Home Blog Page 31

Souled Out

Congratulations to GameStation, high street and online retailers of computer games, for knowing how to spot a bargain. It seems most of us would sell our immortal souls very cheaply. And when we are talking soul, we are talking about the part of you that supposedly survives when the body dies, not the part of you that best appreciates black music (which may or may not be the same thing). Legends tell us that the Devil makes extraordinary promises to secure a typical soul, but GameStation seem to have found a canny way to get one step ahead of the hornéd one and to make a killing from his infernal stakes. 7,500 of GameStation’s customers were offered a straight choice – give up the rights to their soul or receive a £5 voucher. Almost all of them decided they would rather own one less soul in preference to owning £5 more voucher. That would suggest the typical economic valuation of a soul is worth less than negative five quid to its owner – people will literally pay a fiver to have somebody else take possession of their soul. Now I appreciate our society has become very materialistic, but this is going too far.

Of course, there is more to this story, but you would never find out if you did not keep reading. GameStation smuggled the transaction into the small print when buying an online game.

“By placing an order via this Web site on the first day of the fourth month of the year 2010 Anno Domini, you agree to grant Us a non transferable option to claim, for now and for ever more, your immortal soul. Should We wish to exercise this option, you agree to surrender your immortal soul, and any claim you may have on it, within 5 (five) working days of receiving written notification from gamestation.co.uk or one of its duly authorised minions.”

It was a clever stunt to demonstrate that people do not read small print, and the story was picked up in various places, including Yahoo and Fox News. Some might think the moral of the story is that shoppers need to be more careful. I do not. The problem here is the same as in so many parts of our modern lives: too many rules. If you want to spend your life reading all that fine print, you are welcome to. You would be safer for it. But come my final moments on this Earth, I do not want a hundred thousand lines of terms and conditions to be flashing before my eyes.

To my mind, there is something wrong with an economic system that expects ordinary customers to wade through legalese just to make a simple purchase. That legalese was not written by people desperate to serve the interests of the customers reading all those horrid words, usually little in print and long on syllables. T’s and C’s are written by people paid to get one over on customers whenever push comes to shove. In the final reckoning, none of these legally-worded promises and commitments are ever open to negotiation anyway. With small print, you can either lump it or lump it. No business would ever make a special exception for just one customer, and every alternate vendor has employed pretty similar lawyers, if they were not copying the legalese from their rivals to begin with.

We live in societies that are great at keeping lawyers busy (and rich) and great at keeping ordinary people busy (and much poorer) thanks to an unhealthy obsession with contractual rigmarole. Of course, some consumers invite the misery on themselves and everyone else; there would not be such a need for exclusions and caveats if businesses were not so routinely preyed upon by the chancers, blaggers, fraudsters and malcontents of the world. Between suppliers cheating customers and customers cheating suppliers, we have felt the need to invent millions of rules to keep everything fair. In order to serve this goal, countless lawyers demonstrate how to play the game, countless judges keep score, and countless politicians debate how to make for better sport. If we were all just plain, upright and honest people, good to each other, who wanted what was fair and nothing else, we would not need all these rules. But too many of us are horrible cheats, always looking to finesse and finagle the system for our own ends. So then we make the system more complex, only to end up in perpetual hamster-wheel chase between our good selves and bad selves. One eye polices the world, stopping others from taking advantage, whilst the other is on the look out for every sneaky short cut to what we want. Inevitably we end up cross-eyed and back where we begun.

I have no idea what God would do if he came back to Earth, but we all know the Devil would be a lawyer. The easiest way to tip the scales of justice as you please is to sit yourself in the middle, and to become its arbiter. Better still, get paid a commission whenever you do. Presumably GameStation still had to consult their lawyers about playing their little lighthearted wheeze. In the realm of contracts, there is no room for good old fashioned values, like a man’s word being his bond, or trusting to a handshake. The truth is we have already sold our souls, and all we got in exchange was a lot of empty words on a hollow contract. Worst of all, we never even read it.

Parallel Return of the Jedi: Calling on Jabba

An awfully long long time ago, in a place nowhere like here or wherever the heck you are, there was a story where knights fought with swords, battled strange monsters, went on long journeys and saved damsels in distress. More recently, I parodied that story in Star Wars: Parallel Universe and in countless more installments since. By countless, I mean seven, but that is quite a few. Now it is time for the latest installment, which is the first installment of the third installment, or of the sixth installment, depending on how you count these things. It is time to return to Parallel Tatooine, where R2 and ‘3PO are making their way to see Jabba…

[C-3PO and R2-D2 trundle up to the forbidding door of a half-buried palace-cum-fort basking under the blazing sun of Tatooine.]

C-3PO: I can’t see a doorbell anywhere.

R2-D2: Bleep twert (translates as “I can’t even see one of those ports that I like to stick my appendage into”.)

C-3PO: Enough of your appendage. You’re always sticking that thing into every passing hole. Really. I think you need a cold oil shower before you go and overheat yourself.

R2-D2: Whistle-beep (“You’re just jealous because at least I get my end in now and again. It’s not just your voice that’s effeminate.)

C-3PO: This bickering isn’t getting us anywhere. Look for a doorknob, will you? And if you find one, try not to mate with it.

R2-D2: Tweet (“I can’t see anything. Just knock on the door”)

C-3PO: Wait, look. This might be it. (C3P-O points directly at a small round button to the right side of the doors.)

R2-D2: Whistle-tweet (“Don’t just point at it, press the bleedin’ thing.)

[C-3PO presses the button]

[They wait a few moments]

R2-D2: Whistle (“Did you press it right?”)

C-3PO: Of course I pressed it right. I know how to push a button.

R2-D2: Beep bleep (“You know how to push my buttons, and that’s a fact. Press it again.”)

[C3P-O Presses the button again]

[Nothing happens for a minute]

C-3PO: Maybe it’s not working.

R2-D2: Bleep beep (“Maybe they’re out. I said we should have called ahead but would anyone listen to me?”)

C-3PO: I’ll try knocking. (He raps his knuckle on the door, which makes an echoing metallic noise.)

[They wait for another minute.]

R2-D2: Tweet (“This is hopeless. I’m going to have a look round the back.”)

C-3PO: I’ll wait here.

[R2-D2 exits left to survey the circular perimeter of the palace-fort’s outer walls. The sun begins to set in the distance. Another ten minutes go by and nothing happens. C-3PO knocks on the door again. A quarter of an hour goes by and R2-D2 returns, entering from the right.]

C-3PO: Does it look like anyone’s in?

R2-D2: Tweet-bleep-beep (“I couldn’t tell. There’s not a single bloody window as far as I can see.”)

C-3PO: That’s a shame. Such a sunny planet. You’d think they’d prefer a bit of natural light to brighten the mood. But I suppose the view’s not up to much. Did you check the roof, to see if there were skylights?

R2-D2: Beep beep (“How do you expect me to get up on the roof?”)

C-3PO: With those rockets you keep in your legs, of course.

R2-D2: Beep (“What you on about?”)

C-3PO: R2-D2… has your wiring become so defective that you’re suffering robodementia? Fly up with your rockets!

R2-D2: Bleep, whistle (“Oh yeah. I forgot all about them. You know, I don’t think I’ve used these rockets for twenty years. I feel I right Charlie, I tell you. I just got a Stannah stairlift fitted in master Skywalker’s townhouse, so I could get up and down the stairs. I completely forgot I could just fly up and down anytime I liked.”)

C-3PO: Well, go on then, you stupid bucket of bolts.

[R2-D2 flies off, going vertically straight up until out of view. C3P-O waits patiently and quietly. Another ten minutes pass before R2-D2 returns.]

C-3PO: Well?

R2-D2: Bleep tweet (“Well what?”)

C-3PO: Well, the sun has nearly gone down and we’re still outside, that’s what. Did you see anything?

R2-D2: Beep (“I did have a pretty good view from up there. But it’s mostly desert round here.”)

C-3PO: Was there a window? Is anyone in?

R2-D2: Bleep-tweep. Beep. (“Oh sorry. I completely forgot about that. I just got carried away flying around for the first time in years. Let me go have a look again.”)

