Thomas Cooper Gotch (English, 1854–1931), The Lantern Parade, c. 1918. Oil on canvas, 61 x 76.2 cm. Private collection.
Another of my long-term interests is human memory and my personal library has always had lots of memory books, starting with The Memory Book on up to Moonwalking with Einstein, with a diversion through Francis Yates’ magisterial The Art of Memory.
My last literature review project as a PhD student combined these two interests. It was on the topic of prospective memory, a charmingly oxymoronic term that has been described as “remembering to remember.” Herewith, a post that compresses some of that research because I thought it was too interesting not to share.
Its opposite, retrospective memory, is what most of us are familiar with: a memory of an event that occurred in the past. This type of memory has been thoroughly researched for decades and has spawned a bewildering number of models: visual memory, semantic memory, autobiographical memory, sense memory, location memory, working memory, etc. We use retrospective memory to remember a small detail from a single day in our childhood or information we crammed the night before the test or hours of Monty Python sketches. (I am surprised that there are so many different conceptual models attempting to describe only certain aspects of memory and that there is still no one model that encompasses all of them.)
By contrast, prospective memory (PM) research has only been actively studied over the last 20 years and the research protocols are still being worked out. Also, prospective memory is about remembering a specific piece of information that must be recalled at a specific time in the near future. Prospective memory’s two key components are 1) remembering to do a task and 2) executing the task at the opportune moment. If I forget to do the task at the time it should be done, the task is said to have failed. If I remember to do the task, but after the opportune moment has passed, then the task is considered failed.
For example, I need to buy pasta for dinner. The prospective component of that task is remembering that I need to buy the pasta on the way home from work. If I remember to do so as I drive past the grocery store, then I have a chance of successfully completing the task. I may not have thought of the task all day, yet I may spontaneously recall it when I see the Harris Teeter sign from the road. This means I have to interrupt my foreground task (driving home) to execute the PM task and then resume the foreground task. However, if I remember to buy the pasta only after I pull into my driveway at home, then I have failed the prospective memory task because the optimal time for its completion has passed. Prospective memory includes not just remembering the task to be completed, but also successfully carrying out the intended action. And after I’ve completed the task, I can safely forget all about it.
(Retrospective memory plays a role in any PM task. After all, I have to remember how to drive a car, the directions to the store, the brand of pasta to buy, and so on.)
An interesting note that is struck by some of the literature is the social/moral aspect of prospective memory failure. If one forgets an address or a phone number, it is simply chalked up to a failure in retrospective memory (“I’ve always had a bad memory for names”); it is seen as a property dissociated from the person. Yet, a failure of prospective memory may call my reliability into question; my wife may label me as “careless” or “complacent” (among other things) (Winograd, 1988; McDaniel and Einstein, 2007). I can handle breaking a promise to myself, but if you were depending on me to execute the task, then social pressure may affect how I choose to remember the intention (Meacham, 1988).
PM is also critical in medication adherence, which is a tremendously active and rich research domain in its own right. I could forget to take my medicine at the right time(s) or take it too often. Also, most memory errors made by airline pilots tend to be prospective in nature.
A PM task can fail for multiple reasons: I didn’t encode the task properly, I was distracted when I attempted to encode the task or missed the retrieval cue, or I was doing some habitual action – like commuting or getting dressed – that interfered with the cue, etc. If I am on auto-pilot when driving home from work, then I may not remember to turn right instead of left and so we have no pasta for supper.
McDaniel and Einstein (2007) recount a heartbreaking anecdote of a new father whose failures of prospective memory—which included not ensuring a potent enough reminder cue and performing actions outside of his daily routine—led to the suffocation of his infant son in the back of his locked car. In this case, the father put his infant son’s car seat in the back and the child fell asleep. As the man drove to work he fell into the daily rhythm of his commuting habit, thought about his workday, turned to go to work instead of turning the other way to go to the daycare center, parked, and exited the car having totally forgotten about his son. The authors emphasize that failures of prospective memory are not moral failings, but instances where the human cognitive processes are under such stress—interruptions, lack of sleep, too much sensory input—that the task cannot be recalled.
There are PM skeptics to be sure, and they make damnably good points.
For one thing, you can almost effortlessly recall lots of details about what you did and where you went today, even though you may not have paid much attention to events at the time. Retrospective memory happens without our even trying.
Prospective memory, on the other hand, requires that you be mindful, pay attention, and burn some cognitive energy considering where and what you’ll be doing so you can encode a persistent cue in your environment to trigger the PM task. That could mean setting an alarm on your cell phone (time-based cue) or knowing that you’ll see the Harris Teeter sign on the way home (event-based cue). But is the PM task really a memory task in this case or just good planning? PM may only be a convenient – and confusingly named – blanket term encompassing diverse processes: behavior, attention, awareness, planning, monitoring, and so on.
Crowder (1996) employed a devastatingly simple rejoinder to the use of the term “prospective memory,” a term that he believed distracted researchers from the real problem under study. If one took the phrase “I must remember to do that task” and removed the words “remember to,” then the problem simplified from one of memory to one of planning and intention – “I must do that task.” Revising “forget to perform” to “fail to perform” yields the same result (Crowder, 1996).
There is also the suspicion that, because prospective memory is explicitly defined as “successfully carrying out the intention,” what should really be studied are how people set intentions, what are the cognitive processes backing them, and so on. Memory is about forgetting or remembering; successfully carrying out a remembered promise is about something other than memory (social rewards or self-image, for example) (Crowder, 1996). Intention as a concept could be subdivided into the memory for the intention, remembering the intention, and then executing the intention (Smith, 2008).
If you want more (more! MORE!) then hie thee to the Wikipedia entries linked above. Suffice to say, it’s a fascinating topic.
The next post will be about strategies to increase the chances of successfully completing a PM task. My references and other articles of interest follow below.
Bower, G. H. (2000). A brief history of memory research. In E. Tulving & F. I. Craik (Eds.), The Oxford Handbook of Memory (pp. 3-32). Oxford: Oxford University Press.
Craik, F. I. M., & Kerr, S. A. (1996). Prospective Memory, Aging, and Lapses of Intention. In M. Brandimonte, G. O. Einstein, & M. A. McDaniel (Eds.), Prospective Memory: Theory and Applications (pp. 227-237). Mahwah, New Jersey: Lawrence Erlbaum Associates, Publishers.
Crowder, R. G. (1996). Commentary: The Trouble with Prospective Memory: A Provocation. In M. Brandimonte, G. O. Einstein, & M. A. McDaniel (Eds.), Prospective Memory: Theory and Applications (pp. 143-147). Mahwah, New Jersey: Lawrence Erlbaum Associates, Publishers.
Dobbs, A. R., & Reeves, M. B. (1996). Prospective Memory: More Than memory. In M. Brandimonte, G. O. Einstein, & M. A. McDaniel (Eds.), Prospective Memory: Theory and Applications (pp. 199-225). Mahwah, New Jersey: Lawrence Erlbaum Associates, Publishers.
Dodhia, R. M., & Dismukes, R. K. (2009). Interruptions create prospective memory tasks. Applied Cognitive Psychology, 23(1), 73-89.
Einstein, G. O., McDaniel, M. A., Marsh, R. L., & West, R. (2008). Prospective memory: Processes, Lifespan Changes, and Neuroscience. In H. L. Rodiger III & J. H. Byrne (Eds.), Cognitive Psychology of Memory (Vol. 2, pp. 867-892). Oxford: Elsevier.
