news @ nature.com- Al Gore: Eco matinee idol�-An Inconvenient Truth showcases science of climate change.
From the above review about Al Gore's global warming doco:
If you find Gore to be a refreshingly un-phoney politician with more brains than most whole administrations, you will love this film. If you find Gore boring, annoying or prone to strange shifts in tone, you may well tire of shots of him gazing into the middle distance and ruminating, in voice-over, about the tragedies he's known and how each eventually taught him something about global warming.
Sounds a good bet that I would fall into the second category.
In the film, Gore gives his presentation in front of an audience from which sympathetic murmurs can be occasionally heard. One audience member wears a T-shirt that reads 'Sweet Jesus, I hate Bill O'Reilly', referring to Fox News' famously conservative talking-head. If these people are going to be the only ones buying tickets, Gore will be preaching to the choir.
As to the science in it, the review defers to the Real Climate review, which gave most of the science a tick.
They also note that:
Much of the footage in Inconvenient Truth is of Al Gore giving a slideshow on the science of global warming. Sound boring? Well, yes, a little.
I don't think I will be rushing to check it out.
UPDATE: This Slate article on the problems with the movie is well worth reading.
Wednesday, May 24, 2006
Tuesday, May 23, 2006
On the Code
Amongst the many articles about the historical "claims" in the Da Vinci Code, the one in Slate recently seemed to me to be one of the better summaries.
(I started the book, but the writing style has put me off coming back to it. I think it is worse than Michael Crichton on a bad day, and that's saying something.)
UPDATE: For the most savage, and very funny, review of the movie read Anthony Lane's in The New Yorker. There are so many lines I would like to quote, I just don't know which one to pick. Just go read it.
(I started the book, but the writing style has put me off coming back to it. I think it is worse than Michael Crichton on a bad day, and that's saying something.)
UPDATE: For the most savage, and very funny, review of the movie read Anthony Lane's in The New Yorker. There are so many lines I would like to quote, I just don't know which one to pick. Just go read it.
Our anti war protesters just aren't in the same league
You may have heard about how Japan and Korea are having a confrontation of sorts over some disputed islands. There have been some weird anti-Japanese protests by Koreans as a result, but perhaps covering yourself with (so he says) 187,000 bees and jumping on a Japanese flag takes some beating. (Watch the video at the link.)
If only Cindy Sheehan were so creative.
If only Cindy Sheehan were so creative.
3 interesting science stories
All from today's Science Daily:
1. Bad news: a study suggesting that the high end of climate change predictions are more likely. Time to start work on big space umbrellas as a possible solution.
2. Cats are evil in so many ways: Children who are exposed to cats soon after birth may have an increased risk of developing eczema. But exposure to dogs? Being exposed to two or more dogs at home suggested a slightly protective, but not significant, effect on children's risk of developing eczema.
3. Plug in hybrid cars certainly seem a good idea. Plug them into the wall overnight while you are home, and the heaps of people who travel no more than 40 km per day might never use petrol. (In fact, the model described here can run on ethanol solely. No oil at all. Take that, Saudi Arabia.)
1. Bad news: a study suggesting that the high end of climate change predictions are more likely. Time to start work on big space umbrellas as a possible solution.
2. Cats are evil in so many ways: Children who are exposed to cats soon after birth may have an increased risk of developing eczema. But exposure to dogs? Being exposed to two or more dogs at home suggested a slightly protective, but not significant, effect on children's risk of developing eczema.
3. Plug in hybrid cars certainly seem a good idea. Plug them into the wall overnight while you are home, and the heaps of people who travel no more than 40 km per day might never use petrol. (In fact, the model described here can run on ethanol solely. No oil at all. Take that, Saudi Arabia.)
Matt Price line for the day...
Happy Chappy enjoys seat of power | Matt Price | The Australian
Labor, we were told by Julia Gillard before the resumption of parliament, would be giving the Treasurer a comprehensive working over.
