Axoplasm

is a fluid found in nerve cells

Archive - 2005

Date

August 2nd

The Utopian Creativity Machine™

I remember an episode of Star Trek where the crew were visiting the Bi-Weekly Ironic Techno-Utopian Planet™. In an offhand way, one of the Techno-Utopians demonstrated a Utopian Creativity Machine™ that could transform thought into sculpture, or something like that. In the mind of the writers, this demonstrated the obvious superiority of the Techno-Utopians, both technological (“the machine reads your mind and makes sculpture!”) and social (“we don’t squander our technological prowess on trivia like war.”). The subtext was that such superiority was beyond the ken of Earthlings four centuries hence—let alone Earthlings of the present era. Of course, this show was produced a few years ago (late 1980s?) so times have changed a little, but we already have Utopian Creative Machines™. We call them “computers”. Volumes have been written on the creative potential of computers (and, by extension, the Internet), so I won’t go there. Here’s where I’ll go instead: computers allow unhandy people to make things.

SimCity I owe the entireity of my creative vocation (and avocation) to computers. I don’t mean this only in the sense that my primary medium is the Internet...I mean that I created much fo anything before I began using computers to help me create. (I’m using the term “creativity” in the broadest sense here. That is, the act of creating anything: term papers, artwork, websites, fun software widgets...etc.) I’m the kind of person with black thumbs, both of which are apparently left. My knowledge of bicycle repair, for example, came at the cost of hundreds of dollars of broken bicycle parts. The only houseplants that do well in my house are cacti...and I’ve killed a few of those as well. My sketches from art classes are smudgy and indistinct. When I was seven years old my teacher put one of those rubber triangles on my pencil in a vain effort to reform my penmanship. All my attempts at oil changes end in bitter tragedy. Whenever I’m forced to manipulate actual atoms to repair, create, enhance, or modify something, those atoms wind up resenting me. Creating things with atoms means having good form, never messing up (or gracefully converting mess-ups into something positive). If you mess up an atom, it stays messed up. Forever. For the length of human history until perhaps the 1970s, “creativity” was roughly synonymous with “being skillful with your hands.”

Electrons, by contrast, are forgiving, plastic little souls. They cheerfully wink in and out of existence on command. If you offend them somehow, you can undo your offenses. With electrons, form is nonexistent—numbers are perfect already. “5” means ::. whether you write it “five” or “fünf” or . Creating things with electrons is a totally zen experience. I usually begin with a mathematically precise picture of my final product and just start creating it. If, in the course of creation, my internal picture changes, I can change the electrons to match. In the digital world, creating a thing is about a difficult as imagining a thing. Since the birth of the personal computer, “creativity” has also taken on the definition of “being skillful with your mind.”

May 4th

Information Anthropology

I call myself an “Information Anthropologist” because I can’t think of any other way to describe what I do. My business hovers over the intersection of graphic design, technology, and user experience. I could call myself a “Jack of All Trades” (which is kind of true), but this always precedes “Master of None.” I see it the other way around: web design, web development, and user experience design are each sufficiently simple that a motivated individual can master all three.

For a web designer, the techniques of anthropology and archaeology have surprising utility: ethnography (of users, of organizations, of clients); stratigraphy (of data models); seriation (of content); and oral history (all those meetings). Anthropology taught me to think, to open up abstract concepts and see how they work. It taught me the value (and arbitrariness) of conceptual organization, and the greater value of getting computers to do the organizing for me. It taught me to draw maps, use computers, make databases, do math, and write coherently.

In studying anthropology (in particular, archaeology), I gained a key insight into human behavior. I saw firsthand that behavior produces artifacts, data trumps anecdotes, and anyone can say anything. Which is a nice way of saying “trust what people do, not what they say they do.” I further realized that people, collectively, don’t move at random. Individuals may have inscrutable purposes (i.e. their explanations for their behavior may be bullshit), but behavior is transparent in aggregate, when you regard human behavior as a kind of quantum phenomenon.

