January 4, 2011

Fastener Fascination

Filed under: Current Research,Mark Ix — Tags: , , — Brian Triber @ 8:26 pm

Swingline stapler image from ACCO.
How did offices manage before the desk stapler?

Image from Wikipedia.
One of the oldest staplers invented in 1879 by McGill.

Image from ThinkGeek.
And one of the newest, an oxymoron called the “staple-free stapler”, that punches a tab through the paper and tucks it through a slot. Strangely enough, this particular model is not available through Staples.
  • In the 18th century, King Louis XV of France used the first stapler as a royal seal for his documents.
  • 1866 saw the manufacture and sale of the first modern stapler, mass-produced by Henry R. Heyl.
  • The first staple remover was not invented until 1936, which makes one question how documents were unfastened in the intervening 70 years, as brute force would shred the document. Thankfully it wasn’t necessary to retain originals in pristine condition for photocopying until 1959.
  • Other office fasteners include the rubber band (created in 1845), paper clips (1899), the binder clip (1910), Scotch tape (1930), the bulldog clip (1944), screw posts, brass split-pin fasteners, loose-leaf binder rings, and the OIC prong fastener (dates unknown).
  • Staples actually date back as far as the 6th Century BCE, when large metal dovetail staples were used to fasten together stone construction in ancient Persia. Staples, usually applied with pneumatic or electric guns, are still used in construction for holding things like vapor barriers in place on housing exteriors prior to finishing.
  • Not to be outdone (or undone) the surgical stapler was invented in 1908. Surgical staplers weren’t, however, mass-manufactured and widely available until 1964.
  • Surgical steel staples are also used in the BME subculture in trans-dermal and staple piercings, both with pins terminated in screw-on balls to retain the piercing (as in eye-brow piercings), and in a skin-pocketing technique referred to as flesh stapling.

Back in high school, I used to help out in the Education Director’s office during lunch. One student who hung out during lunch with me was so fascinated by the office stapler that she intentionally drove a staple into her finger. (It was 1983, so staples in fingers were unusual, but much tamer than what some of the other kids were doing.)

On a somewhat related note, I also have a friend whose pain threshold is so high that he used to drive Swingline staples, five at a time, into his forearm and pluck them off like burrs. I still wonder that he never contracted tetanus.

Share

December 28, 2010

Automats

Filed under: Current Research,Mark Ix — Tags: , — Brian Triber @ 6:26 pm

Image from the Automat.net.

The wonder of impersonal food service.
  • Automats almost experienced a brief revival in NYC, where Bamn!, located on 8th Street between 1st and 2nd Avenues offered a modern American comfort food menu. They opened in 2006 and sadly closed in 2009.
  • The interiors of automat restaurants were generally in the Art Deco style.
  • The first automat restaurant was opened in 1902 by Horn & Hardart, and remained popular until the 1950’s. See the Smithsonian’s online article for more details.
  • The last original automat closed in NYC in 1991.
  • By all accounts, the automat was done in by fast food restaurants.

I have no personal memories of automats, as the last one in the Boston area went defunct in my childhood. I imagine the experience was similar to picking from a Woolworth’s lunch menu, being served by vending machines, and eating in the atmosphere of a Johnny Rocket’s. Does anyone remember eating at an automat?

Share

December 21, 2010

Philosophical Thoughts

Filed under: Current Research,Mark Ix — Tags: , , — Brian Triber @ 11:53 am

Image from the Sydney Morning Herald.

This is your brain on blogs.

Any questions?

