Sunday, March 30, 2014

...Edwardian Jackal Night Sounds S1 E2...



Next set of six night sounds available on podbean or through your pod aggregator app of choice.  This episode's theme is our nightly wandering and the music that underlines it.
Please remember to support creativity by purchasing the sound that is the backdrop to your life:
- "I Drove All Night" - Cyndi Lauper
- "Walking After Midnight" - Patsy Cline
- "In the Air Tonight" - Phil Collins
- "Angela" - Bob James
- "It Keeps You Running" - The Doobie Brothers
- "Walking in Memphis" - Marc Cohn

...Hemingway's Recommended Reading List...30mar14...

There is a terrific article as to not have to rehash it on openculture.com, about Arnold Samuelson and his request for writing advice from Ernest Hemingway.  Samuelson was a 22-year-old who not only sought out Hemingway, but became his assistant for a year.  At a dollar a day, the young man slept aboard Hemingway's cabin cruiser, Pilar.  When Hemingway took out the cruiser for fishing expeditions or make runs to Cuba, he would offer the young man advice, eventually culminating into this article for Esquire.

I'll make no insipid allusions to Hemingway, but I ran into some parallels of books I enjoyed in my younger years.  The hand-written note is below, but I've repeated it here for easier reading.  I've also included links that will get you free versions:

Stephen Crane - "The Blue Hotel" or "The Open Boat"
Gustave Flaubert - "Madame Bovary"
James Joyce - "Dubliners"
Somerset Maugham - "Of Human Bondage"
Thomas Mann - "Buddenbrooks"
"The Oxford Book of English Verse"
e.e. cummings - "The Enormous Room"
Emily Bronte - "Wuthering Heights"
Henry James - "The American"

There was a time, so long ago - when I had tons of time to commit to reading and generally enjoying life - I was lucky to walk a similar track.  So, Ernest and I may not have made exactly eye-to-eye, in fact I don't know how he would react to my brooding unlike-ability. But to downplay this whole thing, I'll describe each story the worst way possible, in the voice of a disinterested high school sophomore that is totally into YA but can't stand what the teacher assigns:

Stephen Crane - "The Open Boat" - it's about these four guys that are adrift in the ocean, but then they decide to go risk their lives for shore.  They wish they had Percy Jackson there to roil the ocean waves.  I just learned that word, 'roils'.
Somerset Maugham - "The Razor's Edge" - worst character name, Larry Darrell, who sounds like a 70s sitcom next door neighbor, is really sad after his experience in World War I.  Even a two-dollar hooker couldn't make the man move until both had respective epiphanies.
Thomas Mann - "Death in Venice" - dude is a little too interested in a blonde kid at the beach.  I'm like 'what?' there's a beach in Venice?  And why are their vacationers during the plague?
"The Oxford Book of English Verse" - there were so many prints of this book, it rivaled the Bible.  JK, the Bible is always number one.  I totally looked it up.  It's a fact.
e.e. cummings - "100 Selected Poems" - love that he wrote short poems, I'm mean really, really short poems.  It reminds me of getting a handful of fortune cookies and then having to do a book report on it.  Give me more, bitches!
Emily Bronte - "Wuthering Heights" - omg, I can't say anything bad about this book, because I'm tearing up right now.  I just pray it never happens to me.  So sad and beautiful.
Henry James - "The Ambassadors"  - Can anyone explain this one to me?  It's in English, but the words aren't making any sense in my head.

Sunday, March 23, 2014

...Audrey Hepburn and chocolate...I refuse to hate the concept...


I rarely watch television traditionally anymore and this ad escaped me until recently.  Out of the corner of my eye I caught a nymph on the screen, one who's beauty has no equal.  I cycled the DVR backwards and I thought it was cut footage of Audrey into an ad.  Usually, I can spot these out, but there was something a bit odd here.  It was in HD with a filter to give it that late 60s noise, so it could not have been from prior footage.  (The noise could have been done better, it is much too uniform to look authentic.)

After reading around, it was CG, but only the face.  They shot the entire commercial on the Amalfi Coast in Southern Italy, using two different actresses as stand-ins for the late actress.  Besides the face, the rest is all new footage.  Interlaced by ad agency is the post-production work of a company called 'Framestore'.

From the Vogue article, one of the limited with behind the scenes footage.  It appears that there was footage of the making of, but Galaxy/Dove nixed it to maintain the mystery of the ad.  Photos that follow are from the actor in the car that whisks 'Audrey' away, Nick Hopper.

