Alan Jacobs

Leon Shamroy, writing in American Cinematographer in 1947:

Not too far off is the "electronic camera." A compact, lightweight box no larger than a Kodak Brownie, it will contain a highly sensitive pickup tube, 100 times faster than present-day film stocks. A single lens system will adjust to any focal length by the operator merely turning a knob, and will replace the cumbersome interchangeable lenses to today. Cranes and dollies weighing tons will be replaced by lightweight perambulators. The camera will be linked to the film recorder by coaxial cable or radio. The actual recording of the scene on film will take place at a remote station, under ideal conditions. Instead of waiting for a day —or days, in the case of shooting with color — electronic monitor screens connected into the system will make it possible to view the scene as it is being recorded. Control of contrast and color will be possible before development.

It is not too difficult to predict the effect of such advancements on the production of motion pictures. Economically, it will mean savings in time and money. Since the photographic results will be known immediately, it will be unnecessary to tie up actors and stages for long periods of time. The size and sensitivity of this new camera will make photography possible under ordinary lighting conditions. Shooting pictures on distant locations will be simplified. generators, lighting units, and other heavy equipment will be eliminated, thus doing away with costly transportation.

This post by Victor Mair on the staggering variation in translations of the Daodejing points to something that has been worrying me. I want to go father with my investigations into Daoism — see the relevant tag at the bottom of this post — but I keep running into differences in the various translations that are this extreme or even more so. I’m starting to think that I’m either going to have to abandon my Daoist inquiries … or learn Chinese. The latter being a very daunting thought, especially at my age. (If I’m going to pursue any language with an alphabet other than my own, it probably should be Greek — which I know a bit of — or Hebrew — which I don’t really know at all.) 

Illustration by my buddy Austin Kleon

As I mentioned in earlier posts, Noah Smith wants to outsource much of the process of writing, and Derek Thompson wants to outsource his research. In other news, Marina Koren is bothered by the slowness of 2001: A Space Odyssey, and her partner wants to watch the movie at 2X speed. Perhaps he also participates in the TikTok practice of listening to songs at double-speed. 

My question about all this is: And then? You rush through the writing, the researching, the watching, the listening, you’re done with it, you get it behind you — and what is in front of you? Well, death, for one thing. For the main thing. 

But in the more immediate future: you’re zipping through all these experiences in order to do what, exactly? Listen to another song at double-speed? Produce a bullet-point outline of another post that AI can finish for you? 

The whole attitude seems to be: Let me get through this thing I don’t especially enjoy so I can do another thing just like it, which I won’t enjoy either. This is precisely what Paul Virilio means when he talks about living at a “frenetic standstill” and what Hartmut Rosa means when he talks about “social acceleration.” 

I say: If you’re trying to get through your work as quickly as you can, then maybe you should see if you can find a different line of work. And if you’re trying to get through your leisure-time reading and watching and listening as quickly as you can, then you definitely do not understand the meaning of leisure and should do a thorough rethink. And in both cases maybe it would be useful to read Mark Helprin on “The Acceleration of Tranquility.” 

Megan McArdle, arguing that trying to use social media’s moderators to crack down on misinformation isn’t a good idea:

For one thing, moderators aren’t good at determining what constitutes actual misinformation. A lot of the dangerous nonsense about covid that circulated on social media came from the same public health experts social media companies were using as arbiters.

It was public health experts who initially told us masks don’t work, an assertion they knew to be false. It was public health experts who insisted, without good evidence, that covid wasn’t airborne. And many public health experts helped support prolonged school closures that have been proven to undermine learning.

That is not to say that public health experts are the moral or intellectual equivalent of quacks peddling balderdash about vaccine side effects. The public health community eventually recognized its most egregious errors, while the quacks doubled down. But free and open debate on social media assisted that process of course correction, and cracking down on what the experts then deemed false information would actually have slowed the pace of adjustment.

A game of unforced and amateurish errors by 🇺🇸 ⚽️ — oh well.

