No. 16 - DFW on Williamson on Borges

I was just so excited to find another uncollected David Foster Wallace piece that I wanted to share it.

DFW on a 2004 biography of Borges

No. 15 - Coyote

Check out Time Out New York's great write up of Kayo Dot's new album, "Coyote" - made all the better by the inclusion of a preview track.

Lots of trumpets and bass!

No. 14 - DFW

Do the world a favor and read some David Foster Wallace today. You'll be better for it:

DFW on Federer

DFW on the hidden language war

DFW on David Lynch

DFW on cruise ships

DFW on growing up a (near) tennis prodigy

DFW on Kafka

No. 13 - Po-Mo

In my spare time, I read about postmodernism (p-r-e-n-t-e-n-t-i-o-u-s!). I find particularly interesting the differences between modernism and its bastard son. LET'S LEARN!

From "approaches to po-mo":

Modernism/Modernity	Postmodern/Postmodernity
Master Narratives and metanarratives of history, culture and national identity as accepted before WWII (American-European myths of progress). Myths of cultural and ethnic origin accepted as received.	Suspicion and rejection of Master Narratives for history and culture; local narratives, ironic deconstruction of master narratives: counter-myths of origin.
Faith in "Grand Theory" (totalizing explanations in history, science and culture) to represent all knowledge and explain everything.	Rejection of totalizing theories; pursuit of localizing and contingent theories.
Faith in, and myths of, social and cultural unity, hierarchies of social-class and ethnic/national values, seemingly clear bases for unity.	Social and cultural pluralism, disunity, unclear bases for social/national/ ethnic unity.
Master narrative of progress through science and technology.	Skepticism of idea of progress, anti-technology reactions, neo-Luddism; new age religions.
Sense of unified, centered self; "individualism," unified identity.	Sense of fragmentation and decentered self; multiple, conflicting identities.
Idea of "the family" as central unit of social order: model of the middle-class, nuclear family. Heterosexual norms.	Alternative family units, alternatives to middle-class marriage model, multiple identities for couplings and childraising. Polysexuality, exposure of repressed homosexual and homosocial realities in cultures.
Hierarchy, order, centralized control.	Subverted order, loss of centralized control, fragmentation.
Faith and personal investment in big politics (Nation-State, party).	Trust and investment in micropolitics, identity politics, local politics, institutional power struggles.
Root/Depth tropes. Faith in "Depth" (meaning, value, content, the signified) over "Surface" (appearances, the superficial, the signifier).	Rhizome/surface tropes. Attention to play of surfaces, images, signifiers without concern for "Depth". Relational and horizontal differences, differentiations.
Crisis in representation and status of the image after photography and mass media.	Culture adapting to simulation, visual media becoming undifferentiated equivalent forms, simulation and real-time media substituting for the real.
Faith in the "real" beyond media, language, symbols, and representations; authenticity of "originals."	Hyper-reality, image saturation, simulacra seem more powerful than the "real"; images and texts with no prior "original". "As seen on TV" and "as seen on MTV" are more powerful than unmediated experience.
Dichotomy of high and low culture (official vs. popular culture). Imposed consensus that high or official culture is normative and authoritative, the ground of value and discrimination.	Disruption of the dominance of high culture by popular culture. Mixing of popular and high cultures, new valuation of pop culture, hybrid cultural forms cancel "high"/"low" categories.
Mass culture, mass consumption, mass marketing.	Demassified culture; niche products and marketing, smaller group identities.
Art as unique object and finished work authenticated by artist and validated by agreed upon standards.	Art as process, performance, production, intertextuality. Art as recycling of culture authenticated by audience and validated in subcultures sharing identity with the artist.
Knowledge mastery, attempts to embrace a totality. Quest for interdisciplinary harmony. The encyclopedia.	Navigation through information overload, information management; fragmented, partial knowledge; just-in-time knowledge. The Web.
Broadcast media, centralized one-to-many communications. Paradigms: broadcast networks and TV.	Digital, interactive, client-server, distributed, user-motivated, individualized, many-to-many media. Paradigms: Napster and the Web.
Centering/centeredness, centralized knowledge.	Dispersal, dissemination, networked, distributed knowledge
Determinacy, dependence, hierarchy.	Indeterminacy, contingency, polycentric power sources.
Seriousness of intention and purpose, middle-class earnestness.	Play, irony, challenge to official seriousness, subversion of earnestness.
Sense of clear generic boundaries and wholeness (art, music, and literature).	Hybridity, promiscuous genres, recombinant culture, intertextuality, pastiche.
Design and architecture of New York.	Design and architecture of LA and Las Vegas
Clear dichotomy between organic and inorganic, human and machine.	Cyborgian mixing of organic and inorganic, human and machine and electronic.
Phallic ordering of sexual difference, unified sexualities, exclusion/bracketing of pornography.	Androgyny, queer sexual identities, polymorphous sexuality, mass marketing of pornography, porn style mixing with mainstream images.
The book as sufficient bearer of the word. The library as complete and total system for printed knowledge.	Hypermedia as transcendence of the physical limits of print media. The Web as infinitely expandable, centerless, inter-connected information system.

No. 12 - SMiLE (a reconstruction)

SMiLE. Brian Wilson's "teenage symphony to god" - a journey across America, starting in the Northeast and ending on the beaches of California - the notoriously unreleased Beach Boys response to Sgt. Pepper. After getting un-crazy, Brian Wilson rerecorded the entire album in 2003. But it lacks Carl, Dennis, Mike, and Al. THIS is a 'reconstruction' of SMiLE from the original Beach Boys studio takes, brought to you by the audio-engineering magic of the 21st century. To put it more urgently, this is an album that shouldn't exist but it does exist and it's hauntingly perfect.

just SMiLE