 
As you can see between the gif and these stills from the stand-in, the hair is intact.  Imagine the spline and matching required to mesh the ears and the face as the shot moves in.  You can see a little bit of the 'off' around the far right jaw line as it meets the neck.  All in all, still incredible.  Considering that this all CG, the expressions and eye blinks are spot-on.

The amazingly beautiful stand-ins.  The taller woman to the left appears to be the
'standing/walking' Audrey whilst the one on the right is the sitting/close-up stand-in.

 
 

Reading through the CG company's (Framestore) article, the company relied on a renderer dubbed "Arnold" by Solidangle.  It's been used, most notably for me is in "Halo 4".  The skin textures were amazing, as is described, "enabled the team to perfect the soft, translucent feel of real skin", with a "fur system...to break up the perfection of a raw CG render."  Framestore attempted to replicate the eyes of the stand-in actresses, but it proved to difficult, so they went full CG.  If anything, like it or no, it is an arresting ad.  It also brings the allure of Audrey back again.

Audrey's Poem (spoken at her funeral):

For attractive lips, speak words of kindness..
For lovely eyes, seek out the good in people.
For a slim figure, share your food with the hungry.
For beautiful hair, let a child run his/her fingers through it once a day.


For poise, walk with the knowledge that you never walk alone.
People, even more than things, have to be restored, renewed, revived, reclaimed, and redeemed; never throw out anyone. Remember, if you ever need a helping hand, you will find one at the end of each of your arms. As you grow older, you will discover that you have two hands; one for helping yourself, and the other for helping others.

Monday, March 17, 2014

...simply the prettiest poetry books...St Martin's Press Hardcovers...17mar14...

There's nothing better than the right book to fit the context of its content.  When the overall shape, cover type, slip type, paper weight, font, color, heft come together - it is a delight to the senses.  As with any book, they have the power to transform the ordinary to a time where the memento is within your grasp.  Its smell and its feel can bring one back to a sunny day spent at the beach where the companion was only you and the author.

A problem for e-readers is that the physical aspects of the books are gone: they have been assimilated into the size and heft of your e-book reader, whatever form that happens to be.  They never change.  Worst of all, the words may very well scale according to the changes in the resolution of the screen.  [Yes, there is an obvious reason for this and a definite power in having that ability, but I make the argument that the book is just as powerful to tell the story when it is fixed.]

A book is private.  It is property.  You feel it within the confines of what is around you.  It is interplay.  Light hits each book differently.  It interacts with your unique physicality.  A phone or a tablet simply don't do that.  They server their purpose in a pinch, but the experience of the read is drastically altered.  And the smell!

Had I known that the Brownings had an apartment next to the
Spanish Steps, I would have scrutinized this much
more closely while there.  Apparently you can
rent out several different 'literary' apartments all around Rome.
St. Martin's Press created a series of poetry encapsulating the author's best work in a format that is a delight to touch.  It is not perfect, mind you, but, for the sub-$10 price, these are within anyone's grasp to collect and enjoy.

Although they are not pocket books in the explicit sense, they are true to the form of memento books - compact, not at all unwieldy, light enough that you scarcely know it is there.  They (roughly) follow the UK's traditional Duke format of 7.5 x 5.3.  The rectangular feel is just enough to get the sense of a traditional format of length along the sides, perfect for the scarce illustrations and the formatting of the poetry.


And the placement of the poetry is where these shine.  It is if, almost lovingly, the printer carefully placed the words on the page in such a way that the author would have easily approved.  There are compilation series that are atrocious (I just bought one on my Christmas geek haul, the Haiku one), where there was more interest in the pictures loosely associated with the theme and not the gist of the content itself.  But, with these, they are framed appropriately for each page.


Of course the content is sublime.  These are the best of the best collections you could ask for.  It is not a difficult 'right' gift for anyone who likes to dip their toes into poetry or even general reading.  They look amazing on one's book shelf.

Available at Walmart, Amazon and Barnes and Noble.

..."semper legunt"...classics in pdf for your e-reader...17mar14...

WRITING:
Beowulf
--- Beowulf Teacher's Guide, Penguin
Illuminated Bible
Shakespeare's Sonnets
1984, George Orwell
---1984 Teacher's Guide, Penguin
The Great Gatsby, F. Scott Fitzgerald
Moby Dick, Herman Melville:
Clockwork Orange, A Film Study, UCLA
Lolita, Vladimir Nabokov
How to Write Poetry Guidebook, The Poetry Trust

ART:
Getty Virtual Library
Artist Reference Books

TECHNICAL MANUALS:
Old Technical Manuals
TRS-80 Technical Manual
The Zenith Radio Story

Monday, March 10, 2014

In Xanadu did Kubla Khan A stately pleasure-dome decree...10mar14...

