Yes I know, first I'm writing about the likelihood of contacting alien civilizations, then I'm talking about immortal humans who have sex for three days straight and write books in their sleep, and then about creepy flickrites, and now I am writing about watching ants.  You don't come here for consistency.

I was leaving my office around lunchtime the other day for a brief walk.  The front of the building has a raised garden with some azaleas and a really nice looking stone wall bordering it.  As I walked out I noticed the wall was swimming in tiny black ants.  Not the big ones you see wondering solo, but hordes of teensy ones.  Usually that means that a tasty food item has been discovered and the colony is out to disassemble it and carry it back.  I could see where the ants were clumped up, but didn't notice anything there that I recognized as anything ants would want to eat.  But I figured maybe somebody had spilled a soda and they were gobbling up dried sugars right off the rockface.  I went off to my walk and didn't think any more about it.

Later that night when I left work, I glanced at the wall and noticed the big cluster of ants was still there, but it had moved a few feet to the right.  Again no food was evident.  Just ants in a big tangled mass.  So I leaned close to peer at them and noticed that ants were bunching up around other ants, and apparently biting each other.  Other ants seemed to be carrying away dead (or dying ants).  I leaned back and noticed that unlike a typical feeding situation where you see a river of ants leading from the colony to the food and back, this was the meeting place of two rivers of ants.  One from one crevice about 5 feet to the left, and another from a crevice about 4 feet to the right.

That's when I realized I wasn't watching a feeding frenzy.  I was watching a war.  It was an epic battle between two colonies of ants that had both claimed this rock wall as their territory.  Thousands upon thousands of ants continually poured from both crevices, and converged in the center to engage in a massive melee.  It was mesmerizing to watch the supply lines bringing in fresh ants as the wounded or the dead were hauled away (presumably as food).  They moved in tides and complex whorling patterns as they made war... it was so intricate it was actually mesmerizing.  I checked my camera bag but I had neglected to bring ANY macro lenses with me that day, or I would have had pictures of all-out insect warfare and abject carnage to upload to my photostream.

It made me a little sad to think of these ants fighting for hours over a few feet of turf.  After 15 minutes I suddenly realized the time and made a mental note to bring my macro lens to work today.

But when I arrived this morning, the battle was over, and the battlefield had been swept clean.  Had I not noticed it, the day before, I never would have known it had happened.  In my inner thoughts I could not help but make the connection between the affairs of the ants and the affairs of humanity.  In 100,000 years, if humans are still here, what great battles and wretched suffering of ours will have passed into the unknown?  Will we forget World War 2?  Will we forget the Holocaust?  Will we repeat it?  Big thoughts from the tragic ant war of June 25, 2008.

What is it that prevents some people from realizing when they are being creepy?  I recently uploaded some photos to my flickr photostream from a birthday party I attended.  Then later I was tooling around in the Fitchburg Photo Pool and saw some cool architectural photos, so I left a comment telling the photographer I thought the shots were nice.

Within minutes I had three e-mails.  The first was flickr informing me that the photographer had added me as a contact.  The second seemed nice enough, the photographer wanted to talk about other landmarks that were good to shoot.  The third seemed a little peculiar and forward for someone who doesn't know me from dirt:

 "Hey how do you know that girl XXXXX in your photostream?  She's a real knockout!"

So I responded about Fitchburg landmarks, and on the second item, remarked just that she was a friend of a friend, and that she was very photogenic.

Within minutes, two more e-mails.  More chatting about landmarks and camera gear as well, and the second:

 "Man is she cute.  Hmm."

So I'm getting a little weirded out by this dude.  I mean, if you are friends with someone it's one thing to compliment someone they know once, but if you barely know a person it's kind of creepy to do it repeatedly.  So I decided I didn't really want to keep talking to this guy, and chose not to respond.

A few minutes later, another e-mail comes along:

 "Do you think she would let me take some shots of her sometime?"

Yeah.  That will happen.  She's going to pose for some stranger on the internet because a friend of a friend photographed her at a party.  Who asks a question like this of someone they barely know?  I have a terrible time just asking people I do know if they will pose for me.

Any way, I really didn't want to talk to creepy dude any more, I knew if I called him on it I'd get assured up and down that his request was completely innocent in nature.  As if it is quite normal to ask strangers on the internet if you can photograph their friends.  I mean seriously, if you are THAT desperate for models, there are places to go (http://www.modelmayhem.com/).  So I just blocked him... that will be the end of that, thanks.

