Roy Christopher – Page 14 – Roy Christopher

May 24, 2013

Keep Your Distance Close: Maps and Monographs

I grew up moving around. From my birth to my high school years, my family moved at least once every two years. There’s no way to gauge how much that forced mobility shaped me as a person, but it certainly made me unafraid to pick up and go somewhere else.

The day after my last final of my undergraduate studies, I moved out of my parents house, from the bucolic plains of southeast Alabama to the Cascadian coast of the Pacific Northwest. I’ve moved more times than there have been years since then and even more than I did growing up. Seventeen of those twenty-odd treks have been state-to-state moves.

Map Bookshelf by Ron Arad

There are certain things you learn from a life on the road. You learn to keep your life lean (except perhaps for the literary indulgences; books tend to be the bulk of any of my many moves), you learn to pack what you keep efficiently, you learn to make new friends and keep in touch with old ones, and you learn how to read a map.

In The Faraway Nearby (Viking, 2013), Rebecca Solnit addresses all of the above with the intricacy and intimacy for which she is known. Even the books, about which she writes, “Before writers are writers they are readers, living in books, through books, in the lives of others that are also the heads of others, in that act that is so intimate and yet so alone” (p. 61). And in another passage that deserves quoting at length, she writes,

This is the strange life of books that you enter alone as a writer, mapping unknown territory that arrises as you travel. If you succeed in the voyage, others enter after, one at a time, also alone, but in communion with your imagination, traversing your route. Books are solitudes in which we meet (p. 54).

There are several intertwining allegories threading through The Faraway Nearby. One is about a windfall of apricots rotting slowly on the floor of Solnit’s bedroom, and that story is connected to the very dire story of the diminishing mind of her mom. Overall though, the book is about moving, about going, coming, and becoming, the crisis of living where cartographers have yet to tread, losing your way and finding it again. Every time it feels like the story of her troubled relationship with her mother is getting more alienating than engaging, Solnit drops a paragraph like this one:

My survival depended on mapping her landscape and finding my routes out of it. We are all the heroes of our own stories, and one of the arts of perspective is to see yourself small on the stage of another’s story, to see the vast expanse of the world that is not about you, and to see your power, to make your life, to make others, or break them, to tell stories rather than be told by them (p. 29).

Her ability to connect the mundane to the monolithic is time and again why she’s one of the more reliable voices in cultural history and criticism and remains one of my very favorite writers.

“What size is representation?” Solnit asks, “No size at all, for we get used to seeing satellite photographs of continents the same size as snapshots of babies” (p. 92). If Solnit’s book is about the territory of living itself, then Laura Kurgan’s Close Up at a Distance (Zone Books, 2013) is about the representation, the technologies, the map itself. And it’s beautiful in a completely different way. Kurgan, who runs the Spatial Information Design Lab, directs the Visual Studies program, and is an Associate Professor of Architecture at Columbia University, is not only close with mapping technologies but also quite critical of their shaping how we see the world. “The consumers of generally available satellite imagery,” she writes, “or even the ones who download images for a price from a commercial satellite database, will never know who has tasked a satellite to take a picture (unless they did it themselves) in order to see something close up, but from far away” (p. 20).

The problems of perspective that Solnit mentions above are evident in Kurgan’s critiques. As much as they reveal, remote sensing and imaging technologies remove us from the grit and grind of the realities on the ground. Kurgan investigates these processes through nine case studies, from the images of earth shot from space (i.e., Earthshine and Blue Marble) to satellites over Manhattan on 9/11. Kurgan writes, “The ease with which we can conduct these experiments often hides the reasons for the existence of the images in the first place,” (p. 20), military purposes often being the most nefarious. As Braun (2005) puts it, “…media should never be understood only through their superficial characteristics or merely as interfaces: Certain ideas of reality, society, and subject are always encoded in them” (p. 73). The assumed objectivity of these images is suspect, as they mediate (i.e., insert themselves into) our view, obscuring our ability to accurately interpret what we see.

What the map cuts up, the story cuts across. — Michel de Certeau

However tempting it might be to call Solnit’s book the micro-view and Kurgan’s the macro-, or one about life lived up close and the other at a distance, both are intimate narratives of their subject matter. New books, new stories, new places, new cities can all be a challenge, but dealing with them is manageable and fun. You learn the characters, learn the tropes, learn the plot, learn the map, learn the landmarks, learn the major thoroughfares and cross-streets, and learn when it’s okay to get a little lost.

References:

Braun, Reinhard. (2005). From Representation to Networks: Interplays of Visualities, Apparatuses, Discourses, Territories, and Bodies. In Annmarie Chandler & Norie Neumark (Eds.), At a Distance: Precursors to Art and Activism on the Internet. Cambridge, MA: The MIT Press, pp. 72-87.

de Certeau, Michel. (1984). The Practice of Everyday Life. Berkeley, CA: University of California Press, p. 129.

Kurgan, Laura. (2013). Close Up at a Distance: Mapping, Technology, and Politics. New York: Zone Books.

Solnit, Rebecca. (2013). The Faraway Nearby. New York: Viking.

—————

Many thanks to Ken Wark for suggesting I review these two titles in tandem.

May 22, 2013

Rotten With Perfection: Deafheaven’s Sunbather

Some of my favorite records are the ones where a band leaps outside the bounds of their past and tries something their fans might not dig. I’m thinking of post-Until Your Heart Stops Cave In (Jupiter polarized their existing fans, while Antenna proved they were onto something new), Corrosion of Conformity’s definitively metal years (starting with Blind, but culminating in the Pepper Keenan-led Deliverance and Wiseblood), and even Kill Holiday’s swan song (Somewhere Between the Wrong is Right, on which they abandoned aggressive hardcore for an energized gothic-pop sound, by turns reminiscent of The Smiths, The Cure, and Ride). Sunbather doesn’t stray from the Deafheaven signature sound but strengthens it instead, and it reminds me of the things I love about the ill-fated albums above. Whether it was growing pains or genre strains, those bands all sacrificed something to pave the path for odd weldings and meldings of metal like this.

