06 November 2012

William Shatner talks slam poetry app

William Shatner talks slam poetry app

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It's almost 10 PM in London and William Shatner is on the phone, sing-speaking the word "algorithm" to me, trying out various cadences. It feels a bit surreal.


"I love to say the word, although I don't know what it means, aside from writing a numerical formula," he reflects. "I should."


A few hours earlier I'd been drinking at the flat of my old college roommate when I got an email asking if I'd like to talk to Mr. Shatner about his new iPhone app, Shatoetry, that just launched on Friday. Megan and I went to acting school together in New York City nearly a decade ago, and the storm back home is keeping me here, where she now lives, another week.


I tell her I have to interview Wiliam Shatner and we download the app, best described as a sort of magnetic poetry assembler where every word is read in the offbeat actor's distinctive tone. We pass the phone around and assemble phrases, and from within the glass rectangle of the iPhone Mr. Shatner reads them out loud. The app says we are making "Shatisms." Megan can't stop laughing.


"These are the first reactions, and everybody is so positive, I'm delighted," William Shatner tells me on the phone I'm borrowing from the person I'm staying with, after I race back so as not to miss the call. I hang on hold waiting for him to pick up, and in the silence I feel abstractly grateful for gin and jet lag. Thanks to those things, it is just another dreamlike and unbelievable thing when Captain Kirk joins the line and says hello to me, that it's "Bill Shatner" and it's a pleasure to talk to me.


Shatoetry's the debut release for Hollywood-based Blindlight Apps, and Shatner said he loved the concept at first sight. Over the years he's been offered various opportunities to enter the app space, he says, but he was attracted to the fact he hadn't heard of a concept like this one before.


William Shatner does not buy apps. "I don't play games -- I follow directions a lot on the iPhone, and I find the nearest coffee shop. I read the newspapers now from my iPad, and I've got a Nook from which I read books."


"It appealed to the poet in me," he says, "the one that likes to write poetry, and the one that likes to speak it. It's got all the elements of things I like to do. I thought, 'I would buy that app.'"


"So this is your App Store debut," I tell him. "Aside from app development, what's your background, exactly?"


There is a pause and he laughs and I laugh and I tell him I was kidding. He says I sound young and that it's hard to tell if someone is kidding when you cannot see their "bright and shining" eyes. Bill is a charmer.


His elocution, this gleefully-parodic Shatology -- everything about this conversation I'm having, really -- straddles some kind of line between irony and sinere enthusiasm. I ask him whether his interest in poetry and spoken-word falls into either of these camps.


"There's no steadfast belief in one or the other; it's all there," he says. "You can have blank verse, and rhyming poetry and iambic pentameter and there is all kinds of poetry... the rhythm is in the language, and it's all there for the speaking."


For some reason I tell him the friend I'd mentioned who enjoyed his app so much was my friend from acting school. We had speech classes. "So you understand," he says warmly.


For each word in the Shatoetry app, Shatner recorded three different performanes. "You can dramatize your message in any way you want... that's part of the fun of writing the message and communicating with others," he says. Multiple users (Shatner calls players "Shatoetists") can collaborate on and share poems amongst themselves


"I've been involved in all the modern means of communication, but this was totally new. To speak an idea and have it come out in, I guess, an algorithm..."


William Shatner demonstrates three ways he would like to say the word: Starkly, enthusiastically, and then with a pitchy quiver that sounds something like terror.


"There's gotta be other things out there that I have yet to imagine," he says of the future of the App Store. As for the future of Shatoetry, Shatner plans to continue recording spoken word performances to be released as purchasable content for the app.


"I'd like to tell people to get a hold of this thing," he says. "It's totally different than anything else you've seen before and we would love -- and that's Love and love and LOVE -- to have your reaction so that we can fashion the app to your liking."


Love and love and love, he performs.


Shatoetry is $2.99 on the App Store.










