text:
At the Olympic beach volleyball venue at Horse Guards Parade, two American champions — Kerri Walsh and Misty May-Treanor — were gearing up to win their third consecutive gold medal. Outside the stadium, a group of middle-aged bankers were waiting to watch them do it. They didn't know any of the competitors' names, and they had been fans of the sport for "about an hour," they said.
So why were they there? "When I found out there was a women's event that involved girls in bikinis, I thought, that's what my friends would like to see," said Simon, who procured the tickets for the group.
London 2012's Olympic beach volleyball tournament — with its barely-there uniforms and resident shimmying dance troupe — hasn't necessarily brought out the best in spectators. But despite all the ogling, experts say the Games in general send an overwhelmingly positive message: elite women come in more shapes than just "Barbie doll," and what matters is not their bodies' shapes, but rather their abilities.
It's certainly a shift from the image of women usually presented to the public. "The fashion industry and the media in general only prioritizes the feminine veneer," says Caryn Franklin, former fashion editor of i-D Magazine and co-founder of advocacy group All Walks Beyond the Catwalk. That means glossy hair, flawless makeup and no sweat. And unlike Olympic athletes, many female celebrities won't admit it takes lots of effort (and retouching) to look that way. "There is an honesty about these athletes. It's very obvious that it takes them hours and hours of dedication and discipline to look the way they do," says Jo Swinson, a British Member of Parliament and founding member of the U.K. Campaign for Body Confidence. With celebrities, by contrast, there's often "the pretense that they woke up out of bed and look like that." Instead, for two weeks, spectators around the world get to look at real faces and real bodies. "It's one of the times we actually get to see women without makeup on on television," says Swinson.
Women not only appear without makeup, but they also appear in different sizes and shapes — from slight gymnasts to strong-thighed cyclists. "The Olympics are fantastic for celebrating a diversity of body shapes," says Debra Bourne, who worked as a brand consultant to Jean Paul Gaultier and Swatch before helping start All Walks Beyond the Catwalk. Researchers say that this sort of physical diversity is not only refreshing — it's also good for our psychological well-being. "You can see that a fit and healthy body can look different on different people," says Phillippa Diedrichs, a senior research fellow at the Centre for Appearance Research at the University of the West of England, Bristol. "It doesn't only look one way."
Yet for all the attention on Olympians' bodies, body-image activists say the best thing about the Olympics is its focus on what women can achieve, rather than how they look. "It's about, how high can I get over this high jump bar? How fast can I row?" says Swinson. "Not about a visual aesthetic."
This doesn't mean, however, that the Olympics is free from superficiality. Even top Olympic performers have been bullied about their weight and shape, particularly on social networking sites. Among them is British swimmer and four-time Olympic medalist Rebecca Adlington, who retweeted a Twitter message sent to her in early June that said, "You belong in that pool you f—— whale." In late July, an Australian newspaper suggested swimmer Leisel Jones, who has bagged eight gold medals for the country, had let her figure slide since the 2008 Games. On July 26, the Brazilian women's soccer team was described as "a bit heavy" by the coach of Cameroon's team after they trounced the African country 5-0. British weightlifter Zoe Smith attracted attention around the same time by fighting back against Twitter attacks that she looked like a "bloke." In May, it came out that gold medal-winning British heptathlete Jessica Ennis had been called "fat" by a UK Athletics official. "There's still a sort of pressure to be perfect in the Olympics," says Liz Jenkinson, a doctor of health psychology at the University of the West of England, Bristol. "And it's often the more conventional looking sports men and women and those in the skimpiest outfits that get the most media coverage."
That's nowhere more true than in the world of endorsements. "It becomes very much about [athletes'] bodies and their appearance and their being shown to be attractive as opposed to what their bodies can do," says Diedrichs. British cycling star Victoria Pendleton, who won a gold medal in sprint cycling at this year's Olympic Games, is one star who has traded on her looks as well as her talent. She appears in Pantene Pro-V ads with long, glistening locks and a flawless face. "They just become very similar to the images you see of everybody else."
Despite the creeping influence of beauty stereotypes, many women seem to be taking home a healthy message. They haven't swapped Olympians for stick-thin models as unattainable ideals. Instead, they're inspired by what female athletes have achieved. Standing with friends outside the beach volleyball venue, Reagan Kiser, an American living in London, said her young daughter was "considering becoming more serious about running" after watching the Games. Her friend, Rosalba Mooves, said it was the Olympians "dedication and achievement, not their bodies" that she admires. Another woman in the group, Australian Amanda Saxon, agrees. "To be honest, I don't aspire to have their bodies," she says. "They're elite athletes. We don't need to look like them."


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Pulling 'Vaxxed' still doesn't retract vaccine misconceptions
The Tribeca Film Festival and its cofounder Robert De Niro came under intense fire last week for their decision to screen Vaxxed: From Cover-Up to Catastrophe, a film directed by disgraced gastroenterologist Andrew Wakefield. If Wakefield's name doesn't ring a bell, his legacy is surely familiar: his fraudulent 1998 study claiming to find a link between autism and the measles, mumps and rubella vaccine kicked off a major public health scare that's had lasting, devastating consequences. While the purported link between autism and vaccines has been repeatedly debunked, the link lives on within the antivaccination movement. As a result of the backlash against vaccines, cases of the virtually eliminated measles are on the rise, as are outbreaks of other vaccine-preventable diseases.
Wakefield and his filmmaking colleagues' official description of Vaxxed suggests that it sings his same tired, fear-mongering song: A whistleblower reveals a covered-up link between the MMR vaccine and autism. De Niro, who has a child with autism, initially defended the film's screening, but after a firestorm of criticism, he changed his mind and Tribeca pulled the film from its lineup. The reversal was heralded as a win for science. If only it were that simple.
The notion that pulling the film means fewer people will buy into the vaccine-autism conspiracy theory isn't supported by the data. Research suggests that efforts to correct errors with factual information often backfire. This is especially true when a topic is controversial or tied up with our identities, when it relates to our health, for example, or our kids.
"Once misinformation is out there about controversial issues, it is very hard to correct," Dartmouth's Brendan Nyhan, an expert in misperception in health care and politics, told me.
Nyhan and his colleagues have looked at the antivaccination issue through this misperception lens, and the results are distressing. A few years ago, the researchers surveyed a random sampling of parents about their attitudes toward vaccines and then showed the participants one of four kinds of information: written material from the CDC explaining the lack of evidence that the MMR vaccine causes autism; written material about the dangers of the diseases prevented by the MMR vaccine; images of children who have the diseases prevented by the MMR vaccine; or a dramatic narrative about an infant who almost died of measles. In a later round of questions, the parents were asked whether they intended to give their kids the MMR vaccine.
After seeing the CDC information explaining the lack of evidence linking autism to the MMR vaccine, slightly fewer parents agreed with the statement "some vaccines cause autism in healthy children." But the participants who started out with the least favorable attitudes toward vaccines became even more resistant: The number intending to vaccinate their children dropped after getting the information debunking the link, Nyhan and his colleagues reported in Pediatrics. (The researchers have since found the same is true with correcting misinformation about the flu vaccine.) Moreover, Images of unvaccinated kids who were sick with diseases prevented by the vaccineactually led to an uptick in the number of people who said they thought vaccines cause autism. Likewise, the narrative about the sick baby also led to an increase in beliefs about serious side effects from the vaccine.
Tribeca should have pulled the film, as others have noted; Vaxxed should not be confused with a serious journalistic examination of a tough subject. But hearing about the film being withdrawn will very likely lead some people who are already wary of vaccines to just doubt them further.
"Often we overestimate our ability to make decisions based on facts," says Seth Mnookin, who explores why parents spurn vaccines in his book The Panic Virus: The True Story Behind the Vaccine-Autism Controversy. "But the reality of being human is the vast majority of our decisions are based on emotions."
In the case of vaccines, that emotional response probably stems from many things, Mnookin says, including frustration with our lack of personalized health care, a general distrust of large corporations and of big pharma specifically, distrust that isn't necessarily misplaced.
"'How can you defend pharmaceutical companies?' is a legitimate question," says Mnookin. But equating vaccines, which have saved countless lives, with pharmaceutical companies as a whole is a huge mistake, he says; it's an emotional response rather than one based on evidence.
Our tendency to make mistakes when it comes to emotional subjects like our children's health suggests that we need safeguards to protect us not only from fraudsters like Wakefield, but from ourselves. The scientific community — and the media — need to change the incentives of the game, placing value on accuracy rather than flash, says Nyhan. Scientific journals should report negative results with the zeal with which they play up new and surprising findings, Mnookin and others argue. And public figures should think twice before they promote misinformation about vaccines, not after.
Editor's note: This post was updated on April 1 to correct the title of the film.