I generally think it wise, when someone adds you as a contact on flickr, or favorites one of your photos, to check their profile and see what groups they subscribe to, and to also check their favorites.  It's usually quite clear when they are using flickr for something other than an appreciation of great (or even mediocre) photography.  If you see anything that looks creepy, it's probably a good idea to block them.

Creepy dude didn't have any bizarre group subscriptions or prurient favorites that I could see, but his behavior was enough to warrant the block IMHO.  The only thing his profile had to say about him other than a laundry list of his gear was that he was "Male and single".

Call me "Male and unsurprised".

Mara finished her book and wandered into the atrium Kennis had entered a few days earlier.

"What are you doing Kennis?"

"I am watching the moon."

"Why?"

"It pleases me to do so, Mara."

"Will you do so awhile longer then?"

"For at least a thousand more years."

Folding her delicate arms, Mara leaned against the doorway and stared at her. Kennis sat, legs folded, mouth slightly open, her olive skin and brown eyes awash in the moonlight that poured through the windows of the atrium and bathed her slight features.

"Will you stand there and study me all night?" Kennis asked without turning to look at her.

"Yes, for a thousand years as it so pleases me."

With a faint exhale Kennis smiled and glanced down with a smirk.

"My love you have forgotten the moon..." Mara admonished coyly.

She looked back at Mara, with her hair rimmed by the moonlight. Her eyes, even darker in silhouette, held a mischeivous promise floating in a sea of devotion. "But I have remembered something more important."

With a playful glance over her shoulder Mara feigned ignorance. "Whatever could that be? A star perhaps? I may have spotted one out of the library window."

In a fluid motion Kennis rose, her silk kimono changing from aqua to burgundy as she approached. Her message was clear, Mara looked down and changed her simple white sari into a demure amber robe in response.

"And after that, shall we sleep?" Mara asked.

"It has been many years."

"Seven hundred and twelve."

"Do you remember how?"

"Do you remember the last time either of us forgot anything?"

Kennis leaned in close, her kimono faintly disappating in wisps of wine-scented mist, "I forgot the moon a moment ago." The kiss was sweet, long, and pulled gently at something deep within Mara... something she had indeed forgotten.

For many days afterward they laid on the couch by the atrium window in each others arms, their garments a pool of particulate mist on the floor nearby, and watched the moon together.

"What did you write about?" Kennis finally asked.

"When?"

"The day you entered the atrium and spoke to me. I assume you wrote a book that day."

"I write a book every day."

"And on that day?"

"I wrote about humans."

"What species?"

"Homo sapiens."

"Ah, our progenitor species. May I read it?" Kennis asked.

"My love you may read any book I publish, and even those I don't."

Kennis closed her eyes and became quiet. Mara stared at the moon. Kennis was right, it was pleasing to do. Perhaps her next book would be about the moon. Kennis smiled and opened her eyes.

"That was wonderful, you almost make them appealing."

"There was among them everything that gave rise to us, my love, to you, and I find much appealing in you."

"And I in you, Mara, but there was also among them everything that led to their extinction."

"Nothing that couldn't be cured with education."

Kennis raised one eyebrow at her.

"Well, " she smirked, "maybe that and a little genetic surgery."

"Shall we try to repopulate the species?"

"I think I would like that, as long as we don't have to impersonate deities."

"Shall we do it tomorrow?"

"No, Earth must process the poisons in its environment before humans can survive there."

"Nanos."

"No. No nanos. Else they would not be Homo sapiens, but Homo lentus."  Mara said.

"Not without genetic surgery--"

"Which the nanos would automatically perform."

Kennis thought a moment. "Shall we create them on the moon then? Construct an environment for them?"

"Humans belong on Earth. They are bound to that world, genetically suited to live there. This was the birthplace of Homo immortalis--but we are suited to dwell anywhere."

"Do you not worry that the humans will simply make wars again? Poison their world again? I deeply felt your sentiment for them, but they are barely out of the realm of the apes, they will fight over anything, and are able to maintain such cognitive dissonance that they will destroy their own environment and doom their own species. Do you really think education can save their species, preserve it?"

"Why not?"

