Do not operate narrative machinery while being an asshole.
A B A B. Verse Chorus Verse Chorus. It’s pure aesthetic hedonism – someone who is pretty singing about something that is pretty within a context that is predictable and repetitive. Or if you’re a rebel – someone who is angry singing about something that is awesome within a context that is predictable and repetitive.
The big narrative going around right now is that design has been crowned king of the solar system. A Braun-esque super-future is in the works for 2012, and by Thanksgiving we’ll be downloading perfectly cuboid turkeys with rounded corners and all will be well.
The paraphrase of Gödel's Theorem says that for any record player, there are records which it cannot play because they will cause its indirect self-destruction.
My dear Mr. K., neither this poet, nor any of the others personally known to us, nor indeed any other poet has ever written anything great under the unadulterated influence of hard liquor. All good work arose in painstaking, painful sobriety, without any pleasant buzzing in the head. ‘I’ve always got ideas, but after vodka my head aches,’ Wyspianski said. If a poet drinks, it’s between one poem and the next.
what will happen when the MPAA buys the next SOPA? We can’t protest every similar bill with the same force. Eventually, our audiences will tire of calling their senators for whatever we’re asking them to protest this time. Eventually, we will lose. Such ridiculous, destructive bills should never even pass committee review, but we’re not addressing the real problem: the MPAA’s buying power in Congress. This is a campaign finance problem.
I think the large part of the function of the Internet is it is archival. It’s unreliable to the extent that word on the street is unreliable. It’s no more unreliable than that. You can find the truth on the street if you work at it. I don’t think of the Internet or the virtual as being inherently inferior to the so-called real. I genuinely do think that our great-grandchildren will ponder long... and hard on what it was that we might have meant when we made that distinction, because I don’t think they’ll have that distinction in the same way. They’ll have to go back and look at how fragmentary and low-res our interface devices were. Maybe they’ll play with those and go, I get it now, they had this equipment that barely worked.
It’s the perfect Gibson detail: a hybrid of high technology and magic wand. Everything he notices seems to be a this grafted onto a that. In these essays, we see a man fascinated by objects and places containing their own contradictions. It makes sense, then, that Gibson’s novels have helped promote several portmanteau words and neologisms, like “cyberspace,” into widespread English use. This is the essence of Gibson-think — anything can be a kind of portmanteau, a glued-together paradox.
Enter (I hope) the long sentence: the collection of clauses that is so many-chambered and lavish and abundant in tones and suggestions, that has so much room for near-contradiction and ambiguity and those places in memory or imagination that can't be simplified, or put into easy words, that it allows the reader to keep many things in her head and heart at the same time, and to descend, as by a spiral staircase, deeper into herself and those things that won't be squeezed into an either/or.