HERE is a good piece in the Chicago Review of Books on Craig Mod's book Kissa by Kissa, which was published this year.
Thursday, 31 December 2020
Tuesday, 29 December 2020
From Uniform books, (HERE), is a scholarly exigesis of the TV programme Detectorists. It includes a Foreword by the programme's writer and lead actor, Mackenzie Crook:
I was detecting on my own… and dug down four inches to find an exquisite bronze hawking whistle. I took a few minutes to unclog the mud with a piece of straw, then held it to my lips and blew. The note that issued from the whistle was a ghost, a sound unheard for centuries, and the last person to hear that sound, that exact sound, was the person who dropped it just yards from where I was standing. And it wasn’t a faint, feeble ghost either: it was an urgent, piercing shrill that echoed across the field and back through time.
Monday, 28 December 2020
HERE is the web site of a new documentary, The Bit Player, on Claude Shannon. The film was commissioned by the IEEE Information Theory Society - and celebrates Shannon's ground breaking 1948 paper in the Bell System Technical Journal, and the impact that this work on communication theory has had on modern life.
Sunday, 27 December 2020
One of my first posts on Data Deluge in 2009 was on 'evidence' as a general concept. I noted that lawyers are pretty hung up about evidence, and that the way that evidence in a scientific, engineering and statistical sense, interacts with the law was the subject of a very large and authorative US Federal government Handbook on how to use scientific evidence in law courts. This manual is now in its 3rd edition (HERE).
The manual has extensive chapters on science, statistics and engineering, and how
evidence from these different fields of endeavour should be considered
by lawyers and judges.
The chapter on How science works is by David Goodstein - it is excellent. It includes a well informed and irreverent description of what actually happens in science rather than what theoretically happens.
Thursday, 24 December 2020
Optics: a soap bubble exhibiting interference colours.
Coloured mezzotint [?] by M. Rapine, c. 1883, after B. Desgoffe. (HERE).
Image above derived from an original image by S. Taneda of a progressive wave of concentric circles created by surface flow around a vibrating cylinder immersed halfway under a water surface. Original by S. Taneda, published in Fluid Dynamics Research, Vol.1, No.1 (1986) 1.
Monday, 21 December 2020
Tuesday, 15 December 2020
A wonderful story HERE about a record breaking image that was accidentally created by someone doing a Fine Art degree at the University of Hertfordshire. Regina Valkenborgh was interested in capturing images without modern technology, so she created a pinhole camera from a beer can lined with photographic paper. She left the camera in one of the University's telescopes in 2012. Eight years later it was removed and the image was developed. The image is a superposition of 2,953 arcs, each of which is a record of the Sun's path in the sky. The University claims it is "...the longest exposure image ever taken".
Saturday, 12 December 2020
For printing and typography nerds, a piece on how the German designer Erik Spiekermann has been able to create a hybrid digital - letterpress printing process (HERE).
Thursday, 10 December 2020
One of the two or three people I follow on Twitter is the American author Craig Mod.
Craig is based in Japan, and over the past 5 years he has developed an interesting set of email newsletters, and a distinctive approach to long-distance walks across Japan.
His most recent long walk has just finished (HERE): it was nearly 700 kilometers over five weeks. Most of that distance was along the Tokaido, the historic highway that connects Tokyo and Kyoto. During the walk he sent a daily email and photo (which were great), and invited readers to respond to his walk. HERE is his immediate post-walk summary, but he will no doubt write and publish a book on his experiences.
Bill Ryder-Jones is a musician who lives and works in my home town of West-Kirby. As a teenager he played in The Coral, leaving it to go solo in 2008. His latest album Yawny Yawn was released in 2019, it's a solo piano re-working of an earlier album called Yawn. He has a small studio in the town, also called Yawn, which is located in a quiet back street close to the sea front (he has his coffee breaks at the Aubergine - the cafe my son works at). His lyrics have some of the tenderness and strangeness of other bands from this part of the world - such as Echo and the Bunnymen. Examples include: 'There’s a fortune to be had from telling people you’re sad' and the following couplet: 'I remember what we did and when / and the smell of your breath / and even all the names of your dickhead friends'.
