Winner of most un-PC product for the first half of 2012 has to be the sly marketer behind the now-vanished “Hiller Armament Company,” which ran off a batch of silhouette targets referencing the Trayvon Martin shooting controversy featuring a faceless figure wearing a hoodie and carrying Skittles and a can of ice tea.
Shooters like novelty targets featuring amusing contemporary news references, and they love black humor items like this one specifically calculated to offend the left. The targets sold out in two days, Hiller Armaments pocketed its money and went away laughing, and lefties generally had a cow.
The silhouette on the paper target is faceless. But the hoodie, the Skittles and the iced tea leave nothing to the imagination. This is meant to be Travyon Martin, the unarmed 17-year-old shot to death in February in Sanford, Florida. The unidentified internet merchant told Mike DeForest, a reporter for Orlando television station WKMG, that he sold out the silhouettes in two days. The targets come in packages of 10.
The twisted cretin who had these printed said: “My main motivation was to make money off the controversy.” Just business, man. Nothing personal.
Even Mark O’Mara, the attorney for George Zimmerman, the 28-year-old neighborhood watch volunteer who has been charged with second-degree murder in the shooting, found it disgusting:
“It’s this type of hatred—that’s what this is, it’s hate-mongering—that’s going to make it more difficult to try this case,” said O’Mara.
“I hope there is a crime that we can charge that person who made that with. I’m not sure what it is, but we need to come up with one.”
DeForest conducted an email exchange with the merchant who would not say how many of the targets he had sold, only that the response had been “overwhelming.” ...
It’s not hard to imagine what buyers of the Trayvon targets say to each other when they’re on the firing line. And when they say “fucking coons,” they don’t mumble.
Change.org is running a petition demanding that Hiller Armanents be prosecuted.
This is the deathbed portrait of an unknown man with the hairstyle of the 1640s, commonly described as being the portrait of James, Duke of Monmouth, executed in 1685.
The Telegraph informs us that art historians are proposing to employ facial recognition software developed for Counter-Terrorism to identify the unknown subjects in some well-known works of art.
Software developed to recognise terrorist faces is being adapted to solve the mystery of portraits of unidentified people. ...
A feasibility study is being conducted by two art historians and an electronic engineer at the University of California. They describe FACES (Faces, Art and Computerised Evaluation Systems) as a “new tool for art historians”. The project has received a $25,000 government grant.
Conrad Rudolph, professor of art history at the university, said: “Before the advent of photography, portraits were, almost by definition, depictions of people who were important in their own worlds. But, as a walk through almost any major museum will show, a large number of these unidentified portraits from before the 19th century have lost the identities of their subjects.”
The company explains that renting an imaginary Internet Girlfriend has multiple uses and is much less complicated than the real thing.
Sometimes people need to rent a fake girlfriend for their job. Some employers are biased towards single folks. Often times employers give preference to people in more serious relationships so it can benefit a person to have a fake online girlfriend they can say they are in a long distance relationship with.
Sometimes people hire a fake internet girlfriend to make an ex-girlfriend jealous. In fact, we get a lot of clients for this reason.
Sometimes people don’t want to hear it from their family, they want to avoid the drama all together of the never ending questions about dating so they simply employ a fake internet girlfriend so their family will stop hounding them about finding the right girl.
Sometimes people want to keep certain aspects of their personal life, well personal and private. The one way to do this is to hire a fake internet girlfriend for appearances sake. It avoids all the pesky little questions about why you’ve never been seen dating a girl before.
It isn’t cheap, however. A Fake Internet Girlfriend costs $250 a month, with a minimum three month commitment. Her utility is seriously limited as well since she will never meet you in real life, and will not do sexting.
Variety tells us that Peter Jackson’s “The Hobbit” (2012), scheduled for release next December, is going to have a different look.
Exhibs and press gathered at Caesar’s Palace to see the debut of 10 minutes of “The Hobbit: An Unexpected Journey” at 48 frames per second, the format that James Cameron championed at the confab one year ago.
