{"id":89884,"date":"2015-09-17T09:09:08","date_gmt":"2015-09-17T13:09:08","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=89884"},"modified":"2015-09-17T12:05:07","modified_gmt":"2015-09-17T16:05:07","slug":"pointless-shiny-things-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/09\/17\/pointless-shiny-things-and-other-news\/","title":{"rendered":"Pointless Shiny Things, and Other News"},"content":{"rendered":"<div id=\"attachment_89885\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/pqfui04interestingdots.gif\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-89885\" class=\"wp-image-89885\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/pqfui04interestingdots.gif\" alt=\"\" width=\"600\" height=\"600\" \/><\/a><p id=\"caption-attachment-89885\" class=\"wp-caption-text\">Peter Quinn, via Hyperallergic<\/p><\/div>\n<ul>\n<li>Our culture\u2019s obsession with design has led to a lot of useless flash, especially on the Internet, where things glide, slide, swoop, pulse, and occasionally dance across the screen. The artist Peter Quinn <a href=\"http:\/\/hyperallergic.com\/231509\/flickery-nonsense-for-the-overworked-motion-designer\/?wt=2\" target=\"_blank\">parodies user interfaces and their ornaments<\/a>, including \u201csuch high-action gibberish as \u2018nice, but useless circle,\u2019 frenetic \u2018pointless graphs,\u2019 \u201d and other such forms of \u201cflickery nonsense.\u201d<\/li>\n<li>Before Thomas Pynchon <a href=\"http:\/\/thebegats.tumblr.com\/post\/129234224363\/the-literary-pedigree-of-the-author-thomas\" target=\"_blank\">there was William Pynchon, his ancestor, who was also stirring up literary trouble<\/a> of a sort: in 1650 he published a pamphlet, <em>The Meritorious Price of our Redemption<\/em>, which \u201cwas not in full agreement with the Reformed position on Christ\u2019s atonement \u2026 the Massachusetts Bay General Court took notice of the book, describing it as\u00a0\u2018containing many errors &amp; heresies generally condemned by all orthodox writers that we have met with\u2019 and ordering\u00a0\u2018the said book to be burned in the market place, in Boston, by the common executioner.\u2019 Pynchon was forced to issue a retraction.\u201d<\/li>\n<li>Valeria Luiselli\u2019s <em>The Story of My Teeth<\/em> is a novel, and an essay, and an attempt at a new kind of collaboration\u2014written with factory workers at Grupo Jumex, a juice factory in Mexico City. \u201cLuiselli constructed the book as \u2026 <a href=\"http:\/\/flavorwire.com\/537568\/the-art-of-the-novel-essay-valeria-luisellis-radically-collaborative-the-story-of-my-teeth\" target=\"_blank\">a serialized fiction that invited the input of the factory workers<\/a>. The process was simple. She wrote an installment of the novel, and the factory workers organized a space to read and discuss it. Recordings of their commentaries, as well as images of local landmarks, were then sent back to Luiselli, who would listen to their notes and view the pictures before writing the next section. The formula for the novel, as Luiselli describes it: \u2018Dickens + mp3 \u00f7 Balzac + jpeg.\u2019 \u201d<\/li>\n<li>In which <a href=\"http:\/\/www.lrb.co.uk\/v37\/n18\/andrew-ohagan\/at-tottenham-court-road\" target=\"_blank\">Andrew O\u2019Hagan attempts to cross the street<\/a>: \u201cFor some weeks now I\u2019ve been standing at St Giles Circus\u2014the junction of Tottenham Court Road, Oxford Street, New Oxford Street and Charing Cross Road\u2014watching people try to pass from one side of the road to the other \u2026 People set out when the green man appears and before they get halfway they are running on red, and very few of them know there are cars about to stream onto the crossing from three blind corners, and many of the drivers are quite unaware of the existence of a crossing twenty yards ahead \u2026 We might forget that living in a big city means submitting to a lot of rules about how to live in a big city. You can\u2019t park, you can\u2019t wait, you can\u2019t cross, you must queue, you\u2019re being filmed. There are rules, zones, fines. People in the country don\u2019t have that, and urban dwellers might, at some level, always be looking for strategies that could justify their basic refusal to conform. I thought of that as I watched a man in a business suit climb over two sets of barriers to cross the road. He just wouldn\u2019t walk the extra few meters to be told what to do by an electronic system.\u201d<\/li>\n<li>My dad was named Gary. Gary Sernovitz is also named Gary, and he\u2019s not happy about it: \u201c<a href=\"https:\/\/nplusonemag.com\/online-only\/online-only\/google-and-the-g-thang\/\" target=\"_blank\">To watch television or movies as a Gary is to know pain<\/a>. When writers can\u2019t think of a joke, when they want to quickly convey character\u2014or chinless lack thereof\u2014they reach to my punchline first name for the bad blind date, the sad sack, the noodge. Garys rarely even rise to the level of real characters, in our culture, but when they do, they don\u2019t lose their essential pathetic Garyness \u2026 Gary is a box of day-old donuts on the grab bag table, sitting among the names favored by rising immigrants groups, fearless parents, and people who should be prosecuted for Naming Under the Influence.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Our culture\u2019s obsession with design has led to a lot of useless flash, especially on the Internet, where things glide, slide, swoop, pulse, and occasionally dance across the screen. The artist Peter Quinn parodies user interfaces and their ornaments, including \u201csuch high-action gibberish as \u2018nice, but useless circle,\u2019 frenetic \u2018pointless graphs,\u2019 \u201d and other such [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[1734,9285,19462,19463,1050,9295,19459,4386,19460,13781,19461],"class_list":["post-89884","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-andrew-ohagan","tag-coolness","tag-crossing-the-street","tag-gary-sernovitz","tag-london","tag-names","tag-peter-quinn","tag-thomas-pynchon","tag-user-interfaces","tag-valeria-luiselli","tag-william-pynchon"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Taking Apart the Glitz and Glamour of Modern Websites<\/title>\n<meta name=\"description\" content=\"Peter Quinn&#039;s animations mock our lust for slick, purposeless design. 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