at first. The prices of each particular failure are small, at first. But as the good habit persists, the price of a failure to maintain it rises, while the cost of maintaining it stays the same, or (because of the mental trigger effect) actually falls. (You get, as the saying goes, into the swing of it.)
Talking about “past investment” in a habit sounds like the “sunk investment fallacy”. This is where you persist in investing in something not because the future investing you do will be profitable, but because of all the investing you have already done, even though future investment will be lost also. But the reason why there is a special name for this error is that the sunk investment “fallacy” feels like it is true even when it isn’t. The label exists because the error is so tempting, and consequently so common. If you do not persist, all that past investment will feel wasted. And of course, if continuing to “invest” in the habit will actually be beneficial (if the habit would be worth starting now even if you hadn’t already started it), then you really would be wasting all that past investment, if you let the habit slip.
I am not sure about this, and am not confident that I have expressed this very well, perhaps because I have it a bit wrong. But that is the sort of thing that this blog is for. I post half-baked thoughts and thereby get to bake them a bit more.
One obvious complaint about this kind of thinking is that blogging is supposed to be fun. Well, for me, it is fun, when I can make myself do it. Above all, it is fun when I have done it. So, although not all aspects of doing it are fun, it is still fun, mostly.
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.
When I got to that ASI Christmas Party the other night, I was already in a grumpy mood, on account of not being allowed to bring three Opera Babes to the party. That’s right. The Adam Smith Institute didn’t have room for three glamorous young women, two of them at the Royal College of Music (Goddaughter 2 and her friend) and one of them (another friend of Goddaughter 2) who was auditioning for the Royal College of Music (having already been accepted last year by the Guildhall). I had already arranged to bring Goddaughter 2, but the ASI having spurned her two glamorous Opera Babe friends, GD2 not unreasonably preferred to be with them. I don’t mean that the ASI said: Opera Babes? - No thanks. I mean that they didn’t even allow me to say that they were Opera Babes, so oversubscribed were they. Or so she said. The ASI lady put their names on the subs bench list in case of cancellations, but your guests only get on the pitch if the ASI tells you so beforehand, and I heard nothing.
So instead I went to the ASI Christmas Party with Goddaughter 2’s glamorous elder sister. When I got there, it was clear that although there were many persons present, there was most definitely room for three more Opera Babes. But, too many mostly very non-operatic males of the species had already signed up to be there, and they needed room to stand around in all-male groups and shout their opinions at each other.
So there I was at the ASI Christmas Party feeling grumpy, looking around the room and recognising hardly anyone, and feeling bad about having dragged GD2’s sister to this ghastly do and being so grumpy about it, and for about the first half hour of being there, I continued to be grumpy. Three things, however, cheered me up.
First, I bumped into someone I did know, Anton Howes. And it turns out that he has a new blog. How very last decade, I said, but really, I was truly delighted to hear this, and started to feel that the evening was not going to be a total write-off after all. I had actually learned something of genuine use and interest to me. Cheer-me-up Thing Number One.
Cheer-me-up Thing Number Two, I got my camera out. I think I saw some other person taking photos and I thought: time for me to do some soul stealing. Was this uncouth? Probably. Would I look like an old prick? Presumably. But I was feeling like an uncouth old prick anyway, so out came the camera anyway. And immediately I cheered up. Suddenly, people cheered up when I approached them, and ceased from only talking about what they were talking about and instead started presenting themselves to my camera in a way that would make them look approximately as good as they were capable of looking. And, if they ignored me, well, that’s fine, because when people ignore you and just carry on enjoying themselves, that, if you are a photographer rather than a human being, is good.
Cheer-me-up Thing Number Three: Eamonn Butler saw me taking photos, and approached. Oh dear. “Brian, could you please stop being such an uncouth old prick? And if you do insist on photoing, could you please make a point of not photoing him, or him, or her.” Paranoid rubbish like that flashed up in my brain in between Eamonn being clearly about to say something and Eamonn actually starting to say it. And what did he say? He said: “Could you please send us a few of your best photos?” or words to that effect. Hah! I was now an officially designated photographer. I was someone. Instead of me fretting about not knowing anyone (and about not being allowed to be The Bloke Who Brought The Opera Babes), everyone else had to feel bad that they didn’t know me. Hurrah!
And actually, when I bustled my way through the throng some more, snap snap snapping, it turned out that actually I did know quite a few of those present.
Here we have, I think, another impact of digital photography. Digital photography cheers up people like me when we go to parties. But, shame I couldn’t photo the Opera Babes.
All of which began life as a mere intro to me showing you lots of the photos I actually took at this do. But, people who might google their way to - or maybe even be steered with a link towards - such photos won’t be wanting a long ramble attached to them about how I felt before and during the taking of them. So, I’ll stick them up in a separate posting. This I promise.