Exhibitors—all of whom would need projection upgrades to show the format—were not all enamored of the 48 frames-per-second look. The “Hobbit” reel looked distinctively sharper and more immediate than everything before it, giving the 3D smoother movement, while losing the cinematic detatchment from the motion blur of the longtime industry-standard 24 fps.
“Some of the closeup shots looked like an old soap opera on TV,” said one exhib, who added that his cinema already has a digital projector to accommodate the change. “But the wide vistas were pretty breathtaking. It will take some getting used to, for sure.”
Tom Socca writes the epitaph for Redmond’s increasingly annoying ultimate piece of bloatware.
Nowadays, I get [a] feeling of dread when I open an email to see a Microsoft Word document attached. Time and effort are about to be wasted cleaning up someone’s archaic habits. A Word file is the story-fax of the early 21st century: cumbersome, inefficient, and a relic of obsolete assumptions about technology. It’s time to give up on Word. ...
[Word] become an overbearing boss, one who specializes in make-work. Part of this is Microsoft’s more-is-more approach to adding capabilities, and leaving all of them in the “on” position. Around the first time Clippy launched himself, uninvited, between me and something I was trying to write, I found myself wishing Word had a simple, built-in button for “cut it out and never again do that thing you just did.” It’s possible that the current version of Word does have one; I have no idea where among the layers of menus and toolbars it might be. All I really know how to do up there anymore is to go in and disable AutoCorrect, so that the program will type what I’ve typed, rather than what some software engineer thinks it should think I’m trying to type.
Word’s stylistic preferences range from the irritating—the superscript “th” on ordinal numbers, the eagerness to forcibly indent any numbered list it detects—to the outright wrong. Microsoft’s inability to teach a computer to use an apostrophe correctly, through its comically misnamed “smart quotes” feature, has spread from the virtual world into the real one, till professional ballplayers take the field with amateur punctuation on their hats.
Even so, people can live with typos in their input. (Witness the boom in paraphasic email Sent From My iPhone.) What makes Word unbearable is the output. Like the fax machine, Word was designed to put things on paper. It was a tool of the desktop-publishing revolution, allowing ordinary computer users to make professional (or at least approximately professional) document layouts and to print them out. That’s great if you’re making a lot of church bulletins or lost-dog fliers. Keep on using Word. (Maybe keep better track of your dog, though.)
For most people now, though, publishing means putting things on the Web. Desktop publishing has given way to laptop or smartphone publishing. And Microsoft Word is an atrocious tool for Web writing. Its document-formatting mission means that every piece of text it creates is thickly wrapped in metadata, layer on layer of invisible, unnecessary instructions about how the words should look on paper.
A study by Pew Research found liberals are so much more intolerant on the Internet than the rest of us that it isn’t even funny.
Not exactly shocking news for those exposed to them for years, but the respected Pew Research Center has determined that political liberals are far less tolerant of opposing views than regular Americans.
In a new study, the Pew Center for the Internet and American Life Project confirmed what most intelligent Americans had long sensed. That is, whenever they are challenged or confronted on the hollow falsity of their orthodoxy —such as, say, uniting diverse Americans—liberals tend to respond defensively with anger, even trying to shut off or silence critics. (i.e. photo above of President Obama reacting to Boston hecklers.)
The new research found that instead of engaging in civil discourse or debate, fully 16% of liberals admitted to blocking, unfriending or overtly hiding someone on a social networking site because that person expressed views they disagreed with. That’s double the percentage of conservatives and more than twice the percentage of political moderates who behaved like that.
The proportion jumps even higher when someone on a social site disagrees with a liberal’s post.
Only 1% of moderates would block or shut out someone who dared to disagree with them, compared to 11% of liberals, whose rate was nearly three times that of conservatives.
Of course, it is not as if liberal intolerance is restricted to opposing expression on the Internet…
The stupid, backward, and sexually inadequate residents of China and Vietnam suffer from a delusion that consuming the horn of the rhinoceros (black or white) will increase, or restore, their potency. The usual associative sympathetic magical thinking is behind all this. Rhino horns are long, impressively stout protuberances, so their consumption is supposed to result in long, impressively stout et ceteras for Chinamen.