Ellis, J. A. (1988). Memory for Future Intentions: Investigating Pulses and Steps. In M. M. Gruneberg, P. E. Morris, & R. N. Sykes (Eds.), Interpersonal Relations and Prospective Remembering (Vol. Some Observations on Prospective Remembering, pp. 371-376). Chichester: John Wiley & Sons.
Ellis, J. A. (1996). Prospective Memory of the Realization of Delayed Intentions: A Conceptual Framework for Research. In M. Brandimonte, G. O. Einstein, & M. A. McDaniel (Eds.), Prospective Memory: Theory and Applications (pp. 1-22). Mahwah, New Jersey: Lawrence Erlbaum Associates, Publishers.
Ellis, J. A., & Cohen, G. (2008). Memory for intentions, actions, and plans. In G. Cohen & M. A. Conway (Eds.), Memory in the Real World (pp. 141-172). New York: Psychology Press.
Elsweiler, D., Ruthven, I., & Jones, C. (2007). Towards memory supporting personal information management tools. Journal of the American Society for Information Science and Technology, 58(7), 924-946.
Elsweiler, D., Baillie, M., & Ruthven, I. (2008). Exploring memory in email refinding. ACM Trans. Inf. Syst, 26(4), 1–36.
Gollwitzer, P. M. (1999). Implementation intentions. Strong effects of simple plans. American Psychologist, 54, 493-503.
Graf, P., & Uttl, B. (2001). Prospective memory: a new focus for research. Conscious Cogn, 10(4), 437-450.
Guimond, A., Braun, C. M. J., Rouleau, I., & Godbout, L. (2008). The relative importance of suboperations of prospective memory. Applied Neuropsychology, 15(3), 184 - 193.
Harris, J. E. (1984). Remembering to do things: A forgotten topic. In J. E. Harris & P. E. Morris (Eds.), Everyday Memory, Actions, and Absent-Mindedness (pp. 71-92). London: Academic Press.
Hicks, J. L., Marsh, R. L., & Russell, E. J. (2000). The properties of retention intervals and their affect on retaining prospective memories. Journal of Experimental Psychology: Learning, Memory, and Cognition, 26(5), 1160 - 1169.
Kliegel, M., McDaniel, M. A., & Einstein, G. O. (2008). Preface. In M. Kliegel, M. A. McDaniel, & G. O. Einstein (Eds.), Prospective Memory: Cognitive, Neuroscience, Developmental, and Applied Perspectives (p. xiii). New York: Lawrence Elbaum Associates.
Koriat, A., & Ben-Zur, H. (1988). Remembering That I Did It: Processes and Deficits in Output Monitoring. In M. M. Gruneberg, P. E. Morris, & R. N. Sykes (Eds.), Practical Aspects of Memory: Current Research and Issues (pp. 203-208). Chichester: John Wiley & Sons.
Kvavilashvili, L., & Ellis, J. A. (1996). Varieties of Intention: Some Distinctions and Classifications. In M. Brandimonte, G. O. Einstein, & M. A. McDaniel (Eds.), Prospective Memory: Theory and Applications (pp. 23-51). Mahwah, New Jersey: Lawrence Erlbaum Associates, Publishers.
Marsh, R. L., Hicks, J. L., & Landau, J. D. (1998). An investigation of everyday prospective memory. Memory and Cognition, 26, 633–643.
Marsh, R. L., Hicks, J. L., & Cook, G. I. (2005). On the Relationship Between Effort Toward an Ongoing Task and Cue Detection in Event-Based Prospective Memory. Journal of Experimental Psychology: Learning, Memory, and Cognition, 31(1), 68 - 75.
McDaniel, M. A., & Einstein, G. O. (2007). Prospective Memory: An Overview and Synthesis of an Emerging Field. Thousand Oaks, CA: Sage Publications, Inc.
Meacham, J. A. (1988). Interpersonal Relations and Prospective Remembering. In M. M. Gruneberg, P. E. Morris, & R. N. Sykes (Eds.), Some Observations on Prospective Remembering (Vol. Remembering That I Did It: Processes and Deficits in Output Monitoring, pp. 354-359). Chichester: John Wiley & Sons.
Park, D. C., & Kidder, D. P. (1996). Prospective Memory and Medication Adherence. In M. Brandimonte, G. O. Einstein, & M. A. McDaniel (Eds.), Prospective Memory: Theory and Applications (pp. 369-390). Mahwah, New Jersey: Lawrence Erlbaum Associates, Publishers.
Rabbitt, P. (1996). Why Are Studies of “Prospective Memory” Planless? In M. Brandimonte, G. O. Einstein, & M. A. McDaniel (Eds.), Prospective Memory: Theory and Applications (pp. 239-248). Mahwah, New Jersey: Lawrence Erlbaum Associates, Publishers.
Sellen, A. J., Louie, G., Harris, J. E., & Wilkins, A. J. (1997). What brings intentions to mind? An in situ study of prospective memory. Memory, 5(4), 483–507.
Smith, R. E. (2003). The cost of remembering to remember in event-based prospective memory: Investigating the capacity demands of delayed intention performance. Journal of Experimental Psychology-Learning Memory and Cognition, 29(3), 347–360.
Smith, R. E. (2008). Connecting the Past and the Future: Attention, Memory, and Delayed Intentions. In M. Kliegel, M. A. McDaniel, & G. O. Einstein (Eds.), Prospective Memory: Cognitive, Neuroscience, Developmental, and Applied Perspectives (pp. 29-52). New York: Lawrence Erlbaum Associates.
Thöne-Otto, A. I. T., & Walther, K. (2003). How to design an electronic memory aid for brain-injured patients: Considerations on the basis of a model of prospective memory. International Journal of Psychology, 38(4), 236–244.
Winograd, E. (1988). Some Observations on Prospective Remembering. In M. M. Gruneberg, P. E. Morris, & R. N. Sykes (Eds.), Remembering That I Did It: Processes and Deficits in Output Monitoring (Vol. Practical Aspects of Memory: Current Research and Issues, pp. 348-353). Chichester: John Wiley & Sons.
Science must leave beauty at the margins of experience as it pursues truth. Art must leave truth at the margins as it pursues beauty.
In the end, science will hopefully produce knowledge that helps us to live more intelligently. Art will produce works that help us experience life more fully. But neither the art nor the science is, in itself, life. That is why we don’t want a society run by either scientists or artists alone. We want a society that has a place for both.
Over the 2010 Christmas vac, I took six books with me but read only one: the 700-page The Writer’s Tale: The Final Chapter. The book is a compilation of emails exchanged between Doctor Who producer/head-writer/show-runner Russell T. Davies – the man we have to thank for the series’ 2005 reboot and reimagining – and Benjamin Cook, a young reporter for the Radio Times magazine and the monthly “Doctor Who Magazine.” Cook initiated the exchange just before David Tennant’s final season as the Doctor. The first email in the book, in fact, is Cook asking to do an article on the nuts and bolts of how a script is written, from inception to filming. Fortunately for us, Davies rather cheerfully and enthusiastically took the risk of exposing his process to Cook. That’s an element of Davies’ psychology that emerges throughout the book: he puts himself into uncomfortable places where he feels particularly vulnerable, though it scares him to death. I admire that a lot. But another less attractive aspect of his personality is that, once in those spaces, he squirms and fidgets and complains until he tires himself out and realizes that, well, this is where he chose to be.
