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This is absolutely hilarious, and spot on in its commentary. It really makes it clear that computers are genuinely more complex than books. The problems he’s having are funny in part because it’s just so ludicrous that his spatial skills would be so poor, since a child or a chimp would easily master the problems that are causing him to lock up. I suspect, for example, that you could set a picture book down in front of nearly every human that’s ever lived, and they would be able to figure out the basic idea fairly quickly. They might be amazed or annoyed by the photos or art or whatever, but the mechanics of the book itself would become fairly clear fairly quickly. Hand them a laptop opened to something like a web browser, however, and I suspect they’d be fairly mystified. And even if they managed to figure out how to click around, it would probably seem totally miraculous, and their mental model for what’s going on would almost certainly be severely broken.

Would it be possible to build a computer that’s as intuitive as a book? Probably not a general purpose computer, although it seems possible that one might be able to construct a computing appliance that’s pretty close in its limited domain.

Big ups to KK for passing along a link to this pointer.

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Blacks imitating whites imitating blacks imitating whites

The lady sings the (wood frog) blues
I’m reading a strange and often incoherent book by Nick Tosches called Where dead voices gather. For all it’s jumping about and disconnected tangents, it’s actually a fascinating take on the minstrelsy of the 1800s and early 1900s, and the transition from minstrelsy and vaudeville to the country and blues are central to what is often called “American roots music”.

In and amongst all his ramblings I just got to this great quote:

As to the true origin of the cakewalk, it is believed to have begun at about the same time as minstrelsy, around 1840, with slaves parodying the formal dances of their masters. These burlesques came to be mimicked [by whites] in minstrel shows. After the Civil War, when blacks entered minstrelsy, they assumed parts in the minstrels’ cakewalk. As Terry Waldo puts it in his book This Is Ragtime: “By the time the ragtime era began in 1896, the cakewalk was being performed by blacks imitating whites who were imitating blacks who were imitating whites.” I’m sure the gist of this wonderful little observation can, with not much squinting, be applied to the whole of popular culture.

Ah, what wonderful stuff. It reminds me of this excellent essay, “When wrong is right”, written by Ed Ward as a companion piece to the PBS documentary on John Lennon’s jukebox. In it Ward argues that one of the great strengths of the Beatles’ music was that they tried to copy the American R&B they loved and failed. In failing, however, they created new combinations and opened new doors:

This is what makes artists artists: they take little bits of things from here and there and put them together in unexpected combinations that seem new and original. Some of them are pretty obvious: one of Little Richard’s trademarks is the “Ooooo!” he interjects into a lot of his hit songs. Richard got it from the world of gospel, where it’s a standard of Alex Bradford, among others. The Beatles grabbed this little trick for themselves, and it’s all over their first recordings: girls went wild when Lennon and McCartney stepped up to a single microphone, shook their mop tops, and went “Ooooo!”.

Makes me want to go off and butcher a good song or two… :-)

Blow that harp!

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