Archive for the ‘Observation’ Category

WALL·E is a PC, EVE is a Mac

Saturday, July 12th, 2008

The two robots, EVE and Wall·E, playing with a lightbulb.

(If you’ve not already seen WALL·E, you may not want to continue reading this post: it may spoil certain surprises, and won’t make much sense.)

The two robots in Pixar’s WALL·E represent, roughly, two kinds of personal computers: the PC (in the old sense: a desktop computer running Windows or maybe, GNU/Linux) and the Apple Macintosh (running Mac OS).

EVE has a glossy white shell that resembles an iPod or MacBook. As Sancho has mentioned, EVE was designed in part by a designer at Apple. While the superficial similarities are easy to find, you can find others if you’re willing to stretch a little.

Much like an Apple computer, EVE looks elegant and packs more power than you’d first expect. EVE is quite dedicated at performing the task she is designed to do. She goes to an expensive maintenance area, all white walls and frosted glass, to be repaired by experts. It’s really obvious when EVE gets scratched or smudged, and it takes effort to keep her looking clean (MO, the cleaning bot).

WALL·E, the PC, is made of worn and noisy machine parts. He works with what’s laying around, upgrading his eyes and treads, as well as adding non-standard enhancements—a lunchbox. WALL·E is not easy to repair, his boot-up sequence is slow, and data recovery can be an suspenseful ordeal, as EVE discovers late in the film. He seems even to invite bugs to crawl around him.

While WALL·E is not as modern and shiny as EVE, he’s more flexible and the only one capable of playing video games.

Alright, perhaps I’ve stretched the analogy too far. Nonetheless, it does seem difficult to deny that there is some unusually tight cross-branding going on in WALL·E. There are a number of nods to Apple in the film, some more conspicuous—WALL·E watches movies on a video iPod—than others. (This may excuse one of the failings of my analogy: that WALL·E plays the Mac start-up sound when he has charged his solar battery.)

I don’t find this kind of product placement particularly cute. Yes, EVE is a more sympathetic and business-friendly spokesperson for Apple than the smug Mac dude, but it’s odd to see this kind of marketing in a movie that uses the ubiquity of a corporate brand as a sign of decadence and ruin.

I do choose to interpret the love between the two bots as a hopeful message for nerds and platform-zealots everywhere. Like EVE and WALL·E, Mac and PC users can learn to get along.

Update: Seems I’m not the first to see the PC/Mac parallels.

Knowing enough for porridge

Friday, May 23rd, 2008

“Maybe if you know what you’re doing, you get it wrong.” Kellogg Booth stood up and made his way to the white board. Our discussion had reminded him of a test question he once had to answer. “It was for the draft,” he said.

On the white board he sketched a rough plot: two curves, with amps along the x axis and voltage along the y. “Which of these would you say has the greatest power, the green or the orange?”

Reproduction of the chart drawn by Dr. Booth to illustrate his anecdote.

Green because it’s taller. Duh. Next question.

If you know what you’re doing, you’re not going to fall for that. You know that power can be found by taking the area under the curve. From the look of it, the broader orange curve will have a greater area, so you put orange down as your answer.

Now, if you’re really paying attention, you’ll notice that the scale along the y axis isn’t linear, but logarithmic. This means that, while the green curve doesn’t seem to be any more than two times taller than the orange one on paper, it’s actually representative of a much greater difference between the two. Since the green curve reaches far higher than the orange one, it covers a greater area. You answer green.

Green is the correct answer. If you’re dumb or lazy you get it and if you’re smart you get it, but if you’re in between, you know just enough to get it wrong.

Kelly’s punchline: “But I think that’s what they were going for. They wanted to get people who were smart enough to trust with guns, but dumb enough to go to Vietnam.”

We could call this kind a porridge filter: it selects those that are not too ignorant, not too knowledgeable, but just right.

How common are porridge filters in the real world? Are they more often products of design (as Kelly suspects of the above case) or accidents? What other cases could they be useful?

By the way, if I’ve messed up my physics, let me know.

Update: I came across the following in Neal Stephenson’s The Confusion.

“What is the Intelligence Test?” he demanded to know, and swept the curtain aside.

“A private joke,” said the annoyed Padraig.