Deafheaven

If Mayhem and Mogwai collaborated on a record in some other universe and someone brought it back to ours, it might sound like Sunbather. If Immortal and My Bloody Valentine melted into one smooth mound of blast beats and gauzy guitar, it might sound like Sunbather. If Emporer and Explosions in the Sky had naughty, noisy sex, it might sound like Sunbather. If Taake and Flying Saucer Attack collided head-on in midair at a thousand miles an hour in slow motion, it might sound like Sunbather.

Of course, Sunbather doesn’t and wouldn’t really sound like any of that nonsense, but the marriage of shoegazing and black metal makes a lot of sense. A match made made somewhere south of heaven, both subgenres are about meditation, contemplation, and introspection, in sharp contrast to the pomp and posturing of their rock forebears. While Deafheaven is easily among the best, they’re not the only outfit doing this misfit sound: Wolves in the Throne Room, Altar of Plagues, Light Bearer, Falls of Rauros, Panopticon, Liturgy, Krallice, and Seidr, among many others, are all bashing and bastardizing black metal into something else entirely.

When genre-specific adjectives fail, we grasp at significant exemplars from the past to describe new sounds. Following Straw (1991), Josh Gunn (1999) calls this “canonization” (p. 42): The synecdochical use of a band’s name for a genre is analogous to our using metaphors, similes, and other figurative language when literal terms fall short. Where bands sometimes emerge that do not immediately fit into a genre (e.g., Radiohead, dälek, Godflesh, et al.) or adhere too specifically to the sound of one band (e.g., the early 21st-century spate of bands that sound like Joy Division), we run into this brand of genre trouble. Even with a space seemingly cut out for them by a family of description-defying groups, Deafheaven is likely to work loose from any label applied to their sound.

Neither the bands nor the fans come up with these categories anyway. If it moves us, we don’t care what you call it. With renewed focus and fury, Deafheaven moves. George Clarke’s vocals have never sounded more shredded or sincere, and Kerry McCoy’s guitar work is driving, diving, and daring. The addition of Daniel Tracy on drums tightened the trio into an ensemble capable of new leaps, depths, textures, and sophistication. In spite of their often caustic heaviness, there’s a pop sensibility in there that can’t help but shine through.

“You might come across American black metal and see a greater tendency to humanize the terms, which may seem somewhat contradictory,” says He Who Crushes Teeth from California’s Bone Awl, “But I think an unknown goal in American black metal is to level the vocabulary and draw attention to the fact that nothing is outside of humanity” (quoted in Masciandro, 2010, p. 152). Kenneth Burke (1966) defined the human as “the symbol using, making, and mis-using animal, inventor of the negative, separated from his natural condition by instruments of his own making, goaded by the spirit of hierarchy, and rotten with perfection” (p. 16). The very Burkean phrase “rotten with perfection” is an apt description of Sunbather, not only in its intent but also in its execution. “The ‘Sunbather’ is essentially the idea of perfection,” Clarke tells National Underground. “A wealthy, beautiful, perfect existence that is naturally unattainable and the struggles of having to deal with that reality because of your own faults, relationship troubles, family troubles, death, etc.” (quoted in Glaser, 2013). Balancing ambitions for more with appreciating what we have is a definitively human struggle.

“If you let go of the idea of perfection,” Anna Chlumsky once said, “a lot of beauty can happen.” Thankfully with Sunbather, Deafheaven endeavor to bring us both.

————–

Here’s a brief peek into the making of Sunbather, which comes out June 11th on Deathwish, Inc. [runtime: 7:53]:

Ie_6P3h-inc

————–

References:

Burke, Kenneth. (1966). Language as Symbolic Action. Berkeley, CA: University of California Press.

Glaser, Anthony (2013, March 11). Interview: Deafheaven. National Underground.

Gunn, Josh. (1999, Spring) Gothic Music and the Inevitability of Genre. Popular Music & Society, 23, 31-50.

Masciandro, Nicola. (ed.) (2010). Hideous Gnosis: Black Metal Symposium 1. New York: CreateSpace.

Straw, Will. (1991). Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music. Cultural Studies, 5(3), 361-75.

May 6, 2013

Ill Communication: Gary Genosko on Models

“The single biggest problem with communication is the illusion that it has taken place,” playwright George Bernard Shaw once quipped (quoted in Caroselli, 2000, p. 71). Whether Shaw was being silly or snarky, the impossible exchange of meaning and messages is troublesome for communicators and communication scholars alike. Critiquing the standard Shannon and Weaver model of communication, Jean Baudrillard (1981) wrote, “We must understand communication as something other than the simple transmission-reception of a message, whether or not the latter is considered reversible through feedback” (p. 169). The model was originally published by Shannon in 1948 in the July and October issues of the Bell System Technical Journal (and the next year in his book with Weaver), yet it still lingers in communication studies theories, textbooks, and other models.