subset: commoncrawl


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A business parable about how companies can achieve remarkable results by helping their employees fulfill their dreams.
Managing people is difficult. With disengagement and turnover on the rise, many managers are scratching their heads wondering what to do. It's not that we don't dream of being great managers, it's just that we haven't found a practical and efficient way to do it. Until now . . .
The fictional company in this remarkable book is grappling with real problems of high turnover and low morale — so the managers begin to investigate what really drives the employees. What they discover is that the key to motivation isn't necessarily the promise of a biger paycheck or title, but rather the fulfillment of crucial personal dreams. For some, it's buying a first home; for others, learning a new skill or finally taking a proper vacation.
Beginning with his important thought that a company can only become the-best-version-of-itself to the extent that its employees are becoming better-versions-of-themselves, Matthew Kelly explores the connection between the dreams we are chasing personally and the way we all engage at work.ling head-on the growing problem of employee disengagement, Kelly explores the dynamic collaboration that is unleashed when people work together to achieve company objectives and personal dreams. The power of The Dream Manager is that simply becoming aware of the concept will change the way you manage and relate to people instantly and forever.
What's your dream?
"The temptation is to convince yourself that your employees' dreams are not relevant to your business. That is only true if your employees are not relevant to your business — and if that were true, why would you employ them?
Most employees feel like they are being used. But if you can genuinely convince them that you have their best interests at heart, then you will reverse that belief, and in the process create a spirit of team work and loyalty rarely unleashed in the corporate before now.
Dreams are invisible, but powerful. You cannot see them, but they keep everything going."
You might also consider:
Building Better Families


text:
To open 47 file you need to find an application which works with that kind of file. 47 file extension is used by operating systems to recognize files with content of type 47. Here is some information which will get you started.
File extensions help computers locate correct application for specific files. Operating systems will not look into the content of the files to be opened, but instead, it will immediately locate the file extension of the file and locate for associated application that can open 47 files. This helps the computer to organize its functions and work much faster. Most operating systems (Windows) require the use of file extensions, but others do not (Unix).
These file extensions are also beneficial for us. By simply looking at the filename, we can determine what type of information is stored to that and what applications can open these files. Have you noticed that when your computer acquires an unknown file, it will ask your permission to look for associated program to open it or look for these programs over the Internet? Yes! These file extensions make the work of the computer easy. Once there is no application associated with the file, then the computer will immediately ask the users assistance to help look for the source files.
If you know which application opens file extension 47 and it is not mentioned on our site please e-mail us via contact form.
For more information on how to open 47 files read other articles on this website.
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To open 47 File on iOS device follow steps below:
Populating this website with information and maintaining it is an ongoing process. We always welcome feedback and questions that can be submitted by visiting Contact Us page. However since there are many users visiting this website and because our team is quite small we may not be able to follow up personally on every request. Thank you for your understanding.


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Interior view of "Luccata, Opus 162," 1967-68, by Thomas Wilfred (Denmark, also active United States, 1889-1968), lent by Carol and Eugene Epstein, Los Angeles
"He created a device he called a "color organ," which he used to "orchestrate" the qualities of light. Where a composer might play with key, melody, or tone, Wilfred composed reflection, refraction, and color. The work is embedded into a wall by a staircase leading up to the European galleries, with a few comfy chairs in place so one can settle in and watch the soundless composition unfold."
One thing that was not mentioned in yesterday's post about Thomas Wilfred's endlessly interweaving Lumia composition of colored light is the inconspicuous door slightly to the right of the screen on which the composition plays. One might ask, if they can possibly take their eyes off the hypnotic undulations on screen, "I wonder what's back there?" That's exactly what artist and head of the photography concentration in the Department of Art at UCLA, James Welling, asked LACMA. And earlier this week, Welling, along with some students from his theory class on color, found out—when LACMA electrician Roosevelt Simpson opened the door.
The last Lumia device ever made by Thomas Wilfred, Luccata, Opus 162, 1967-68, is one of approximately 35 of the devices left in existence. The piece is on loan to LACMA by former radio astronomer Eugene Epstein and his wife Carol. Epstein happened upon a Wilfred work called Vertical Sequence II, Opus 137, 1947, at the Museum of Modern Art in 1960. According to an article in the alumni quarterly of Caltech, Epstein's undergraduate alma mater, Epstein explains, "When I turned the corner and saw this work, it blew me away, I thought, 'Wow! Where has this been all my life?' I watched so long that I ended up sitting on the floor. It was captivating." (Caltech News, Volume 39, issue 3) He's been collecting works by Wilfred ever since. Epstein has learned how to care for and restore the devices and has stocked up on various particular types of contemporaneously made light bulbs that Wilfred intended to illuminate his works.
So, what's inside? Well! Roosevelt unlocked the door and there stands a large cabinet, approximately 51 inches high and wide, and 42 inches deep. A single electrical cord connects the device to normal 120-volt household current. Inside the cabinet is the magic: Two 500-watt incandescent bulbs make for the sources of the light, which seeps through a tangle of hand-crafted parts—colored glass, gelatin, strips and punched metal—some rotating in slow motion, and some static.
Welling and his students were pleased. The contraption was indeed fascinating. Wilfred, in his article "Light and the Artist" in the June, 1947 issue of the Journal of Aesthetics & Art Criticism, wrote, "My own experiments began in May in 1905 in Copenhagen with a cigar box, a small incandescent lamp and some pieces of colored glass." I'm sure that creation was beautiful too.


