A quick note on Avatar and Broken Embraces — January 3, 2010

A quick note on Avatar and Broken Embraces

…They’re more similar than you might think.

First of all, cards on the table: they’re both beautiful films, and I strongly recommend going to both.

What unifies them is that you don’t really go for the plot. You go for the astonishing visuals. In the case of [film: Broken Embraces], you also go because the cinematography has a rhythm that lulls you into a trance-like state.

Years ago, David Thomson — author of the quirky, curmudgeonly, contrarian, authoritative Biographical Dictionary of Film — said on some NPR show (probably Terry Gross) that it doesn’t even make sense to call a film “melodramatic”. Film is the medium that allows you to dissolve from a shot of a tear running down a woman’s face, says Thomson, into a shot of a dagger. The medium that allows this has long since run past the “melodrama” line. Film is melodramatic at its heart.

Pedro Almodóvar has taken this to heart. At one point in [film: Broken Embraces], a single tear runs down the side of a tomato; the tomato and the tear fill up the entire screen. Like all Almodóvar films, the colors are all intensely saturated, and every object in every frame stands starkly out from everything behind it. Perhaps 90% of the shots in [film: Broken Embraces] deserve to be framed and hung on the wall. (This, by the way, is something I’ve wanted to do for a long time, with a lot of films. [film: Rear Window] would get first dibs on my wall.)

And then there’s Penélope Cruz. [film: Broken Embraces] is Pedro Almodóvar’s love song sung directly to Cruz. She fills nearly every frame of the movie. She is luxurious. If you’re not into Penélope Cruz … well, first of all, what’s wrong with you? But secondly, you’ll probably find [film: Broken Embraces] a bit much. In many ways it reminds me of portraits I saw in the National Gallery: beautiful women looking coquettishly at the painter, who either had already slept with his subject or dreamt of doing so and who splashed his desire on the canvas.

You don’t watch [film: Broken Embraces] for the story. You watch it because its director exploits the medium for all it’s worth.

You also don’t see [film: Avatar] for the story, though actually there’s more there than I would have guessed. In fact it’s a rather moving, heartbreaking story; I was shocked. It’s also a thinly disguised attack on U.S. military policy in Vietnam (heavily armored military centered around helicopters, destroying the indigenous people within their dense jungle home), or on the U.S.’s massacre of American Indians in the 19th century.

In fact, there are two parts to [film: Avatar]: a live-action part in the human world, and an animated one in the alien civilization’s world. I hope I speak for most of the movie’s viewers when I say that the animated world is much the more compelling. I think James Cameron realizes this, because most of our time is spent in the alien world. It is beautiful, lush, and absorbing: it is its own world, with its own language. [film: Avatar] is the reason you go see movies on the big screen, with surround sound. [film: Broken Embraces] could be viewed with the sound off, but you still need the big screen; you need to get lost in the world of the film, which is something only the theatre can buy you.

The trailer for [film: Broken Embraces] suggested to me that its score would be another haunting Alberto Iglesias construction, like that for [film: Talk To Her] (which is one of my few favorite films). The trailer turned out to be deceptive; I can’t actually recall any part of the soundtrack from the film itself, whereas [film: Talk To Her] featured the immortal “Raquel” and “Cucurrucucu Paloma”, performed by Caetano Veloso.

These are two entirely different films, but I strongly encourage you to see both. They are examples of filmmakers at the top of their games.

Mathematical-logic/complexity-theory books for autodidacts? — January 2, 2010

Mathematical-logic/complexity-theory books for autodidacts?

I seem to be running into topics of conversation that return to mathematical logic in some form or another a lot lately. E.g., Adam Rosi-Kessel and I got to talking about Gödel, Escher, Bach-type topics recently, namely the connection — if there is one — between consciousness (whatever that is) and self-reference in formal systems. Then there was this blog post today about programs that can print themselves and other topics.

