{"id":89068,"date":"2015-08-21T15:54:17","date_gmt":"2015-08-21T19:54:17","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=89068"},"modified":"2016-04-03T18:19:08","modified_gmt":"2016-04-03T22:19:08","slug":"staff-picks-robot-maids-airships-geocities","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/08\/21\/staff-picks-robot-maids-airships-geocities\/","title":{"rendered":"Staff Picks: Robot Maids, Airships, Geocities"},"content":{"rendered":"
\"\"<\/a>

From the cover of Past Futures<\/i>.<\/p><\/div>\n

Many of the past\u2019s technological prophesies\u00a0seem so quaint today\u2014nuclear-powered vacuum cleaners, urban\u00a0transportation via zeppelins, clean car emissions, robot maids\u2014and sometimes I\u2019m not sure there\u2019s intelligent life on this planet, much less another one. But I\u2019m heartened by the new book Past Futures: Science Fiction, Space Travels, and Postwar Art of the Americas<\/a><\/em>. It\u00a0served as the catalogue to a show at the Bowdoin College Museum of Art earlier this year, and part of its aim is corrective: though the United States and the Soviet Union were locked in the space race, they didn\u2019t have a monopoly on exploring imagined worlds and ideas. Artists and writers in Latin America in the 1960s and seventies were also giving thought to what might be. Mexican David Alfaro Siqueiros imagined the cosmic landscape in paintings like Earth as seen from the stratosphere<\/i>. Argentineans Ana Kamien and Maril\u00fa Marini choreographed a dance spectacle called Marvila the marvelous woman vs. Astra the super sneak from Planet Ultra and her destructive monster<\/em>. One of my favorites is Paraguayan Carlos Colombino\u2019s Cosmonaut<\/em>, made from oil on carved wood, in which a spaceman\u2019s face looks like it\u2019s being sucked out, tentacle-like, from his helmet. It\u2019s at once elegant and frightening, old and new\u2014like the future itself.\u00a0\u2014Nicole Rudick<\/strong><\/p>\n

There\u2019s an unexpected coup thirty minutes into Werner Herzog\u2019s\u00a0The White Diamond<\/em>. The protagonist\u2014Graham Dorrington, an aeronautical engineer who\u2019s brought his latest airship to Guyana for its inaugural launch\u2014is suddenly and irrevocably overshadowed by Mark Anthony Yhap, a local who\u2019s been hired to help with the project. You can sense it coming. Dorrington\u2019s enthusiastic affect, while endearing, has begun to spoil, and into the film\u2019s growing protagonistic void steps a new\u2014and more true\u2014Herzogian hero. Gazing up at the airship and reclining in a clear-plastic inflatable armchair, Yhap delivers\u00a0a Dude-esque monologue<\/a>\u00a0that completely refocuses the film. And, improbably, his appeal only grows from there: subsequent scenes depict his love for his red rooster and his habit of looking out at Kaieteur Falls through a single droplet of water. (Here, again,\u00a0he delivers another of his unforgettable lines<\/a>.) The film might not be\u00a0Herzog\u2019s greatest work, but Yhap alone makes it worth watching. \u2014Stephen Hiltner<\/strong><\/p>\n

\"Yhap\"<\/a>

From The White Diamond<\/i>.<\/p><\/div>\n

The Internet, as it matured, was bound to long for its low-tech past. For those who grew up on dial-up, it\u2019s been fascinating to watch the growing nostalgia for the Web of the nineties; what began as a couple of wistful listicles has exploded into an art form, one that critiques the branded monotony of social media by remembering the alarums and excursions of simpler times. Last year, Paul Ford\u2019s tilde.club<\/a> invited users to unshackle themselves from the tedium of Facebook by building simple, custom-programmed homepages that recalled the unpretentious spirit of early university Web sites; Windows 93<\/a> emulated the unstable, rough-edged aesthetic of Microsoft at its peak; and now comes Cameron\u2019s World<\/a>, a sprawling digital collage that comprises more than seven hundred gifs and graphics rescued from the defunct Yahoo! GeoCities community, which was, in its way, the original social network. Though it\u2019s easy to dismiss as a mere novelty, the collage, designed by the artist Cameron Askin, is a meticulous and weirdly affecting memento: it hearkens back to \u201ca time when a website really was a \u2018site,\u2019 \u201d as Askin told Hyperallergic<\/a>. \u201cA homepage was thought of as a second \u2018home.\u2019 There\u2019s more of a spatial sense to the online world.\u201d Compare that to today, when controlled environments like Facebook \u201ciron out many of the wilder intricacies of personal taste that used to define self-expression on personal homepages.\u201d \u2014Dan Piepenbring
<\/strong><\/p>\n

