My first introduction to Stravinsky's Firebird was through Fantasia 2000. Quite literally, a firebird came out of a volcano in a thunder of brass and percussion and chased down the Spring nymph to her doom. Fortunately, a single tear revived her from the ashes of the burned forest--the result of the firebird's brief reign of terror--and, helped by her friend the stag, triumphs over the ruined waste with seed and rain. Instantly, as the music crescendos in triumph, great trees spring up out of the ground, rising to the heights of ancient trees in mere breaths. The waste fades to memory as the story of renewal is told once more.
Well, that's the way Disney's artists saw it. And good for them! The music they selected is just a brief excerpt from the whole piece, so I was in for an experience listing to it again tonight.
Netflix was having an internal error, so I switched my Roku box to the Classical TV channel. The first item on the list was Valery Gergiev conducting the Vienna Philhamonic in Vienna in 2000. Three pieces were on the program: Prokofiev's Symphony No. 1 ("Classical"), an unwatchable modern viola concerto, and Stravinsky's Firebird. I have a hard time watching Gergiev conduct, because he has a tendency to shake his right hand about as if he has palsy. (He doesn't, as I was able to observe as he conducted the later pieces in the program.)
The great complexity of the viola concerto and of the Firebird demanded someone who could feel the music as much as memorize it. Gergiev excelled at this, especially during the Firebird, which is incredibly dynamic and expressive. By the time the orchestra plays at the concert, the conductor is generally reminding players where to come in. The task of shaping how they will play is (mostly) complete. It takes a lot of work, most of which concertgoers never see. I had the privilege of working with my college orchestra as an assistant for five years, under two directors. I learned more about composition and performance from those rehearsals than I ever did from listening to albums.
Some orchestras allow you to attend rehearsals. You may not get to hear the music non-stop, but you get the experience of learning how it is all put together. I strongly encourage experiencing music up close and personal. If you're not playing it, go wahow it is played.
Monday, May 9, 2011
Monday, May 2, 2011
Royal Wedding Fever
I am a true Natural Born United States Citizen, but I was born in Australia to American parents, and my father's heritage runs blue-blood from England and Scotland. I have a soft spot for the marches of Elgar and the magnificent cathedrals and abbeys of London, so it is no surprise that I like royal weddings.
I first watched the wedding of Prince Charles and Princess Diana in 1991, when it was rebroadcast on A&E. Being a softie for this sort of thing, I taped it. My wife hasn't watch it, but she did seem to like watching the most recent royal wedding when it was rebroadcast (same-day) on BBC America. Little does she know that I modeled our own wedding ceremony (but far more spartanly) on Charles' and Diana's. I so loved the old language of the service, that we based our vows on the old Book of Common Prayer.
I have visited Westminster Abbey, and I wondered so much how they could pull off a wedding there. With unparalleled photographic access, the BBC showed us how. I was especially happy to see the trees inside, with their young light green leaves glowing under the bright lights. St. Paul's Cathedral (the site of Charles' and Diana's wedding) is much larger and better lit by the sun, but Westminster is no less beautiful for a wedding.
We waited until the bridal couple returned from signing the register before we thought about turning off the television. I wanted to hear the household trumpeters deliver the fanfare--and what a job they did! That was the best moment for me of the 1981 royal wedding (and I finally found a recording), so I especially wanted to see what they did in 2011.
For me, most weddings are musical. I helped my mother and her best friend play piano and organ duets at several weddings (I was a page turner), and this has stuck with me. The 1981 royal wedding was far more musical, with three orchestras, a few choirs, soprano Kiri te Kanawa, and spirited classical music from Clarke, Handel, and Elgar. I like the Walton march used as the 2011 recessional less than I like Elgar's Pomp & Circumstance March #4, but it was well-played--better in fact than many recordings I have heard.
Next time you go to a wedding, pay attention to the music. Usually there is a lot of thought that goes into choosing each piece, and certainly there is a lot of effort in performing it. You might be able to read the bride and groom a little better as a result.
I first watched the wedding of Prince Charles and Princess Diana in 1991, when it was rebroadcast on A&E. Being a softie for this sort of thing, I taped it. My wife hasn't watch it, but she did seem to like watching the most recent royal wedding when it was rebroadcast (same-day) on BBC America. Little does she know that I modeled our own wedding ceremony (but far more spartanly) on Charles' and Diana's. I so loved the old language of the service, that we based our vows on the old Book of Common Prayer.
I have visited Westminster Abbey, and I wondered so much how they could pull off a wedding there. With unparalleled photographic access, the BBC showed us how. I was especially happy to see the trees inside, with their young light green leaves glowing under the bright lights. St. Paul's Cathedral (the site of Charles' and Diana's wedding) is much larger and better lit by the sun, but Westminster is no less beautiful for a wedding.
We waited until the bridal couple returned from signing the register before we thought about turning off the television. I wanted to hear the household trumpeters deliver the fanfare--and what a job they did! That was the best moment for me of the 1981 royal wedding (and I finally found a recording), so I especially wanted to see what they did in 2011.
For me, most weddings are musical. I helped my mother and her best friend play piano and organ duets at several weddings (I was a page turner), and this has stuck with me. The 1981 royal wedding was far more musical, with three orchestras, a few choirs, soprano Kiri te Kanawa, and spirited classical music from Clarke, Handel, and Elgar. I like the Walton march used as the 2011 recessional less than I like Elgar's Pomp & Circumstance March #4, but it was well-played--better in fact than many recordings I have heard.
Next time you go to a wedding, pay attention to the music. Usually there is a lot of thought that goes into choosing each piece, and certainly there is a lot of effort in performing it. You might be able to read the bride and groom a little better as a result.
Osama Bin Laden is Dead!
Go Navy! SEAL Team 6 did the deed, taking out the bad guy in a remarkably resilient operation. Kudos to former President Bush and current President Obama for supporting the military and intelligence apparatus that finally put this mission success in the history books.
The war is not over--this snake has many heads--but a shiver should now be running through the world of Islamic fanaticism. We can put the pieces together. We can kill or capture terrorists and their leaders, before they have a chance to do their worst. We may be slow to learn, but we are fast and strong once we strike.
This is a proud day for the U.S. and its allies. It's definitely a morale booster for all of us.
P.S. I wonder if this is why William and Kate did not go abroad for their honeymoon. It is reasonable to assume that U.K. Prime Minister David Cameron was informed, since the U.S. knew in mid-March where Osama was living, and that he would have informed the Palace and MI5 of the risks.
The war is not over--this snake has many heads--but a shiver should now be running through the world of Islamic fanaticism. We can put the pieces together. We can kill or capture terrorists and their leaders, before they have a chance to do their worst. We may be slow to learn, but we are fast and strong once we strike.
This is a proud day for the U.S. and its allies. It's definitely a morale booster for all of us.
P.S. I wonder if this is why William and Kate did not go abroad for their honeymoon. It is reasonable to assume that U.K. Prime Minister David Cameron was informed, since the U.S. knew in mid-March where Osama was living, and that he would have informed the Palace and MI5 of the risks.
Absences from Writing
I've been away since mid-February?! This has been a tough spring on the business front. Just when we think we have something finally under control, it busts loose again.
It's also been tough on the family front. My grandmother passed away two weeks ago, aged 87. I was able to see her before she went. I flew standby to Arizona and back, and made all of my flights.
Now it is May. "Get up, get up for shame! The blooming morn / Upon her wings presents the god unshorn." [Robert Herrick] The time has come to get back into writing. There is a lot going on in the world, and I should not be so passive.
It's also been tough on the family front. My grandmother passed away two weeks ago, aged 87. I was able to see her before she went. I flew standby to Arizona and back, and made all of my flights.
