We are developing the social individualist meta-context for the future. From the very serious to the extremely frivolous... lets see what is on the mind of the Samizdata people.
Samizdata, derived from Samizdat /n. - a system of clandestine publication of banned literature in the USSR [Russ.,= self-publishing house]
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For years, particularly with the advent of the Internet, people have been griping about lessening attention spans. But if someone can watch an entire season of a TV series in one day, doesn’t that show an incredible attention span? When the story is good enough, people can watch something three times the length of an opera.
– Kevin Spacey
Neill Blomkamp must be living in some parallel universe as he speaks about his new film “Elysium”:
The 33-year-old film-maker, who moved from South Africa to Canada as a teenager, adds that “healthcare, immigration and class” are his targets, and “it’s not really the future I’m talking about”. “It’s not science fiction. This is now. The divide between rich and poor is getting more and more extreme.”
Actually Neill, never in human history has there been a smaller percentage of humanity living one failed harvest away from communal starvation. Is the divide between rich and poor actually increasing and more extreme than, say, in the eighteenth century? Or any time before then actually? In reality never has a larger percentage of humanity been, by any reasonable definition, middle class, than right now.
The fact large areas of poverty exists at all in our technologically advanced age is a dark miracle wrought largely by state imposed impediments to trade, disincentives to employ, insecurity of private property title and many other government policies of the sort Matt Damon (that tireless supporter of state education whose children are in a private school) strongly approves of.
If I had the option of living in a nifty orbital torus filled with fellow capitalists, I would want it to be well defended too, Neill… mostly in order to keep out all the champagne socialists.
I had a rather enjoyable evening at the Lancaster Museum of Art and History last night. Quite an unusual event, although perhaps not so unusual for a community that hosts the Skunkworks, is not all that far from Edwards Air Force Base and NASA Dryden Research Facility… not to mention the Mojave Spaceport where there is a higher density of folks working in New Space than in any other spot on the planet.
So. What was so special? Perhaps the proverbial picture (of the main room of the Art Exhibit) is worth a thousand words.
 An early XCOR rocketship and several rocket engines are the central attraction of the art show. Copyright DMA, All Rights Reserved.
 A work from Doug Jones’ Middle Period. Copyright DMA, All Rights Reserved.
Yep. There is a strong wing of the Art’s community that is excited about not just the concept of the adventure, but also the sheer beauty of the creations of engineers in the field. As major exhibitors, we were part of the after exhibit dinner in the museum and us rocket guys got on great with the artists. I found many of them think the ‘two cultures’ was a farce that needs to end. From my conversations I would say it was no accident some of the works refered to Leonardo da Vinci.
I also was quite surprised at one exhibit item that was a reproduction of the original. Gob-smacked might be a better word. It seems that a tiny art museum was smuggled on board Apollo 12. A tiny metal rectangle contained six even tinier works by 6 artists, among whom were Robert Rauschenberg and Andy Warhol. Yes folks, there is an original, albiet tiny, work by Andy Warhole still attached to an Apollo landing leg. On the Moon.
After dinner, the remaining crew, made up entirely of artists and rocket guys. Sort of. Even us rocket guys gave lie to the two cultures thesis. Doug Jones, a long time reader of Samizdata, was a stand up comic for awhile. As for myself I was in the music business professionally for many years.
 XCOR engineer Doug Weathers and his wife Anne discussing the EZ-Rocket cockpit with Lancaster artist and teacher Monica Mahoney. Copyright DMA, All Rights Reserved.
After the entire group of artists and XCORians were filmed flying about the exhibit room pretending to be airplanes… yes artists have fun doing silly surreal things… we headed for Bex’s bar across the street where a marvelous time was had by all as we sat outside in a perfect desert evening talking art and space flight.
I also talked to one businessman who is a big arts supporter and a fed up Republican who has a solid dislike for the religious right. He asked a key question: How are Libertarians different from Conservatives? I think the illegal Edison Light Bulb went on over his head when I explained.
Naturally I was the last one of the crew to leave the bar. Those old music biz habits die hard.
It’s a problem when the people who are supposed to be the curators of your culture fundamentally don’t like it.
– Instapundit
In his ‘Seen Elsewhere’ section, top right, Guido is today linking to a piece entitled An Anarcho-Capitalist Defence of the Royal Family. Sounds like fun, and it is.