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.
There I was, lying in the bath, listening to Radio 3. Some music had ended, and I was now being subjected to a programme which I do not usually listen to, called Words and Music. And I heard the actor Jim Broadbent saying these words, by Michel de Montaigne:
I take the first subject that chance offers. They are all equally good to me. And I never plan to develop them completely. For I do not see the whole of anything. (Nor do those who promise to show it to us.) Of a hundred members and faces that each thing has, I take one, sometimes only to lick it, sometimes to brush the surface, sometimes to pinch it to the bone. I give it a stab, not as wide, but as deep as I know how. And most often, I like to take them from some unaccustomed point of view. Scattering a word here, there another, samples separated from their context, dispersed, without a plan and without a promise, I am not bound to make something of them, or to adhere to them myself, without varying when I please, and giving myself up to doubt and uncertainty, and my ruling quality, which is ignorance.
Sounds like a blogger, doesn’t he? A blogger, that is to say, like me. Especially where he says “without a promise”. I keep saying that. Above all there is that “this is what it is and if you don’t like it you know just what you can do about it” vibe that so many bloggers give off. With Montaigne, we are arriving at that first moment in history when writing and publishing new stuff had become easy. Not as easy as it is when you blog, but a whole lot easier than it had been.
I transcribed the above quote from Broadbent’s reading of it. The punctuation is somewhat uncertain, and at one point assertively creative on my part. I added some brackets, around what is clearly a diversion from his main line of thought to which he immediately returns. It’s a sideswipe at others and it is then forgotten.
Such is the wonder that is the internet that I had little difficulty in tracking down the quote. It is near the beginning of Montaigne’s essay entitled “Of Democritus and Heraclitus”, in volume three of his essays.
The BBC used a more recent translation, which I much prefer the sound of, it being less antique and long-winded. And if Montaigne himself was also antique and long-winded, then I still prefer intelligibility to stylistic accuracy.
LATER: More about Montaigne, also emphasising the modern social media angle, 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.
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.
This morning, I finally finished a big old piece for Samizdata about the benefits to the old of superpowerful computers, at the end of which I linked to these two pieces here. (There is already a comment up, from Paul Marks, saying that computers have been bad for him, by keeping him indoors, and also confused.)
This piece has not only ended a long Samizdata silence by me; it also explained it. I can’t quite explain why this makes it feel so much easier to put lots of stuff up there again, like I used to until this last month or more. But, it does.
LATER: Quotulated, even if it’s only the preamble.
I just heard someone say in an American TV sitcom (I love American TV sitcoms) that they’re not going to answer the phone without knowing who it is, “like it’s 1994”.
I still do this, with my old 1994 style phone, which I greatly prefer to mobiles, because when I am out and about, I don’t have to answer it, and because phones connected to your house with wire cannot be lost, and because I know exactly where it is when it rings, and because that ring never changes.
Quite often, when I do answer, it’s a junk phone call, offering to extricate me from a financial error that I personally have not made by urging me to commit another financial error, and as soon as I realise it’s junk, I put the phone down. Does this constitute some sort of “success” for the junk phoning enterprise? Look, they answered! Because obviously they knew who we were, this not being 1994, and yet still they picked up the phone! Hey, we’re getting through!
Much of life these days seems to consist of doing many futile things, but contriving for these things the appearance of non-futility. These days? I suspect all days that have ever been, with humans involved, and no doubt many other species also, both before and now during the human epoch. Only the futile things and the means of contriving a non-futile appearance for them change from time to time.
I don’t mind junk phone calls. If they were more frequent, they would annoy me. As it is, if there is a pause in incoming phone calls lasting a few hours, it is soothing to be informed, even if only by a robot actor voice spouting nonsense, that my phone is still working. The pause was because nobody wanted to talk to me.
When answering junk phone calls, I pause any music that may be playing. I do not mind this. There is a part of my brain (yours too?) where you remember the musical phrase you were listening to when you last paused the music, and when you unpause it you carry on listening just as you would have done normally. I even suspect that pausing deepens my response to particular pieces of music, by fixing particular moments of them in my brain more firmly than might have happened otherwise.
Since I am now rambling like the really old person that I am rapidly becoming, let me ramble some more. In connection with none of the above, here are the wheels of a big mobile crane that I photoed in Victoria Street a while back. Click on it to get the crane:
I like cranes. That one is, I think, the Spierings SK599-AT5. I love how you can find out about things like this, these days. And this time it really is these days, rather than all days.
Here is a link to a toy version of this crane. Do contractors use toys like this to plan their jobs, I wonder? As well as just to decorate their offices or amuse their spoilt children?
It is now late morning on Sunday. Are sermons like this, when the priest is getting old, but is too well liked for anyone to want to sack him? With a blog you can ramble anyway, because nobody can sack you.