From Wikipedia (for whatever that’s worth):

  • Sentience: the ability of any entity to have subjective perceptual experiences.
  • Consciousness: variously defined as subjective experience, awareness, the ability to experience feeling, wakefulness, the understanding of the concept self, or the executive control system of the mind.
  • Creativity: defined by the Shorter Oxford English Dictionary as “the ability to create”, which, according to the threshold hypothesis, has a correlation to intelligence. (Note that experiments to prove this hypothesis has ended in mixed results.) Wikipedia actually requires, by their definition, that something of value be produced! I would make a strong argument that as long as something is being produced, wether of value or not, creativity is occurring. My initial reasoning is that the value of a created valuable is biased by wether the observer considers it to have value, and that is actually a measure of economics, not of philosophy or psychology.
  • Intelligence: defined in Wikipedia as “…an umbrella term describing a property of the mind including related abilities, such as the capacities for abstract thought, understanding, communication, reasoning, learning, learning from past experiences, planning, and problem solving.” Of course this doesn’t really get a grip around the topic, as there are at least seven theories of intelligence listed, and two additional scientific definitions, including one published in Intelligence: Knowns and Unknowns, a 1996 report published by an APA task force, that itself references at least 5 theories. So, in toto, there’s been an awful lot of intelligence expended in defining what exactly intelligence is.
  • Intentionality: the Wikipedia article defines this in a roundabout way to identify wether an act is intentional or not — essentially circular logic as far as definitions go. Further along, the article references Franz Brentano’s definition, stating that intentionality is a characteristic of “acts of consciousness”, which once again avoids providing a proper definition since acts of consciousness have many characteristics besides intentionality, although this definition does begin to hone in on it.
  • Sapience: the ability to act with judgement. The Wikipedia article goes on to state that the terms sentience, self-awareness, and consciousness are used interchangeably with sapience in Sci-Fi. Hence the initial thrust of this research into what makes us human.
  • Artificial Intelligence: “the study and design of intelligent agents”, or a machine that observes its environment, acquires knowledge from those observations, acts to ensure its success, and learns from those acts. This is a little different from Asimov’s Three Laws of Robotics. For a little chuckle, check out Asimov’s 30 Laws of Robotics. (I especially like #11.)
  • Self-Awareness: In a bit of art imitating life imitating art, ad infinitum, ad imitatum, the self-referential definition for self-awareness appears to be awareness of oneself. As an individual.
Share

December 14, 2010

Soups On! And a Side of Fries…

Filed under: Current Research,Mark Ix — Tags: , — Brian Triber @ 1:31 pm

Image from D & S Vending.
The RMI 8050.

Back when I was in high school, attending the High School Studies Program on Saturdays at MIT, there were a series of ancient vending machines, including this one (or one similar enough to it that it may as well have been this one), in the basement of Building 7 near the elevator. As a kid who essentially ate school lunches, I thought that the machine was alright. It dispensed chicken soup that was occasionally a little darker than normal, but on a cold winter day, salty soup was good.

I guess the tip off that the machine wasn’t well maintained was when I went to purchase a cup of tea that tasted like it had coffee in it. And again when my hot chocolate had a couple of noodles floating in it that I had convinced myself were actually malformed marshmallows extruded from some sort of tube that needed cleaning inside the device — after all, if MIT could make extruded french fries in their cafeteria, why not extruded marshmallows for the hot chocolate?

Extruded french fries, I hear you ask? Well, that’s another story. At the time — and now I’m dating myself — in 1984 the MIT cafeteria used to sell extruded french fries. My best friend Max and I would go to the corner vendor for a cup of chili with cheese and onions, and then go into the student center cafeteria for the french fries. This part of the experience was kind of a ritual. The cook would place a wire deep fry basket under the receptacle of a big machine attached to a water pipe. Occasionally, the cook emptied a bag of powder — ostensibly potato flour of some sort but it might also have been plaster dust — into a hopper at the top of the machine. He pressed a button on the front, which was inordinately large despite being the only button on the machine. After a compressor kicked on, french fries extruded into the fry basket. Within seconds, the basket was removed from the machine and plunged into oil the color of a raven’s wing at midnight. If the cook wasn’t fast enough, the potato sludge would congeal back into a single mass and have to be discarded.

Those are my memories of the food machines at MIT. Does anyone have other stories of vending machines they’d like to share?

