How We Know What We Know – Diagonal Proof
(This post continues a series that I started writing last year. Click on the “How we know what we know” tag to read those earlier posts. In particular, if you’re not familiar with the concept of proof by contradiction, you might want to read the third post before reading this.)
The idea of infinity is one that has caused a lot of people a lot of trouble, over the years, from theologians asking whether an omnipotent God is capable of creating a stone he can’t lift, to physicist David Deutsch, whose 2011 book The Beginning Of Infinity tries, among other things, to use trans-finite mathematics to prove that Britain’s thoroughly broken electoral system is actually the best possible system.
A lot of these problems come from the fact that we use ‘infinity’ as a number, when in fact it’s no such thing – it’s the place where numbers break down. It’s a placeholder for something that doesn’t exist. Thinking of ‘infinity’ as a number is like thinking of the word ‘person’ as a person – it’s a category error.
Infinity doesn’t behave like a number. If you multiply it by anything, you get infinity. If you add anything to it, you get infinity. If you divide it by anything, you get infinity. If you take anything away from it, you get infinity.
So it should hardly be surprising that the whole idea of talking about ‘infinity’ is wrong. We should, in fact, be talking about infinities.
Because there are infinities of different sizes. This was proved by Georg Cantor in his famous ‘diagonal proof’.
In mathematics, two sets are the same size if there is what is called a one-to-one correspondence between them. So, for example, the set containing all the natural numbers [FOOTNOTE These are the 'counting numbers' - one, two, three and so on] is exactly the same size as the set containing all the even numbers, because for every natural number you can assign an even number to it:
1 – 2
2 – 4
3 – 6
4 – 8
…
And so forth. No matter how far you go, you will always be able to find an even number that is double any natural number, so the set of even numbers is the same size as the set of natural numbers.
The same goes for the odd numbers:
1 – 1
2 – 3
3 – 5
4 – 7
…
This makes a kind of sense, even though it seems a bit odd. There are only half as many even numbers as there are natural numbers, but half of infinity is still infinity.
But now let’s look at the real numbers. These are all the decimal numbers – 0.5, 1.2548356, and so on. To make it simple, we’ll look just at those decimal numbers that are greater than 0 and less than 1.
We can try to match these up with the naturals, too. It doesn’t really matter what order we match them up in, so long as we can match each one up with a single natural number:
1 – 0.123456… [FOOTNOTE - Here an ellipsis means the number carries on indefinitely]
2 – 0.135468…
3 – 0.954651…
4 – 0.154684…
5 – 0.364548…
6 – 0.584678…
And so on. So far, so good, right? Natural numbers, matched up with decimal numbers.
What Cantor then did was take the first digit of the first number, the second digit of the second number, and so on:
1 – 0.123456…
2 – 0.135468…
3 – 0.954651…
4 – 0.154684…
5 – 0.364548…
6 – 0.584678…
This gives, in our example, the number 0.134648…
The clever thing Cantor then did was to add one to each digit (ticking over so that nine becomes zero), getting, in our example, the number 0.245759…
That number is now very interesting, because it does not appear anywhere on the list, no matter how far you go down. Its first digit is different from the first digit of the first number, so it can’t be the first number. Its second digit is different from the second digit of the second number, so it can’t be the second number. The seven-billion-and-sixty-ninth digit, if we continued looking that far, would be different from the seven-billion-and-sixty-ninth digit of the seven-billion-and-sixty-ninth number.
So this number doesn’t appear anywhere on the list. It can’t.
This can only mean one thing – that there are more real numbers between zero and one than there are natural numbers. So some infinities are bigger than others.
For a long time, people thought that Cantor’s proof must be mistaken in some way, that it must be the equivalent of those ‘proofs’ you sometimes see that one equals two, most of which have a division by zero hidden in them somewhere. Surely infinity just meant infinity. The idea of a smaller and a larger infinity (which Cantor labelled “aleph-null” and “aleph-one”) made no sense to anyone. Those who did think about it thought it was mostly a curiosity, rather than a particularly important result.
