Q as in question

I just found this interview with Chuck Palahniuk where he reminisces about a youthful enthusiasm for Ellery Queen, both in the books (he slightly exaggerates their number) and the Jim Hutton-led TV series. It's interesting to see how they might have shaped his own identity as an author, particularly as both the Queen series and The Big Valley―with which I'm not really familiar―depicted single-parent families.

I just reread Double, Double. This is a good mystery but an oddity in the series of Ellery Queen books. A young woman hires him to investigate the death of her father, which seems a little off considering that he's a novelist and not really a PI. His father, Inspector Richard Queen, only makes a one-paragraph cameo despite his importance in the series overall. The new client also briefly works as Ellery's secretary, so Nikki Porter seems to have been forgotten for the time being. I sort of suspect that Danny and Lee roughed this out for another character and added Ellery later. The bare bones of his personality do appear, though.

Ten Days' Wonder, by contrast, could only be about Ellery Queen. It might be the most psychological book its authors ever wrote. The amateur sleuth's wit and background give him hints, but also cause him to have blind spots about the other characters, leading to tragedy. Claude Chabrol filmed this one, although for some reason he replaced Ellery Queen with an alternate fictional character.

A trip to 1960

 

I watched this out of curiosity last night. It's the first ever appearance of the character of Columbo. The episode's story would later be expanded as Levinson and Link adapted it into a stage play, and that play itself would be adapted into Prescription: Murder, the 1968 TV movie that introduced Peter Falk in the role.

It's interesting to note that "Enough Rope" is in color. NBC was in business with RCA, which made color TVs, and while the majority of their lineup was black-and-white until 1966, they always had a few exceptions. It's a dainty use of color, quite different from the garishness of a lot of later 1960s TV, or the deserty look of the 70s. 

The $64,000 is how Bert Freed does as the Lieutenant. Well, it's weird to see a guy who looks so much like a thumb in the role. But he does pretty well. He's kind of sneaky, which is good. Peter Falk didn't really catch fire in the role until the second pile, Ransom for a Dead Man.

Definitely more of a curiosity than anything else, though.

Human persons

Not going to really go into it right now but suffice it to say that Jacques Maritain had quite an interesting life. It probably helps that―for a time, at least―he was a pupil of one of my favorite philosophers, Henri Bergson. 

I've been reading a collection of Maritain's works, The Social and Political Philosophy of... and several bits of it wow me. Here's one.

The end of society is the good of the community, the good of the social body. But if this good of the body is not understood to be a common good of human persons, just as the social body itself is a whole of human persons, this conception would lead in turn to errors of a totalitarian type. The common good of the body politic is neither the mere collection of private goods, nor the good of the whole which, like the species with respect to its individuals or the hive with respect to its bees, draws the parts to itself alone and sacrifices them to itself. It is the good human life of the multitude, It is the good human life of the multitude, of a multitude of persons; it is their communion in good living. It is therefore common to the whole and to the parts; it flows back to the parts, and the parts must benefit from it.

Dense stuff, perhaps. But the central theme―that the good of the people can only be applied to that which respects their life as humans, with all that includes―is as relevant as ever.

Heavens!

Do we live in a clockwork universe? I would say that the fact that we're not clockwork says no.

But clockwork representations of the universe can still be very cool, Besides their considerable aesthetic charm, they show makers engaged with the big and little questions around them. And this craft goes back a long way. At least to Ancient Greece with the Antikythera mechanism. That's a wild story.

Orrery makers in our own century would have their hands full with updates. A few years back we had the first new planet adapted as part of the solar system since Pluto in the 1920s. Then they tried rounding out our new 10-planet solar system with asteroid Ceres and Vulcan, a near-Mercury planet no one had ever actually seen. Then it all collapsed and we wound up with an eight planet system.

那很好笑

I found this to be an interesting story. Jesse Appel studied in China. As he gained fluency in Mandarin, he started doing comedy there. In fact, he had a Chinese mentor. 

I can't judge whether he's funny in Mandarin Chinese. But there's a good chance he's a harbinger of upcoming trends. China is thriving in many respects. Even as they're a rival country, there could be a lot of Americans and Westerners in general living there in the near future. And they'll be doing all sorts of things. From the Chinese perspective, "American" may become an ethnicity, more or less.

Self-justifying

Lewis Mumford is a new name to me, but this overview does a very interesting job placing his work and ideas in the context of modern society. Specifically, society's relationship with technology.

The most striking evidence of the myth’s cultural pervasiveness is that many avid accelerationists do not deny that AI could mean the end of humanity. They merely differ from the doomers in believing that this risk is necessary—even desirable—to achieve the spectacular increases in efficiency and productivity promised by AGI. Mumford foresaw this extreme endpoint. “The myth of the machine,” he wrote, “the basic religion of our present culture, has so captured the modern mind that no human sacrifice seems too great provided it is offered up to the insolent Marduks and Molochs of science and technology.” 

Those branded as skeptics or doomers also still accept the premises of the myth of the machine. The stated aim of many organizations concerned with avoiding the worst AI outcomes is that we should “realize the benefits while mitigating the risks” of the technology. Mumford would argue the first half of this statement concedes too much, accepting the basic premise of the myth of the machine while presenting the task as removing the obstacles to realize its benefits. Many skeptics also share a basic misanthropic premise of machine superiority, focusing as they do on the biased, irrational, and flawed nature of human beings that needs machinic augmentation. 

This is it, of course. There's a new generation of business tycoon. Peter Thiel, Sam Altman, and Alex Karp are representative. While he has a nicer demeanor, Dario Amodei probably fits here too. While they are government contractors and, to a lesser degree, producers of goods for the consumer market, they're not satisfied with being seen as the widget makers they are. So they've taken it upon themselves to redefine the role of humanity. And of course that role is subservient to their machine god.

Sixty-odd years ago, on The Jetsons, mundane sitcom suburbanites were depicted as living in splendor above the skies. A homey kind of splendor, to be sure. They had a robot maid, but she sounded just like Hazel. Now, in order to get that level of futuristic ease, we're expected to submit to robots we're not allowed to question. Have they done a good enough job at changing and replacing the audience that people will take this deal. Some probably will. Time will tell how many.

Big sound

The gentleman playing the rather Seussian-looking musical instrument is also the man who invented it. His name is Gorkem Sen, and he's a Turkish musician and instrument maker. It's called the yaybahar, and it's only been around for a few years. It's the twenty-first century and we don't expect to see new instruments invented that aren't synthesizers or otherwise somehow electronic. Which is also in some ways a surprise because that big echoing effect sounds like something you might need to go to a studio to get. 

In the coming years―assuming the years continue to come―it's interesting to ponder if this thing might take off the way steelpans did in the 20th century.