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The Nature of Fun: David Foster Wallace on Why Writers Write

The Nature of Fun: David Foster Wallace on Why Writers Write

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“Fiction becomes a weird way to countenance yourself and to tell the truth instead of being a way to escape yourself or present yourself in a way you figure you will be maximally likable.”


On the heels of the highly anticipated new David Foster Wallace biography comes Both Flesh and Not: Essays (public library ) — a collection spanning twenty years of Wallace’s nonfiction writing on subjects as wide-ranging as math, Borges, democracy, the U.S. Open, and the entire spectrum of human experience in between. Among the anthology’s finest is an essay titled “The Nature of Fun” — a meditation on why writers write, encrusted in Wallace’s signature blend of self-conscious despondency, even more self-conscious optimism, and overwhelming self-awareness. It was originally published in 1998 in Fiction Writer and also included in the wonderful 1998 anthology Why I Write: Thoughts on the Craft of Fiction .


After offering an extended and rather gory metaphor for the writer’s creative output and a Zen parable about unpredictability, he gets to the meat of things:



In the beginning, when you first start out trying to write fiction, the whole endeavor’s about fun. You don’t expect anybody else to read it. You’re writing almost wholly to get yourself off. To enable your own fantasies and deviant logics and to escape or transform parts of yourself you don’t like. And it works – and it’s terrific fun. Then, if you have good luck and people seem to like what you do, and you actually start to get paid for it, and get to see your stuff professionally typeset and bound and blurbed and reviewed and even (once) being read on the a.m. subway by a pretty girl you don’t even know it seems to make it even more fun. For a while. Then things start to get complicated and confusing, not to mention scary. Now you feel like you’re writing for other people, or at least you hope so. You’re no longer writing just to get yourself off, which — since any kind of masturbation is lonely and hollow — is probably good. But what replaces the onanistic motive? You’ve found you very much enjoy having your writing liked by people, and you find you’re extremely keen to have people like the new stuff you’re doing. The motive of pure personal starts to get supplanted by the motive of being liked, of having pretty people you don’t know like you and admire you and think you’re a good writer. Onanism gives way to attempted seduction, as a motive. Now, attempted seduction is hard work, and its fun is offset by a terrible fear of rejection. Whatever “ego” means, your ego has now gotten into the game. Or maybe “vanity” is a better word. Because you notice that a good deal of your writing has now become basically showing off, trying to get people to think you’re good. This is understandable. You have a great deal of yourself on the line, writing — your vanity is at stake. You discover a tricky thing about fiction writing; a certain amount of vanity is necessary to be able to do it all, but any vanity above that certain amount is lethal.



Here, Wallace echoes Vonnegut, who famously advised, “Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.” Indeed, this lusting after prestige and approval is a familiar detractor of creative purpose in any endeavor. Wallace goes on:



At some point you find that 90% of the stuff you’re writing is motivated and informed by an overwhelming need to be liked. This results in shitty fiction. And the shitty work must get fed to the wastebasket, less because of any sort of artistic integrity than simply because shitty work will cause you to be disliked. At this point in the evolution of writerly fun, the very thing that’s always motivated you to write is now also what’s motivating you to feed your writing to the wastebasket. This is a paradox and a kind of double-bind, and it can keep you stuck inside yourself for months or even years, during which period you wail and gnash and rue your bad luck and wonder bitterly where all the fun of the thing could have gone.




He adds to literary history’s most famous insights on the relationship between truth and fiction:



The smart thing to say, I think, is that the way out of this bind is to work your way somehow back to your original motivation — fun. And, if you can find your way back to fun, you will find that the hideously unfortunate double-bind of the late vain period turns out really to have been good luck for you. Because the fun you work back to has been transfigured by the extreme unpleasantness of vanity and fear, an unpleasantness you’re now so anxious to avoid that the fun you rediscover is a way fuller and more large-hearted kind of fun. It has something to do with Work as Play. Or with the discovery that disciplined fun is more than impulsive or hedonistic fun. Or with figuring out that not all paradoxes have to be paralyzing. Under fun’s new administration, writing fiction becomes a way to go deep inside yourself and illuminate precisely the stuff you don’t want to see or let anyone else see, and this stuff usually turns out (paradoxically) to be precisely the stuff all writers and readers everywhere share and respond to, feel. Fiction becomes a weird way to countenance yourself and to tell the truth instead of being a way to escape yourself or present yourself in a way you figure you will be maximally likable. This process is complicated and confusing and scary, and also hard work, but it turns out to be the best fun there is.