But Jack saw good reasons to explain it, and so he said, “Cast your memory back to when Fortune had set us ashore in Surat—”

“I remember it every day,” said Surendranath.

“You stayed there to pursue your career. We fled inland to get away from the diverse European assassins who infested that town, and who were all looking for us. Soon enough, we came upon a Mogul road-block. Hindoos and Mohametans were allowed to pass through with only minor harassment and taking of baksheesh, but when it became known that we were Franks, they took us aside and made us sit in a tent together. One by one, each of us was taken out alone and conducted to a field nearby, and handed a musket—which was unloaded—and a powder-horn, and a pouch of balls.”

“What did you do?” Surendranath demanded.

“Gaped at it like a farmer.”

“I likewise,” said Padraig.

“So you failed the Intelligence Test?”

“I would rather say we passed it. Van Hoek did the same as we. Mr. Foot tried to load the musket, but got the procedure backwards—put the ball in first, then the powder. But Vrej Esphahnian and Monsieur Arlanc loaded the weapon and discharged it in the general direction of a Hindoo idol that the Moguls had been using for target practice.”

“They were inducted,” said Surendranath.

“As far as we know, they have been serving in the armed forces of the local king ever since that day,” Jack said.

Love for There Will Be Blood, but without commitment

Friday, February 8th, 2008

Daniel Plainview's baptism in “There Will Be Blood”

When I see There Will Be Blood, I feel like I’ve watched a fantastic film. P.T. Anderson’s film is so rich in so many ways. I embarrass myself with the strength and number of adjectives I use when describing it to friends. Yet there is a strange feeling that, as much as I’m keen to shout my love for There Will Be Blood from the rooftops, I’m wrong; that I’ll find it tapped and drained.

The third act? When I first saw it, I enjoyed it. I went to see the film a second time largely to confirm that I did. I read reviews damning it, giving good reasons why it did not work with the rest of the film. I came in the second time with a long list of poor choices made by Anderson, of reasons why it crippled an otherwise outstanding masterwork. Daniel becomes a ridiculous caricature of himself. His way of dealing with his son and with Eli are not in keeping with who he was. The dialogue is full of holes; it feels like Anderson speaking through the characters. The film ends abruptly, unfairly. And so on. I had read up. I was set to take the final act apart.

I didn’t. I couldn’t. I fell into the movie, immersed until the credits. The consistency of character, the radical shift in visual and emotional tone—my awareness of these things dissolved. Whatever seemed a failure on paper, worked wonderfully on screen. I did not leave the theatre feeling cheated or confused. I left smiling. “That was one goddamn helluva show.”

But I’m still not as confident of the film’s greatness as I should be. Perhaps its shocking third act overwhelms me; a magnet spinning my critical compass. Perhaps it’s the way the film squirms around, making it difficult to fit it into some interpretive harness. Perhaps I feel guilty for having liked it so much more than every other film I’ve seen recently. Perhaps I lack enough confidence in my own tastes, or am too aware of how they change.

I don’t know what it is that makes me hesitate. As much as I have enjoyed There Will Be Blood, I have a nagging feeling that I may, after future viewings, come to regret thinking so highly of it. As Vern says (via Rumsey Taylor):

Anderson’s There Will Be Blood has the feeling of greatness. It has the smell of greatness, the texture of it. It flirts with greatness. I’m pretty sure it even left the club with greatness last night but there is no way yet for us to know if it got lucky with greatness. We can only catch up with it later and ask it. If it turns out later that it was only faking it I’ll have to admit it had me fooled.

How to sell your Christianity

Saturday, November 17th, 2007

I just finished reading Influence: Science and Practice by Robert Cialdini. Yesterday, I discussed evangelism and missionaries with my friend Emt. A few minutes ago, I found this online: How to Persuade an Atheist to Become Christian.

The language used on that wiki page (when I read it, at least) is quite deferential and polite. The overtly zealous or militant remarks many people seem to expect from evangelists aren’t present. This may be because it’s a wiki, edited by a large number of people, evangelists or not.

