Darren New escreveu:
> Warp wrote:
>> nemesis <nam### [at] gmailcom> wrote:
>>> Darren New <dne### [at] sanrrcom> wrote:
>>>> What objective criteria do you
>>>> use to show that Beethoven's music is superior to Def Leopard?
>>
>>> one is the high watermark of its art, the culmination in technical 
>>> flawlessness
>>> and sheer thematic scope and development and a damn good 
>>> representation of its
>>> time; the other is
>>
>>   You should have continued that with: "the other is a classical music
>> composer from the early 1800's."
> 
> That's exactly what I was expecting as I read it, yes. :-D

I expected more from you guys. :p

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Warp escreveu:
> Orchid XP v8 <voi### [at] devnull> wrote:
>> Similarly, anything excessively cryptic, bizare and/or pointless 
>> qualifies as "modern art".
> 
>   That means Haskell qualifies as modern art.

more than C++?!

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On 07/12/2010 4:10 PM, Darren New wrote:
> But they're culture. If I say "Godot is expected shortly"

Tell Godot, we're down the pub. He can join us if he wants. :-P

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Regards
     Stephen

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Warp wrote:
> Orchid XP v8 <voi### [at] devnull> wrote:
>> Similarly, anything excessively cryptic, bizare and/or pointless 
>> qualifies as "modern art".
> 
>   That means Haskell qualifies as modern art.

Bazinga!

-- 
Darren New, San Diego CA, USA (PST)
   Serving Suggestion:
     "Don't serve this any more. It's awful."

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On 12/6/2010 9:36 PM, nemesis wrote:
> Patrick Elliott<sel### [at] npgcablecom>  wrote:
>> The best of the "classics", like Hemingway, spent 10
>> pages describing drapes billowing in the wind. You could SDL the damn
>> things in less lines than it took for the man to describe one damn room.
>> The actual book, if you removed all that stuff, would have been 2 more
>> pages. lol
>
> Now you're being quite unfair.  "The old man and the sea" I have in high regard.
>   Behind all those vivid fisherman daily duties descriptions lies really an
> allegory for life itself, a bold and dramatic one.
>
> I like structures, textures, carefully plotted details.  The beauty of it all
> may even surpass any story or melody alone for me.  Which is why I love dense
> literature as "Swann's Way" or thick contrapuntal Bach fugues.
>
> Much of today's artworks are much too plain and shallow in their attempt to
> quickly grab the short span attentions of today...
>
>
Well, maybe a "bit" unfair. But there is a limit, and a lot of the stuff 
they insist you read ends up making you go, "Uh.. I read something 
better 6 times last week (can go through a 400 page book on like 8-9 
hours)." Its sort of like listening to Christmas songs. A few, isn't too 
bad, a lot, starts to get annoying, if you know how many had their 
melodies "stolen" from earlier, often better, works (heh, its religious 
music, profound, never mind telling more than one story, isn't exactly 
their forte..), it goes from annoying to mind numbing. Yeah, Hemingway 
would have done damn well as a FX artist, not so much writing scripts. 
Some others, like Clemens, are readable, even if a bit out of date. 
Shakespeare.. if you can get past the odd old english, great, but the 
odds of *ever* seeing that in school, unless its college, isn't real 
high. Most of it, was just dreadful.

-- 
void main () {

     if version = "Vista" {
       call slow_by_half();
       call DRM_everything();
     }
     call functional_code();
   }
   else
     call crash_windows();
}