He concludes on a Bradbury-like note:



The fact that you can now sustain the fun of writing only by confronting the very same unfun parts of yourself you’d first used writing to avoid or disguise is another paradox, but this one isn’t any kind of bind at all. What it is is a gift, a kind of miracle, and compared to it the rewards of strangers’ affection is as dust, lint.



Both Flesh and Not is excellent in its entirety and just as quietly, unflinchingly soul-stirring as “The Nature of Fun.”


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05 November 2012

Poll Watching

Poll Watching

http://imgs.xkcd.com/comics/poll_watching.png

The choices we make Tuesday could have MASSIVE and PERMANENT effects on the charts on Nate Silver's blog!



via xkcd.com http://xkcd.com/1130/

02 November 2012

ePerso: Alternative Ausweis-App als Open Source

ePerso: Alternative Ausweis-App als Open Source

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Ein unter einer Open-Source-Lizenz stehendes Java-Applet der Bremer bos GmbH soll die Nutzung der eID-Funktion des elektronischen Personalausweises auf allen Plattformen ermöglichen.



via heise online News http://www.heise.de/newsticker/meldung/ePerso-Alternative-Ausweis-App-als-Open-Source-1742090.html

Han Solo as one of Andy's toys

Han Solo as one of Andy's toys

http://craphound.com/images/4Fhxo.jpg



There've been plenty of Disney/Star Wars mashups since the merger announcement, but this one wins for simplicity and execution.


You, are just, a toy. (i.imgur.com) (via The Mary Sue )








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31 Oktober 2012

Kim Stanley Robinson's 2312: a novel that hints at what we might someday have (and lose)

Kim Stanley Robinson's 2312: a novel that hints at what we might someday have (and lose)

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Kim Stanley Robinson's 2312 is an insanely ambitious novel of life three hundreds years hence, set in a solar system where the Earth continues to limp along, half-drowned, terrified, precarious -- and only one of many inhabited places, parent to a handful of planetary and lunar societies; grandparent to thousands of hollow, hurtling, spinning asteroids that have been turned into terraria supporting endangered species, vital crops, bizarre cults, sex-crazed pleasure-cruisers, and everything in between.


The solar system -- set in the future of the Red Mars trilogy -- is fractured. Not only are there multiple, warring, irreconcilable political factions but humanity itself has become strangely varied. Swan, one of the novel's protagonists, has replaced part of her gut-flora with alien bacteria and budded off avian brain tissue in her own brain. Others are "smalls" -- miniature humans adapted for high-gravity worlds where the square-cube law works in their favor -- or "talls." Some of these people are still of the same recognizable species, others seem to belong to a new human race, perhaps one with little to say to humanity.


2312 is an epic story of political intrigue among the many worlds. To call it epic is to do it a disservice. It's the kind of book that makes you realize that the ambition of Red Mars was just a warm-up; that books like Years of Rice and Salt, which reimagined millennia of history, were just a kind of mental exercise for Kim Stanley Robinson. 2312 paints an absolutely credible and astonishingly beautiful picture of the centuries to come, of the sort of schism and war, the art and love, the industry and ethics that might emerge from humanity going to space without conquering it and without solving all its problems.


Robinson's future is a weird mix of the pastoral and the futuristic. His descriptions of the "natural" and geoengineered environments are worthy of Thoreau, filled with an environmental lyricism that is hard to come by. Some of these descriptions are worked right into the text, while others appear in fractured interstitial chapters of fragmentary dialogue, lists, and miscellania, these a kind of poesie that are just as moving as any of the main action.


