(Spoilers for Alien and Prometheus, clearly.)

What is an android? The first Wiktionary definition is “a robot that is designed to look and act like a human (usually male)”. Looking like a human is the easier of the two components, particularly when not in motion, despite the potential difficulties in artificially replicating skin in a convincing manner. The real difficulty is acting like a human. Our stories are full of creatures (döppelgangers, aliens, golems[1]) that look like use but are not us, and this familiarity with the concept may mask how difficult accomplishing such a thing would be—an oversight that forms a core weakness in Prometheus.
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The death of my old MacBook Pro this evening has caused the loss (hopefully only temporary) of the blog post I was working on today (on androids in Alien and Prometheus), which I will try to recover and finish next week.

In the meantime, here are some interesting things I encountered on the internet this week.
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Everything is a Remix Part 3. Definitely worth watching, particularly because the ideas discussed are presented effectively, and because the concepts of “originality” that govern our ethics and laws are definitely in need of major revision (a subject that will apparently be tackled in Part 3…)

Unsurprisingly, yesterday’s explorations of scale led me to ponder questions of meaning and meaninglessness, and reminded me of this excellent article by Julia Galef over at 3 Quarks Daily. The answer, of course, must be 42; the questions Galef addresses are:

1. What’s the point of anything if we’re all going to be dead someday?
2. What’s the purpose of our existence?
3. How can any of our lives matter in the grand scheme of things?
4. Things seem to happen without rhyme or reason.

(Presumably the last one should have been “why do things seem to happen without rhyme or reason?”)
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There’s a fantastic interview with China Miéville over at BLDGBLOG, quite long and ranging over a lot of interesting topics. Perhaps my favorite piece:

I know there’s a very strong tradition—a tradition in which I write, myself—about the decoding of the city. Thomas de Quincey, Michael Moorcock, Alan Moore, Neil Gaiman, Iain Sinclair—that type-thing. The idea that, if you draw the right lines across the city, you’ll find its Kabbalistic heart and so on.

The thing about that is that it’s intoxicating—but it’s also bullshit.

—Geoff Manaugh & China Miéville. “Unsolving the City: An Interview with China Miéville”. BLDGBLOG, Tuesday 01 March 2011.

I thought this was interesting (I preferred it to part one, perhaps because of my greater interest in film):

Everything is a Remix Part 2 from Kirby Ferguson on Vimeo.

I could have titled this “Tron: Legacy Review”, but decided on the more honest naming.

I should note that I don’t remember the original Tron very well, and wasn’t coming to this film hoping that it would be “true” to the original. I didn’t really have expectations; I dread to think what my reaction would have been if I had had any.
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In the spirit of the famous Clerks discussion, here’s “Think Tank: What do the Stormtroopers Think of Vader?”. Best excerpts:

Imagine you worked at the Pentagon as a personal attache to Colin Powell or McChrystal, and you hear over the PA “Alert! Alert! There is a Nazi Ninja Master loose in the Pentagon! Your orders are ‘Shoot to kill!’” You get up and walk around the corner, and there’s this 80 year old man with a Hitler moustache in a black outfit, and he and Donald Rumsfeld are circling each other ominously. Both of them have katanas drawn.

Do you shoot?

—John Perich/fenzel. “Think Tank: What do the Stormtroopers Think of Vader?”. Overthinking It, 14 Oct 2010.

and:

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I’m not a huge zombie fan, but it is Halloween, so covering the undead seems appropriate. Discover’s Science Not Fiction blog has a pretty good series on a fairly realistic approach to them, including some discussion of ethical concerns: Intro, Biology, Zombie “Death”, and Questions.

Bonus #1: “ 7 Scientific Reasons a Zombie Outbreak Would Fail (Quickly)”, which I happen to think is accurate in its overall message.

Bonus #2: “The Running of the Dead“, a long but worthwhile political and cultural examination of the difference between “slow zombie” and “fast zombie” movies.

Battlestar Galactica seemed to me to be a rather successful series. This is probably because know a lot of people who watched it, but it did survive through four seasons and has been hailed as the most successful science fiction series in years. It also generated a fair amount of discussion, and I had conversations about it with a lot of friends. But no-one I know said anything to me about Caprica, and I think this is because no-one I know was watching it. And now it’s dead.
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I read Agassi’s autobiography during a five-hour layover in Philadelphia airport this weekend, and have to say I was impressed—with the book, not the layover. I had expected it to be of interest mainly for its hardcore tennis content, with some celebrity stuff thrown in, but I found it gripping throughout and was very impressed with Agassi’s voice.
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Continuing with the vintage video games theme, here’s “Coelacanth: Lessons from Doom”, an analysis of Doom by J.P. Lebreton, one of the designers of BioShock. Great piece, and especially interesting to me was his focus on how much easier it was for people to create their own maps for Doom than it is for modern FPSes. He wrote the commentary partly to accompany his recreation of one of his BioShock levels as a Doom II level, Arcadia Demade.