Now it is May. "Get up, get up for shame! The blooming morn / Upon her wings presents the god unshorn." [Robert Herrick] The time has come to get back into writing. There is a lot going on in the world, and I should not be so passive.
Monday, February 14, 2011
Thursday, February 10, 2011
Employees' Share of Profits? What about Share of Revenues?
On Monday, President Obama spoke to the U.S. Chamber of Commerce. Part of his speech struck me wrong, and I want to comment on that.
From the text of his speech (available on the White House's web site):
The interpretation on the Right seems to be that Obama is calling for profits to be shared with workers. The interpretation on the Left seems to be the same. In fact, he called for sharing the benefits of a reformed corporate tax code and trade rules. The paragraphs that followed look toward better wages and benefits, believing that a worker who can afford to buy the product his company makes is the kind of worker we want to create in America.
Kathy and I recently confronted this situation in our Animal Hospital. Because of the high cost of constructing the facility and purchasing equipment, and the steadily increasing costs of supplies, pharmaceuticals and labor, we had to charge prices higher than older established businesses that built up during cheaper times. The other four hospitals that opened (or changed ownership) within two years (plus or minus) of ours had prices at or above our own. Our staff finally told us that they were having a hard time affording veterinary care, and asked what we could do to help. They asked this despite a major reduction in prices in December and the institution of a Bonus Bucks forward discount program, and despite the deep discounts we can offer up to the tax-free limit.
As a general rule, the average worker should be able to afford the average price of an average product. When there is an imbalance, standard of living will decrease (average price above average wage), or it will increase (average wage above average price). The first outcome risks economic recession if prolonged; the second risks inflation and eventual economic recession if the imbalance is too great.
The President is talking about making changes that will reduce expenses for businesses paying corporate taxes and trade tariffs. What he wants is for some of the savings to be shifted to labor in the form of higher wages rather than flow straight through to management bonuses and increased equity or dividends for owners. As a request, this is fine. If legislated, I will have a huge problem with this.
One of the standard complaints of liberals is income inequality and how the share of national income is skewed toward the super-rich. The facts always seem to be in dispute. The IRS data provides the best source for longitudinal studies. It is important to strip out those taxpayers who report sizable one-time boosts in income (such as retirees who sell a large family home with a cost basis much lower due to decades of inflation), and to look at taxpayers over time (to account for dynamic effects due to customary increases in wages over time, e.g. as one becomes a more valuable worker through the years until retirement) in order to arrive at how many are truly super-rich and how much income they actually have. (See this 2004 study for an excellent discussion on the pitfalls of using aggregated data incorrectly.)
What is commonly demonized is profits, as if these are solely the dominion of the super-rich. In fact, profits are nothing more than the leftovers after expenses, including labor, are paid. This table (Excel spreadsheet) from the IRS breaks down tax-paying business financials from the year 2003 (the latest year for which this data is available). In it we find that 27.5 million businesses earned $24.5 trillion in revenues. Of this, $13.2 trillion (54%) was paid in Cost of Goods Sold; $2.4 trillion (10%) was paid to labor in the form of salaries, wages and benefits; $470 billion (2%) went to government in the form of taxes; $900 billion (4%) was paid to creditors in the form of interest; and $800 billion (3%) was deducted for cost of assets purchased prior to 2003, reimbursing the business for the initial outlay, but often actually covering principal payments to creditors. The leftovers, in the form of profits and losses, were $1.4 trillion (6%) together, or separately $2 trillion (8%) in profits and $600 billion (2%) in losses.
Did you catch the part where labor's share is 10%, and the part where the owners' share is 6%? Furthermore, some businesses lost $600 billion collectively. They might be starting out, or failing, or having a bad year. That loss is significant. Labor may lose a job temporarily, but owners may lose investment permanently. Labor has more chance of getting a new job (or social assistance) than an owner has of regaining investment.
The unemployed get 0%, which will dilute the share to labor, but I don't think that 10% unemployment is going equalize the labor share with owner share (from 10% to 6%). (The unemployment figure in 2003 was in the neighborhood of 5%, when the 10% share to labor occurred.)
If you want the laboring classes more like the super-rich, help them invest in profitable companies. The way for labor to get a share of profits is to buy equity in the companies that earn profits. For the right price, current owners will part with their equity. The government regulates a vast market for buying and selling equity, so there is little excuse for labor not to partake. Two things will occur as a result: the super-rich will exchange income-generating assets for neutral cash, which they will either re-invest in new businesses, or else consume (via other businesses) products and services. If they do the former, they create new jobs. If they do the latter, they recycle the cash into the economy on things that do not generate future income for themselves, thus reducing their long-term wealth, and sustain and perhaps grow new jobs already in the economy. Meanwhile, the laboring class will increase their long-term wealth by deriving income from more than just their labor. They may not become rich, but they will have less excuse to be poor.
From the text of his speech (available on the White House's web site):
Of course, your responsibility goes beyond recognizing the need for certain standards and safeguards. If we’re fighting to reform the tax code and increase exports to help you compete, the benefits can’t just translate into greater profits and bonuses for those at the top. They have to be shared by American workers, who need to know that expanding trade and opening markets will lift their standards of living as well as your bottom line.
The interpretation on the Right seems to be that Obama is calling for profits to be shared with workers. The interpretation on the Left seems to be the same. In fact, he called for sharing the benefits of a reformed corporate tax code and trade rules. The paragraphs that followed look toward better wages and benefits, believing that a worker who can afford to buy the product his company makes is the kind of worker we want to create in America.
Kathy and I recently confronted this situation in our Animal Hospital. Because of the high cost of constructing the facility and purchasing equipment, and the steadily increasing costs of supplies, pharmaceuticals and labor, we had to charge prices higher than older established businesses that built up during cheaper times. The other four hospitals that opened (or changed ownership) within two years (plus or minus) of ours had prices at or above our own. Our staff finally told us that they were having a hard time affording veterinary care, and asked what we could do to help. They asked this despite a major reduction in prices in December and the institution of a Bonus Bucks forward discount program, and despite the deep discounts we can offer up to the tax-free limit.
As a general rule, the average worker should be able to afford the average price of an average product. When there is an imbalance, standard of living will decrease (average price above average wage), or it will increase (average wage above average price). The first outcome risks economic recession if prolonged; the second risks inflation and eventual economic recession if the imbalance is too great.
The President is talking about making changes that will reduce expenses for businesses paying corporate taxes and trade tariffs. What he wants is for some of the savings to be shifted to labor in the form of higher wages rather than flow straight through to management bonuses and increased equity or dividends for owners. As a request, this is fine. If legislated, I will have a huge problem with this.
One of the standard complaints of liberals is income inequality and how the share of national income is skewed toward the super-rich. The facts always seem to be in dispute. The IRS data provides the best source for longitudinal studies. It is important to strip out those taxpayers who report sizable one-time boosts in income (such as retirees who sell a large family home with a cost basis much lower due to decades of inflation), and to look at taxpayers over time (to account for dynamic effects due to customary increases in wages over time, e.g. as one becomes a more valuable worker through the years until retirement) in order to arrive at how many are truly super-rich and how much income they actually have. (See this 2004 study for an excellent discussion on the pitfalls of using aggregated data incorrectly.)