Kubla Khan
BY SAMUEL TAYLOR COLERIDGE
Or, a vision in a dream. A Fragment. 


In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
   Down to a sunless sea.

So twice five miles of fertile ground
With walls and towers were girdled round;
And there were gardens bright with sinuous rills,
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.
But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e’er beneath a waning moon was haunted
By woman wailing for her demon-lover!


And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced:
Amid whose swift half-intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher’s flail:
And mid these dancing rocks at once and ever
It flung up momently the sacred river.


Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean;
And ’mid this tumult Kubla heard from far
Ancestral voices prophesying war!
   The shadow of the dome of pleasure
   Floated midway on the waves;

   Where was heard the mingled measure
   From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure-dome with caves of ice!


A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight ’twould win me,
That with music loud and long,
I would build that dome in air,

That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread
For he on honey-dew hath fed,
And drunk the milk of Paradise.



Description from Marco Polo, 1278:
     And when you have ridden three days from the city last mentioned, between north-east and north, you come to a city called Chandu, which was built by the Khan now reigning. There is at this place a very fine marble palace, the rooms of which are all gilt and painted with figures of men and beasts and birds, and with a variety of trees and flowers, all executed with such exquisite art that you regard them with delight and astonishment.
     Round this Palace a wall is built, inclosing a compass of 16 miles, and inside the Park there are fountains and rivers and brooks, and beautiful meadows, with all kinds of wild animals (excluding such as are of ferocious nature), which the Emperor has procured and placed there to supply food for his gerfalcons and hawks, which he keeps there in mew. Of these there are more than 200 gerfalcons alone, without reckoning the other hawks. The Khan himself goes every week to see his birds sitting in mew, and sometimes he rides through the park with a leopard behind him on his horse's croup; and then if he sees any animal that takes his fancy, he slips his leopard at it, and the game when taken is made over to feed the hawks in mew. This he does for diversion.
     Moreover at a spot in the Park where there is a charming wood he has another Palace built of cane, of which I must give you a description. It is gilt all over, and most elaborately finished inside. It is stayed on gilt and lacquered columns, on each of which is a dragon all gilt, the tail of which is attached to the column whilst the head supports the architrave, and the claws likewise are stretched out right and left to support the architrave. The roof, like the rest, is formed of canes, covered with a varnish so strong and excellent that no amount of rain will rot them. These canes are a good 3 palms in girth, and from 10 to 15 paces in length. They are cut across at each knot, and then the pieces are split so as to form from each two hollow tiles, and with these the house is roofed; only every such tile of cane has to be nailed down to prevent the wind from lifting it. In short, the whole Palace is built of these canes, which I may mention serve also for a great variety of other useful purposes. The construction of the Palace is so devised that it can be taken down and put up again with great celerity; and it can all be taken to pieces and removed whithersoever the Emperor may command. When erected, it is braced against mishaps from the wind by more than 200 cords of silk. 

Sunday, March 2, 2014

io9 Concept Art Prompt: Black Skull Recon Squad...02mar14...


"Time."

Witner paced the room, his back to me.  He relished this.  He could fain humility well, but I was a Sensitive.  In one pulse of his single heart I could sense that he was, as nonchalantly as a human could, lie, but, at the same time, knowingly lie to a sentient that could read him.  In my race, there is nothing that I cannot know, especially from a human.  With little offense, they simply cannot mask the impulses in their axons.

He either knows he is lying to sway me away from an actual objective, or, he has been instructed to do this.  Either way, Witner is playing treachery.  I scanned the room again for any other Sensitives: none.  There could be electronic eavesdropping devices, but the point would be groundless.  I have no need to lie.  I found myself on guard.  What would be considered baseless otherwise, I will call upon the grounds that there were points of contention in the logic of this moment.  There was a game being played, the only benefit in my favor is that I was facing Witner alone.

I didn't give him anything he could use - although he ached for it - I just repeated his statement as flatly as possible, "Time."