From a piece in The Quietus on him (HERE) the following:
Ryder-Jones holds great affection for West Kirby, a picturesque town near the coast, seven miles from Birkenhead. “If you turn left out of my mother’s house you can see the river Dee and North Wales,” he describes. “I love being at the water, I walk the long way to my studio every day so I can be by it. I walk from my house to the studio through a lovely park, then on to the beach and back around, it’s one of my favourite places in the world. It’s funny how I tried to escape it for all of my 20s before I gave in and said ‘this is where I’m meant to be’. I still live in my West Kirby bubble, and I live there mainly because no one cares what I do. If I go to Liverpool, people say ‘oh I like your music,’ whereas in West Kirby they just remember me from school. Or they wanna ask how The Coral are doing,” he laughs.
Monday, 7 December 2020
The Significance Filter, the Winner's Curse and the Need to Shrink.
E.W. van Zwet & E.A. Cator
September 22, 2020
The ‘significance filter’ refers to focusing exclusively on statistically significant results. Since frequentist properties such as unbiasedness and coverage are valid only before the data have been observed, there are no guarantees if we condition on significance. In fact, the significance filter leads to overestimation of the magnitude of the parameter, which has been called the ‘winner's curse’. It can also lead to undercoverage of the confidence interval. Moreover, these problems become more severe if the power is low. While these issues clearly deserve our attention, they have been studied only informally and mathematical results are lacking. Here we study them from the frequentist and the Bayesian perspective. We prove that the relative bias of the magnitude is a decreasing function of the power and that the usual confidence interval undercovers when the power is less than 50%. We conclude that failure to apply the appropriate amount of shrinkage can lead to misleading inferences.
Sunday, 6 December 2020
Alain de Botton (b. 1969) is a Swiss-born British philosopher and author. He has a knack of being able to write in a philosophical way about things that people face in their lives today. His prose is clear and readable, and the insights accessible and sometimes amusing. His books are examples of 'Popular Philosophy' (if such a thing can be said to exist). In 2008 he co-founded The School of Life, which is '...dedicated to helping people lead more resilient and fulfilled lives'. From one of their latest books - The School of Life: An Emotional Education (HERE) - is the following reflection on the charity of interpretation.
Saturday, 5 December 2020
A permanent part of my own musical landscape since about 1978 has been occupied by the band Talking Heads. They were a brilliant blend of art school edge, punk energy, and funk.
HERE is a great profile of Talking Heads' lead singer David Byrne from 2018. At the time Byrne was touring with a Powerpoint presentation called Reasons to be Cheerful.
One of his global reasons to be cheerful is the Knock-on effects of culture
We in the arts and humanities often complain that our work is undervalued, at least in terms of being beneficial to society compared to the Stem disciplines. Finally we have some proof, and the effects are somewhat unexpected. A recent study by the Social Impact of the Arts Project at the University of Pennsylvania showed that when libraries and other cultural institutions are placed in the boroughs around New York, there are surprising knock-on effects:
a. The kids’ test scores go up
b. Spousal abuse goes down
c. Obesity goes down
d. The crime rate goes down
Things that might seem to be unrelated are actually connected. To lower crime, maybe we don’t need more prisons or stiffer sentencing; part of the solution might be to build a library.
Sunday, 29 November 2020
A small multiple is a series of similar graphs, charts, or images, which have the same scale, shape, and axes. They are postage stamp like graphical elements arranged in such a way as to allow easy comparison.
According to Edward Tufte (Envisioning Information, 1990):
At the heart of quantitative reasoning is a single question: Compared to what? Small multiple designs, multivariate and data bountiful, answer directly by visually enforcing comparisons of changes, of the differences among objects, of the scope of alternatives. For a wide range of problems in data presentation, small multiples are the best design solution.
