Welcome to the bloggy home of Noah Brier. I'm the co-founder of Percolate and general internet tinkerer. This site is about media, culture, technology, and randomness. It's been around since 2004 (I'm pretty sure). Feel free to get in touch. Get in touch.

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Remainders: From Maslow to Marshmallows

I’m a little late this week, but it’s time for another edition of Remainders, my chance to share all my favorite internet ephemera from the last seven days. In case you’re new to things, here’s last week and the week before. Before diving in, update on the book front is I finished off How to Think and quickly read the Ursula Le Guin short story “The Ones Who Walk Away from Omelas” (which is around 30 pages and definitely worth the time). I flipped back and forth on what to read next, but think I’ve settled on China’s Economy: What Everyone Needs to Know by Arthur Kroeber (who I first ran into on this amazing podcast episode a few years ago about China and the book, “Arthur Kroeber vs. The Conventional Wisdom“). As always, if you want to get these in posts in your inbox you can subscribe by email. Okay, now for some links.

My talk from Percolate’s Transition Conference in SF is online now. It’s all about applying the theory of constraints from the book The Goal to marketing’s bottlenecks. We’re putting on Transition London in two weeks. If you’re interested in joining us there, please get in touch.

One more thing from me: I was interviewed on Paul McEnany’s excellent Real Famous podcast (iTunes, PocketCasts, Stitcher). I can’t listen to my own voice for that long, but people have told me they enjoy it.

It was a great week for longform. Here are my four favorite pieces:

You know Maslow’s Pyramid? Of course you do. Well, it turns out that the pyramid didn’t come from him at all and, in fact, it disagrees with a lot of what his theory had to say. This comes from a new paper “Who Built Maslow’s Pyramid? A History of the Creation of Management Studies’ Most Famous Symbol and Its Implications for Management Education” which Ed Batista highlighted on Twitter. Here’s quote from the paper:

We identity three specific negative effects in this regard: that the pyramid is a poor representation of Maslow’s [hierarchy of needs]; that the preoccupation with the pyramid obscures the context within which the theory was created and that by focusing exclusively on the pyramid, we miss the other contributions that Maslow’s thinking can make to management studies.

The paper’s authors even put together this handy video explainer.

Steve Kerr is back in the NBA Finals coaching the Golden State Warriors. Last week he had some strong comments about the NFL’s anthem decision. If you’re curious, the Times had a good profile of Kerr last year that tells the story of the assassination of his father in Beirut in the 1980s.

The iconic Ali/Liston photo turned 53 last week.

Favorite podcast episodes:

I ordered a copy of the Toyota Production System, which includes this great inside cover timeline:

Speaking of books, here’s every book Bill Gates has recommended over the last six years.

Twitter pointed out this photo of Rocket’s star James Harden looks like a scene from a renaissance painting and, of course, there’s a subreddit called AccidentalRenaissance.

The New York Times had a good op-ed on how segregation worked in the North. And here’s Jelani Cobb on “Starbucks and the Issue of White Space“.

Would you go to a republican doctor?

Some good stuff in this New Yorker book review of The Big Picture: The Fight for the Future of Movies (the author, Ben Fritz, was also on an excellent episode of Slate Money a few weeks ago), a book about the history and current state of the movie industry. This bit about the size of the rental market really surprised me:

Suddenly, there were video stores all over America that needed to purchase at least one copy of every major new Hollywood movie. In “Powerhouse: The Untold Story of Hollywood’s Creative Artists Agency” (Custom House), an oral history compiled by James Andrew Miller, Tom Hanks recalls the effect that this had on Hollywood in the eighties. “The industry used to be so flush with free money that it was almost impossible to do wrong even with a crappy movie, because here’s why: home video,” he says. By 1986, video sales and rentals were taking in more than four billion dollars. Income from home viewing had surpassed that of theatrical release.

TILs from this week:

My friend Tim Hwang launched the Trade Journal Cooperative, wherein you pay $60 a year to get random niche trade journals sent to you. I couldn’t be more in.

I was reminded of this great piece about Suck.com and its unique style of hyperlinking.

Mary Meeker presented her yearly state of the internet with lots of data.

From the China book I’m reading, thought this was an interesting nugget:

These are summed up in a motto frequently cited by one of China’s leading economists, Justin Lin, who attributes it to Premier Wen Jiabao: “When you multiply any problem by China’s population, it is a very big problem. But when you divide it by China’s population, it becomes very small.” The point is simple, though easy to miss: China’s size means that any challenge it faces—unemployment, environmental degradation, social unrest, you name it—exists on an almost unimaginably large scale. But it also means that the resources available to tackle the problem are gigantic. The difficulty lies in marshaling all those resources and deploying them effectively.

This question/answer from NYTimes/Gladwell about the kinds of stories that fascinate him fascinated me:

Are there certain ideas that you find yourself drawn to again and again? For example, you’ve used the threshold model of collective behavior to explain both school shootings and why basketball players don’t shoot free throws underhand. I like ideas that absolve people of blame. That’s the most consistent theme in all of my work. I don’t like blaming people’s nature or behavior for things. I like blaming systems and structures and environments for things.