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[nggallery id=147]
After we reported Miss Hawaii's (who we believe real name is Jessica) accusations that she was being harassed by Duke's Kyrie Irving and that she had filed a police report, we received a ton of information about Miss Hawaii.
Duke's Kyrie Irving Accused Of Harassment By Model Miss Hawaii..See The Texts
The most explosive claim is that Miss Hawaii is actually a call girl. A former client referred us to these links and makes the accusation that Miss Hawaii is a lady of the night.
[nggallery id=148]
There is no way to prove if someone just stole her pics (happens often), but it does say if it isn't her your services are free, so take it for what it is worth.
Here is what she had to say:
I am not a prostitute devin ebanks ex girlfriend put those ads up about me as a joke cuz she was jealous I was with him.
Another claim against Miss Hawaii was the one harassing and stalking Irving, going as far to say she created a fake twitter account @dukelvr1989 (no longer active). That account maybe familiar to you because we reported on in a few days ago.
Duke's Kyrie Irving Subject to Racist, Abusive Tweets From a Duke Fan
There is no proof that Miss Hawaii and Dukelvr1989 are the same person, but plenty of people believe that to be the case, but similar to how you don't want to jump to conclusions about Irving alleged harassment of her, you can't just automatically assume this is her harassing him.
SethCurrySavesDuke has more details on @dukelvr1989
Elizabeth Irving was Kyrie's mother, and she died before he was six years old. After that message, Kyrie started responding. He told "her" (I'll be using female pronouns for the sake of readability, though it's impossible to know who or what we're dealing with here) that she could say what she wanted about him, but not to bring his family into it. He used her twitter name, cluing in the rest of the world. He told everyone to read her tweets, presumably so they could all see the awful messages she was posting and rally to his defense. Several players and innumerable fans messaged him with support. Kendall Marshall said, "Keep ya head, bro."
Around that time, Kyrie Irving erased his twitter account. You can't find him on that particular medium any longer. Then DukeLvr posted his cell phone number. Then she posted a picture of him shirtless. Then she threatened to post sexual text message conversations she'd had with him. Then she threatened to post "a photo of Kyrie Irving's dick."
These latest promises haven't been fulfilled, but it's easy to see why they were made. If Kyrie quit twitter, and stopped responding to the dead mother bait, the natural way to keep him invested was to inspire fear. Which meant threatening the release of pictures or conversations. It wouldn't be enough to just post them outright; to keep him on a hook, a real sadist knows to create anxiety by way of anticipation. What comes next? Impending doom is usually worse than actual doom.
The question begs did Kyrie know the person that was tweeting him and does this have anything to do with Miss Hawaii's outburst this evening.
Upon further investigation there was a similar incident to this, between Miss Hawaii (Jessica) and Lakers rookie Devin Ebanks late last year. So is Miss Hawaii the real crazy one or is she attracting young athletes who are overly thirsty?
What does it all mean?
I will let you decide that, but I will say this when you are young and fame is thrust upon you, it is really easy to get caught up in its trappings.
You can't be as trusting as you want to be, especially when all the info you have is a Twitter bio and scantily clad profile pic. Let that be a lesson not to just Kyrie Irving, but for everyone.


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text:
If you are chosen as the winner, you will receive this signed copy of Crazy Lace by Myra Wood.
Also included in the prize is this gorgeous 950 yard skein of Madelinetosh Lace from
The Backwards Loop to create your own "crazy lace" with.
(Please listen to Episode 30 of the NeverNotKnitting podcast for a review of Madelinetosh and an interview with author Myra Wood.)
You have until Jan 1, 2010 to enter the drawing! Please check back then to see if you've won!
Drawing now closed! Winner is Wooly Knits and Bits! Congratulations!


text:
Class Central Tips
You may never be sure whether you have an effective user experience until you have tested it with users. In this course, you'll learn how to design user-centered experiments, how to run such experiments, and how to analyze data from these experiments in order to evaluate and validate user experiences. You will work through real-world examples of experiments from the fields of UX, IxD, and HCI, understanding issues in experiment design and analysis. You will analyze multiple data sets using recipes given to you in the R statistical programming language -- no prior programming experience is assumed or required, but you will be required to read, understand, and modify code snippets provided to you. By the end of the course, you will be able to knowledgeably design, run, and analyze your own experiments that give statistical weight to your designs.


text:
During our first year of marriage, we took a Dave Ramsey course. After that, we started planing and saving so that when we were in a position to buy a house we'd have some money saved up to do some updating. We fell in love with our house, and saw great potential in the kitchen. In August, we moved into our first home - a big change from our tiny apartment kitchen.
Although we loved the space in the kitchen, there were a few things we wanted to change:
Laminate front, dark and um, not the most pretty looking. Since we spend so much time in the kitchen, we wanted something light, airy and fresh.
We painted the cabinets a Delicate Lace, painted two accent walls blue and later added some hardware.
It's also seamless -- which makes clean up a breeze.
This post is linked to Metamorphosis Monday, Take a Look Tuesday, Strut Your Stuff, Show Off Your Stuff, Transformation Thursday, Hooking Up with HoH, Show and Tell, I'm Loving It, February Before and After Party, Amaze Me Monday, Parade of Homes. Show us Your Kitchens


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Just like you, your home would look great with a new set of shades. When the sun's out on a beautiful day, open the window blinds and let the glorious light flood your home—it'll highlight the matching living room set, coffee table and wall décor. But look out—too much light can be a bad thing especially if you're trying to watch television or get work done on the laptop! Let the right amount of sunlight into the home with some of our clean and stylish window shades! All kinds are available—from the basic horizontal blinds to ultra-modern automatic shades. It's like a two-for one deal—form and function wrapped up in one gorgeously designed package.
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'Tacoma Eastern Railroad', a booklet issued by Tacoma Eastern Railroad in Washington, U.S.A. in 1911, provides travel information about the journey from Tacoma to The National Park Inn, Narada Falls and Paradise Valley.
This is one of about eighty travel brochures, maps, railway time tables, postcards and guidebooks collected by Miss Olive Oliver during her round-the-world tour of the United States of America, Britain and Europe in 1911. Olive was a wealthy 32 year old woman from Melbourne and she travelled with her father, William Oliver, her brother, William Donald ('Don'), and her friend, Gretta Nicolls. Olive was born in Armadale, Melbourne in 1879 and died there in 1961. She did not marry or have any children.
During the year long round-the-world tour, Olive travelled to many places in the USA, stayed for a period in London, motored through Wales and Scotland, and visited many of Europe's major cities. Many of the objects that Olive collected relate to USA destinations such as Honolulu, Seattle, Yosemite National Park, Monterey, California, Niagara Falls, and New York, while others relate to British towns and cities including Edinburgh and London. Olive and her companions travelled by train, motor car and ship, including the Royal Mail Line S.S. Makura, the Cunard Line RMS Lusitania (later famously torpedoed and sunk by a German U-boat on in 1915 during World War One), and the Orient Line S.S. Osterley.
During this era the world was opening up to the independent or 'New Woman', with many women being granted new economic and legal rights. There were unheralded opportunities for travel and recreation, as well as work, particularly for middle- and upper-class women. Many of the travel brochures, guidebooks and postcards that Olive collected were clearly aiming at attracting women tourists and feature prominent illustrations of women at play.
Olive Oliver Collection - The sea chest, diaries, travel brochures, guidebooks, maps, postcards and other ephemera in this small collection document Miss Olive Oliver's international travel experience as a wealthy, unmarried Australian woman in the early 20th century, and taps into issues of gender and national identity.
During the first few decades of the 20th century, the world was opening up to the independent or 'New Woman', with many women being granted new economic and legal rights. There were unheralded opportunities for travel and recreation, as well as work, particularly for middle- and upper- class women. In light of this, the collection in general highlights the types of recreational activities popular at the time for wealthy women tourists, such as shopping, socialising, dining and sightseeing. In particular, Olive Oliver's diary also provides fascinating insights into her own particular holiday choices and experiences, and her selection of ephemera souvenirs evocatively highlights her itinerary. The changing role of women in society is evident in the key role that women play in the graphic design of the travel ephemera and postcards in this collection, as well as in the content of some of it. For instance, Miss Oliver was tapping into contemporary popular culture relating to women's emancipation as she travelled around the world. This is particularly evident in some of the postcards that she collected featuring women at work at a major insurance company in New York.
More than just an insight into women's travel and a record of one particular person's holiday, however, the collection is also a signifier of place and national identity in early 20th century Australia. Being located a long way from much of the rest of the world, Australians have long had an interest in travel outside their own national and state borders, and this collection is a reminder of this interest. The collection highlights the importance of travel in the lives of Australians who had immigrated from places such as Britain and Europe. Although Australia's own local tourism industry was expanding in the early 20th century, there was still a strong lure to return 'home' to the 'old world'. There was also a strongly held attraction for the 'grand tour' to Britain and Europe, and trips to new world countries such as America, to expand the cultural education of Australians. The emphasis on travel to countries from which new Australian settlers were traditionally drawn highlights the cultural outlook and identity that Australians engaged with at this time, which was typically British and Eurocentric. This outlook and world-view has persisted from the days of settlement through to recent decades, when it shifted somewhat as interest in travel to our Asian neighbours developed and the origins of immigrants became broader.
Finally, the survival of this collection for almost a century until its acquisition by the Museum highlights the importance that this international tour had in Miss Oliver's life, and the collection will be a remarkable resource for better understanding early 20th century travel.
More Information
Collection Names
Collecting Areas
Acquisition Information
Donation from Lois Comeadow, Dec 2009
Miss Olive Oliver, Tacoma, Washington, United States of America, Jun 1911
Type of item
State Library of Victoria, [Link 1]*&CNT=15, accessed 16/07/09 Southern Pacific Historical and Technical Society, [Link 2] accessed 16/07/09 Australian National Maritime Museum, [Link 3] accessed 16/07/09 Family News and Research Data, Oliver Society, Issue No. 21, 2005, p.14 Emails from the donor. [Link 4]
Holidays, Leisure, National Parks, Rail Transport, Railways, Recreation, Souvenirs, Tourism, Trains, Travel & Tourism