Above is a small multiple of some of the most recent images I have used on Data Deluge. More than half of the images (~65%) are derived from copyright free images I have found on the Internet Archive using a Flickr search interface (HERE). This search interface does not deliver what you ask for - it creates wildly creative indirections. Typing in a given word may result in no hits at all, or it may create a wonderfully random selection of images.
As to the connection between the subject of the post and the image content - that is purely down to the way my mind works. Sometimes I want a literal connection - at other times I try and create an oblique visual metaphor. Almost always, I will edit the image for clarity, contrast, colour balance, and symmetry (this collection has examples of each of these). Sometimes I will make a image from a quote that I like - and here I will mix some small graphical elements with a typographic treatment of font and layout. More rarely, I will create an image from scratch - and these are almost always completely abstract.
Saturday, 28 November 2020
A wonderful essay in the Times Literary Supplement (HERE) by Graham Farmelo, about the 2020 Nobel prize winner Roger Penrose (b. 1931). Penrose won 1/2 of this years Physics prize, "for the discovery that black hole formation is a robust prediction of the general theory of relativity."
Farmelo's essay brings to life the human dimensions of Penrose's work and his style of thinking. It manages to convey to a lay reader like me, some sense of the wonderful intellectual challenges that theoretical physicists engage with every day.
Farmelo explains that, "As do all mathematically-minded researchers in physics, Penrose values above all beauty in a new theory, whether or not it appears at first to account for observations and measurements". In reference to String theory, a fashionable field in modern theoretical physics, Farmelo notes that, "..Penrose thought it was so horrible, and so ugly, that it made him feel ill".
Image: The Planetary Systems. A wood engraving attributed to Holbein in the German translation of the "Consolation of Philosophy" by Boethius, Augsburg edition, 1537. From Science and literature in the Middle Ages and the Renaissance (1878). By Paul Lacroix Jacob. Bickers & Son, London.
Thursday, 19 November 2020
After having seen the AlphaGo movie last week, I found that I agreed with much of this piece (HERE).
What astounded me about watching the documentary is the deep sadness that permeated Lee Sedol’s defeat and AlphaGo’s victory. With every defeat Lee Sedol looked devastated. But it wasn’t only him. Almost everyone looked sad, or somewhat troubled. A member of the DeepMind team said: ‘I couldn’t celebrate. It was fantastic that we had won. But there was such a big part of me that saw this man trying so hard and being so disappointed…’. Even Demis Hassabis, founder and CEO of DeepMind, confessed feeling ‘ambivalent’.
What is most surprising about the match is that the outcome did not feel like a win for humanity. It did not feel similar to when we conquer a disease, or when the first human being landed on the moon. It felt like we might be losing more than what we might be gaining.
You might think that such sadness simply comes out of sympathy for Lee Sedol. Or perhaps out of nostalgia for the old times; something that we should and will get over. Maybe. But maybe it is a kind of warning. A reminder that not all technological developments lead to a better life. A caution to remember to put human beings first. Let us never forget that technology is a tool, a means, and never an end in itself. Technology is valuable only insofar as it enhances our wellbeing. And AlphaGo and other AI programs still have to prove themselves in that regard.
HERE is a great article in The Guardian about the work of Adam Lowe and his company Factum Arte. It includes an appreciation of the wonderful Cast Court galleries of the Victoria & Albert Museum:
The grandest spaces in the whole of the mighty Victoria and Albert Museum are the Cast Courts, built high enough to hold a full-scale replica of Trajan’s Column in Rome, which is colossal even in two pieces. No less imposing are the London museum’s 19th-century copies of Michelangelo’s David, not to mention its duplicates of Viking carvings and even the entire front of a Spanish cathedral. All these casts, which were recently cleaned, are a curious spectacle. Why did the Victorians create such a comprehensive “virtual art” collection? To make a clever point about a copy being just as good as the real thing – or simply to bring great work to the people?