"It's Peter Costello's first day in the big chair," she said, referring to Happy Chappy's stint as Acting Prime Minister. "Labor will be taking Peter Costello outside his very narrow comfort zone."
And it's true. By the end of question time, Costello's comfort zone had been upgraded from unsealed bush track to four-lane bitumen freeway.
Labor, we were told by Julia Gillard before the resumption of parliament, would be giving the Treasurer a comprehensive working over.
"It's Peter Costello's first day in the big chair," she said, referring to Happy Chappy's stint as Acting Prime Minister. "Labor will be taking Peter Costello outside his very narrow comfort zone."
And it's true. By the end of question time, Costello's comfort zone had been upgraded from unsealed bush track to four-lane bitumen freeway.
Why is this singer successful?
Madonna's new move: crucifixion - Music - Entertainment - smh.com.au
No need for emetics when instead you could just read the above description of Madonna's new stage show.
I have never, ever, understood her appeal. Must be that people just like quasi-political, nutty-mystical, pretend-slutty singing acts in a way I can't figure.
And will she be even-handed in her silly use of religious icongraphy? How about a flash of a depiction of Mohammed during the show?
No need for emetics when instead you could just read the above description of Madonna's new stage show.
I have never, ever, understood her appeal. Must be that people just like quasi-political, nutty-mystical, pretend-slutty singing acts in a way I can't figure.
And will she be even-handed in her silly use of religious icongraphy? How about a flash of a depiction of Mohammed during the show?
Monday, May 22, 2006
Bad news from Syria
Guardian Unlimited | World dispatch | Arrested development
From the article:
Syria is in the throes of one of its biggest crackdowns on dissidents in many years. As many as 12 reformers and writers have been arrested this month in a new show of strength by the regime.
From the article:
Syria is in the throes of one of its biggest crackdowns on dissidents in many years. As many as 12 reformers and writers have been arrested this month in a new show of strength by the regime.
And it's not because of pregnancy...
Menstruation Is Fast Becoming Optional - Yahoo! News
From the above (quite lengthy) story:
Still, surveys also show most women consider monthly periods normal. Small wonder: Girls learn early on that menstruation is a sign of fertility and femininity, making its onset an eagerly awaited rite of passage.
The period is "way over-romanticized," says Linda Gordon, a New York University professor specializing in women's history and the history of sexuality.
Not by men, that's for sure.
From the above (quite lengthy) story:
Still, surveys also show most women consider monthly periods normal. Small wonder: Girls learn early on that menstruation is a sign of fertility and femininity, making its onset an eagerly awaited rite of passage.
The period is "way over-romanticized," says Linda Gordon, a New York University professor specializing in women's history and the history of sexuality.
Not by men, that's for sure.
Housing issues
Homes 'unfit for animals' | News | The Australian
It seems to rarely be mentioned in media reports about housing quality issues in aboriginal communities, but isn't one of the problems here (at least in some areas of Australia) the complicating cultural issue that a house in which a person has died will be abandoned for some time (months I think) before any person will re-occupy it? I actually forget who was telling me about this - I remember discussing it with a brother, but maybe I have read about it somewhere else.
I don't know how big a problem this really is, but with death rates in some communities being what they are, it certainly would mean you would have to have a hell of a lot of "spare" housing to deal with this issue.
I know I have heard from time to time of projects to create really rugged remote aboriginal housing that needs virtually no maintenance, as the care and maintenance of the housing is a very big issue. However, this does nothing to address the issue of abandonment. I remember suggesting to my (lefty) brother that maybe the solution would be a very sophisticated style of tent (with a portable solid floor?) that could be moved off the spot where someone had died. That I would suggest that they live in something less than solid house dismayed him. But honestly, some really creative solutions to the housing issue are needed, aren't they?
(Of course, how to stop tents catching alight if a fire is lit inside is another issue. But I think there must be a model of temporary housing from some indiginous community somewhere in the world that could be adapted.)