What is commonly demonized is profits, as if these are solely the dominion of the super-rich. In fact, profits are nothing more than the leftovers after expenses, including labor, are paid. This table (Excel spreadsheet) from the IRS breaks down tax-paying business financials from the year 2003 (the latest year for which this data is available). In it we find that 27.5 million businesses earned $24.5 trillion in revenues. Of this, $13.2 trillion (54%) was paid in Cost of Goods Sold; $2.4 trillion (10%) was paid to labor in the form of salaries, wages and benefits; $470 billion (2%) went to government in the form of taxes; $900 billion (4%) was paid to creditors in the form of interest; and $800 billion (3%) was deducted for cost of assets purchased prior to 2003, reimbursing the business for the initial outlay, but often actually covering principal payments to creditors. The leftovers, in the form of profits and losses, were $1.4 trillion (6%) together, or separately $2 trillion (8%) in profits and $600 billion (2%) in losses.
Did you catch the part where labor's share is 10%, and the part where the owners' share is 6%? Furthermore, some businesses lost $600 billion collectively. They might be starting out, or failing, or having a bad year. That loss is significant. Labor may lose a job temporarily, but owners may lose investment permanently. Labor has more chance of getting a new job (or social assistance) than an owner has of regaining investment.
The unemployed get 0%, which will dilute the share to labor, but I don't think that 10% unemployment is going equalize the labor share with owner share (from 10% to 6%). (The unemployment figure in 2003 was in the neighborhood of 5%, when the 10% share to labor occurred.)
If you want the laboring classes more like the super-rich, help them invest in profitable companies. The way for labor to get a share of profits is to buy equity in the companies that earn profits. For the right price, current owners will part with their equity. The government regulates a vast market for buying and selling equity, so there is little excuse for labor not to partake. Two things will occur as a result: the super-rich will exchange income-generating assets for neutral cash, which they will either re-invest in new businesses, or else consume (via other businesses) products and services. If they do the former, they create new jobs. If they do the latter, they recycle the cash into the economy on things that do not generate future income for themselves, thus reducing their long-term wealth, and sustain and perhaps grow new jobs already in the economy. Meanwhile, the laboring class will increase their long-term wealth by deriving income from more than just their labor. They may not become rich, but they will have less excuse to be poor.
Tuesday, January 25, 2011
Paul Ryan: Budgetary Wunderkind
In honor of Paul Ryan's rebuttal to the State of the Union address, I wanted to go back to last year's Health Care Summit and show his amazing mind at work.
I'm looking forward to seeing more of him.
I'm looking forward to seeing more of him.
Sunday, January 9, 2011
Gabrielle Giffords: Congresswoman Assaulted by Gunman
There had been only eight congressmen killed or wounded before yesterday. Yesterday, Gabrielle Giffords was shot by a murderer. She lives barely, but not so the six others who are dead, including a long-sitting Federal judge, and more than a dozen wounded.
There is simply no place for this type of violence, whether it is politically motivated or due to mental disorder. So far as political motivation goes, none of us should be so immature as to stoop so low to commit an act so vile. It has been done before, regarding slavery, abortion, civil rights, war, and others.
Let us encourage one another to be mindful of our speech, lest we incite others to violence. We can and must speak what we believe to be true, having persuasion as the goal, and explanation as the foundation.
This is the model of civil discourse to which we should strive. Save violence for the defense of our nation against an aggressor who will not respond to diplomacy. Save violence for the defense of our familes and homes against an aggressor who will not respond to warnings. Save violence for the defense of the people against an aggressor state that deploys armed agents to take away our rights.
Gabrielle Giffords was unarmed. She possessed only her vote in Congress and her ability to persuade and explain. I pray for her speedy recovery, and those wounded with her, and mourn the deaths of the others, including Judge John Roll.
There is simply no place for this type of violence, whether it is politically motivated or due to mental disorder. So far as political motivation goes, none of us should be so immature as to stoop so low to commit an act so vile. It has been done before, regarding slavery, abortion, civil rights, war, and others.
Let us encourage one another to be mindful of our speech, lest we incite others to violence. We can and must speak what we believe to be true, having persuasion as the goal, and explanation as the foundation.
This is the model of civil discourse to which we should strive. Save violence for the defense of our nation against an aggressor who will not respond to diplomacy. Save violence for the defense of our familes and homes against an aggressor who will not respond to warnings. Save violence for the defense of the people against an aggressor state that deploys armed agents to take away our rights.
Gabrielle Giffords was unarmed. She possessed only her vote in Congress and her ability to persuade and explain. I pray for her speedy recovery, and those wounded with her, and mourn the deaths of the others, including Judge John Roll.
Friday, January 7, 2011
Guest Post: Why the reading of the Constition by Congress Matters
[Note: This is a guest post from my old philosopher friend. No names! Just the voice of reason.]
Almost every country has a constitution, even if "unwritten". It is usuallly the basis (if only rhetorically) for all other laws and rules required to operate its government. So having "a constitution" is really no big deal.
But for the US, its constitution plays one other, supremely important role: It is what makes this "a country". In France, Germany etc. etc. it really matters little if its constitution is broken or disregarded. Frenchmen will still live in a France, Germans will still live in a Germany and so forth, In other words, their language, culture, ethnicity, long shared history and sometimes even religion provide a tie that is far more important and compelling than their constitutions.
Not so in the US. This country has a short history, its historical memory is too short to allow even that little to be "shared", it is ethnically greatly divided, much of its culture is a plaything of the moment, and it has great geographical and commercial differences between its various major regions. As has been observed, the US is really 4-5 different countries held together mainly by its constitution --- and this even before it has started worshipping "diversity". More correctly, it is held together by general acceptance of the constitution as a sort of a contract binding on all its citizens and their government. Remove that contract and/or its acceptance, and the only thing that is left to hold the country together is its sheer inertia.
That is why the call of the Tea Party (and of some Republicans) is so important. That is why the current reading of the constitution in congress (and other similar gestures) may be the single most important thing that this new Congress will have done. It is also why the contemptous reaction of the Left, including much of the Democratic Party, is so profoundly subversive.
Almost every country has a constitution, even if "unwritten". It is usuallly the basis (if only rhetorically) for all other laws and rules required to operate its government. So having "a constitution" is really no big deal.
But for the US, its constitution plays one other, supremely important role: It is what makes this "a country". In France, Germany etc. etc. it really matters little if its constitution is broken or disregarded. Frenchmen will still live in a France, Germans will still live in a Germany and so forth, In other words, their language, culture, ethnicity, long shared history and sometimes even religion provide a tie that is far more important and compelling than their constitutions.
Not so in the US. This country has a short history, its historical memory is too short to allow even that little to be "shared", it is ethnically greatly divided, much of its culture is a plaything of the moment, and it has great geographical and commercial differences between its various major regions. As has been observed, the US is really 4-5 different countries held together mainly by its constitution --- and this even before it has started worshipping "diversity". More correctly, it is held together by general acceptance of the constitution as a sort of a contract binding on all its citizens and their government. Remove that contract and/or its acceptance, and the only thing that is left to hold the country together is its sheer inertia.
That is why the call of the Tea Party (and of some Republicans) is so important. That is why the current reading of the constitution in congress (and other similar gestures) may be the single most important thing that this new Congress will have done. It is also why the contemptous reaction of the Left, including much of the Democratic Party, is so profoundly subversive.
Wednesday, January 5, 2011
Tron: Legacy, Soundtrack Review
I mentioned before that I liked the soundtrack to Tron: Legacy. Now that I have listened to it for several days at home and in the car, I can offer a review.
First, the soundtrack is a mix of traditional orchestral music and electronic synthesized music. It seems that Daft Punk works chiefly in the electronic space, but their vision of the soundtrack sold the producer and director early in the production process. They collaborated significantly to produce the soundtrack, and in my opinion it was a fruitful effort.