Sunday, 15 November 2020
Desolation Peak is a mountain located in the North Cascade mountains in Washington state in the US. At the top of the peak is a fire lookout. Its most famous lookout was Jack Kerouac - who spent 63 days in the lookout in 1956 - and used the experience as material for Dharma Bums (1958) and Desolation Angels (1960). Kerouac had been inspired to spend time as a lookout after meeting the poet Gary Snyder in San Francisco. Here is Kerouac's description of how he got there.
Now I was beginning to see the Cascades on the northeast horizon, unbelievable jags and twisted rock and snow-covered immensities, enough to make you gulp. The road ran right through the dreamy fertile valleys of the Stilaquamish [Stillaguamish] and the Skagit, rich butterfat valleys with farms and cows browsing under that tremendous background of snow-pure heaps. The further north I hitched the bigger the mountains got till I finally began to feel afraid. I got a ride from a fellow who looked like a bespectacled careful lawyer in a conservative car, but turned out that he was the famous Bat Lindstrom the hardtop racing champion and his conservative automobile had in it a souped-up motor that could make it go a hundred and seventy miles an hour ...
The fellows who picked me up were loggers, uranium prospectors, farmers, they drove me through the final big town of Skagit Valley, Sedro Woolley, a farming market town, and then out as the road got narrower and more curved among cliffs and the Skagit River, which we'd crossed on 99 as a dreaming belly river with meadows on both sides, was now a pure torrent of melted snow pouring narrow and fast between muddy snag shores. Cliffs began to appear on both sides. The snow-covered mountains themselves had disappeared, receded from my view, I couldn't see them any more but now I was beginning to feel them more.
HERE is a wonderful short film by Lindsay Hagen about Desolation Peak, and Jim Henterley, one of the fire watchmen who remains in service on the Desolation Peak lookout.
Saturday, 14 November 2020
From an essay on diagrams in The Paris Review, by the artist Amy Sillman (HERE).
Thursday, 12 November 2020
Sunday, 1 November 2020
On page 282 of A Story as Sharp as a Knife Robert Bringhurst says: "The dugout and the paddle and the spear, the stone knife, shell knife, bow and arrow, deadfall, snare, and the fishhook, fishclub, fishing line and bone harpoon are working works of art, not the products of assembly lines and factories. No two such tools are the same. None, as a result, is just a tool, and none works by purely material means. In such a world, there are no dumb animals and no inert materials. Everything that is has ears and voices, and every word a human speaks is overheard".
Saturday, 31 October 2020
HERE is a copy of The book of delightful and strange designs; being one hundred facsimile illustrations of the art of the Japanese stencil-cutter, to which the gentle reader is introduced by Andrew White Tuer (1838-1900).
For details of the Kata-game stencil printing technique see Kata-game; Japanese Stencils in the Collection of the Cooper-Hewitt Museum by Elaine Evans Dee (HERE)
Friday, 30 October 2020
Some years ago, whilst en route from Coleraine to Galway, I had a small scale car crash on the outskirts of Bundoran in County Donegal in Ulster. The damage wasn't extensive, but the car wasn't fit to be driven any further. I had to get to Galway that day, which meant I had two long (and expensive) taxi rides to get there.
I left the hire car at the side of the road, and three days later it still hadn't been picked up. This didn't really surprise me, as I assumed that Bundoran was a typically quiet west coast town.
Little did I know that Bundoran is a world-renowned surfing area. This week a few kilometres down the road, in Mullaghmore County Sligo, a local surfer Conor Maguire has surfed an enormous wave - and has claimed that it is the biggest Irish wave ever surfed.
More in The Guardian HERE.
Photo copyright Conor Flanagan.