Beyond this, I’ll leave the ethics and etiquette of evangelism aside. What interested me was how I was able to see Cialdini’s “weapons of influence” in the article. I’ve paraphrased the article’s key strategies below, with short bits from Influence in parentheses (many of which I clipped from Wikipedia):

  • Be a likable, good friend.
    (Liking: People are easily persuaded by other people that they like.)

  • Be sure to reinforce your Christianity constantly and in a positive manner.
    (Association: People conflate things that occur together.)

  • Give help and advice. “Don’t forget to show them the scripture, that way he or she can get the idea that it’s not your own thinking but God’s.”
    (Reciprocation: People tend to return a favor; Authority: People will tend to obey authority figures.)

  • Show that Christianity is normal, that other intelligent, friendly people participate in it.
    (Social Proof: People will do things that they see other people are doing.)

  • “You may ask them to attend church with you, however, if would be best if they come along partly on their own.”
    (Commitment and Consistency: If people commit to something, they are more likely to honour that commitment—even if the original incentive or motivation is removed after they have agreed.)

  • Do not falter. Stay on message; don’t go off-brand or risk driving customers away.

While it may seem damning that these are the same techniques people use to sell cars, I do not mean to say that what’s being sold here is bad, only that the techniques being recommended by the article have been shown to be effective. The approaches it describes are not naïve or overconfident, but practical, proven methods of gaining compliance. Evangelists aren’t so self-righteous that they (all) become asshole literalists. They have practical concerns and methods too, like all other salesmen.

Seeing the lumber for the trees

Friday, October 19th, 2007

(Sure, the title of this post is a bit forced, but if I’m not going to be bothered to get out of my bathrobe to write it, I’m not going to go to any great length to be clever.)

I just finished a conversation with my landlord about standardized testing and the recent government push for such tests to be written by undergraduates at American universities. She saw this as due to a fundamental misunderstanding of how learning occurs (which, of course, is dependent on how it’s measured). The SAT, she claims, better measures how well people can prepare to write the SAT than it does how knowledgeable and capable they are in the areas of knowledge represented in the test. Standardized testing won’t allow for student performance to be compared fairly across universities. It will instead pervert instruction so that students will perform better on the tests—especially if a university’s federal funding and prestige is tied to test results.

I wouldn’t argue with her conclusions. (Anyone who’s read Freakonomics or has decent common sense—that covers just about everyone, right?—knows that tying funding to standardized testing gives teachers incentives to teach to the test, if not cheat and change students’ answers.) I do, however, think that the motivation for such testing is not caused primarily by a misunderstanding of how learning occurs (or is best measured). No, it’s borne of a more pragmatic kind of thinking: management.

Having a verifiable, quantitative means of supporting decisions is much emphasized in prescriptive high-level management, economics, and game theory. If you can show that Shrek 7 is likely to result in a greater return on investment than Clooney Political Thriller 4, you can justify choosing Shrek. This is particularly important in cases where decisions are not individual, but an institutional process. The director may love the script for Clooney Political Thriller 4, the CFO’s cousin might owe Clooney a favour, but that’s not likely to convince the stockholders. They’ll want to know about the film’s ROI. Ultimately, there needs to be a measure, and it should be standard and accepted. Good managers act on key performance indicators.

This is exactly what wide-spread, all-encompassing standardized testing provides: a key performance indicator. Already, SAT and GRE scores are used to judge applicants to universities, as are grades. Why not extend the system so that they are standard, more consistent and reliable? The prestige of big-name institutions like Harvard, Stanford, and the like can be justified or destroyed by how well their students perform on the tests. Incoming hires can be judged by their scores, perhaps weighted by the average of scores for the university they came from. Scores can be tied to dollar values, correlated with other measures of performance. Standardized testing isn’t about measuring learning or capacity, but assigning value. It’s not about education. It’s a management initiative.

As I’m certain you’re all well aware, measures can be toyed with. There are thousands of ways of easing a decision through, clever ways of presenting stats, or assessing risk and making decisions using uncertain data, of course. Oversights, elision, optimism, bias, inaccuracy, time pressures: these can change how well a measure represents what it should. Scores are relied upon, used (and abused), even when they’re juked, they’re only as good as the means through which they’re obtained. They can be warped by not only a sneaky statistician or lazy inventory clerk, but by an incomplete form or poorly written question.