[As R2 is about to take-off, the doors start to open. A Gamorrean, a green-skinned cross between a pig and a human, comes out. It wears a wide-brimmed hat, carries a shopping bag and leans on a walking cane. After closing the door, it takes out a key and careful turns it in the lock. Then it turns, noticing the droids for the first time.]

Garmorrean: (Startled, speaking in a high pitch female-falsetto voice) Ooh, you gave me a fright. You shouldn’t creep up on people like that. I was just going to do me shopping.

R2-D2: Beep-tweet (“We’re here to see Jabba the Hutt.”)

Garmorrean: I’m sorry, I don’t understand beep-beep talk, deary. Speak-a-dee-ING-LISH?

C-3PO: I speak English, ma’am.

Garmorrean: Well, how can I help you then?

C-3PO: We want to speak to Jabba the Hutt.

Garmorrean: What’s that? I’m a bit hard of hearing, duck.

[C-3PO awkwardly ducks for cover as if somebody might be firing at him.]

C-3PO: Oh no!! Are we in danger?

Garmorrean: No deary. ‘Duck’ is a colloquial form of address. I thought you said you spoke English?

C-3PO: It must be one of the dialects I’m not so familiar with.

Garmorrean: Well, I can’t stop here chatting all day. The shops close in half an hour. (She looks at the setting sun.) And I don’t want to be carrying my groceries home with those cheeky sandpeople about, neither. Last time they pinched me choccy digestives, they did. Went right up to my bag and grabbed it off the top, then ran away on one of those fast-moving Bantas of theirs. I’m too old to chase after them these days, I tell you ducky.

C-3PO: Very good, but I assure you we have no interest in chocolate-covered snacks designed to accompany a pot of tea. We’re here to see Jabba the Hutt.

Garmorrean: Shabba the mutt? We don’t keep any dogs.

C-3PO: Jabba the Hutt.

Garmorrean: Abba the Zutt? Sounds like a rock band.

C-3PO: (Shouts) Jabba the Hutt!

Garmorrean: Pat on the butt? Ooh, cheeky! I’m too old for all that. (She points at C-3P0’s nether regions with her cane) And it doesn’t look like you’re fitted with all the parts I need, either.

C-3PO: (Shouts as loud as he can) Jabba the Hutt!!! We want to see Jabba the Hutt!!!

Garmorrean: Oh, it’s Jabba the Hutt you want to see, is it? He’s so lah-dee-dah. Jabba the Hutt. Why doesn’t he just call himself Jabba? Everyone can see he’s a Hutt. He’s thirty-foot round and slithers like a great fat greasy snail. Then again, I suppose calling himself ‘the Hutt’ helps to distinguish him from Jabba the Jawa, Jabba the semi-human, and Jabba the we’re-not-quite-sure-what-he-is-but-we-know-we-don’t-much-like-the-look-of-it.

C-3PO: Is he in?

Garmorrean: Who?

C-3PO: Jabba the Hutt!!!

Garmorrean: You’ve come to the wrong address, deary. His house is in the next rocky escarpment over. (She points with her cane in the direction of the setting sun.)

R2-D2: Bleep-tweet (“I said we should have checked on Google Maps before setting off.”)

C-3PO: (Raises his hand to his eyes, to shield them from the light.) I can’t see any escarpment.

Garmorrean: That’ll be because it’s over the horizon.

C-3PO: (Disappointed.) Oh. So it’s a long walk then?

Garmorrean: I should say so. Three days by foot. Come to mention it, how did you get out here in the first place?

C-3PO: We took a taxi from Mos Eisley.

Garmorrean: Oh, those taxi drivers. I bet you hailed an illegal cab, didn’t ‘cha? None of them know where they’re going. It’s lucky he took you to me and not to one of those droid recycling centres run by the Jawas. It’s late now. Not safe for you to go walking about on your own. Tell you what, if you come with me and help carry me shopping, tomorrow morning I’ll give you a lift over to Jawa’s in my landmoderater.

C-3PO: Your landmoderator? What’s that?

Garmorrean: It’s like a landspeeder but for people who don’t want to get a fine for going too fast. They’ve stuck a load of cameras up in the last twelve months, and I can’t afford to pay a bleedin’ ticket each time I go to the shops.

R2-D2: Whistle-bleep (“Silly old bag. Come, let’s help her with her shopping before we seize rigid from listening to her boring conversation.”)

Garmorrean: (Strikes R2-D2 with her cane.) Cheeky!

R2-D2: Beep-bleep (“I thought you said you didn’t speak beep-beep language!?”)

Garmorrean: That’s right, but I can tell when a naughty little garbage can like you is giving me some trash talk!

R2 and ‘3PO did not get very far, did they? Perhaps they will do better in the next installment of the Parallel George Lucasverse…

Misanthropes of the World, Unite! (for as long as you can stand each other)

I was caught between a matinee and a dinner date, milling around the backstreets of London. My desultory early evening meandered like my walk until sharply interrupted by the crack of thunder and the most severe of rain showers. With no umbrella to protect me, necessity blindly led me to the nearest doorway arch. In my hurry for cover, I must have inadvertently leaned against the entranceway. Much to my surprise, the brightly painted door fell open, and I found myself stumbling inside, looking down a gloomy corridor. Recomposing myself, I only then noticed the hand-written poster attached to the door’s outside,

Tonight’s Lecture:

“Misanthropes of the World, Unite!”

given by Claire Z. Perkins.

Begins 6pm

Light refreshments will be served during the break.

From the gloom, someone beseeched, “come on, she’s started already.” Not desirous to suffer any more of the downpour, and with a good hour to spare before that night’s rendezvous, I took up the implicit offer and made my way in.

“Don’t forget to close the door,” implored the seemingly disembodied voice.

“Oh, sorry,” I replied, and shut it behind me, though the latch was still up to permit entry for any other wandering wastrels. With the door closed, turning to progress inside, there was nary a glimmer of light to guide my way. I momentarily hesitated. Should I reach out my arms, and feel my way along the walls to compensate for the effective loss of vision? Then, the far end of the corridor was revealed, as a small bent-over figure opened the door to a brightly-lit room ahead. The figure turned briefly and was proven to be my previously unseen yet earnest encourager, by reiterating in a hoarse whisper: “come on, come on, we’re missing the lecture!”

By the time I reached the end of the corridor, my hunched hallway host was no longer in view, and glancing around, I could not fathom where he or she had gone. Indeed, I had not been able to determine his or her gender, but the assembled audience in the hall appeared to be an even mix of men and women, races and socio-economic classifications. The huddled entreater had exaggerated; the lecture had not yet begun. Instead, a shabbily dressed fellow with a goatee beard was giving an extended introduction of the speaker, the Claire Z. Perkins promised by the poster. My first instinct was to sit on one of the chairs in the back row, in case I needed to depart for the restaurant before the lecture’s end. Finding the back row to be completely full, I was forced to sit alone on the other row, the front row. As the introduction droned on, I wondered if I had made a terrible mistake and would soon be making an awkward exit. The room was quite small, but the ceiling was extraordinarily high. I wondered if it had perhaps been the chimney for a forge of some description. The speakers stood on a modest platform raised a mere foot higher than the floor. The back row audience was maybe a dozen strong. In such circumstances, there was no prospect of leaving inconspicuously. Looking around over my shoulder, I then noticed that there was a tiny gallery above us, and a further gallery above that. Upon entering, the opened door must have hidden the stairway up. Making eye contact, an elderly lady gave me a thumbs up from the top gallery, and I surmised she had been the one to urge my entry.

The introduction over, Claire Perkins strode to the front of the stage, and was greeted with polite applause. She was an impressive woman in her mid-thirties, smartly dressed in business attire, wearing a pink jacket with three-quarter length sleeves and standing almost six foot in height with the benefit of the heels on her boots. Without the need for amplification or notes, she confidently began:

“Misanthropes of North London, persons to which I have no familial connection, whether literal or metaphorical – although it is accurate if rather pedantic to assert that we all have a common ancestor if we go far enough back in time – thank you for coming to my lecture today. I shall keep it brief, and dispense with further pleasantries, as time is short, and I know you’d rather be at home with a good book instead of rubbing shoulders with each other today. We are not comrades, nor shall we ever be, but we do have something in common. As members of the species homo sapiens, we are all blighted by a common enemy. When talking of humankind’s common enemy, I am of course referring to every other extant member of the species homo sapiens. As the saying goes, we our own worst enemies, by which I mean not that the individual cannot be friend to themself, but that we are each our sole friend, as all others are engaged in ruthless competition for finite resources. That this is true should be evident enough to anyone who has ever seen the throngs amass for the New Year’s sales, or to those of you who came here today by means of the London Underground.