Second, the first half of the soundtrack mirrors the development of the storyline in the movie. The tension in the music is hinted at in the early tracks, and becomes incredibly noisy and fractious in the second half. The bass is amplified so much on some tracks that it literally hurts my ears with every beat, forcing me to adjust my bass setting downward. On other tracks, the instruments are overdriven so much that they create a cacophany that literally stressed me out. I think that my stress is due to listening to these tracks separately from the visual cues in the movie. Despite these minor problems, my enjoyment of the soundtrack was only slightly diminished. The tracks I like the most make the album completely worth the purchase.
Third, the CD comes with an insert filled with pictures from the movie. The art and paper quality is excellent, making the actual purchase of the disc a benefit over simple download. Even the lettering on the disc cover has a holographic quality, leading one to remember the strip lighting on everything within "the Grid."
Here's a track-by-track (Warning: Spoilers):
1) Overture
The overture begins with a drone in the low strings and a soft choir of horns. This opening reminded me of the Prelude to Wagner's Das Rheingold with its similar instrumentation and rhythm. The introduction of synthesized instruments later is a little jarring, but then so is entering the Grid. It works! The heroic theme is simple, descending through a single octave. It reminded me a little of the 1-3-2 tones played on an older phone (I can't hear these being any different on my modern phone), followed by the 4-6-5 and the 7-9-8. The phone was the original hacker tool in the 70's, and that may be what brought this to mind.
2) The Grid
The initial voiceover by Jeff Bridges threw me at first. I'm a geek though, so I got to like it the more I heard it. The Grid theme occurs here. This voiceover then segues into an electronic repeat of the heroic theme introduced in the Overture. There's a mix of triumph and lament in the melody, which will play out in the film.
3) The Son of Flynn
I really liked this melody. It's synthesized arpeggiated chord progressions patterned off the Grid theme. I immediately thought of arcade games when I heard this, but it is set to Sam Flynn's motorcycle ride (on his dad's bike). The camera work was great, including from the bike itself as it sped down the freeway. Can you say "foreshadowing?"
4) Recognizer
A spiccato playing of a melody similar to Sam's theme, this is tense, dark, and probing ever lower.
5) Armory
Contemplative, soft music. Fits the scene well. ("What is going on," Sam thinks.)
6) Arena
Sam finds out soon enough what is going on. It wouldn't be Tron without disc wars. The music builds as the world of the Grid is revealed and the games begin.
7) Rinzler
Rinzler is the superbad, undefeated program in the games. There is a hint of James Bond mixed with Sam's theme in the melody. The overdriven instruments start in this track, but only briefly near the end.
8) The Game has Changed
The underlying melody is pure 80's synthetic, but the spiccato Grid theme is back in the strings, intertwining and repeating with the underlying melody. The brass interrupt for emphasis from time to time, but the main energy is in the endless rhythm of the strings.
9) Outlands
Alternating notes in the upper strings, then broadening to the lower strings, with a quick and light touch that accompanies the escape from the electronic world of the Grid into the dark and rough world beyond it--the Outlands. The theme is like the Grid, yet not fluid--it is apprehensive and discontinuous. Brass instruments give slow, crescendoing notes, building toward the arrival at the destination. Suddenly brass and woodwinds alternate in a frenzied descending staccato chord progression and finish the piece.
10) Adagio for Tron
Kevin Flynn tells his son where he has been, and of the death of Tron. Strings provide the atmosphere and divide to also provide the melody. Cellos and violas take the theme and share it with us in even richer tones. Synthesized arpeggios quietly come in, and then an organ takes over the same theme. The lower strings finish the moment of remembrance. Then a pause, and a new direction. Lower strings play staccato, followed by legato upper strings repeating the adagio. Brass provide crescendo until a sudden retreat leaves a solo cello with soft upper strings slowly playing the adagio. A very sad, pensive moment.
11) Nocturne
Slowly starting in the strings, playing softly, with a synthetic bass strumming slowly underneath. This gives way to a slow synthetic melody. The mood is dark and uncertain, and it ends slowly.
12) End of Line
Run by the DJ's at the club (Daft Punk in disguise?), this electronic piece is for dancing, but not frenetically fast. In the background, one can hear the sounds of the arcade game "Pong," one of the original inspirations for the first Tron movie. The original Tron movie (and arcade game) had a Pong-like game through which the player had to escape.
13) Derezzed
Much faster than "End of Line", this very synthetic track is frenetic in its pacing. The bass pulses so strongly that it squeezes in on my head with every beat. The repetition is part of the story, so it is hard to imagine doing anything other than being drunk and dancing (or other similar things) to this.
14) Fall
The elevator plummets. The overdrive of the instruments sounds like the overdrive of the elevator as it is stressed by too much speed. The beats are merciless. The lower strings play the Grid theme over and over, rising as the tension mounts. Brass instruments join in, then a drum roll, and then it is suddenly complete.
15) Solar Sailer
As with real sailing, the world around is quiet. This track is a sea of tranquillity, with a steady pulsing of a synthetic bass driving the Solar Sailer forward.. An Enya-like arpeggio fades in, like Orinoco Flow in a calmer setting. Strings add atmosphere, rising and falling in volume and scale as the journey continues. Then it fades out.
16) Rectifier
A rectifier is something that allows electric current to flow in only one direction. This martial piece is the beginning of the march to the final confrontation. There is no turning back. The mood rises as the lower strings chant, the upper strings strain to warn us of danger, and the brass announces the purpose of C.L.U.'s army.
17) Disc Wars
The drums are beating out the Grid theme in a toneless rhythm. Synthetic brass add continuo. The strings join, quietly, adding tone to the Grid theme. Suddenly, a synthetic melody appears, arpeggiated downward always, building tension as the chords are struck. More drums, accelerated this time, drive the track forward seemingly faster, yet without tempo increase. Then the drums go quiet, and only the strings and synthetic bass are left to fade away quietly.
18) C.L.U.
A bass drone sets the stage. After a few moments, strings beat out the Grid theme in rising tension. Without warning a synthetic, jaunty instrument completely takes the music, repeating an alternating pattern of notes. The strings return to raise the tension. Trills sharpen the high edges of the score. Brass suddenly dominate--C.L.U. is relentless in his pursuit of perfection. High strings take us up, then turn the note again and again as the drama reaches climax. The lower strings take over and beat out the Grid theme, now stronger and with synthetic help. Drums beat only for emphasis. Brass raise the scale and the tension over and over. Drums then beat 1-2, 1-2-3-4, repeating again and again and again. Then full stop, and only echoes are left.
19) Arrival
Synthetic and haunting, a new melody, related to the heroic theme, like a slow lament, plays. Voices like an angelic choir seem to hover high above the slow melody line. High strings mimic the angels, and then it is quiet.
20) Flynn Lives
A rhythmic line related to the Grid theme, played spiccato, forms the foundation. Low brass sing solemnly. The horn choir return, playing to us the heroic theme from the Overture. Winds arpeggiate this time, increasing the feeling of triumph, causing the feeling of lament to diminish. Sam, with Quorra behind him on his father's motorcycle, ride off into the sunset--her first ever on her first night outside of the Grid.
21) Tron Legacy (End Titles)
Echoing "End of Line", a synthetic music line takes us through the electronic credits. Strings join with the heroic theme and bring it to a satisfying climax.
22) Finale
This track was not in the movie. It is orchestral, building slowly from a pensive start--like the Overture. But this is a heroic synopsis of the music of the movie. It quickly builds to a climax, then retreats to a soft, upper strings and woodwind conclusion. When the last high note ends, one releases a sigh for what has happened. The journey is complete, and cannot be repeated.