As powerful as it may seem, testing is an awful way of measuring understanding or expertise. A comprehensive multiple-choice test can tell you how well students performed on that comprehensive multiple-choice test on the day they were tested. You can only hope that this score is somehow indicative of that student’s greater, longer-term understanding of the topic. Further, the results of that test are confounded by those who studied more (not necessarily the same students who know more or better), who have good short-term recall, whose teacher used the same terminology used in the test, who cheated and got a copy of the test off the web, who are simply better at multiple-choice than those who are better in an oral exam, etc. Test scores are test scores, not knowledge or expertise scores. Managers who live and die by such measures may not see that. If scores change, so do decisions. The scores become what they measure.

Blaming managers is easy (and profitable). We all have a limited capacity for information and have to use summary measures and other generalities to get things done. Common currency is a good example. I don’t pay the taxi driver by driving her around and I don’t barter: she translates her services into a dollar value using a accepted equation and I give her that much money. There are cases where this form of exchange should not be applied, where the measures can’t be ascertained or agreed upon. Are divorce settlements accurate measures of the emotional investment spouses made in each other? Should the plight of ten million starving in another country be attended to ten times more intensely than the million hungry homeless in ours? No, these cases are blurrier and more difficult than paying for a cab.

Yet many of us confuse the measure for what it measures. Education is an SAT score. Health is BMI. Prosperity is GDP. Government is voting. Worth is salary.

No, they’re not. These are complicated and complex things that have had systems and measures forced upon them to make them, well, manageable. They’re worthwhile only as generalities, and we should be aware of their limitations and distance from reality. Education, health, these are all things greatly affected by high-level, institutional decisions. Those in positions of power should reason about their decisions using the effects they have, and to know and to judge these effects is important. It is just as important not to overdo it, to think that numbers and indicators are the reality they’re supposed to measure. They’re faulty and incomplete, and approximations at best. Having every American undergraduate write an exam in third year isn’t going to tell much about how educated they are, and it should not be used as if it would.

And, please, don’t make me write any more exams. They’re so damn stressful.

Update: I’ve heard that, in business, people often say “what gets measured gets done.”

PPS: Jon Stewart points out how ridiculous it is to relate measures such as the Dow to political and social events. (The clip is available only in Canada; there’s another version available only in the US.)

Skull awareness

Tuesday, June 26th, 2007

Look in the mirror, use both hands to pull your lips wide, then snap your teeth open and closed [if you're confused, check the photo]. This makes you aware of your skull. Why, your face is just a thin layer of meat!

The pressure of due dates

Tuesday, April 4th, 2006

The imagined futures of books and films are an in-growth of the moments in which they are made, symptoms of their time. Yet these futures are here, in the same moment as you, already part of the past made by the restlessness of now. The Crown Fountain unsettles your sense of the present. It’s beautiful, unreal, oddly familiar. There’s something uncomfortable in this confusion of times, in sharing today with others’ tomorrows.

The future is now, it’s just not well distributed. What would Philip K. Dick say?

In the past week, you’ve found yourself listening to Pendulum‘s Plasticworld often. Its first minute, as it descends from orbit (Space Lion), is quite satisfying.

Red Cars is a film is a book

Thursday, October 27th, 2005

I had an opportunity to look through David Cronenberg’s Red Cars a few days ago. Donato Santeramo, a professor of mine, worked with Cronenberg on the book and was kind enough to let me browse through his copy. I spent the good part of an afternoon in his office marvelling at it, turning its pages carefully, and taking a few photographs.

A drowning car

Red Cars could be said to be the published screenplay for an unrealized film, an art project, or just a fancy coffee-table book. In the introduction, Cronenberg calls the book “a fusion of script and image… its own mutation,” and it’s as concise a description as possible, vague as it may be. The book is a gestalt of photographs, text, paint, metal—all tangled in semiotic support; and however well it may sit on a coffee-table, it deserves (and rewards) much more active reading than would, say, an Ansel Adams collection.

