Bestselling Comics (2006) #3696
Bestselling Comics (2006) #3696

Web Worker Daily posts a mini-profile of Dayna Bateman, an information architect for Fry Inc. Various education qualifications are listed, and hands-on experience (though education can help out there too). I don't find it a surprise that many shopping and interactive sites get it wrong and need help. Those are big projects and it requires a champion (maybe several) inside the company to push for what may be an expensive overhaul of an existing site. Also, if generals are fighting the last war, then retailers are chasing last year's trends.

What interested me:

• Bateman is working on a master's of science degree in HCI from DePaul ("to formalize what I had learned in the trade"). For someone who's already got deep experience and a reputation in internet retailing, I thought it interesting that she feels the need for a degree. It would be interesting to know whether she wants the degree to provide an academic balance to her resume's real-world experience (she's probably solved problems that haven't occurred to most academics), whether her company encouraged it, or whether she felt she needed a mental change of pace. I'm going at my degree from the opposite direction: I'm hoping to gain some formal knowledge that can help me get experience.
• Very impressed by her commitment to self-education: keeping up with conferences, surfing and shopping to stay on top of new trends and patterns. She soaks herself in her subject.
• She predicts that "transactions will become increasingly simplified" as mobile phone use becomes more prevalent. Using a cell phone frees people from being tethered to their PC in order to shop and buy. (And it is all about shop and buy, isn't it?) I'll keep an eye on whether my coursework in the coming years even touches on mobile technology at all.

I'm all for simplification--spare me from having to create an account at every store I want to buy from. However, as someone who uses a Tracfone and practices one-way cell calls (I can call you, but you can't call me because I leave my phone turned off), I feel like a curmudgeonly grandpa snapping at new-fangled progress.

Conan the Barbarian #10
Conan the Barbarian #10

I recently had to make a presentation at work on ontologies--the basics, really, of what they are, how they're used, and what the heck is OWL? I found the following links and sites helpful in creating my presentation, and thought I'd share them here.

The Basics

• Synonym Rings and Authority Files - Boxes and Arrows: The design behind the design
• XML.com: Ontology Building: A Survey of Editing Tools
• XML.com: Ontology Tools Survey, Revisited
• Are the terms ontology, taxonomy, and folksonomy interchangeable? | Ask MetaFilter
• Guided Tour of Ontology

Advanced Material

• Video: How to Build a Scientific Ontology
• Developing and Creatively Leveraging Hierarchical Metadata and Taxonomy - Boxes and Arrows
• Ontology Development 101 (Protege user documentation)
• Metadata? Thesauri? Taxonomies? Topic Maps!
• Ontologies Come of Age

Wikipedia

• Ontology (computer science)
• Web Ontology Language

Controversy

• Shirky: Ontology is Overrated -- Categories, Links, and Tags

Images

• ontology - Google Image Search

OWL, Protege

• OWL Web Ontology Language Overview
• The Protege Ontology Editor and Knowledge Acquisition System

From Ralph Waldo Emerson’s journal, dated October 1848:

Every poem must be made up of lines that are poems.

via zhurnaly: Poetic Lines

(originally posted 2007-07-12, updated for micro.blog)

Girls’ Love Stories #99
Girls’ Love Stories #99

Die Spinne #119
Die Spinne #119

Because, for whatever reason, I'm nervous about entering a world that plays according to different rules than the corporate one I'm used to, I've taken to reading and bookmarking a lot of "how to succeed in academia" articles. So as I come across good advice (or at least good advice for me), I'll post it here.

In 2005, Matthew Pearson wrote a letter for the new graduate economics students at UC Davis. The letter (PDF) has some advice specific to that program, but there's other good general advice buried in there too.