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Five Things You Can Do to Help Your Wedding Photographer
By dcarpenito at August 5, 2011 | 10:56 am | 0 Comment
Are you currently planning your wedding but unsure of how you can help your wedding photographer? Don't worry, this is a common thought among many marrying couples. I am here to assure you that putting these five tips into practice will guarantee working harmony with you and your photographer and winning portraits of your special day! Keep important areas accessible.
Blog , For Brides , Improving Communication With Your Photographer


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Creme Brulee Pistachio Macarons
Thank you immensely for the warm birthday wishes and emails. You guys are the best! Phew! This past week was filled with opportunities to take me away from updating more often. Work related issues to ponder, projects, family. I decided to put my mind on a break for a few days. Break is over now. Does that happen to you too? This feeling that the cup is full and you need to just press "pause" for a couple of days? There is always a sweet moment involved for me though. One filled with Creme Brulee Pistachio Macarons for example. As good as a red rose on your birthday.
Jen emailed me recently that she was making macarons and that sent me into a mini brainstorming session. I quickly replied with "I've had this idea for a while to make a creme brulee filled macarons. I just need to sit on the logistics for a minute". I pretty much knew how to go about it but there is always this doubt that your idea may be better in your head than the actual production.
When I told Bill about it, he gave me this look of "You and your macaron ideas! Why?". In a cocky French way I simply replied "I want Pierre Herme to personally email me and say "I give up – You win". Yes, just that. I am never that bold about what I do which surprised me a great deal. I am such a dork! I think I even scared Y one evening we were talking about it and she got utterly confused when I said "I am having a throw down with Pierre Herme, except he does not know about it. It's all in my head".
What can I say? Engineering macarons relaxes my brain cells.
For the filling I used a basic creme brulee recipe, and baked it into an 8×8 square pan lined with foil and set in a larger roasting pan filled with water. I turned the heat lower than for regular creme brulees and watched it carefully. Once baked and cooled to room temperature I refrigerated the pan overnight before using it in the macaron. To fill, I used a small cookie cutter and cut out rounds in the baked creme brulee, gently lifted them onto a macaron shell and topped it with another one. Make sure to refrigerate these a couple of hours before eating so that all the flavors have the chance to meld. Take these out of the refrigerator only 15 to 20 minutes before serving. The creme brulee my turn on you or become too soft to be handled properly.
Speaking of engineering… I've got something to share with you that has me so excited I could burst!! Two weeks from now Bill and I will be sitting down with Jen and Jeremy at a table at The Kitchen. In Colorado. Yeah!! B. is going there for work and Jen graciously invited me over so I could spend some time with her in the kitchen, in town and on the trails. When all the oks came in, I started mapping out the drive, getting guides, etc… Yes, you read right, we are driving the 1700 miles or so to get there. We are well aware of all the bumps in the road (no pun intended) with a road trip but I plan on making a bunch of sweet treats to smooth things out if needed. No argument can last long with a macaron in hand!
One year ago: Lemon Madeleines.
Two years ago: Rhubarb Cupcakes.
Creme Brulee Pistachio Macarons:
For the shells:
90 gr egg whites (preferably aged overnight in the fridge or on your countertop if the kitchen is relatively cool)
30 gr granulated sugar
200 gr powdered sugar
55 gr almonds
55 gr raw pistachios
powdered green food coloring (I only used a tiny amount to bump up the green from the nuts)
For the creme brulee filling:
1/2 cup (125ml) whole milk
1/2 cup (125ml) heavy cream
1/2 vanilla bean, seeded (see note)
1/4 cup (50gr) sugar
2 egg yolks
In a stand mixer fitted with the whisk attachment, whip the egg whites to a foam, (think bubble bath foam) gradually add the sugar until you obtain a glossy meringue (think shaving cream). Do not overbeat your meringue or it will be too dry. Place the powdered sugar, almonds and pistachios in a food processor and give them a good pulse until the nuts are finely ground. Add them to the meringue along with some food coloring if using, give it a quick fold to break some of the air and then fold the mass carefully until you obtain a batter that falls back on itself after counting to 10. Give quick strokes at first to break the mass and slow down. The whole process should not take more than 50 strokes. Test a small amount on a plate: if the tops flattens on its own you are good to go. If there is a small beak, give the batter a couple of turns.
Fill a pastry bag fitted with a plain tip (Ateco #807 or #809) with the batter and pipe small rounds (1.5 inches in diameter) onto parchment paper or silicone mats lined baking sheets. Let the macarons sit out for 30 minutes to an hour to harden their shells a bit. In the meantime, preheat the oven to 280F. When ready, bake for 15 to 20 minutes, depending on their size. Let cool. If you have trouble removing the shells, pour a couple of drops of water under the parchment paper while the sheet is still a bit warm and the macarons will lift up more easily do to the moisture. Don't let them sit there in it too long or they will become soggy. Once baked and if you are not using them right away, store them in an airtight container out of the fridge for a couple of days or in the freezer. To fill: pipe or spoon about 1 big tablespoon of butterceam in the center of one shell and top with another one.
Prepare the creme brulee filling:
Preheat the oven to 300F and position a rack in the enter. Line a 8×8-inch square pan with foil and lightly coat with cooking spray or melted butter. Place this pan in a larger roasting pan and set aside.
In a medium saucepan set over medium heat bring the milk, heavy cream and vanilla bean seeds to a simmer. In the meantime, whisk together the sugar and egg yolk together in a large bowl until the mixture is pale. When the milk/cream is hot, slowly pour it over the egg yolk and sugar, whisking constantly to prevent the eggs from curddling. Let the mixture cool to room temperature, skim the foam on top and pour it into the prepared baking pan. Fill the roasting pan with water so that it comes about halfway up the side of the creme brulee pan. Bake for 20 to 25 minutes. It is ok if the center still appears a little wiggly. It will set as it cools.
Let cool to room temperature before refirgerating preferably overnight.
Note: to seed a vanilla bean: place it on a flat surface and cut it in half lenghtwise without cutting all the way through. Scrape the seeds inside with a pairing knife. You can add both seeds and pods to the milk and cream as they heat up but remove the pod before whisking the liquids into the eggs and sugar.
Do not throw away your bean! Wash it, let it dry and add to some sugar for vanilla scented sugar in a pinch.
When ready to assemble the macarons, cut out rounds smaller than the diameters of the shells into the brulee filling and place it on top of a shell. Top with a second one but do not press down.