From archaeology I learned the value of fieldwork: theory is nice, but results are better. Archaeologists regard colleagues who shun fieldwork as ponderous blowhards. I was already predisposed to this mindset, but archaeology really ground it in: if you didn’t actually dig at the site, how can you know anything about it? Probably the unkindest thing I could say about someone is “all hat, no cattle” — a big talker but a slow walker.

No one can take more than two anthropology classes without realizing there’s nothing particularly special about your own culture. Polygamy, for example, has wider currency than monogamy, in most cultures and throughout most of history (this fact reliably blows undergraduates’ minds). The vogue these days is to decry such a perspective as “cultural relativism,” but there it is anyway. I love western culture (in particular American culture), but to nomadic yak herders, Free Market Capitalism, the Protestant Work Ethic, and the Constitutional Separation of Powers might seem like quaintly byzantine social posturing. And I’m sure I would find much of Nomadic Yak Herder culture unlettered or superstitious, but without which they could not imagine their universe. Such a perspective has nothing to do with web design, but, like realizing the universe does not revolve around the Earth, it does keep a person humble.

April 11th

Snapshot: Spring, 1994

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This photo tells me everything about being 22 years old, one year out of college, flat broke, living in an alley apartment with my friend Greg. I think Greg took it. Journalistic in composition, it resembles a still life in its expository qualities. Every element tells a story.

Cereal for Supper

Although in this case, “supper” is also “breakfast.” I’m probably a few minutes out of bed, about 7:30 pm, gearing up for the night shift at Kinko’s. Note the blur between the bowl and my mouth. You might think that’s due to the long exposure, but check out the television image. It’s out of focus, but it’s not blurred with motion. That’s how quickly I eat breakfast.

TV

I’ve written about this television (the best set I’ve ever owned) elsewhere. It was my grandmother Stehl’s former set, and you had to watch it with two hands. At 72 dpi you may have trouble making it out, but I’m watching Star Trek: The Next Generation. Captain Picard is on the left side of the screen, facing back and to the right, speaking to Counsellor Troi and someone else. What kind of warship has a full time psychologist? And why does she sit on the bridge? Do they do this in the present-day navy?

Furniture

Greg and I owned almost no furniture. Most of my possessions remained in storage in my parents’ basement. I was between: between jobs, between girlfriends, between college and grad school, between childhood and adulthood. We didn’t decorate, any more than one decorates an elevator. The curtains came with the apartment. We covered the other windows with sheets.

The room had a fine Zen feeling, especially in the mornings. It was easy to think in that room.

Telephone

I bought the telephone the week my grandmother Souders died, October, 1991, after destroying my old phone in an argument. I was arguing on the phone with my then-girlfriend. She didn’t know (and probably never knew, unless she reads this page now), but while my grandmother was in the hospital I was fooling around with a different girl, who lived in my dorm. The week Grandma died, the other girl and I, with much drama, had decided to cool it. This was a lot of stress for one week. I was pretty upset, and taking it out on my girlfriend. As I recall, she hung up on me mid-sentence, typical behavior for college girlfriends, I suppose. I threw the phone (a dark red “princess” model) to the floor, destroying it. The next day I drove to Target and bought the object we see here: a Panasonic with call waiting, speed-dial, redial, the works. It was a pretty good phone; it followed me to Oregon, but wound up with my first wife in the divorce. It may still be functional, who knows? Around the time of my divorce, I smashed another phone to the floor during a drunken long-distance argument with my first wife. My love life has been hard on communications equipment.

Clothes

This is clearly a man with little regard for what people think of his appearance. I made striped shirts my college uniform. I probably had a dozen. I think these are my pajamas, which were probably also the clothes I wore before I went to bed at 10 or 11 am. But a plaid hat? My hair started thinning that winter and I was self-conscious of it, even at home.

When I finished the cereal, and Star Trek, I likely put on a pair of khakhi pants and my chambray Kinko’s shirt and rode my bike to O’Rourke’s. I probably drank a cup of coffee while my friends made a dent in a pitcher of Old Style, then I rode a few more blocks to Kinko’s.

I don’t think I own any striped shirts at the moment.