First, the soundtrack is a mix of traditional orchestral music and electronic synthesized music. It seems that Daft Punk works chiefly in the electronic space, but their vision of the soundtrack sold the producer and director early in the production process. They collaborated significantly to produce the soundtrack, and in my opinion it was a fruitful effort.
Second, the first half of the soundtrack mirrors the development of the storyline in the movie. The tension in the music is hinted at in the early tracks, and becomes incredibly noisy and fractious in the second half. The bass is amplified so much on some tracks that it literally hurts my ears with every beat, forcing me to adjust my bass setting downward. On other tracks, the instruments are overdriven so much that they create a cacophany that literally stressed me out. I think that my stress is due to listening to these tracks separately from the visual cues in the movie. Despite these minor problems, my enjoyment of the soundtrack was only slightly diminished. The tracks I like the most make the album completely worth the purchase.
Third, the CD comes with an insert filled with pictures from the movie. The art and paper quality is excellent, making the actual purchase of the disc a benefit over simple download. Even the lettering on the disc cover has a holographic quality, leading one to remember the strip lighting on everything within "the Grid."
Here's a track-by-track (Warning: Spoilers):
1) Overture
The overture begins with a drone in the low strings and a soft choir of horns. This opening reminded me of the Prelude to Wagner's Das Rheingold with its similar instrumentation and rhythm. The introduction of synthesized instruments later is a little jarring, but then so is entering the Grid. It works! The heroic theme is simple, descending through a single octave. It reminded me a little of the 1-3-2 tones played on an older phone (I can't hear these being any different on my modern phone), followed by the 4-6-5 and the 7-9-8. The phone was the original hacker tool in the 70's, and that may be what brought this to mind.
2) The Grid
The initial voiceover by Jeff Bridges threw me at first. I'm a geek though, so I got to like it the more I heard it. The Grid theme occurs here. This voiceover then segues into an electronic repeat of the heroic theme introduced in the Overture. There's a mix of triumph and lament in the melody, which will play out in the film.
3) The Son of Flynn
I really liked this melody. It's synthesized arpeggiated chord progressions patterned off the Grid theme. I immediately thought of arcade games when I heard this, but it is set to Sam Flynn's motorcycle ride (on his dad's bike). The camera work was great, including from the bike itself as it sped down the freeway. Can you say "foreshadowing?"
4) Recognizer
A spiccato playing of a melody similar to Sam's theme, this is tense, dark, and probing ever lower.
5) Armory
Contemplative, soft music. Fits the scene well. ("What is going on," Sam thinks.)
6) Arena
Sam finds out soon enough what is going on. It wouldn't be Tron without disc wars. The music builds as the world of the Grid is revealed and the games begin.
7) Rinzler
Rinzler is the superbad, undefeated program in the games. There is a hint of James Bond mixed with Sam's theme in the melody. The overdriven instruments start in this track, but only briefly near the end.
8) The Game has Changed
The underlying melody is pure 80's synthetic, but the spiccato Grid theme is back in the strings, intertwining and repeating with the underlying melody. The brass interrupt for emphasis from time to time, but the main energy is in the endless rhythm of the strings.
9) Outlands
Alternating notes in the upper strings, then broadening to the lower strings, with a quick and light touch that accompanies the escape from the electronic world of the Grid into the dark and rough world beyond it--the Outlands. The theme is like the Grid, yet not fluid--it is apprehensive and discontinuous. Brass instruments give slow, crescendoing notes, building toward the arrival at the destination. Suddenly brass and woodwinds alternate in a frenzied descending staccato chord progression and finish the piece.
10) Adagio for Tron
Kevin Flynn tells his son where he has been, and of the death of Tron. Strings provide the atmosphere and divide to also provide the melody. Cellos and violas take the theme and share it with us in even richer tones. Synthesized arpeggios quietly come in, and then an organ takes over the same theme. The lower strings finish the moment of remembrance. Then a pause, and a new direction. Lower strings play staccato, followed by legato upper strings repeating the adagio. Brass provide crescendo until a sudden retreat leaves a solo cello with soft upper strings slowly playing the adagio. A very sad, pensive moment.
11) Nocturne
Slowly starting in the strings, playing softly, with a synthetic bass strumming slowly underneath. This gives way to a slow synthetic melody. The mood is dark and uncertain, and it ends slowly.
12) End of Line
Run by the DJ's at the club (Daft Punk in disguise?), this electronic piece is for dancing, but not frenetically fast. In the background, one can hear the sounds of the arcade game "Pong," one of the original inspirations for the first Tron movie. The original Tron movie (and arcade game) had a Pong-like game through which the player had to escape.
13) Derezzed
Much faster than "End of Line", this very synthetic track is frenetic in its pacing. The bass pulses so strongly that it squeezes in on my head with every beat. The repetition is part of the story, so it is hard to imagine doing anything other than being drunk and dancing (or other similar things) to this.
14) Fall
The elevator plummets. The overdrive of the instruments sounds like the overdrive of the elevator as it is stressed by too much speed. The beats are merciless. The lower strings play the Grid theme over and over, rising as the tension mounts. Brass instruments join in, then a drum roll, and then it is suddenly complete.
15) Solar Sailer
As with real sailing, the world around is quiet. This track is a sea of tranquillity, with a steady pulsing of a synthetic bass driving the Solar Sailer forward.. An Enya-like arpeggio fades in, like Orinoco Flow in a calmer setting. Strings add atmosphere, rising and falling in volume and scale as the journey continues. Then it fades out.
16) Rectifier
A rectifier is something that allows electric current to flow in only one direction. This martial piece is the beginning of the march to the final confrontation. There is no turning back. The mood rises as the lower strings chant, the upper strings strain to warn us of danger, and the brass announces the purpose of C.L.U.'s army.
17) Disc Wars
The drums are beating out the Grid theme in a toneless rhythm. Synthetic brass add continuo. The strings join, quietly, adding tone to the Grid theme. Suddenly, a synthetic melody appears, arpeggiated downward always, building tension as the chords are struck. More drums, accelerated this time, drive the track forward seemingly faster, yet without tempo increase. Then the drums go quiet, and only the strings and synthetic bass are left to fade away quietly.
18) C.L.U.
A bass drone sets the stage. After a few moments, strings beat out the Grid theme in rising tension. Without warning a synthetic, jaunty instrument completely takes the music, repeating an alternating pattern of notes. The strings return to raise the tension. Trills sharpen the high edges of the score. Brass suddenly dominate--C.L.U. is relentless in his pursuit of perfection. High strings take us up, then turn the note again and again as the drama reaches climax. The lower strings take over and beat out the Grid theme, now stronger and with synthetic help. Drums beat only for emphasis. Brass raise the scale and the tension over and over. Drums then beat 1-2, 1-2-3-4, repeating again and again and again. Then full stop, and only echoes are left.
19) Arrival
Synthetic and haunting, a new melody, related to the heroic theme, like a slow lament, plays. Voices like an angelic choir seem to hover high above the slow melody line. High strings mimic the angels, and then it is quiet.
20) Flynn Lives
A rhythmic line related to the Grid theme, played spiccato, forms the foundation. Low brass sing solemnly. The horn choir return, playing to us the heroic theme from the Overture. Winds arpeggiate this time, increasing the feeling of triumph, causing the feeling of lament to diminish. Sam, with Quorra behind him on his father's motorcycle, ride off into the sunset--her first ever on her first night outside of the Grid.
21) Tron Legacy (End Titles)
Echoing "End of Line", a synthetic music line takes us through the electronic credits. Strings join with the heroic theme and bring it to a satisfying climax.