For me, the most amazing bit is not any bit in this piece, but the bit at the bottom where it says who wrote it:
Christina Annesley is a 21 year old anarcho-capitalist and the founder of Leeds Liberty League. She has a BA in History from the University of Leeds and is currently writing a dystopian fantasy novel.
There are just so many things that are great about that.
I regularly read David Thompson’s blog, and like many of his postings, this recent one pokes fun at a Guardian article, this time a piece by Mike Power, complaining about the alleged sexism of barbecues. The outdoor cooking of meat is bad, because men think that this is men’s stuff!
Thompson copies and pastes Power asking the following:
But, as several thousand years have passed since men had to kill our protein, make a fire, cook it and eat it, why is barbecuing seen as something women don’t or can’t – or, more accurately, shouldn’t – do? How – and why – do men continue to claim this sacred fire-space as a male-owned sanctuary where women are not permitted?
My immediate reaction to reading this quote at Thompson’s was that Mike Power was confusing a comedy routine with a seriously held idea.
I recall enjoying a TV show that happened on ITV4 TV a couple of years back, called Richard Bacon’s Beer and Pizza Club. Series 1 was particularly good, I thought. Series 2 got a bit above itself and happened in a bigger studio and with a bigger budget, and the guests became less quirky and amusing, and I didn’t enjoy it so much, but it was still great fun. The basic agenda was a bunch of blokes sitting around discussing their man-ness, with a mixture of genuine pleasure at often decidedly daft male rituals but also a healthy dose of self-mockery.
I recently caught a repeat of one of these shows, in which comedian Rufus Hound described how a typical male stunt, namely doing something that looked dangerous but wasn’t actually that dangerous, had become truly dangerous. It involved him putting a small puddle of something flammable in his hand and setting fire to it. His story of how this had all gone very wrong, on account of him making the puddle too big and then the setting of it on fire being delayed until the fluid had seeped between his fingers, won Hound the round where they were taking it in turns to recount their worst injuries. That his injury was self-inflicted while pursuing manly fun was central to why Hound was victorious. Doing it to yourself trumps anything that merely happens to you. How manly is that? In both a good way, and a ridiculous way.
The Beer and Pizza Club regularly featured shots of women in the audience, creasing up with laughter at the various masculinities that were being thus both enjoyed and mocked. Ah, men.
And, getting to back to the original point of this posting, I recall another Rufus Hound fire-based comedy moment on the B&P Club, when they were each describing their idea of a perfect day. Hound’s perfect day involved him cooking meat out on his patio and inviting the neighbours round. He said something like: “Nothing says manliness like cooking meat, out of doors, over a naked flame.” Much audience laughter, from both men and women. And from me. “Bacon” being a good name for the man genially presiding over this meaty mirth.
This is the kind of thing Power was on about. But what he misses, probably on purpose because he’s such a puritan, is that … it’s a joke! No, says Power. It’s not funny, I tell you! Stop enjoying yourselves!
And guess what, David Thompson agrees with me, although really he said it first and I am agreeing with him.
He quotes Power again:
This grilled-food gender split is ubiquitous, odd and unacknowledged.
And he responds thus:
This may strike readers as a bold, indeed preposterous, claim to make. One of the rituals of the barbecues I’ve attended is the good-natured parodying – one might say acknowledgment – of precisely those conventions. “Man make fire. Man cook meat,” etc. But perhaps we’re to imagine that only the keen social observers who write for the Guardian have ever noticed such things or found them worthy of amused comment. More to the point, it doesn’t seem to have occurred to Mr Power that quite a few people, male and female, actually enjoy the role-play opportunity of the barbecue – the theatre, the ritual, the fun. Even – heresy! – gendered fun.
Gendered fun. Spot on. Can’t have that.
I particular like Thompson’s invention of:
The Plastic Spatula of Oppression.
Not that men oppressing women is always and everywhere such a joke. That other favourite blogger of mine, Mick Hartley, recently did a posting about how a woman in Pakistan was stoned to death by her male relatives for the crime of possessing a mobile phone. What does Mike Power make of that, I wonder? My guess (please prove this wrong if you can) is … nothing, on account of him being (I further guess) an anti-anti-Islamist. It’s not that stoning women to death for having mobile phones is right, you understand. Merely that complaining about it is wrong.