He lightly placed his fingertips upon the console in front of him.  It was a basic communication console here in the human outpost.  Nothing tactical: purely made for the purposes of this consulate ship.  (I use their term, neutral, although we were actively at war.)  The humans were cunning, more cunning then we realized.  Not so ironically they attacked first, so we returned in kind.  Now they fain we provoked them.  We quickly realized that was a ploy to throw us off, they understood our sensitivities and exploited them.  Sadly, most of their populace believed it to be truth.

"How long have we been at this now, Garcers?"

"Eleven of your Sol years."

Witner placed a wrinkled hand from a crystal decanter of some sort and allowed the stopper to clatter in place.  The room filled with the sound of glass.  He was attempting to annoy me.  It did nothing.

"Eleven years.  Countless dead."  Witner had anguish in his heart, but of a kind that I had not sensed before.  I am but of the race of sentience that feel empathy, but, he was driving at something below the surface.  My communicator had already sent out benign messages to make sure they were not being jammed.  They sent successfully.  My second, Delor, was awaiting any command that could be sent to our attack ships.  Our armada was concentrated near the Aiemsee Exoplanetary Mass in preparation for a large human attack.

"We have fought a conventional conflict, no?"  He scanned the console in front of him and swung around to face me.  I immediately communicated out to look for unconventional response.  He turned to me and leveled his icy blue eyes.  I furrowed my brow and scanned him with my single grey eye.  Something was different here.  I latched on the use of the term 'unconventional'.  What does he mean by this?

"You have something, Sensitive, that we don't have and we could never win against you, not in the long term.  You are aware of this.  You can read our minds.  You can instinctively sense organics.  This makes surprise an utterly worthless endeavor."  He cocked his shoulder to his left and moved in closer; his physical gestures outlined that he wanted to display or underscore his next statement.  I continued to hold my communicator behind my back and ready to give the order.  I awaited a flash of insight to show me where they were actually going to be.  But Witner was blank.  The furrows in my brown hardened.

"That won't help you."  My hearts stopped for a moment, but forbearance brought me back quickly.  "We have done much research with your species for some time."  Human arrogance.  "We had our play.  We learned about the structure from your deceased."  I sent out a wide alert that the humans have figured to graft our mental structure into pre-existing bodies.  Witner nodded slowly as I concluded the message.  "Yes.  You are correct there, Garcers.  But that is not all."

So swiftly and without betrayal by his system, Witner stabbed a hypodermic into my chest and the communicator dropped to the floor.  It was a sedative, but he must know that it wouldn't last more than ten minutes.  I fell to the floor.  Ten minutes is all he may need.

The humans had not only figured out the substrates of the Sensitive mental system and incorporate it into their own, there was more.  They can use the ability as a weapon.  Sensitives are passive in their nature, but Witner incorporated a new biochemical structure to use the telepathy in an aggressive way.  To lie.  To lie and to be believe in the lie: it makes the Sensitive's particular gift worthless.

The human face hovered above me, smiling in a way that had confirmed everything I believed.  He had read me from the beginning.  "At the console, I sent my message regarding the Aiemsee Exoplanets.  Don't worry, we're not going to be there.  I had waited for the insight.  I was surprised how quickly it flashed in your memory."

He rose and went out of my view.  I would be paralyzed for several moments.  I tried with all my might to read him, but I reached out and I only saw darkness from his body.  I had only ever seen such a feat by our best and brilliant.

"As to what else we are capable of, I am particularly proud of.  Realizing that you could sense us by the organic nature of our brains and automatons are simply overcome by technology of your own, we have created an army, and forgive the name, of the undead.

"See, in the first fruits of the war, the Black Skull Recon team were decimated by your race.  You buried them at your capital, in so much as a potter's field.  But we found a way, we did not forget.  Captain Hargrove and his team detested your kind.  It was his singular passion that caused his undoing.  The two dozen men and women of the team were cut down, but not without the realization of your inherent abilities.

"Out of our need to defeat you, we looked for alternate ways.  What if there was the passion and undying hate of a human, but without the heart or without the brain?  The alchemy is lost to me, and only our most brilliant scientists and AI would take years to make me understand it; I only concern myself with the effect.

"Right now the two dozen soldiers, without warning, are killing the peoples of your home world in their sleep.   They have no brains, no organic matter, their bones have petrified.  The construct of your society is being broken apart by ghosts.  Black Skull will kill and lapse into the shadows, repeatedly, until thousands are killed.  Apart from these, there are millions more of our dead.  I am sending a legion out to intercept your armada.  You are being attacked within and without."

Witner walked out of the chamber and the only way I knew was I heard him do it.  I reached out to a mind that was nothing more than air.
...