Set in the early 1960′s, the story centres on American driver Phil Hill. He hopes to become the first American World Champion, but is convinced that his sponsor, Enzo Ferrari, is undermining him and truly favours another driver, the German von Trips. His struggles with Ferrari and competition with von Trips are complicated by Ferrari’s wife, Laura, worried by her sickly bastard son Dino, and Hill’s own self-hatred and frustration. The racing season is arduous for Hill, who wins a place in the Grand Prix in the penultimate race—after von Trips is killed in an accident. Ferrari, ostensibly in respect to von Trips’ death, decides not to participate, taking the opportunity from Hill to race in the Grand Prix.

Such a summary fails to convey the colour and richness of this setting (including the famed Ferrari 156 “Shark-nose” of the title, a miniature of which is included with the book) and psychological depth of Red Cars. These come to light when reading the script and the graphic elements of the book.

Sexy close-ups of the car

The book’s rich colour photographs are striking. (I’ve not read many screenplays, but am certain that it’s rare to see one so beautiful.) The subjects of these photographs vary from the descriptive (drivers, cars, and courses) to the more abstract and metaphorical (a beaten paperback copy of Being and Nothingness makes almost as many appearances as Phil Hill). These are presented artfully. The technical perfection of the “Shark-nose” is shown through clean engineering schematics, light grey on white; its sexual influence evidenced by a series of red, close-up Polaroids. Other elements are decayed and chaotic. Photographs are blurred and torn. Some pages are splashed with paint, blood, motor oil, and even baby food; others appear to have been chewed or rubbed over hot machinery (particularly those following von Trips’ death).

Not only the images are emotive: select portions of text are set in larger, stronger type, and arranged and coloured to attract attention. These are key moments of fear or understanding, as well as smaller details expressive of the emotional texture of the story. For example: when Dino describes the changes he’s made to the engine, the text swells and reddens with his excitement. Hill is impressed, but asks why it leaks oil. Dino sees that his bed is sticky with something, and as he realizes that his bed is filling with blood, the type turns grey with dread and leaps out of the column in fear.

Excerpt from the script

We see that Hill’s foot is absolutely to the floor but his car can’t keep up with its sisters.

Hill pulls into the pits, jumps out of the car and starts screaming at the mechanics. Tavoni is there. He watches in horror but doesn’t interfere.

Hill (screaming): I told you to change the engine! And you didn’t, did you. You know how I can tell? Because this engine is going to break any minute now, this engine’s valve springs have been overstressed because of the gearing change we made and they won’t last the race, and that’s why I can’t keep up with von Trips and Ginther.

At this moment Enzo Ferrari himself looms up from behind the pit wall. He wears a hat but his jacket is off revealing thick suspenders and rolled-up sleeves. Hill still does not see him.

Ferrari (angrily, to Hill): Are you certain that the problem is the valve springs?

Hill turns to face Ferrari. Despite his own very real anger and his certainty that he is right, he is immediately intimidated by this equally angry father-figure.

Ferrari: Are you certain that the problem is not really with your right foot?

Ferrari makes an exaggerated foot-pushing-on-the-gas gesture which is also a bit like a man stepping on a disgusting bug.

Enzo Ferrari

The script was written nearly a decade ago, but faced a variety of difficulties in being produced, not least of which were the objections of the Ferrari family and Phil Hill. Cronenberg claims that his screenplay doesn’t deal with anything not already known publicly (such as Ferrari’s bastard son, or Hill’s nervous habit of vomiting before big races), but it seems to be little comfort to the prideful family and retired race star.

The book, interesting in itself, is more so because it’s the only official piece of Red Cars, the film. To imagine the visceral experiences afforded by the text and still images brought to life with motion and sound is exciting, but at the same time disappointing. How much more thrilling would it have been to to feel the sound of the cars, of the crowd; to see beds fill with blood, engine parts churn, and faces flush with anger and success? It deserves to be made as a film.

End of the script: “It is a sad, ironic smile.”

There is a website for Red Cars that seems hastily made (“Thi site requires Flash Player 7” [sic]). There’s mention of it in the introduction, but I think it of small value and unfair to the book it’s attached to. Regardless, it’s the only easily accessible preview of the book. As much as I could recommend the book (if only to flip through for a glimpse of the photos and design), it can be difficult to find a copy: they’re in limited print, only one thousand.

Update: Santeramo was sent this entry by an acquaintance of his sometime in December. He recognized it as mine and, kind-heart that he is, gave me a copy of the book (#217).