As Davies says elsewhere in the book, he’d never be able to write a proper, straightforward “here’s how to write a script” manual. His process is too personal, interior, and – to an uncomfortable, disquieting degree – emotionally shredding. His emails are chatty, breezy, and one could have probably squeezed all the air out of those emails (especially the one-line bantering and texts between he and Cook) and shortened the book by a good 300 pages.
But I cared not! And I wanted more! I loved every page and lugged the book everywhere we went in Florida (despite its murderously block-like shape, the book is surprisingly lightweight). I loved the light and easygoing conversation between Cook and Davies that made me feel I’d stumbled on one of the great casual correspondences of all time. I read it before going to bed, on awakening, while everyone else napped, after everyone else went to bed. I had been steeping myself at the time in Tennant’s run on the series via Netflix and various Doctor Who review sites and that was good prep for reading the book. My familiarity with the episodes made the behind-the-scenes, chaotic, mad energy of their creation – how the scripts started out in a different place from where they finally ended, fixed in form forever – all the more fascinating to me.
One of the book’s threads is the progression of Cook and Davies’ email relationship from that of observer and subject to confidantes and even collaborators. As the book progresses, Cook the observer texts Davies from the set or at some public event and lobs one or two questions without comment. As an observer, he explicitly starts out by not commenting on bits of script that Davies sends him, does not react as a fan, and does a good job of staying detached. But there are a few crucial points during specific episodes where Cook proffers advice and Davies actually listens.
One I remember is Cook urging Davies to not insert a cliffhanger in the final moments of “Journey’s End” and instead to let Donna’s absence have its time and weight with both the Doctor and the audience. I still can’t quite believe Davies at first wanted to pull the emotional rug out from under the viewers by sticking to his adventure-serial template. But it’s an indication of Davies’ lack of ego when it comes to his writing that he considers the advice and realizes that the quieter moment would make a better story in the end.
And as their conversation progresses, we see Davies trusting Cook, asking him questions, getting his advice. Along the way, Davies doesn’t shy away from the personal questions about his family, his relationships, the crushing demands of his job, and the fears and anxieties that knot his guts at 3 in the morning.
I found myself worrying about the poor man’s health. The pressures and the pace of his business and public life, and the anxieties that hover over him every minute, mean that he gets hardly any rest, no vacations, and I’m sure he subsists on fast food and coffee. Add to this his chain-smoking as he writes a script and the terribly irregular hours he keeps, and you have someone who is rapidly burning himself out.
As for his writing process, we never really get to know the specifics of how Davies does what he does. As he explains in his first email, the entire process takes place in his head and he comments often that even if he knows what will happen later in the story, if he gets stuck on page 1, then he doesn’t go past page 1 until the problem is solved. What does this tendency lead to? Procrastination. Of the worst kind. It’s as if he wants the first draft to be his last draft. So while he doesn’t describe the process of writing a script, what he describes in his emails to Cook is the process he puts his mind, body, and emotions though as he squeezes out yet another 10 pages before collapsing at 3 a.m. or sunrise.
Some of the book’s most horrific passages to me include his self-laceration before the altar of his procrastination. He oftentimes doesn’t start his script until well after it’s due, and sometimes not even then. He is constantly terrified of the challenges that are set before him and that he sets before himself – how do you whip up a galaxy-spanning story when you’re dog-tired from rewriting other scripts, making decisions about what effects to cut from another script to meet the budget, and worrying about leaks to the press that will be badly managed by BBC Publicity?
He is blessed by having understanding producers who rearrange schedules and budgets so he can have the creative room to craft his story and script – and still he procrastinates! Davies laments to Cook that the cast is off to watch a concert being given by a recent guest star on the show, yet he is stuck in Cardiff writing a script. On the side, he’s also created a spin-off series called “Torchwood” and with other writers crafts a 5-part story that will air on 5 consecutive nights. He attends story meetings, they hash out the fates of certain characters – and still he hasn’t started writing his share of the scripts, which leaves the other writers having to write around him.
A Doctor Who Christmas story, “The Next Doctor,” had a grand but rather weak ending. Davies writes on seeing the episode later that he knows now what the problem was and how to solve it, but of course it’s too late. His procrastinatory writing style and the unbelievable pressures of being responsible for a multi-million pound franchise that employs hundreds of people in Cardiff take their toll.
As a writer, I was most interested in what he says he does and what he actually does. He says he hates writing treatments (a precis of the story’s plot and themes) and yet proceeds to write treatments in his emails to Cook. And when he realizes that he’s done so, he’s surprised to find that he’s solved a thorny story problem or gotten an idea that will spur the next burst of ideas and decisions. I wanted to ask Davies – are you listening to yourself? Are you seeing what actually works for you?
Davies often has some poignant regrets and reflections on the way that “Doctor Who” chews up and devours his energy and ideas. I was not aware that Davies rewrote every script before he considered it good enough to pass along to the production crew. Oftentimes, the amount of work he put in would have earned him a co-writer’s credit yet he refused to take on-screen credit for it. (This is probably why, even though the stories in the RTD era may have been uneven, the tone and voice of the show remained consistent throughout. By contrast, the Moffat era’s stories have varied in both quality and tone.) So, in addition to the stories he is in charge of writing, he’s also rewriting every script that he has commissioned from other writers. The Writer’s Tale includes an example of a few pages of script submitted by another writer and then Davies’ rewrite of the scene; it’s fascinating to study. The information from the original script is there, but the patter between the Doctor and Donna in Davies’ rewrite is more lively, energetic, and funny.
Steven Moffat has said that the writer must think about the big, action-packed movie idea he’s been waiting years to write – and that’s a good place to start a Doctor Who story. Davies complains and rages that some of his best ideas, the ones he was saving for a miniseries or when he had more time to really develop them, have to be sacrificed to the merciless production schedule. Case in point: the dark “Turn Left,” which supposes that the Doctor died and then all sorts of disasters happen to Earth that he could have prevented. The result is England as a police state – an idea and image that Davies wanted to address as a subject on its own. Instead, due to production mishaps (including his own procrastination), he has to sacrifice a cherished idea to be a subplot on a Doctor Who story. He bridles and kicks and screams about the unfairness of it all and it kills him to know that he has no alternatives. The story needs to be written. He has no other ideas, or no other ideas that will work. And the show must go on.
Another worry he has – and a legitimate one, I think – is his fear that his time on Doctor Who will leave him so changed that he can’t anymore write scripts about two people simply sitting in a kitchen and talking. Davies made his name writing comedy and drama, not science fiction (even though he had been a Doctor Who fan all his life), with two shows in particular that brought him to the public’s attention: “Queer as Folk,” about the lives of three gay man in Manchester, and “Bob & Rose,” about a love affair between a gay man and a straight woman. These are real people in the everyday world, free of genre considerations. But will he be able to go back? Since leaving Doctor Who in 2010, he helped write and produce another “Torchwood” mini-series and is planning a series called “Wizards vs. Aliens.”
Throughout the book, and as evidenced by his long, funny, chatty, gossipy emails, Davies lives the life of a working writer. That’s what I most admire – he is not precious about the writing process or about the profession. Writing is a job and the writer shows up to do his job – end of story (so to speak). He knew he was in charge of a show that consumed an enormous amount of public money, and he was zealous in ensuring the public got its money’s worth. While he has a generous spirit and seems to be a genuinely nice man, I have no doubt he could be maddening to work with and could be cold in dealing with personnel or other issues that would affect the show’s quality.
I am hoping someone is planning to do a similar book with The Moff! And if they don’t, that’s OK. For me, The Writer’s Tale is a book so big and so rich that I will happily re-read it every Christmas.