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Roasted Butternut Squash Salad with Warm Cider Vinaigrette |
If you have been following More Than Burnt Toast you will know that I have been creating my own personal challenges based on a theme to infuse new life into my cooking adventures. Face it, I have been uninspired in the kitchen lately so needed a boost! If I can't live my dream and travel the world visiting every cooking school in every country the next best thing is to bring my own kitchen to life!!! Even every day food should be an adventure either with new ideas or experimenting with a new cuisine. Every day we should be excited about what we are eating even if it just means making use of an inspirational find at our local farmers market for our favourite comfort foods
As my third personal challenge after is My Face Red (and White) and My World is Blue (Lavender) I am creating a menu from appetizer to dessert that highlights British Columbian cuisine and ultimately Okanagan cuisine. I have included a few recipes from local chefs and wineries. My Cuisine du Terroir Challenge reflects what our local producers have to offer.
To start us off I offered my own version of Lamb Sliders with Lemon-Mint Sauce for my Cuisine du Terroir menu using local lamb. A quick trip to the farmers market this time of year will inspire you to get creative in your own kitchen and create a second course that celebrates the season. I chose an Ina Garten recipe that celebrates the harvest in this seasonal salad. Squash are just beginning to show up at our local roadside stands and farmers markets.
Maple syrup is a product of eastern Canada but I easily substituted birch syrup, a locally made product, for roasting the butternut squash. A savoury salad with a hint of sweetness from the smoky syrup. Serve to applause and enjoy!!
1 (1 1/2-pound) butternut squash, peeled, 3/4-inch sliced
Good olive oil
1 tablespoon pure maple or birch syrup
Kosher salt and freshly ground black pepper
3 tablespoons dried cranberries
3/4 cup apple cider or apple juice
2 tablespoons cider vinegar
2 tablespoons minced shallots
2 teaspoons Dijon mustard
4 ounces baby spinach, washed and spun dry
1/2 cup walnuts halves, toasted
3/4 cup freshly grated Parmesan
Preheat the oven to 400 degrees F.
Place the butternut squash on a sheet pan. Add 2 tablespoons olive oil, the maple syrup, 1 teaspoon salt and 1/2 teaspoon pepper and toss. Roast the squash for 15 to 20 minutes, turning once, until tender. Add the cranberries to the pan for the last 5 minutes.
While the squash is roasting, combine the apple cider, vinegar, and shallots in a small saucepan and bring to a boil over medium-high heat. Cook for 6 to 8 minutes, until the cider is reduced to about 1/4 cup. Off the heat, whisk in the mustard, 1/2 cup olive oil, 1 teaspoon salt, and 1/2 teaspoon of pepper.
Place the arugula in a large salad bowl and add the roasted squash mixture, the walnuts, and the grated Parmesan. Spoon just enough vinaigrette over the salad to moisten and toss well. Sprinkle with salt and pepper and serve immediately.
Serves 4
You are reading this post on More Than Burnt Toast at http://morethanburnttoast.blogspot.com. Excerpts and links may be used, provided that full and clear credit is given to the author/owner of More Than Burnt Toast. All rights reserved by Valerie Harrison.


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Collagen injection is a procedure used to fill wrinkles, plump lips, and improve skin appearance. Collagen is injected under the skin with a fine needle.
Collagen is a natural protein that supports the skin and other areas of the body. It may be taken from an animal like a cow or pig or from the patient's own tissue. Collagen is one of several filler options available.
Reasons for Procedure
Collagen injection is an elective, cosmetic procedure. This means that the patient requests to have a procedure which is not medically necessary. It is done to:
- Fill wrinkle lines
- Plump lips
- Improve the appearance of scars by plumping and smoothing skin
You will need a trained specialist such as a dermatologist or a facial or general plastic surgeon. Treatments are often successful and results are seen right away. Results are temporary, lasting 6 months or more.
Possible Complications
Problems from the procedure are rare, but all procedures have some risk. Your doctor will review potential problems, like:
- Allergic reaction
- Bumps, clumping, or abscesses on the skin
- Uneven skin appearance
- Skin rash, itchiness
- Infection
- Bleeding, bruising, or swelling
- Damage to tissue and nerves near the injection site
Factors that may increase the risk of complications include:
- Smoking
- Taking blood thinners
- Allergies
Be sure to discuss these risks with your doctor before the collagen injections.
What to Expect
Prior to Procedure
Before the test your doctor will:
- Examine, measure, and take pictures of your face
- Discuss known allergies
- Discuss medicines, supplements, and skin products you are using
- Test your skin for allergies
- Discuss risks and benefits of the procedure
Before the procedure, you will:
- Sign an informed consent form
- Be advised to avoid aspirin and other blood-thinning medicines
- Remove all makeup
Local or topical anesthesia, such as ointment or ice, may be used. A nerve block is often used for lip injections. This type of anesthesia blocks the nerves responsible for pain.
Description of the Procedure
Pen marks may be made on the areas to be targeted. Your face will be cleaned and prepared with an antibacterial cleanser. Local or topical anesthesia will be given to numb the area. For small areas, a topical cream or ice is used.
There are different ways to inject the collagen:
- Serial puncture technique—A series of small punctures will be made with the needle along the targeted area. Small amounts of collagen will be inserted at each puncture point.
- Linear threading or fanning technique—The needle will be inserted into the full length of the targeted area. The collagen will be injected slowly as the needle is removed or inserted.
The procedure is often repeated in deeper areas.
How Long Will It Take?
The procedure may take only a few minutes or longer depending on the areas injected. You will be able to go home after the procedure.
Will It Hurt?
Anesthesia can block pain and discomfort. Some have the procedure without anesthesia, but the injection is painful.
Ask your doctor about medicine to help with the pain and swelling after the procedure.
Post-procedure Care
After your procedure, the staff may provide the following care:
- Cleanse your face
- Apply ice and/or a soothing ointment
When you return home, do the following to help ensure a smooth recovery:
- You may put on makeup without touching the affected area.
- Be sure to follow your doctor's instructions about caring for the affected area.
Call Your Doctor
It is important to monitor your recovery. Alert your doctor to any problems. If any of the following occur, call your doctor:
- Increased pain, redness, bleeding, discharge, or swelling
- Rash or hives
- Uneven skin appearance
- Any other concerns
American Academy of Dermatology https://www.aad.org
American Society of Plastic Surgeons https://www.plasticsurgery.org
Canadian Dermatology Association http://dermatology.ca
Canadian Society of Plastic Surgeons http://plasticsurgery.ca
Dermal fillers. American Society of Plastic Surgeons website. Available at: https://www.plasticsurgery.org/cosmetic-procedures/dermal-fillers. Accessed September 5, 2019.
Filler materials and general injection technique. In: Bolognia JL, Jorizzo JL, eds. Dermatology. 2nd ed. Philadelphia, PA: Mosby Elsevier; 2008: chap 158.
Fillers. American Academy of Dermatology website. Available at: https://www.aad.org/public/diseases/cosmetic-treatments/fillers. Accessed September 5, 2019.
Revision Information
- Reviewer: EBSCO Medical Review Board Donald W. Buck II, MD
- Review Date: 09/2019
- Update Date: 09/16/2020