In Remodelling Communication: From WWII to the WWW (University of Toronto Press, 2012), Gary Genosko tackles the Shannon and Weaver model as well as just about every other widely accepted model of communication. Stuart Hall, Roman Jakobson, and Umberto Eco undergo the pressure of scrutiny as well. Genosko also uses Baudrillard to critique other communication theory, from McLuhan and Marx to Deleuze and Guattari. “For Baudrillard,” he writes, “technology’s role is to ‘operationalize’ everything, including philosophical concepts, so that ‘nothing ever really takes place, since everything is already calculated, audited, and realized in advance'” (p. 82). Like the promise of so-called “big data” turned against us, we just become fields in a spreadsheet, bits in a box. Dominic Pettman (2013) terms it a “claustrophically overcoded – thus predictable – world” (p. 63), from which he suggests using a rabbit totem to escape. These collected concerns – of technology obscuring even the possibility of communication – illustrate just how outmoded the models we’ve been using have become.

With my own remodeling aspirations close at hand, I read this book with intense interest. Having read two of Genosko’s previous books, Undisciplined Theory (Sage, 1998) and McLuhan and Baudrillard: The Masters of Implosion (Routledge, 1999), I knew this would be a wide-ranging and deeply thoughtful text. I often find the indecipherable academese of Genosko’s forebears (e.g., Félix Guattari has been the topic of several of Genosko’s books in the meantime) needlessly complex and often downright annoying. Even Baudrillard, whom I rather enjoy, frequently fails at being anything close to clear. Genosko avoids that here for the most part, but, for instance, he writes in his concluding chapter,

The historico-technological arc from WWII to the WWW sketched the transit into a post-representational configuration of communication in a controlled encounter with what might seem to be chaotically de-territorializing, but that ensured no easy recourse to the metaphysical certainties of existing communication models (p. 131).

I realize that sentence is taken out of context, but I can’t help but think there’s a simpler way to articulate those same ideas. This is a book about communication. As lively and interesting as it is, the book falls short of remodeling much of anything. It does, however, provide an excellent survey and critique of existing communication models and a mostly clear parsing of some rather dense communication theory. Genosko is not for the faint of mind, but Remodelling Communication is a perfect introduction to his substantial and growing body of work.

References:

Baudrillard, Jean. (1981). For a Critique of the Political Economy of the Sign. St. Louis, MO: Telos Press.

Caroselli, Marlene. (2000). Leadership Skills for Managers. New York: McGraw-Hill.

Genosko, Gary. (2012). Remodelling Communication: From WWII to the WWW. Toronto: University of Toronto Press.

Pettman, Dominic. (2013). Look at the Bunny: Totem, Taboo, Technology. Ropley Hants, UK: Zer0 Books.

Shannon, Claude E. & Weaver, Warren. (1949). The Mathematical Theory of Communication. Champaign, IL: University of Illinois Press.

—————-

Is the double-L in “remodelling” here the Canadian spelling?

May 5, 2013

Of Data Sets and Digital Humanities

I began my journey into computer use with the local library’s Apple II and my own Commodore Vic-20. It wasn’t long before I learned BASIC and upgraded to a Commodore 64. As advanced as those machines were for the time, they had no operating systems or internal storage to speak of. I mowed lawns and washed cars to buy accessories for my bedroom setup. First up was a cassette drive to save the programs that would previously disappear when I turned off my computer.
Commodore Datasette
I joined my first user group in the sixth grade. Equipped with my Datasette (Commodore’s cassette-driven external storage device), I was able to trade software with the more experienced programmers in the group. I was one of the only non-adults at those meetings. I distinctly remember the regular appearance of a contrivance called “the Octopus.” This thing connected many Datasettes to the same source thereby allowing the mass copying of whatever was on the master cassette tape. Admittedly, I was mostly collecting old arcade games, but the possibilities were exciting.

Speaking of, the next item on my list of peripherals was a modem. I had no idea what I was going to connect to, but the allure of far-flung databases was the stuff of my prepubescent dreams. The prospect of knowledge coming into my humble machine over the phone line was just amazing. Without a tangible goal or the money for long-distance charges, my interest faded, and BMX and skateboarding took sway over my days. I never got a modem, and my computer-fueled fever wouldn’t return until I started writing for magazines in the early 1990s. Thankfully others bit early by the bug weren’t so distracted.

The history of computing and connectivity since is far too lengthy and eventful to go into here, as are its impacts on academia, but so-called “big data” and the digital humanities have emerged recently as major arenas of scholarship and debate. Integrating new technologies into research is nothing unique, so getting past the buzzwords that often simply repackage old methodologies in new, digital boxes is the first step to figuring out what’s really new and novel. Debates in the Digital Humanities, edited by Matthew K. Gold (University of Minnesota Press, 2012), is a solid place to begin. This 500-page compendium interrogates the fledgling field from all angles: what it is, what it isn’t, how it’s done, and where it’s going. And it’s not just about how the research is done but also how it’s reported and shared. Each section in this book includes print versions of relevant blog posts. Everyone from Matthew Kirschenbaum, Alex Reid, and the always critical Ian Bogost to Lev Manovich, Mark Sample, and the inimitable Alan Liu–among many others–get in on establishing and critiquing the field. If you’re wondering what all the tweets are about, this book is definitely the place to start.

If you’d prefer to dive directly into the deep end, Switching Codes: Thinking Through Digital Technology in the Humanities and the Arts (University of Chicago Press, 2011) is an excellent companion to Debates in the Digital Humanities. Editors Thomas Bartscherer and Roderick Coover and their contributors drill down into the wild, wired, and weird. Each section here has a call-and-response format. Ian Foster, Albert Borgmann, and Bruno Latour and Adam Lowe (whose piece on the migration of the aura is especially interesting) are all here, Alan Liu makes an appearance via one of the responses, and there’s even an interlude card game designed by Eric Zimmerman (“Figment: The Switching Codes Game”)! Fun and games aside, Switching Codes leans toward the philosophical, making it essential for seeing the bigger picture through our increasingly bigger data sets.