On the subject on blaming systems not people, it looks like the famous marshmallow experiment missed the systemic nature of what allows certain kids to be better at delaying gratification:

Ultimately, the new study finds limited support for the idea that being able to delay gratification leads to better outcomes. Instead, it suggests that the capacity to hold out for a second marshmallow is shaped in large part by a child’s social and economic background—and, in turn, that that background, not the ability to delay gratification, is what’s behind kids’ long-term success.

Finally, after failing to get a recommendation from Consumer Reports because of braking issues, Tesla was able to push out a software update that improved stopping significantly enough that CR upgraded to a recommend. Perfect example of how software is eating the world.

Ok, that’s it for this week. Thanks for bearing with me while I tried to get this out. If there’s anything I should definitely check out that I didn’t mention, please send it my way. Otherwise please share this with your friends and, if you haven’t already, subscribe to the email. Thanks and have a great week.

June 3, 2018 // This post is about: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Seeing Through Games

Clive Thompson, writing about finding the cruise ship that crashed in Italy last year on Google maps (Maps link here), made a really interesting point about how we interpret strange visuals in the age of digital technology and video games:

I remember, back when the catastrophe first occurred, being struck by how uncanny — how almost CGI-like — the pictures of the ship appeared. It looks so wrong, lying there sideways in the shallow waters, that I had a sort of odd, disassociative moment that occurs to me with uncomfortable regularity these days: The picture looks like something I’ve seen in a some dystopic video game, a sort of bleak matte-painting backdrop of the world gone wrong. (In the typically bifurcated moral nature of media, you could regard this either as a condemnation of video games — i.e. they’ve trained me to view real-life tragedy as unreal — or an example of their imaginative force: They’re a place you regularly encounter depictions of the terrible.) At any rate, I think what triggers this is the sheer immensity of the ship; it’s totally out of scale, as in that photo above, taken by Luca Di Ciaccio.

Growing up playing video games I definitely know the feeling. I do wonder, though, whether this is actually a new feeling or we could have said the same about feeling like something was a movie when that was still transforming how we saw the world. When I was in Hong Kong in December, for example, I felt like it was more a reflection of Blade Runner than anything else, for what it’s worth. Either way, though, it’s an interesting notion.

July 23, 2013 // This post is about: , , , ,

Unified Theory of Pixar

Jon Negroni has an amazing unified theory of every Pixar movies. Apparently there are some theories, which he’s building on, that all Pixar movies are actually set in the same universe and, in his theory at least, it’s a massive fight between humans, animals and machines. This is exactly why the internet exists.

Here’s a snippet:

But why would machines want to get rid of humans in the first place? We know that animals don’t like humans because they are polluting the Earth and experimenting on them, but why would the machines have an issue?
Enter Toy Story. Here we see humans using and discarding “objects” that are clearly sentient. Yes, the toys love it Uncle Tom style, but over the course of the Toy Story sequels, we see toys becoming fed up.

[Via Boing Boing]

July 13, 2013 // This post is about: , , ,

A little extra context

I haven’t seen Django Unchained yet (though I want to, and I loved Inglorious Basterds), but I found this insight into Tarantino’s process very interesting. From a New York Times interview with the director:

I have a writer’s journey going on and a filmmaker’s journey going on, and obviously they’re symbiotic, but they also are separate. When I write my scripts it’s not really about the movie per se, it is about the page. It’s supposed to be literature. I write stuff that’s never going to make it in the movie and stuff that I know wouldn’t even be right for the movie, but I’ll put it in the screenplay. We’ll decide later do we shoot it, do we not shoot it, whatever, but it’s important for the written work.

I think about this at Percolate sometimes and always err on the side of over-documentation. I like the idea of building a narrative around something that extends far beyond what’s necessary, as the additional context creates an important background for decisions. In Tarantino’s case, I have to imagine part of the reason he gets such good performances out of the actors in his films is that they’re given such a rich text to work with.

January 4, 2013 // This post is about: , , ,

On Zero Dark Thirty

Before I left for my trip to Asia I went to see Zero Dark Thirty, the movie about the hunt for, and ultimately killing of, Osama Bin Laden. Before, and after, seeing it I had read quite a bit about the raid, the movie and the controversy around both. I thought maybe it would be worth collecting all this stuff into a post, so that’s what I’m doing.

First, on the movie itself. A lot of people really like it (the most interesting point Denby makes in this podcast is the idea that this and Lincoln spell the end of auteur theory as they show the power of the writer/director combo). I thought it was pretty okay. In reading around, I think Roger Ebert sums up my opinions best in his review of the film:

My guess is that much of the fascination with this film is inspired by the unveiling of facts, unclearly seen. There isn’t a whole lot of plot — basically, just that Maya thinks she is right, and she is. The back story is that Bigelow has become a modern-day directorial heroine, which may be why this film is winning even more praise than her masterful Oscar-winner “The Hurt Locker.” That was a film firmly founded on plot, character and actors whose personalities and motivations became well-known to the audience. Its performances are razor-sharp and detailed, the acting restrained, the timing perfect.