But then in the twentieth century, Cantor’s argument became the basis of a mathematical proof which completely changed how mathematicians think about what they do, and which in turn led to the invention of the computer. We’ll pick up on that next time…
Note To Publishers: DRM Costs You Money
I recently bought a cheap e-reader from Waterstone’s, and am very happy with it so far. I’ve been using it to read books from Project Gutenberg, papers from the Arxiv, ebooks from Baen, books by Charles Stross and so on.
One thing I will be doing very little of, unfortunately, is buying new books to read on it.
This is not because I don’t want to. I currently buy several new books a month, and one big advantage of using an ereader is that I don’t have to buy as many paper copies of books as before. My flat is fast filling up with large amounts of paper, and being able to fit several thousand books into something smaller than my hand is very convenient.
But the software my ereader uses, Adobe Digital Editions, doesn’t have a GNU/Linux version. This is slightly irritating, as all major ebook devices at the moment are based on GNU/Linux, so it would make sense for the software they use to run on GNU/Linux as well as Windows and Macs, but it’s not the end of the world – I probably wouldn’t want to run that software anyway, as I prefer Free Software (free as in speech, the Adobe software doesn’t cost anything financially). The PDF and ePub readers on my desktop PC aren’t the same software the ereader uses either, and that’s not a problem.
The problem is that the books you can buy from shops that sell in Adobe’s format (such as waterstones.com, whsmith.co.uk and barnes and noble, to take some of the bigger examples) are almost all DRM’d, and require Adobe’s software to be installed on the computer on which you buy it.
This means that if I want to buy a book from Waterstone’s or somewhere, I have three options:
1) Buy the bulky, expensive, paper copy which will take “2-3 weeks” to get to me assuming it’s not lost in the post
2) Install WINE on my desktop, install Adobe Digital Editions in WINE (not supported by Adobe), buy the ebook, then – because you can’t synch a copy of Adobe Digital Editions in WINE with one on an e-reader) run a load of dodgy Python scripts you can find on the internet to (illegally) break the DRM and convert it into a normal ePub file, so I can read it on my e-reader. This involves breaking the law at least once, possibly twice, just to read a book I’ve paid for.
3) Just buy a different book, from the few retailers who do want my money.
It’s not like it’s impossible to release books for e-reading without DRM. The ePub and PDF files I sell through Lulu (and, I’m pretty sure, the Kindle copies of my books too) are all DRM-free. The music industry have already learned this lesson – I can buy any album I want, pretty much, as DRM-free MP3s which will work fine with any computer or device. The result of this is I’ve bought hundreds – possibly thousands – of legal MP3 albums in the last few years (since I’ve had the money, a fast internet connection, and a decent-sized hard drive). Even closer to the publishers’ wallets, I’ve spent the best part of a thousand pounds in the last four years buying audio dramas – fiction – from Big Finish, who again sell their books DRM-free. In fact, between the public domain and enlightened publishers who understand that turning away customers is a bad idea, there are enough books available to keep me reading for years without ever having to decrypt a DRM’d file.
As far as I can see all DRM on ebooks is doing is making life difficult for some customers and turning others away, while any book one could possibly want is freely available on torrent sites. The publishing industry should learn from the music industry, rather than repeating its mistakes.
How We Know What We Know: Introduction
I’ve been reading up a lot over the last few years about a large variety of subjects, not science as such but how we do science and how we actually know what we know. I’ve written about some of these things before, in Sci-Ence! Justice Leak!, but there I was looking at stuff for its science-fictional or storytelling possibilities.
However, I want to write about this stuff seriously. Partly, that’s to help organise my own thoughts – I’m an autodidact, and I’ve read a VAST amount without trying to organise it except in an ad hoc manner. But also, it’s because I find this stuff absolutely fascinating. So I’ve come up with a through-line, and I’m going to try to do a post a week for the next twelve weeks. I’m going to try to be properly accurate, but still convert this all into vernacular English.