This is why my favorite quote on writing comes not from a book about writing but from a book about meditation—The Way of Transformation: Daily Life as Spiritual Exercise by Karlfried Graf von Dürkheim. Though he wrote about Zen meditation practice (and unfortunately in a sexist way), most of what he says applies to the practice of writing as well:
“Only to that extent that man exposes himself over and over again to annihilation, can that which is indestructible arise within him. In this lies the dignity of daring….
"Thus the aim of the practice is not to develop an attitude which allows a man to acquire a state of harmony and peace wherein nothing can ever trouble him. On the contrary, practice should teach him to let himself be assaulted, perturbed, moved, insulted, broken, and battered….
"Only if we repeatedly venture through the zones of annihilation can our contact with the Divine being, which is beyond annihilation, become firm and stable.”
To write honestly is to pass through the “zones of annihilation.” It is to be “assaulted, perturbed, moved, insulted, broken, and battered.”
And if you’re willing to undergo all that—to see whether your ideas can survive the purging fire of editing—then you can emerge with something that’s firm, stable, and worth sharing with the world.
On my old blog, I devoted a long post to thinking about moral and ethical responses to panhandling.
One economist suggested only giving money to those who are not asking for money; a playwright suggests giving when you feel charitable and holding back when you don’t.
I was reminded of that old post by this Yahoo News article on a street panhandler who, when arrested, claimed to have made $60,000 last year from begging.
What made the article more interesting were the sociological bits of how this subculture operates, such as the “Hobo Rules” (which is different from the Hobo Code):
As the man explained, the hobo rules include never making verbal contact with drivers unless to say “thank you” and taking turns with other panhandlers in a 30-minute rotation.
The Hobo Rules define the fine line between soliciting for a charity and begging:
Panhandling, or begging, is to “request a donation in a supplicating manner” versus solicitation, which involves asking for a donation. The “Hobo Rule” of not making verbal contact with people before a donation is given seems to be what differentiates what panhandlers do from solicitation.
And maybe it’s just me – and who are we kidding, it is – I found this paragraph fascinating in its explication of the city’s attitude to policing panhandlers:
Begging is a right held by individuals or organizations, according to the U.S. Supreme Court. Oklahoma City has an ordinance on panhandling four pages long and includes specifications such as: No one can beg or solicit using manners, gestures or words that intimidate a reasonable person to believe his person or property are in threat of danger; blocking or interfering with the passage of a person or vehicle; and no begging or soliciting of people entering public buildings, in line for tickets, riding on public transportation, at ATMs, within 20 feet of outdoor seating for cafes or restaurants, nor at mass transportation stops.
I have thoroughly enjoyed showrunner/head writer Steven Moffat’s fresh take on Doctor Who, and I’ve equally enjoyed Matt Smith’s take on the character and the deepening relationship between the Doctor and his new companions, Amy (Karen Gillan) and Rory (Arthur Darvill). Part of the excitement may have been being in on Seasons 5 and 6 as they’ve been broadcast; I came to the 2005 reboot late and gorged on Netflix streaming of the episodes as my school and work schedule allowed.
The problem with coming to the show late was that the conversations around the episodes had already happened, so it was like coming to a party late only to find the leftovers – paper plates, cups, empty bottles and cans, and handsful of snack foods strewn all over the counters and tables – after all the people have left the house and moved on to the next party. So part of my excitement about seeing the episodes as they’ve aired is also waiting to see what the reviews are like, whether I agree with them, leaving comments, and joining in the conversation myself.
I do have to often remind myself – this is just a TV show and there are reasons beyond reasons why stories and seasons work out as they do. Reading The Writers Tale by previous showrunner and the man responsible for the series reboot Russell T Davies showed just how haphazard and crazy-making is the production that goes on behind the scenes. I’m sure Moffat’s reign has been no different. That so many good episodes get made that delight so many people is something to be thankful for, and I usually find something to enjoy even in the so-so episodes.
Anyway – the final episode of this mini-season aired over the weekend, so here are my (I hope) capsule comments. And keep in mind I’ve only seen these episodes once, so, caveat emptor. Also – Spoilers!
Well, I babbled on all about this episode in a previous post. I’ll reiterate that, despite the story’s longing to impress with its epic scale, it still felt like a small episode. Small emotionally, that is. I could never believe that Amy and Rory would have separated, so that seemed like fabricated conflict and it was never referred to again (much like Amy’s inability to have children; she adjusted to that pretty well, didn’t she?). But the Doctor’s discovery of Oswin’s true nature – and the show’s toying with the audience all the way through till the twist – is classic Moffat and was absolutely brilliant. He has a weakness for being too clever by half and loves high-concept structures (such as Donna Noble’s life in the library, which used the standard TV technique of jumpcuts as part of the storytelling method).
Still, a throat-grabbing season opener, written with his typical quickness and smash-panache. It’s probably unfair to ask other writers to create Moffat-type blockbuster stories; he’s really the only one who can do that kind of story justice. And he’s one of the few to actually play with timey-wimey stories, though I fear he over-relies on certain types of time-travel stories to the exclusion of others.
A romp, which is what was called for, but not a story I’ll come back to often. The villain was the kind of unrelieved evil bastard that we rarely see in the series and I was frankly glad for the Doctor to send the guy to his reward, morals be damned.
What I liked most, though, was the interplay with Rory’s Dad, Brian, and the changes that occur to him due to his adventuring in the TARDIS.
Amy, particularly, finds herself still to be the girl who’s waiting for the whine of the TARDIS. Why is the Doctor’s gaps between visits getting longer and longer? Also, that chilling moment of dialogue that Steven Cooper captured so well in his review:
When Amy tells of her fear that one day he’ll simply stop showing up and she’ll be left waiting forever, he promises her, “Come on, Pond. You’ll be there till the end of me.” Amy cheerfully replies, “Or vice versa,” and then there’s an odd, rather horrible pause until the Doctor finally says softly, “Done…” He immediately pretends that he just meant he had finished what he was working on, but it’s obvious that something important has been set in motion. An ominous portent for the future, and a signal that the time for carefree adventuring is over.
Also, the way he looks longingly at Amy and Rory as they gaze down at Earth. The look of immense sadness on the Doctor’s face is a signal to me that he already knows their future. And this is one of his last chances to let that sadness show.
Not much of Amy and Rory in this episode, but a great setting and a moral quandary reminiscent of Star Trek: The Next Generation. The Doctor is better used here, and the acting and speeches are all done to a faretheewell. For such a talky episode, I found it absorbing. Definitely one I’ll see on a threepeat.
The big honking bash-us-over-the-head-with-it clue is that the Doctor was taking the Ponds to a Day of the Dead festival. Oh come on! Isn’t that a little too on the nose?
Most reviewers commented that this felt like a classic RTD episode: invasion of Earth, big emotions, UNIT. Good stuff and props to the writer Chris Chibnall for delivering an episode that delivered on the emotions but not so much on the story.
I agree with most of the reviews that say the ending did not live up to its promise, but when does that ever happen in most stories? The premise is always the best part, with Acts 1 and 2 exploring the implications of the premise. Act 3 usually comes up short. It’s even worse in genre stuff like science fiction or Doctor Who (I like The Moff’s description of the show as fantasy and fairy tale). As Harlan Ellison has said of writing science fiction, the emotional and intellectual content has to always sink below the level of the rococo furniture of plot, pacing, logic, etc. How many really great Doctor Who endings have there been? RTD hit the reset button multiple times, as did The Moff in “The Big Bang,” so let’s just be glad the ending didn’t take up more time.