It seems to rarely be mentioned in media reports about housing quality issues in aboriginal communities, but isn't one of the problems here (at least in some areas of Australia) the complicating cultural issue that a house in which a person has died will be abandoned for some time (months I think) before any person will re-occupy it? I actually forget who was telling me about this - I remember discussing it with a brother, but maybe I have read about it somewhere else.
I don't know how big a problem this really is, but with death rates in some communities being what they are, it certainly would mean you would have to have a hell of a lot of "spare" housing to deal with this issue.
I know I have heard from time to time of projects to create really rugged remote aboriginal housing that needs virtually no maintenance, as the care and maintenance of the housing is a very big issue. However, this does nothing to address the issue of abandonment. I remember suggesting to my (lefty) brother that maybe the solution would be a very sophisticated style of tent (with a portable solid floor?) that could be moved off the spot where someone had died. That I would suggest that they live in something less than solid house dismayed him. But honestly, some really creative solutions to the housing issue are needed, aren't they?
(Of course, how to stop tents catching alight if a fire is lit inside is another issue. But I think there must be a model of temporary housing from some indiginous community somewhere in the world that could be adapted.)
A standard response
The familiar echo of Aboriginal condemnation - Opinion - theage.com.au
The article above takes the "standard" old style aboriginal interest group response to the aboriginal abuse issues raised last week.
Rather than acknowledge the longstanding structural disadvantage experienced by remote Aboriginal communities, the complicity of the Australian Government in their creation and neglect, and a national responsibility to make real changes, Brough's immediate response to Rogers' revelations was to announce the existence of a pedophile ring of senior Aboriginal men. No evidence has been produced, and it seems clear that none exists.
Where did Brough's allegation come from? Such a "ring" would, of course, give the minister a convenient solution to his need to be seen to be doing something: an evil group of Aboriginal men, a target small enough to rapidly identify and punish, would serve as a scapegoat and provide a quick fix for his problem. But if we look further back into the long history of Aboriginal-white relations, it becomes clear that such claims have often helped governments to justify interventionist indigenous policies.
Is the writer suggesting that "non interventionist" policies have never been tried, even under the long reign of Labor and ATSIC? Does she really want the solution to this to be left up to the same bunch of aboriginal leaders and academics who have been around for the last 30 years worrying more about land rights, and whether Aboriginal cultures 200 years ago were abusive to women or not, than what's going on now?
The article above takes the "standard" old style aboriginal interest group response to the aboriginal abuse issues raised last week.
Rather than acknowledge the longstanding structural disadvantage experienced by remote Aboriginal communities, the complicity of the Australian Government in their creation and neglect, and a national responsibility to make real changes, Brough's immediate response to Rogers' revelations was to announce the existence of a pedophile ring of senior Aboriginal men. No evidence has been produced, and it seems clear that none exists.
Where did Brough's allegation come from? Such a "ring" would, of course, give the minister a convenient solution to his need to be seen to be doing something: an evil group of Aboriginal men, a target small enough to rapidly identify and punish, would serve as a scapegoat and provide a quick fix for his problem. But if we look further back into the long history of Aboriginal-white relations, it becomes clear that such claims have often helped governments to justify interventionist indigenous policies.
Is the writer suggesting that "non interventionist" policies have never been tried, even under the long reign of Labor and ATSIC? Does she really want the solution to this to be left up to the same bunch of aboriginal leaders and academics who have been around for the last 30 years worrying more about land rights, and whether Aboriginal cultures 200 years ago were abusive to women or not, than what's going on now?
About Marsden
Case for the damnation of Marsden - Opinion - smh.com.au
Paul Sheehan did not like John Marsden.
What Sheehan's brings up was already on the public record. I don't recall the part about witness intimidation though.
If what Sheehan says is a correct version of what the trial judge at the defamation action found [that Marsden had on the balance of probabilities - which is the standard of proof in a civil case - asked a prisoner to get a witness to change his position,] why was Marsden allowed to still practice as a solicitor at all?
I still predict some new, damaging, information about Marsden will come out soon.
Paul Sheehan did not like John Marsden.
What Sheehan's brings up was already on the public record. I don't recall the part about witness intimidation though.