Share

December 10, 2010

The Eyes Have It

Filed under: Current Research,Mark Ix — Tags: , — Brian Triber @ 9:52 pm

Image from www.makezine.com.
Big Brother Is Watching

Wired Science online announced the results of a Newcastle University psychology study today where posters asking restaurant customers to pick up after themselves were displayed with two different designs. The message was the same on both posters, but one had a picture of flowers while the other had a staring eye. The result? People were twice as likely to clean up their messes when the staring eye was used.

The article claims that the study was testing the theory of “nudge psychology”, which posits that people behave “better” (whatever that means) when the “better” option is pointed out to them. I think in this case the experimental assumptions might be flawed. Isn’t it possible that, in a society where we have been bombarded all our lives with the understanding that someone is always watching us (God, the government, whoever’s on the other side of my web camera, the camera on the traffic light on the corner), being stared at, even subliminally by the image of an eye, might do something to keep us reflexively honest?

Share

The Antikythera Mechanism – a Mechanical Computer

Filed under: Current Research,Mark Ix — Tags: , — Brian Triber @ 10:25 am

Image from Nikon Metrology.
The Antikythera Mechanism, which may look familiar to some, was created around 80 BC, and found in a shipwreck in Greece in 1900.

Image from Nikon Metrology.
This photo shows an X-Ray image of the device.

These images are from the Nikon Metrology website. It has been theorized that the device was used for predicting eclipses.

A video of a virtual reconstruction of the device by Wright and Vicentini is on YouTube.

According to a story by Lester Haines from the online tech news site The Register, a working version of the mechanism has been duplicated in Legos by an engineer from Apple computer named Andrew Carol. Here is the video of the working model.

Other interesting links:

November 24, 2010

The Name a Character Contest

Filed under: Mark Ix,Writing — Brian Triber @ 11:11 am

I’ve been ruminating on the next book for a while, and delaying drafting it. The plot is essentially complete, although I know from experience that there’s no such thing as “complete” until the final edit, and even then it might not be.

The new book is a bit of a cross between The Matrix meets The Office. I don’t want to give too much away, but the working title is “Mark Ix”, after the main character who finds himself the target of bizarre attacks by the office’s mail-delivery robots, and an invisible protagonist named “Smike”, who would like nothing more than for Mark to be sacrificed to the gods of computing. Mark’s department has been moved so often that his boss now occupies Mark’s outer office, and the staplers keep disappearing from everyone’s desks. Mark’s been falling for the girl in the next office, Lillian, a passive-aggressive software engineer who refuses to talk to anyone except her plants. Most alarming of all, however, are Mark’s frequent blackouts, leaving him with missing memories and a door tag with a new last name every time.

So that’s the basic gist of it. Now, I have a few minor characters I’m developing who need good clever names. So, as a kind of contest, I’m putting this out there for whoever wants to join in. Help me name one of these characters!

1: He works as the company archivist. I picture him as reserved, gaunt, and so introverted and high strung that if he snapped, there’d be nothing left to bury.

2: The maintenance worker, lethargic, and resistant to any kind of interaction with anyone, except to complain about how much work he has, and how much the conversation is setting him behind.

3: The secretary, who is always backtalking, even to her boss. Her primary goal is to offload as much of her work onto others as she can. She is also a passive-aggressive type, and knows how to use office equipment as weapons in order to defend herself.

4: A security officer. This character is stoic to a fault, like the crack running across his/her jaw from being wound up so tight. He/she isn’t very smart about much, but those areas that he/she knows he/she is an expert in, in fact hyperintelligent.

So, there are the four characters up for naming. Anyone who would like to help name these characters can submit a name by responding to this post. The best name will be used in the manuscript, and I’ll thank the winning contributor by name in the acknowledgments. Good luck!

