Choose Your Path to Hell: Windows 7 or 8?

A moment of pleasure, a lifetime of regret. That is how I see my decision to run Windows years ago. Back in the day, I had a Mac and an SGI and neither of them would run Java or PC - based games. Since I wasn't giving up the SGI and since two computers was my limit at the time, I switched to Windows in order to learn Java. Its been hell ever since. If at first you walk down the dark path, forever is your destiny affected.

The time has come to upgrade from Windows XP to another operating system. The Internet has become a cesspit of loonytoon right wingers and malicious code and one can no longer surf to your favorite porn sites at leisure without serious potential ramifications. Fixes to XP security problems will no longer be provided for the general public, so one must move on. But why run Windows at all at this point? The PC game business has died, and besides, any game I developed would not be for Windows. The only reason I continue to run Windows is that I have a handful of applications that I use in my work and I am loathe to give them up. One of them is Canopus ProCoder, a very good software only transcoder and there are a few others. Everything else, including all my writing and spreadsheets and so forth can be done very reliably on Linux.

So your "choices" for upgrade are Windows 7 or Windows 8. I already run 8 on a very inexpensive laptop and I can tell you flat out that I hate it. Maybe I will learn to love it, that happens quite frequently with me, but if so it hasn't happened yet.

In order to help others make this existential choice which will affect the rest of your so-called life, this are the reasons I chose to go with Windows 7.

1. There is a feature in Windows 8 that makes it impossible to delete a file unless you are logged in as Administrator. The only people who use this feature are people who write malicious viruses (virusi) for Windows 8.

2. But as distributed not only is there no Administrator account on Windows 8, the possibility of having such an account is deliberately disabled. So first you have to figure out how to go behind Microsofts back and disable the Administrator disabling code, and then create your administrator account and then, only then, can you delete a file on *your* fucking computer. Not their fucking computer, but your fucking computer. Life is too short for this kind of bullshit.

3.Windows 7 Professional has an XP compatibility mode that is actually a virtual machine with a licensed version of Windows XP already installed. By definition, this compatibility mode will work with your old XP application, albeit perhaps slower depending on things like graphics. Windows 8 hides this mode from you, and may have some other compatibility mode that may or may not work for you. Again, who needs it.

4. Windows 7 has been out for a while and is a mature OS. Windows 8 is a new OS. All new OSs are buggy, period. Its a law of nature. Just like all new rendering technologies are slow.

5. The only reason to use Windows is because one has learned to be productive on it. The Windows 8 UI is completely different and all productivity goes to hell.

6. One can get around the Windows 8 UI with third party software that tries to defeat the new UI and bring back the old one. These third party programs work pretty well, but the new UI creeps in occassionally in spite of this and then you waste minutes trying to figure out how to get out of it and back to work.

7. I hate the way the new UI looks.

8. I hate the way the new UI works.

9. In order to download updates or "apps" you need a Microsoft account so they can violate your privacy and track everything. I don't think I have any privacy on the Internet but I am still loathe to be forced to give Microsoft marketing information on me just to download updates that contain their bug fixes. Its not that big a deal, but I do it under duress. I believe that the concept of your Microsoft account, to let you use their "cloud", big whoopee, is integrated throughout Windows 8.

So down another path to hell and Windows 7 Professional it is.

Process Notes for Global Wahrman 10/30/2012

These are some notes on the process of writing Global Wahrman, and some thoughts to myself on how things are organized and where things are going. Some of you may find the meta posts more interesting than the posts themselves. But mostly this and similar "administrative posts" are written for myself, so I can recall what it was I was thinking at the time.

1. The process of creating the post online

I write these things offline, but I edit them online, that is, after they are published. Otherwise, I will never finish them, I will just rewrite them, forever.  But as I edit and reread things to check what I just published, I find mistakes and make minor changes. But one thing leads to another and the entire post may be rewritten, after it has been published, in place.   Also, I have a new anomaly in my writing style, one I have not noticed before, that of being so intent on what I am saying, that I do not notice how I spell it, and can not see the mistake until enough time has passed to be able to see it fresh.    In at least one case I think we have a situation where I made a mistake because of my own denial of the passage of time and mortality, or that is what I suspect.  I dated the release of The Bourne Identity to 1992 instead of 2002 which is the correct release year.   For all these reasons, a newly published post may be revised, sometimes in its entirety, over the first few days, then it seems to stabilize.