If what Sheehan says is a correct version of what the trial judge at the defamation action found [that Marsden had on the balance of probabilities - which is the standard of proof in a civil case - asked a prisoner to get a witness to change his position,] why was Marsden allowed to still practice as a solicitor at all?
I still predict some new, damaging, information about Marsden will come out soon.
Sunday, May 21, 2006
Scruton on Mills
OpinionJournal - Featured Article
If you missed it, Roger Scruton has an essay above on John Stuart Mill. Scruton is always worth reading (especially if you a conservative!)
If you missed it, Roger Scruton has an essay above on John Stuart Mill. Scruton is always worth reading (especially if you a conservative!)
Mountain coming through
LiveScience.com - Land Speed Record: Mountain Moves 62 Miles in 30 Minutes
A mountain near the Montana-Wyoming border once moved 62 miles in a half-hour in a catastrophic scenario that could be repeated elsewhere, scientists say...
"We think the slide motion was catastrophic," Aharonov told LiveScience. "According to our calculation, the motion took less than 30 minutes."
I guess being overtaken on a freeway by a mountain would be catastrophic.
A mountain near the Montana-Wyoming border once moved 62 miles in a half-hour in a catastrophic scenario that could be repeated elsewhere, scientists say...
"We think the slide motion was catastrophic," Aharonov told LiveScience. "According to our calculation, the motion took less than 30 minutes."
I guess being overtaken on a freeway by a mountain would be catastrophic.
Saturday, May 20, 2006
At last - Mission:Impossible 3
I finally got to see MI3 tonight. My comments:
Good points: script is quite good really. The acting is more even than in previous M:I movies, and in fact I would say Cruise and Phillip S Hoffman actually do very good acting, within the limits of this kind of material. Exotic locations are used (although shown very briefly - see my comments below,) and there is very seamless and unintrusive use of computer effects. (You know that certain things can't be being done "for real", but it is almost impossible to tell where the artifice begins. For example, one very cleverly done scene almost makes you believe those super realistic rubber masks could really work. There is also a jumping off a building sequence which - at least initially, before the editing starts cutting it up too much - looks as real as it possibly could.) The movie has some (limited) humour, and some scenes of human warmth, and in that sense is more "realistic" than M:I1. However, its tone is darker, with a genuinely sadistic villain, and as such ends up being not as much fun.
But, there is a lot to like.
Bad or distracting points: the direction. For the last few years, I have seen very few one hour shows on TV. I am therefore unfamiliar with the popular work of JJ Abrams. However, direction of M:I3 is claustrophobic, for want of a better term. It seems he is inordinately fond of close to medium length shots, where it looks like the camera is no more than a few meters from the actors.
This is fine for some sequences, where it can help rack up the tension, especially in the opening scene. But after 30 minutes or so, I really found myself wondering why this movie was shot so tight for so long. Especially during the action sequences, I longed for wider shots to make better sense of what was going on around Cruise.
There is also a quasi-handheld sort of style for all of the action sequences. It's not exactly jittery, but I did start longing for smoother camera movement in many sequences, and less choppy editing.
I hate overly fast editing. It is, to my mind, the major problem with younger action movie directors since the 1990's, and is the special "trademark" of directors who have come from an advertising or music video background. (I especially despise it in dance and musical numbers, where it takes away all sense of the quality of the dancing itself.) M:I3's action sequences are nearly all edited too quickly (especially parts of the Shanghai sequences,) but (fortunately) not so quickly as to ruin the movie.
I mentioned in an earlier post how well I thought Brian De Palma directed the first M:I movie, and it was this more "traditional" style of direction and editing that I missed.
I don't think I have (yet) read any reviewer who has mentioned the "tightness" of so many of the shots, which I find surprising. (To me, it seemed such an obvious and distracting feature of Abram's style.) Slate's review did say: "The action scenes are thrilling in the modern, quick-cut, disorienting way." I can agree with that.
