Tag: facts
Presented without further comment: The CIA’s “Timeless Tips for ‘Simple Sabotage'”
Fun!
[source: Timeless Tips for ‘Simple Sabotage’ — Central Intelligence Agency]
FUN BONUS EXERCISE: Read this whole thing, and ask yourself:
Is this more plausible as a CIA guide for resistors trying to drag down fascists in foreign nations, or as a plot to nudge patriotic Americans into suspecting organized labor and broad progressive social movements of actually being enemy saboteurs?
#LadyLiberty’sTourchIsAGaslight
Listen: There are a lot of different ways to live and love and believe in this great Nation . . .
. . . but either you agree that this is the greatest space alien The Twilight Zone ever coughed up, or we can’t be friends any more. This is my thin blue red line in the sand, folks.
DISCLOSURE: If you wanna argue that the alien at the end of this episode is technically the better alien, you are welcome to do so
Dave-o’s patented “magpie and junk drawer” speculative-fiction drafting strategy @fandsf
If you write fiction long enough, interviewers will start to ask you “Where do you get your ideas?”
Readers love this question (it’s also a dreaded chestnut of con Q&A panels). Writers hate it. It’s like asking “Where do you get the time to write?” Every one of us gets the same 24 hours each day; doctors spend some of those doctoring; drug addicts spend some of that getting high; writers spend part of one of those hours writing stories. One person can be any or all of those, and more.
Likewise, we all see/hear/mis-hear/read/misread/imagine all sorts of crazy crap every day. Those are ideas. That’s where ideas come from.
But that’s maybe a cheap answer, because it takes the question too literally. I think maybe what folks are asking when they ask “Where do you get your ideas?” is “How do you store/catalogue all the weird shit you see every day so that it’s useful to you later?”
And to that, my answer is this:
My brain locks on to odd shiny things and hordes them.
Most of the fiction I write comes out of a collision: I’ll stumble across some interesting fact or idea or snatch of plot or dialogue, but won’t really have any use for it, and so it just sorta bobs around in my head. Sooner or later, as other shiny ideas catch my notice and get tossed into that cranial junk drawer, several will bang together and stick in some interesting way. When ideas stick together they make a distinctive POP!ing sound. I listen for the pop, then start writing.
This is the essence of the “magpie and junk drawer” approach to research and writing. I stumbled into it as a kid having to do research papers, and it’s served me well ever since. Go forth, apply this in your life, and sin no more.
Amen.
BURIED LEDE ALERT: Japanese monkeys ride deer like ponies?!?
You’ve no doubt already seen a news item about those Japanese teen-nympho sex monkeys rubbing up on adult male deer:
(Aside: Is anyone else weirded out that they always look at the camera? That doesn’t seem like happenstance. Like… is it… is it part of the kink for them? ’cause that makes me sorta feel… like, I don’t want to be made a part of this without my consent. That’s all I’m saying. I do not consent to this.)
But check this parenthetical toss-off from the first—and least sensationalistic—mainstream article covering this phenomenon: “Scientists Say Japanese Monkeys Are Having ‘Sexual Interactions’ With Deer” (Thanks, NPR!)
Japanese macaques are known to ride deer like humans ride horses, for fun or transportation — behavior the deer seem to tolerate in exchange for grooming and discarded food.
So, just an FYI: Japanese monkeys are in the midst of domesticating deer—you know, for fun, or transportation, or (as we did before them) to increase their travel range and capacity to haul loads. Loads, like, I dunno, the lifeless bodies of the defenseless denizens of Tokyo, after marauding teen-nympho sex monkeys start raiding that once grand metropolis, charging in under cover of night astride their deer consorts, cutting us down, smashing our skulls, and feasting on the goo within!!! IT’S IN REVELATIONS, PEOPLE!!!
Anyway, point being they’re are only two ways this story ends, and neither of them is good. Our future is either this:
or this:
2017 has indeed been a rough year.
Beats per Week #09: “The Excitation of Sympathetic Song” (Russian monks? Aliens? Cthulhu cultists?)
Found this in a stack of unlabeled 78 rpm records I bought off eBay, like, a billion years ago. No time to lay down a new track this week, so I just digitized this instead. Mysteries within mysteries, etc.
This Trick is Incredible Because It Isn’t Even a Trick
I’ve seen several recorded performances of this trick, and watched it live at least once—and yet this is the first time it dawned on me that there is no trick to this trick. (i.e., I’d bet that if you take just a moment to think about this—even if you’ve never touched a nail gun before—you can think of at least two totally different ways to modify a stock nail gun or fabricate a fako, and once you accept that the nail fun is gaffed, then there isn’t a memory trick at all, just some patter).
In fact, there’s a degree to which this trick is about the trick’s tricklessness, if you catch my meaning: It’s about delivery and panache and the fascination that comes with the risk of grievous bodily harm. It is an amped up, thoroughly Modern America version of Barnum’s wonderful(!), stupendous(!!!), incomparable(!!!) Egress.
BONUS: Penn & Teller’s greatest of misdirections—They get you caught up on the idea of being live and doing camera tricks, thus distracting you from the obvious explanation revealed at the end—AND THE FACT THAT THEY DO USE CAMERA TRICKS[1]!!!
Continue reading “This Trick is Incredible Because It Isn’t Even a Trick”
“Of Archival Interest Only” (on artists who behave despicably)—UPDATED
I normally would have skipped this (“Vulture—Louis CK Is Done”), because I don’t particularly care for Louis C.K.’s work one way or the other. But do yourself a favor and give this article read; it’s bigger than this moment, and starts to get its arms around something that we finally need to wrestle down:
When disturbing stories about respected artists come from the distant past, we treat them dispassionately, as just one detail among many. Present tense or near-present tense revelations hit us differently because we share the same world as the artist, breathe the same air, feed the same economy. We think of them as contemporaries, even as people we know. This kind of revelation changes the relationship between the artist and the art, in a way that places an unasked-for, unfair burden on the audience. This is what’s happening culture-wide. And it’s not the fault of people who didn’t report it, or audiences who aren’t sophisticated enough to separate the art from the artist. It’s the fault of the artists for being secret creeps or criminals, and the fault of the system for making it possible for them to act this way for years without being punished.
UPDATE:If you’re the sort of person who uses storytelling to help them understand the world, then this horror story might maybe help you understand Louis CK right now: “Hello, Handsome”
If I’ve learned anything from my daughter…
…it’s that every love note is a ransom note.
How Samsung, Disney, and You Bankrolled North Korea’s Nuclear Program
If you’ve been wondering how North Korea (a nation of 26 million people with 7x the population and ~1/10th the GDP of the Detroit Metro Area) paid for a very fast-moving nuclear and ballistic missile program—SPOILER ALERT!—: You paid for it, asshole.
Episode 800: North Korea’s Capitalists
see also: “We Have Entered the Zone of Maximum Mayhem“