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On 12/7/2010 9:10 AM, Darren New wrote:
> Patrick Elliott wrote:
>> Snort. Worse, I had to read a lot of the "great whatnots" in school,
>> as I am sure a lot of other people did. As near as I could tell,
>> "great" meant wordy, weak plotted and boring, mixed with a bit of,
>> albeit understandable, confusion, delusion, bigotry, and/or cluelessness.
>
> This is what I was talking about, in part. Some of these novels were the
> first to explore the themes they spoke of in a way that contemporaries
> could understand. But, being the first, they weren't always the best,
> nor were they particularly written to survive the ages.
>
Precisely. To explore an idea fully you have to be able to break period 
conventions, but the period a lot of it comes from.. well, lets say that 
a modern equivalent would be writing a movie script about non-communist, 
in-house, American terrorists, when the top selling movie that week was 
Red Dawn. lol In some ways we have a much broader range of attitudes, so 
pretty much *anything* is bound to piss off some small percentage of 
people, no matter what the content, but the wobbles are a lot faster. 
Took Europe like hundreds of years to go from Roman orgies to allowing 
nudity on beaches, it took us... about 20 years to go from "Sorry, but 
what where you thinking with a stag film that had a women banging a dog 
in it, and yes, the damn Centaurs in the new Disney movie had better 
have something over their breasts!", to well, OK, I guess movies like 
The Short Bus are not "bad", even with the sex in it, and you can show 
some stuff, just not shot up close, or from certain angles, on *some* 
stations, at night. (i.e., a sudden rush to fix what was perceived as 
going *way* too far, to not having to buy the Playboy channel to get 
even soft core on TV.) The oscillations seem to be a bit faster these 
days, so expect like California to decide animal movies are OK, just as 
Kentucky declares that its now "God's State!", complete with its brand 
new Noah's Ark (I would love to know if "Goferwood" is termite proof, or 
where they plan to find it, since they are building it using "biblical 
materials and tools" lol), declares exposed ankles to be a mortal sin.

Bloody confusing country to live in. Half the stuff people do they want 
to arrest you for, and the other half they imagine everyone else wants 
*them* arrested for, being evil, anti-mythology, socialists...

> But they're culture. If I say "Godot is expected shortly" or "We're not
> in Kansas any more" or "sour grapes", you have an entire cultural
> background of associations to draw on.
>
Yeah. Kind of depressing when you look back and realize both how much 
one single religion has "informed" the whole mess, and how much of that 
they stole from a dozen others, then successfully convinced people they 
had come up with it first. Or funny.. Depends on which sort of twit is 
babbling about it at the moment.

-- 
void main () {
   If Schrödingers_cat is alive or version > 98 {
     if version = "Vista" {
       call slow_by_half();
       call DRM_everything();
     }
     call functional_code();
   }
   else
     call crash_windows();
}

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On 12/6/2010 5:17 PM, Darren New wrote:
> John VanSickle wrote:
>> I found even parts of Myst to be rather frustrating. There are places
>> where the interface is inconsistent, in that to progress, you have to
>> try things that the game engine doesn't respond to anywhere else in
>> the game.
>
> I remember there being things you could interact with that weren't
> obviously pointed out as such (like the door to the imager chamber), but
> I don't remember what you're talking about. Like what, out of curiousity?

The elevator in one of the ages.  You hit the button, and then have to 
jump out before it starts moving.  For the rest of the game, when you 
hit the button to make something go, you can't do anything until the 
animation is done.

But with this one elevator, you hit the button, then click somewhere 
else, and then everything goes fine.

Regards,
John

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John VanSickle wrote:
> But with this one elevator, you hit the button, then click somewhere 
> else, and then everything goes fine.

Ah yes. But that was the point. Plus there was a delay, a flashing light, 
and (IIRC) at least two other clues telling you where the secret was, as 
well as a label in the elevator.

-- 
Darren New, San Diego CA, USA (PST)
   Serving Suggestion:
     "Don't serve this any more. It's awful."

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> The elevator in one of the ages. You hit the button, and then have to
 > jump out before it starts moving. For the rest of the game, when you hit
 > the button to make something go, you can't do anything until the
 > animation is done.

I also got stuck at that part for a very long time.

  - Slime

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On Tue, 07 Dec 2010 18:53:47 +0200, nemesis <nam### [at] gmailcom> wrote:

> Darren New escreveu:
>> Warp wrote:
>>> nemesis <nam### [at] gmailcom> wrote:
>>>> Darren New <dne### [at] sanrrcom> wrote:
>>>>> What objective criteria do you
>>>>> use to show that Beethoven's music is superior to Def Leopard?
>>>
>>>> one is the high watermark of its art, the culmination in technical  
>>>> flawlessness
>>>> and sheer thematic scope and development and a damn good  
>>>> representation of its
>>>> time; the other is
>>>
>>>   You should have continued that with: "the other is a classical music
>>> composer from the early 1800's."
>>  That's exactly what I was expecting as I read it, yes. :-D
>
> I expected more from you guys. :p
>
IMO Beethoven, Mozart, Paganini, Bartok, Yngwie Malmsteen, Joe Satriani,  
Vanessa Mae, Jean Michelle Jarre, Enya, Andrew Lloyd Webber and Rodrigo y  
Gabriela all made great music. I don't listen to their music much, but I  
still have respect for their great talent.

-Nekar Xenos-

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