Our ravenous animalkind presently number nearly seven billion. Indeed, estimates suggest our ranks shall have grown by thirty even during the time it takes to give this talk. They say that every person is connected by no more than six degrees of separation, and we misanthropes understand that means there’s an awful lot of people we’d rather be separated from by another twenty or thirty degrees, if not also by a stout wall and preferably a moat too. Not since the great plague has there been any significant diminution in our species. All the shells fired and bombs dropped during the great world wars of the last century merely slowed the human explosion, which today goes on unabated. Advances in the technology of mass murder between nations have been more than offset by progress in medical science and general prosperity, creating an unsustainable quotient of fecundity. Whilst dreamers may imagine a future where we find living space amongst the stars – and I know there are some amongst us who would gladly live alone on their own planet, to the extent that they do so in their mind, if not reality – it took the combined industrial efforts of millions to send a paltry few of our kind to our nearest celestial cousin, the Moon. There will be no lifeboats capable of taking enough of us to the solar system before our Earth has sunk. In just two hundred thousand years, less than a blink of an eye to our Mother Nature, our race has come out of Africa and settled in near enough every habitable nook and cranny of our world, and indeed in many that would be uninhabitable were it not for central heating, irrigation, desalinated water or air conditioning. But even with such advances, we’ve yet to perfect a more artful way of quieting the floor-shaking bass of the people who live upstairs than by banging the ceiling with a broomhandle. If present circumstances are allowed to continue, our world will be completely overrun in less than two hundred years, never mind another two hundred thousand. When this happens, we will all, quite literally, be forced to listen to the racket made by our noisy neighbours until late at night except for that small interregnum when they turned it down because the Police came round.

What then, are we to do? Some have already seen the light. The communist tyrants of China have mercifully quelled the reproductive instincts of their countrymen. Repressing a fifth of humanity is a good start, but nowhere near enough if we’re to be spared ever longer queues at the supermarket when doing our weekly shop. Whatever good the Chinese communists have achieved is likely to be undone by the outdated teachings of the Catholic Church and other institutions that profess a love for the quantity of life over the quality of life. Jesus may love a sinner, but he doesn’t have to sweep up the mess when the estate kids spend the night drinking cider by the children’s play area. State doctors are selfishly stamping out the remaining self-selecting methods of pleasurable extermination, like smoking, a form of recreation that should be avidly encouraged for everyone of the age of twelve years and up. Those paid to enforce Health and Safety pay scant regard to the consequences of reducing the risk of fatal injury when accidents might otherwise play a useful and Darwinian role in weeding out the reckless oafs that litter our gene pool. The potential beneficial effects of sports like snowboarding and cycling are muted by an excessive obsession with helmets and other safety clothing, rendering them significantly less dangerous than a football match with Leeds United circa 1974. On many fronts, the battle to end the expansion of human life is being lost. We must get into the habit of inhibiting our population growth. If we don’t, our lack of inhibition will leave everywhere inhabited, and with everywhere inhabited we’ll all feel very inhibited.

In our Western society, we have followed a reasonably effective approach to calming the birth rate. Decimating the extended family unit whilst educating women and giving them jobs in the workplace has done wonders for discouraging and delaying the intelligent girl’s desire to have babies. This is a helpful trend, but a palliative instead of a cure. In the final reckoning the desire to reproduce is just too strong to be overcome this way. Our animal impulses, when combined with a few pints of strong lager or a bottle of chardonnay, tends to get the better of us. Combine this instinct with the zesty pleasure of sexual relations and too few can be expected to resist inevitable temptation.”

At the mention of ‘sexual relations’ Claire Perkins stared at me directly, as if with knowledge of my hopes for later that night, and with a most accusatory gaze. I felt uncomfortable, and crossed my legs.

“I am not going to suggest we engage in large-scale cullings. I am not barbarous, though I fear the human race will make life cheap if too plentiful. Perhaps in some grim future, when our numbers are simply too many, humanity will turn to such extreme methods as cannibalism, or, dare I say, recurring mercenary visits from Jehovah’s Witnesses to drive their neighhours away and hence obtain some peace and quiet. This will be because our leaders lack the foresight of all you who have chosen to join me here today. It is our burden to devise and implement the humane methods that can address the problems of population growth, before the world descends into chaos, and every street becomes an endless traffic jam of modified Ford Fiestas blaring out hardcore techno at well in excess of one hundred beats per minute whilst the cars crawl forward at something less than one mile per hour. For those of who would prefer to live a quiet life some thousand miles from our nearest neighbour, there are only so many lighthouse-keeping jobs. We’re looking for alternatives to an otherwise inevitable maelstrom of gangland warfare and hand-to-hand combat with anarcho-nihilists who have set up a squat next door. Regrettably, the weapons of mass destruction are too crude to be effectively used in the husbandry of the human race. We must look for a middle way between the scenarios where our kind is all, or nothing. Eugenics is prone to corruption. Given the condition of our leaders, selective breeding is more likely to propagate a race of morons with the Hapsburg Jaw than any sort of master race. Tony Blair’s choice of a mating partner was proof enough of that, and a surprising number of fertile woman seem to find Boris Johnson irresistible. Voluntary abstinence is ineffective too. Who would abstain except people like you and I? And if we don’t teach our children the dangers of population growth, then who will? I myself have six children, and all are well schooled in the dangers of overpopulation. In order to best balance the scales, it is we, the misanthropes, who must breed most prodigiously, despite the inevitable and uncomfortable toll it takes on the woman’s body. Indeed, we women misanthropes must remain especially strong, so as not to be cowed into the dominion of the irresponsibly multiplying hordes. If my figure appears firm and proud,”

At this, Claire Perkins seemed to stand even straighter, an impression hard to fully convey when her posture had hitherto been almost military in its erectness. As if instructed to do so, I looked her up and down. Her forearms looked very much firm and toned, and her bosom was undeniably proud. Perhaps I stared too obviously at her bosom for someone sitting a mere yard away, because she looked me hard in the eye, as before. I responded by smiling with the most intellectually-engaged, least erotically-interested smile I could muster. She continued,

“it is only because of the strict regimen of diet and exercise I have adopted after every birth. Such is the toll that new life demands of the old.”

By the end of this last sentence, Claire Perkins was again looking at me. I supposed that the gentlemanly thing to do was to somehow convey that she did not look in the least bit old. This I attempted by retaining the basic shape of my intellectually-engaged not erotically-interested smile, but with the modification of slightly curling one corner of my mouth. With the benefit of hindsight, I doubt it worked.

“No, the misanthropes cannot win this war with an exiguous army. We must win by tilting the scales in our favour. This brings me to the modest proposal that I wish to share with you all today. We need a scheme that dampens the reproductive rate of our people, whilst offering no barrier to the pleasures of free sex and hence freely-transmitted diseases. Authoritarian methods of population management like licensing, permits, financial inducements and penalties could be an option, but they would all be problematic to enforce and difficult to police in a free society. Instead, we should turn the free society in our favour, by freely giving the gift of birth control. All of us, I am quite sure, has heard of fluoridation of water. Across the world, one in fifteen people benefits from the supply of fluoridated tap water. The benefits are clearly measured in reduced tooth decay. I ask you today, if we can alter tap water to protect our teeth, why not do so to protect our very quality of lives, and return this world to a sustainable balance between people and nature? Medical science knows of several compounds that, if added to drinking water, would temporarily, but reversibly, inhibit fertility. Should a couple still wish to procreate, the choice would be clear: imbibe only bottled water. Those with the discipline and resources to go to the shops and purchase a weekly twelve-pack of Tesco’s Value Highland Spring would still be able to have children, whilst the rest will peaceably start to contribute to the reigning in of our out-of-control species. Imagine the difference such a policy would have made to serial procreators like Blair and Johnson, though Blair’s sins were somewhat mitigated by all that carnage he initiated in Iraq. Tap water delivery of contraceptives would be perfectly fair. Put simply, it relies on the proven worth of apathy. Sheer sloth ensures that number of people who opt in to any choice is always lower than the number that would not opt out of the same choice. In this case, people may opt out of drinking tap water, or using it to brush their teeth, or using it to water their vegetable garden. Or, they may simply rationalize that turning on the tap is a kind of charity to their fellow man, and may console themselves with the double savings of cheaper household bills and avoiding the cost of bringing up a child. And if you don’t think the neighbours are being careful enough, be sure to invite them over for a barbeque and be sure to add lots of refreshing ice to the Pimm’s and lemonade.