22) Finale
This track was not in the movie. It is orchestral, building slowly from a pensive start--like the Overture. But this is a heroic synopsis of the music of the movie. It quickly builds to a climax, then retreats to a soft, upper strings and woodwind conclusion. When the last high note ends, one releases a sigh for what has happened. The journey is complete, and cannot be repeated.
Sunday, January 2, 2011
The Milgram Experiment, the TSA, and We the People
Last week, Kathy's dad returned from a trip to the west coast. On his way back, he noticed TSA agents completely dismantling and inspecting a wheelchair. What he then noticed appalled him to the core: the owner of that wheelchair, an elderly woman of 90 years or so, standing on the footprint mat, her legs slightly spread, swaying as a TSA agent gave her the new pat-down. On the woman's face was a far-away look, like she had dementia, but obvious in the moment was the terror and fear that she felt.
He told us sadly and with some self-loathing that he did not say anything then. He wanted so much to go over and tell the agents to stop, and that they should be ashamed of what they were doing, not merely to an American citizen, but to a woman who could have been their own aged parent or grandparent. We agreed with him that he and the travelers in the security area should have threatened a riot over so obvious a display of cruelty at the hands of the state.
Daily Kos does a fair defense of the TSA agents, but this only raises the issue studied by psychologist Stanley Milgram in the aftermath of World War 2: Why do the agents obey an authority figure who instructed them to perform acts that conflicted with their personal conscience? Similarly, why do we obey an authority figure who performs acts on us or on fellow travellers that conflict with our personal choices?
(See the Milgram Experiment on YouTube: Part 1, Part 2, Part 3. I first saw these in Psych 201 back in 1992. These videos send chills down my spine even now, seeing the anguish in so many test subjects as they deliver the shock despite their personal belief that they are causing harm.)
[Note: Kathy's dad lived in occupied Budapest during World War 2, and German soldiers were garrisoned in his home frequently. He saw both sides of these soldiers: the normal, conscientous type at home; and the cruel finger of the state in the streets. For him to describe what he saw is to look through the eyes of one who saw the real cruelty of the past and the shadow of such cruelty that is darkening our airports.]
I do not want to suggest that America is becoming Nazi Germany. That is a leap too far. But when specific state actions mimic historically condemned actions, the question needs to be raised, "Why?!" The Milgram Experiment shows the danger inherent in a state bureaucracy carrying out actions that are brutal--these actions happen with alarming alacrity and minimal actual restraint.
Frogs don't boil when the heat is turned on all at once. They die when they are boiled gradually. Likewise, totalitarian states did not happen overnight. They occurred gradually. We know this, so why can't we seem to agree to stop it from happening here in the Land of the Free, and the Home of the Brave? Why do we have so many people who think it is a sign of progress?
I just don't understand how what is happening got this far. We should know better! We do know better. It is past time for us to unite and take action. We can exercise our First Amendment rights: to decry what is happening, and to petition our government for a redress of our grievance. What comes after depends on the government's response.
He told us sadly and with some self-loathing that he did not say anything then. He wanted so much to go over and tell the agents to stop, and that they should be ashamed of what they were doing, not merely to an American citizen, but to a woman who could have been their own aged parent or grandparent. We agreed with him that he and the travelers in the security area should have threatened a riot over so obvious a display of cruelty at the hands of the state.
Daily Kos does a fair defense of the TSA agents, but this only raises the issue studied by psychologist Stanley Milgram in the aftermath of World War 2: Why do the agents obey an authority figure who instructed them to perform acts that conflicted with their personal conscience? Similarly, why do we obey an authority figure who performs acts on us or on fellow travellers that conflict with our personal choices?
(See the Milgram Experiment on YouTube: Part 1, Part 2, Part 3. I first saw these in Psych 201 back in 1992. These videos send chills down my spine even now, seeing the anguish in so many test subjects as they deliver the shock despite their personal belief that they are causing harm.)
[Note: Kathy's dad lived in occupied Budapest during World War 2, and German soldiers were garrisoned in his home frequently. He saw both sides of these soldiers: the normal, conscientous type at home; and the cruel finger of the state in the streets. For him to describe what he saw is to look through the eyes of one who saw the real cruelty of the past and the shadow of such cruelty that is darkening our airports.]
I do not want to suggest that America is becoming Nazi Germany. That is a leap too far. But when specific state actions mimic historically condemned actions, the question needs to be raised, "Why?!" The Milgram Experiment shows the danger inherent in a state bureaucracy carrying out actions that are brutal--these actions happen with alarming alacrity and minimal actual restraint.
Frogs don't boil when the heat is turned on all at once. They die when they are boiled gradually. Likewise, totalitarian states did not happen overnight. They occurred gradually. We know this, so why can't we seem to agree to stop it from happening here in the Land of the Free, and the Home of the Brave? Why do we have so many people who think it is a sign of progress?
I just don't understand how what is happening got this far. We should know better! We do know better. It is past time for us to unite and take action. We can exercise our First Amendment rights: to decry what is happening, and to petition our government for a redress of our grievance. What comes after depends on the government's response.
Saturday, January 1, 2011
Friday, December 31, 2010
Movie Reviews (no spoilers)
I don't spend a lot of time in movie theaters. It's just too expensive a pastime. So Kathy and I watch a lot of movies from Netflix. I did, however, make it to see three movies in the theater in the past two weeks.
First, The Voyage of the Dawn Treader. I've read the books, now I have watched the movies. This installment was not very deep, but it was entertaining. I wan't sure the actor playing Eustace could pull it off, but by the end I was a fan. He played both brat and friend with such vigor that I am looking forward to his appearance in the next installment. Recommended for entertainment value, and though my 8 year old nephew ended up with brief nightmares about the green mist, I think it is suitable for older children.
Second, The Deathly Hallows, Part 1. Again, I've read the books, now I have watched the movies. I wasn't sure how they would pull off the slow sections of the book, or whether they would be as true to the book with regard to injuries and deaths of significant characters. I was not let down in any way. The movie is well-paced, and there is time allotted for both action and introspection. I'm looking forward to the next installment. This movie is suitable only for teenagers and older, hence the PG-13 rating.
Third, Tron: Legacy. I watched the first movie and enjoyed it immensely. I knew then that computers did not work that way, but I liked the fictional approach. The sequel does not break from the fictional approach, and its visuals are far better than the original. The story for both movies is harder to appreciate if you are not somewhat nerdish, though the focus on games in both movies expands the movies' appeal considerably. (There is a reason that the Tron arcade games were so popular in the 80's. This new generation of gamers will have such a different experience, far closer to that offered by the latest movie. I hope that the Xbox Kinetic shines as a result of the new Tron games. Of all the current game technologies, it has the best chance to mimic the disc game most naturally.) Maybe they will make another installment, but this was a good end to the story. I especially like the soundtrack from Daft Punk, and picked it up from Target for $13.99 today. I recommend this movie for nerds like me and for older children and up. Oh, and if you can see it in chair-shaking Imax 3D like I did, you might enjoy this movie even more.
That's it for the in-theater movies. Here's a short list of movies I recommend from Netflix (either through DVD or Instant):
The Dish
What happened at the radio telescope in Parkes, Australia during the Apollo 11 mission. A fun movie, and doesn't require a degree in astrophysics to appreciate.
V: The Original Miniseries
The effects and acting are hokey, but the story is relevant. It's theme is largely based on European experience under Hitler and Mussolini, but there are some parallels to what the TSA is doing today in airports. (At least the TSA is not enslaving us.) Fears of totalitarianism will be stoked by this movie, and I think the Founding Fathers would approve of our healthy fear.
Happy New Year!
