I find the rose windows of Gothic cathedrals awe-inspiring. From the rigid formalism of Chartres to the flamboyant explosion of Tours, their marriage of geometry, philosophy, and aesthetics with stone and glass is awesome. Built at a time when science and spirit weren’t as divided as today, each window is a statement of the beauty, order, and harmony in the world. Using only a pair of compasses (dividers) and a straight-edge (an unmarked ruler), the Gothic architects created myriad lace-like designs, making stone hang in the air and glass sing.
Here’s how advertising works today, glossing over a lot of detail:
A web site, like CNN.com, offers advertising space
You experience the medium, say by browsing to CNN.com
Part of that experience is an advertisement
The site records the fact that you saw a particular ad
The site charges the advertiser of that ad.
Great, no? Advertising behaves like it has for ages: a medium gets income by essentially renting out part of the medium. And for online ads, when you click on an ad, an advertiser pays a lot.
Here is the weakness: if you are only exposed to an ad, but don’t click on it, the advertiser’s value of you, as an individual, seeing that ad is tiny.
Along comes https://flattrplus.com/. Flattr Plus’ model is simple: you pay a website directly for the ads you block – and it’s cheap because ads you don’t click aren’t worth much.
Think about that for a minute: the advertiser wants to pay the website to show you ads; you want to pay the website to not show you ads. Who will win? Is not seeing an add worth more than seeing one? If it is, online advertising just died. Right in front of your eyes.
Thanks to @feraldata I happened to be reading Elizabeth King’s piece on a 16th Century monk automaton. The article describes the automaton as having “duende”, loosely translated as “soul” – that is, there is something surprisingly profound (or upsetting) about this simple robot. That observation reminded me of the Laughing Sailor automaton that was popular as a Edwardian seaside amusement: drop in a coin, and the seated sailor in the glass booth would laugh and rock back and forth.
Sounds simple, non-threatening, and maybe even silly, doesn’t it? Yet when I saw a Laughing Sailor automaton up close, at Wookey Hole, I found it had something uncanny in its behavior: the all-too-real eyes flick malevolently to the left and right; the face is disturbingly half way between a smile and a grimace, and the not-quite-human rocking to and fro suggests the fellow is far too amused by some joke that may turn out to be on you!
A Laughing Sailor of one sort or another has appeared in various movies, always in the form of a malevolent robot whose laughter comments on the macabre situation. I’m not surprised – the little guy creeps me out.
After several days of banging my head into a wall, I’ve succeeded in building a “Hello World” web service using Maven, Jersey, Tomcat, and Eclipse, and gaining some understanding of why it works.
Initially I found plenty of pages that explain how to use 3 of the 4 things I needed: Jersey + Tomcat + Eclipse, Maven + Jersey + GlassFish, Maven + Jersey + Grizzly, etc. …or the instructions were for old versions. Also, all of them assumed I knew how to setup each tool independently, so they glossed over things like how to point Maven to the Central Archetype Catalog, or how to set all the proxy information each tool needs.
So, after many visits to Stack Overflow and many false starts, I’ve compiled what I learned into Create a Jersey Web Project Using Maven, Tomcat, and Eclipse. Since it refers to separate instructions for setting up Java, Eclipse, Tomcat, and Maven, I’ve put instructions for each of those tools under the Needhamia How To menu, in the upper right of this page.
Spoiler Alert: this blog discusses many significant details of the movie plot. If you have not seen Tomorrowland, leave now.
When Linda and I watched the Disney movie Tomorrowland last night, we noticed a remarkable similarity to the story and characters of Peter Pan. It’s amazing how the writers managed to weave so much of Neverland into Tomorrowland.
Tomorrowland is Neverland: Each exists in another dimension, reachable only through a magical flight. in Peter Pan, Wendy flies with Peter and Tinkerbell after being christened in pixie dust; in Tomorrowland, Casey flies with Frank and Athena. In preparation for their flight, Casey and Frank swallow dry sugar crystals (Peter’s pixie dust). People don’t age in Neverland; similarly, in Tomorrowland, Governor Nix has remained the same age by drinking a daily technology shake, implying that people don’t need to age in Tomorrowland.
Frank Walker is Peter Pan: the boy who won’t grow up. Peter is a boy who flies, and refuses the responsibilities of adulthood; the young, optimistic Frank flies with his jet-pack, and rejects the pessimism of adulthood. Unlike Peter, Frank does leave Tomorrowland (Neverland), becomes disillusioned and grows up, but ultimately returns to his optimism inside Tomorrowland (Neverland).
Frank’s house is Peter’s hideout: Frank and Peter each hide in a large, warren-like house; both hideouts have hidden entrances and exits. Peter and the lost boys live in a hideout in Neverland to escape detection by the pirates; Frank hides alone in his house to protect himself from Governor Nix’s murderous robots.
Athena is Tinkerbell: Peter’s sidekick, immortal, young, feisty. Athena is an immortal robot; she is (eternally) young; she is miraculously skilled, a formidable fighter, and undaunted by anything. Tinkerbell’s relationship with Peter has overtones of an unfulfilled/impossible romantic relationship. In Peter Pan, Peter is the one who doesn’t reciprocate Tinkerbell’s feelings; in Tomorrowland, it’s Athena who doesn’t reciprocate Frank’s feelings. In Peter Pan, Tinkerbell drinks poison intended for Peter by Captain Hook, and nearly dies; in Tomorrowland, Athena blocks a blast from Governer Nix intended for Frank, killing herself.