Thursday, 29 October 2020
The image above is from an edition of Tōkaidōchū Hizakurige (東海道中膝栗毛) published in 1907 (the title is usually translated into English as Shank's Mare). The Hizakurige is a picaresque novel that was written by Jippensha Ikku (十返舎一九, 1765–1831), and published in 12 parts between 1802 and 1822. It describes the comic (mis)adventures of two travelers, Yaji and Kita, as they make their way between Kyoto and Edo on the Tōkaidō, the main road joining the two cities. More HERE.
Friday, 23 October 2020
HERE is a long interview with James Wood by Becca Rothfeld on how book reviewing and literary criticism work. Wood is a US resident British critic who is Professor of Literary Practice at Harvard, a staff writer at The New Yorker, and the author of two novels and six books of criticism.
Q: You’re known for being an enthusiastic quoter. What role do you think quotation plays or should play in good criticism?
A: I like what Stanley Cavell says is the critic’s job – to point at the thing and say, 'do you see/hear/feel that?' The quoting is the pointing. Of course, it’s an essential element of the re-imagining or re-telling that brings the work alive: you plunge the reader into the text via quotation. But it’s also an essential part of making a rational argument. Indeed, I’d say that precisely because the critic’s task isn’t quite propositional – because we don’t deal in proofs – our rhetorical or persuasive argumentation has to be as scrupulously quote-heavy as the reader can bear. Just because there is wide latitude in what can be plausibly said about a text, doesn’t mean that the forms of rationality are suspended: on the contrary, we make arguments, and we adduce evidence (i.e., quotes) to support those arguments. That’s a rational procedure, if not the movement of a scientific argument beyond doubt.
There’s something more, perhaps, something almost ethical: I like the selflessness of quotation, the modesty, the absurdly beautiful, almost-tautological ideal that the work of criticism (as Walter Benjamin apparently dreamed) might be made up only of quotation and would thus just be the entire original text, written out word for word, or rather re-written word for word. We have that quasi-tautological experience sometimes, don’t we, when we are copying out a long quotation, and following the syntax of someone else’s prose like a car following a road. I suppose memorization is the same gesture: the move away from self toward someone else, the 'humanism of the other.'
Thursday, 22 October 2020
Monday, 5 October 2020
Some illustrations from - Lectures on ventilation: being a course delivered in the Franklin Institute, of Philadelphia, during the winter of 1866-67. By Lewis W Leeds, special agent of the Quartermaster-General for the Ventilation of Government Hospitals during the war; and Consulting Engineer of Ventilation and Heating for the US Treasury Department.
The sub-title tells you something about the author's view on the issue: Man's own breath is his greatest enemy.
Published in New York John Wiley & Son 1869.
The full book is available HERE.
Friday, 2 October 2020
Inspiration Information is an album by Shuggie Otis (b. 1953). It was released in 1974 on Epic Records, and it featured a single with the same title as the album. For a long time I thought it would be difficult, or impossible, to create a cover version that did justice to this original. But the version of Inspiration Information by Sharon Jones & the Dap Kings, recorded in 2011, is superb. In its own way, it is every bit as magnificent as the original.
Tuesday, 29 September 2020
An excellent set of reviews of recent translations of chinese poetry by Madeleine Thien HERE in the New York Review of Book.
It includes the following explanation.
The essential experience of Chinese poetry is all but untranslatable. Eliot Weinberger, Lucas Klein, Burton Watson, Stephen Owen, and David Hinton, among others, have set down superb translations, while noting that, in bringing Chinese poetry into English, more things go missing than in translations from other languages. Word-for-word translations, writes François Cheng in his masterful Chinese Poetic Writing (1977), can give “only the barest caricature.” Ha Jin describes a particular Li Bai poem as obtaining a beauty that “can be fully appreciated only in the Chinese.” Hinton observes that a particular line, severed from its radically different philosophical context, “fails absolutely in translation.” But the incommensurability of Chinese (logographic) and English (alphabetic) written systems begins the moment a mark is made. Chinese ideograms are composed of strokes, and each of the brushstrokes references others. Cheng gives this line from Wang Wei as an example, followed by its literal translation:
木 末 芙 蓉 花
branch end magnolia flowers
The character for “branch” 木 begins to transform at its tips 末 and bud into life. In the third character, 艹 (the radical for “grass” 艸 or “flower”) bursts forth from the crown of the words 芙蓉 (magnolia) and ends in 花 (flower). Further, in a simultaneous layer of images, the third character, Cheng writes, “contains the element 天 ‘man,’ which itself contains the element 人 ‘Man’ (homo),” or person. “Face” 容 is visible in the fourth ideogram, and the fifth contains 化 (transformation). Thus the line also records a human trajectory: spiritual metamorphosis and then mortality embedded in nature itself.