First, The Voyage of the Dawn Treader. I've read the books, now I have watched the movies. This installment was not very deep, but it was entertaining. I wan't sure the actor playing Eustace could pull it off, but by the end I was a fan. He played both brat and friend with such vigor that I am looking forward to his appearance in the next installment. Recommended for entertainment value, and though my 8 year old nephew ended up with brief nightmares about the green mist, I think it is suitable for older children.
Second, The Deathly Hallows, Part 1. Again, I've read the books, now I have watched the movies. I wasn't sure how they would pull off the slow sections of the book, or whether they would be as true to the book with regard to injuries and deaths of significant characters. I was not let down in any way. The movie is well-paced, and there is time allotted for both action and introspection. I'm looking forward to the next installment. This movie is suitable only for teenagers and older, hence the PG-13 rating.
Third, Tron: Legacy. I watched the first movie and enjoyed it immensely. I knew then that computers did not work that way, but I liked the fictional approach. The sequel does not break from the fictional approach, and its visuals are far better than the original. The story for both movies is harder to appreciate if you are not somewhat nerdish, though the focus on games in both movies expands the movies' appeal considerably. (There is a reason that the Tron arcade games were so popular in the 80's. This new generation of gamers will have such a different experience, far closer to that offered by the latest movie. I hope that the Xbox Kinetic shines as a result of the new Tron games. Of all the current game technologies, it has the best chance to mimic the disc game most naturally.) Maybe they will make another installment, but this was a good end to the story. I especially like the soundtrack from Daft Punk, and picked it up from Target for $13.99 today. I recommend this movie for nerds like me and for older children and up. Oh, and if you can see it in chair-shaking Imax 3D like I did, you might enjoy this movie even more.
That's it for the in-theater movies. Here's a short list of movies I recommend from Netflix (either through DVD or Instant):
The Dish
What happened at the radio telescope in Parkes, Australia during the Apollo 11 mission. A fun movie, and doesn't require a degree in astrophysics to appreciate.
V: The Original Miniseries
The effects and acting are hokey, but the story is relevant. It's theme is largely based on European experience under Hitler and Mussolini, but there are some parallels to what the TSA is doing today in airports. (At least the TSA is not enslaving us.) Fears of totalitarianism will be stoked by this movie, and I think the Founding Fathers would approve of our healthy fear.
Happy New Year!
Settlers of Catan
After reading such positive reviews, especially by Harrison Brookie, I decided to look into Settlers of Catan. I started with the Wikipedia entry, then proceeded to the SoC website. There is an excellent interactive tutorial that shows the mechanics of play along with some of the consequences of different moves.
I moved on to an extensive online strategy guide, which confirmed my sense of resource scarcity and the inability to "do it all" as a viable strategy. It extended my understanding of game dynamics beyond what the tutorial provided.
Then I tried a couple of single-player online versions of the game. The one that I started with from SoC was a bit simplistic, and I didn't have time to play online against multiple real players. I finally settled on the download from MSN Games. (If you are a subscriber, then you will pay the least amount to register the game. I didn't, so I got stuck overpaying for the privilege.)
I played this version for several games, losing badly each time. Two nights ago, I played again. I went second, and was able to place settlements at the intersections of all of the required resources with 5, 6, 8, or 9 for the roll. I also had a clear shot at Longest Road, but I couldn't get the necessary resources until the end, when it proved critical to my first victory.
I trailed badly through the game, rolling a 7 on my turn *every* time I had more than 7 resource cards. (I think this is programmed into the game, as I have yet to see a deviation.) I managed to acquire three hidden victory point development cards along the way, being careful to not be robbed by the undefeatable 7. I got a lucky roll and ended up with the resources for three road segments. (Those cities make a difference!) When I pressed "End Turn", I was awarded Longest Road and the victory.
Now that I have won a game, I think I might like it. (It's awfully difficult to like something you always lose at. I won't play Rummy with only Kathy because in 9 years with her I have won only once.) Now, can I get my extended family to like it? To set aside time to play it?
We can't even find time to learn Mah Jong, despite my sister-in-law's plaintive invitations. I may just have to stick with the electronic version for a while.
I moved on to an extensive online strategy guide, which confirmed my sense of resource scarcity and the inability to "do it all" as a viable strategy. It extended my understanding of game dynamics beyond what the tutorial provided.
Then I tried a couple of single-player online versions of the game. The one that I started with from SoC was a bit simplistic, and I didn't have time to play online against multiple real players. I finally settled on the download from MSN Games. (If you are a subscriber, then you will pay the least amount to register the game. I didn't, so I got stuck overpaying for the privilege.)
I played this version for several games, losing badly each time. Two nights ago, I played again. I went second, and was able to place settlements at the intersections of all of the required resources with 5, 6, 8, or 9 for the roll. I also had a clear shot at Longest Road, but I couldn't get the necessary resources until the end, when it proved critical to my first victory.
I trailed badly through the game, rolling a 7 on my turn *every* time I had more than 7 resource cards. (I think this is programmed into the game, as I have yet to see a deviation.) I managed to acquire three hidden victory point development cards along the way, being careful to not be robbed by the undefeatable 7. I got a lucky roll and ended up with the resources for three road segments. (Those cities make a difference!) When I pressed "End Turn", I was awarded Longest Road and the victory.
Now that I have won a game, I think I might like it. (It's awfully difficult to like something you always lose at. I won't play Rummy with only Kathy because in 9 years with her I have won only once.) Now, can I get my extended family to like it? To set aside time to play it?
We can't even find time to learn Mah Jong, despite my sister-in-law's plaintive invitations. I may just have to stick with the electronic version for a while.
The Conversation Game
We have a family that likes to discuss politics. There is one of us who is liberal/progressive. The rest of us are firmly conservative/libertarian. Recently at a dinner hosted by the liberal/progressive, I noted that she could not get many words in edgewise due to the passion of her guests. Being an old parliamentarian for church and other social groups, I naturally concluded that "rules of order" might be employed. But to use Robert's Rules for such an intimate family affair would be stifling! So I whittled down what Robert gave us, leaving just two broad rules:
1) Participants select a topic, the total amount of time to discuss the topic, the maximum length of time allocated to each participant to speak at any one time, and who will preside (if necessary) and keep time.
2) When it is a participant's turn to speak, they control the conversation for that slice of time. They may make statements and ask questions of (i.e., debate) other participants. During their turn, this person has the sole privilege to interrupt any other participant. When the participant is finished, regardless of how much time remains, control moves to the next participant.
Robert's Rules provide that no other person may speak again until all have had the opportunity; only then does the next round of speech begin. This is preserved implicitly in Rule 2, while still allowing for natural back-and-forth conversation.
The need to exercise Rule 1 is based on the tolerance of participants for a topic and for each other. The last sentence in Rule 2 might be called the "Forrest Gump Clause", as he often said "That's all I have to say about that," and then promptly moved on.
We have not all gathered yet again to try this game, but momentum has built towards wanting to try it. I'll post you on our results. If you should try these rules, let me know how your experience went. I suspect some groups may need the formality closer to Robert's Rules, while others will need less.
In all your political discussions, be courteous, and have fun learning!
1) Participants select a topic, the total amount of time to discuss the topic, the maximum length of time allocated to each participant to speak at any one time, and who will preside (if necessary) and keep time.
2) When it is a participant's turn to speak, they control the conversation for that slice of time. They may make statements and ask questions of (i.e., debate) other participants. During their turn, this person has the sole privilege to interrupt any other participant. When the participant is finished, regardless of how much time remains, control moves to the next participant.
Robert's Rules provide that no other person may speak again until all have had the opportunity; only then does the next round of speech begin. This is preserved implicitly in Rule 2, while still allowing for natural back-and-forth conversation.