The A story for me was the Ponds finding that they enjoyed real life, non-Doctor life. I couldn’t quite believe that Rory missed the running around and adventuring; he always struck me as the one most likely to want to settle down and live a normal life. And Brian’s pointed question to the Doctor of what has happened to his previous companions was gloriously and gravely delivered by Matt Smith.
“Some left me, some got left behind, and some—not many, but… some died. Not them, Brian. Never them.”
Does the Doctor know at this point what will happen next? If he does, how dare he look at Brian in the face, and smile, and salute? Even so, that final moment is gracious and wonderful.
The highlight, the sheer emotional pinnacle of the season thus far is the conversation between the Doctor and Amy, where he confesses his love for both Rory and Amy – “you’re imprinted on my hearts” – and that he’s never running away from things, but running to them before they fade – as Rory and Amy will fade. It’s a heart-choking moment as they simply sit and enjoy each other’s company. Amy is the companion whose life has been the most affected – even abused – by her time with the Doctor. It’s astonishing how Gillan lets Amy absorb those experiences and still find peace and happiness with both Rory and the Doctor.
Again – is this the Doctor stealing one last moment of closeness with the Ponds after the New York adventure? Just because we see these stories in a particular order doesn’t mean Moffat isn’t playing timey-wimey games with us.
Oh. My. God. I had to watch the last 20 minutes standing up as I was too anxious and scared to sit without squirming. Typical Steven Moffat story! Timey-wimey, breakneck speed, fabulous images, chilling plot twists, and darker, more jagged emotional edges for the Doctor. I was aghast at how he left River to get herself free of the Angel and then not noticing the price she paid to get free – and her determination to keep him from knowing the price all of his companions pay. Although River didn’t play a big part in the story’s big moments, her presence made this a family episode and she lent considerable weight to the emotional moments.
Amy and Rory are getting older, as is River – but not the Doctor. The Doctor loves Amy and Rory but we know he also likes the company of the young and can’t bear to see these short-lived humans he loves wither and die. How to resolve this? And – the actors playing Amy and Rory have stated they don’t want to do any cameo appearances on later episodes. The Ponds’ farewell has to be final, and Moffat must craft that type of story. (Unless he’s lying. Rule One: Moffat Lies.)
Yes yes yes, there are plotholes. (How come Amy and Rory aren’t scooped up the big Angel when they’re not looking at her? Why aren’t the Doctor and River taken by the graveyard angel? Where do Amy and Rory wind up when they’re sent back?) But as Moffat has said, the scene on the roof with Amy and Rory is where they grow up, where they come into their own and are free of the Doctor. The Doctor offers little help to anyone in this episode and suffers the most loss. The cleverness that enabled a reboot of the universe and escaping death on the beach is not present here. Amy’s final scene, as she has to say good-bye to the Doctor and give instructions to River without turning to look at them, was powerful and wrenching. I’m sad that Rory didn’t have a similar farewell scene, but his moments on the rooftop made up for that.
Notice how the headstone didn’t include their years? Probably not significant. The point was to show that they had lived long, full lives – without the Doctor. And continued to help him with the writing of the novel that provided the clues he needed to get him out of the dilemma with the Angels. That device is so reminiscent of what Sally Sparrow does in “Blink”; Moffat really loves to pieces and overuses the Bootstrap paradox of time travel, and I dearly wish he could think himself out of that device and play a little more.
I so, so want a few lines in a future episode where he looks them up in old newspapers or books – why did they stay in New York? How did they survive their first days in New York with no ID, no money, no friends, no comforts of home? How could two people used to the comforts of the modern era adapt to mid-20th century life? But then, hadn’t they survived much worse? Maybe it’s enough to know that they lived happily ever after and – though they didn’t decide it on their own – had stopped waiting and started living.
I may yet have another Doctor Who related post up my sleeve at some timey-wimey in the future. Until then – waiting impatiently for the Christmas episode!
Wikipedia has become such a daily part of my online life (like email – remember life before email? Anyone?), that it’s both startling and a little thrilling to find outré articles or even stray sentences and paragraphs that make me do a double-take and read them again to make sure I read them right.
There’s something about that flat, unemotional, just-the-facts style that makes the bizarre content even more absorbing and, in some cases, hilarious. Like in high school, when we were first introduced to the thesaurus and promptly looked up all of the synonyms for “prostitute.” (Forgive! We were kids! The words sounded funny!)
Herewith, a selection of Wikipedia articles that have caught my eye over the years. And stuff that I spent way too much time this evening discovering for this post.
Some excerpts are just sentences that I found worth keeping or pondering; others will, I hope, lead you to click through and read the full articles. There are many funny, weirdly interesting, unusual, poignant, and even downright creepy stories lurking within Wikipedia’s vast and lightly inhabited archive.
At the bottom of this post are some links that can help you with your own explorations.
Polybius is a supposed arcade game featured in an Internet urban legend. According to the story, the Tempest-style game was released to the public in 1981, and caused its players to go insane, causing them to suffer from intense stress, horrific nightmares, and even suicidal tendencies. A short time after its release, it supposedly disappeared without a trace. Not much evidence for the existence of such a game has ever been discovered.
Cronkite trained himself to speak at a rate of 124 words per minute in his newscasts, so that viewers could clearly understand him. In contrast, Americans average about 165 words per minute, and fast, difficult-to-understand talkers speak close to 200 words per minute.
From her recordings it is apparent that Jenkins had little sense of pitch and rhythm, and was barely capable of sustaining a note. Her accompanist can be heard making adjustments to compensate for her tempo variations and rhythmic mistakes. Her dubious diction, especially in foreign language songs, is also noteworthy … Despite her patent lack of ability, Jenkins apparently was firmly convinced of her greatness. She compared herself favorably to the renowned sopranos Frieda Hempel and Luisa Tetrazzini, and dismissed the abundant audience laughter during her performances as “professional jealousy.” She was aware of her critics, but never let them stand in her way: “People may say I can’t sing,” she said, “but no one can ever say I didn’t sing.”
The covers of Doll Man’s comics frequently portrayed him tied in ropes or other bindings, in situations ranging from being tied crucifixion-style to a running sink faucet, to being hogtied to the trigger and barrel of a handgun. The persistence of this male bondage motif in Doll Man comics among others can be contrasted with other comic books which historically portrayed women in positions of vulnerability and submission.
The Battle of Ryesgade was a nine-day series of street fights in mid-September 1986, in the Copenhagen street Ryesgade. It was the most violent event in a long-standing conflict between the Copenhagen city council and the city’s community of squatters. Faced with an ultimatum to leave their illegally occupied housing or face eviction, the squatters instead fortified the streets around their building so strongly that it became a cop-free zone. They took advantage of this lack of control by burning down a building belonging to the Sperry Corporation. For nine days, massed police unsuccessfully attempted to evict the squatters. The civil disorder was of a magnitude never before seen in Denmark. After communicating a manifesto through the media, the defenders finally abandoned the squat and dispersed without being apprehended.
Lucia Pamela (1904-2002) was a St. Louis, Missouri-born multi-instrumentalist and former 1926 Miss St. Louis who, in 1965 recorded the album Into Outer Space With Lucia Pamela. The self-funded album (released in 1969) consisted largely of Pamela breathlessly telling listeners of her adventures in outer space where she meets intergalactic roosters, Native Americans and travels upon blue winds.
