Posts Tagged ‘the Internet’
May 27, 2016 | by Sadie Stein
It is a strange thing to monetize your emotions. Anyone who writes or creates knows this. And the work one does on the Internet feels insubstantial, even by the flimsy standards of intellectual property. Any body of digital work is a funny mixture of ephemeral and immortal, and it’s hard to know how to feel about such an archive.
Today marks my final column as the Daily’s correspondent. When I started writing these casuals, in January 2014, I thought of them as a challenge: to try to do something small, well, and consistently. There are certain kinds of writing—good writing—that are actually better suited to this medium than to print, and translating the personal and fleeting into something public seems to me one of the Internet’s primary gifts. The challenge comes not in finding inspiration, but in trying to strike the balance of confidence—that one’s observations have merit—and humility: recognizing that they’re not inherently interesting. Read More »
May 25, 2016 | by Dan Piepenbring
- After he published the Tractatus, Wittgenstein traded philosophy for gardening, and developed a fixation on home design that may have led him back into philosophy’s embrace: “To details like the door-handles, in particular, Wittgenstein accorded what [the biographer Ray] Monk calls ‘an almost fanatical exactitude,’ driving locksmiths and engineers to tears as they sought to meet his seemingly impossible standards … Monk argues, more than once, that this design project brought Wittgenstein ‘back’ to philosophy … But I doubt that the return to philosophy was prompted by social connections, which were always a mixed bag for the antisocial Wittgenstein. I prefer to believe that the prompt was in the handle. For when Wittgenstein returned to philosophy, the idea that drove him beyond all others was that the nature of language had been misunderstood by philosophers … Words did not, he had come to believe, primarily provide a picture of life (the word “snake” representing, or sounding like, an actual snake); they were better conceived of as a part of the activity of life. As such, they were more like tools.”
- Jacob Harris was scoping out some nineteenth-century newspaper ads (don’t judge; this is how some of us get our kicks) when he stumbled upon an ad for the Brooklyn Furniture Company composed entirely of typography—a direct predecessor of the ASCII art that would come more than a century later. “The face resembles modern ASCII art, but it was published at a time—March 20, 1881—that seemed impossibly early,” he writes: “In many newspapers, these early examples of text art vanished not long after they arrived … Apart from the two advertisements I had found, the style apparently never caught on in the Times. But why not? To answer that, I looked more at the Eagle where I found the earliest ads—and where they survived for several decades longer than everywhere else. They are there in 1881, when one bold advertiser filled an entire page with ASCII text. They are there in 1888, when the Eagle advertised its election night almanac in the familiar large letters. They are there all the way up to July 3, 1892, a day the same Brooklyn Furniture Company again ran a half-page ad with their address in large ASCII letters. And, then, on July 5th, they were completely gone, replaced by modern layouts and fancy typography. Those upgrades likely explain, at least in part, what happened. ASCII art flourishes most when technology is limited; you don’t need Print Shop anymore when you can do digital layout on your computer and have an inkjet printer.”
- “The gift and curse of American hyperbole, truthful and otherwise, has lately been distilled in a single omnipresent word. In 2016, everything is ‘everything.’ That’s what the Internet is telling us, at least. Or yelling at us, in capital letters, with blaring hashtags attached. ‘@Beyonce’s #MetGala dress is EVERYTHING,’ Self magazine proclaimed recently on Twitter … Internet one-upsmanship is a definitively 21st-century art form, but ‘everything’ carries a hint of yesteryear—a whiff of the hot air that once swirled through medicine-show tents and carnival grounds … The Internet has a way of placing all of us—you, me, the online peddler of counterfeit Viagra, the editor of The Paris Review—in the undignified position of those touts who haunt the sidewalks outside bad restaurants in tourist-trap neighborhoods, thrusting menus in the faces of passers-by.”
