April 26th, 2012Top StoryWhy Anonymity MattersBy Nick Denton
For anonymity, we're introducing the "Burner" — a new way to submit information or commentary without associating any real identity. To use a Burner, just enter a pseudonym in the login and start typing or uploading. That's it. Your machine is linked to that particular pseudonym and we'll provide a randomly-generated key if you need to switch to a different device or continue a conversation later. But there is no username, email address or password that could compromise your identity. Yes, even if we're hacked.
Even if we safeguard the identity of a witness, he or she can still be questioned. In fact, the more serious the claim, the more important it is that the whistleblower or other source be subject to challenge. And challenge in public. One assumes Ahmed Chalabi's account was subject to some test by Judith Miller of the Times, the chosen vehicle for his propaganda about Saddam's weapons of mass destruction. But not a sufficiently rigorous examination. And we have long moved past an era in which we put that much trust in journalists, even of an institution as respected as the Times. It's time for the leakers and the moles to bypass the traditional gatekeepers of information; and it's time for them to be subject to challenge, not just by their pet reporter, but by readers. | From Our SponsorTop Stories
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Thursday, April 26, 2012
Why Anonymity Matters
A Complete Guide to 'Hipster Racism'
April 26th, 2012Top StoryA Complete Guide to 'Hipster Racism'
People benefit from racism—hell, I benefit from it every day—and things that benefit powerful people don't just suddenly get "fixed" and disappear because Halle Berry won an Oscar or whatever. Modern racism lives in entrenched de facto inequalities, in coded language about "work ethic" and "states' rights," in silent negative spaces like absence and invisibility, and in Newt Gingrich's hair. And in irony. When people are trying to be sensitive about race but they don't know what to say, they usually go with, "Well, race is a complicated issue." Except, no, it's not. Race is one of the least complicated issues that there is, because it's made up. It's arbitrary. It's as complicated as goddamn Santa Claus. Oh, that guy's mom was half-black, which makes his skin slightly more pigmented than mine, which therefore means that he's inherently 12.5% lazier than me? Science! Um, no. What's actually complicated is our country's relationship with race, and our utter ineptitude at talking about it. We suck. I mean, I work on it every day, and I'm still a total fuck-up. But this new scheme someone came up with—where we prove we're not racist by acting as casually racist as possible? Not our best, white people. Not our best. Racism is like a wily little bacterium. It doesn't just roll over and die once we swallow our antibiotics—it mutates and evolves and hides itself in plain sight, and then all of a sudden, fuck, my arm fell off. Dickhead bacteria. (Sidenote: arm for sale!) A long time ago (not really!), it was socially acceptable to own people. Then it wasn't, but it was socially acceptable to murder people if they looked at your wife. Then it wasn't! Yay! But it was still okay to say that people whose skin color you didn't like weren't allowed to be around you. And so on. Eventually we arrived at the point (now) where it's socially unacceptable in mainstream culture for white people to say denigrating things about people of other races. But just because the behavior has been suppressed, that doesn't mean people's prejudices have simply disappeared. And white people haaaaaate being told what to do in our own country (fun fact: not actually "ours")! So racism went underground. Sure, you can't say racist things anymore, but you can pretend to say them! Which, it turns out, is pretty much the exact same thing. There are a couple of strains of "ironic racism" making the rounds right now, and a couple of typical defenses. 1. "Tee-Hee, Aren't I Adorable?" (Now, I'm obv not saying that Zooey Deschanel is some terrible racist. I don't know her, although I did sit next to her at a restaurant once, and she ordered "olives." She seemed lovely, and she didn't call anyone the n-word for the entire meal. But I'm saying that we are all kind of bizarrely cavalier and careless these days, throwing our most deeply-considered morals under the bus for the sake of a few cheap jokes. It's weird, and we owe the world a little more critical thinking.) 2. "Recreational Slumming." 3. "Ummm, I'm a Writer and I'm Trying to Write in Here!" 4. "God, Don't White People Suck?" And the thing is, when these things get called out, there really is no defense. But they try: "No, don't you see? I'm just showing how I'm so down with [minority group] that it's totally cool for me to make jokes at their expense. Because we are just that kind of tight bros now." "But it's a JOOOOOKE." "So I'm not allowed to have a genuine interest in another culture?!!?!??!" "Yeah, but we have a black president! Isn't racism over?" But you know what? At least that's sincere. And at least sincere racism isn't running around Brooklyn wearing artisanal suspenders and masquerading as enlightenment. Give me sincere racism or give me no racism at all, but enough with this weaselly shit. Image by Jim Cooke and elenabo/Shutterstock | From Our SponsorTop Stories
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How Technicolor created ruby slippers without using color film
April 26th, 2012Top StoryHow Technicolor created ruby slippers without using color film
As anyone who has seen an old Technicolor film knows, it looks weird. Blue eyes look like they glow. Pink faces look like they've been painted peach. Red looks scary. It all looks dyed, not recorded — and that's because it was. There wasn't any color film at the time that Technicolor was making its big splash. No one had figured out how to create a film stock that would record color. They had, however, found a way to make film stock that would filter out all the color that shouldn't get through. And they had dyes. By putting them together, they made Technicolor glorious. Click to view Technicolor cameras didn't film in color. Instead they filmed in black and white, with different filters. The light entered the camera lens and went to a half-silvered mirror, which split the beam of light through a magenta lens (red and blue together), and a green lens. Behind the magenta lens was film sensitive to blue light, and film sensitive to red light. Behind the green lens was just plain light-sensitive film. The production crew ended up with three sets of film, one showing the blue light that the object they were filming gave off, one showing the red light, and one showing the green. All of these were black and white film strips. They just showed odd-looking pictures. For example, on the 'blue' roll, a person with few blue tones in their skin would have skin that looked completely dark, while a blue ribbon would look pure white. Each of the black and white images were dyed with its proper color. Sometimes, when they were dyed, the films would combined and re-filtered, so that only bright blues would make it out of the blue-dyed film. At last, when it was time for the film to be shown, the three dyed films would be layered on top of one another, to make 'glorious technicolor.' This is why, especially in the early films, the coloring looks so painterly. It's also why most early films nearly cause eyestrain — especially the famous film The Wizard of Oz. The Technicolor process was expensive, not just because of the camera and the technicians needed to film, but the many incidental technical issues. Some colors, if they were too subtle, would suddenly pop out as other colors. Yellows would turn green in random patches, if two much of the wrong color was filtered out. And since the beam of light entering the camera was split between multiple films, only a fraction of the light in the studio made it onto any one film. This meant that the studio needed to be extra bright. Many regulars on The Wizard of Oz complained of eye damage from the studio lights, that lasted years. Mostly, though, it meant that production teams didn't want to waste a single opportunity for color. In the books, Dorothy's slippers were silver, and the yellow brick road, silver slippers, and emerald green city were said to represent the gold standard, silverites, and paper money. But silver slippers were no fun at all on film. They might as well be filmed in black and white. Red, however, was easy to see, eye-catching, and didn't wreak havoc with the color mixing — the way the famed yellow-brick road often did. Hence the ruby slippers, which made the most of Technicolor, and an American fairy-tale was changed forever. Via American History, Smithsonian, and Widescreen Museum. |
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