May. 2nd, 2012

elfs: (Default)
You open Rule 34 expecting a police procedural, and indeed, that's how it starts out. It's a police procedural twenty-one minutes into the future: one minute, plus five years, more from the settings of its predecessor Halting State, although the police only solve a few minor crimes, never the major one.

At first, the book is annoying: it's too pat, too convenient. There are too damned many coincidences, too many characters who know too much about each other, run into each other too often, and oftentimes they act a little stupid. Stross isn't into stupid. He knows a stupid plot when he reads one, surely he's not going to write one.

You bounce around from head to head, and there are a lot more heads in this book than the last. There's Inspector Kavanaugh from Halting State, an ex-girlfriend of hers, there's Anwar and Adam and the Toymaker and a ton of other people, and their voices start to get blurry, at least the minor ones, but generally you keep it together long enough to make it interesting.

Eventually, though, it all dawns on you why there are coincidences, and you're impressed by the cheek of that bastard Stross. He mocks the Holmesian myth to policework, while at the same time he's written a contrivance of minescule shards of evidence, and at the end pulls his hat out of his rabbit and gives you a frighteningly plausible explanation.

There's not so much MMO in this book: its all set in the Real World, because what it's about is the way the network can someday reach out and fuck up the real world, in a very real and complete way. It's only twenty-one minutes into the future: the darknets are here, 3D printers are here, and if the Real Dolls aren't animatronic we're only a year out from voice recognition and a tree of scripts. Somewhere around 2016 three-dimensional printers wll be cranking out black-market paedodolls and voice mangling will allow softly accented voices in depressed locales to create hub-and-spoke tree farms of everything from "Oh, Daddy" to "Get on your knees you worthless worm." Stross has captured it all, much to your horror.

And you used to work at an early ISP. Even back in the nineties you could see it all coming down: you remember the caches of malware, cracked Photoshops and the usenet feeds full of self-proclaimed "responsible" paedophiles. And those were the ones functional enough to navigate the esoterica of TRN. These days, it's a one finger experiences-under-glass determination until your low-rent pervert with missing teeth and missing morals can find all the sickness he wants on-line, and carries it with him in his pockets.

It's enough to make you want to drink yourself into oblivion. It's not fun, especially when you have kids who are going to have to live with that nihilistic future. Rule 34 is a massive downer, but so is spinach: Take it in, goddamnit, because the alternative is to be blind.
elfs: (Default)
I joked the other day about how the ending of Halting State had a really bloody obvious ending.

My boss is a slim woman in her mid-20s with the high-intensity of a serial entrepeneur. Today, she showed up at work with a massive bruise on her right bicep. I asked about it, and it turns out Spoiler! ) So the ending of Halting State wasn't so kooky after all.
elfs: (Default)
We all know that MP3 encoders have quality controls: that when you encode an MP3, you choose how much of the original to keep, how much to throw away, and how much to "model," that is, how much can be restored to the outgoing audio stream by inserting modeled sounds into the psychoacoustic profile of the stored MP3.

Do MP3 decoders have a similar process? That is, when turning an MP3 back into music, do MP3 decoders make decisions about how much CPU and bandwidth they have, and maybe throw out the lower-priority models, creating a muddier sound?

Because I swear that ever since I turned on RTPRIO (Real Time Priority) for audio processing on my laptop, I've been able to hear more details on many tracks played through Audacious: snare drums rattle more, saxaphone keys click, feet shuffle in live recordings. I didn't think such post-processing was the case, but every once in a while now, while listening to a track, I'll think, "Huh, I don't remember hearing those subtle sounds before."

'S verra strange.

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Elf Sternberg

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