We, the misanthropes, have nothing in common but our own selfish interests, and in this respect we have the same selfish interests as everyone else except we’re more sensible about them. Only we can see the way through the present tragedy of abundant fertility to the inevitable conclusion of a worse life for each and every one of us. A little rationing of the right things does more good than harm, and that is all I am asking for. It is rational to ration what we have too much of. In contrast, it is irrational, and dare I say rash, to ration the means of rationing. Instead of rationing prophylactics – too unreliable a method for a world where people are expected to pay for them, Catholics oppose their use and even a Primeminister’s wife can be too giddy to reliably use them – we should be rationing children. And the best way would be to start with everyone receiving free and plentiful contraceptives in every glass of water, and asking them to make an informed and proactive choice if they wish to opt out of universal birth control. Thank you everybody for listening. Now I understand we will be having a short break. Afterwards, I will be back on stage to explain how we can work together and lobby for this essential public health policy, and then we’ll have a brief question-and-answer session.”

Glancing down at my watch, it was nearly time for me to leave for my date. On my way out, I politely declined the offer of a cup of tea from the same elderly lady who had earlier beckoned me in. It was still raining outside. Later at the bistro, just to be on the safe side, I ordered a large bottle of Evian.

Art + Data = Darta?

I arrived fifteen minutes late to the V&A’s Decode exhibition. As ever, my friend Meng Ni Beh was already there, patiently waiting for me. It is a real pleasure to have a friend who is not just an artist but an artist whose work I really enjoy; it means my enthusiasm for her output is always genuine, never feigned for the sake of politeness. It also means I can look at my own conceptions about art whilst listening to hers. I would suggest you read Meng’s review over at her website, to get her take on it, but she has not posted it yet. I expect she will be looking at things quite differently to me. As ever, when looking at art I get more pleasure from the thoughts that the art provoke than the art itself. Whilst bouncing ideas around with her, it occurred to me that a more appropriate name for the Decode exhibition might have been ‘Encode’, or perhaps ‘Dadacode’. In the case of Decode I was as much concerned with my perennial concern – distinguishing the start, the intention, the means and the ends – as I was with exploring the potential for digital technology as a novel platform for artistic endeavour. Decode is nominally about art and design that creatively uses digital technology. As the works in Decode varied between the sublime, the obscure, the awful and the simple, I find myself unable to summarize the exhibition in any useful way, and will have to race at it pell-mell. In this respect, I am reflecting the pell-mell assault that the curators perpetrated on me.

We all know that technology opens up new worlds of possibility. But simply because a possibility exists, it does not mean it is worthily explored. Decode walked down cul-de-sacs as often as it opened new horizons. The motif of Decode appeared to be to present the work of artists who also double as explorers, but to my mind, some of these fellows were merely people whose techie skills did not compensate for their lack of a sense of direction. Others, though, showed glimpses of a truly new vision. The Dadaists might have found doodling a useful foundation for artistic expression. The trick was to raise the doodle to the form of art. The artists in Decode succeeded in this quest only half the time, and some of the work on display was merely technological meanderings. Perhaps the most interesting, and certainly most perennial, questions in art are about what art is and what art is for. Going round Decode, I saw some examples of the boundaries being tested and expanded. With such a varied mix, I will spare myself the attempt to group the works or even give a meaning to their sequence. Suffice to say that the three themes identified by the curators – code, interactivity and network – are themselves so amorphous and unconstrained in meaning that we might as well group more traditional art by colour, shape and width. Instead, I will (mostly) follow the numbered sequence given by the curators whilst talking about a sample of the works on display.

On Growth and Form by Daniel Brown

Beautiful flowers eternally bloom from stalks that grow ever upwards. The flowers and stalks are generated by algorithms, at once recognizably organic and unique whilst the product of digital probabilities. It is a beautiful work that also reminds us of the mathematics in how real organisms develop.

Because the work is peculiarly located relative to the other works, you might miss it completely. I only noticed it whilst leaving, but was thankful to leave on a high.

bit.code by Julius Popp

This work was number ‘0’ in the sequence of the exhibit. It is faux clever to start at ‘0’ when numbering digital exhibits, especially as the sequence did not continue as 1, 10, 11, 100, 101….

Anyhow, I demoted this work in the sequence of reviews because I did not want to start with a zero – the binary epitome of the negative. That the curators put this work up front tells us about an absence of coherence amongst the oeuvre on display. bit.code is so bad that I am not even going to tell you about it, other than it inanely uses clunky machinery to repeat strings of text from the internet. It is as pointless as a Heath Robinson machine, but with none of the charm.

Dune by Daan Roosegaarde

The narrow walk through to the main body of the exhibition naturally causes you to brush the plastic reeds of Dune, which bristle out of the floor around you. This provokes amusing light and movement from this interactive stick garden. And hence we are immediately drawn into the first contradiction of the exhibit. Art may be entertaining, but the entertaining need not be art.

Swarm Draw by Joshua Davis

Apparently you can use computers to create animated drawings. Will wonders ever cease? Every themed exhibition has a work or two which lies on the periphery of the theme and this work was definitely on the boundary if not outside it. The animation itself was a bit like the lightcycles game spawned by ‘Tron’ without being playable and with lines that were curvy instead of straight.

TI by C.E.B. Reas

If Swarm Draw was on the periphery, then TI exemplified the heart of this exhibition. Put simply, TI is the animated visualization of computer code being executed. Colour and geometric forms fold outwards from the a rapidly spinning centre – presumably because the core loop of the code is placed in the middle of the image. As the shapes move outwards, they change less frequently. These outer images are the lines of code traveled less often. TI is a program that takes programs as its input, and outputs them as kaleidoscopic maps. This is literally the conversion of code into aesthetically pleasing animated image, and each program generates its own picturesque signature. This is code as artistic material, like using a history as the input that will be synthesized into a Shakesperian play, or taking the input of a Shakesperian play and synthesizing an opera from it. One wonders exactly which programs were chosen as inputs and why the artist chose them. And there is one other question to ask: what would we see if the code of TI is itself input into TI?

Arcs 21 by Lia

More pretty images created by computer. Did I mention how the wonders never seem to cease? Apparently you can buy an app to show the Arcs 21 images on your iPhone. If this is art, then a parallel logic might lead you to conclude that the App Store should sell porno, because photos of naked women must have similar artistic merit to The Birth of Venus by Botticelli.

Enerugii Wa Antee Shite Inai and Social Collider, both by Karsten Schmidt

Did you hear the one about the pretty images made by computers? Enerugii Wa Antee Shite Inai uses a software engine that can render very colourful 3D forms. Nice enough – but how interesting is this as an idea? After all, Pixar has been around for a while. I think I would rather just stay at home and watch WALL-E again, if the alternative was to suffer the London rain and to wade through the hordes on the London Underground just to see computer graphics that look just as good on my laptop… which leads me to my next question of why half of this exhibition is not merely reproduced in cyberspace so I can enjoy it whilst sat on the sofa. The answer must have something to do with the social expectation that says art must live in a gallery. Apparently the images in Enerugii Wa Antee Shite Inai can be ‘remixed’ and ‘recoded’ by the public, and will then be shown on the aforementioned London Underground. But however the images are manipulated by the public, they still will mean much less than Buzz Lightyear proclaiming ‘to infinity and beyond!’