The Max Headroom broadcast signal intrusion was a television signal hijacking in Chicago, Illinois, on the evening of November 22, 1987. It is an example of what is known in the television business as broadcast signal intrusion. The intruder was successful in interrupting two television stations within three hours. Neither the hijacker nor the accomplices have ever been found or identified.
Scroll down to the external links section of the Wikipedia article and watch a recording of the video on YouTube.
Henry Joseph Darger, Jr. (ca. April 12, 1892 – April 13, 1973) was a reclusive American writer and artist who worked as a custodian in Chicago, Illinois. He has become famous for his posthumously-discovered 15,145-page, single-spaced fantasy manuscript called The Story of the Vivian Girls, in What is known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion, along with several hundred drawings and watercolor paintings illustrating the story.
Theodore Sturgeon vividly recalled being in the same room with L. Ron Hubbard, when Hubbard became testy with someone there and retorted, “Y’know, we’re all wasting our time writing this hack science fiction! You wanta make real money, you gotta start a religion!” Reportedly Sturgeon also told this story to others.
Pen spinning is known as “pen mawashi” (compare for example mawashi-geri, “round-kick”) or, more disparagingly, “ronin mawashi” “college student spinning” in Japan where the pastime has been popular since at least the 1970s, and where the Pen Spinning Association Japan is now dedicated to promoting the aspiring art form.
Ishi (ca. 1860 – March 25, 1916) was the last member of the Yahi, the last surviving group of the Yana people of the U.S. state of California. Widely acclaimed in his time as the “last wild Indian” in America, Ishi lived most of his life completely outside European American culture. At about 49 years old, in 1911 he emerged from the wild near Oroville, California, leaving his ancestral homeland, present-day Tehama County, near the foothills of Lassen Peak … Ishi means “man” in the Yana language. The anthropologist Alfred Kroeber gave this name to the man because it was rude to ask someone’s name in the Yahi culture. When asked his name, he said: “I have none, because there were no people to name me,” meaning that no Yahi had ever spoken his name.
I’m using this page to record translations of the English phrase “I ate my cat” in (hopefully) every written language ever conceived by man.
Michael Fagan (born 1951) was an intruder who broke into Buckingham Palace in Central London and entered the Queen’s bedchamber in the early hours of 9 July 1982. The unemployed father of four children managed to evade electronic alarms as well as both palace and police guards.
The Game is a mental game where the objective is to avoid thinking about The Game itself. Thinking about The Game constitutes a loss, which, according to the rules of The Game, must be announced each time it occurs. It is impossible to win most versions of The Game; players can only attempt to avoid losing for as long as they possibly can. The Game has been variously described as pointless and infuriating, or as challenging and fun to play. As of 2010, The Game is played by millions worldwide, although in theory, the whole world is playing it.
“Buffalo buffalo Buffalo buffalo buffalo buffalo Buffalo buffalo” is a grammatically valid sentence in the English language, used as an example of how homonyms and homophones can be used to create complicated linguistic constructs.
The Boston Molasses Disaster, also known as the Great Molasses Flood and the Great Boston Molasses Tragedy, occurred on January 15, 1919, in the North End neighborhood of Boston, Massachusetts in the United States. A large molasses storage tank burst, and a wave of molasses rushed through the streets at an estimated 35 mph (56 km/h), killing 21 and injuring 150. The event has entered local folklore, and residents claim that on hot summer days, the area still smells of molasses.
Lenna or Lena is the name given to a 512×512 pixel standard test image which has been in use since 1973, and was originally cropped from the centerfold of November 1972 issue of Playboy magazine. It is a picture of Lena Söderberg, a Swedish model, shot by photographer Dwight Hooker. The image is probably the most widely used test image for all sorts of image processing algorithms (such as compression and denoising) and related scientific publications.
The Five Tibetan Rites is a system of exercises reported to be more than 2,500 years old which were first publicized by Peter Kelder in a 1939 publication entitled The Eye of Revelation. Although practically nothing is known about Kelder, one source reports that Kelder was raised as an adopted child in the midwestern United States, and left home while still in his teens in search of adventure. In the 1930s, Kelder claims to have met, in southern California, a retired British army colonel who shared with him stories of travel and the subsequent discovery of the Rites. Originally written as a 32-page booklet, the publication is the result of Kelder’s conversations with the colonel. The Rites are said to be a form of Tibetan yoga similar to the yoga series that originated in India. However, the Five Rites and traditional Tibetan yoga both emphasize “a continuous sequence of movement” (Sanskrit: vinyasa), whereas Indian forms focus on “static positions”. Although the Rites have circulated amongst yogis for decades, skeptics say that Tibetans have never recognized them as being authentic Tibetan practices.
This page is for Wikipedians to list articles that seem a little unusual. These articles are valuable contributions to the encyclopedia, but are a bit odd, whimsical, or something you would not expect to find in Encyclopædia Britannica.
The motherlode of pages to while away many a carefree hour or twelve!
On Wikipedia, many lists themselves contain lists.
Certainly, this has to count as both a ridiculously recursive title, yet an oddly noble example of Wikipedian organization.
This is a list of current, widely held, erroneous ideas and beliefs about notable topics which have been reported by reliable sources. Each has been discussed in published literature, as has its topic area and the facts concerning it. Note that the statements here are the correct facts, not the misconceptions themselves.
Wasting time with Wikipedia?. A great great great collection of links contributed by Web surfers like yourself. Start here.
From the bold to the beautiful, from the wicked to the wise, every day the Wikipedia team relegates possibly “inappropriate” submissions to the garbage dump of time. Here, we make selected “potential” rejects immortal and preserve them for posterity. (All of these entries have been nominated for deletion at the time of posting.)
I use a lot of bookmarklets to make my browsing faster and more convenient. I use them to stop blinking text, subscribe to RSS feeds, post to this blog, hide all images on a page, and so on. One of the most important bookmarklets I add to my browser is one I found at MacWorld that enables you to search for text throughout the site you're currently viewing, not just the current page.
Just today, for example, I wanted to know whether I had ever blogged on the topic of boredom. So I navigated to the blog and clicked on the Google Site Search bookmarklet in my Links toolbar. In the dialog box that popped up, I entered "boredom|boring" and hit OK.
The bookmarklet piped my search text through Google's "site:" search filter and the browser returned a list of pages from my blog that contained the search terms.
I find the Google site: search to be more reliable than most web sites' built-in search facility. It's a fabulous addition to any Web user's research toolkit.
From today’s News & Observer’s Horoscopes by Jeradine Saunders:
LIBRA (Sept. 23-Oct. 22): You are perched on the brink of success. Have faith that precious plans for the future are viable even when it seems that core values are briefly opposed by others.
Woo! It continues:
IF SEPTEMBER 24 IS YOUR BIRTHDAY: You have the power to pursue your dreams in the year to come. You might be caught up in a romantic fantasy, or you could be held in the grip of some new business idea. In either case, work hard, study hard and pay your dues, but hold off on making new commitments or irrevocable decisions. In December, your penchant for fantasy could distract you from what really needs done.
I do have a dreamy temperament, so they pegged me there.
A glorious rant from one of the keystone authors of my first couple of decades on this spinning rock, Harlan Ellison. This is a clip from the documentary Dreams with Sharp Teeth, which is itself quite good. (I’d forgotten that I’d linked to this clip before. Forgive me!) I was pleasantly surprised to see that almost all of HE’s books are available in Kindle format via Amazon and at great prices.