Share

May 3, 2010

2010 Muse and the Marketplace

Filed under: A Writing Journal,Club 1692,Conferences — admin @ 2:15 pm

This weekend was the big Muse and the Marketplace conference at the Boston Park Plaza Hotel. Last year I focused more on the marketing end of things, since I had polished my manuscript to a high shine (more on this later), so this year I attended sessions focusing on the craft. Here are some of my thoughts on the workshops:

• Creativity and a Sense of Place, with Brunonia Barry — This was a terrific workshop focused on treating the setting as a main character of the story, and recognizing that the manuscript can benefit from understanding the environment as intimately as you understand your protagonist.

• From Circumstance to Plot: Creating Narrative Drive, with Jessica Shattuck — The workshop was a hands-on session where random characters and settings were combined in an introductory paragraph. Several “What if?” questions illicited creative responses. It was a good brainstorming tool to find the story.

• The Art of the Query Letter, with Sorcha Fairbank — Sorcha gave a great candid talk about what she and other agents want to see in a query letter, and what they most definitely don’t want to see.

• The 10 Worst Legal Mistakes That a Writer Can Make, with Zick Rubin and Brenda Ulrich — The focus was on overall pitfalls, as opposed to contract-related problems, and in addition to contractual problems, also addressed problems and issues surrounding copyright and trademark laws, and collaboration and collaborative contracts.

• Writing Suspense: You Know It When You Feel It, with Hallie Ephron — Hallie is the author of “Writing and Selling Your Mystery Novel: How to Knock ‘Em Dead WIth Style” (as well as several mystery novels) and brought her knowledge to bear on dissecting the structure and tension in specific examples of suspense fiction.

• Ten Elements of a Great Thriller, with Joseph Finder — Finder, a former Harvard English professor, shared ten tips that define, and can improve a thriller.

• The Dreaded Synopsis, with Joanna Stampfel-Volpe — The best workshop I’ve ever been to about boiling a manuscript down to a synopsis. Joanna illustrated with an exercise where Harry Potter and the Philosopher’s Stone was quickly dissected to discover the central characters and plot to create a very brief synopsis that she, as an agent, would be interested in.

• Write the Great Beginning, with Michael Lowenthal, Scott Heim, and Kim McLarin — This ended up not being as useful as I’d hoped. After the session covered one basic tenet about writing the beginning of a story, it deteriorated into disparaging comments about genre fiction writers and readers, although McLarin did say that there was much that could be learned by literary writers from genre fiction, since it sells better that literary fiction. My thought on the matter is this: while it’s admirable to want to raise the bar of quality for the reading public, one can only attract converts to the philosophy through positive example, and not through cajoling. After all, with limited spending money, why would the consumer want to read something that talks down to them?

In addition to the sessions, I had my manuscript evaluated again. This time, the query letter would have enticed the agent, but the manuscript, she felt, needed additional polishing. THe specific comments were small things I had heard before, but discounted as a matter of preference, such as my characters’ cursing. Previously, since the story was narrated by my main character, curses of the four-letter variety peppered my narrative. I subsequently removed them, but now those curses in the dialogue, which was not removed, triggered a comment that while it was probably true to the characters, it had the appearance of being lazy writing. She also felt that my dialogue, which I felt was my strong point, was the weakest part of the manuscript because it didn’t sound realistic. I think it may be due to some artifacts of previous drafts that I skimmed over during the last revision — the section I provided for review was one of the first scenes I wrote way back when, and I’ve been a little too married to the dialogue.

So, what does this mean for the completed manuscript and where I go from here?

Well, I’m still plotting out the new novel, so that hasn’t changed. But I feel the need to do a bit more hands-on work before I revise the completed novel again. So, now is the time for a few short stories. These will probably be literary fiction, or perhaps fall in the category of Magical Realism. We’ll see.

As for conferences, I’m burnt out. Although I said the same thing to myself last year. Unless and until something really inexpensive comes along. Instead I’ll focus on writing groups and critiquing groups. Maybe I’ll take a class or two at Grub Street, or some other place.

But for now it’s time to put pen to paper (or fingers to keyboard) and write.