What I’m going to talk about is the scientific method – what it is, why it’s important, and how developments in computer science have meant we can create and prove, based on a very small set of assumptions, a mathematically rigorous formulation of the scientific method. Not only that, but we can use that prove what the optimal thing to do is in all circumstances (given enough computing power…)
There will be twelve parts to this series:
1 – Feedback
Explaining possibly the most important concept in human thought, and looking at the hypothesise-experiment-revise process in science.
2 – Occam’s Razor
The single most important tool in modern science, invented by a mediaeval monk.
3 – Proof By Contradiction
A mathematical technique, first formulated by Euclid, that’s the basis for much modern mathematics.
4 – Diagonal Proof
Georg Cantor’s proof and why it’s important
5 – Turing and Godel
On notions of computability, and what a computer program is.
6 – Kolmogrov Complexity
What’s the smallest computer program that could print out this essay?
7 – Bayes’ Theorem
An 18th century vicar shows us how to make decisions in the absence of information.
8 – Ashby’s Law
Cybernetics and attempting to control the uncontrollable
9 – Thermodynamics and Shannon
What is information, and how is it related to chaos?
10 – Solomonoff Induction
How to predict the future
11 – Hutter’s algorithm
Universal artificial intelligence
Epilogue
In which we look at what we’ve learned.
This will be summarising stuff from many books and articles, but in particular The Fabric Of Reality by David Deutsch, Probability Theory — The Logic Of Science by E.T. Jaynes, Information Theory, Inference, and Learning Algorithms by David MacKay, some of the posts on the LessWrong group blog, the lectures in Scott Aaronson’s sidebar and An Introduction To Cybernetics by W. Ross Ashby. Mistakes are, of course, mine, not theirs. Part 1 in this series will come next week.
(More generally my plan at the moment is to have four big series of posts on the go – my Beach Boys reviews, starting up my Doctor Who reviews again, this series and a series of posts on Cerebus – all posting roughly weekly, with the other three days of the week left either for linkblogs or for rants on whatever comes to mind in comics or politics).
HOWTO: Create a usable ePub file for Lulu.com
I’ve been having a lot of problems with getting my latest ebook uploaded to Lulu, and I know other people have had similar problems, so here’s what I’ve learned so far. (Currently I’ve *finally* got to the point where they’ve accepted my ePub file, but then the next screen gets me an ‘unrecoverable error’).
I’m assuming, first of all, that like me you’ve created your book in a WYSIWYG word processor (like Microsoft Office or AbiWord or LibreOffice) rather than having it already in some suitable XML-like format or creating it in LaTeX or something. If you know enough to do those things, you know enough to hand-hack an ePub file anyway.
But if you have your book as an .odt , .pdf , .rtf or .doc file, you’ll want to convert it and preserve most of your formatting. The best software to do this is a Free Software package called Calibre, available for download for Windows, Mac and GNU/Linux here (though if you have GNU/Linux on your machine it’s almost certainly in the repos of your distro, and you should get it from there).
However, Calibre has what seems to me a rather unintuitive interface full of giant blobby teletubby icons. If you have any difficulty using it, you might want to use this site, which is just a web front-end to Calibre. I have no idea what, if anything, they do with your file once it’s uploaded, so the usual caveats about ‘cloud’ services apply, but I can confirm that the ePub files they generate are valid ones, and generated with a recent version of Calibre (0.7.40 – for comparison the version in Debian Squeeze is 0.7.38 while in Sid it’s 0.7.42).
When you have your ePub, you can check that it’s basically valid using this online validator. However, you can still run into several problems.
The first one I found was a Permissions problem. An ePub is just a renamed .zip file, containing lots of other files which make up your book, and Calibre appears not to give anyone else the permission to do stuff with those files.
