https://www.copetti.org/writings/consoles/
https://readonlymemory.vg/the-making-of-micro-machines/
Needed a globally accessible place to jot down notes about books, films, music and the such.
https://www.copetti.org/writings/consoles/
https://readonlymemory.vg/the-making-of-micro-machines/
amazingly jazzy song
also: "Whipping Post" for some incredible guitar solo.
after discovering her amazing "No Return" opening song for Yellowjackets, listening to more recent stuff.
1 Never open a book with weather. If it's only to create atmosphere, and not a character's reaction to the weather, you don't want to go on too long. The reader is apt to leaf ahead looking for people. There are exceptions. If you happen to be Barry Lopez, who has more ways than an Eskimo to describe ice and snow in his book Arctic Dreams, you can do all the weather reporting you want.
2 Avoid prologues: they can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in non-fiction. A prologue in a novel is backstory, and you can drop it in anywhere you want. There is a prologue in John Steinbeck's Sweet Thursday, but it's OK because a character in the book makes the point of what my rules are all about. He says: "I like a lot of talk in a book and I don't like to have nobody tell me what the guy that's talking looks like. I want to figure out what he looks like from the way he talks."
3 Never use a verb other than "said" to carry dialogue. The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But "said" is far less intrusive than "grumbled", "gasped", "cautioned", "lied". I once noticed Mary McCarthy ending a line of dialogue with "she asseverated" and had to stop reading and go to the dictionary.
4 Never use an adverb to modify the verb "said" . . . he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. I have a character in one of my books tell how she used to write historical romances "full of rape and adverbs".
5 Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.
6 Never use the words "suddenly" or "all hell broke loose". This rule doesn't require an explanation. I have noticed that writers who use "suddenly" tend to exercise less control in the application of exclamation points.
7 Use regional dialect, patois, sparingly. Once you start spelling words in dialogue phonetically and loading the page with apostrophes, you won't be able to stop. Notice the way Annie Proulx captures the flavour of Wyoming voices in her book of short stories Close Range.
8 Avoid detailed descriptions of characters, which Steinbeck covered. In Ernest Hemingway's "Hills Like White Elephants", what do the "American and the girl with him" look like? "She had taken off her hat and put it on the table." That's the only reference to a physical description in the story.
9 Don't go into great detail describing places and things, unless you're Margaret Atwood and can paint scenes with language. You don't want descriptions that bring the action, the flow of the story, to a standstill.
10 Try to leave out the part that readers tend to skip. Think of what you skip reading a novel: thick paragraphs of prose you can see have too many words in them.
a bit over the top, but enjoyable forget-after-reading approach to snooker, ticking off many of its historical details in chapters such as "truth"
William Faulkner avowed, "The field [of battle] only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools."
In Japanese philosophy, the practice of wabi-sabi centres around the embracing of imperfection. George Orwell claimed that 'the essence of being human is that one does not seek perfection'; 'every book,' he said, 'is a failure.' Victorian writer John Ruskin went further, suggesting that it is only by welcoming imperfection that liberated, create work becomes possible: 'To banish imperfection is to destroy expression, to check exertion, to paralyse vitality.'
a series about a soccer team of girls crashing in a remote place ... and it changes them. Full Lord of the Flies. Flits back and forth between then and years later, after they have been rescued and live "normal" lives.
Amazing.
Also, the music, so good...
Has her from Six Feet Under in it (Lauren Ambrose)
and Juliette Lewis
nice read, but nothing like his previous book.
it didn't grip me, I wasn't moved. Sure,a bit of a twist, but only a little.
narrator is a nameless, sexless person found sleeping in a church (hence them getting the name "Pew")
Mostly reflects the worst in humans, particularly in small minded harsh Christian places
Recently she said to me - she said - God spoke to me, and now I don't question it. That put an end to our discussion... she put an end to it. She didn't want to be questionned. When someone says they heard something you did not hear, and they know you did not hear it, then you cannot tell them they did not hear what they believe they heard. They have heard their desire to hear something, and desire always speaks the loudest. It is the loudest and most confounding emotion - wanting.
To [Aristotle], "all discoverable things have already been discovered; all thinkable things previously thought; all forms of government already assessed; all workable feats of engineering tried and tested", wrties the historian Thomas Moynihan. What this implies is that Aristotle and his contemporaries had littel sense that tehere could be a future world with ideas, technologies and things that were not already part of their universe.
All this could explain why the Romans and Greeks turned to mysticism. Troughout history, ancient societies in Europe, China or Mesopotamia sought the wisdom of oracles, who promised answers from entrails, fire, dreams, bones, or even the crakcs on roasted turtle shells. And the Romans were no different. Before officials embarked on battles or elections, they'd ask a priesthood of augurs to study bird behaviour for guidance. (In Latin, the word 'auspices' essentially means 'looking for fortunate signs in birds') With the confidence of the historian relating fixed events in the past, these august would provide information about fixed events in the future.