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Wednesday, August 3, 2011
A Sci-Fi Pet Peeve
Think about it this way: when was the last time you read a novel or saw a movie set in the present day and much time was wasted in trying to justify the world as it is? When was the last time you opened up the rulebook to a modern RPG and found a lengthy history chapter stretching back to the Middle Ages or even earlier? No one in their right mind expects a James Bond novel to waste space explaining the history behind Britain's political situation in the 1960s, do they? Likewise, does anyone assume that a RPG set in 21st century America will devote pages upon pages to detailing the country's history going all the way back to 1776 (or before)?
I understand that many sci-fi creators enjoy creating future histories. Some even pride themselves on how prescient they are, but, really, except in rare cases, does all that history need to be laid out to the reader (or player), especially when much of it is decades or centuries in the past? From my perspective, if your setting is millennia in the future in some galactic empire far removed from Earth, does it matter what happened long ago and far away, generally speaking? Is it necessary to connect events of the present to those in the far future? I don't see it myself, except, as I said, in rare cases where the whole point of the setting is to explore that connection. Otherwise, I much prefer that "the future" simply be treated like the present from the perspective of the characters within it, which is to say, the way things are and let's not worry too much as to why.
58 comments:
That is one of the things I like about Eclipse Phase. Ok, they spend a lot of time teaching you about the world. But it only has a timeline that reaches back a decade or so before the "Fall" and a decade after. Much of the information from before the "Fall" is lost. So they can concentrate on how the world developed after the "Fall". Which could be anywhere between 50 or 150 years in the future.
ReplyDeleteI feel that while this is a valid concern with regards to far future SF, particularly Space Opera (Banks for instance does a deft job of just handwaving it all), there are forms of SF where the historical contingencies of the setting are vital to the characters' self-conceptions. See: a lot of post apocalypse, Dune, near-future cyberpunk, etc..
ReplyDeleteWhat kelvingreen said, emphatically so!
I think its a related disease to worldbuilder's loghorrea. Show us the story and let the world fill itself in. Spare us the encyclopedia entries.
If the readers/fans are compelled enough by the tale, they'll seek out that detail on their own. (Or provide it themselves.)- AnonymousAugust 3, 2011 at 6:17 PM
Ooo! I love this:
'Bandit Country'
In 2015 the debt ceiling was removed and no limit to the US national debt was chosen as the new economic model by the thinktank known as SINGULARITY...now twenty years on and Canada is under siege, its borders overrun by an impoverished tide of banditry thrown off by an uncaring US Government who has thrown off its skin and revealed it self to be a foul plutocracy with no room for the disposable populace its government continues to create. @kelvingreen: Re-telling the superhero origin is because some people may be unfamiliar with the hero's beginning. This is Hollywood's reasoning. They think everyone was just released from their pod five minutes ago. I think it's safe to say that if anyone is going to a superhero movie, they already know the hero's origin. But each new director who takes the reins of a superhero franchise always does something different to the point where you don't know which origin is the real one. I think Christopher Nolan's Batman is the best so far.
ReplyDeleteThis is one of the things I dislike about the modern superhero movies; do we really need to spend an hour recapping Batman's origin to understand that he beats up bank robbers?
I agree, especially in the case of well-known heroes whose origins and abilities everyone knows. I've long hoped for superhero films that don't waste valuable screen time on origins of characters who've been around for decades, but I am forever thwarted in this.And don't forget the extrapolation of current technologies, and how many dilemmas faced by sciffy heroes of old if they had of had a smartphone and access to Google. Or even just a smartphone.
Again, unless the tech is central to the plot there is no need to examine it in technobabble. Just use it and get on with telling the story.
Although that being said I do enjoy those "series" where the books are set at different times during history (such as H Beam Piper's Terrohuman Future History or S Andrew Swann's Terran Confederacy series), especially if a passing remark is made as a nod to the reader about previous events.i think you have to distinguish between near, mid and long term settings and the span within which the author works.
In near and mid term (say anywhere up to 200-300 years out)this sort of thing can really add to the story. Because we know the world and recent history (at least we should...), we cannot suspend disbelief as readily and need a bit of coaxing.
Additionally, the characters are "us" or "our descendants" and not only is it natural for us to want to know how we get from here to there, it is also pretty important to understanding a character; you can write a story about a Israeli and a Palestinian in the twentieth & twenty first century but you'll be hard pressed to fully explore them without recourse to 1948, 1967, etc....
Its when you get to the far future that it is some what useless (but no less interesting).
Ultimately, I think it really is a reflection of the abilities of the author; can they weave in interesting bits of information and maintain our intrest without us saying, but.... I'd point to Herbert's Dune as the way to do it Long term. Short term, Heinlien is an example of the need to and Dick's man in the High Castle is an example of how great art overcomes the need for it.Hmmm...I can see it both ways.
Prior to modern times (whatever those times may be), there is no need to tell you tons of historical information because, well, you know it. You went to school. You can look it up. We are all generally and relatively aware of how we got here from, say, the 1800's.
But how did we get from here to FTL travelling to a billion worlds? Why isn't there a USA anymore? What happened that caused the United TerraGov Union to outlaw a certain frequencey of telecommunications signals? No one knows until you tell them.
Is it necessary to tell them? It depends on the setting. In Star Trek, the setting stands on it's own. We don't need to know exactly how we got there but thank goodness we did 'cause we do know 'we almost destroyed ourselves'. It's mentioned all the frickin' time.
I agree that at this point Superman and Batman's origins need not be repeated in a film. It is a waste of the movie goer's time. However, if Superman is suddenly an angry dude in a black costume with psychic powers, in an Elseworlds comic for example, then, um, yes! Please explain!I much prefer that "the future" simply be treated like the present from the perspective of the characters within it, which is to say, the way things are and let's not worry too much as to why.
This is one of the things that separates science fiction from science fantasy. Since science fiction is a form of speculative fiction a certain degree of speculation and exposition is required. With Star Wars-style space operas, such exposition is unnecessary.- AnonymousAugust 3, 2011 at 6:59 PM
"This is one of the things I dislike about the modern superhero movies; do we really need to spend an hour recapping Batman's origin to understand that he beats up bank robbers?"
@ Kelvin Green - I suppose this is why they went with the Batman Begins film - That way
you tell the origins of Batman through the entire film where he gets to beat up the bank robbers. Chapter 2 continues with the whole rise of the Joker, and now we move on to what is Chapter 3 of the Origins of Batman...at some point it is no longer the origins of Batman...but they will milk it for all it is worth to get you there. With Star Wars-style space operas, such exposition is unnecessary.
Sure, but aren't there also examples of SF that take place in the far future of this universe that similarly don't require such exposition? Someone mentioned Dune and I think that's a good example. There are occasional references to the Butlerian Jihad and its effects, but we don't get much information about the when the Jihad happened, who was involved, or specifically why. We simply see its effects.so it is okay for Tékumel but not for pure science fiction? That makes no real sense.
While the world of Tékumel exists untold thousands of years in our future very little detail is given about the history of the planet until comparatively recently. Almost nothing is known about pre-Time of Darkness Humanspace and knowledge of history prior to the First Imperium is sketchy at best.
That said, I do think all versions of the setting include more information about the past than is strictly necessary. In fact, I think the setting would probably be more accessible and less intimidating to people if there was less historical exposition. So, in answer to your question, no, I'm not making an exemption for Tékumel.- AnonymousAugust 3, 2011 at 7:33 PM
A few lines of well-considered background can imply reams of additional information, but those few lines are really necessary for a setting to feel coherent. Once the playters and GM have enough information to understand a setting's implied background, they tend to unconsciously collaborate. The setting brings their vision together. If there is no common vision, they tend to go in different directions, making the GM's role much more difficult.