The second one – and one that a lot of people have complained about – is unmanifested files. This problem, which is not explained properly by Lulu, is a simple one – in the .zip file, there’s a list of all the files that should be there ( this list is called content.opf ). Sometimes there are extra files in there that shouldn’t be – in my case Calibre generated a directory called META-INF but didn’t list it in content.opf .
So here’s what you need to do. Take the ePub file, and extract it (Windows users can do this by renaming yourbook.epub to yourbook.zip and using an app like Winzip. GNU/Linux users and users of other unixalikes can use the unzip command).
Next, change the permissions of all the resulting files so that everyone can access them. Here’s how to do that in Windows. In GNU/Linux you just run the command chmod -R 777 * (making sure, of course, that the directory you’re in contains only those files that you wish to alter).
Now, open the file content.opt in a text editor (like Notepad, Gedit or Vim). You should see in there a section like:
<manifest>
<item href=”Pictures/10000000000000CC000000A83F7DB793.jpg” id=”id3″ media-type=”image/jpeg”/>
<item href=”Pictures/100000000000012C000001C881668E50.jpg” id=”id5″ media-type=”image/jpeg”/>
<item href=”Pictures/1000000000000177000001781C2F2F04.jpg” id=”id8″ media-type=”image/jpeg”/>
<item href=”Pictures/10000000000001A2000001837F27C3DA.jpg” id=”id4″ media-type=”image/jpeg”/>
<item href=”Pictures/10000000000002BC000000E20000658C.jpg” id=”id2″ media-type=”image/jpeg”/>
<item href=”Pictures/10000000000003CF000002FA25F145A0.jpg” id=”id7″ media-type=”image/jpeg”/>
<item href=”Pictures/10000000000003F9000001D7FD934D20.jpg” id=”id6″ media-type=”image/jpeg”/>
<item href=”index_split_000.xhtml” id=”id129″ media-type=”application/xhtml+xml”/>
<item href=”index_split_001.xhtml” id=”id128″ media-type=”application/xhtml+xml”/>
This is the list of files that should be in there. Look through that list and compare it to the files you’ve got, and delete any files that aren’t in the list. If you have anything that isn’t in this list, Lulu will (quite rightly) reject it – you could have put anything in there along with your book, after all.
Now, you’ve got your list of files sorted out, and they all have the correct permissions. What you need to do now is create a new zip file with all of these in. But it’s not *quite* that simple – you have to make sure the file called ‘mimetype’ is the *first* file in the zip file, and normally when you create a zip file the files in it are listed either alphabetically or by time added.
So what you need to do is create a new file and *only* add the file ‘mimetype’ to it. In Windows you can create a zip file called mybook.zip using Winzip and add this file. In GNU/Linux, use the command zip -X0 mybook.epub mimetype .
Now, once you have this file, you can add the rest of your files. In Windows, you can use Winzip for this. In GNU/Linux, use the command zip -X9Dr mybook.epub [list of files and directories] .
If you’ve done this in Windows, you must now rename your file from mybook.zip to mybook.epub . Check your file in your favourite ebook reader (if you don’t have one, you can read files in Calibre as well as write them) and make sure it looks more-or-less like you want it to. Then check you’ve got everything right with this online validator and you can upload it to Lulu. If everything’s gone right, then this should be everything you need to do to get your book uploaded – assuming you don’t, like me, then get a server problem on Lulu’s end.
The Grandfather Paradox: Experimentally Resolved?
A revised and improved version of this essay is in my book Sci-Ence! Justice Leak! – hardback, paperback, PDF
I am utterly astounded that I’d never seen this before today – an experiment that may have more profound implications for our worldview than… maybe any experiment since the Michelson-Morley experiment?
I’m going to assume here that everyone knows about the Grandfather Paradox. This is just the simple question “What happens if you have a time machine, and go back and kill your granddad so you can never be born?”, the staple of many TV science fiction shows.