2. The "Selected Posts" list

This list, on the right hand side of the blog, is an index of the "best of" posts, or the posts most likely to be of interest to someone new to the blog, or the posts I want to use as writing samples. 

3. End of the first phase

We are through the first period of the blog and now enter into the second period, which I suspect will last about a year, more or less.  The first phase was to get some experience with the process.  In this upcoming phase we will introduce many of the themes of the blog.   You can already see a few of the themes emerging by seeing which labels have the most posts.   The highest count is "sarcasm" with 30 posts.

4. The easy versus the difficult topics

Some of the most interesting topics have not been posted because they have proven to be too hard to write about, and so I abandon them and do something easier to maintain some sort of rhythm of the posts to the blog (e.g. approx 1 / day).  This is one reason of many why this kind of writing is easier than the task of a professional, in many circumstances the professional can not choose the topic, but has to write to an assigned topic.

5. The genre of the self-published journal

It is not a surprise to those who helped create the Internet and related technologies that the genre of the self-published journal, a genre which is many centuries old, has been enhanced and given new life. It is a surprise to me however that I find the process of creating such a journal so useful. How many of these journals will survive the great destruction and "end of history" as Ken Perlin and others put it, is not clear.

6. The labels will change

The labels are a mess today and will be restructured. The labels will be one of the tools to structure the topics of the blog in a non-obvious fashion. We may need some other tools as well, as yet unwritten, to help put together the twisty logic of topics being assembled.

7. Existential Crisis

See the post on "Shakespeare in Doubt" for one major existential crisis.  See the post on the death of Elizabeth McKenney for another.

8. "Analytics"

"Analytics" is the term used for the statistics provided about who is reading the blog.  I have my doubts about the accuracy of these numbers, for a variety of reasons.    We are slowly building a daily audience it seems. It may not be coincidence that the two posts with the highest read count (e.g. the count that each post gets when someone goes directly to that post rather than just reading the blog in general from front to back) are the TRW / Robert Abel post and the Josh Pines Job Interview post. Both of these were "marketed" by mentioning them on Facebook which seems to have increased the audience to the right people as well as generating good comments (on Facebook, comments will have to be moved over by hand, I think).

Shakespeare in Doubt (also The Setup & the Payoff)

[One more time, we have two different blog posts inappropriately combined into one.  In the first one we have a discussion of how do we know anything is real, and using the case study of truth and otherwise in "Shakespeare in Love" and the crisis it is has generated.  In the second part, we have a discussion of the comedy writing technique of "setup and payoff" that Shakespeare in Love uses to great effect. Two different posts.  One of these days I have to get my shit together.]

This has been a day from hell for me. I spent several hours trying to write up a post about what was and was not true in Shakespeare in Love (1998) and discovered, through further research, that what I thought I knew here was far more ambiguous or worse. Somehow I had read an article (or more than one) somewhere in some reasonable place and it turns out to be wrong. Of course society is full of such things and belief systems that are incorrect, but it is both annoying and scary to run into one yourself that you were completely unaware of. Of course I can't remember where I read this article or who wrote it. Maybe I just dreamed that I read such an article. Once you start doubting there is no end to the depths that doubt can take you.

To give just one example, I thought I knew very clearly that there was a major scandal involving either the first performance or an early performance of Romeo and Juliet involving a woman playing the role of Juliet because of a last minute disaster involving the boy who had been expected to play the role. It was Elizabethan practice for boys to play the role of women, supposedly this was a way of avoiding licentiousness in the theatre. And since using women on the stage at the time was illegal, the theatre and the play were temporarily shut down. Thus I thought that this incident in the movie was based, loosely, on something that had happened in reality with this play. God only knows what I read or where to think that this was true, but I have known this story wrong as it may be for decades, well before Shakespeare in Love came out but I can find no evidence of any such story on the bold new internet paradigm and if this story had been true or even rumored, it is likely I would find a reference to it without much problem on the internet. But I don't find any such reference. So either I am psychic and somehow channeled from the future this plot point from a movie yet to be made, or I was just wrong.

This is just one example, there are others, and I am now spooked and wish to retreat to safety.