My path eventually led me back to both computers and to scholarship, both of which thankfully advanced astronomically in my absence. I still have the Commodore Vic-20, the 64, and that old Datasette, but I now connect to databases with purpose and ease, and my own digital humanities work is informed by excellent books like these two.

—————

I must acknowledged that my personal hacker history here was spurred on by my current bedtime reading, Bruce Sterling‘s The Hacker Crackdown (Bantam, 1992), which is an excellent history of the darkside of digital humanity.

May 4, 2013

Vintage Vantage Points: Steampunk and Such

I’m not much of a collector. I move too much to lug around vast amounts of anything except books, but in the last few years I’ve amassed an archive of Omni Magazines. For the uninitiated, Omni was the weird precursor publication to magazines like Mondo 2000 and Wired. It also serves as a bridge between the old order of science fiction (i.e., space ships, interstellar exploration, cold-war oppression, etc.) and the brink of cyberpunk (i.e., networked computers, chip implants, nanotech, etc.), the latter of which emerged during the periodical’s print run (from October, 1978 to Winter, 1995). I hoard and read Omni for the same reason I read old computer books, hacker histories, and science fiction at all, for that matter, and I’m not alone.

Omni Magazines

Besides the sheer historical function of my stacks of Omnis, which provide an archive of thoughts hardly thinkable now, one of the reasons I enjoy digging through them is the alternative futures featured in their pages. Omni often asked Big Thinkers of the time for predictions. Most of the target years for these prophecies have come and gone, so looking back to look forward is fun, funny, and informative. For instance, in the January, 1987 issue, David Byrne is among 14 thinkers asked about technology 25 years ahead, in 2007. Some of the others include Bill Gates, Timothy Leary, and George Will. In the retro-future sprit, Matt Novak’s Paleofuture, another great source of alternative futures, posted Byrne’s pessimistic predictions in 2011.

Looking back to look forward, speculating about what might’ve happened had history taken a different turn is largely the premise of steampunk. Sometimes called allohistory, sort of a retro version of design fiction, it’s all about exploring an alternative take on how things have happened. In Vintage Tomorrows (Maker Media/O’Reilly, 2013), James H. Carrott and Brian David Johnson, a historian and a futurist respectively, take their opposing backgrounds on a journey through steampunk culture. Though usual suspects China Miéville, William Gibson, Bruce Sterling, and Cory Doctorow all show up in its pages, Vintage Tomorrows is less about the literature and more a global, ethnographic exploration of the whole culture. The gadgets, the costumes, and the reasons are all here in a highly readable, adventure-style form. Oh, steampunk is serious business, but fun is a big part of the focus. “Steampunk strikes me as the least angry quasi-bohemian manifestation I’ve ever seen,” says Gibson, “For god’s sake, it’s about sexy girls in top hats riding penny-farthing bicycles. And they’re all sweet as pie. There’s no scary steampunk.”

With that in mind, here’s an excerpt from my dissertation advisor Barry Brummett’s talk, “Jumping Scale in Steampunk: One Gear Makes You Larger, One Duct Makes You Small,” delivered on October 3, 2012 at our own The University of Texas at Austin [runtime: 4:34]:

qDM3U58OUEI

You might think collecting outmoded, outdated magazines is silly, that looking back to look forward seems completely wrongheaded, but, as Henry Jenkins points out in the foreword to Vintage Tomorrows, Christopher Columbus sailed west to get east. Looking back to find paths not taken can yield interesting results. New lands await.

April 30, 2013

Tales Rabbits Tell: Dominic Pettman’s New Book

Welsh naturalist Ronald M. Lockley spent a large chunk of his life on the rabbit-riddled island of Skokholm just southwest of Wales. When he found he could do better writing about rabbits than catching and breeding them, he wrote The Private Life of the Rabbit (Macmillan, 1964). The book, which is a detailed account of all rabbit activities and proclivities, has become the manual on rabbit life. It informed Richard Adams’ novel, Watership Down (Rex Collings, 1972), which is the rabbit adventure tale, about the ways and mores of leporid life. Fiver, the runt-rabbit guide embodies the spirit animal that bunnies have become in many mythologies, pop cultural contexts, and other great stories.
Rabbit
Rabbits extend far outside of the hillsides, downs, and Easter baskets in which we we typically envision them. Examples I can think of without too much effort include Bugs Bunny, Greg the Bunny, the Playboy Bunny, the Ray Johnson documentary How to Draw a Bunny (2002), Beatrix Potter’s Peter Rabbit, 8 Mile‘s B. Rabbit (played by Eminem), the rabbit hole of Lewis Carroll, Bambi’s pal Thumper, Echo and the Bunnymen, the Watership-Down mythology of Fall of Efrafa’s Warren of Snares, and the out-moded rabbit ears of broadcast television. As Susan E. Davis and Margo Demello (2003) write in their definitive Stories Rabbits Tell (Lantern, 2003),

…besides inhabiting forests, fields, backyards, and homes, they inhabit the realm of representation–in folklore and photos, on television and film, in gift stores and in literature. These fabricated rabbits may not tell us much about the lives of real rabbits, but they do tell us a great deal about how we think about rabbits and their place in society (p. 129).

Look at the Bunny: Totem, Taboo, Technology by Dominic Pettman (Zer0 Books, 2013) uses the rabbit as totem as a trope through which to interrogate our relationship with technology. Pettman explores the Heideggerian being-toward-death of the pooka in Harvey (1950) and Donnie Darko (2001), the overwrought sexuality of Who Framed Roger Rabbit? (1988), and the spectral haunting of the rabbits in David Lynch’s Inland Empire (2006). Like Frank the bunny in Donnie Darko, Pettman reads the rabbits both Of Mice and Men and Watership Down as guides: Looking at the bunny is looking into the future.

