Thursday, August 7, 2014
"NASA Space Sounds" video below when it was being shared around the interwebz recently. Instruments aboard Voyagers I and II, as well as several other space probes, recorded an array of electromagnetic signals that, when converted to sound (think of it as running it through a space age amplifier) the result is a strange and eerie ambient sound that is utterly engrossing. To my ear, at least, the pieces are evocative of the non-classical music soundtrack from 201: A Space Odyssey. So that's bonus points right there. The sequences sampled below are taken from a series of 5 CD put out by Laserlight in 1990 titled "Symphonies of the Planets" as well as an additional volume a few years later titled "Celestial Love Songs." Long out of print, they're quite pricey to purchase second hand. Fortunately, they're readily available as MP3 (as well as other format) downloads online, the only drawback being the file labeling isn't consistent and therefore it's challenging to keep track of individual tracks. And since all data, audio and video released by NASA is public domain, fans of these fascinating ambient sounds may download with a clear conscience that no copyright is being violated.
Alas, in my obsessive research, I've learned that things aren't so cut-and-dried. Yes, NASA does take collected electromagnetic data and convert it into audible sound, but the raw, unvarnished audio doesn't sound all that much like what we hear on the CDs. That's because Laserlight (or Brain/Mind Research, which handled the production) didn't just take the NASA audio and burn it to disc. They ran it through an intergalactic version of the nefarious Auto-Tune, processing it heavily and looping, over-dubbing and sweetening with synthesizers to the point where many of the actual "space sounds" are tenuous at best. In fact, some pieces, such as the samples of "Song of Earth" and "Voices of Earth" in the video above simply do away with the source material entirely and re-orchestrate it. I guess that make it an artistic interpretation of the data rather than an objective representation (which opens up the whole objective/subjective reality can of worms, but I digress...).
What's more, it brings copyright into question. It is clearly established law that what is public domain cannot be subsequently copyrighted (publishers may copyright specific presentations of public domain materials, but not the content itself, which is why you can find free 1920s jazz downloads online, as well as the complete works of Charles Dickens, even though publishers put out new editions every few years). However, derivative works of both copyright and public domain can be copyrighted, but only that which is new and derivative is thus protected, ie the original which is incorporated into the derivation remains in the public domain. In this particular case, I would expect the Brain/Mind Research productions to be fully covered by copyright protection. Being out of print is irrelevant. However (and I'm full of caveats today, aren't I?) their persistent and insistent claims (indeed, the entirety of their marketing and mass appeal) that the audio is direct from NASA, with no claims of alteration on their part would, at least superficially, serve to undermine any copyright protection as, has been pointed out previously, all NASA materials are automatically released to public domain. For Brain/Mind Research to assert their copyright on these works, they would effectively have to admit false advertising, which would significantly diminish the value of said works. It's an interesting academic question, albeit one I doubt anybody is going to bother exploring any time soon.
Authentic or not, I find the interpretations of space sounds interesting and appealing. I'll be keeping an eye on Ebay and the like in case a CD shows up for a bargain price...
Monday, July 28, 2014
Armadillocon 36 this past weekend. I don't know what was up with that, but despite turning in way early on Friday and Saturday, I operated in zombie mode most of the weekend. Hopefully I was able to cover it up and not infect too many folks I came into contact with. One might think that with such depressed energy levels, Armadillocon would've been a complete bust for me, but surprisingly the exact opposite is true. I had a blast. Despite an asinine, patronizing set of conduct rules distributed to all the programming participants that was relentlessly mocked throughout the duration of the convention (and rightfully so), most folks there seemed in great spirits. The guests-of-honor list turned out to be a great lineup: GoH Ted Chiang, Special GoH Ian McDonald, Editor GoH Jacob Weisman, Artist GoH Stephanie Pui-Mun Law, Science GoH Sigrid Close, Fan GoH Michael Walsh and Toastmaster Mario Acevedo. Unlike most years, I managed to spend time with, or attend panels featuring every one of the major guests. They proved to be a witty, insightful bunch that brought their A game. Seriously, they all seemed to be running full steam ahead all weekend. I was fortunate enough to sit next to McDonald during the writers workshop panels on Friday, and learned he's that kid from high school who has a funny retort for practically anything anyone says, ever. It was a struggle to not double over laughing and have everyone in the room turn and stare at me. The workshop portion went well, and one participant, Shlomi Harif, brought a short story that I am utterly convinced can be expanded into a complex relationship novel steeped in strangeness. In a good way. That evening's Pirate Panel lurched along like a drunken schooner--mainly because I was moderator and hadn't prepared nearly enough--but my arch-enemy Stina Leicht, Cassandra Clarke, Dave Hardy and Rob Rogers gamely filled in the gaps. Hardy, in particular, proved to have an encyclopedic knowledge of every pirate who ever lived and could've run a two-hour discussion solo without breaking a sweat.