2312 is, in one sense, a detective novel. It opens with the suspicious death of Swan's aunt on Mercury, and with Swan's growing realization that her aunt was at the center of a systemwide secret cabal that had devoted itself to rooting out rogue "qubes" -- quantum computers that have attained some kind of sentience -- who may be behind her aunt's death. Swan has a qube implanted in her brain, which makes her role in the cabal even more fraught, but it's the least of he complications. Swan, after all, is something of a basket-case. Semi-immortal, hybridized with other animals as well as AIs, a gifted artist and a furious misanthrope, she must somehow win the confidence of her aunt's friends.


But though the murder and the qube conspiracy animate the story, they're far from all of it. Robinson's sweeping panorama of his future is at once hopeful and miserable, saying "Look what we might have" and "Look what we might lose" at the same moment.


I took this book slowly, all 565 pages of it, savoring it over a month. It's not a fast read. But it's not one you'll forget, either.


2312








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A time for celebration

A time for celebration

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From Doghouse Diaries










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29 Oktober 2012

Philips hue: Smarte LED-Lampe ab morgen exklusiv im Apple Store verfügbar

Philips hue: Smarte LED-Lampe ab morgen exklusiv im Apple Store verfügbar

http://media2.giga.de/2012/10/Philips-hue-592x373-300x190.jpg

Philips hue 592x373

Vor einigen Wochen sorgte das Kickstarter-Projekt LIFX mit dem Versprechen einer fernsteuerbaren Glühbirne für Aufsehen. Das Projekt ist finanziert, die Hardware ist allerdings noch weit von der Auslieferung entfernt. Wer nicht warten möchte kann ab dem 30. Oktober zur Philips “hue” greifen, die exklusiv im Apple Store angeboten wird.


Das LIFX-Projekt läuft noch bis Mitte November, die Finanzierung ist mit über 1,3 Millionen US-Dollar aber bereits sicher gefordert waren nur 100.000 US-Dollar. Schon damals gab es Kritiker, die auf mögliche Patentstreitigkeiten mit alteingesessenen Marken aufmerksam machten.


Als Lieferdatum der mittels einer App steuerbaren LIFX-Lampen wird März 2013 genannt. Wer nicht so lange warten will, hat ab morgen die Möglichkeit eine Alternative in die Finger zu bekommen. Philips kündigte heute an (via The Next Web), dass man die Smart-LED namens “hue” ab morgen exklusiv im Apple Store erwerben kann.



Das Basispaket beinhaltet drei Lampen mit 600 Lumen (50 Watt). Zur Steuerung über App oder Web ist eine ebenfalls mitgelieferte kleine Box nötig, die die Lampen mit dem lokalen Netzwerk verbindet. Diese Bridge wird mit dem WLAN-Router verbunden und nimmt daraufhin Kontakt mit den Lampen auf.


Ist dies erledigt kann die kostenlose App zur Steuerung aus dem App Store geladen und installiert werden. Zusätzlich kann man sich auf Philips’ Website registrieren. Damit ist dann eine Steuerung der heimischen Lampen über das Internet möglich. Eine Android-App ist ebenfalls verfügbar.



Die App erlaubt unter anderem das Speichern von eigenen Profilen, welche auch zu vordefinierten Zeiten automatisch aktiviert werden können.


Neben dem Starterpack zum Preis von 199 Euro gibt es natürlich auch einzelne Lampen zum Preis von je 59 Euro. Jede hue-Bridge kann bis zu 50 Leuchten steuern. Philips Hue benutzt den offenen Standard ZigBee Light Link.