Skipping ahead, however, is not always a promising prospect. The Cassandra conundrum of seeing imminent catastrophe and having no one in the present believe you follows the prophet–rabbit or otherwise. The vagabond rabbits of Watership Down led by the frequently hysterical Fiver, Lennie, George, and Candy in Of Mice and Men led by a rabbit-ridden future vision, Donnie Darko led by his daylight hallucinations of Frank, and Elwood led by his imaginary Harvey are all held suspect by their peers. “The list of lapine totems, no doubt, could go on and on–which is partly my point,” Pettman writes (p. 63). Moreover, two more rabbit holes he mentions early in the book include “the bunny plot” and “the Easter egg.” The former is a nagging idea that won’t leave you alone until you write it out of there, and the latter, of course, refers to the hidden treats of media: DVD menus, websites, etc. Pettman writes,

Indeed, the notion of the Easter egg can be employed to reflect on the nature or possibility of significant surprises in a claustrophically overcoded – thus predictable – world. A world seemingly bereft of alternatives. Perhaps we need to enact rituals designed to encourage the magic bunny to break the tedious cultural algorithms that restrict every day – in the West at least – to a smooth series of anticipated rhythms. (After all, a predictable consumer is a docile and productive citizen.) Perhaps we should be finding inspiration from the temporal tricks of this particular totem to get access not to the material Easter eggs of fetishized commodities, but the hidden, virtual gift of the “something else”: an unprecedented experience, a unimagined possibility, an unanticipated alliance, and so on (p. 63).

A future seen eliminates the element of surprise. For the living being, it’s an ontological issue, one that Pettman explores from virtual rabbits to software, citing everyone from Eugene Thacker, McKenzie Wark, William Gibson, Marshall McLuhan, and N. Katherine Hayles, to Slavoj Žižek, Deleuze and Guattari, Vilém Flusser, and Giorgio Agamben. Make no mistake, this rabbit hole is deep.

Concluding, Pettman sums it up, writing,

The rabbit, Orc, penguin, avatar, angel, pixelated lover – even Paradise itself – all make appearances in the idiosyncratic virtual montage fashioned by this book. They are neototems for an era in which the monolithic notion of Nature is finally giving way to an understanding of ecology that includes computers as much as whales, and in which humans are just as likely to be sheep as shepherds (p. 164).

Far from the private life of the rabbit, its many public representations can show you the way. Totems can help us see the world with fresh eyes. So, next time you’re lost in the media matrix, wake up and follow the rabbit.

References:

Adams, Richard. (1972). Watership Down. London: Rex Collings.

Davis, Susan E., & Demello, Margo. (2003). Stories Rabbits Tell: A Natural and Cultural History of a Misunderstood Creature. New York: Lantern Books.

Lockley, R. M. (1964). The Private Life of the Rabbit. New York: Macmillan Publishing.

Pettman, Dominic. (2013). Look at the Bunny: Totem, Taboo, Technology. Ropley Hants, UK: Zer0 Books.

—————–

Rabbit drawings by Roy Christopher.

April 26, 2013

How Soon is Now? The Perpetual Present

When I was growing up, the year 2000 was the temporal touchstone everyone used to mark the advances of modern life. Oh, by then we’d be doing so many technologically enabled things: Cars would fly and run on garbage, computers would run everything, school wouldn’t exist. We were all looking forward, and Y2K gave us a point on the horizon to measure it all by. When it came and went without incident, we were left with what we had in the present. In Present Shock: When Everything Happens Now (Current, 2013), Douglas Rushkoff argues that the flipping of the calendar to the new millennium turned our focus from the future to the never-ending now. “We spent the latter part of the 20th Century leaning towards the year 2000, almost obsessed with the future, the dot-com boom, the long boom, and all that,” he tells David Pescovitz, “It was a century of movements with grand goals, wars to end wars, and relentless expansionism. Then we arrived at the 21st, and it was as if we had arrived.”

“We spent centuries thinking of hours and seconds as portions of the day,” he continues, “But a digital second is less a part of greater minute, and more an absolute duration, hanging there like the number flap on an old digital clock.” A digital clock is good at accurately displaying the time right now, but an analog clock is better at showing you how long it’s been since you last looked. Needing, wanting, or having only the former is what present shock is all about. It’s what Ruskoff calls elsewhere “a diminishment of everything that isn’t happening right now — and the onslaught of everything that supposedly is.” As the song goes, when you say it’s gonna happen “now,” well, when exactly do you mean?

Michael Leyton (1992) calls us all “prisoners of the present” ( p. 1), like runners on a temporal treadmill. He argues that “all cognitive activity proceeds via the recovery of the past through objects in the present” (p. 2), and those objects often linger longer than they once did thanks to recording technologies. In 1986 Iain Chambers described the persistence of the present through such media, writing,

With electronic reproduction offering the spectacle of gestures, images, styles, and cultures in a perpetual collage of disintegration and reintegration, the ‘new’ disappears into a permanent present. And with the end of the ‘new’ – a concept connected to linearity, to the serial prospects of ‘progress’, to ‘modernism’ – we move into a perpetual recycling of quotations, styles, and fashions: an uninterrupted montage of the ‘now’ (p. 190).