Tuesday, July 22, 2014
Monday, July 7, 2014
Wednesday, June 11, 2014
Armadillocon 36 is approaching July 25-27, and seeing as how pretty much every other guest has shared his or her schedule via the interwebz, I figured it was high time I do so myself. Fashionably late to the party and all that. Most of my Friday will be consumed with being an instructor in the world-famous Armadillcon Writers Workshop. This writers workshop is a stunningly good deal for aspiring and neo-pro authors, as it puts them in close, intensive writerly-oriented contact with an array of insanely talented and accomplished authors and editors. I say this having actually taught in the workshop five or six times in addition to pretending to run it twice (you can verify with Patrice Sarath and Melissa Tyler on that last count). Deadline to register and submit manuscripts is June 15, so there's still time to get in. And if my presence isn't enough to win you over, check out the rest of the instructor lineup: Mario Acevedo, Ted Chiang, Nicky Drayden, Mark Finn, Derek Johnson, Claude Lalumiere, Stina Leicht, Marshall Ryan Maresca, Ian McDonald, Joe McKinney, Alex C. Renwick, Kat Richardson, Dr. Anne-Marie Thomas, Martin Wagner, Jacob Weisman, Martha Wells and Skyler White. Boom. Enough said. Beyond that, here is the official ArmadilloCon 36 schedule for Jayme Lynn Blaschke (* denotes panel moderator):
9-10 p.m. Beyond the Plunder: Which genre books, movies, shows correctly portray historical pirates?
Blaschke*, Clarke, Hardy, Leicht, Rogers Saturday
1-2 p.m Autographing
Blaschke, Wells 8-9 p.m. Interview with Ted Chiang 9-10 p.m. Fireside Chat: The quartet talk about anything and much mirth will be expected.
Denton*, Blaschke, de Orive, Lansdale Sunday
10-11 a.m. Best Cons from Genre Books: Not many people are good at writing capers. Which books do it right?
Webb*, Blaschke, Maresca 2-3 p.m. Contagion: What diseases/syndromes/parasites could kill the entire population of the world if we didn't have current restrictions set. (Not including malaria.)
Blaschke*, Faust, Frater, Leicht, Moore
Thursday, May 22, 2014
RevolutionSF. Anyone going into Godzilla: Final Wars expecting the second coming of Destroy All Monsters is going to be disappointed. Despite all the hype about relentless monster battles and kaiju assembled from decades of Toho films, this isn't that movie. What this is, rather, is a continuation and culmination of Toho's "Millennnial" series, which started with Godzilla 2000 and continued with Godzilla vs. Megaguirus, Tokyo S.O.S., Giant Monsters All-Out Attack and Godzilla Against Mechagodzilla. Those fans who hold firm the belief that the series lost its way after the Heisei series of Godzilla films (1984-1995) or even the Showa era (1954-1975) would best be served by moving on. For everyone else, well, Godzilla: Final Wars is an entertaining romp. Flawed and problematic, sure, but entertaining nonetheless. Part of the problem appears to be that nobody -- not Toho and certainly not Sony Pictures -- has really been able to figure out what to do with Godzilla since the big radioactive lizard was first reduced to a pile of bones at the bottom of Tokyo Bay way back in 1954. Ignoring the Nuclear Apocalypse/Force of Nature aspect of the concept, most Godzilla films boast all the plot sophistication of cheap porn -- flimsy, nonsensical plots with even worse acting designed to fill those tedious minutes between beautiful people getting naked and sweaty with each other. Or, in the case of Godzilla, men in rubber suits stomping miniature cities as they act out cockeyed interpretations of professional wrestling's steel cage matches. With the advent of the Heisei series, the plots did become somewhat more sophisticated, while at the same time, paradoxically, remaining an afterthought. Films like Godzilla vs. Biollante, Godzilla vs. Mothra: The Battle for Earth and Godzilla vs. King Ghidorah shamelessly lifted huge swaths of plot from such Hollywood blockbusters as Little Shop of Horrors, Raiders of the Lost Ark and The Terminator. Whenever the pressure is on Toho to come up with something new and fresh for the Godzilla franchise, the first thing they do is look to plunder Hollywood's big vault of cliches. And so it is with Godzilla: Final Wars. With all the wire-fu, shiny black vinyl outfits and throbbing techno soundtrack on display throughout the film, a more appropriate name for the film might be Godzilla vs. the Matrix. Even Masahiro Matsuoka, the lead actor playing mutant Earth Defense Force Soldier Shin'ichi Ozaki, bears more than a passing resemblance to the lean-featured Keanu Reeves (although Masahiro's acting is better. Even when dubbed). The actors spin, punch, kick and fly through practically every scene they have, and there's even a wildly kinetic motorcycle duel on a deserted freeway that owes as much to Tron and Akira as it does The Matrix. Because that's the way this movie is: It's not just borrowing from The Matrix. No, it's effectively borrowing, swiping, pinching, stealing and paying homage to practically every SF actioner ever made. Well, maybe not Ice Pirates. Even so, Final Wars riffs on everything from Star Blazers to Independence Day, and not