("What are your character backgrounds?" "I'm a retired navy grav engineer, more recently making a living fixing merchant ships." "I'm an ex-marine, thrown out of the service because of false accustions of graft and damned bitter about it." "I'm a one-handed, kleptomaniac dwarven smith with a passionate hatred of orcs." "Ummm.... John, we're playing GURPS Traveller tonight." "You said to make a GURPS character, so I did.") Okay, I can understand that but the aspect of traditional games like D&D provided a history for settings like Greyhawk. They did deal with the fact that you were in fantasy Medieval trappings without having ever really told you how they got there. If you wanted to read the supplements that were available you could delve into the history. That was back when the hobby was pretty much about crafting your own world based on the source materials you had available.
Traveler (as an example) was totally different. You HAD to set up the background to give the players some context. Is the development of a warp drive any more absurd than a wizard casting Magic Missile? I'd say no.
You have to have some context that explains how the players got to that point when they start their adventures. You also have to explain how the system works. Are all science fiction concepts realistic? Hell no, but are they so different from fantasy concepts? If you break them down, then no they aren't.What really bugs me about Science Fiction is how the "future" ages very quickly. Philip K. Dick had his characters use pay phones in "A Scanner Darkly". I'm not discrediting the stories, but rather the future pales when the present offers us advances in ways no one can predict.
That being put on the table I think there is something to say about the concept of divergence. You lock yourself into an alternate timeline and all of a sudden things can make sense. The "Fallout" games are a great example of this.
I do agree however that Science Fiction that exists eons away from us does not need it and even some more immediate timelines don't require it either (see Cormac McCarthy's "The Road")The difference is obvious: in a present-day or historical work, the historical background is freely available to the reader from other sources, and he or she can (usually) reasonably be expected to know some portions of it already. In SF, the only background that's available is what the author makes so. That doesn't mean that background history is necessary, but comparing it to works in the real world not providing such histories is disingenuous.
ReplyDeleteIt sort of depends for me. I tend to agree, with the massively scaled sort of stories that occur tens of thousands of years in the future, I don't see the need to try to fill the gap.
Some settings/games having some detail, especially those that can occur in a variety of times, it can help, such at Battletech. Nice to understand a bit why we go from a unified galaxy, to a tech Dark age to a virtual mechanical renaissance and small men in armored suits."The Council of Elrond" is one of my favorite chapters.
Having just finished reading that chapter aloud to my daughter, let me chime in and say that it is not one of my favorites. It's not just long but it's mostly unnecessary. I find myself agreeing with Aos above that my dislike of lengthy historical exposition applies equally to fantasy as it does to SF.A case in point - Twilight 2000 is built around a speculative near-future that seemed plausible in 1985, not so much in 2011 (especially to anyone who didn't grow up in the 70s/80s). How many of us feel that we could put that to one side, say "nevermind how we got here, this is the situation", and play the game? How many couldn't get past that hurdle and would have to rewrite that backstory?
ReplyDeleteUhm, James, aren't you a huge H. Beam Piper fan...you know, the guy with THE FUTURE HISTORY (even more so than Heinlein) whose writing goal was to write one novel per century of his 3000+ year future history. The guy who has an entire story about how a history professor starts comparing history to future events in class?
I believe what you're saying but I'll admit I have a hard time squaring it with love of Piper.I believe what you're saying but I'll admit I have a hard time squaring it with love of Piper.
I love Tolkien too and he's often guilty of the same. I never said I didn't like authors who commit this "sin" or that it was in any way unforgivable, just that I preferred it when writers didn't do this.- AnonymousAugust 3, 2011 at 8:54 PM
It might be helpful for the author to have some idea of the history of his world (and in scifi, the history of the technology), but count me out from needing or wanting it in my reading. I don't have to know the whole bizarre backstory of how FTL was developed, and if it's a multi-part series, I don't need it rehashed and retold (see: Weber, David).
Don't tell me the history of World War 3; don't even give me a timeline in the front of the book. Give me "You flew the Gullfire over Leningrad, didn't you?" and let my mind work from there. A long time ago in a galaxy far, far away.
Then ...
Episode IV, A NEW HOPE It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire. During the battle, Rebel spies managed to steal secret plans to the Empire's ultimate weapon, the DEATH STAR, an armored space station with enough power to destroy an entire planet. Pursued by the Empire's sinister agents, Princess Leia races home aboard her starship, custodian of the stolen plans that can save her people and restore freedom to the galaxy….
I have all the history I need to get me up to speed and to shrug off my suspension of disbelief. Then the movie keeps throwing out Tim Bits of history.
I want to add that I have always been impressed with those who spend time creating complex timelines, or alternate histories. Some of them sadly read like the descendants of Japheth in the Bible - long boring lists of dates with a short sentence of some event, battle, or king. Those are a bear to read.No it is not necessary to unload a past history but it requires a rare skill to recreate an appropriately distant mood, tone or psychology. We know this because contemporary european and american sensibilities are not close and mediaeval and Greek are estranged even further.
Stapledon's Last and First Men and Starmaker are probably your exceptions and George Orwell and Zamyatin are perhaps good examples of jumping in.I've often wondered at the way SF settings try to justify themselves through meticulous timelines or historical essays covering the origin of every speculative thing about the setting. The first zap-gun was invented in 2012, Warp-drive was discovered in 2107, aliens were contacted in 2330, et cetra, et cetra. Yet I've never picked up a Old West game that, say, fussed over when the six-gun was invented. Or a fantasy game that stated when Orcs were discovered.
Timelines, besides being nonsensical, often have the oddity of tying the setting to near-future fictional events (thus soon erroneous) no matter how far off the "present" of the game is. If the game is about piloting intergalactic scout cutters in 3333 A.D., what is the point of stating that first sleeper ship was launched in 2007?This may be relevant to your concerns: http://en.wikipedia.org/wiki/Technological_singularity
It touches on the main reason we cannot really discuss the future with even a semblance of certainty: things change in such a way as to be utterly unpredictable. If you asked someone in the 50s what today would be like, they would guess flying cars and life on mars, not a sophisticated agro-model that feeds billions or the ability of even simpletons to communicate of immense distances instantly. They could not have foreseen it.
History is a complex system with so many variables that you cannot be sure how things will change. At some point, the sheer number of possibilities becomes impossible to predict. We can't foresee how even the smallest technological advances might subsequently impact all other parts of history.
Furthermore, no one is going to dig up your novel in 2500 and say, "see, you were wrong!" The best novels in the genre focus on telling a good story first, and only patch up the gaps when necessary. Just as in Fantasy, where the only time you need fill in details is when they depart seriously from our understandings.On the subject of Batman, it's been noted that Batman's origins are not explained in Batman: The Animated Series and I would imagine several of the shows that followed. It's also only teased at in a Scarecrow-gas segment in Arkham Asylum. Some people get it, they just don't happen to be making movies. :(
ReplyDeleteBarking Alien (and John): If it's any consolation, I would have posted the same thing, but you two had already done so.
Seriously, guys, all of that historical timeline stuff exists in modern settings, it's just that you're immersed in it already. I've been thinking about this lately, actually, because I'm considering creating a "modern mundane fantastic" setting for Top Secret (something like the setting in Royal Space Force: Wings of Honnêamise), since the Cold War is no longer current background (I'm also thinking about setting a campaign in the early 1980s instead).If you read H Beam Piper's Terrohuman Future History then there is only one story that relies on the entire sweep of that history (The Edge of the Knife), because that is THE central theme to the story. In other stories there may be nods to the reader who has read the other books (such as the nod to A Slave Is A Slave and Space Viking in Ministry of Disturbance, but the characters are all living in the now. Even Space Viking, where the immediate history plays an important part (the collapse of the Federation), it is presented as a concern of the characters.