Needless to say that the situation has only been exacerbated by the onset of the digital. In one form or another, Rushkoff has been working on Present Shock his whole career. In it he continues the critical approach he’s sharpened over his last several books. Where Life, Inc. (Random House, 2009) tackled the corporate takeover of culture and Program or Be Programmed (OR Books, 2010) took on technology head-on, Present Shock deals with the digital demands of the now. A lot of the dilemma is due to the update culture of social media. No one reads two-week old Tweets or month-old blog posts. If it wasn’t posted today, in the last few hours, it disappears into irrelevance. And if it’s too long, it doesn’t get read at all. These are not rivers or streams, they’re puddles. All comments, references, and messages, and no story. The personal narrative is lost. It’s the age of “tl; dr.” The 24-hour news, a present made up of the past, and advertising interrupting everything are also all about right now, but our senses of self maybe the biggest victims.

“Even though we may be able to be in only one place at a time,” Rushkoff writes, “our digital selves are distributed across every device, platform, and network onto which we have cloned our virtual identities” (p. 72). Our online profiles give us an atemporal agency whereon we are there but not actually present. On the other side, our technologies mediate our identities by anticipating or projecting a user. As Brian Rotman (2008) writes, “This projected virtual user is a ghost effect: and abstract agency distinct from any particular embodied user, a variable capable of accommodating any particular user within the medium” (p. xiii). Truncated and clipped, we shrink to fit the roles the media allow.

Mindfulness is an important idea cum buzzword in the midst of all this digital doom. Distraction may be just attention to something else, but what if we’re stuck in permanently distracted present with no sense of the past and no time for the future? If you’ve ever known anyone who truly lives in the moment, nothing matters except that moment. It’s the opposite of The Long Now, what Rushkoff calls the “Short Forever.” Things only have value over time. Citing the time binding of Alfred Korzybski, the father of general semantics, Rushkoff illustrates how we bind the histories of past generations into words and symbols. The beauty is that we can leverage the knowledge of that history without going through it again. The problem is that without a clear picture of the labor involved, we risk mistaking the map for the territory.

James Gleick summed it up nicely when he told me in 1999,”We know we’re surrounding ourselves with time-saving technologies and strategies, and we don’t quite understand how it is that we feel so rushed. We worry that we gain speed and sacrifice depth and quality. We worry that our time horizons are foreshortened — our sense of the past, our sense of the future, our ability to plan, our ability to remember.” Well, here we are. What now?

The existence of this book proves we can still choose. In the last chapter of Present Shock, Rushkoff writes,

…taking the time to write or read a whole book on the phenomenon does draw a line in the sand. It means we can stop the onslaught of demands on our attention; we can create a safe space for uninterrupted contemplation; we can give each moment the value it deserves and no more; we can tolerate uncertainty and resist the temptation to draw connections and conclusions before we are ready; and we can slow or even ignore the seemingly inexorable pull from the strange attractor at the end of human history (p. 265-266).

We don’t have to stop or run, we can pause and slow down. Instant access to every little thing doesn’t mean we have to forsake attended access to a few big things. Take some time, read this book.

References:

Chambers, Iain. (1986). Popular Culture: The Metropolitan Experience. New York: Routledge.

Leyton, Michael. (1992). Symmetry, Causality, Mind. Cambridge, MA: The MIT Press.

Morrissey, Steven & Marr, Johnny (1984). How Soon is Now? [Recorded by The Smiths]. On Hatful of Hollow [LP]. London: Rough Trade.

Rotman, Brian. (2008). Becoming Beside Ourselves: The Alphabet, Ghosts, and Distributed Human Being. Durham, NC: Duke University Press.

Rushkoff, Douglas. (2013). Present Shock: When Everything Happens Now. New York: Current.

April 25, 2013

Mouth of the Architect: New Day Rising

When it comes to my musical interests, I find myself very prone to phases. Someone will ask me what’s good, and I’ll always have to qualify that I’m in the middle of some phase or another. I can spend months listening to nothing but prog rock (e.g., Yes, Rush, The Mars Volta, etc.), weeks researching post-punk (e.g., Joy Division, Talking Heads, etc.), post-rock (e.g., Mogwai, Jesu, God is an Astronaut, etc.), or a year digging the depths of black metal (e.g., Wolves in the Throne Room, Fall of Efrafa, etc.). Two genres seem to remain stable through all of this: Hip-hop and some strain of metal, and Mouth of the Architect has been in regular rotation since The Ties That Blind (Translation Loss, 2006). Along with Cult of Luna‘s Vertikal (Density Records) and Deafheaven’s Sunbather (Deathwish, Inc.), their forthcoming Dawning is one of my most anticipated records of 2013.

Mouth of the Architect

One night in the summer of 2010, I was driving to my parents’ house in Alabama listening to The Violence Beneath (Translation Loss, 2010). I was zoning out on the back roads, marveling at the many stars and massive moon in the sky. When the last song came on, I was surprised to know all of the words. It took half the track for me to realize it was Peter Gabriel’s “In Your Eyes.” Like any good cover song, it was true to the original version while being wholly its own.

While they get lumped in with the usual suspects of post-metal (e.g., Neurosis, Isis, Pelican, etc.), Mouth of the Architect’s sound is subtly different in distinctive ways. It’s metal and majestic, heavy and heavenly, gruesome and graceful, and difficult to describe in detail, but you’d be hard pressed to confuse them with anyone else. In what follows, I asked guitarist and vocalist Steve Brooks about the new record, cover songs, and their place in the loose subgenre they find themselves in. With families and the subsequent responsibilities, Dawning set for release from Translation Loss on June 25th, a tour imminent, and ten years honing their sound, it’s a new day and high time for Mouth of the Architect to rise and shine.

Roy Christopher: What did you guys do differently on Dawning from on previous records?