subtly, either. There's a scene near the end that might as well have been based on the storyboards from Return of the Jedi. And that's not even counting the many Toho films that were "officially" incorporated into the movie, ranging from the obscure flying submarine battleship movie Atragon to the popular Godzilla vs. Monster Zero. This movie doesn't have an original bone in its body, and that's a shame, because the budget and enthusiasm here should've made this the greatest installment in the series to date. Instead, it suffers for being merely "okay." The scenario starts out promisingly enough. After Godzilla's first appearance in 1954, the Earth Defense Force designed a super flying/submersible/burrowing battleship to counter the monster. Fortuitous circumstances enabled the ship to bury Godzilla deep within the Antarctic ice pack, where he went into hibernation. Flush with success, an entire fleet of these warships were commissioned, to counter any new monsters that threatened human civilization. Manned by mutant humans boasting extraordinary physical prowess, this armada proves extremely effective in controlling monstrous invasions until one day when 10 monsters simultaneously appear around the globe and begin weaking havoc. Rodan, in particular, stands out as the giant pteranadon lays waste to New York with his trademark sonic booms, while those who remember the much-maligned 1998 U.S. entry into the Godzilla canon will get a kick out of seeing that big, grey lizard (here referred to simply as 'Zilla) stomp its hermaphroditic way through the streets of Sydney, Austraila. Things look bleak for the Earth until golden UFOs appear to disintegrate the rampaging beasts. These aliens, calling themselves Xillians, hit all the requisite talking points about universal peace and harmony, but before long they're replacing the leaders of Earth with evil duplicates and thumbing through well-worn copies of "To Serve Man" (hint: it's a cookbook). To make matters worse, they subvert and take control of the mutant human defenders through a genetic flaw, and unleash the supposedly-vaporized monsters to finish what they started. Buying into the "It can't get any worse than this" strategy, Earth's few remaining defenders pilot the lone remaining battleship, the Goten, to Antarctica in an attempt to wake Godzilla. Gigan -- the bizarre, hook-armed cybernetic chimera that's been absent from Godzilla movies for nearly 30 years -- shows up right as Godzilla is rubbing the sleep from his eyes. Their battle is entertaining, if brief. From that point on, the movie becomes a sequence of fights, as the Xillians throw one monster after another at the Big G in an attempt to stop his advance. The long-awaited confrontation between Godzilla and 'Zilla in Sydney is shocking only for its berevity -- the kaiju equivalent of a one-punch knockout is played out as a punchline (ahem) and clearly shows the esteem Japanese hold for the American import. The subsequent fights take on a similar tone, with the focus on how quickly, humorously or spectacularly Godzilla can defeat his opponents. In some instances, the audience is treated to bare snippets of the ongoing carnage, intercut with various other human-oriented sub-plots. The final battle, a confrontation featuring Godzilla, a wickedly re-designed and rebuilt Gigan, the odd Monster X (which resembles an unnatural hybrid of an Alien, Predator and Skeletor from Masters of the Universe) and ultimately the three-headed Kaiser Gidorah, proves nearly worthy of the buildup. Even Mothra makes a brief -- but significant -- appearance in the climactic showdown. There's some good stuff to be had here. The new Godzilla suit is downright agile, a vast improvement over the ponderous rubber suits of the past. The special effects are flashy and effective, although the over-reliance on computer animation to generate several of Godzilla's foes seemed awkward and out of place. There are some entertaining location shots as well, highlighted by a couple of Aussies' unfortunate encounter with 'Zilla in Sydney, and a you-gotta-see-it-to-believe-it 1970s-style cop-vs.-pimp smack fest in New York. Also, American martial artist Don Frye, a successful professional wrestler in Japan, steals practically every scene he has as the tough, rebellious Captain Douglas Gordon, skipper of the Goten. Frye seems to have two acting modes -- he channels either Dick Butkus or Mike Ditka. He delivers practically every line with a growl, and in an odd twist, almost all his lines were originally in English, meaning that every piece of scenery he chews comes across the same in the English dub as it does in the original Japanese. All in all, Godzilla: Final Wars is the most energetic, most kinetic, most lavish and most ambitious film of hte series. Unfortunately, it's also the most derivative and unfocused as well. The kitchen sink approach may have seemed like a great idea on paper, but on the big sceen it pushes the movie into self-parody on occasion. Final Wars never sinks to the depths of mediocrity shared by such films as Godzilla vs. Megalon or Godzilla's Revenge. But Final Wars should have been the great Godzilla film everyone wanted, but it comes up short everywhere it matters.