• In the first year, it's "about learning that survival is not all about intelligence, nor passion, but commitment." Learning the fundamentals can be grueling, you'll feel like an imposter, but keep going. Pearson says: "Some research in behavioral economics suggests that people are happier with decisions they know are irreversible. Simply putting that decision [to quit] out of the realm of possibility will relieve you of a lot of burden."
• Although he talks about preliminary exams at one point, the advice can be generalized: "...[I]t is very important to believe that you have it in you to pass." Learn from your mistakes, take your grades as indicators of where you may need to adjust and improve. "Freaking out is a waste of your time and energy."
• "Begin to develop your strategy to pass early on." He's talking about the prelims here, but I'm thinking in terms of my master's paper I'll have to write. Ideally, my projects over the next few years will feed into the paper, so that the effort to compile, research, and write will be minimal. (My adviser suggested looking for a subject at my workplace; maximize what I already know well.)
• I really like this bit of advice. He's talking about getting the fundamentals of economics in your bones, but again, I'm expanding its purview:

Develop your intuition. I cannot stress this enough. As I mentioned above about studying for understanding and not merely memorizing, you must believe that the intuition is there and that the material will seem much, much easier once you have grasped it...When you aim for this kind of understanding, however, things become so much clearer.

Often the barrier to true understanding is the nagging sense that you have SO MUCH to study, so you really must move on to the next topic. However, grazing over lots of material gathering cursory familiarity can be, at best, far less productive than studying one thing until you really understand it and do not need to depend on memorized content...[Me: Hmmmm.] Repetition [can be] sufficient for understanding less challenging material, but this is no longer the case.

[Me: In my spring information course, I felt bombarded by so many new concepts--RDF, metadata, ontologies, thesauri--that it wasn't until I was studying for the final that I grokked how they all fit together. Until that time, they were only vocabulary words. Given the pace of the course, and the fact that I was working full-time and taking a second course, there really was no time to do more than keep my head above water. Also, where I'm at now, everything is basic and fundamental. Intuition will only develop for me after I've worked with these things some more.]

• "Develop your student capital." Learn to ask your classmates, professors, and TAs questions, no matter how silly you might feel. "There is no place for pride when you do not understand."
• Develop an effective method for dealing with note-taking and note-studying. "Choose something that addresses your weaknesses effectively." (Spoken like a true lifehacker.) Pearson takes notes on looseleaf paper, transfers them to a binder, and then makes his own notes on the other side of the page as he goes through them. A nice system. I'm still working out mine. What I did in the spring worked OK, but didn't encourage revisiting the material and refreshing itself in my mind.
• Rest effectively--this means time with friends and family, exercising, getting enough sleep. And yes, that means there can be "unproductive rest," as he calls it, like zoning out in front of the teevee.

Powered by ScribeFire.

Overheard at the bagel store, when the sassy counter gal was teasing her male co-worker

“I don’t need an A-plus. I’m happy with an A.”

Melvyn Bragg’s In Our Time newsletter reproduced this fascinating document from WWI war hero and poet Siegfried Sassoon, denouncing the conduct of the war at great personal risk. It was originally printed in The Times in 1917.

I am making this statement as an act of wilful defiance of military authority, because I believe that the war is being deliberately prolonged by those who have the power to end it. I am a soldier, convinced that I am acting on behalf of soldiers. I believe that this war, upon which I entered as a war of defence and liberation, has now become a war of aggression and conquest. I believe that the purposes for which I and my fellow-soldiers entered upon this war should have been so clearly stated as to have made it impossible to change them, and that, had this been done, the objects which actuated us would now be attainable by negotiation. I have seen and endured the sufferings of the troops, and I can no longer be a party to prolong these sufferings for ends which I believe to be evil and unjust. I am not protesting against the conduct of the war, but against the political errors and insincerities for which the fighting men are being sacrificed. On behalf of those who are suffering now I make this protest against the deception which is being practiced on them; also I believe that I may help to destroy the callous complacence with which the majority of those at home regard the continuance of agonies which they do not share, and which they have not sufficient imagination to realize.

This Design Observer post about who is reading all those books went over some familiar ground ("explosion of information" = "ignorance about more things") and elicited some good comments. The crux of the post was to answer this question:

Why keep on with the work of traditional publishing when the Internet would seem to provide a much more efficient means for reaching people? What is it about the book, pamphlet and magazine formats that continue to lure publishers onto the rocks of insolvency?