'Let him that hath understanding count the number of the beast; for it is the number of a man, and his number is six hundred three-score and six.' Centuries later scholars would realise that this number – 666 – was not random. It was a figure calculated useing the Hebrew letters for 'Nero Caesar', which can be converted to 50, 200, 6, 50, 100, 60 and 200, adding up to 666. [some refute this interpretation]
"You're going to have lunch with the President. The menuy is humble pie. You're going to eat every last mtotherfu8Icking spoonful of it. You're going to be the most contrite sonofabitch this world has ever seen."
Italy's Beretta was founded in 1526, and Grolsch started brewing beer in 1615.
Researchers studying Japanese firms have found that companies with adopted heirs consistently outperform companies with blood heirs (which in turn outperform non-family firms.) Motivated by the honour of adaptation, the practice encourages star managers to invest themselves in the long-term prospoects of the company.
Another way that targets nudge people away from the long view is when goals are thought of as 'ceilings'. This is best demonstrated by the 'New York City taxi effect.' When it rains in NYC, it's hard to get a cab. Common sense would suggest that it's because demand is high, but it's also due to supply. Researchers have found that taxi drivers often don't choose to take full advantage of bad weather. They could, of course, reap in fares all day. What actually happens instead is that they earn their day's target faster, and so clock off early. Rain encourages people to take a greater number of short journeys, which are more lucrative for taxi drivers, but after a while it leads to fewer cabs on the roads.
'Almost inevitably, many people become adept at manipulating performance indicators through a variety of methods.' Muller writes, 'many of which are ultimately dysfunctional for their organisations.' This negative effect of metrics on people's behaviour is neatly described by a principle called 'Goodhart's Law', named after British economist Charles Goodhart, which is often phrased as: 'When a measure becomes a target, it ceases to be a good measure.'
'... when firms are forced to increase reporting frequency, they cut back on investments.' Kraft told me. Other studies suggest that quarterly reporting correlates with reductions in R&D spending, patents, advertising and hiring, as well as cuts in discretionary spending and project delays.
People have often moved on to new roles before the consequences of their actions become accountable.
The managers who used short-termist language worked in firms that were more likely to cut R&D in years when they reported small earnings. And when the researchers looked at the shareholder composition, they found many more 'transient' than 'dedicated' investors.
One intriguing fact about shinise is that a large proportion of them provide services that never go out of fashion. Of the 1,000 companies more than 300 years old, 230 are in the alcohol business, 117 are hotels and 155 in the food industry. But it's also a question of priorities, and the targets they set for themselves and their employees. Scaling up, maximising profits, reporting quarterly or increasing market are not top of the list. Instead, it's just as important, if not more so, to aspire to other goals, such as ethical and stable stewardship or passing the baton to the next generation.
Kongo Gumi, a construction company established in the year 578. The company refers to an idea called 'ie', which means 'house' and emphasises continuation.
The University of Al Quaraouiyine provides an education underpinned by both the Islamic faith and benevolent concepts such as 'ummah' - Muslim community - social responsibility as expressed in 'zakat', and endowment via 'waqf', which advocates giving wealth to last beyond death.
Joining me in the Lords gallery to watch the debate was Roman Kzrznaric, who co-authored the analysis of teh Intergenerational Solidarity Index we covered earlier. He has been a prominent advocate for the rights of future generations in recent years - and in his book The Good Ancestor has called for a new movement made up of what he calls 'time rebels'. One of his arguments is that modern democracies, especially in the wealthiest countries, as 'colonising the future'.
'We treat the future like a distant colonial outpost devoid of people, where we can freely dump ecological degradation, technological risk, nuclear waste and public debt, and that we feel at liberty to plunder as we please.'
favourite suggestions is a mischievous idea called 'an intergenerational chaining effect' proposed by the philosophers Tyler M. John and William MacAskill. As an incentive to focus on the long view, the pair suggest that the generosity of a politician's pension should not be decided until the political generation that follows.
'One of the design features of language is displacement, the capacity to refer to the nonpresent,' writes the evolutionary psychologist Michael Corballis.
one of those sentimental songs I've always loved yet would not for the world be able to remember
One of the most amazing books I have read in a long time. Hints of Steven Hall's "The Raw Shark Text".
Even though the backflap or a review had hinted at the outcome, it was an amazingly capturing book where a girl gets somewhat unwittingly enrolled in a "university of special skills" and slowly deconstructs herself by reading impossible texts, doing impossible mental exercises, to finally emerge as a Word from the Speech.
Here they are, eating and drinking. They are still almost entirely human; they have human psyches and human bodies. With time, during the learning process, they will come out of their human skin and become Words, tools of Speech, the bones of tendons of a highly complex text that is called reality. Words know no fear, and no death. Words are free and conform only to Speech. And Speech – Sasha knew this! – is the core of harmony.