"Because, my dear, education was what caused the division in the species last time. Homo lentus was the result of those humans who actively worked to improve their species. The only thing that 'preserved' Homo sapiens were those who willfully remained uneducated out of fealty to mythological creatures. Right up until they destroyed themselves. It's perverse to be favored by natural selection because of your intelligence and refuse to use it--a lemming gene at work perhaps."

"I should still like to try."

Kennis closed her eyes briefly and then reopened them. "Latest estimates are 36,000 years before the Earth has processed all of the poisons in its environment."

"Shall we sleep until then?"

"I think I should like that. What books will you write while we sleep?"

"I have three I started while we made love that I need to finish, and then I think I shall write one about the Moon."

"You didn't finish? Was I that distracting?"

"Yes, although one I cannot finish."

"Why not?"

"I don't know how it ends." Mara yawned. "I have not felt tired for many centuries. This is a peculiar sensation."

She reached out with one arm and touched a finger to the pool of mist on the floor. Immediately the mist swam over them and solidified into a patchwork quilt of subtle grays resembling the lunar surface.

Kennis watched Mara sleep for a day and then turned her attention to the Earth outside the atrium window, shrouded in soupy haze. She doubted the wisdom of returning to the planet the species that had proven so ill-equipped to look after it. Mara's book about the moon was published while Kennis contemplated the Earth, and Kennis found it as fascinating as Ellan's volume on the geology of Ganymede and forwarded it to her to read. Mara's voice floated unbidden into her consciousness, woven into the stream of information entering her network receiver. I thought you were going to sleep with me.

Sorry love, I was thinking. I loved your book on the moon.

Do you not wish to sleep?

I might enjoy looking at you more than sleeping.

Come nestle in my mind with me, let our thoughts tangle together in wonderful disarray. There will be plenty of time to sort them out later.

I can do that with my eyes open, Mara.

Try feeling tired. Your biology will take over from there.

Kennis felt tired, and soon she slept. Once she was no longer conscious, all of the furnishings apart from the couch and blanket immediately dissolved into mist and disappeared through vents near the floor to be stored until needed. The habitat maintained its position automatically and carefully so that the light reflected from the moon would pass through the atrium window and illuminate the photosynthetic skin of the sleepers for many thousands of years.

"Mara, wake up." Kennis said.

Mara opened her eyes. "Did I oversleep?"

"No. It has only been 24,078 years, but there has been a development."

"What happened?"

"See for yourself." Kennis said, indicating the window.

Mara glanced out and was shocked to discover the Earth was unshrouded and most of the landmasses were a glorious shade of orange.

"Is this a predicted stage in the processing of the poisons?"

"No. There is a new species of life on this planet borne out of the poisonous environment, which has converted the pollutants into new compounds and created a new state of equilibrium."

"Suitable for Homo sapiens?"

"Not remotely. I checked with Ellan and Tyr and they have modeled it is likely that this species will achieve sentience in a few million years. I'm afraid that Earth does not belong to Homo sapiens anymore."

"No return to Eden, " Mara said softly. A small tear travelled down her cheek. She touched it and glanced at her finger, with a faint mote of puzzlement on her brow.

"I assume the moon is off limits, then?" Kennis asked.

"Of course, it belongs to this new species." Mara said.

"Perhaps another world? There are thousands that might suffice."

"Perhaps. I think I am going to miss looking at the moon."

"We can remain here for a few million years and contemplate it. Maybe get to know this new species when they venture forth from their world."

"No. Let's leave. This was our birthplace, and it is about time we left the nursery and explored our universe. It has been nearly 100,000 years since we last saw Ellan and Tyr."

"What about making humans?"

"Call it a romantic notion."

"Your book on the idea received some great reviews."

"Another time maybe."

Sensing the subject closed for the time being, Kennis closed her eyes and cast out the sensor net.

"Ellan and Tyr are at Regulus. They would love to have us for a few years. We can be under way immediately if you like."

Mara glanced thoughtfully at the Earth for a moment and then rose from the couch, wrapped the blanket around her and left the atrium.

"Well I'd best make myself presentable then."

In the harsh light of Sol, the habitat finally pivoted away from the moon, wavered in many shades and colors, and then vanished.

The orange world waited for those who would give it a new name.

NOTE: I wrote the above story fragment off the cuff in a forum I frequent.  You can find the original post here.

This is an interesting thought experiment and it involves statistics and some figuring, so I welcome any of my smart friends or anybody who cares to think about it to chime in here.