Window Sill

The sharp-eyed viewer will just make out a can of Old Style on the window sill, at far right, behind the curtain. I know from hard experience that the label reads “Old Style,” those of you on the coasts unfamiliar with the label will have to take my word for it. Greg and I had a party every other month or so, ad hoc affairs where we’d call a few people, who’d call a few people, etc. Apartments without furniture are ideal for parties.

I don’t know whether this can is a party artifact or whether one of us simply left it on the sill after dinner. I drank Old Style with every meal, so long as the meal didn’t consist entirely of breakfast cereal.

Between My Ears

I remember everything I wanted at that point in my life: to live in a hip city Out West, to associate with creative people, to drink good coffee, to mess around with computers, to have a cool girlfriend, to ride bikes all the time, to exercise my brain for a living.

At this moment, eleven years later, I’m sitting in Stumptown Coffee in Portland, Oregon, underneath my pal Jessica’s paintings, updating my website over the free wireless network. In a few hours, Jenny will come home, we’ll go to the gym; tomorrow I start a user interface design contract — the best kind of work I could ever imagine. And I ride my bike all the time.

What’s the opposite of nostalgia? Do we have an English word that means “a longing for something in the future?”

April 4th

Signs That I Will Like This Movie

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Filmmakers interested in capturing the crucial “Paul Souders” demographic (marginally-employed childless 30- to 40-year-old males) should ensure their films contain certain elements. The use of these elements, while not a guarantee of success, does however significantly raise the probability that the film in question will be well received. From my perspective, the presence of such elements signals that the film in question will entertain me. Note: “entertain,” not “enlighten,” “enrich,” “educate,” or “spiritually fulfill.” For such purposes I read books. As a rule, the presence of the following elements on a lobby poster or DVD package signals that I will “like” the enclosed film (in no particular order):

  • Submarines
  • Soviets or Nazis, as villains
  • A World War, real or fictional
  • Cyborgs, clones or robots
  • Gigantic monsters, radioactive, alien or otherwise
  • Space ships
  • Time travel
  • Aliens
  • Futuristic dystopias
  • Special-effects sequences filmed entirely with miniatures
  • Masked villains
  • Masked heroes
  • Super powers
  • Car chases that could actually happen in this universe
  • Surprise endings or sudden plot reversals
  • Heists or capers
  • Double crosses
  • Gun fights before 1945
  • Femmes fatale
  • Ships with sails
  • Horses
  • Camels
  • Swords
  • Lost treasures
  • Pirates
  • Quests
  • People who change shape into animals
  • Writers who become delusionally entangled in their own creations
  • Baseball-as-a-metaphor
  • Buddies (not comically mismatched)
  • Natural catastrophes
  • Atmospheric cinematography
  • Establishing sequences
  • Broad physical comedy
  • Martial arts, not involving the defiance of gravity

Conversely, films marketed as containing certain other elements tend not to do well with me. Although paradoxically a few such films tend also to be among my favorites.

  • Historical costumes, esp. pre-WWI
  • White people who discover the stoic nobility of, advocate for, educate, or rescue non-white people
  • Racial sidekicks
  • “Based on the true/life story of...”
  • Painters
  • Writers, except when delusionally entangled in their own creations
  • Voice overs
  • Titles that are compelled to use the name of the original author, to differentiate themselves from earlier (and usually better) adaptations
  • Gang wars
  • Young people defying convention
  • Voyages of self-discovery
  • Drugs (horrors of, crimes involving, or as instruments of self-discovery)
  • Married women spiritually awakened by extramarital affairs
  • Life metaphors involving food, gardening, hairstyles or clothes
  • Accolades from gay and lesbian critics
  • Young women discovering themselves in a tragic fashion
  • Grisly crimes
  • Non-Japanese cartoons

Finally, many filmmakers employ elements that (I suppose) they think will improve the odds I will enjoy their films. Such elements tend to have no discernible impact on my enjoyment of said films. Some of these films I like, some I dislike; almost all of them I forget immediately:

  • Japanese cartoons
  • Vampires
  • Homicidal maniacs, supernatural or otherwise
  • Young naked women
  • Motorcycles
  • Explosions
  • “Based on the graphic novel...”
  • Courtrooms or lawyers
  • Young women discovering themselves in a comic fashion
  • Special-effects sequences filmed entirely with computers
  • Cute children
  • Buddies (comically mismatched)
  • Women whose interest in sports or comic books signals their sexual desirability
  • Physics-defying car chases
  • Sports, except baseball
  • Gun fights after 1945
  • Martial arts, involving wires
  • Montages
  • Meeting cute at 0:23, falling out at 1:10, and reuniting at 1:27
  • Rogue cops
  • Supernatural events involving the dead

March 31st

More Patterns Revealed in My iTunes Library

Filed under:

To You, that’s MISTER...

  • ...Big (The Dils)
  • ...Cab Driver (Lenny Kravitz)
  • ...DNA (Devo)
  • ...Eleganza (My Life With the Thrill Kill Kult)
  • ...Eliminator (Dick Dale & the Del-Tones)
  • ...Freedom X (Miles Davis)
  • ...Grieves (Pixies)
  • ...Intentional (Lauryn Hill)
  • ...Jones (Counting Crows)
  • ...Jones (Talking Heads)
  • ...Kiss Kiss Bang Bang (Dionne Warwick)
  • ...Lucky (Henry Mancini)
  • ...Machoman (Lords of Acid)
  • ...Man (Alicia Keys)
  • ...Moonlight (Clinic)
  • ...Moto (The Bel-Airs)
  • ...Moustache (Nirvana)
  • ...Peppermint Man (Dick Dale & the Del-Tones)
  • ...Pharmacist (The Fall)
  • ...Pitiful (The Commitments)
  • ...Psycho (Space)
  • ...Rebel (Eddie & the Showmen)
  • ...Roboto (Styx)
  • ...Stanley (John Hiatt)
  • ...Suit (Wire)
  • ...Wendal (Arrested Development)

The Music Industry’s Glass Ceiling

  • Mrs. Blaileen (Primus)
  • Miss Amanda Jones (March Violets)
  • Miss America (Styx)
  • Miss Fortune (Eagle Eye Cherry)
  • Miss Freelove ’69 (Hoodoo Gurus)
  • Miss Gradenko (The Police)
  • Mme. LeFevre (Fila Brasilia)
  • Mrs. Leroy Brown (Loretta Lynn)
  • Mmslle. Mabry (Miles Davis)
  • Miss Modular (Stereolab)
  • Miss Molly (Old 97s)
  • Miss Sarajevo (U2)
  • Miss Teen Wordpower (The New Pornographers)
  • Mrs. Train (They Might Be Giants)
  • Miss World (Hole)

At Least Three Artists Perform Versions of These Songs

  • 12XU (Gilbert/Lewis/Newman/Gotobed)
  • Beyond the Sea (Lasry/Trenet)
  • Can’t Help Falling in Love (Weiss/Peretti/Creatore)
  • Crazy Train (Osbourne/Rhoades)
  • (Ghost) Riders in the Sky (Jones)
  • Interstellar Overdrive (Barrett)
  • Jingle Bells (Pierpont)
  • King of the Road (Miller)
  • Mystery Train (Parker)
  • Smells Like Teen Spirit (Grohl/Cobain/Novoselic)
  • The Christmas Song (Torme/Wells)
  • White Christmas (Berlin)

Get Your Paws Off Me You Goddamned Dirty Ape

  • Brass Monkey (Beastie Boys)
  • Everybody’s Got Something To Hide Except Me and My Monkey (The Beatles)
  • Monkey (Bush, Counting Crows, Low) Please note: not the same song
  • Monkeys (Echo and The Bunnymen)
  • Monkey Gone to Heaven (Pixies)
  • Monkey Say (Young Fresh Fellows)
  • Monkeyland (The Chameleons)
  • One Monkey (Gillian Welch)
  • Proudest Monkey (Dave Matthews Band)
  • Very Ape (Nirvana)
  • You Drive Me Ape (The Dickies)

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