Taylor Dinerman, a long time member of the Samizdata Commentariat, who also on occasion writes for some minor paper called the Wall Street Journal, has just published a book of humor shorts written during his New York Subway travels. I suspect more than one of our regular readers will enjoy it… and besides which, he needs the money to pay for the subway tickets and bar tabs.
This one, for Gordon’s gin.
The link may not work for everyone, so let me summarise the story. The scene is a garden party. A willowy wine connoisseur is holding forth with wine-connoisseur talk to a small group of guests. There is no evidence that his spiel is unwelcome to his hearers; one of them can be heard responding in kind. Then the camera moves to where a woman is talking to a man a few feet away. Both are drinking Gordon’s. The man, played by Philip Glenister who played Gene Hunt in Life on Mars, is more manly and less posh than the wine connoisseur. The woman overhears the wine man and praises Gordon’s gin to her companion in terms that are presumably meant to echo the connoisseur’s while being less pretentious, i.e. such as to actually make the audience want to drink Gordon’s gin. Meanwhile gin-drinking man has also been eavesdropping on wine-drinking man and starts to get visibly enraged. DCI Hunt usually had the excuse that a crime had been committed but this character simply doesn’t like anyone talking lah-di-dah in his hearing. Unprovoked, he loudly insults the wine connoisseur and finishes up with a disingenuous pretence that he does not know why everyone is looking at him.
The message is meant to be that drinking Gordon’s shows you to be plain-spoken and heterosexual. The message it sent me was that drinking Gordon’s makes you an obnoxious jerk.
The above was only the second most annoying advert of all time. There was a commercial many years ago, also for booze, that would have caused me to boycott whatever it was for forever if I could ever remember whatever it was. It might have been lager, bitter, or a mixture of water, urea, uric acid, creatinine and various organic and inorganic compounds. The advertisement was set in a gym. A young woman sprains her leg. A young man steps forward authoritatively, saying “let me look at that”, examines her leg and squeezes it here and there in a professional manner. She thanks him and says how fortunate it was that he was a doctor. “I’m not a doctor,” he replies with a leer and all his mates laugh at how he had managed to get himself a grope of someone in pain. Drink our Alcohol Product and you too will be emboldened to try this!
As I said, no moral. I just want whoever scripted these adverts (the “Bartle Bogle Hegarty Creative Team” for the gin one, apparently), and even more whoever paid for them, to read this one day and suffer torments. Well, maybe not actual torments. Not even one little torment, like an infestation of microscopic nanoyeast monsters making their ears smell of hangover. But definitely significant embarrassment.
Plebs is a sitcom set in ancient Rome. They showed the sixth and last of (the first?) six episodes of it last night on ITV2 TV, and they’ll be showing this again tonight.
I’ve been recording Plebs. In the opening scene of this latest episode, the three leading characters, Marcus (who wants to be more successful while still being nice about it, the voice of concerned normality), Stylax (more of a Jack the Lad type), and Grumio (their slave), are out and about in the town, watching the ancient Roman version of the media, i.e. people orating and/or selling in the market place.
Mad Soothsayer Woman: “The seas will rise up and drown the people living in the lowlands …”
Doughnut Salesman: “Doughnuts!”
Mad Soothsayer Woman: “… and the sun shall beat down and burn all those people living in the hills!”
Doughnut Salesman: “Doughnuts!”
Mad Soothsayer Woman: “And those people living on the lands that are neither high nor low will also die through a combination of burning and drowning! None of you are safe! The end is nigh!!!”
Doughnut Salesman: “Come get your doughnuts!”
Stylax: “So, when’s the world ending?”
Grumio: “I dunno, I were listening to that doughnut guy.”
Marcus: “Nigh, apparently.”
Stylax: “Alright, nigh. Hang on, doesn’t that mean soon?”
Marcus: “To the people that say it, it means soon. To everyone else it means you’re a nutter, talking shit.”
Grumio: “I’m going to get a doughnut just in case.”
Sam Leifer and Tom Basden, the two man team who wrote, produced and directed Plebs, are either climate non-alarmists themselves, or at the very least they reckon that a lot of us now are, and that we’re ready for comedy which takes the piss out of our mad soothsayer tendency.
My original title for this was: “Are the plebs starting to see sense about climate alarmism?”, but I reckon our plebs have been sussing this out for quite a while now. Britain’s telly comedians are following public opinion on this rather than shaping it. Until a couple of years ago or so, they were constantly going on about how stupid climate non-alarmists were. Then they went quiet on the subject. Are they beginning seriously to see sense?