Tuesday, 22 September 2020
In the New York Review of Books, Tim Parks writes about a translation he is doing, and compares it in detail with how he is writing his latest novel.
The translator is a writer. The writer is a translator. How many times have I run up against these assertions?—in a chat between translators protesting because they are not listed in a publisher’s index of authors; or in the work of literary theorists, even poets (“Each text is unique, yet at the same time it is the translation of another text,” observed Octavio Paz). Others claim that because language is referential, any written text is a translation of the world referred to.
In recent months, I have been dividing my working day between writing in the morning and translating in the afternoon. Maybe comparing the two activities would be a good way to test this writer–translator equation.
Monday, 21 September 2020
Adam Curtis is a fascinating British film maker. He works for the BBC. HERE is a brilliant interview of Curtis from 2016, by the novelist Jonathan Lethem.
In the interview they dicuss the idea of a hyperobject.
Curtis and I briefly discussed a word coined by the critic Timothy Morton to describe a problem so vast in space and time that you are unable to apprehend it: a “hyperobject.” Global warming is a classic example of a hyperobject: it’s everywhere and nowhere, too encompassing to think about. Global markets, too. But naming a hyperobject alone is of limited use; human cognition knows all too well how to file such imminent imponderables away, on a “to-do” list that’s never consulted again.
For an example of his work, see his three part documentary for the BBC, All Watched Over by Machines of Loving Grace. In the series, Curtis suggests that instead of liberating humanity in any way, computers have "distorted and simplified our view of the world around us."
Tuesday, 15 September 2020
Edward Tufte's latest book is in press, and will be shipped in October. One of the two-page spreads above (more HERE).
Saturday, 12 September 2020
The Writing Life by Annie Dillard is a short (111 pages), but wonderful book, about what she had learned about being a writer. It is beautifully written, and almost every page has something deep to say about living, thinking, loving, and writing.
One of the few things I know about writing is this: spend it all, shoot it, play it, lose it, all, right away, every time. Do not hoard what seems good for a later place in the book, or for another book; give it, give it all, give it now. The impulse to save something good for a better place later is the signal to spend it now. Something more will arise for later, something better. These things fill from behind, from beneath, like well water. Similarly, the impulse to keep to yourself what you have learned is not only shameful, it is destructive. Anything you do not give freely and abundantly becomes lost to you. You open your safe and find ashes.
Thursday, 10 September 2020
I recently wrote about Gregory Batesons definition of information: ‘...what we mean by information—the elementary unit of information—is a difference which makes a difference...’. I refered to this as not even a tautology (the saying of the same thing twice over using different words). I was right, it isn't a tautology.
The phrase 'a difference which makes a difference' is a diacope. This is a literary device formed by the repetition of a word or phrase before and after an intervening word or phrase.
The canonical example of a diacope is in Hamlet: '...to be, or not to be!'
The OED describes it as ‘A figure by which two words that naturally stand together, especially two parts of a compound word, are separated by the intervention of another word’ (Webster 1864). Another famous example is the first sentence of Tolstoy's Anna Karenina: 'Happy families are all alike; every unhappy family is unhappy in its own way'.
Still, my favourite is Bateson's.