Share

April 6, 2010

Back to the Cork Board, or A New Stab at an Old Project

Filed under: A Writing Journal,Club 1692,Mark Ix,Writing — Brian Triber @ 1:19 pm

It took two weeks of fretting and hair pulling, but I’ve finally laid to rest the one-page synopsis of my last project. As so often happens when I’ve completed a work, I became unfocused for a while after hitting the Print button. In the past, I’ve had other activities to prolong the birthing process, such as casting the play I’d just written, or submitting the script to producers, finding a director, working up a set and production schedule, and so forth. This time around, I don’t have that luxury of gently sliding off the steep side of the project onto a feather cushion.

Instead, while I edited the last novel manuscript, I doted on previous projects and picked one that had a special appeal to me. But the thing I pondered most about it was this: How do I go about picking up an essentially dead project and breath new life into it?

Now, a few points about what I’ve discovered my writing process to be. The completed manuscript I just finished began as a series of scene studies, about five fully written chapters, one and a half discarded chapters, and around twenty pages of notes spanning over four years. I had deconstructed and re-plotted it based on the character studies suggested by the completed chapter, and drafted it based on the new plot.

What worked in this case was creating the first five chapters as a set of character studies, then figuring out the plot, then rewriting the whole thing. Did rewriting those first five chapters feel like a wasted effort? Sure. Was it worth it? Hell, yeah. In the end, maybe about one paragraph remained wholly unchanged from the initial sketch to the final draft, and about a dozen in the same chapter remained mostly the same. (I checked this using MS Word’s Compare Documents feature…)

I am now faced with a similar conundrum. How do I get started again? I currently have about 20 pages of notes and ideas, five chapters and a prologue (which are not the greatest, but they were a first draft,) and a basic idea of a cast of characters. Where do I go from here?

The first step was to mount a foam-core board and pull out the pushpins. I’ve found I don’t have space enough currently for a really large cork-board, so I keep the board strung over the front of a bookcase. Next, made a series of markers on sticky notes — the names of each stage of Campbell’s Hero’s Journey. I don’t really know what direction the story will take at this point, but I need to suggest some sort of structure without imposing it in the plot. The Hero’s Journey seems to be a good jumping-off point, since this seems to be a quest and a love story.

The next step is to meticulously go through the previously written chapters and notes and cull out all of the plot points and story ideas. I’ve already begun jotting each one on its own index card and pinning it to the board somewhere within the Hero’s Journey. All of the cards are the same size and color at this point, to give them equal weight. As more are added, they’ll be shifted around until they make a semblance of plot.

The very act of writing the notes and moving the cards around on the board has already helped me begin to synthesize a new plot. There are a couple of surprises I didn’t expect, and realizations of what needs to be worked on next come to me in flashes as I rework the cards. This is a case of physical activity leading to mental breakthrough. This is one of the reasons why some writers get ideas going for walks, taking showers, or even taking pen to paper (as opposed to typing.)

Do I know what the next step is? No. Am I worried? Not on your life. After the first manuscript, I now know that the answers will be found when I need them, and that worrying about finding them can drive them away as fast as scaring the muse by looking her in the face.

Share

March 18, 2010

Taxes, and Chasing the Rabbit Down the Hole

Filed under: A Writing Journal,Writing — Brian Triber @ 2:03 pm

April 15 is just about here. Once again, the better part of a week has been spent shuffling together receipts and organizing them for the tax accountant. The remarkable thing about this exercise is not just the discovery of what can’t be taken as a deduction, but what can be taken as a deduction.

First, a quick disclaimer: I am not, nor have ever been a tax consultant or attorney. The following is my experience. Any tax questions should be addressed to a tax professional. Milage may vary.

While writing may not currently be my primary source of income, it is certainly my primary occupation. I don’t get paid enough for the work I put in, and I’m working toward changing that. It is not a hobby either. I’ve invested uncounted hours at the keyboard and lost numerous hairs that might have turned gray at some point over the craft.