Stupid, backward, and ethically-challenged black African poachers kill rhinoceros for their horns which get to East Asia via totally illegal black market smuggling operations.
This is all very regrettable, of course.
So what do noble and idealistic left-wingers do about THE PROBLEM?
They modify popular videos that bourgeois residents of Western democracies watch, deceptively labeling new versions remixed with heart-wrenching images of dying and mutilated rhinos. Pirating somebody else’s content in order to mislead people into watching their own advertisements (they made 60 of these) is left-wingers’ idea of a clever intervention.
Watching their disgusting advertisements is intended to get you to start weeping big salty tears over all those poor dead rhinos and make you sign this petition.
This petition, as far as I can see, includes no specific proposals of any kind. So you would really be signing the equivalent of a kind of political blank check, indicating that you are oh-so-very concerned about poor rhinos and believe that Something Must Be Done.
What that Something might consist of is unknown. But if you are stupid enough to sign, you are indicating agreement with the theory that you (residing almost certainly in a location with no rhinos and being yourself a non-consumer of medications made from rhino-horn) nonetheless subscribe to the theory that you are personally responsible for the foolish and unethical actions of various Africans and Asians totally unknown to you, and believe that the Congress of the United States (despite its complete lack of authority over Africa & Asia) is also obliged to do something about all of this, beyond agreeing to the CITES treaty and all the other things Congress has already done.
That moron Andrew Sullivan and an advertising blogging asshole who calls himself copyranter both thought deceiving Internet video watchers into accessing agitprop crap was clever and worthy of commendation. Personally, I wish Vlad the Impaler were around today to punish Internet fraud, along with its encouragement and support, in his traditional old-fashioned way using some very long rhino horns.
Andrew Sullivan prefaces his recent Newsweek article offering an unusually optimistic assessment of the current president’s prospects and achievements by confessing:
I write this as an unabashed supporter of Obama from early 2007 on. I did so not as a liberal, but as a conservative-minded independent appalled by the Bush administration’s record of war, debt, spending, and torture. I did not expect, or want, a messiah. I have one already, thank you very much.
Barack Obama is, only too obviously, a political figure originating from the most extreme fringe of the radical left remodeled into a merely aggressively Progressive democrat. Barack Obama deliberately chose to break with the New Democrat/New Labour 1990s center leftism model successfully adopted by William Clinton and Tony Blair, in which politicians of the left offered an implicit understanding that their efforts to deliver more benefits to labor and the less well off would be pursued with restraint and never in such a way as to jeopardize economic growth and the general welfare of the country.
How it is, in any way, shape, or form, legitimately possible for a “conservative minded” person to be a supporter of Barack Obama is a mystery to me.
If one were so pacifistically-inclined that George Bush’s wars made one into a democrat, well, it is difficult to fail to notice that Barack Obama has continued the same military efforts.
Pointing to Bush’s war-time debt increases as justification for supporting Obama goes beyond obliviousness, on the other hand, far, far into hypocrisy. Barack Obama presided over a domestic spending spree utterly unprecedented in history in straightened economic times, multiplying dramatically all previous debt and, finding himself faced with a imminent crisis in funding existing entitlement obligations, proceeded, in defiance of an enormous public outcry of protest, to add a new massive entitlement.
Referring to mildly coercive interrogation techniques, carefully limited so as to inflict no real injury or permanent effects, as torture, while indulging in wildly exaggerated rhetoric and striking sanctimonious poses has become one of the principal exercises of Andrew Sullivan’s journalism. Sullivan has thereby become one of the foremost practitioners of the school of moral instruction combining flamboyant and in-your-face sexual latitudinarianism with Pecksniffian priggery applied to defense activities.
So, I start out, even before evaluating Sullivan’s analysis, arguments, and appraisals, confronted with a set of obviously fraudulent credentials. Andrew Sullivan is not “conservative minded.” He is a notoriously unstable and emotionally volatile partisan of the Homintern, who used to be on the right, but who has transferred his political loyalties to the left, partly in order to further the political agenda of his sexual subculture, and partly simply because the opportunities and accommodations are so much better over there.