In moments of great emotional stress, we revert to our worst habits: we dig in and fight harder. The real trick is not to get better at fighting — it’s to get better at stopping ourselves: at taking a deep breath, calming down, and letting our better natures take over from our worst instincts.
Someone famous (Samuel Johnson? Aristotle?) said that in writing (and here I paraphrase because I’m too lazy to hunt for hours for the exact quotation), “Something should be revealed and something should be concealed.” For any writing students out there, that means that in those short essays for your high school or college classes, don’t list in the introduction every point you plan to develop.
Oliver Burkeman writes about a woman who actually visits all of her Facebook friends to see if they’re really friends. She’s writing a book about the experience, of course. It’s one of those stunt ideas that will become a book whose message we will skim, we will blog and tweet about it for a week, we will stroke our chins thoughtfully, and then we will toss the book into the pile going to the library’s book sale.
Burkeman uses her story as a lens to explore the popular research on social ties, friendships offline and on-, and the idea of “decluttering” your life by letting go of the “friends” we accumulate as easily as we accumulate books, shoes, knick-knacks, and other physical clutter. How many friends can you really manage? How can you measure the quality of a friendship, either online or offline?
“Friend clutter”, likewise, accumulates because it’s effortless to accumulate it: before the internet, the only bonds you’d retain were the ones you actively cultivated, by travel or letter-writing or phone calls, or those with the handful of people you saw every day. Friend clutter exerts a similar psychological pull. The difference … comes with the decluttering part: exercise bikes and PlayStations don’t get offended when you get rid of them. People do. So we let the clutter accumulate.
I’ve written before about the idea that electronic connections keep relationships going that, under ordinary circumstances, we would probably slough off. (Keeping in mind, of course, that sometimes I am the person who someone sloughs off.)
That said, I do have certain rules when I “friend” someone:
Were I to start a business on the side, I’d re-examine my relationship with these services. But for now, this is a picture of how I manage my online relationships.
I don’t unfriend or unfollow many people because I believe that I’m careful about who I let in to my life. I try to keep a certain number of people who I can stay in touch with fairly regularly and whose company I would enjoy. I try to have lunch or a meal or a coffee with local friends fairly regularly; it’s important to me that I see my local friends face to face. I don’t put such things on a calendar or anything; the prompt for these get-togethers is usually, “Hm, haven’t heard from X in a while. Wonder how they’re doing?”
I send distant friends birthday cards and letters a couple of times a year, sometimes longish emails, rarely longish phone calls. I and most of my friends are at stages in our lives where we’re superbusy with families, careers, etc. and so staying in touch takes conscious effort. We all know this, so once-in-a-while updates are OK with me.
I can’t remember where I got this quote, but I remember saying it at my 50th birthday party: “Whoever dies with the most friends, wins.” I said it to a roomful of friends on a warm September night who chose to spend their Saturday evening celebrating with me and it was one of the happiest moments of my adult life.
Dear Ones, it’s beautifully simple. Surrender. Go with the flow. Spend time doing what brings you joy. Focus on what you want more of. Love. Practice gratitude. Humans love to make things more complicated than they need to be. If you simply focus on those basic aspects, you will be living the life of your dreams in record time. ~Archangel Gabriel
At a recent mastermind meeting, my fellow blogger Mike Uhl asked what I felt about having crossed the halfway point of writing 50 M-F blog posts. Did I feel great about accomplishing that milestone? Was I having fun doing this thing? I’ve always had a tough time with “fun.”
I was once asked years ago what I did for fun, and I really had no answer. I don’t think I’m a drudge or mechanical person, but this was a question I never thought to ask myself. There are many things I enjoy – reading, comics, museums, eating out, sitting on the back porch during a thunderstorm – but “fun” is a different type of word that suggests abandonment of self, losing oneself in an exciting activity. I’ve always thought or believed that people were referring to roller coasters or white-water rafting or some other intensely physical activity when they referred to fun. It was just something I never really noticed in myself.
(Perhaps my life has been lived minimizing pain rather than maximizing pleasure? Discuss.)
So, let’s overthink about this. I like the idea of breaking “fun” into “fun-fun” and “serious fun.” This paper defines serious fun as “play with a purpose.”
Serious fun goes beyond the apathy of strict order and the over-excitement of chaos to generate an ordered chaos that permits freedom within structure and fun within limits.
Fun-fun has no purpose beyond itself. Which is great. We need this. For me, that can be laughing till I hurt at a Flying Karamazov Brothers show or, from my distant past, performing in a play. The most fun I ever have, I think, is talking to friends, losing myself in conversation and connection with other people. My 50th birthday party last year was one of the peaks of 2011 and I enjoyed every minute of it – the anticipation, the singing, and the remembering it later.
And while I enjoy watching a movie or TV show or most performances, I don’t call that fun-fun. My years as a theater and movie reviewer, and as someone who enjoys thinking about writing fiction, have enforced a habit of judging, balancing, guessing where the narrative or performance is going, and then evaluating its execution. It keeps direct experience at an arm’s length.
When I think about how I spend my time, I lean more toward “serious fun.” I enjoy losing myself in an activity, but I want that activity to have a result. I can happily lose myself in emptying my bookshelves and then putting all the books back in some new ordering scheme. I can rename a folder full of PDFs so they sort just as I want, and time flies. I can also easily lose myself in writing, whether it’s fiction or a blog post, and enjoy seeing what I produced.
I can’t say that I have fun-fun writing these blog posts; there’s no sense of physical abandon to the writing (more like stiffness and eyestrain).
But I have serious fun. I enjoy finding something out and sharing it on my blog. I enjoy taking an inchoate idea and surprising myself by shaping it into something like a mini-essay. I enjoy documenting the Byzantine curlicues of my baroque thought processes, though I am often dismayed at how complicated I make my life. I like documenting my little habits and routines; each post becomes a message in a bottle that I will look at years from now and go, “Huh. I forgot all about that.”
Has anyone ever figured out that 90% of the posts on this site are actually (notes|pep talks|reminders) to myself? I sometimes think not. The site definitely makes more sense once you get this.
I enjoy losing myself in the activity of writing, in creating this object. The fun at the start of the writing, which is playing with the idea and being surprised at the words it collects around itself, eventually gives way to the more serious business of making this machine work. From the first paragraph, the reader enters a contraption from which the only escape should be the last paragraph.
The crafting of that machine, the polishing and fixing – it takes focus and time. Even for short posts, I think about placement, context, wording, sentence rhythms, etc. What I hope is that, after I hit Publish, I can feel good about the time and energy I spent. The result of my efforts can be several hundred words of adamantine prose and unblockable metaphors, plus a feeling – a satisfied feeling – that my time was well-spent.
When I look at the calendar to the left of the post and see another day in bold italics – signifying a new post – I am pleased with myself for sticking to the plan.
When I peruse the finished object later in my feed reader, I hope to lose myself again in what I created – this time, as a reader.
When I scan my ideas and drafts for the next post, I start feeling that little tingle of excitement – what will I write next? What do I want to share? How long do I want it to be? What’s interesting to me today? What idea has been ripening for a while and is ready to fall?
That moment just before I decide – like the moment the curtain goes up just before the show begins – is probably the most fun moment of all.
