The Daily

Posts Tagged ‘selfies’

Asylums Face the Wrecking Ball, and Other News

May 7, 2015 | by

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Greystone Park, in an old postcard.

  • In defense of Kim Kardashian’s book of selfies, which is “arguably emblematic of the disruptions in image production and consumption that have taken place over the past decade on a significant, even revolutionary level”: “Though their circumstances are hardly comparable, the Kardashians, like the Brontës, are a family of creative women, in the business of conducting narratives in which men come and go, but female relationships remain constant and meaningful.”
  • Harold Bloom presides over a tour of his stuffed animals: “Well, there’s Valentina, the ostrich, named after Valentinus, second-century author of The Gospel of Truth … this little baby gorilla, well, we call Gorilla Gorilla. And there is that famous original A. A. Milne donkey, Eeyore, and the last of our boys here, Oscar, the duck-billed platypus, named in honor of my hero, Oscar Wilde.”
  • We’re not in the habit of dispensing financial advice—we’re a nonprofit, after all—but if you’ve got 3.25 million quid just lying around, and you’re an extravagant person, you could do worse than buy this old manor house, once featured in Thomas Hardy’s The Trumpet-Major.
  • You could also do better, though. Say, by preserving one of America’s stately, nineteenth-century mental asylums, of which only fifteen remain. New Jersey’s Greystone Park Psychiatric Hospital, for instance, built in 1876, is on the verge of demolition, despite its obvious historic significance.
  • Faulkner got the idea for Pylon, his underrated novel about daredevil fliers, from a conversation with Howard Hawks, in Hollywood: “I said, ‘Why don’t you write about some decent people, for goodness’ sake?’ ‘Like who?’ I said, ‘Well, you fly around, don’t you know some pilots or something that you can write about?’ And he thought a while, and he said, ‘Oh, I know a good story. Three people—a girl and a man were wingwalkers, and the other man was a pilot. The girl was gonna have a baby, and she didn’t know which one was the father.’”

En Vogue

February 12, 2015 | by

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Photo: Vetatur Fumare, via Flickr

Late last night I posted a picture of myself to a social media account. Not the most flattering picture, and a particularly ridiculous one: I’m standing in front of my bathroom mirror, phone clearly visible in my hand, and staring off at—what? The shower curtain? The radiator?—with a deliberately distracted air and the Flemish-Madonna mirror-face that my family has always mocked. Why, I didn’t see you there with the camera in your own hand! it seems to say. 

I’d taken this photo because I wanted to send a friend a picture of my garment: a mod, nubbly green tweed coat—or maybe it’s a dress—from the early sixties, with a swing cut and two large pockets in the front. It zips up the back. The high neck chafes after a few minutes, and it takes all my flexibility to manage both the zipper and the buttoned half-belt (also in back). Ever since I bought the coat-dress in a California thrift shop, I’d been saving it for just such an occasion: a fashion event, where I needed something bizarre enough to make it look as though I know what I’m about. Read More »

Keep Smiling

February 20, 2014 | by

For the origins of the selfie, look to the dandy.

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Honoré Daumier, Dandy, oil on canvas, 1871.

When selfie was crowned the Word of 2013 by the Oxford Dictionaries, the media reaction ranged from apocalyptic to cautiously optimistic. For the Calgary Herald’s Andrew Cohen, “selfie culture” represents the “critical mass” of selfish entitlement; for Navneet Alang in the Globe and Mail, selfies are inextricable from the need for self-expression, a “reminder of what it means to be human.” For the Guardian’s Jonathan Freedland, the selfie is both: at once “the ultimate emblem of the age of narcissism” and a function of the “timeless human need to connect.”

With a few exceptions, commentators tended to converge on one point: the selfie, and the unencumbered act of self-creation it represents, is unmistakably of our time, shorthand for a whole host of cultural tropes wedded to the era of the smartphone. As Jennifer O’Connell, writing for the Irish Times, puts it: “It’s hard to think of a more appropriate—or more depressing—symbol of the kind of society we have become. We are living in an age of narcissism, an age in which only our best, most attractive, most carefully constructed selves are presented to the world.”

But our obsession with the power of self-creation—and its symbiotic relationship with the technology that makes it possible—is hardly new. Even the “selfie artist” is hardly a creation of 2013. Its genesis isn’t in the iPhone, but in the painted portrait: not among the Twitterati, but among the silk-waistcoated dandies of nineteenth-century Paris. Read More »

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We’re Olfactory Failures, and Other News

January 29, 2014 | by

f millot crepe de chine perfume ad 1937

Crepe de Chine perfume ad, 1937

 

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