>>> Jetzt die GIGA-App für iPhone, iPad und iPod touch kostenlos laden






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Comic for October 29, 2012

Comic for October 29, 2012

http://dilbert.com/dyn/str_strip/000000000/00000000/0000000/100000/70000/0000/300/170331/170331.strip.print.gif







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26 Oktober 2012

Epsilon and Zeta

Epsilon and Zeta

http://imgs.xkcd.com/comics/epsilon_and_zeta.png

The average error in the NHC forecasted position of a hurricane three days in the future has shrunk to a third of what it was in 1990--a staggering accomplishment. However, as you may have gathered, forecasts of future storm *strength* have proved more difficult to improve.



via xkcd.com http://xkcd.com/1126/

25 Oktober 2012

Paul Krugman's introduction to the Folio Society's beautiful edition of the Foundation trilogy

Paul Krugman's introduction to the Folio Society's beautiful edition of the Foundation trilogy

http://craphound.com/images/FDT.jpg



The Folio Society has released a beautiful, illustrated slipcased edition of Asimov's Foundation trilogy, illustrated by Alex Wells, with a special introduction by Nobel-winning economist Paul Krugman. The introduction (PDF) is a great and insightful piece into one of the ways that science fiction inspires and shapes the lives of its readers.





Yet despite their lack of conventional cliffhangers and, for the most part, either heroes or villains, the ‘Foundation’ novels are deeply thrilling—suspenseful, engrossing, and, if I may say, bracingly cynical. For the absence of conventional cliffhangers doesn’t mean an absence of unconventional cliffhangers.


In the first book and a half there are a series of moments in which the fate of the galaxy seems to hang in the balance, as the Foundation faces the apparent threat of extinction at the hands of barbarian kings, regional warlords, and eventually the decaying but still powerful empire itself. Each of these crises is met by the men of the hour, whose bravery and cunning seem to offer the only hope. Each time, the Foundation triumphs. But here’s the trick: after the fact, it becomes clear that bravery and cunning had nothing to do with it, because the Foundation was fated to win thanks to the laws of psychohistory. Each time, just to drive the point home, the image of Hari Seldon, recorded centuries before, appears in the Time Vault to explain to everyone what just happened. The barbarians were never going to prevail, because the Foundation’s superior technology, packaged as religion, gave it the ability to play them off against each other. The warlord’s weapons were no match for the Foundation’s economic clout. And so on.


This unique plot structure creates an ironic resonance between the ‘Foundation’ novels and a seemingly unrelated genre, what I’d call prophetic fantasy. These are novels— Robert Jordan’s ‘Wheel of Time’ cycle comes to mind—in which the protagonists have a mystical destiny, foreshadowed in visions and ancient writings, and the unfolding of the plot tells of their march toward that destiny. Actually, I’m a sucker for that kind of fiction, which makes for great escapism precisely because real life is nothing like that. The first half of the ‘Foundation’ series manages, however, to have the structure of prophecy and destiny without the mysticism; it’s all about the laws of psychohistory, you see, and Hari Seldon’s prescience comes from his mathematics.











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22 Oktober 2012

R2D2 hoodie that zips up all the way

R2D2 hoodie that zips up all the way

http://craphound.com/images/image-hoodr2d2zip-primary-watermark.jpg



SuperHeroStuff's R2D2 hoodie is a $70 way to keep warm and look like a droid ($73 if you want to look like an XXL droid). I dig the way it turns into a droid-inspired fencing mask if you zip it up all the way, and the way that this makes you into something like the real R2D2 in that you have no peripheral vision and are prone to being tipped over by malefactors.


Star Wars R2D2 Costume Zip Hoodie (via OhGizmo )








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17 Oktober 2012

Electoral Precedent

Electoral Precedent

http://imgs.xkcd.com/comics/electoral_precedent.png

No white guy who's been mentioned on Twitter has gone on to win.



via xkcd.com http://xkcd.com/1122/

16 Oktober 2012

Erstaunlicher Himmelskörper: Vier Sonnen scheinen am Himmel von Planet PH1

Erstaunlicher Himmelskörper: Vier Sonnen scheinen am Himmel von Planet PH1

http://ifttt.com/images/no_image_card.png

Spektakuläre Entdeckung im Sternsystem Kepler: Astronomen haben dort einen Planeten mit vier Sonnen erspäht. Die Gestirne zerren mir ihrer Schwerkraft an dem Himmelskörper. Astronomen staunen, wie der Planet seine stabile Bahn hält.