Mouth of the Architect: The process of writing and recording this new record was drastically different from any other record we have ever done. I guess the biggest difference would be that we recorded it all ourselves at our guitar player Steve’s studio, so a lot of it was worked out during the recording process. Also, we are almost never all in the same spot at the same time so a lot of it was written in short bursts, when we could get together, and then revise over the internet. We all have jobs, wives, other commitments, and now kids… so we can’t sit around whenever we feel like it and jam all day like we used to. So, we resorted to recording bits and pieces and emailing things back and forth… and it actually worked out pretty well! From the standpoint of songwriting, we did the same thing we always do but with a little different perspective. We are a little older now and while we still appreciate the heavy, doomy genre that we have always been classified in, we don’t necessarily feel that way all the time now, so we made the songs a little more laid back… a little more accessible… added some cool singing harmonies and whatnot. Surprisingly enough for us we found it more fun to play and sing these new songs, even if it is more difficult than screaming our bloody heads off on every song.

RC: Mouth of the Architect has been together for 10 years. Has the world changed or have you changed?

MotA: Yes and yes… I would say the band as a whole, us as individuals, and the world have all changed a lot over the last 10 years. Mouth of the Architect has continuously undergone member changes like it’s our job. Not to say that we like to change members all the time, but that is just the way it goes down. So, Jason and Dave are the only two original members left in the band now, though Steve and Kevin have been in for six or seven years now, too. As individuals there has been a marriage, a military deployment, serious injuries/surgeries, new businesses started, new bands started, and a new child born… So lots of big changes going on with us that has changed our attitude about life in general a bit. The world still sucks as much as it always has. We have just gotten a little older and more accepting of the suck.

RC: It seems like there’s more of a space for what you guys do now than there was early on.

MotA: I don’t know if I would say that there is more of a space for “post-metal” now or if there are just an abundance of bands doing it. We’ve been tagged with the “sounds like Neurosis and Isis” thing forever, and it’s just stupid. While I do see how Mouth of the Architect and other bands like Neurosis, Isis, Pelican, etc. would be considered to be in the same genre, I don’t make the connection that any of them are trying to sound the same or to be categorized. Every band is influenced by the music they like and there has been a lot of good stuff coming out in the last 15 years in this genre. So there have been more bands coming out that are influenced by all that good music, thus creating more of a “space” for it in the scene. You could say the same thing about “nu-metal” as well–even though everyone knows it’s garbage. I think our kind of doom/prog/post/rock/metal whatever has been relevant to the way a lot of people in our generation feel about life, and that is why it has become so prevalent and successful in the last 15 years ar so.

RC: What prompted the Peter Gabriel cover on The Violence Beneath?

MotA: We just like to do cover songs for fun. We had been going back and forth for a while about what song to do and couldn’t make a decision, so Jason and Steve kind of just decided to do a version of “In Your Eyes” to see how it would translate. Everyone was into it after they heard the rough draft so we just made the decision to do it and started jamming it at practice a little. That track was more of a studio project, like the new record. I think we only played it out twice. We have been trying to find another good one to do for a possible split release later on this year too. It’s just a lot of fun to do covers of songs we grew up with and make them our own.

RC: What else are you guys working on?

MotA: Musically, Steve has a solo project called This is What I Believe that you can find on Facebook, and Jason has a solo project called Rusted Hammer that you can find on Facebook as well. They merged those 2 projects into an audio visual show a couple of times that was pretty cool. Kevin Schindel is the frontman for Neon Warship and they have been doing really well lately. You can find them pretty much anywhere online. Right now we are just getting ready to hit the road with Mouth of the Architect for two months solid. Check out our Facebook page or our website for tour dates and any other updates. We are really excited to be going out with our good buddies in Intronaut again this year and getting back to Europe again.

RC: Anything else you’d like to bring up here?

MotA: We are really happy to be working with Translation Loss Records again on this new record, and I’d like to give a shout out to John Lakes, who will be filling on for Kevin Schindel on the upcoming tours. Check out our guitar player Steve’s recording studio, Sound Architect Studio, in Detroit on Facebook. Dave Mann also blows glass: Check out DaveMannGlass on Facebook as well. Really looking forward to seeing all of our friends from the road again this year. Thanks for the interview as well It’s been a while since we have done any touring, album release, interviews, and the like. It’s good to be back!

April 14, 2013

Building Stories: The Edifice Complex

The house I live in is warped. Its floors undulate as if built on unstable earth or designed by drunken architects. Pipes protrude at odd angles, capped at even odder points. Dutifully obeying gravity and the laws of physics, kitchen drawers and medicine-cabinet doors chronically hang open. I often wonder if the house slouched into this shape or if it was just built this way.

Peter Gabriel’s 1986 hit, “In Your Eyes,” was originally a song about buildings. It was called “Sagrada Familia,” and the idea stemmed from two people who were driven to build for very different reasons. “One of them was Antoni Gaudi building his masterpiece, the Sagrada Familia cathedral in Barcelona,” Gabriel told Rolling Stone Magazine. The construction of the cathedral took ages and was left unfinished when Gaudi was tragically killed in front of it: “He stepped out into the road so he would have a better view of the massive spires on top of the giant building and was hit by a tram.”

Like the house of breath, the house of wind and voice is a value that hovers on the frontier between reality and unreality.
— Gaston Bachelard, The Poetics of Space

“Cartoon is an enticing way to convey complexity,” opens Jimenez Lai’s Citizens of No Place (Princeton Architectural Press, 2012), an architectural graphic novel, which “offers narratives about character development, through which the reader can explore relationships, curiosities, and attitudes, as well as absurd stories about fake realities that invite new futures to become possibilities” (p. 7). Using manga to map future forms and dropping references to everyone from Chuck Palahniuk to Robert Venturi, the book is only one facet of Lai and his firm‘s critical design program (see his Briefcase House and White Elephant for two more examples, both of which guest star in the book as well).