Social Collider is initially a more intriguing work. Essentially it is a graphical plot of a sample of Twitter conversations. Intriguing for a while. And then you get quite bored of the idea, much like people get bored of Twitter too. Whilst trying to eek out the interest, I mined the detail and found one of the conversations was essentially the repetitious plugging of a web domain available for auction. Hmmm. The creators of Social Collider said it might ‘catch the Zeitgeist at work’. Based on this miserable example, one hopes it failed.

Stockspace by Marius Watz

Real-time financial data is presented as a series of different kinds of images. A bit like the graph capabilities of Microsoft Excel but way more powerful. Is it art, or just a colourful way to present data, with any indicators of source, any legends and axes all conveniently omitted?

Digital Zoetrope by Troika

Very clever machinery upgrades the old idea of using a zoetrope to animate an image by adding the ability to morph and change the light-enscribed images that are presented. This is then linked it to a feed of data where words used by Londoners are randomly selected and presented to the viewer. For all the effort, the result is profoundly shallow. A victory of techno-geekery over any sense of artistic purpose.

Everyone Forever by Universal Everything

I cannot remember this whatever-it-was and I only went to the gallery yesterday. So much for everyone forever because it did not last me a single day. I tried to refresh my memory by browsing the web, but only concluded that the V&A probably stuffed up the exhibition programme and did not write in the actual name of the work that had been on display.

At the conclusion of my web trawl, and having seen a lovely video where I hear about how Universal Everything’s creativity is supported by the munificence afforded by the Apple Macintosh, I found myself feeling rather down to earth. Universal Everything seems to be solid proof that you can make a living by mucking about with fun techno-geeky stuff. The only question is that if everyone in the universe could do this forever, then why would anyone buy the output, instead of just making the art for themselves?

Solar by Flight404

A very interesting and attractive attempt to give an animated feedback of the noises made nearby was spoiled only because the images did not interact or vary enough in response to the environment. My best falsetto singing seemed to generate similar graphics to a dull thud on the outer casing of the display. As the artwork opposite featured Thom Yorke’s warblings, I suddenly realized that half the works in Decode could be lined up so that the output of one would become the input of the next, creating a chain of interactive art insanity.

House of Cards by James Frost and Aaron Koblin

This artwork was essentially a Radiohead video made responsive to anyone wanting to paw on the screen. iPhone-style zoom in and out did not work, but you could spin the 3D line graphic images around, which when you let go would then spin back to where they should have been in the video’s sequence of, well, spinning around and around. Playing with this artwork is the metaphorical video equivalent of DJ’s ‘scratching’ a vinyl record, except done by ordinary members of the public with no idea of how to count the BPM.

Flight Patterns by Aaron Koblin

By far the best piece on display, this was the only work that truly transcended both data and art to hint at the possibilities for how humans sensations can profitably be enhanced by machines. Koblin used real data of US aircraft flights to build an animated map of all the flights that occurred over the space of a day. The familiar outline of the US borders were lost in darkness over night. As activity increased, the vague ghost of the countries outline would be hinted at, whilst international flights skidded off to the edges of the screen. Then the US explodes into light along its East Coast, as rush hour breaks, filling the void with golden hops of flights jumping from north to south and vice versa. These then increasingly traverse to the West, mirroring the path of the sun. The hubs of Los Angeles, New York, Chicago, Houston and Miami are visualized as colourful fountains of flight. Flight Patterns is at once both aesthetically sublime and rich in information. It is highly suggestive of how novel visual forms may be used to intuitively present very large volumes of complex data through a pleasing engagement of the eye. An example of brilliant design, if not art, and very possibly the work most likely to be copied in practice.

Make-Out by Rafael Lozano-Hemmer

Walk too close and you instigate a video wall of people kissing, with all the clips downloaded from the internet. That 50% of the clips showed girl-on-girl action tells us more about YouTube’s policies on ripping down soft porn than it will ever tell us about love or society.

Dandelion by Sennep and YOKE

This was a visually stunning and interactive recreation of what it would be like to point a hairdryer at a giant dandelion. One wonders if they will turn it into a relaxation aid for the Nintendo Wii.

Body Paint by Mehmet Akten

Create a virtual Jackson Pollock by throwing ‘paint’ at the screen simply through gestures. Another work that was more fun than art, and that will be coming to your Nintendo Wii before too long.

Videogrid by Ross Phillips

The onlooker is encouraged to be part of the art, by recording a 1-second video of themselves. This is then presented as part of a 5*5 grid of continuously looping images. Great for the kind of people who like to goof around and wave over the shoulder of people doing outdoor news broadcasts.

Weave Mirror by Daniel Rozin

An extraordinarily elaborate device that combines mechanics and digital technology to show the audience what they look like when pictured using a modern webcam but then displayed on a TV screen commensurate with the kind of technology you might see in The Flintstones. If I write ‘four hundred black-and-white pixels, each an inch wide’ then you get the idea far faster than if I tried to describe the device itself. Prima facie evidence that NYU professors like Rozin have too much time on their hands.

Venetian Mirror by Fabrica

Sit in the stool very patiently, and an image of you will very slowly appear in the electronic ‘mirror’ you face. In my case at least, it was not worth the wait.

Returning to the theme of my opening paragraph, Decode failed to address or deal with the phenomenon of information overload so prevalent in an interconnected society. If anything, most of the work exacerbated it. Other works stolidly ignored the role of the digital in its creation. For them, the digital was not the subject but a tool, like a paintbrush or a Wii remote, and the result was sometimes fun, often curious, and usually trivial. So somebody can use digital technology to build a machine that simulates a dandelion or a machine which displays a really poor quality picture of me. Well, so what of it? Time and again the works were meant to be interacting, or at least reacting, to their environment and the world at large. But most of these actions and reactions were without any seeming purpose, leaving one as oblivious to the message as trying to read those teartracks of green symbols seen on the credits of The Matrix. Amidst the mix of interaction, we lose our sense of self, no longer aware of whether the art is the final representation, or the combination of code and machine that makes the representation, or in part our own bodies and movements, or a stream of data taken from elsewhere. Whilst digital, much of the calculation done with those 1’s and 0’s had no aim. Think of a number, double it, take away four and convert it into the RGB version of a colour to be displayed in the bottom right quadrant of the screen. There is no equation being solved here; the artists are like lunatic mathematicians scrawling symbols on the wall. Or they would be, if they were engaged with any more purpose than creation for the sake of finding someone who will like what they create. They might as well paint landscapes for the tops of biscuit boxes. Nice colours and fun responses were presented in a setting that makes it socially acceptable for adults to play for a pleasing few seconds – before they get bored and move on. The biscuit box might be looked at longer than some of these artworks.

Separating the novelty from the novel, we do get a few examples of works that showed both thought in the final delivery as well as the means to deliver it. These point to futures where we literally look at information in a different way. The greatest potential came when using sensory aggregation to show worlds of information that could never before be expressed phenomenologically. Whilst much of the work encoded or recoded the familiar, the real decoding was in taking the worlds never seen before and translating them into familiar sensations we can comprehend with instinct as well as logic. That may not be art, but if not, it is something new we currently have no name for, and can hence be happily suckled by art until fully mature.

Meaning to be Forgotten

There is nothing so common as language. Whilst there is sadness at stories of the death of some old languages, the truth is that the language does not die so much as its speakers. The purpose of language is communication. A language that nobody wants to speak can never be alive. It can only exist as a vestigial curiosity, like the chimney of a centrally-heated house. Sometimes words die completely. Sometimes the meanings die but the sounds persist, attached to newer meanings that better reflect the purposes of the current time. This is because language is the servant of human affairs, and human affairs are concerned with the present. A natural inclination to be sentimental about this ‘loss’ of the meaning of words should be tempered by the realization that some objects and ideas are best consigned to history. Nobody should want to manufacture a thumbscrew or practice slavery merely to give life to the meanings of the word ‘thumbscrew’ and ‘slavery’. On the other hand, it is more debatable if losing the words ‘chivalry’ or ‘mulatto’ might impoverish or improve our language.