Incidentally, he’s also put work into an “abstract FPS” called purity, which makes me wonder what his take on CPMA would be.

I found this architectural/sociological (sociospatial? psychospatial?) analysis of modern urban warfare, Die Hard, and cinematic portrayals of urban movement to be entirely fascinating. Tactics, psychology, Jason Bourne, parkour, and late-capitalist nonplaces—how can you go wrong with that?

I was tired and stuck in my seat and made the poor choice of watching this awful Liam Neeson action movie. I say “awful” but I don’t just mean bad, I mean its themes and messages were highly questionable and disturbing. Spoilers will follow, but a) it’s not worth seeing and b) I’m not sure they’re “spoilers” with a movie as predictable as this.
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I went to the West Wave Dance Festival last night with my friends Brian and Anne. I had never heard of Katie Faulkner before, but when I left, I was a fan. I’m pretty sure she’s the first choreographer I’ve even considered being a fan of. That’s not to say I’ve never seen “better” choreographers, but in the past I never really felt I should make an effort to follow their work.
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The Rapture might turn out to be a fake; also, certain books about the Rapture might be fake but contain real Rapture-related messages.

The second link is a lot more fun to read than the first link, but that’s just my opinion.

I don’t have much of a problem with film violence generally, and appreciate good fight scenes, but found myself disturbed by the Watchmen movie’s treatment of them.
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I am going to go see it. I’m kind of annoyed by this, right now. Because I feel like I have to go see it. They’ve made the trailers look appealing enough that I have to go see it just in case it’s actually good, even though I’m still extremely skeptical.

Wil Wheaton likes it. I don’t know if that means anything to you. I don’t know if that means anything to me, actually. But he does swear by the beard of Zeus that the movie feels like the book. On the other hand, he does wonder why ultra-purists (hi!) would bother to see it at all.

I don’t know. There are already some things I don’t like from the trailers (like Rorschach’s voice and some of the costume changes), but in order to find out whether or not they’re minor details or signs that Snyder’s vision of it is too alien to me, I have to go see it.

I finished Michael Chabon’s The Yiddish Policemen’s Union today. I liked it, although I think it overdid it perhaps a little with its sheer Jewishness—it takes place in an entirely Jewish state, one whose inhabitants are all highly aware of their Jewishness in ways I’ve never encountered in real life. It’s not quite caricature, and it’s definitely a loving portrait in many ways, but it felt like Chabon figured out how to convey “a Jewish atmosphere”, and conveys it, and then hires a trucking company to keep on conveying it from his mind to yours, while you’re trying to follow the plot. I suddenly wonder if At Swim-Two-Birds strikes the non-Irish in a similar way, given that it’s steeped (very steeped) in Irishness. In any case, Chabon’s novel is a good one, and a good read, but my question is: is it science fiction?
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I came across a distinction in fiction recently that I don’t think I’ve paid much attention to before, and that I don’t know the word(s) (if extant) for: works in which the characters play a part in the major events that occur in their milieu during the narrative, and works in which they play no such part, but are caught up in those larger events.
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I recently watched the first season of HBO’s Rome. Like most of the series that HBO produces, the quality of the production is extremely high, including the acting, directing, and writing.
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(This is a continuation from yesterday’s post about what Episode II’s plot should have been.)

The Republic is at war, and has been for two years as Anakin Skywalker, commanding the forces of the Republic, has forced Dooku’s Separatists to the outer fringes and destroyed many of their power bases. The Republic is on a war footing, and Senator Palpatine has consolidated his power, with Padmé Amidala’s moderate faction increadingly isolated in their attempts to curtail him.
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(I had this idea for a better plot immediately after seeing Episode III, but have been prompted to write it down by the Star Wars Blog-a-Thon that’s marking the 30th anniversary of the first film.)

I’m willing to cede Episode I to Lucas. After all, he wanted to make one “for the kids”, right? So sure. He can have Episode I. Including the pod race, the wacky-implausible Anakin fighter pilot scene, and Jar-Jar. Yes, even Jar-Jar. Despite much of the awfulness there, Lucas still did a good job of introducing/reintroducting characters who made for a compelling story.
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