No wonder that Ann Althouse didn’t even bother reading through the article. She knew perfectly well what she was going to find.
We’ve recently learned that it isn’t only Harvard which has acquired a NSFW site where students (and/or alumni) post naked pictures.
Unlike Harvard’s gay-interest-only site, the Brown site is coed and publishes student-written porn.
There wasn’t any Internet back during the consulate of Plancus, but I expect we also had an adequate quantity of horny exhibitionists willing to post personal pictures on these kinds of sites back then, too.
Two boys debate attending the American Theater in Greenpoint, Brooklyn in 1938.
Roger Ebert explains why movie theater revenues are in free fall. Only blockbuster movies are currently keeping the whole system afloat.
I guess that’s just how things work.
You have the movie theater business, an industry whose pioneer days were a century ago. That business prospered and bloomed, but for decades now what was once a luxurious escape experience has been subjected to the careful ministrations of bean counters and corporate optimizers who have turned movie theaters, once palaces, into cheap industrial warehouse spaces operated robotically and understaffed with inadequate contingents of the bitter and indifferent working for the minimum wage.
It takes hundreds of millions for special effects, movie star salaries and blowing up all those expensive cars, but at the actual delivery end the industry has whittled every possible penny out of quality of service.
Their problems are compounded by the aging US population. Even hard-core cineastes like myself (I ran a film society at Yale) today feel out-of-place in today’s theaters. Adults buy videos or watch films on cable or the Internet these days. Teenagers go to movie theaters for the same reasons teenagers always went to movie theaters.
The film industry is being confronted by the same kinds of changes in technology and the arrival of handier and more competitive methods of product delivery that confronted the music industry, and it seems that these dinosaurs are no more able than the other dinosaurs to cope positively with new challenges and opportunities.
Old industries wind up being run by rentiers, but dramatic innovation requires visionaries and risk-takers. The motion picture industry today is run by corporations, what changing times need are the equivalent of the aggressive businessmen, recently off the boat from Poland and Lithuania, the Warners, the Zukors, the Goldwyns, and the Mayers, who created the studios and the industry in the first place. But that kind of leadership is not going to come from inside today’s industry establishment.
The Hodinkee blog recently reported that the Hublot watch company of Geneva is building a new ultra complication watch as a tribute to the Antikythera Mechanism.
The finished product, scheduled to be unveiled at a show in Basel next Spring, will combine a watch with the functions recently identified by archaeologists in the Antikythera device.
The fragment of leather on the broken bronze buckle was carbon-dated to 600 A.D.
A University of Colorado Bouilder archeology team excavating a 1000-year-old Inupiat Eskimo house at Cape Espenberg on Alaska’s Seward Peninsula found a partial bronze artifact resembling a buckle, which is apparently even older.
Bronze-casting is a technology not known ever to have existed in any New World culture, so the artifact was presumably made in Asia and reached Alaska by some unknown early system of trade.
Use your armed guards to make those children mine the Coltan faster.
Gamasutra reports that those corporate fascists over at Apple actually had the nerve to refuse to sell the game app Phone Story, by the sanctimonious Bolshie game design firm Molleindustria, via the iPhone App store, just because the app featured a series of left-wing smears directed specifically at smartphones, consumer products, and Apple.
One can picture the equivalent of Jeffrey Lebowski whining: Whatever happened to free speech, man?
[U]ntil now, few have been willing to turn the lens on this boom and examine what mass-market gadget lust is costing us ethically. Though we’ve since heard of suicides at Foxconn, deplorable working conditions and hazards to the environment involved in the manufacture of the latest hot smartphones, game developers were mostly silent—until now.
It seems natural that provocative serious games developer Molleindustria was the one to take the step. The studio, which has taken on forces like the Catholic church, McDonald’s and big oil with games like Operation Pedopriest, McDonald’s Video Game and Oiligarchy, never pulls its punches as it uses games to sharply deconstruct the social and economic constructs most people take for granted.