It's a good question. Control of the design and sheer love of the physical object are two compelling reasons. (I really can't imagine Bryan Talbot's eye-popping Alice in Sunderland as multimedia object--it just works and feels so complete as a book.)

One of the more interesting answers was that the authors use their small print runs to trade books back and forth with other authors.

Such books function primarily as a currency within the network of other artists, other publishers, and other designers who share their particular sensibility.

Does this sound like zine fandom or what? Or maybe link exchanges in the blog world? The intent being to create a community and start a conversation among members of a self-chosen tribe.

Perhaps it's also those members of our modern digital media culture looking in the rear view mirror at what's receding into the past. Hence the burst over the last 10 years of books about books and reading (though such objects have always been a part of literate culture, just as the theater and movies abound in stories about backstage dramas).

It all reminds me of an Isaac Asimov essay about the perfect entertainment cassette that would be physically comfortable to hold and use, in any lighting, allowing one to start or stop it at any point, rewind or fast-forward and then return to one's present location immediately, and so on. Of course, this perfect cassette is a book.

It also puts me in mind of the astonishing success of Lulu.com and the craftspeople I see selling handmade paper and blank books. There's still a need for the physically beautiful and tactile in us, which the vaporous digital ether can't compete against. (When the next hurricane comes and takes out my electricity for 5 days, will I pass the time reading an e-book or a real book?)

From the newsletter that accompanies BBC4 Radio’s Thinking Allowed program, hosted by the ebullient Laurie Taylor:

Whenever the subject of suicide or attempted suicide comes up in conversation I can be relied upon to describe a piece of research on suicide notes that was published some years ago (even though I’ve tried, I can’t find the exact reference any more).

What the researcher had done was collect a large selection of suicide notes written by two classes of people: those who had successfully ended their own life and those who had failed for one reason or another to kill themselves (attempted suicides).

He then submitted these two sets of notes to a computer analysis in the hope that this might throw up some interesting differences in style or subject matter.

As I remember he found clear evidence that the notes written by the ‘attempted suicides’, by people who had not taken quite enough pills, or not sealed the door sufficiently well to prevent noxious gases or fumes escaping, were heavily philosophical in tone. The writers spoke at length of life no longer being worth living, of the meaningless of existence, of the impossibility of optimism.

These were in stark contrast to the suicide notes written by those who had succeeded in killing themselves. These notes tended to be much shorter and much more practical than those provided by attempted suicides. One for example simply said “You’ll find the car keys on top of the sideboard and the will in the top desk drawer.”

There are thousands of other research papers on the subject of suicide. Indeed, it could be argued that sociology first asserted itself as a distinctive subject back in 1897 when Emile Durkheim first tried to formulate a structural and cultural account of its incidence which did not rely upon any psychological understanding of individual desires and motives.

The Illustration Art blog has two wonderful posts on the great Mort Drucker. This one focuses on how Drucker drew hands, and this one focuses on how he drew and differentiated hair. Tiny tiny things that you don’t notice very much as a casual reader of Mad parodies, but take them away, and the experience lessens.

David Apatoff has a lovely, heartbreaking post on his Illustration Art blog about a Polish student imprisoned by the Nazis in Auschwitz, how he fell in love with a fellow prisoner, and what became of them. I don’t know where he got the story, but thank the gods that the story still exists.

The British novelist Jeanette Winterson has maintained a web presence for many years. (She even went to court to protect other writers’ privileges when some wanker registered jeanettewinterson.com and refused to release it to her. She won her suit and, of course, no one thanked her for her efforts.)

Every month, she posts her latest journalism to the site, a general update column, and a poem she’s read that demands to be shared.

She’s one of Britain’s great culture warriors and, my god, does her passion for art and culture and her disappointment and hatred of the politicians and vulgarians (on both sides of the pond) come through clearly in this month’s selection of writings.