In comparison, “Zero Dark Thirty” is a slam-bang action picture, depending on Maya’s inspiration. One problem may be that Maya turns out to be correct, with a long, steady build-up depriving the climax of much of its impact and providing mostly irony. Do we want to know more about Osama bin Laden and al Qaida and the history and political grievances behind them? Yes, but that’s not how things turned out. Sorry, but there you have it.

One thing that I found particularly interesting in the film was the very short sequence on the doctor who had gone around Abbottabad under the cover of vaccination who was actually collecting DNA. I remembered reading about him in the original New Yorker account of the raid and thought that had made clear he had been successful in collected DNA evidence (it turns out the article says he wasn’t, the same way it’s presented in the film). January’s GQ has a longer account of what happened to the doctor who helped the CIA and tries to get at whether he was successful in his mission. (The answers: He was tortured/imprisioned by the Pakistani government for assisting the Americans and, as to whether he got evidence, it’s still unclear.)

If you’re interested in more reading on the subject, No Easy Day, an account by a Navy Seal on the mission is a fast and interesting read. And although I haven’t read it, my friend Colin Nagy highly recommends The Triple Agent, which covers what happened at Khost, where a Jordanian triple agent beat CIA intelligence and security to bomb a military base and kill a sizable group of CIA operatives (there’s a scene in Zero Dark Thirty about it, though the film offers no real depth on what happened).

December 27, 2012 // This post is about: , , ,

Sheer Malice: A Doctor’s Take on Home Alone

More fun Christmasy stuff, this time it’s from The Week and comes in the form of a doctor examining the true extent of the injuries to the burglars in Home Alone. I’m partial to his explanation of the effect of the burning-hot doorknob:

If this doorknob is glowing visibly red in the dark, it has been heated to about 751 degrees Fahrenheit, and Harry gives it a nice, strong, one- to two-second grip. By comparison, one second of contact with 155 degree water is enough to cause third degree burns. The temperature of that doorknob is not quite hot enough to cause Harry’s hand to burst into flames, but it is not that far off… Assuming Harry doesn’t lose the hand completely, he will almost certainly have other serious complications, including a high risk for infection and ‘contracture’ in which resulting scar tissue seriously limits the flexibility and movement of the hand, rendering it less than 100 percent useful. Kevin has moved from ‘defending his house’ into sheer malice, in my opinion.

[Via Consumerist]

December 24, 2012 // This post is about: , , ,

Hungry Hungry Hippos: The Movie

Back in April we got into a conversation around the office about the possibility of a Hungry Hungry Hippos movie. This, of course, was a joke …

Until it wasn’t:

The L.A. Times has reported that Hasbro, the toy company that specializes in spawning movies based on its products, has partnered with an independent production company called Emmett/Furla to turn three of its diversions into films: Hungry Hungry Hippos, Monopoly and Action Man. Monopoly has been in the works for a while, and Action Man sort of sounds like a movie, or at least no more ridiculous than “Abraham Lincoln: Vampire Hunter.” But Hungry Hungry Hippos? What could the plot possibly be, and how will it not dovetail with the parody trailers for a Hungry Hungry Hippos movie that already exist on YouTube?

October 6, 2012 // This post is about: , , , ,

The greatest films of all time

I love asking people who are really passionate about something to talk about the person or thing they hold up as best. Ask a guitarist, for instance, who the best guitarist of all time was and you’ll get a thoughtful (and probably surprising) explanation and insight into what one artist looks for in another.

Anyway, it was a pleasure to read Roger Ebert explain his 10 greatest films of all time. This is someone who has spent his whole life thinking about a topic and his reasoning behind each choice is deep (outside his odd pick of Tree of Life at the end). I like his explanation of Raging Bull over Taxi Driver for Scorsese:

“Citizen Kane” speaks for itself. “2001: A Space Odyssey” is likewise a stand-along monument, a great visionary leap, unsurpassed in its vision of man and the universe. It was a statement that came at a time which now looks something like the peak of humanity’s technological optimism. Many would choose “Taxi Driver” as Scorsese’s greatest film, but I believe “Raging Bull” is his best and most personal, a film he says in some ways saved his life. It is the greatest cinematic expression of the torture of jealousy–his “Othello.”

April 26, 2012 // This post is about: , , ,

The Seven Fundamentals of Great Muppet Cinema

The New Yorker breaks down the Seven Fundamentals of Great Muppet Cinema and I couldn’t agree more (though I haven’t seen the new movie yet). My favorite: “Unlike most other kiddy entertainment, the Muppets were never didactic. They’re flawed, eccentric, anarchic personalities. Miss Piggy, let’s face it, is a borderline narcissist. Gonzo is in love with a chicken. Kermit has a quiet dignity, but he’s easily aggravated. In the Muppet world, character trumps discipline—but when it comes time for morals, they’re kept simple and classy. Leave the “I love you, you love me” garbage to the singing dinosaur.”

November 29, 2011 // This post is about: ,