Now the normal answer to that question is “You can’t, so don’t be daft”. But for physicists, that’s not good enough – apart from anything else, General Relativity allows for the existence of ‘closed timelike curves’. These are paths through space-time that act much like paths through space – you can go in at one end and pop out the other – except that the other end is somewhere else in time as well as space. So it’s theoretically possible that you *could* do that, and we’d quite like to know what would happen if you did before everyone’s granddad starts retroactively never-having-existed.
Now, the main hypothesis in physics up to now has been, in effect, that it doesn’t matter. David Deutsch, a quantum computing expert at Oxford University, demonstrated that in quantum-mechanical terms you could have an outcome that makes sense so long as you accepted the many-worlds version of reality. Essentially, the probability that you were ever born, and the probability that you killed your grandfather, would both be 1/2 – or in other words the ‘you’ in a universe where you were born would travel to a universe where you were never born, kill your grandfather there, then come back to one where you’d never killed your grandfather. Nice and simple.
However, Seth Lloyd, a quantum physicist at MIT, never liked the many-worlds hypothesis (for reasons which, I have to say, make no sense at all to me), and he and a team of colleagues came up with another, simpler, idea, which is just that if you go back in time and try to shoot your grandfather, something will stop you. Maybe the gun will misfire, maybe you’ll be arrested, maybe your grandma was having an affair with the milkman and you’re his biological grandchild – something will just make sure that you can’t do that, because it would be cheating.
Now, there are huge, huge, MASSIVE problems with this – it gets rid of causality, it allows information to come from nowhere, and it just seems like a gigantic handwave. It makes no sense at all, and just seems like a desperate attempt to try to get out of the obvious, blatant, truth that the Many-Worlds interpretation is the only one consistent with the experiments and maths. When I first read about it, I thought it was just a neat way of avoiding the truth.
Unfortunately, it appears to be true. What I hadn’t realised was that they’d *actually done the experiment*!
Lloyd and his colleagues came up with an ingenious experiment, which I’m not entirely sure I’m capable of explaining, as it’s not really sunk in yet. This will be a GROSS oversimplification, and is just designed to get the idea across – please don’t kill me for inaccuracies. The full description is in the linked PDF. This is what Pratchett, Stewart and Cohen call lies-to-adults – the story is right, but each individual fact is wrong.
Essentially, photons (light particles) can be polarised a couple of ways, and they’ll only go through stuff that’s polarised the same way. That’s why Polaroid sun-glasses work – they block all the photons that are polarised the wrong way, so only let some light through.
Now, until something detects it, a photon isn’t in any particular polarisation – it’s in all of the possible polarisations at once. But once something has detected what kind of polarisation a photon is in, it’s always been that way – quantum causality works both ways in time. So you can set up an experiment that only detects photons of one polarisation, and that way you can send a message back to the past, to the photon emitter (light source) saying “Only send photons of this type”. If you do this the right way, you can send a photon back in time (but you can’t look at the photon that’s been sent back in time until it’s come back to the time you sent it from, or the experiment can’t work). That might sound mad, but it’s the way things are – accept it for now.
Now, by doing this, you can set up a kind of quantum ‘gun’ – set it up so that the photon going back in time tries to cancel out itself coming forward in time – all you do is put something in the middle that tries to change the polarisation of the backwards-in-time photon to the opposite of the forwards-in-time one. Changing polarisation is easy, and works about 96% of the time.
It never worked on the backwards-in-time photons.
This means that if you went back in time and tried to kill your grandfather, the gun really *would* misfire! Every time.
Now, assuming their experimental design wasn’t flawed and their maths works – and it looks OK to me, but I’m not a quantum physicist – then that means a lot of things:
Firstly, it means the universe is completely deterministic. There’s no such thing as chance.
Secondly, it’s strong evidence *against* the many-worlds hypothesis – the first such evidence I’ve ever heard of. It almost certainly means there’s a single universe.
Most interestingly, it means we can say goodbye to cause-and-effect. Effects can cause their own cause. For science-fiction fans, we’re living in the universe of Bill & Ted, the Doctor Who story Blink, and By His Bootstraps, (EDIT or of this rather nice short-short story by Simon Bucher-Jones) rather than Back To The Future or Pyramids Of Mars.