Jeanette Winterson - Journalism - The Times : Books - The Fight For Culture
“It is important to say this, because we are often fed the line that poetry and story-telling are contrived or artificial, and certainly that they are entertainment or luxury goods – in any case, stuff we don’t need. We need playstations and ready-meals of course, and cheap flights to places we don’t want to go, and two cars per family, but art? Now that’s really self-indulgent."

Jeanette Winterson - Journalism - The Times : Books - The British Library
“I can (just) hear the arguments that not everyone wants opera or experimental theatre, (myself, I do not want war, but I still have to pay for it), but I cannot accept any arguments that jeopardise a prime cultural resource that is in trust for the nation and must be passed on to future generations."

Jeanette Winterson - Column - March
“What any creative person needs – all they need – is not praise or blame, but an active and grown-up engagement with the process of making things. That process is necessarily experimental, either in part or in the whole, and sometimes things work well, and sometimes less well. Sometimes things work for a big audience, sometimes only for a few. That’s how it is, and I wish, really wish, that we had a mature culture, interested in creativity, that could understand that. "

Datajunkie runs a great series of scans on Steve Ditko’s “Beware the Creeper!” series that he created for DC. I actually remember having the first issue but never knew others followed.

What I like about this post is the casual examination of Ditko’s storytelling style over the series and how it changed when he returned to the character years later. Also, that it’s liberally illustrated with scans from the issues themselves.

We’re studying classification in my Organization of Information class. One of my classmates shared a link to a posting about arranging and classifying your personal library by the color of the book’s spine. The link was from the Design Observer blog (though the site has been unavailable to me recently). This spurred a lot of discussion on the mail list about our own personal methods for arranging our book collections at home. Here’s my typical over-the-top response.

From one of Jeanette Winterson’s latest columns, this one on why we need poetry:

And in the way of things, the memory gets used to being fed something more useful than crossword puzzles, and will deliver you the lines you need, when you need them. Poetry, because it has rhythm and because it is made out of breath, is easy to remember. It fits under the tongue like a slowly dissolving pill, but there are no side-effects – well maybe there is one; the next time you open your mouth to speak, something of the poem stays with you, and laces your response. In that way, poetry makes poets out of all of us, enlivening our personal capacity to speak with feeling and with an honesty that comes of being able to find the right words.

The blog went quiet in November because I decided to once again compete in the National Novel Writing Month competition. I blogged a bit about the comp last year when I dropped out then dropped back in. By then, though, it was too late and I only had about 30-some-thousand words by month’s end. I’ve since learned that this is called the “sophomore slump."

This year, I stopped work on the short story that’s taken my attention off and on throughout this year and plunged into nanowrimo ‘06. I got my friend Sue in California to do it with me for our first comp, in 2004, and we’ve done the comp together ever since. I should add, she has won every year.

She had difficulty with her book this year, but finished just in time. I, by contrast, had it pretty easy, apart from dealing with effluvia of the moment like family obligations, job, and school work. I thought about what made my freshman effort a success, and what could I do this year to be successful again.

I decided to go back to the source: Chris Baty’s No Plot? No Problem! book. I read it in 2004, didn’t read it in 2005, and decided that I probably should read it/skim it for 2006. I rediscovered Baty’s checklists and reminders that helped me to reconnect with what made nanowrimo fun:

• Get a magic totem that you always have with you when you write. For me, this is my black fedora-type hat that I wear. When Liz sees me wear the hat, she knows I’m writing.
  
• Get the music going. I have a Baroque playlist on Rhapsody that helps put my brain in the right mood.
• Make the writing a priority. I’m astonished at how many low-value activities I discard during nanowrimo.
• Have fun. This should not be work (though there’s effort).
  
• Go for quantity, not quality. I think I took my story way too seriously last year. I was also trying to figure out a plot, what would happen next, which was not good for me. I worried too much about it. The main thing is to meet the daily word quota. It gave me great freedom to bring boring scenes to an end and start up something fresh.
  