Assume that sentient civilizations with the ability to transmit some form of radiant communications signals (radio, light, whatever) started appearing in our galaxy as early as 4.5 billion years ago (when the Earth was forming), and assume that they continue to appear (each on its own evolutionary trajectory) for another 4.5 billion years.  Further assume that over this timespan of 9 billion years a total of one million different intelligent civilizations begin transmitting radiant communications. After a random time period of 100 to 1000 years each civilization stops transmitting radiant signals, either because they move on to a better technology that does not require radiant communication (pretty much necessary for interstellar communications) or the civilization dies out.  Finally given that our galaxy's diameter is about 100,000 light years, assume that any of these civilizations when transmitting would be at some random distance from us which does not exceed 100,000 light years (yes I know that's a little big since we aren't at the very edge of the galaxy, but bear with me.)

Now, here we are, smack-dab in the middle of that timescale, halfway between year 1 and year 9 billion.  We turn an array of radio telescopes to the sky and listen in all directions simultaneously, constantly, for a period of 1,000 years.

Is our sky silent?  Or is it noisy?  With a million civilizations out there at some point or another, all sending signals out at different times, what are the chances we would hear none of them at all even if we listen for 1000 years?

I threw together a crude simulation last night to try and answer this question, and I have a result which you might find surprising, but I'm curious to know what other people think first.  Care to venture a guess?  Or perhaps create your own sim and see what results you get?  I'll post my results tomorrow.

Well, I spent my spare time last week working hard on the photos from the dance recital.  All in all I was happy although many of the images were too blurry to use.  The problem was my shutter speed, it just wasn't fast enough, but I am still learning.  On Saturday I shot a play in a dark restaurant and got much better looking images by pushing up the shutter speed.  Gotta get to work on those images next.  All unpaid work of course, but I continue to hold out hope that good things will happen if I keep trying and keep talking to people about what I do.

Never heard back from the director of the dance recital, but I'm not too surprised.  I don't think anyone has ever called me back after an initial contact.  I have gotten e-mails from some people to say they really like the photos I took for them (for free) but sometimes not even that.  People are busy, and I think most don't realize the amount of effort that goes into making a good photo.  Anyway, as I promised the director of the dance recital, I put together a set of discs containing the best images from the show and have sent those off to her today along with a letter requesting her permission to post them on my business website.  For the amount of work put into this production, I hope that she at least calls me back, even if it is only to say "no".  Click these thumbnails to see the letter and the CD's (dancers faces are obscured):

The problem here is that (for both the recital shoot and the play shoot and probably just in general) the groups that put on these productions already have a photographer.  From what I've seen so far though, these "staff photographers" shoot posed shots backstage, as opposed to shots of the actual performance--I suspect because it's hella easier to get a really nice shot in a controlled environment than it is actually during the performance.

After I shot the play this past weekend, one of the actors' parents caught a glimpse of some of the photos on my camera and immediately asked if she could buy a CD of the pictures... so hopefully something will come of that.  I also talked to the people who ran the play--they pretty much immediately told me they had a staff photographer, but when I showed them a few of the pictures in-camera they seemed really impressed.  So I'll spend another week churning through those pictures and hopefully something will come of that.  We'll see.  No expectations.

Street photography isn't really my thing, but I try to do it from time to time.  The problem I have is that I am very shy about taking pictures of people without their permission, even though by and in large, I have a right to do so in public.  I find if you get permission, the subject changes and loses the look that drew you to the photo in the first place.

This is why I am always amazed (or cringing) when I see real street photographers at work.  I am just not as brave as these guys:

(video) Joel Meyerowitz On Street Photography

(video) WNYC Streetshots: Bruce Gilden

I picked this CD up last night with much anticipation and listened to it today on a long drive. 

It started strong, quickly soared to awesome, and then made a meteoric descent to absolutely awful and only recovered marginally after that point.  *sigh* Too bad.  I admit, that by track 3 I was beginning to wonder if we had another Ray of Light on our hands.  Things stumbled a little in the fourth track but came back strong for tracks five and six.

Then came track 7--the inexplicably named song Incredible.  The only incredible thing about this song is that it came from Madonna.  I'm sorry to say it is the worst song she's ever created.  Dischordant, screwy pacing, strange change-ups, and just an all around mess.  This one song utterly destroyed the mood and made it hard for the album to come back, which wasn't helped by the fact that the next 3 songs were mediocre at best.  I have no interest in hearing any of them again.  Madge, you can do better.

