August 22, 2011
The Null Set

As long as this is a blog temporarily devoted to David Foster Wallace, this piece by Keith Gessen (which Maud Newton linked to in her essay below) is also very good. I’ll resume pushing Leaving the Atocha Station on you shortly.

June 17, 2011
"Interactivity sabotages storytelling. There is no longer any use arguing to the contrary."

— Tom Bissell, over at Grantland, reviewing L.A. Noire. His book Extra Lives, which is about video games and is great, is just out in paperback. 

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Filed under: Long Reads 
June 6, 2011
"We need a sympathetic community within which to realize our individuality. Social media tends to turn that effort to preserve that community into the pursuit of fame. And when we pursue fame, our behavior devolves into the familiar forms of self-commodification. We replace the pleasure of what we do with fantasies about the measurable notoriety we imagine we’ll reap. Social-media companies don’t facilitate community any more than fast-fashion companies elevate style; they cater to the fantasy of being a celebrity, the impossible dream of a mass audience for everyone. With that we either beat a retreat into vicarious fantasy or end up squarely in the realm of the creative class and its fiefdom of cool."

— From “The Accidental Bricoleurs,” Rob Horning’s essay on fast fashion (H&M, Uniqlo, Zara, etc.) and the internet, for n+1.

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Filed under: Long Reads 
May 22, 2011
"I believe, at a very fundamental level, that words are electrical. The generation of words is an expression of electrical energy. The reason storytelling engages us perhaps more fully than other kinds of communication is because the words in a story can mean in different ways. They contain their opposites. In that scene—‘Swearengen!’ ‘Cocksucker!’—we understand how provisional the meaning of a word is and that its fundamental meaning is contingent upon the energy with which it’s endowed by the speaker. Energy is a gossamer and intangible and variable commodity, and words in a story are more clearly contingent and variable than words in a proof. The highest form of storytelling, it seems to me, is mathematics—where literally the signs contain within themselves the most violent and basic form of energy. Einstein understood that if he was able to sign correctly he would experience the secret of energy. He was telling himself a story with those signs, and he said, ‘All I want to understand is the mind of God.’ Now, I don’t want to understand it; I want to testify to it. I believe that we are all literally part of the mind of God and that our sense of ourselves as separate is an illusion. And therefore when we communicate with each other as a function of an exchange of energy we understand not because of the inherent content of the words but because of how that energy flows. So Dority says, ‘I can’t understand you, Wu. Fucking language. I just can’t do it.’ And what he’s saying is ‘I’m trying. I’m trying.’ And then they work something out."

— I know I’m late to the Deadwood game—six years late, I guess—but this 2005 New Yorker profile of the berserk genius David Milch is incredible. Quoted above is his explication of scene that is mostly two dudes yelling “cocksucker!” at each other’s faces.

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