The stories of Citizens of No Place are poignant, funny, and based on Lai’s own architectural ideas and life experiences. Lai is a professor at The University of Illinois at Chicago, my current home institution, and I hope to take my copy of his book to him and have him fix the cover in person.

All buildings are predictions.
All predictions are wrong.
— Stewart Brand, How Buildings Learn

The other subject of Peter Gabriel’s song about buildings was the heir to the Winchester rifle fortune, Sarah Winchester. Gabriel continues. “After the death of her daughter, she became incredibly depressed and, after seeing a medium, became convinced she was being haunted by all the people who had been killed by Winchester rifles. She started adding rooms to her mansion to house these ghosts, a task which went on nonstop for 38 years until her death.” She held her own house of leaves inside her head.

Chris Ware‘s latest comic seems haunted in the same manner. It’s not actually a single comic book, but a box of them–broadsheets, single strips that unfold four times, a Little Golden book, a hardback, several almost standard comic books–a nonlinear yet interconnected collection of strange stories about the inhabitants of an apartment building. Ware, who has already proven he can design in and draw on any style he pleases, told Comic Book Resources,

There’s no mystery to be unravelled or any hidden secret that will explain everything; the book is simply an attempt to recreate, however awkwardly, the three-dimensionality of our memories and to try to make a story than has no apparent beginning or end, much like our memories, which we can enter from any direction and at any point, which is also the way we get to know people, i.e., a little bit at a time. And yes, the title points both towards the way we put together and take apart memories to make stories about ourselves and others, as well as to the structure of a building itself.

Like a velvet glove cast in concrete, its pieces blown apart and strewn about, Building Stories leaves us to (re)construct the story like so many memories past. It’s not exactly a choose-your-own-adventure book, but, like our own patterned pasts, some assembly is required. Fortunately the parts were designed by one of the best artists working today.

“Every building is potentially immortal,” writes Brand (1994), “but few last half the life of a human” (p. 111). The same can be said of our stories. Whether forced or built this way, the house I live in struggles to tell its tale. Straining against Euclidian geometry, its odd rooms and angles are haunted only by the expectations of its inhabitants. Bachelard (1964) writes, “A house that has been experienced is not an inert box. Inhabited space transcends geometrical space” (p. 47). This jumbled house is certainly not inert, the current, humble site of my own building stories.

References:

Bachelard, Gaston. (1964). The Poetics of Space. Boston, MA: Beacon, p. 60.

Brand, Stewart. (1994). How Buildings Learn: What Happens After They’re Built. London: Viking, p. 178.

Danielewski, Mark Z. (2000). House of Leaves: A Novel. New York: Pantheon.

Lai, Jimenez. (2012). Citizens of No Place: An Architectural Graphic Novel. New York: Princeton Architectural Press.

Ware, Chris. (2012). Building Stories. New York: Pantheon.

———–

Special thanks to Jeisler Salunga and Belem Medina for the tip on Lai’s book and to all of my other architecture students for reminding me how cool this stuff is.

April 13, 2013

Shane Carruth’s Upstream Color

After years of trying to play the Hollywood game, Shane Carruth is finally back with a new film. That news on its own is enough to send cinema nerds scrambling for seats. Upstream Color, which Brian Rafferty at WIRED aptly calls, “beautifully baffling,” and about which Steven Shaviro tweeted, “wrenching, nearly impalpable. Left me dazzled, tongue-tied. Sort of the Martian riposte to Terence Malick? I don’t even..,” is definitely worth the wait. Carruth, who previously dazzled us with the self-produced, garage sci-fi thriller, Primer (2004), spent the years since trying to get a script called A Topiary made, which, even with the support of no less than Steven Soderbergh, never received the funding it needed. He was on hand at the Music Box Theater in Chicago last night and answered questions between screenings of his two films. Reluctant to offer up spoilers and background on the underlying elements of the story, he was additionally thwarted by the audience from doing so. Carruth did say that after all the time he wasted on A Topiary, he’s sold on the independent route he’s been following.

Upstream Color

Where Blade Runner (1982) uses memory as the basis for identity, gifting its android Replicants with an implanted past thereby giving them a sense of self, Upstream Color manipulates its characters’ lack thereof. Not knowing exactly what happened to you means not knowing exactly who you are. Both Kris (Amy Seimetz, who, among other things, was previously in Lena Dunham’s Tiny Furniture; 2010) and Jeff (Shane Carruth, who also co-starred in Primer) have experienced a trauma they don’t recall, and their spotless minds do not yield eternal sunshine. Their missing memory strips them of their subjectivity, which is then built back up again in incomplete layers, juxtaposed with suspicion, worry, and paranoia. It’s an allegory and a love story, but don’t go in trying to figure it out.

The hollow, breathless feeling I always choke down at the climax of Primer was evident throughout Upstream Color. If the grammar of Primer is mechanical, spurred on by engineers spending their off hours tinkering in the garage, then Upstream Color is organic, revealing itself through rote ritual, hypnotic motion, and passages from Walden. Where Primer was wordy, stacked with dialogue and guided by Aaron’s answering-machine voiceover, Upstream Color is primarily nonverbal, a collage of scenes, snatches of dialog, subtle sounds, and spacious music. As a composer, Carruth gave props to my favorite score of all time, Cliff Martinez’s Solaris (2002). Though both are beautifully sparse yet eerily unnerving, his own soundtrack for Upstream Color owes little to Martinez (Clint Mansell’s 2009 Moon score has cornered that debt).

Carruth promised not to keep us waiting another nine years for his next film, saying he’s hoping to start production on his next project, called The Modern Ocean, this summer.

———-

Here’s the official trailer for Upstream Color [runtime: 2:10]:

5U9KmAlrEXU