- In which Edward Docx attends the 2016 British Esperanto Conference: “There are few times in your life that you can be certain that you are doing what nobody else in the world is doing—or has ever done—or will likely do again. This was one of them. I was sitting at a table of six, with a Catalan, a Brazilian, a Belgian, a Londoner and a Slovakian, while they munched and guzzled their way through their kareos and had what I can only describe as the most kinetic, exciting and involving conversation in Esperanto that Spice City (of Stanley Street, Liverpool) is ever going to witness. The animation. The jokes. The asides. The soliloquys. The antanaclasis. Oh, if only I had known what they were talking about I could have … I could have told you. But I was converted. The whole idea and application of Esperanto was so obviously amazing, so demonstrably persuasive, so self-evidently practical that I forget all over again about English; English; English.”
- The Internet is a fine place to find good writing. But it’s the best place to find moronic writing—just try. It’s such an effective moronic-writing delivery system that print media got jealous: “There are too many people filling every possible orifice of the Internet with their idiot opinions and comical prejudices and poorly constructed arguments … But: Have you seen what’s not on the Internet? You would think, what with the supposed influence of those who man the precincts offline, away from the free-for-all of our type-and-post world, that there would be safety in the smooth, heavy paper and creamy finish of print … And yet: THEY ARE NOT ALL THAT MUCH BETTER … It turns out most people don’t have anything very interesting to say and they’re actually a lot worse at saying it than we previously anticipated. Also, what no one expected is that shit flows upward, splattering the finer precincts we once looked to for wisdom with the same awful patina of chatty, ‘relatable’ garbage whose ultimate goal is to be passed around without anyone mentioning how gross your palms feel once you hand it off. We were warned and we didn’t listen and now we’re all paying the price.”
April 13, 2016 | by Sadie Stein
The first time I remember lying about why I was crying was in second grade. I’d burst out sobbing in the middle of social studies and, rather than admit I’d been thinking about the plot of “The Little Match Girl,” I claimed vaguely that there was some problem at home, prompting a humiliating private lunch with my teacher and a parent-teacher conference. You’d think that would have cured me.
But being upset about nothing is galling. It’s hard to explain to a stranger on the subway that no, tears are actually rolling down your cheeks because of an episode of The People v. O. J. Simpson, or a piece of music you’re not even listening to. Read More »
March 30, 2016 | by Sadie Stein
And why is it, thought Lara, that my fate is to see everything and take it all so much to heart?
I’ve always liked the term morbid sensitivity, which seems to suggest not just something unhealthy but actually dangerous. To be morbidly sensitive is to wallow, to dwell unwholesomely on slights real and perceived—to ping-pong between solipsism and a feeling for others’ pain that results in a Saint Bartholomew–like sensation of emotional exposure.
The term is usually used as a descriptor, an observation, but I think that those of us who suffer from the condition, even occasionally, know full well when we’re being MS. The knowledge does not change the feeling, which is one of the most frustrating human conditions. Read More »
March 22, 2016 | by Dan Piepenbring
- At a moment when Syria, in the Western imagination, is synonymous with violence and war, an anonymous Syrian film collective called Abounaddara “provides a strikingly different picture of Syrians and their country,” as our poetry editor, Robyn Creswell, writes: “The members of Abounaddara, an Arabic phrase meaning ‘the man with glasses,’ began making films in 2010, but it was Syria’s version of the Arab Spring that gave them an urgent sense of purpose. For the past five years, they have posted a new documentary film every week, resulting in an archive of nearly four hundred shorts that can be watched for free on Vimeo … These films, whose subjects include soccer players for the Syrian national team, bereaved parents, former prisoners of ISIS, intellectuals, and refugees, are powerful portraits of individual Syrians, yet they can also be hard to read, in part because we’re told so little about the subjects and settings. This withholding of information is clearly by design. The films often begin and end in medias res, leaving the viewer to puzzle out their significance. They require one to think as well as to look.”