Overall: I have lingered on the downside for too long. Many people don't notice this sort of thing anyway. And overall, I was happy to have seen it and would happily see another M:I installment. Still, M:I 1 stands clearly ahead as my favourite. The less said about M:I 2 the better, although it does help M:I 3 look very good by comparison.
UPDATE: It's not just me. Here's one reviewer (who really didn't like the movie at all):
It's filmed almost entirely in close-ups and medium shots, in extremely shallow focus with no depth of field. (It's something of a sick joke that Abrams elected to use the extra-wide CinemaScope aspect ratio, as he tends to obscure or blur out anything that isn't smack dab in the center of the frame.) There's no oomph to the images, and the monotonous, confusingly edited action scenes just lie there, dead.
I don't agree that the action sequences "lie dead"; I just thought they could have been better with a different director. But certainly, he seems to have almost no interest in the composition of shots.
Good points: script is quite good really. The acting is more even than in previous M:I movies, and in fact I would say Cruise and Phillip S Hoffman actually do very good acting, within the limits of this kind of material. Exotic locations are used (although shown very briefly - see my comments below,) and there is very seamless and unintrusive use of computer effects. (You know that certain things can't be being done "for real", but it is almost impossible to tell where the artifice begins. For example, one very cleverly done scene almost makes you believe those super realistic rubber masks could really work. There is also a jumping off a building sequence which - at least initially, before the editing starts cutting it up too much - looks as real as it possibly could.) The movie has some (limited) humour, and some scenes of human warmth, and in that sense is more "realistic" than M:I1. However, its tone is darker, with a genuinely sadistic villain, and as such ends up being not as much fun.
But, there is a lot to like.
Bad or distracting points: the direction. For the last few years, I have seen very few one hour shows on TV. I am therefore unfamiliar with the popular work of JJ Abrams. However, direction of M:I3 is claustrophobic, for want of a better term. It seems he is inordinately fond of close to medium length shots, where it looks like the camera is no more than a few meters from the actors.
This is fine for some sequences, where it can help rack up the tension, especially in the opening scene. But after 30 minutes or so, I really found myself wondering why this movie was shot so tight for so long. Especially during the action sequences, I longed for wider shots to make better sense of what was going on around Cruise.
There is also a quasi-handheld sort of style for all of the action sequences. It's not exactly jittery, but I did start longing for smoother camera movement in many sequences, and less choppy editing.
I hate overly fast editing. It is, to my mind, the major problem with younger action movie directors since the 1990's, and is the special "trademark" of directors who have come from an advertising or music video background. (I especially despise it in dance and musical numbers, where it takes away all sense of the quality of the dancing itself.) M:I3's action sequences are nearly all edited too quickly (especially parts of the Shanghai sequences,) but (fortunately) not so quickly as to ruin the movie.
I mentioned in an earlier post how well I thought Brian De Palma directed the first M:I movie, and it was this more "traditional" style of direction and editing that I missed.
I don't think I have (yet) read any reviewer who has mentioned the "tightness" of so many of the shots, which I find surprising. (To me, it seemed such an obvious and distracting feature of Abram's style.) Slate's review did say: "The action scenes are thrilling in the modern, quick-cut, disorienting way." I can agree with that.
Overall: I have lingered on the downside for too long. Many people don't notice this sort of thing anyway. And overall, I was happy to have seen it and would happily see another M:I installment. Still, M:I 1 stands clearly ahead as my favourite. The less said about M:I 2 the better, although it does help M:I 3 look very good by comparison.
UPDATE: It's not just me. Here's one reviewer (who really didn't like the movie at all):
It's filmed almost entirely in close-ups and medium shots, in extremely shallow focus with no depth of field. (It's something of a sick joke that Abrams elected to use the extra-wide CinemaScope aspect ratio, as he tends to obscure or blur out anything that isn't smack dab in the center of the frame.) There's no oomph to the images, and the monotonous, confusingly edited action scenes just lie there, dead.
I don't agree that the action sequences "lie dead"; I just thought they could have been better with a different director. But certainly, he seems to have almost no interest in the composition of shots.
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