Fortunately, there are a few topics associated with this movie that I can talk about and have some hope that they are true and correct. One of them is how I happened to see this film, the second is to discuss a topic in the writing of comedy which this film demonstrates with great skill referred to as "the setup and the payoff" or words to that effect.

But first, how I happened to see this film.  

Arguably one of the best complements you can give an artist or someone you know is to view their work without realizing who did it. So, for example, say you see the work of a friend without knowing it was your friend, really like the work, and only later discover that your friend did it. Its really nice when that happens, or so I think. Well, Tom Stoppard is not a friend of mine, but obviously I knew of him, but somehow had not realized that he had written (or co-written) Shakespeare in Love.

When Shakespeare in Love came out in 1998, I really did not want to see it. The reasons for this are complicated but it mostly had to do with my contrarian nature responding negatively to the glowing effusions of praise that this film seemed to generate, and because I doubted very much whether someone was going to do an interesting film that I would want to see about Wm. Shakespeare's love life. On top of that, I hated the title. So I planned to miss this one.

But fate had other plans for me and sometime later I was on a plane between NY and LA and this was the movie they were showing. So after the movie started, I broke down and bought a headset and started listening as well as watching. And as I watched I started to wonder who had written this thing. It was being very clever, and I am not used to clever in successful films, I am more likely to think "stupid" than I am to think "clever", generally speaking. But as I watched this movie, I kept thinking: whoever wrote this has done a very good job here, I wonder what happened?

What had happened of course is that I was one of the few people in North America who did not know that this film had been co-written by Tom Stoppard. Oh, I thought, when I found out. That would explain it. Oops.

So now I want to seque to an important non-sequitor, the comedy technique of "setup and payoff." Setup and payoff works like this. You set up in the audience's mind some situation or idea so that they know that something is coming but the main character, generally, does not. Then in the course of time of course something happens that you expected but the characters didn't, and it is often very funny. I realize it does not sound funny at first glance, these things rarely do, but some examples will illustrate this.   First from a different movie that also uses this technique well, and then from Shakespeare in Love.

In the important film, Galaxyquest (1999), we have several completely excellent examples of this technique. The one that jumps right out at you of course is at the basic premise of the movie. A group of former TV actors who had experienced fame once by being on a TV series about a starship going around visiting various alien planets (e.g. Star Trek) get involved with a real group of aliens, the Thermians, who have also seen the show but believe it is real, and try to get our protagonists to save them from a real alien menace. So we know that these are real aliens and real spaceships, but our heroes don't but at various times discover the truth. And the inverse is true, the "good aliens", the Thermians, have to discover that the people they think are space heroes are really television actors who have seen better days. So we have the setup, and then we have a series of payoffs.

I have put on youtube an example payoff from the film.  In this sequence the crew of the TV series think they are trying to join their colleague for some sort of paid fan experience, or job.  They think these geeky looking "Thermians" are just badly adjusted fans of the TV series.
http://youtu.be/3yCFKT633j0

While we are on the subject of Galaxyquest, here is a link to a post by Ken Perlin in which he discusses a way to quantitatively rate a movie which is based on his experience of first seeing Galaxyquest.  His post is not about setup and payoff per se, its about the bigger questions that this movie raises.
http://blog.kenperlin.com/?p=163

The supporting actors learn the truth about the Thermians

Getting back to Shakespeare in Love, pretty much anyone who sees a film with a title like that, will know that Wm. Shakespeare did not, in fact, write a comedy with the title "Romeo and Ethyl, the Pirate's Daughter". But everyone does know that Shakespeare wrote a tragedy called "Romeo and Juliet". If they know nothing else about Shakespeare and his plays, they know that much at least. And so we have a perfect setup for a series of gags where Shakespeare is struggling with both the story and the title as it evolves into a tragedy called "Romeo and Juliet". The way Stoppard drags this out is spectacular, and also has elements of the running gag to it. I do not have a copy of the movie here so I can not count how many intermediate forms we have to go through on our way to the final, but its a lot, and every one is a payoff. And of course the audience knows where this is going and feels a sense of relief, or at least I did, when we finally get there. Although a "running gag" is a different technique of writing comedy, this particular example also has a sense of that going on as well. Its essentially setup and payoff combined with a running gag (or so I think).

In a future post I hope to get to the bottom of the real topic of this post, which is why I believed what I did, but I can not write that today, because I do not know the answer.

<ip>