The need to exercise Rule 1 is based on the tolerance of participants for a topic and for each other. The last sentence in Rule 2 might be called the "Forrest Gump Clause", as he often said "That's all I have to say about that," and then promptly moved on.
We have not all gathered yet again to try this game, but momentum has built towards wanting to try it. I'll post you on our results. If you should try these rules, let me know how your experience went. I suspect some groups may need the formality closer to Robert's Rules, while others will need less.
In all your political discussions, be courteous, and have fun learning!
Thursday, December 30, 2010
The Virginia Museum of Fine Arts
Kathy and I had a date to the Virginia Historical Society and to the Virginia Museum of Fine Arts. They are side-by-side in downtown Richmond, Virginia.
While poking around the modern art exhibit, it occurred to us that a lot of the photos we were looking at could have been taken by us, but we could not have written the outlandish verbiage that accompanied each work. Is that verbiage what makes it art?
Then another thought occurred to me later over dinner. If I look at a piece, and I don't understand it without (or maybe even with) an explanation, is it still art? Like a joke that has to be explained, is it still funny?
I was far more impressed by the ancient art, up to 5000 years old. It is very difficult to fathom what 5000 years is. Human history has only been recorded for one or a couple additional millenia. It's 50 centuries.... 500 decades. I was born only about 4 decades ago, or about 8/10% of the time in question. I was surprised at how well the paintings on the Grecian urns had survived. The urns had clearly been carefully re-assembled from shards, and the paint work touched up on the seams, but this was only visible on close inspection.
I don't feel as old now that I have been among 5 millenia of art. That wasn't the artists' intention, I'm certain, but it is a nice by-product.
While poking around the modern art exhibit, it occurred to us that a lot of the photos we were looking at could have been taken by us, but we could not have written the outlandish verbiage that accompanied each work. Is that verbiage what makes it art?
Then another thought occurred to me later over dinner. If I look at a piece, and I don't understand it without (or maybe even with) an explanation, is it still art? Like a joke that has to be explained, is it still funny?
I was far more impressed by the ancient art, up to 5000 years old. It is very difficult to fathom what 5000 years is. Human history has only been recorded for one or a couple additional millenia. It's 50 centuries.... 500 decades. I was born only about 4 decades ago, or about 8/10% of the time in question. I was surprised at how well the paintings on the Grecian urns had survived. The urns had clearly been carefully re-assembled from shards, and the paint work touched up on the seams, but this was only visible on close inspection.
I don't feel as old now that I have been among 5 millenia of art. That wasn't the artists' intention, I'm certain, but it is a nice by-product.
Tuesday, November 16, 2010
More Views from a Hot Air Balloon
Our sister balloon descending over a pond. Dropping down near ponds revealed a colder layer of air. We used these to our advantage to get closer views. We spooked a lot of livestock doing this. (Sorry, farmers!)
We followed US Highway 29 for many miles, as it paralleled our course northward on the eastern side of the Blue Ridge Mountains of Virginia. A very eager driver pulled over to wave and to take pictures of us as we transited. (I hope his pictures come out, as he is shooting into the sun!) Our chase vehicle can be seen in the lower right corner.
Looking northward on US 29, the road loops through a rural community. I wonder if there was a church near this cemetary, or if this is a community cemetary. It is a very simple site, compared to many that I have seen, but it is no less dear to God than any of the others.
My nephew Nicholas needed to sit down near the end of the trip. It is hard for a child to stand in one place for an hour, and he was a real trooper. I am very happy that Nicholas was in our basket, because it makes it easier to see the ride through the proverbial eyes of a child. He made it more fun, because he thought differently than us adults about many of the things he saw. The pilot loaned him a small pair of binoculars so that he could explore better. I might have gotten nauseous doing that, but he didn't. And so he was able to point out many things that we did not see at first.
Views from a Hot Air Balloon
Floating low over farm ponds made it possible to capture our reflection. The water is a little filthy on the surface, but the reflection is unmistakable.
The expression of natural beauty in the farms and forests of Virginia provides a real contrast. In summer, this is all green. In winter, it is void of leaves and gray. This day, however, the leaves were at their autumn peak. They are alight with reds and oranges.
The bright morning sun on the eastern slope of the Blue Ridge Mountains illuminates the many farms that dominate this part of the countryside.
What happened to these cows? They look different! Not really--that is only their shadows, lengthened by the early morning sun. The many dark specks surrounding them would smell good to Kathy if we were low enough to sniff. I'm very glad that we did not land in a cattle field. (We landed in a hayfield instead!) I did not have the correct shoes for being in a manure-strewn field.
Hot Air Balloon Landing & Packing Up
I have this in two parts. First the landing. This is actually the second landing of this ballon, in which I was a passenger. We were denied our intended landing site by a rather perturbed homeowner, so we disembarked at our next landing site. The pilot proceeded onto the next landing site, which was accessible to the chase vehicles. We were in time to record the landing.
This was followed by the deflation and packing of the balloon. If you remember how it came out so easily when it was filled for launch, then this video will make clear why the packing is so important. It reminded me of packing a spinnaker for a yacht, which I did many many times in a many years ago. The trick is to make sure your connectors are on the outside, and everything else can generally be stuffed without much additional concern.
You can clearly see that the parachute vent has been removed completely to allow the balloon to empty quickly. The process goes quickly when the ground crew squeezes the balloon like a tube of toothpaste in order to dump the air out the top hole.
The neighbors and residents all came out to celebrate the landing. It's not every day that perfect strangers drop onto your acreage asking permission for a peremptory landing. We're very thankful to these good people who turned a bright, brisk morning into a beautiful, warm morning with their hospitality.
This was followed by the deflation and packing of the balloon. If you remember how it came out so easily when it was filled for launch, then this video will make clear why the packing is so important. It reminded me of packing a spinnaker for a yacht, which I did many many times in a many years ago. The trick is to make sure your connectors are on the outside, and everything else can generally be stuffed without much additional concern.
You can clearly see that the parachute vent has been removed completely to allow the balloon to empty quickly. The process goes quickly when the ground crew squeezes the balloon like a tube of toothpaste in order to dump the air out the top hole.
The neighbors and residents all came out to celebrate the landing. It's not every day that perfect strangers drop onto your acreage asking permission for a peremptory landing. We're very thankful to these good people who turned a bright, brisk morning into a beautiful, warm morning with their hospitality.
Hot Air Balloon Liftoff
Here is a photo sequence of takeoff. We have a video of this as well, but until it is edited this will serve as a rough cut:
This lovely community of Rochelle is located in Madison County, Virginia, near the Orange County border. The bed and breakfast from which we launched is Ridge View Bed & Breakfast, and we are very thankful to the innkeepers for allowing us to have such a wonderful time at their home.
One of the interesting features of the launch is that the balloon has defrosted the ground under the basket. You should be able to make out a greener circular patch at the basket's launch site. We were heavily bundled against the cold weather, but I was not prepared for the warmth coming from the burner and from the gradual escape of the warmed air from the balloon. It made for a very pleasant trip--no shivering!
This lovely community of Rochelle is located in Madison County, Virginia, near the Orange County border. The bed and breakfast from which we launched is Ridge View Bed & Breakfast, and we are very thankful to the innkeepers for allowing us to have such a wonderful time at their home.
One of the interesting features of the launch is that the balloon has defrosted the ground under the basket. You should be able to make out a greener circular patch at the basket's launch site. We were heavily bundled against the cold weather, but I was not prepared for the warmth coming from the burner and from the gradual escape of the warmed air from the balloon. It made for a very pleasant trip--no shivering!
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