The present age is fortunate to be able to look back on the cradles of language and trace the lineage of the words we use, and the words that were forgotten, with much more confidence than most of us can trace our family line. Though many a reader’s eyes will scan right past it, the dictionary’s finest source of pleasure comes when explaining the derivation of a word. I am not in a position to forecast how the mind of man might change, and hence his views and the words he uses to describe the world around him. Predicting the future of technology is a little easier, as we can see the changes taking place. The commonest transition with technology is that the new but important invention begins as novel, becomes rare, then common, then ubiquitous. The technology that it supersedes goes through a mirror-image decline from extant to archaic. Here are a few predictions for the consequences of technology change will be manifest in the lost meanings of words, and how their echoes might persist.

Page

The decline of paper books means the decline of the basic unit of the physical substratum to the book – namely, the page. With the rise of the web, the page will exist as a grouping idea and its scale will be driven by the scale of what people can see on a screen.

Album

Music gods Pink Floyd were recently successful in their legal battle to assert that permission to sell an album was permission to sell the integrated work, but not permission to sell its constituent components, the songs. Because of the shift from physical to digital, the idea of the album will also transform from a physical grouping to a conceptual and organizational grouping. However, when this happens, the idea will be used less frequently and more fluidly, stripping it of some of its current significance. Without besmirching the artistic integrity of Pink Floyd, the duration of their albums were not independent of such prosaic concerns as the volume of content that can be scratched on to the surface of a piece of vinyl, or the costs of manufacturing that spiral scratch. In future though, an album might be as short or as long as the creator desires, without ever needing to consider the kinds of practicalities enforced by selling content in plastic form.

Telephone ring

Telephones used to ring because bells were the only practical mechanism to attract attention to them. Our conventions still mean we are habituated to the idea of ringing as a signal we should respond to, like the school bell heralds the beginning of classes. However, a bell is no more representative of the idea of an incoming phone call than a foghorn is representative of a ship in the dark or the clapping hands represents appreciation. Whilst we will be sticking with applause as a signal of an audience’s reward until such time as there is a uniform noise-making alternative as readily to hand, the telephone ring will literally ring less and less, to be replaced by musical ditties, vibrating trouser pockets and – coming soon to a phone near you – the voices of Mr. T or Katie Price announcing the names of the people who want to talk to us.

Broadcast

The beauty of the infinitely scaled network, where everybody is a node that can be both receive and create content, and where there is route from every node to every node, is that a person can speak to the world as easy as speaking to a single friend. In such a world, the distinction between a broadcast and a narrowcast is lost. What matters is not the physical infrastructure to transmit, as is the cast with media like traditional television and radio broadcasting, which consume the same resources even if nobody tunes in. All that will distinguish the broad from the narrow is how many choose to be on the receiving end.

Film

The film will persist as an entertainment format, but the film on which it is printed is already dying. Fewer and fewer of us put films into our cameras. Digital memory devices are modern man’s preferred optical backend. This leaves the word ‘film’ to be used solely as yet another variation on the theme of a final, selective, edited grouping of gathered content. Of course, this only begs the question of what function is really being served by the presentation of a two-hour story in a collective hall.

Encyclopedia

The encyclopedia is delineated by what it excludes, as much as by what it contains. Its contents are authoritative wisdom. What is left out is second-rate referential information, literally by definition. Yet in a postmodern era, who can say what knowledge is deserving to make the cut, and what belongs elsewhere? The choices of what to include reflect prejudices that are both cultural and historical, and the need to choose is again driven by an economic choice – how much to include in the finite pages of a physical text. When stripped of the physicality, our boundary between the encyclopedia and all other information is normative only. It may be a source of comfort to impose expectations on what qualifies for inclusion. Then again, do we really expect every encyclopedia entry to be equally authoritative? Ponder what encyclopedias used to say about the women’s afflication of hysteria or how much space was given to describing gout compared to sickle-cell. Without the constraints of a limited number of pages, why not simply allow the encyclopedia to adopt a tailing edge, floating like a ship of relatively buoyant facts upon a sea of less differentiated information?

Cosmic Corridors

Cosmic Corridors LogoListen to Episode One: A New Home, our audio demo of a comedy radio script. The story features two down-and-nearly-outs, Matt and Eric, and their discovery of the cosmic corridors. In episode one, Matt and Eric attend a funeral, get lost, meet Huey, Dewey and Louie, reveal the truth about Fatboy Slim and are told to paint the fence. And yes, we know the pun works better if we called this episode four, but only silly people leave the first three episodes to last.

We Peculiar Creatures

What peculiar creatures are we.
They say we descend from monkeys.
Lost our hair and our tails,
Brush our teeth, cut our nails,
Dream of holidays on safari.

What peculiar creatures are us.
They say we’re all made from stardust.
We learned to stand on two feet,
And then to walk down the street,
But we’d prefer to sit on the bus.

What peculiar creatures we are.
They say we are three-fifths water.
Like to keep fit by biking,
Swimming, jogging or hiking,
But then we drive to work in a car.

What peculiar creatures we make.
They say we’re descended from apes.
Live inside houses, not caves,
Flown the skies, sailed the waves,
Then we invented the seedless grape.

What peculiar creatures are we.
They say we descended from trees.
Make love like a missionary,
When tired of position-ry,
And we blame it all on birds and bees.

What peculiar creatures we are.
They say we’re alike from afar.
Concerned with the differences,
Disputing what’s hers or his,
When we’re haggling in life’s great bazaar.

What peculiar creatures we make.
They say we were made in God’s shape.
Pray to Him in the churches,
Start wars ‘cos of what He says,
Count what we give, but not what we take.

What peculiar creatures are us.
They say we all return to dust.
We spend our lives killing time,
We watch the clock hands unwind,
But rarely leave without any fuss.

What peculiar creatures are man.
They say we’re as smart as they come.
We studied anatomy,
Worked out our psychology,
But I’m just not so sure that I can.

The Future of Business is Modular

Nobody can manage what they cannot understand. It is a common principle, enshrined in many business aphorisms. “Stick to the knitting”. “You get what you measure”. “Keep it simple, stupid”. The list goes on, but the underlying idea is the same. At the same time, the world grows more complex. Supply chains are ever more international, and so is finance. New layers of technology sit upon older layers of technology, creating pyramids that nobody understands from top to bottom. Training and education can deliver staff with increasingly niche and specialist skillsets. In the midst of this, businesses still pursue universal goals, whether delivering profits to owners, pleasing products and services to customers, or motivation and satisfaction to workers. The trick to handling complexity, in order to keep businesses understandable and hence manageable, is to break businesses down into units, and to understand how these units fit together and affect each other. This is the essence of modularity.

Modularity may seem so straightforward that it is obvious, but it is rarely obvious in practice. Employees may only know about their department, and know little of what the rest of the business does. They may be completely divorced from the customer’s experience. Managers may have an idea of how things fit together, but are rewarded for fighting their individual corner, not for doing what best helps the whole organization. An outsourced function is not part of your company, but it may be just as integral to business success as any function performed in-house. Suppliers may be separate companies, but their failure may cause the failure of your business. Long-term business success will often depend on relationships within the company, and between the company and others. These relationships may change over time, but will greatly influence the health of the business.

Teaching managers to think of business in modular terms is not simple. The biggest obstacle is the time and effort spent working out what each part of the business does and all the interactions between the modules, including those that sit in other companies. Working out the model for an individual business is time-consuming, and the benefits are all indirect, so it would be hard to spend the time and resources needed to do it well. In contrast, generic industry models are abstract. They need to be tailored to the relevant circumstances of individual businesses. There is also the challenge of getting rival businesses to pool efforts and devise a common model; some may prefer not to contribute but merely to wait and see if they can use the finished work. Despite the obstacles, there have been successes. In software development, frameworks like the Software Engineering Institute’s Capability Maturity Model Integration have gained popularity. For telecommunications providers, the TM Forum’s Solution Frameworks are the de facto standard for planning major business-wide transformation. One difficulty with frameworks is that they can end up seeming just as complicated as the businesses they try to describe. However, they do help management in several important ways, which are briefly described below.