Distant history (ie not current events) is like distant geography in a book or game. It's a splendid opportunity to drop in an off-hand comment or tag to entice the reader (or player). One of my favourite's is The Incendiary Cat Episode in Barrayaran politics that Lois Bujold mentions off-handedly. The nice thing us that the author can always go back later and fill in details if she feels it necessary, such as she did with Lord Midnight [?]. Or not, as is the case of the Neuvo Brasilians who are off-handedly mentioned in the first book as a possible rival to the Barrayarans and then seem to disappear from the Nexus entirely.
These sort of tags are great in a game, since it means if players are interested in them they will pick up on them and the game will expand in that direction. On the other hand, it means that each gamemaster's world will become increasingly non-canon (which is an important thing for some people).If you're going to create a sandbox world, you have to provide the backstory. Otherwise people don't understand what the sandbox *is*.
But if you're basically following an episodic format where players show up to play the game the GM prepared then, yeah, why bother with the backstory? Just fill in the details in each episode.- AnonymousAugust 4, 2011 at 4:46 AM
"Episode IV, A NEW HOPE It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire. During the battle, Rebel spies managed to steal secret plans to the Empire's ultimate weapon, the DEATH STAR, an armored space station with enough power to destroy an entire planet. Pursued by the Empire's sinister agents, Princess Leia races home aboard her starship, custodian of the stolen plans that can save her people and restore freedom to the galaxy…"
Huh? What base? Dantoine? What first Victory against the Empire? It might have been useful to use the [imperials converse at a table about the current situation] to let slip 'the strike on the Clone Facilities on Camino has slowed Stormtrooper production temporarily.' - AnonymousAugust 4, 2011 at 10:33 AM
@Barkling Alien, Faoladh, John:
I don't think we're as opposed as it looks. I've already stated that the timeline and history is important for the author to have in his mind. I just don't want to read his notes while pretending it's a novel.
In fantasy and scifi, backstory, history...it's salt. You need a good supply on hand because you never know when that extra pinch is needed to really bring out the flavor. But unless you're from M-113, no one wants to eat a 9 page salt sandwich. Look at Star Wars; here's a crawl, here's a reference to the Jedi and Clone Wars, and that's it. Perfect. For 2 hours or 300 pages, I probably don't need more than that. Just a pinch. Adrian's onto something, I think. Your examples are somewhat cherry-picked in regards to modern settings. 1776 doesn't matter to a modern American setting in the sense that we don't have a smoldering, hate-filled war with the British, unlike the way 1950s Palestine matters a lot to the current state of a modern Israel setting. Then again, you don't need a lot of material to make that understood.
ReplyDeleteEverett: I don't think that we're in opposition at all. I'm only taking issue with those who seem to be saying that creating history on the fly, as needed, is not only the best way for them, but also the best way for everyone.
I can accept James's original idea, that history should be kept from being explicitly presented, that it should come out through events (with the caveat that some background is necessary, if for no other reason than that the audience does not have the kind of background of history that they automatically do for a modern-set story). My objection is to the more extreme position that not knowing about the history until it is needed is the best way to do things for all authors. Lucas is the obvious counter-example, given the seriously fractured storytelling of the prequel trilogy in relation to the original trilogy.Guys,
I realize that I often write hyperbolically for effect and I'm certainly not immune to ranting irrationally, but, as I explained in one of the comments above, I don't think the inclusion of historical exposition is an unforgivable sin. Obviously, there are degrees of it and, even there, I've rarely found that history wholly (or even partially) destroys my enjoyment of a story/movie/TV show. That's why I called my preference a "pet peeve" rather than a reasoned and logically argued position.
I will say, though, that I'm not the only one cherry picking or being disingenuous here. I don't see how, for example, anyone can seriously believe that the opening scrawl of any of the Star Wars movies is what I was complaining about or that it counters my general point.My objection is to the more extreme position that not knowing about the history until it is needed is the best way to do things for all authors.
I don't disagree. I will only say that, in my experience, writers/creators who obsess over this kind of stuff rarely refrain from sharing it with their readers/viewers eventually. There are exceptions, of course, but I think it's often too great a temptation for most creators to resist."in my experience, writers/creators who obsess over this kind of stuff rarely refrain from sharing it with their readers/viewers eventually"
True enough. I do, as I said, agree with the concept that it should be presented sparingly and through events rather than exposition (or at least not through exposition disconnected from the main story). The very best authors seem to have detailed timelines that they choose not to present explicitly (Dune is the most obvious example here).- AnonymousAugust 4, 2011 at 9:30 PM
I like lots of technical details, if they actually make sense.
I hate "Star Trek" style tech, where the writers would make scripts that go like this:
SCOTTY: Captain, there's a [TECH] with the [TECH] and the Enterprise can't move until we fix it.
Then the director would scribble in "instability" over the first TECH and "dilithium crystals" over the second, and the script would get shot.
That's the kind of technobabble that I hate.
On the other hand, I usually like "future history" that is decades or centuries of explanation. Usually the authors who bother to think that stuff up really believe in their premises and put effort into their deductions. - AnonymousAugust 4, 2011 at 9:44 PM
I note that some classic D&D sources, such as H.R.Haggard's _She_, took the trouble to establish a deep backstory to motivate the adventures.
_She_ doesn't start out with the "wilderness adventure." The story introduces the characters, then introduces a very detailed archaeological McGuffin. The characters get on a ship, and then the actual *adventure* begins. (And Haggard's ship keeps getting copied - if you read Haggard and then look back through TSR products, you'll see that they keep imitating it. Gygax also imitated the archaeology.)
You can't have a good dungeon crawl if the dungeon is just a couple of caves. A good dungeon has to have a history. The dungeon has different rooms that don't match in style. There's a natural cave system that used to be inhabited by giant slugs. The dwarves cleared out the slugs and extended the cave system with good dwarf architecture. Then a mad wizard enslaved the dwarves and turned them into a degenerate sub-human race of servitors.
The mad wizard forced the new ex-dwarf servitors to dig even deeper, past another cave system that contains xorns.
The mad wizard is now a lich in the deepest part of the dungeon.
The history doesn't have associated dates, but it has an excellent timeline, and all of those past events left evidence that the players are expected to find. In fact, the DM will probably get angry if the players ignore it - there might be backstory-dependent riddles. Well in Tekumel's case you could be walking down a corridor in the Underworld and wind up 1000s of years in Tekumel's past or in 1920s Mexico for that matter.
There's always Robert E. Howard's Hyborian Age article, though I'm not sure it was meant for general publication or as the foreward / appendix of sorts it's become. 1000s of years before Conan to the modern day.
In a way I view Tekumel's "pre-history" similarly, it's a bridge to get from the modern day to Tekumel's now and a worldbuilding essey of how Barker got there. Doublechecking in both EPT and TEPT it takes up about 2-3 pages, I must've been thinking of the full monty from Swords & Glory or Tekumel.com. Still, it shouldn't be front and center, but somehow, since it does feature in gameplay, it should be available to the GM at least. (shrugs)I like "Things to Come", the 1936 version. It's a future history that when it was filmed it was booed out of theaters for predicting another world war and of course aeroplanes crossing the white cliffs of Dover in war...
The "Real" history after that was different, of course, yet in many ways it was an exaggerated version of the decades that did follow. It grew to cult status in the 60s/70s for the message and challenge of social progress versus social desires.
Then there was "Last and First Men" another one that went way wrong early on, yet still is a classic. Freaked out CS Lewis enough to write his "Space" stories in pure, bitter opposition to just a small part of it. Then Stapledon wrote a work that dwarfed even that, "Star maker"


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