- The set designer Es Devlin has a CV that includes everyone from Shakespeare to Verdi to Miley Cyrus: “Devlin argues that there is something in between pictorial realism and complete abstraction. Though she borrows elements from every period, her approach is thoroughly contemporary. She’s not interested in straight realism, or in traditional production design … She is theatre’s postmodern expert, and has an instinctive sense of how Shakespeare and opera and fashion and pop concerts might draw from the same dark web of psychological information. Each of her designs is an attack on the notion that a set is merely scenery. She is in demand because she can enter the psychic ether of each production and make it glow with significance. She told me, ‘A stage setting is not a background, it is an environment’—something that directors and actors can respond to. ‘Sometimes what these people want is a liberator, someone who might encourage them to defy gravity.’ ”
- A new biography of Wallace Stevens, The Whole Harmonium, reminds us of the vast chasm between artist and art: “He never left North America. He was casually racist and anti-Semitic. A Hoover Republican, he distrusted labor unions. He drank too much at parties, to overcome his natural shyness, and later had to apologize for his boorishness. In the depths of the Depression, he made $20,000 a year, the equivalent of $350,000 today … ‘Wallace Stevens is beyond fathoming,’ Marianne Moore wrote, comparing him to a person with ‘a morbid secret he would rather perish than disclose.’ But the secret would out, and in his poems Stevens revealed it: The bluff American executive had a soul as baroque and fantastical as an aesthete’s, as profound and brooding as a philosopher’s.”
- Before he found renown as a painter, sculptor, filmmaker, collector, and God knows what else, Marcel Broodthaers was a poet. And his poems pursued (among other subjects) ogres: “The world of these poems is far removed from modern life. My Ogre Book in particular, a self-described ‘suite of poetic tales,’ unfolds across a medieval-ish neverland of forests, mad kings, storm-swept landscapes, and those ogres invoked in the title. Its fairy-tale idiom is vivid but generalized, the animal and human figures serving as emblems that are never far distant from elemental strife: ‘Lost in solitude / I have always been prey,’ reflects the speaker of ‘The Donkey-Drummer’; ‘The toads devour themselves / at the heart of diamonds,’ runs the full text of one of the brief untitled poems interlarded throughout the book; in ‘A Drama of Solitude’ a ‘huntsman of ogres’ turns on his loyal dog and kills him, preferring ‘to be alone in the Great North.’ Broodthaers’s archaism, which according to his translator extends to his use of anachronistic phrasing in the original French, was also deeply personal, providing him with a means to map his inner geography in ways both distanced and intimate.”
- Today in nomenclature and direct democracy: just when you’re coming around to the idea of the Internet as a tool to empower the masses, something like this happens … and you’re more convinced of its awesome potential than ever before. “A proposal by a British government agency to let the Internet suggest a name for a $287 million polar research ship probably seemed like a good idea at the time. Now, the agency is the latest group to see what happens when web users are asked to unleash their creative energy: R.S. Boaty McBoatface is a clear front-runner … Alison Robinson, a spokeswoman, said in an email that the group was ‘delighted by the enthusiasm and creativity’ of people vying for names like Boaty McBoatface. The ship is scheduled to set sail in 2019.”
December 28, 2015 | by Jesse Browner
We’re away until January 4, but we’re re-posting some of our favorite pieces from 2015. Please enjoy, and have a happy New Year!
A sentence goes viral—why?
I recently discovered that a sentence of mine, written many years ago in a book that had enjoyed some critical praise but disappointing sales, had gone viral.
I suppose I google myself about as often as any writer does, and I hope not more often, but on the occasion of my discovery I was doing so at someone else’s behest: in preparation for a new book, my publishing house had asked me to compile a portfolio of reviews of my previous books. As I scrolled through the search results, hunting for newspaper and magazine URLs, I became aware that I was seeing the same words and sentence fragments over and over again in the highlights at the top of each hit. “Eating…” “…communion…” “ …hospitality in general…” The combination sounded vaguely familiar. I finally tracked down the full quote at Goodreads.
The book, The Duchess Who Wouldn’t Sit Down, from 2003, is an anecdotal history of hospitality in Western civilization, in reverse chronological order from Nazi Germany to Homeric Greece. The sentence, hidden deep within the body of the book and in no way positioned to draw attention to itself, reads as follows:
Eating, and hospitality in general, is a communion, and any meal worth attending by yourself is improved by the multiples of those with whom it is shared. Read More >>