Distinguish the success of a part with the success of the whole

Poorly chosen targets, corporate politics and poor data can all conspire to encourage the business to reward units that act ‘selfishly’. A selfish approach may seem natural, because businesses compete with each other. But the IT department should not be competing with the Sales team or the people who work in Customer Service. Targets and performance criteria for every module should be based on the benefits to the business as a whole. That means understanding how the modules connect and complement each other.

Measure the performance of a module based on what it controls

You would not blame customer-facing staff for spending a lot of time on refunds, if products are faulty because of poor quality control on the production line. Even so, it is sometimes difficult to link measures back to root causes. Modularity encourages a better understanding of what each module controls and does not control. This in turn encourages performance to be linked back to root causes, so improvement is focused where really needed. The correct approach is to measure the performance of each module based on the value it adds, and to set targets accordingly. Where the failure of one part of the business causes issues downstream, ensure that there is accountability and the resolution is taken right back to the source. Understanding the performance of each module, and relating this to the products and services supplied, will identify those activities that drive profits and customer satisfaction, and where there is the potential to cut costs.

Standards help everybody

Standards are an aspect of modularity. To define how modules interact, it is necessary to set standards. Standards can be limiting, but in large businesses the loss of freedom is offset by the vital improvement in the consistency of how the business works. Adopting broad standards in the performance of work is a good way to train people and make them feel part of a team. It is common to adopt technical standards, but many other activities can be standardized. Idiosyncrasy in how people work can be discouraged by having staff change around and do different jobs, at least on an occasional basis. Giving everyone an overview of what the business does will help to foster a sense of team spirit that reaches beyond departmental boundaries. If tasks are performed in a standard way, it is easier to cope with staff turnover. If staff have some familiarity with performing a variety of jobs, they will be better able to cope with new requirements at short notice.

The more standardized a business, at every level, the easier it is for suppliers to meet its needs. Standardization also makes it easier to shop around and find alternate suppliers. A modular approach works for services just like manufactured goods. The ease of swapping in new parts for old parts makes a business more flexible. Bringing in temporary staff or a new source of components may be vital for handling a surge in demand. The same kind of flexibility also helps with managing reductions in capacity when sales are poor. Suppliers are an extension of the business, performing modular roles per expectations defined in a contract. The supplier’s service levels can be monitored by extension.

Focus on what you do best, give fair rewards for the rest

The driving force behind outsourcing is that some tasks can be more efficiently handled by letting an outside, specialist business perform them. The best known examples are inherently modular. For example, the payroll of a manufacturer has a lot in common with the payroll of a bank. In contrast, managing payroll has very little in common with the core business of a manufacturer or of a bank. Common and regularly recurring tasks are obvious candidates for outsourcing. However, there may be ways to incentivize and engage outside suppliers for more risky or creative challenges. Take Apple’s iPhone Apps Store. Apple created an environment that ensures third parties get a transparent share of reward in exchange for the risk they take. In doing so, they handed over the risky task of developing new content for the iPhone, whilst creating a new feature that attracts more customers for their product. By giving a reasonable return to the modules outside of Apple’s company – the third party apps developers – they both outsourced risk and reaped a greater reward for their own business.

Summary: recognizing limits

For an intelligent, successful, and confident executive, the hardest challenge may be to recognize his or her own limits. But the human mind has limits. Even the versatile minds of a Benjamin Franklin or Leonardo da Vinci would be overwhelmed by trying to understand the intertwined complexities of money, machines, markets, laws and human behaviour that determine the success of a modern large corporation. Failures of big businesses show that risks can be underestimated and circumstances can outrun the company’s ability to change. To solve complex problems, it is necessary to break it down. There must be trust to recruit and delegate to managers who handle their individual part of the puzzle. Top level management is there to ensure the parts fit together to form the whole. By being modular, businesses become more adaptable. Identifying the important relationships between each module, establishes the key criteria for the success and profitability of the business. Knowing limits drives businesses to acquire the data needed to make effective decisions and plan ahead, instead of just responding to short-term variations from expectations without understanding what has caused them or if they represent more fundamental problems. Modularity keeps business intelligible, and by keeping the business intelligible, managers can manage even the most complex businesses with confidence.

No Place Like Home?

Regular readers of Halfthoughts will already know I receive letters from Prince Karl Zeis, of the deposed Royal Family of Delfthia. For those you unfamiliar with this tiny but proud nation, it lies midway between Macedonia and Bulgaria, and its finest hour came in 1745 with the victory of Delfthia and their Prussian allies at the Battle of Hohenfriedberg. During the battle, King Augustus IV led the two hundred Delfthian Dragoons in a surprise attack at the rear of the retreating Austrians, catching them completely off guard and allowing them to capture two thousand of the enemy. Some historians claim the Delfthians were supposed to be allies with the Austrians but, arriving late and discovering how badly the Austrians were doing, Augustus IV opted to swap sides. Prince Karl, however, insists this is an unfounded slur against his family’s name. Whatever the historical truth, the exiled Prince Karl wrote to give a much more recent account of events in his homeland…

Dear Eric,

It is with a heavy heart that I must share the news gleaned from my stealthy return to my motherland, Delfthia. As you appreciate, the current authorities consider me persona non grata; they fear I will lead a popular uprising and take back my crown. I have harboured no such intention, but seeing what they have done to my precious Delfthia, I can now say they were right to fear. Seeing what has become of my beloved Delfthia leaves me saddened and enraged in equal measure. The jackboot of their tyranny has marked my people’s soil for eternity. There is no time to waste. I am left with no choice but to make immediate preparations for a visit to the United Nations, whereupon I will petition the general assembly to restore me to the throne of Delfthia. I do this not for myself but for my people. Even a day’s delay will only leave my poor country even more irredeemably scarred than the day before. I beg of you to share this missive with your readers so they too can find out the horrible truth of what has happened to the beloved land of my birth. The world must hear of what has happened to Delfthia and I shall not rest until they do.

Woe, your name is Delfthia! Accursed tyrants have blighted your green and fertile meadows and darkened your blue and cloudless skies. Greedy wretches have befouled the streets of your magnificent cities and desecrated your pretty villages. Shameless supplicants have given over their lands and freedom to the despots that now disfigure the once beautiful land of Delfthia. Delfthia, how I remember the small boy I once was, running barefoot over your hills and through your valleys…

Prince Karl keeps this up for a couple more paragraphs. I hope he will not mind too much if I summarize by saying the Prince is more than a little upset at what has happened to Delfthia since he left. We will skip to the part where he starts detailing what he discovered on his arrival.

For the final leg of our journey, my valet and I boarded the overnight sleeper train from Vienna. This meant an early rise from our bunks, as the Delfthian immigration officials were scheduled to board the train and check our passports upon reaching the border at 6.20am. I awoke after a fitful night’s sleep, spent turning in my bunk and imagining how Delfthia had changed in the decades since my departure. Even so, I was up bright and early, giving me time to shower, shave and comb my hair before putting on a clean shirt and making myself presentable. As you can imagine, I found it distasteful to travel using an alias, but there was no alternative. However, just imagine my distaste when the immigration officer, looking for all the world like it was he, not me, that had just risen from bed, proceeded to interrogate me about my personage. There was a time when the hospitality of Delfthians was famous from Brussels to Baghdad, yet this slovenly oaf asked me all manner of questions, the relevance of which was beyond me.

“Where are you staying?” “In a hotel – do you think I travel first class and then plan to sleep on the park bench?” “Write down the address.” “Why, will you be contacting them to verify my answer?”

“How much cash do you have on you?” “None.” “Then how do you expect to pay your hotel bills?” “The valet will pay with the cash he carries for me or I will pay with my credit cards.”

“Do you have a communicable disease, social or mental disorder or are you a drug user or addict?” “Yes, I have a profound aversion to nosey parkers and to the insufferably rude. They give me a headache and then I have to take an aspirin.”

“Do I intend to engage in subversive activities leading to the overthrow of the government?”

Well, as it turns out the answer to that question is now ‘yes’, but what kind of nincompoop expects an honest answer from anyone who would contemplate such a thing? You might as well ask Mossad agents if they are traveling under a stolen identity and if the purpose of their visit is to assassinate someone.