This of course means that access to a closed timelike curve (something that has never been observed in the real universe, but is theoretically possible), gives you essentially godlike powers. Got a closed timelike curve and want a million quid? Just put two pence in the bank and say “tomorrow, if my account has two milion pounds or less in it, I’ll take half of the money out and bring it back today and stick it in the account.” So if tomorrow you’ve still got 2p, you’d go back and put an extra penny in, which means that actually tomorrow you’ve got 3p in, which means… and the only stable way that can work out (other than you dying or something over the next day) is for the million pounds just to appear in your bank account.
Want to write a bestselling novel? Decide to print out five hundred pages just covered with the letter “A” and send it to a publisher. If they publish it and it becomes a bestseller, you send that back to yourself. If they don’t, you print out all the letter “A” apart from one “B” at the end and send that back to yourself to try that, and repeat – the only stable outcome is that you have a novel arrive that you never actually wrote but that will be an instant bestseller. And so on.
The possibility of time-travel in a *single, consistent universe* has never been one that’s really been taken seriously before, because it was just so absurd. I’m still 90% sure that there must be a mistake somewhere – the many-worlds hypothesis, as odd as it may sound, is far, FAR less ridiculous than this. But this is one of those things where either in a few months we’ll have a very quiet paper by Lloyd saying “Oops, I was totally wrong about everything because I forgot to carry the one” or in a hundred years’ time we’ll have a totally new understanding of physics based around this paper. I really can’t see a middle ground here…
On DC’s Digital Comics
I *was* going to write about Batman 700 today, but I’ll leave it til I review Return Of Bruce Wayne 3 this week, and deal with both simultaneously, because DC have announced that they’re releasing digital comics in partnership with Comixology. This has good and bad aspects:
The good:
Creators get royalties from the comics, unlike Marvel’s digital comics at the moment.
That they’re doing it at all
A proportion of money is going to help brick-and-mortar comic shops who might lose customers through this – comics retailing is such a marginal business that otherwise many smaller shops could easily go out of business.
Likewise, while old comics will be priced cheaply (good), new comics will be priced at cover price, so not giving any great incentive to move away from paper comics – I don’t want to see comic shops going out of business, as they’re mostly run by people who do it as much for love as money.
The bad:
The obsession with the sodding iPad. While this material will be available over the web, you wouldn’t know that from the press release, which just says iPad iPad iPhone iPhone iPad app app app app app. And I consider the iPhone/Pad model to be *INCREDIBLY* dangerous – anything that hypes this more is A Bad Thing. Remind me to explain why some time.
The user interface. I tried the free preview of Superman 700 at work at lunchtime and it’s just *horrible*. Rather than presenting a full page, it’s a horrible pan-and-scan thing that swoops down to different panels when you click it, without giving any option (as far as I could see) to see the page the way the artist intended. While that’s not such a problem with whoever drew Superman 700, given that comics drawn by people like Frank Quitely and Brian Bolland are available through this site I’d want to see them as they drew them.
But of course I can’t see them *at all*, because if you don’t have some iCrap you have to use a web-based viewer which requires Adobe’s proprietary Flash 10, and I’m not installing proprietary software that a lot of people go to huge efforts to *block* on my Free Software machine. (And of course any machine not running one of a handful of approved OSes, or not running on x86 architectures, can’t run Flash at all).
You also can’t, unless you’re running an iPad ‘app’ (or application for those of us who speak English rather than marketese, or computer program for those who like to be understood), save the comics you ‘buy’ to your computer, making it reliant on having a permanent internet connection and on comixology’s continued willingness to serve the files.
The annoying thing is that these limitations could be overcome – there is already an accepted file format among online comics readers, .cbr or .cbz (I prefer .cbz myself, as .cbr files require the use of .rar, which is problematic, but either is better than a Flash website). Software exists for every platform to read these, people are already used to them, and they allow people to download the comics to their own hard drives.