I have been interested in Frank Turner, who is a popular singer, ever since he performed at the London Olympics opening ceremony, and a Labour MP got angry about that:
Turns out his libertarianism and belief in the power of the people to resist oppression aren’t of the leftist sort. They’re of the rightist sort.
Oh dear. Not allowed. Can’t be a popular pop singer and even think things like that, let alone say them.
And just now, things on the Frank Turner front are getting rather interesting. NME have done an intereview with him. The NME website reports:
“David Cameron is a twat,” he says. ” He carries himself with the attitude that he’s Prime Minister because he thinks he should be, which is a deeply unpleasant trait. I wouldn’t vote for that c**t. But I’m amused when people spout that ‘Nick Clegg stabbed me in the back’ stuff, because the Lib Dems have always been a deeply unprincipled mish-mash of unrealistic bullshit. They’re all politicians at the end of the day – so fuck ’em all.”
If that had been the only Frank Turner quote in this report worth requoting, that would have been today’s SQotD. But there is more. Turner also spoke about that Guardian piece (here‘s the link again):
The troubadour, who is set to release his fifth album ‘Tape Deck Heart’ on April 22, also spoke about his political beliefs, after apparently being “outed” by The Guardian as right wing last year. “That article was a misrepresentation of my politics, which are 100 per cent based in punk rock; freedom, independence, self-reliance and voluntary co-operation between people. Broadly speaking, I’m a classical liberal. What riled people was that I’m an economic liberal as well,” he said. Read the full interview with Frank Turner in this week’s NME.
Today, I intend to be doing exactly that.
“William Shakespeare evaded tax and illegally stockpiled food during times of shortage so he could sell it at high prices, academics have claimed“.
One many significant dividing lines between, on the one hand, enthusiasts for free economies and free societies, and on the other hand those who favour a large role for the state in directing and energising society, concerns where you think art and science come from.
Those looking for an excuse to expand the role of the state tend to assume that art and science come from the thoughts and actions of an educated and powerful elite, and then flow downwards, bestowing their blessings upon the worlds of technology and entertainment, and upon the world generally. Science gives rise to new technology. Art likewise leads the way in new forms of entertainment, communication, and so on.
While channel surfing a while back, I heard Dr Sheldon Cooper, the presiding monster of the hit US sitcom The Big Bang Theory, describe engineering as the “dull younger brother” (or some such dismissive phrase) of physics. The BBT gang were trying to improve their fighting robot, and in the absence of the one true engineer in their group (Howard Wolowitz), Sheldon tries to seize the initiative. “Watch and learn” says Sheldon. Sheldon’s attitude concerning the relationship between science and technology is the dominant one these days, because it explains why the government must pay for science on the scale that it now does. Either governments fund science, or science will stop. Luckily governments do now fund science, so science proceeds, and technology trundles along in its wake. Hence modern industrial civilisation.
If the above model of how science and art work was completely wrong, it would not be so widely believed in. There is some truth to it. Science does often give rise to new technology, especially nowadays. Some artists are indeed pioneers in more than art. But how do science and art arise in the first place?
Howard Wolowitz is the only one of The Big Bang Theory gang of four who does not have a “Dr” at the front of his name. But he is the one who goes into space. He builds space toilets. He was the one who actually built the fighting robot. Dr Sheldon Cooper, though very clever about physics, is wrong about technology, and it was good to see a bunch of comedy sitcom writers acknowledging this. After “Watch and learn”, Sheldon Cooper’s next words, greeted by much studio audience mirth, are “Does anyone know how to open this toolbox?”
→ Continue reading: Some thoughts about where science and art come from (and about why governments don’t need to pay for either of them)
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Who Are We? The Samizdata people are a bunch of sinister and heavily armed globalist illuminati who seek to infect the entire world with the values of personal liberty and several property. Amongst our many crimes is a sense of humour and the intermittent use of British spelling.
We are also a varied group made up of social individualists, classical liberals, whigs, libertarians, extropians, futurists, ‘Porcupines’, Karl Popper fetishists, recovering neo-conservatives, crazed Ayn Rand worshipers, over-caffeinated Virginia Postrel devotees, witty Frédéric Bastiat wannabes, cypherpunks, minarchists, kritarchists and wild-eyed anarcho-capitalists from Britain, North America, Australia and Europe.
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