Advertisement
The Paris Review
Subscribe
Sign In
Remember me
Forgot password?
Sign In
Subscribe
The Daily
The Latest
Columns
The Quarterly
Issues
Interviews
Fiction
Poetry
Letters & Essays
Art & Photo
graphy
Authors
Podcast
About
History
Opportunities
Masthead
Prizes
Submissions
Media Kit
Bookstores
Events
Donate
Donate to
The Paris Review
Institutional Support
THE SPRING REVEL
Newsletters
Store
The Paris Review
The Daily
The Latest
Columns
The Quarterly
Issues
Interviews
Fiction
Poetry
Letters & Essays
Art & Photography
Authors
Podcast
About
History
Opportunities
Masthead
Prizes
Submissions
Media Kit
Bookstores
Events
Donate
Donate to
The Paris Review
Institutional Support
THE SPRING REVEL
Newsletters
Store
Sign In
Remember me
Forgot password?
Sign In
Subscribe
Sign In
Remember Me
Forgot password?
Sketches from an Artificial Mind, and Other News
By
Dan Piepenbring
November 14, 2014
On the Shelf
Not a fair fight: five robots sketch one man. Photo via Beautiful/Decay
A new collection of stories from the tenth-century Arab world
is agreeably unhinged
, particularly when it comes to sex. In “The Story of the Forty Girls and What Happened to Them with the Prince,” for instance, “a Persian prince stumbles across an enchanted castle run by a sorceress and her troop of warlike female cousins. Divested of their armor, the girls prove to be ‘more beautiful than the houris of Paradise,’ and queue up to enjoy his favors (naturally they are all virgins). Finally the sorceress offers herself to him, forbidding the prince—who is impressively not yet exhausted—from approaching any of the others again on pain of being imprisoned, tortured and loaded with iron chains; conditions to which he cheerfully agrees. That’s forty couplings, and then some, since the sorceress, having miraculously regained her virginity, presents herself for a second deflowering.”
If you’d prefer to keep things chaste, look to
love in the time of telegraphy
. The nineteenth century saw a vibrant subgenre of the romance in which telegraph operators flirted across the wires. “There’s something incredibly modern about these amateur stories and the way they handle technology, the influence of corporations, gender, and love in the time of hyperconnection.”
A history of the
New York Times
Style section
and its uncanny ability to court controversy: “For decades, many of us have used ‘reading the New York
Times
’ as a kind of performance, a shorthand to convey our seriousness or sophistication or social cachet, or yes, even our affluence. To read the
Times
daily, we think, is to signify that one is in this world, but not
of
We imagine ourselves the world’s observers, its makers, or even its collective conscience. We want to believe we are reading from far above the fray of Juicy Couture, or Botox, or any of a hundred other manifestations of rank consumerism, vanity and anxiety. The section instead is a jarring, insistent reminder of the folly of this fantasy. Styles, we are you.”
Novelists and musicians earn royalties on their work—visual artists don’t, meaning they receive nothing from multimillion-dollar deals involving their art. Art Royalties Too,
a new bill making its way through the congressional meat grinder
, will try to change that, but no one knows if it will pass. “Intellectual property is a very unusual area in Congress. As a general rule, you cannot predict where someone is going to be on an issue like this or on music licensing by knowing that he’s a Democrat or Republican.”
I wrote earlier this week about a robot that could give you the creepy sensation that someone is right behind you. But the world has no shortage of terrifying robots, and so now I give you this: Paul-IX,
a robot who can sketch with more talent and accuracy than most humans
. (If this robot teamed up with the other, it could get some great sketches of you looking creeped out.)
Last / Next
Article
Last / Next Article
Share