via SPIEGEL ONLINE - Schlagzeilen http://www.spiegel.de/wissenschaft/weltall/sternsystem-kepler-astronomen-entdecken-planeten-mit-vier-sonnen-a-861564.html

12 Oktober 2012

Blurring the Line

Blurring the Line

http://imgs.xkcd.com/comics/blurring_the_line.png

People into masturbatory navel-gazing have a lot to learn about masturbation.



via xkcd.com http://xkcd.com/1120/

Leseprobe von Mo Yan: "Eure Hoheit, er ist frittiert!"

Leseprobe von Mo Yan: "Eure Hoheit, er ist frittiert!"

http://ifttt.com/images/no_image_card.png

Der Chinese Mo Yan hat den Nobelpreis für Literatur 2012 erhalten. SPIEGEL ONLINE dokumentiert mit freundlicher Genehmigung des Unionsverlags das erste Kapitel seines Buches "Der Überdruss". Lesen Sie die Klage eines in der Hölle schmorenden Großgrundbesitzers.



via SPIEGEL ONLINE - Schlagzeilen http://www.spiegel.de/kultur/literatur/leseprobe-aus-der-ueberdruss-des-literaturnobelpreistraegers-mo-yan-a-860828.html

11 Oktober 2012

Spooky delicious pizza

Spooky delicious pizza

http://craphound.com/images/cm-ghost-pizza.jpg



Chef Mom's mozzarella ghost and olive spider Hallowe'en pizza literally made my mouth flood with saliva. Spooky, spooky drool.



Slice the fresh mozzarella. Using a ghost cookie cutter cut out some ghost shapes. Place the ghosts on top of the pizza sauce. Using the finely chopped olives, place eyes on the head of the ghosts. Bake the pizza for about 5 - 6 minutes, or until the cheese is fully melted.


Once the pizza is baked, make spiders by sticking the rosemary leaves into the green olives. Place the spiders next to the ghosts and serve.



Spooky ghost pizza recipe (via Neatorama )








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09 Oktober 2012

Mark and Joshua Glenn talk about Unbored, an activity book for kids live on G+ now

Mark and Joshua Glenn talk about Unbored, an activity book for kids live on G+ now

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Joshua Glenn, co-author of the great new kids' activity book, Unbored: The Essential Field Guide to Serious Fun , and I are talking in a Google hangout right now.


Unbored is the guide and activity book every modern kid needs. Vibrantly designed, lavishly illustrated, brilliantly walking the line between cool and constructive, it's crammed with activities that are not only fun and doable but also designed to get kids engaged with the wider world.With contributions from a diverse crowd of experts, the book provides kids with information to round out their worldview and inspire them to learn more. From how-tos on using the library or writing your representative to a graphic history of video games, the book isn't shy about teaching. Yet the bulk of the 352-page mega-resource presents hands-on activities that further the mission in a fun way, featuring the best of the old as well as the best of the new: classic science experiments, crafts and upcycling, board game hacking, code-cracking, geocaching, skateboard repair, yarn bombing, stop-action movie-making-plus tons of sidebars and extras, including trivia, best-of lists, and Q&As with leading thinkers whose culture-changing ideas are made accessible to kids for the first time.Just as kids begin to disappear into their screens, here is a book that encourages them to use those tech skills to be creative, try new things, and change the world. And it encourages parents to participate. Unbored is exciting to read, easy to use, and appealing to young and old, girl and boy. Parents will be comforted by its anti-perfectionist spirit and humor. Kids will just think it's awesome.Contributors include: Mark Frauenfelder of MAKE magazine; Colin Beavan, the No Impact Man; Douglas Rushkoff, renowned media theorist; Geoff Manaugh, author of BLDGBLOG; John Edgar Park, a CG supervisor at DisneyToon Studios; and Jean Railla, founder of GetCrafty.com and Etsy consultant.

Mark and Johua Glenn on G+ hangout







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