Where’s Brian McBride when you need him? 🇺🇸 ⚽️

A wonderful idea from Zeynep Tufekci: donate to Partners In Health in memory of the great Paul Farmer. I’ve just done it.

Much talk in the past 24 hours about Luis Suarez’s deliberate handball against Ghana in the 2010 World Cup. At Brian Phillips’ much-missed Run of Play, I wrote about it when it happened. ⚽️

Foggy morning in the canyon.

A wonderful list of books for Christmas presents by my friend John Wilson, the most imaginatively omnivorous reader I know.

The Guardian:

But there is power in reading slowly, something the Chinese-American author Yiyun Li tells her creative writing students at Princeton University. “They say, ‘I can read 100 pages an hour’,” she says. “But I say, ‘I don’t want you to read 100 pages an hour. I want you to read three pages an hour’.”

That’s the speed Li is happy to read at, even if she is re-reading a familiar text. “People often say they devoured a book in one sitting. But I want to savour a book, which means I give myself just 10 pages a day of any book.” On an average day, Li … reads 10 different books, spending half an hour on each title.

At that pace it can take Li up to three weeks to finish a novel. “When you spend two to three weeks with a book, you live in that world,” she says. “I think reading slowly is such an important skill. Nobody has ever talked about it, or taught me that. I’m a very patient reader. Even if it’s a very compelling book. I don’t want to rush from the beginning to the end.”

Consider a story by one of the great weirdos of American literature, R. A. Lafferty (1914–2002). It’s called “Primary Education of the Camiroi,” and it concerns a PTA delegation from Dubuque who visit another planet to investigate an alien society’s educational methods. After one little boy crashes into a member of the delegation, knocking her down and breaking her glasses, and then immediately grinds new lenses for her and repairs the spectacles — a disconcerting moment for the Iowans — they interview a girl and ask her how fast she reads. She replies that she reads 120 words per minute. One of the Iowans proudly announces that she knows students of the same age in Dubuque who read five hundred words per minute. (As Stanislas Dehaene explains, that’s pretty close to our maximum speed.)

“When I began disciplined reading, I was reading at a rate of four thousand words a minute,” the girl said. “They had quite a time correcting me of it. I had to take remedial reading, and my parents were ashamed of me. Now I’ve learned to read almost slow enough.”

Slow enough, that is, to remember verbatim everything she has read. “We on Camiroi are only a little more intelligent than you on Earth,” one of the adults says. “We cannot afford to waste time on forgetting or reviewing, or pursuing anything of a shallowness that lends itself to scanning.”

Derek Thompson:

“These language models enable the automation of certain tasks that we’ve historically considered part of the creative process,” Olson told me. I couldn’t help but agree. Writing is less than half of my job; most of my work is reading and deciding what’s important enough for me to put in a paragraph. If I could train an AI to read as I do, and to determine significance as I do, I’d be essentially building a second mind for myself.

I hope I’m not the only one, but just for the record: I like researching, and I like writing. I like the hard work of making my prose more clear and vivid. I like overcoming my ignorance. I like synthesizing the disparate things I read and then trying to present that synthesis to my readers. I like it all.

UPDATE: As I was walking this morning I suddenly understood the most fundamental thing that’s wrong with the way Smith and Thompson think about these matters: Smith assumes that at the outset of a writing project he already knows what he wants to say and just has to get it said; Thompson assumes at the outset of a writing project that he understands what he needs to know and just has to find a way to know it. But for me writing isn’t anything like that. For me writing is discovery, discovering what I need to say — which often is something I had no intention of saying when I set out. And some of the most important research I have ever done has been serendipitous: I have been looking for one thing and instead (or in addition) found something quite different, something I didn’t know I needed but, it turns out, is essential to me.

“My brother has his sword, King Robert has his warhammer, and I have my mind…and a mind needs books as a sword needs a whetstone, if it is to keep its edge. That’s why I read so much, Jon Snow.”

“I would never read a book. I’m very skeptical of books. I don’t want to say no book is ever worth reading, but I actually do believe something pretty close to that.”

Laity looking especially lovely on this cloudy autumnal day.