December 1, 2016 On the Shelf Robots Are Superior Buddhists, and Other News By Dan Piepenbring That’s a good robot. Whenever someone asks me how I’m doing, I say, Good! The robots haven’t eradicated me or my species yet! I’ve been going on this way my whole adult life—but now Genevieve Bell, an anthropologist who studies tech, has convinced me that my real fear isn’t the robots. It’s staring right back at me when I look in the mirror. “Western culture has some anxieties about what happens when humans try to bring something to life … What we are seeing now isn’t an anxiety about artificial intelligence per se, it’s about what it says about us. That if you can make something like us, where does it leave us? And that concern isn’t universal, as other cultures have very different responses to AI, to big data. The most obvious one to me would be the Japanese robotic tradition, where people are willing to imagine the role of robots as far more expansive than you find in the West. For example, the Japanese roboticist Masahiro Mori published a book called The Buddha in the Robot, where he suggests that robots would be better Buddhists than humans because they are capable of infinite invocations … Mori’s argument was that we project our own anxieties and when we ask: ‘Will the robots kill us?’ what we are really asking is: ‘Will we kill us?’ ” The CIA tried for years to assassinate Castro—with a poison pen, an exploding underwater seashell (I’m not making this shit up), and a cigar tainted with botulism. It was only fair that the New York Times began drafting his obit in 1959: for a minute there it seemed as if he was not long for this world. Now the Times remembers its many false alarms: “The development of the Castro obituary is as legendary as the man himself. Countless colleagues—spanning many different technologies and platforms—have massaged it and passed the baton. Each of the many death scares gave us the opportunity to dust off the package and reassess our digital strategy based on ever-changing audience consumption habits and storytelling tools.” Read More
November 30, 2016 Look Foreign Body By Dan Piepenbring Hurvin Anderson’s exhibition “Foreign Body” is at Michael Werner Gallery in New York through January 14. Anderson is a British painter of Jamaican descent: “The first time I went to Jamaica, I was fourteen,” he told Sotheby’s a few years ago. “My elder siblings all came from there and I got to know the island through them. I wasn’t born there, so I didn’t actually fit in. I feel more British than Jamaican at times and vice versa. My painting is a dialogue between these two territories—trying to get these two places to meet. Hurvin Anderson, Studio Drawing 9, 2012, acrylic on drafting film, 19″ x 33″. Read More
November 30, 2016 From the Archive Who’s This “Borges” Guy? By Dan Piepenbring Our new, redesigned website marks the debut of our complete digital archive: now subscribers can read every piece from The Paris Review’s sixty-three-year history. Subscribe now and you can start reading 0ur back issues right away; you can also try a free ten-day trial period. Read More
November 30, 2016 Our Correspondents On Swift By Anthony Madrid William Powell Frith, Jonathan Swift and Vanessa, 1881. Jonathan Swift is 349 years old today. Which is to say he’s beginning his 350th year. What was he anyway? Or never mind what he was; what did he think he was? Did he think he was mainly the author of Gulliver’s Travels—? Did he think he was a journalist? Deep down, did he consider himself mainly a “Church of England man”? Maybe. I don’t believe he would have said, I am a satirist. I don’t think he thought that was a job. Or a life. Perhaps he mainly thought he was the cat who walks through the Wet Wild Woods, waving his wild tail and walking by his wild lone. Heaven knows that’s what I think, but I want to know what he thought. We know what Thomas Jefferson thought Thomas Jefferson was. He designed his own grave marker and spelled everything out: Read More
November 30, 2016 On the Shelf High on Hunter’s Supply, and Other News By Dan Piepenbring Why not smoke what this guy did? Even when an author’s life is over, his lifestyle can live on. I don’t mean through his books—I’m not some starry-eyed undergrad! No, I mean through merchandise. Hunter S. Thompson died in 2005, but his widow, Anita Thompson, is now ready to bring his estate into the emerging market of boutique cannabis strains: a more lucrative field than any kind of publishing could be. Andrew Travers reports, “Thompson said she … saved six different strains of cannabis that the Fear and Loathing in Las Vegas author actually smoked. She is now working with a cannabis company to grow those strains—or hybrids of them—and sell them to the public. She said she was glad that she held off on partnering on a marijuana brand until it could be done right … ‘I was always steering toward his work and away from his lifestyle, but now I feel like I can talk more openly about his lifestyle,’ she said. ‘I’m proud to do it now. Before, it was a little too risky.’ She added with a laugh: ‘I’m looking forward to being a drug lord.’ ” (No word yet on whether he was an indica or a sativa guy.) Today in small marvels of directorial dedication: Pedro Almodóvar. Here, at last, is a director willing to go the distance with his actors. Per D. T. Max: “Almodóvar goes to remarkable lengths to offer guidance. In 1985, he was filming the final scene in Matador, with Assumpta Serna. He was not sure whether Nacho Martínez, playing the wounded matador who was about to make love to her, should graze her crotch directly with his mouth or do so with a rosebud between his teeth. Almodóvar tried it out himself. ‘I realized it was better to put some distance between the actor’s tongue and the girl’s sex,’ he said, during an appearance on a Spanish talk show. ‘I do it all,’ he added.” Read More
November 29, 2016 From the Archive Giacometti at the Auto Show By Dan Piepenbring The 1955 Citroen DS Our new, redesigned website marks the debut of our complete digital archive: now subscribers can read every piece from The Paris Review’s sixty-three-year history. Subscribe now and you can start reading 0ur back issues right away; you can also try a free ten-day trial period. Read More