The mixing on tracks 9 and 10 was also pretty poor.  Madonna's voice was often drowned out or subdued against the music.  I understand it's supposed to be dance music but her voice is way too strong to be so downplayed.

Track 10 was the best of the mediocre songs, but Spanish Lesson is no La Isla Bonita... far more cheesy and contrived.  I may listen to Spanish Lesson again... I have a feeling it might grow on me.

Thankfully, the tail end of the album was saved by track 11 The Devil Wouldn't Recognize You, definitely an awesome number that I'll be putting on my new MP3 player whenever I can afford to buy one.

Track 12 Voices had a good sound but pretty silly lyrics.  I got the impression Madonna was trying to do a sort of "haunting" piece, like perhaps Frozen--but the lyrics were too weak for me to enjoy it.

Obviously I hold Madonna to a pretty high standard, let's face it--7 good songs on a 12-song album makes it a good album.  And this really is a good album--in fact if it had been an 11-song album minus Incredible, I probably would have enjoyed the later tracks more.

So here's what I recommend to people who buy this album and who loved Ray of Light and Confessions on a Dance Floor.  Listen to the tracks in this order:

2. 4 Minutes
3. Give It 2 Me
6. She's Not Me
5. Miles Away
1. Candy Shop
4. Heartbeat
11. Devil Wouldn't Recognize You

After that, stop and leave the other tracks until your next listen.  And I recommend just skipping Incredible forever.

Hard Candy is an awesome album.  It is almost another Ray of Light, and once again Madonna rocked my world.  Get the album and dance your ass off.

EDIT: After several more listens I have to say this album seems increasingly more kickass.  There's no hope for track 7, and track 10 doesn't stand up to a second listen, but track 8 Beat Goes On was much better than I originally thought.  On a second listen I enjoyed it much more and I think the first time through I was just so disappointed by Incredible that when the next song came on I was already soured on the experience.  So add track 8 to my list of good tracks above.  I'm going to be listening to this album constantly for awhile... and "4 Minutes" is frigging huge.

My canoe outing pictures were apparently a huge hit.  I asked my wife to deliver the following message to the teacher: "I'm glad you like the pictures, and I would appreciate it if you could put in a good word with the principal about me making them available to the parents on my business website."  No further news on that front.

I shot another dance recital (this time at Dartmouth Middle School) last nite.  I really need to carry more CF cards, things got tight toward the end of the program.  Apparently 8 Gb of storage isn't enough for an intense 2-hour shoot.  Shooting was so-so--the auditorium had no photographer's booth and was pretty much wall to tall audience.  In addition the stage was low and the sound and light crew sitting in front of the stage had their heads blocking the view of the dancers.  The light stands stood in front of the stage, as did the speakers and floor lights.  All in all trying to shoot in the room was a nightmare.  I spent a solid two hours squatting in the aisle between the front row of seats and trying to dodge the optical obstacle course between me and the dancers.

So a lot of my shots were not keepers, but I did get some really nice shots and I think after the post processing I'll have 100 to 200 decent photos.  After the show I talked to the producer and she seemed (a) very friendly, (b) somewhat receptive, and (c) really busy.   But I managed to explain to her that I have a business website and would be willing to host my photos of the event so that parents could buy prints, and that I would be willing to give her copies of the pictures for free.  She didn't commit either way but did take my card and said she would contact me on Monday.  Hopefully I'll hear from her and maybe get my first gallery of photos for sale up on the Sagewood Site.

Other work - I was asked to shoot some staff photos for my employer.  Technically, I guess you could say this is paid work, since I am salaried, but I'm not choosing to call it that.  It was an opportunity though to test my mobile studio set up.  I pretty much had a conference room set up with standing lights and reflectors in about a half hour and then shot sporadically over the next 3 hours.  It was actually a pretty small shoot considering the number of employees who had to be photographed (about 20 or so), but the good side of it was a lot of my coworkers got to see me working and the equipment I was working with and it helped (I hope) to drill home the idea that this isn't just intended to be a hobby.

I do have one coworker who has asked me to shoot some family portraits for her (she's trying to work out a date) and others who have hinted that they might be interested.  We'll see if any of that pans out.