In this argument lies my claim for writing expenses to be used as itemized deductions. But tax code is never as clear as it should be. I’ve been confused by what the IRS and the Massachusetts Department of Revenue (DoR) will allow for deductions. I have learned, basically, one must err on the conservative side. As long as ongoing work for a project can be demonstrated, expenses can be itemized and deducted.

So the real question becomes, how much can I deduct in writing expenses? The basic answer is anything up to my income, as long as it can be justified as writing-related. I’m allowed to have more writing expenses than income as long as it can be shown that work is ongoing, and not just a hobby.

This comes with a caveat. Certain research materials may not be deductible, because they weren’t used in any works. If I purchased a book, say, on 19th century ice cream manufacturing, and didn’t use any of the material in my writing, it becomes very difficult to justify the expense as writing-related. Other books, however, like fiction works by other authors like Kurt Vonnegut could be argued to be legitimate expenses for keeping my skills up and being aware of the field, but it’s made easier when I write commentary and post it on my web site for all to see, since my web site is also a marketing tool for my career (which, by the way, is also entirely deductible, including the software I use to design the graphics and the web hosting fee I pay each year.) The point is to try not to purchase more material than you think you’ll use in that year. And if someone knows that trick, please tell me.

Last year I deducted a research trip to Omaha. That means I was able to take the gas expenses, hotel expenses, and museum admissions off my taxes. Theoretically I could have taken my meals as well, but only listed those that I knew I had conducted business at, such as interviewing people over coffee, etc. At the same time, I wouldn’t have been able to deduct anything from the trip if none of my experiences made it into my manuscript. To prove use of the trip as a business expense, I’ve saved a copy of a pre-trip manuscript, and a copy of the post-trip manuscript, complete with descriptions of the midwest, the perfume counter at Dillard’s at the Crossroads Mall, and the varieties of pie at the Village Inn. (This was a cinch, since I keep electronic copies of all versions of my work.)

Another example is last year’s Muse and the Marketplace conference. The cost of the conference, the parking at the train station, and the ride in on the train can all be deducted in my case, because I work from home, and therefore any travel expense is conference-related. The key is keeping the evidence that the trip is work related. I took extensive notes on the sessions I attended, saved all the handouts with markups, put contact names into my address book, and bound the whole package and filed it away. Further evidence is that the meeting I had with the agent, and her feedback, were incorporated in my manuscript, and I’ve kept all email correspondence with her, as well as a developed query letter that benefited from further markups.

Other expenses that can be taken as deductions include things like books used as research, museum admissions, office supplies, office equipment, repairs to the equipment, and postage. And my $35 copyright fee from the Library of Congress.

Things that I decided not to press my luck on, although I understand I could justify them as writing expenses, include the haircut I got right before my presentation to the agent, since I was also partly courting her to represent me; the square footage of my office, and associated utility costs, because although I use the desk, computer and space as my only space for writing, it’s in my bedroom, and I also pay bills and sleep at it; a percentage of my vehicle maintenance and gas costs, because I haven’t really calculated what percentage of its use is for research and marketing. (The exception to this was the Omaha trip, because I knew the whole trip was for writing research.)

So, for preparation during the course of the year, it’s important to retain every last receipt. Mark up copies of utility and phone bills with the percentage of cost used for the business. And keep everything filed away neatly for reference for April 15.

The tax lessons continue as time goes on. Many of them I already knew from running a theater company in Boston for 4 years. Some are new, like how to keep careful track of every receipt, catalog them, and store them in case the IRS or DoR decides to audit, for the undetermined future, because unlike the rest of the law, the revenue code has no statute of limitations, and once one year’s taxes are audited, several others are likely to follow.

In the meantime, I’ll continue to develop this web site as a marketing tool for my writing, and write reviews and comments on books for the blog, and deduct those costs as well. Now, can I deduct the cost of a massage for tax-related stress relief?

Share
« Newer PostsOlder Posts »