\"cameronworld-2-640\"<\/a>

From Cameron\u2019s World. Image via Hyperallergic<\/em>.<\/p><\/div>\n

Microfiction, flash fiction, super-shorts: whatever you call them, at first glance, these stories are the six-second Vine video to your feature-length film, just another symptom of the endemic crisis in \u201cart and attention\u201d (Birkerts) allegedly brought on by the digital age. True, they\u2019re peculiarly apt for the moment\u2014they find a natural home in the text, the tweet, the status update\u2014but a closer look at the genre\u2019s genealogy tells a different story. In the stories of his 1969 collection Black Sheep and Other Fables<\/a> <\/em>(La oveja negra y dem\u00e1s f\u00e1bulas<\/em>), Augusto Monterroso, one of the pioneers of the form, layers a poetics of pastiche over the foundations of the oral folktale, reaching as far back as Greek epic to create succinct comic allegories for the modern day. In \u201cPenelope\u2019s Cloth, or, Who\u2019s Deceiving Who,\u201d Horatian dictums are transformed to become the colloquial complaints of Ulysses\u2019s bored housewife; in \u201cThe Lightning that Struck the Same Place Twice,\u201d a crass commonplace is taken up and transformed. Short but searching, these stories gesture back to the preliterate past even as they anticipate a postmodern present. \u2014Chloe Currens<\/strong><\/p>\n

I have reservations about the seemingly cursed genre of rap biopics\u2014Notorious<\/em> lingers in the mind\u2014but I had to try Straight Outta Compton<\/a><\/em>. From an early tracking shot following a young Eazy-E out of the window of a raided drug house, it was clear the movie had been handled differently. The pacing sets it apart. Concert and performance sequences don\u2019t bog the film down in foggy nostalgia but seem to have a real danger and urgency\u2014you forgot that at one point playing \u201cFuck Tha Police\u201d was a radical political act. The conscious decision to don all-black attire foregrounds the sleek revolutionary air about them, like Black Panthers with Raiders caps. Yes, there are the briefly Bacchanalian sequences of success and excess (and why not?), but the movie quickly becomes far more about the embroiled destinies of rising kingpins and how to handle egos once you make it beyond an unlivable situation. \u2014Casey Henry<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Many of the past\u2019s technological prophesies\u00a0seem so quaint today\u2014nuclear-powered vacuum cleaners, urban\u00a0transportation via zeppelins, clean car emissions, robot maids\u2014and sometimes I\u2019m not sure there\u2019s intelligent life on this planet, much less another one. But I\u2019m heartened by the new book Past Futures: Science Fiction, Space Travels, and Postwar Art of the Americas. It\u00a0served as the […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[438],"tags":[19223,19221,4693,19225,19220,16288,19224,19226,19222,2216],"class_list":["post-89068","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-augusto-monterroso","tag-cameron-askin","tag-nostalgia-2","tag-nwa","tag-past-futures","tag-paul-ford","tag-straight-outta-compton","tag-the-white-diamond","tag-tilde-club","tag-werner-herzog"],"acf":[],"yoast_head":"\nStaff Picks: Robot Maids, Airships, Geocities by The Paris Review<\/title>\n<meta name=\"description\" content=\"August 21, 2015 \u2013 Many of the past\u2019s technological prophesies\u00a0seem so quaint today\u2014nuclear-powered vacuum cleaners, urban\u00a0transportation via zeppelins, clean car emissions,\" \/>\n<meta name=\"robots\" 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