Its latest title, Phone Story, uses a series of minigames with voice-over narration to shed light on the human cost and high environmental impact of smartphone development. In one minigame, while the narrator explains that most electronic devices require the mining of coltan, a conflict mineral in Congo whose demand spurs war and child labor, the player must use the touch screen to guide armed soldiers to bark at exhausted child miners in order to meet the goal in time.
In another, the voice-over explains the suicides at electronics manufacturers in China, and the facile solution of “prevention nets”—while the player must catch tumbling workers using a stretched trampoline.
Of course, Phone Story is more interesting for the fact that players must interact with these messages while holding one of the devices discussed. Imagine being served hamburgers on a tour of a slaughterhouse. And all of the developer proceeds—70 percent of total App Store revenues, as per usual—will be pledged to organizations fighting corporate abuses, starting with Students and Scholars Against Corporate Misbehavior, which supports workers in abusive conditions internationally, including at Foxconn.
Or they would be, if Phone Story had been allowed to stay on the App Store. Apple yanked it just a few hours after the game was officially announced, citing four code violations: 15.2, which prohibits depictions of child abuse, and 16.1, which prohibits apps depicting “objectionable or crude” content. The other two, 21.1 and 21.2, pertain to Phone Story’s charitable bent—and they don’t seem to quite apply, intended instead for games that allow their users to make donations within a game, rather than a pledge by the developer to donate revenues.
Molleindustria makes an iPhone game to criticize the iPhone platform, and that Apple’s chosen to silence it is an interesting punctuation mark on the developer’s statement.
Gamasutra reached out to Molleindustria’s Paolo Pedercini about iPhone Story, who credits the game’s idea to recent international affairs graduate Michael Pineschi, to whom he spoke through creative activism group YesLab. At the time, Pedercini already had some unusual ideas in the works for projects that could act as commentary on gadget fetishism.
“One of them was a multi-touchable virtual-pet vagina, monologuing about technological lust and willful submission to consumerism,” he reflects. “Unfortunately, the flesh engine didn’t work as I hoped so I went for a straightforward educational game.”
But the intent was always to develop a game as commentary on the hardware industry. “Most of the adults in the Western world are somewhat aware that most of our objects are manufactured far away, in conditions that we would consider barbaric,” Pedercini says.
“A lot of tech-aware people heard about the story of the Foxconn suicides or about the issue of electronic waste,” he continues. “But with Phone Story, we wanted to connect all these aspects and present them in the larger frame of technological consumerism.”
He specifically wanted to highlight the goal that “must-have” consumer electronics culture plays in perpetuating these high-impact cycles; one of the levels of Phone Story tasks the players with tossing brand-new boxed phones to swarming would-be buyers rushing a storefront. In his view, the marketing machine that makes people believe they absolutely need an upgraded hardware device on the day it comes out is what causes extremism in the supply chain.
“We don’t want people to stop buying smartphones,” he notes, “but maybe we can make a little contribution in terms of shifting the perception of technological lust from cool to not-that-cool. This happened before with fur coats, diamonds, cigarettes and SUVs—I can’t see why it can’t happen with iPads.”
Pedercini says it was essential to use the platform itself to stage a critique of that platform. “Almost like the device itself was speaking to the user,” he suggests. “The idea was to make a sort of reminder that you can keep with you, like a way-less-permanent tattoo or a bumper sticker, something that you carry around and maybe show off as a conversation-starter.”
But although Apple’s immediate removal of Phone Story makes for an interesting conversation point, Pedercini says he never intended it to happen this way: “I’m very familiar with the App Store policy, and the game is designed to be compliant with it,” he asserts.
“If you check the guidelines, Phone Story doesn’t really violate any rule except for the generic ‘excessively objectionable and crude content’ and maybe the ‘depiction of abuse of children’. Yes, there’s dark humor and violence but it’s cartoonish and stylized – way more mellow than a lot of other games on the App Store.”
“What makes these depictions disturbing is the connection the player makes with the real-world situation,” adds Pedercini. “Of course, the goal was to sneak an embarrassingly ugly gnome into Apple’s walled garden, but not to provoke the rejection. If it was just a matter of provocation I would have gone way further.
If you’re a communist and have to have this App, you can buy it, and the rope you need to hang capitalists, via Android Market.