Of the 52 Killer Tricks for Your Kindle, some are useful only for the first 3 series (#’s 2, 3, 5, 6), others for Fire only (#8), others are so arcane and specialized as to be almost nonsensical (#’s 9, 15), some are DIY and may require more nerve than even I have (#’s 1, 14, 26, 42), some are only tangentially related to the Kindle (#’s 16, 30, 36) and on and on. So right away, you can simply skim this list and reduce it to something more manageable. Is it possible that your humble correspondent may have a few tricks that didn’t make it to the list? Verily, I saith unto you: Yes.
As I’m using a Kindle Touch, some of the “killer tricks” (which I daresay would reveal themselves with a skim of the manual) don’t apply. Some of the tricks reveal themselves with a simple read of the manual: keep the wi-fi turned off to save your battery, email PDFs to yourself, play MP3s, and so on. And I have, of course, already thoroughly documented my screensaver workflow.
There were a few things the original article missed, so allow me to add to the conversation.
For public domain books in Kindle format (#3), I’d also recommend Project Gutenberg, which offer Kindle versions of its texts in .mobi format. You can download the Magic Catalog (.mobi file) and get a list of all the books and texts they offer. Click on a book title and it’s downloaded to your Kindle in the background.
Even better: use your Kindle’s browser to navigate to m.gutenberg.org, where you can have a more interactive experience searching for and downloading ebooks.
Another neat way to get Kindle-formatted public domain books is to navigate to this page on the MobileRead forums site and search the page for “MobileRead’s Download Guide.” Download that file and transfer it to your Kindle (or download it directly from the MobileRead page), wait a bit while the Kindle indexes it, and then you have a file containing a list and descriptions of 11,000+ books formatted by MobileRead members; click on a link to download the book in the background (wi-fi has to be on, of course). The file is updated daily. There’s overlap between the MobileRead and Gutenberg lists, sure, but it’s fun to compare them and see what they offer. I use both and sometimes just have fun browsing the lists.
I also like the Delphi Classics site, mainly for just knowing that it’s possible to download the complete works of most any “classics” author.
Bookmark the software update page and set yourself a reminder to check it monthly or whenever is convenient. You won’t get any notice from Amazon that updates are waiting for you.
One of Kindle’s features is that you can highlight passages from any book or article you’re reading and it’s saved in a file called clippings.txt. Findings lets you upload your clippings.txt file so others can read what you’ve highlighted, and you can read what other Kindle owners found worth noting. It started as a Kindle-only hangout, but they’ve since rolled out bookmarklets and such so that you can highlight anything you see on the web and have it posted.
The clippings.txt file contains the contents of all the highlighted passages from everything I’ve read on the Kindle. So it includes tips and tricks, quotes I want to remember, procedures, beautifully written passages, etc.
You can open and browse the file from the Kindle home screen and it’s easy enough to copy the file to my MacBook and open it up in a text editor, but it looks ugly and there is no easy way to browse the collection. So a lot of what I’ve highlighted is trapped in a file that is difficult to navigate, read, and use.
The amazing and free Clippings Converter site will transform the clippings.txt file into more attractively formatted Word, PDF, or (my favorite) Excel files. It provides a much better and easier method to process and re-use this text in other ways.
The 52 tricks site convinced me to download Calibre (#16) and give it a try, and I’d not heard of the KIF project (#40) that lets you play old Infocom games on the Kindle, nor did I know of the justification hack (#44). Off now to do some minor-league hacking…
This is why the potential is always there for me to get nothing done. Here are some of the top links that caught my eye from today's Arts & Letters Daily and Marginal Revolution sites. I could have spent a happy hour reading all of them, but I decided to confine them to my Readability queue instead. I may actually get around to reading these items in the next few months. We'll see if they're as interesting to me then as they are today.
For many years, I’ve taken shameful (or shameless) advantage of Top Shelf’s annual $3 web sale of comics and graphic novels from their catalog. Not everything is $3, of course – but a large number of selected items from their catalog are remarkably discounted, with some inventory they’ve never been able to shift cut down to $1.
But I caught myself. I didn’t feel that little thrizzle I used to feel when anticipating the comics I wanted to buy. Sad to say, I felt a little hollow in there. I also felt a little sad knowing I didn’t really need any of them.
Beyond the financial calculation, I’d also computed the space, time, and interest calculations. Space: I’m already maxed out on my bookshelf space and have dozens of great comics and graphic novels I haven’t processed yet. Time: I’ve had some of those books for literally years, yet I haven’t read them. So what makes me think that I would treat new books brought into the fold any differently? Interest: I’m certainly curious about these books, but the visceral interest just isn’t there. I’m simply more interested in other things now.
I think the time for profligate reading is behind me. At least for now. I feel more drive and interest in solidifying my career (as a contractor, I always work on shaky ground), spending more time with family and friends, and generally being more active. In some ways, I’m reading as much as ever, but the time I can devote to reading is shrinking and I am finding it easier to shrug off some items that I previously considered necessities.
Getting out of one’s comfort zone by trying some new behavior or activity is the modern panacea for self-improvement. I’ve certainly adopted it in the last few years by taking on leadership roles, trying new activities, and taking on bigger responsibilities – all while feeling anxious and ill-prepared. Moving out of my comfort zone by doing these new things stretched me and expanded my sense of what I could do. I’m glad I did them.
A slightly different aspect of expanding the comfort zone is not doing things that previously brought pleasure. Addicts of all stripes know that abstaining is an active struggle; it’s the struggle that moves you out of the comfort zone.
My struggle this year in deciding what comics to buy at the Top Shelf sale turned into a non-struggle. I found it sad, necessary, and surprisingly easy to set aside my desire for a yearly jolt of color and novelty. I wondered what I would replace that activity with. Which is when I started writing this post.
Treat your ears right. Listen to this hypnotic piece from composer Mara Gibson.
Mara held an annual recital for her students at the back of Boyce Piano Emporium on 15-501. I didn't realize up till then that she mostly taught elementary- up to high school-age kids, who sat at the front of the room, with about 7 or 8 of her adult students sitting behind them (along with all the parents). After the last little person played his song, Mara called my name and I could hear the titters and amused murmurs from the audience as I lumbered up to the piano to announce my recital piece.
"Hi," I said, "my name is Mike Brown and I started taking lessons with Mara about eight months ago. I'll be playing three short pieces by Dmitry Kabalevsky. And," I paused, looking around the room at the kids and parents, "I believe I'm the first person playing today who is over 6 feet tall." That got a nice laugh and Liz said later it definitely broke the tension.
Many parents came up afterward to congratulate me and expressed their wonder and admiration at my performing a recital piece in front of a room full of people. I thanked them and then waved my hand at the kids -- who had just done the same thing that I did. The parents seemed to think that performing was something children naturally did, whereas putting oneself in a position where one could fail (or succeed!) publicly was something they couldn't conceive of an adult doing.
Mara eventually left Duke with her husband, the artist Brett Reif, to finish her PhD. Since 2004, she has been on the faculty of the Conservatory of Music and Dance, University of Missouri-Kansas City. She leads the life of a busy artist, academic, and mother and I'm so happy to see her making so many big contributions to her art and her community.
Mara has also started selling some of her compositions digitally: Canopy and the hypnotic Map of Rain Hitting Water (embedded below). You can listen to the full pieces and then purchase and download them to your computer. It is so cool to have a Mara Gibson playlist on my iPod!
[O Fortune, changing and unstable, your tribunal and judges are also unstable.
You prepare huge gifts for him who you would tickle with favors as he arrives at the top of your wheel.
But your gifts are unsure, and finally everything is reversed:
you raise up a poor man from his filth and the insufferable bullshitter then becomes a consul.]”