Casey Newton is Wendy: a girl enchanted by fairy tales, who Peter and Tinkerbell take to Neverland to be the mother of the lost boys. In Tomorrowland, Frank and Athena take Casey to Tomorrowland to heal/rejuvenate that land – that is, to be its mother. In Peter Pan, Wendy is enchanted by Peter’s magical world and wants to learn to fly; in Tomorrowland, Casey is enchanted by the stars and space flight, and wants to be an astronaut – to fly.
Casey’s teachers are Nana: In Peter Pan, Nana is a dog-governess who attempts (unsuccessfully) to prevent Wendy from leaving home for Neverland; Casey’s teachers attempt (unsuccessfully) to prevent Casey from pursuing her optimistic dream of a positive future – a Tomorrowland.
Nate Newton is Michael: Wendy’s youngest, infant-like brother. Nate is Casey’s young, infant-like brother. In Peter Pan, Wendy, Michael, and John share a bedroom; in Tomorrowland, Casey and Nate share a bedroom. Unlike Michael, Nate doesn’t travel with Casey.
Eddie Newton is John: Wendy’s slightly younger brother who tries to play the father, but always fails. In Tomorrowland, Nate is literally Casey’s father, who is failing in that role. Unlike John, Eddie doesn’t travel with Casey.
David Nix is Captain Hook: Hook is a nihilistic adult who wishes to eliminate the Lost Boys and the other inhabitants of Neverland, who Peter battles and eventually kills; Nix is a nihilistic inventor who wishes to eliminate earth’s population, who Frank battles and eventually kills. Captain Hook has a very versatile hook in place of one hand; similarly, Nix wears a very versatile bracelet-control on one wrist. Nix’s costume later in the movie could be seen as steam-punk, but also refers to Captain Hook’s piratical overcoat.
Nix’s robots are the Pirates: The Pirates are Hook’s minions, who carry out his murderous desires without question. Similarly, Nix’s robots carry out his murderous orders without question.
The (unseen) other Tomorrowland inventors are the Lost Boys: the Lost Boys come to Neverland when they fall out of their baby carriages – that is, when they don’t fit into the ordinary world. Similarly, the inventors who populate Tomorrowland are geniuses who don’t fit into the ordinary world.
The Monitor is the Crocodile: In Peter Pan, the crocodile that Peter enticed constantly pursues Hook; it represents Hook’s fear of destruction. In Tomorrowland, the Monitor that Frank created broadcasts the possible future of a dead earth, which Nix fears. The crocodile swallowed a clock, which enables Hook to know when the crocodile is near; the monitor broadcasts a countdown clock, which enables Nix to know how close the earth is to destruction. The crocodile kills Hook by eating him; the monitor kills Nix by falling on him. There’s also a bad pun hiding there: a monitor is a type of reptile, as is a crocodile.
The missing “I do believe in fairies” plot point
In the play of Peter Pan, as Tinkerbell lays dying from poison intended for Peter, Peter exhorts the audience members to save her by asserting “I do believe in fairies”. The audience crying out “I do believe in fairies” revives Tinkerbell. You might be tempted to feel there is no such scene in Tomorrowland: unlike Tinkerbell, Athena dies.
Yet there is an “I do believe in fairies” moment in Tomorrowland: at the end of the movie the audience is explicitly exhorted to believe in a positive future – to believe in the world that Athena (Tinkerbell) believed in, in order to bring that world to life.
The working title for the movie Tomorrowland was “1952”; Disney’s Peter Pan was released in 1953. Was the working title a reference to the 1952 production work on Disney’s Peter Pan?
I’ve been flopping back and forth about what equipment to get/build next, assuming I saved up a few thousand dollars: a CNC router? …a laser cutter? …a 3D printer?
This weekend I totally got what I would do with a 3D printer: print mechanical parts of machines.
In search of stepper motors in old, broken devices, I tore apart an ancient HP Deskjet inkjet printer – something like an 810C – I forget what model exactly. At any rate, disassembling that printer was an education in the mechanical design of moving parts. It used normal DC motors (no steppers) to drive the printer head and paper, then used stripes on film sensed by photo-interrupters to determine where exactly the print head was and exactly how far the paper had advanced. Very impressive!
In going over the design of this amazing machine, and in thinking about what parts I could salvage from it, it suddenly struck me: I could reuse many expensive parts if I could print my own mounting and connecting pieces – the application-specific parts that hold, for example, a linear rail or connect a print head to the bearings that ride on the rail, or even a piece that holds a tension spring and the sprocket that it tensions.
So many things in this printer are accomplished by little custom pieces of plastic – the sort of pieces you could print in a 3D printer.
For some reason I like this crazy idea: an automatic swear jar that uses web voice-recognition to identify curses, and uses a BitCoin (ugh) API to pay $0.25 to the BitCoin-accepting (?) charity of your choice.
You have to admit, it’s cute. Disregarding the privacy and currency issues, it’s still different. Is it Gamifying behavior change? …or is it re-imagining an old and popular interaction?
When I described my robotic glockenspiel project, a co-worker pointed me to the musical performances of Pat Metheny, which led me to LEMUR (League of Electronic Musical Robots), which made his instruments.
Check out the videos on LEMUR’s site (scroll down to the thumbnails). Some of them remind me of early 20th-century experimental music (especially the one with the siren). Love it!
Et proiectus est talpa – "and the mole was cast out"