One can only presume that DC want to prevent ‘piracy’, but these methods actually make it more, not less, likely that someone like myself would ‘pirate’ their comics (although the only comics I’ve got on my hard drive at the moment are either those I have paper copies of or ones that as far as I’m aware are out of print). If the free-but-illegal copy is actually more convenient, easier to use, and more flexible than the legal-and-costly one, then they’re really not providing any incentive at all to buy the legal one, other than a sense of fair play.
Luckily, paper copies of new comics are even *more* convenient than torrents, so DC won’t be losing any of the money I spend on them any time soon, but I suspect they’re going to have to learn the lesson that the record companies learned a few years ago – if everyone already wants MP3s, then just sell them MP3s, not DRMd proprietary files or expensive streams.
So, substantially better than Marvel’s offering, in that they recognise that the people who write and draw their comics, and the people who sell them, are their business partners, but wake me up when they recognise that usability and freedom matter too. In the meantime, I’ll be at the comic shop, buying dead trees.
RIP Chris Sievey/Frank Sidebottom
A few years ago, my friend Tilt and I were, for reasons we shall not go into right now, watching an old episode of The Wheeltappers And Shunter’s Social Club, when Freddie Garrity of Freddie & The Dreamers came on. I mentioned how I’d been shocked that, when he died, a powerpop mailing list I was on had dozens of posts, mostly from Americans, about how upset people were – far more than I would have predicted, and far more than had been when plenty of more ‘important’ figures died. And Tilt replied “Yes, but remember that people *expect* tortured geniuses to die, and don’t really mind. But they get upset when a smiley man who makes them laugh with a silly dance dies.”
The musician, comedian, cartoonist, record company owner, animator and computer programmer Chris Sievey died on Monday night, and with him died his most famous creation Frank Sidebottom.
If you were a kid in the eighties, you knew Frank Sidebottom from his appearances on Number 73, but Sidebottom was far more than just a children’s entertainer. Along with his puppet sidekick/antagonist Little Frank, the man with the giant papier-mache head had dreams of pop stardom, mixing his own songs (“Space is ace”, “Christmas Is Really Fantastic”) with cover versions of classic hits given a new twist (“Panic! In The Streets Of Timperley”, “Anarchy In Timperley”, “Timperley Sunset”, “Born In Timperley”) and indie or ‘underground’ classics (the Beefheart cover Mirror Man, Mirror Puppet/Give Me That Harp Little Frank, or covers of The Fall).
While his act was more-or-less stolen by Graham Fellows for his character John Shuttleworth, and Caroline Aherne took a character he created as a Radio Timperley sidekick, Mrs Merton, to her own TV show, Frank Sidebottom was far more original than the low-rent Alan-Bennetisms of those two, combining that basic Northerner-trying-to-be-a-star-despite-lack-of-both-talent-and-self-awareness thing with an altogether more surreal worldview, especially in his interactions with Little Frank.
You can see this especially in his brief career as a comic character, in the children’s comic OINK!, in a strip written and drawn by Frank himself. The great Lew Stringer, one of the other OINK! contributors, writes about his work on the comic here.
I must admit to not having paid a *huge* amount of attention to Sidebottom’s work over the years – just being delighted when his big papier-mache head would turn up unexpectedly, whether it be on Channel M (the Manchester local TV channel) presenting his Proper Telly Show In Black & White (so you don’t have to turn the colour down) or as a presenter on local TV news.
I only discovered a few months ago, in fact, that Sidebottom was originally created as a side-project. He was meant to be the biggest fan of Chris Sievey’s band The Freshies, who did some genuinely fantastic punk-pop songs, of which probably the best was the minor hit I’m In Love With The Girl From The Virgin Manchester Megastore Checkout Desk (presented here in the slightly-rerecorded version with Virgin replaced with Certain):
I should have realised the link earlier, really – the combination of songs about mundane incidents and buying records ( I Can’t Get Bouncing Babies By The Teardrop Explodes) and spaceships (Let’s Go Space City) with lo-fi production values and simple three-chord melodies clearly points the way to Sidebottom’s later career.