• This year, I read in and out of Samuel R. Delany’s book About Writing, and it really turned my thinking around on plot. His contention is that plot is what you remember in retrospect. But for the writer writing, the process is more about structure: I just finished a slow passage with two people, I now need a fast passage with lots of people. Or: The last chapter took place in the past, the next chapter needs to take place in the present. The structures a writer uses to help him or her write a novel don’t have to be as elaborate as Henry James, and they don’t need to be obvious to the reader (solving that puzzle is part of the reader’s fun) but I think they’re like a rhyme scheme for a poet: they provide spaces that the writer’s imagination is challenged to fill, and that challenge is part of the excitement of writing and imagining a world and characters. They also help to pull the writer along and keep the discovery process fresh.
  
• Delaney is also pretty strict about writers starting at the beginning (no funky playing around with time, few flashbacks) and, even more importantly, setting the scene. Describe the setting. I found this to be incredibly valuable in getting my character into a physical space that would often come back to play a part later in the scene. I’m a believer in this now.
  

• It’s more fun this way.
• I like doing it with Sue.
• I need the practice. I get hours and hours of writing practice in November that I don’t get throughout the year.
• I’m often surprised in a way that I’m not when writing normally. I didn’t know I had this idea in me, and I didn’t know that what came out would be pretty good (I’d say I got about a third or more of really good material that can be shaped later.)
• It helps me remember that writing can be fun, that sometimes I don’t need great ideas to get started. All I need to do is sit down and write.
  

• National Novel Writing Month home page
• My profile page
• My stats page
• My pretty winner’s certificate
  

John Sutherland’s Guardian article on the contention that some of Shakespeare’s worst lines were written the morning after a big drunk is amusing, though it feels kind of rushed into print to fill space on a slow news day. Alhough all of the Macbeth examples were pretty well chosen, it feels as if Sutherland is basing his argument on lines pulled at random from the text; he’s making a big statement based on weakly presented evidence.

Still, he does cite Kermode and others who testify to some of the Bard’s “crap lines.” And I don’t doubt that it’s true. Running a theatre, acting, and writing plays consumed lots of time and energy, sometimes the muse snoozes, and there’s no better way to relax your mind than to leave your workroom and get snockered.

I also assume Shakespeare wrote without benefit of an editor or readers (apart from his fellow actors), and since the canonical texts were largely re-membered by his fellow players, is it beyond the bounds of belief that maybe they threw in a few lines of their own that we now attribute to the Great Man?

The article reminded me of Anthony Burgess’ book on Shakespeare, where he says that most everyone in London at that time walked around half-drunk because there was no reliably potable water supply. As a result, they drank the beer, wine, and other fermented beverages that were safer to drink than the water.

Eh–so what? In plays that are so big and sprawling, there are places for odd lines, lazy writing, strange motivation, and lapses in the plot, just as there are places for witches, ghosts, assassinations, passion, and all other things that grab an audience’s wayward attention. Shakespeare didn’t write well-made plays, he wrote great plays. We shouldn’t be surprised that Shakespeare wrote lazy lines now and then; what’s surprising is that what he tossed off “without a blot” is still so good and still lives.

We were driving through the miles ’n’ miles of shopping center near the 70 and 540 intersection. As we drove down the faux Mayberry Main Street blocks of chain stores, I said, “To think, all that was here before was just trees and unproductive land.” Pause. Then Liz said, “And now, it’s servicing America."

For whatever reason, that just cracked me up.

For a man widely described as a recluse and rarely given to interviews, Alan Moore is all over the place. First with “V for Vendetta” and now with “Lost Girls.” This page at Top Shelf Comix links to all or most of the interviews he’s been giving since the book’s release.

Top Shelf reports it’s sold out the 1st and 2nd printing, so they’re going to a 3rd printing.

The world without the people who matter to us is not the same world and so not the world at all. Life becomes progressively stranger as we get older - and we become increasingly frantic to keep it familiar, to keep it in order - because people keep changing the world for us by dying out (mourning is better described as orientation, the painful wondering whether it is worth re-placing oneself).