This incident on the train was merely an omen of what was to come. After disembarking at Delfthia Central Station, we took a taxi to our hotel. I am sure the taxi driver took us an implausibly circuitous route, all the while proclaiming that he did so to avoid the worst of the congestion. If that were true, I shudder to think what the worst would be like. From the back seat of the taxi, I saw our fair capital’s streets were choked with cars and fumes that backed up and blackened every junction. Even so, I was glad of the detour, as I longed to see what had become of the buildings. What I saw filled me with horror. The pretty facades I remembered from my youth were now covered in advertising hoardings, with giant photographs of David Beckham selling his underpants. International brands of pizzerias and burger joints had taken the place of our cafés and bistros. The corner shops, run by local people that you knew, had disappeared completely.

It was with relief that we finally arrived at our hotel, the Hotel Metropole. This was the establishment that had, for a hundred years, welcomed heads of state from around the world, back in the days when Delfthia was a place that world leaders looked forward to visiting. Sad to relate, standards had slipped even there. The décor still impressed, but much had been lost. A horrid gift shop had taken the place of what I had remembered as the Augustus VI room for gentleman smokers. It sold chocolates from Switzerland and watches from Belgium (or perhaps the other way around, I am too upset to remember clearly) but there were no local goods, like our fine Delfthinian flaxxon hats or the famous mountain pipes played and made in the Delfthinian highlands. Hungry after our journey, I decided to enjoy a bowl of our glapclava, a dish that is never prepared correctly by the few overseas restaurants I have found will serve it. To my amazement, the hotel restaurant now only offered Thai food. Surely if I wanted to go somewhere that offered Thai food, I would holiday in Thailand? Disappointed, I retired to my suite and decided to order room service instead. That menu was equally desultory, offering all manner of club sandwiches and chicken madrases, but not a single Delfthian dish of worth. It was quite enough to cause me to lose my appetite altogether.

I consoled myself that I was out of sorts after the sporadic sleep of the night before, and that a nap would raise my spirits. After my nap, I awoke refreshed. Feeling rejuvenated, I told the valet to have the rest of the day off whilst I ventured out for a walk around the streets of Delfthia. My first stop was at the tourist information office, situated in a hideous concrete bunker directly opposite the Hotel Metropole. I asked about craft shops selling locally-made flaxxon goods. There were none, though the lady behind the counter suggested a superstore with some similar products imported from China. I enquired about the weekend polka dances in the park, but they had long since ended. This weekend there was a jazz festival, which sounded rather jolly. I mentioned that if I wanted the finest in jazz I would have gone to New Orleans or Chicago, but the lady assured me they had flown in some fine musical acts from overseas. Then it transpired the headline entertainment was James Blunt and David Gray, so I naturally gave her a telling-off for misleading me about there being ‘jazz’ music on offer. Depressed, I asked her what other tourists did to enjoy themselves. There was an IMAX cinema, showing the latest Hollywood blockbuster movie from someone called James Cameraman. I shook my head and asked about shopping for Delfthian antiques. The lady said the old market was closed for refurbishment, but that I might be disappointed with the ‘tat’ on sale there anyway. She instead suggested I could enjoy myself at the air-conditioned shopping mall, at which I would find Gucci, Armani and Jimmy Choo stores, and if that was not to my liking, they also had a Topshop, Starbucks, Boots and even a Virgin Megastore. I commented that I did not see how it was possible to have a Virgin Megastore, as all the British Virgin Megastores had been sold off, rebranded or even closed. She responded by sniffing in a very off-hand way and handing me some leaflets that promised reduced entry to an artificial ski dome and a waxworks museum featuring a new dummy of the diminutive Nicolas Sarkozy. Perhaps the waxworks were running short of wax.

Utterly deflated by this dreadful experience, I thought it best to drown my sorrows with a tipple or two or our Delfthinian wormwood liquor, or failing that, a little absinthe. Imagine how dejected I was when the only bar I could find was an Irish-themed pub, covered in shamrock wallpaper and with a big TV screen showing English Premiership football. Their beverages included no wormwood liquor nor absinthe, so I mulled a choice between Guinness, Fosters or Budweiser. I settled for a Guinness and, reconciling myself to my torpid travel experience, I found comfort in the thought that the Irish say their Guinness does not travel well either.

Dear reader, it seems you can never go home. I tried, but it was no longer where I once left it. In the place it should have been, I found myself surrounded by the tyranny of the familiar. Those rogues in the Delfthian government had sold out our national heritage for a Hallmark gift shop, a Dunkin Donuts and a Gordon Ramsey restaurant. These are all very fine establishments, in their own way, but not so fine that I never want to be without them.

Yours Sincerely,

Prince Karl Zeis of the Royal House of Delfthia

Five Movie Plot Absurdities

Some movies are just so good that when the plot twists and turns, you may fail to notice that it also disappears up its own backside. Carried along with the moment, you may never see the incongruity amidst the events on screen. Here is my top five of film stories with holes that gaped just for a moment, but where you may have missed the holes when you blinked…

5. The Shawshank Redemption

Andy, played by Tim Robbins, is going to escape from Shawshank prison by using his little stone chisel to make a great big bloody hole in the wall. The guards never see the hole because it is covered over using a poster of a cinema sex symbol. Andy hides his chisel in a bible, and in one tense scene the warden is holding the bible whilst they search Andy’s cell. Fortunately, the warden never opens it up, although he talks about bible stories at length. But why hide your chisel in a bible, when there is a bloody great hole in the wall big enough to hide the chisel plus an elephant or two?

4. Star Wars

After a stirring escape from Death Star, and from the TIE fighters sent to chase after them, Han Solo and the crew of the Millennium Falcon at last feel like they can relax. Princess Leia, though, knows better. ‘Too easy’ she says, and announces the evil empire must have put a tracking device on their ship. If the heroes fly back to the secret rebel base, then they will lead the empire back there too. So what do they do? They fly straight back, in the hope that they will find a weakness in the Death Star which will allow the rebels to blow it up. Flying in the wrong direction and changing ships would have been a less risky plan.

3. The Prestige

Two warring Victorian magicians, played by Christian Bale and Hugh Jackman, scheme and counter-scheme to upstage and bamboozle each other. In a masterstroke, Bale allows Jackman to ‘steal’ his secret diary. The secret diary leads Jackman halfway across the world, to meet with the inventor Nikola Tesla. The diary reveals that Tesla is the man who made a machine that can transport a man through space, making him reappear at a distance from where he first started. However, the diary is a cunning connivance by Bale – he actually performs his disappearing and reappearing trick with the help of a twin brother unknown to the rest of the world. The foolish Jackman believes the diary and tracks Tesla down in the US, finally persuading the reluctant but penniless inventor to meet with him. Desperately needing Jackman’s money, Tesla agrees to build Jackman a transporting machine, which works pretty darned well (apart for one unfortunate side-effect). How unlucky for Bale! He intended to send Jackman on a wild goose chase, but in the end he pointed him at the one man in the world who could build a machine that actually does magic. What were the odds on that?

2. Alien

In space, no one can hear you scream. You are being chased by an alien monster. It is strong. It is covered in armour. Its has a tail that can slice you in two. It has an extra set of jaws for biting you when the first set does not get the job done. It has acid for blood. To sum it up, killing this alien is going to be hard. But in space, no one can hear you scream because there is no atmosphere. So how do the hapless humans try to fight off this one-alien apocalypse? They use flamethrowers and other weakling weapons. Why not try switching off the atmosphere and allowing the otherworldly bugger to suffocate instead?

1. The Fast and The Furious

The starter for this high-octane car racing franchise starred Vin Diesel as the gang leader who boosts a lot of electronic equipment to pay for the modifications that boost his automobiles. However, in the craziest scene of the movie, Vinnie needs to escape the police following a street race. He hides his precious car in a garage, then high-tails it away on foot. A police car spots Vinnie and chases him. Remarkably, Vinnie manages to outrun the police car, and he makes his getaway. What were the moviemakers trying to say with this incongruous scene? Perhaps they were saying that feet are fleeter than the furious automobiles of this car-studded feature. Or perhaps they were saying that Diesel is faster than petrol…