And not only was Sievey/Sidebottom a musician and comedian, he was also a pioneer in multimedia. He wrote two computer games – The Biz (a game about becoming a rock star) and Flying Train (in which you have to put a train together before flying it to the moon to view a supernova) – for the ZX81, both of which were released on tape along with Freshies songs.They can be played online – flying train and The Biz – if you have a Java browser plugin.
Sievey also worked as a stop-motion animator, not only working a day job at HOT animation (who produce among other things Pingu and Bob The Builder) but making his own animated film, Franksworld:
Frank Sidebottom kept going right to the end – he was tweeting in character mere hours before Sievey died, and his Twitter stream was where we could hear about the progress of the bobbins cancer that he seemed convinced he was going to beat, though one of his last tweets was about how he was ‘still feeling very poorly’. Only last week he premiered his World Cup anthem Three Shirts On My Line.
I’ve heard from a couple of people that Chris Sievey wasn’t a particularly nice man ‘in real life’ (whatever that is). Be that as it may, Frank Sidebottom was a silly man who made us laugh with his silly songs, and it is absolute bobbins that he’s dead. You know it is. It really is.
Ada Lovelace Day: Emily Short
Ada Lovelace day is “an international day of blogging to celebrate the achievements of women in technology and science.” by blogging about a woman in technology.
Unfortunately, it’s also a day when I’m getting over a bad case of the ‘flu, and not really coherent enough to write well, and I was seriously considering not doing this at all – after all, earlier this year when my work were after nominations of names of computer scientists to name their meeting rooms after, I’d named Ada Lovelace there, so I could have done my bit. But I’ve decided to go ahead with a post about Emily Short.
(I feel quite embarrassed writing about her as she’s someone I don’t know – at all – but who blogs and whose blog I’ve commented on, and so she may well read this. I just wanted to write about a programmer who’s actually one of those responsible for something I actually use on a regular basis).
Short is the writer of a series of games, all of them ‘interactive fiction’ – the kind of thing that used to be called text adventure games. And while I don’t know as much about the genre as I should, I do know that her games are among the best I’ve played, and are regarded as such by the small community of people who are still interested in these things. Rather than be Zork-esque ‘GET LAMP, KILL TROLL’, her stuff is actual art, its sophistication limited more by the relatively crude tools at her disposal than by her imagination or writing ability – a classicist, she often uses figures from Greek and Roman history and myth (I’ll have to replay Damnatio Memoriae soon, as I’ve recently been rewatching I, Clavdivs), and manages to get quite an astonishing level of characterisation and interaction from her NPCs.
But more important than her games, as far as this goes, is her work on Inform 7, a programming language I’ve written a little about before ( here and here ).
The basic concept behind Inform 7 – and the bulk of its implementation – are the work of Graham Nelson, a mathematician. But Short is the co-maintainer of the project (and increasingly its public ‘face’) , and wrote many of the built-in ‘extensions’ (what most programmers would probably refer to as libraries) to the language – as well as providing more than thirty further extensions on the Inform Extensions Page. She also wrote the vast bulk of the 300+ example programs in the Inform documentation, and the regression test suite used on every release (and as someone whose day job involves, in large part, regression testing software, I can tell you what a tedious, thankless, but necessary job that is).
And on top of that, she’s put in this huge amount of work on a community software project (albeit one not yet fully under a Free license, though getting released that way piecemeal) not for any cash, and not even (as far as I can tell) for ‘real-life’ credit – according to Wikipedia, ‘Emily Short’ is a pseudonym.
No doubt there are better candidates for celebration on Ada Lovelace Day, but I’m assuming you all know about Grace Hopper and Rosalind Franklin, so someone doing good work in a tiny niche, but work I for one appreciate, deserves writing about as much as anyone else…




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