I need to learn me some mathematical logic already, extending (let’s say) all the way from propositional logic through predicate calculus, up to Gödel’s theorem. Anyone have any recommended readings here?

The bogus-business-“philosophy” reading project —

The bogus-business-“philosophy” reading project

Those of us who have been reading or watching the various purported “revolutions” in business for a while should have noticed a few patterns:

  • Whatever decade we’re in, it’s purported to be entirely different from all decades that preceded it.
  • The companies purported to be the revolutionaries all ostensibly treat their employees in novel ways.
  • The employees themselves are purported to want more time with their families, want freedom to set their own schedules, etc.
  • All companies eventually become authoritarian.

Does everyone remember when Microsoft was the new hotness? That was back in the 80s and 90s, when they were the anti-IBM. Microsoft eventually became — at least in the public eye — everything against which it had previously revolted. I have precisely zero doubt that Google will go the same way. Eventually the exponential-growth phase will end and Google will have to start looking like a traditional company.

I’ve been convinced for a long while that there is nothing new under the sun in how corporate “revolutions” are purported to happen. I am convinced that none of the descriptions of corporations from the start of the computer revolution through the dot-com era to now would have been out of place in a business book from the 1950s. Back then the dichotomy they presented was between “20th-century companies” and “19th-century companies”. Apparently we’re far enough into the 21st century that we can now talk about “21st-century businesses” and how they differ “fundamentally” from “20th-century businesses.” Plus ça change…

So I’ve decided to start a reading project that will approach this from a few angles:

Of course, the story wasn’t always that those companies were best which treated their employees like individuals. That may partly be a conceit arising from the notion of the “knowledge worker,” a term coined by Peter Drucker. Knowledge workers are supposed to confront vague, ill-specified problems and translate them into concrete products — unlike the mythical industrial worker, lashed to his machine and stamping out identical product after identical product until the day he dies. I strongly suspect that this is a mischaracterization in two directions. First, I doubt that industrial workers were as close to automata as the story makes them out to be; the Taylorist time-and-motion ideal exists alongside the work-to-rule strike, in which workers demonstrate how poorly a company would actually function if they followed processes to the letter. So I suspect the stereotype understates the role of creativity in “19th-century” industrial companies. At the same time, I suspect that it overstates the role of creativity in “21st-century” companies. Yes, projects often start with vague specifications from the customer, but there’s an awful lot of mechanical work to be done between there and the end product. We’re not all knowledge workers, and we’ve not always been automata. In part, I think this story reflects the [foreign: soi-disant] masters of the universe to whom these books are directed: “Maybe all those people are automata, but not I; I’m creative.

Even if we were all knowledge workers, and had previously all been automata, my strong suspicion is that we’ve been telling this same story over and over again for at least a century. At time T, goes the story, we were automata; but now, at time T+k, for some k, we are all creative, working in “flat hierarchies” (ahh, remember that other fantastic buzzword?). If this story has always been told, then it’s reasonable to suspect that it has never been true.

Finally, there’s another part of the story, which is actually the opposite of the above. People like John Kenneth Galbraith and Alfred Chandler believed that “the market” would eventually give way to a GM- and IBM-shaped economy driven by bureaucracies indistinguishable from a government. I will need to address this strand as well; reality has not been kind to it.

My frustration with unending business sloganeering has finally boiled over. It’s time to read and eviscerate.

P.S.: This Bruce Sterling piece (via Cosma Shalizi) seems oddly appropriate — at least for the 21st-century globo-info-twittersphere-mega-virtual economy that all us knowledge workers are now part of.

P.P.S.: By the way, everyone in the ’90s was a “web designer.” Now everyone is a “social-media marketing” expert. I think 3/4 of my followers on Twitter are marketing drones whom I’ve never met and will never meet. They’re hoping that I’ll follow them back, I guess. And when everyone has tens of thousands of followers … well, something awesome will surely happen.