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The Crisis Of The American Cultures

Tom Bissell:

We’ve arrived in a strange emotional clime when our popular entertainment frequently depicts torture as briskly effective rather than literally the worst thing one human being can do to another — yea verily, worse even than killing. Inflicting pain and suffering on a captive human being because one person feels like it and the other can’t stop it … is this not what we’re told awaits sinners in hell? Is this not the domain of Satan?

I left the Blacklist demo [wherein the act of torture occurred] sick and infuriated, which was a shame, because the person introducing the demo was a game designer I admire and have long wanted to meet. I really wanted to ask this man how he felt, demo-ing that. Ask the programmers and artists, too, how they felt, bringing that moment into this world. I wanted to ask them all what the deal is with this industry we’re a part of. I didn’t. Couldn’t. I know people who’ve been tortured. Someone I know was tortured because of something I wrote about him — a cold little bibelot I’ll take with me to my grave. I described my Blacklist experience to some gamer friends, a couple of whom thought I was overreacting. Overreacting to a blithe, shrugging presentation of the very definition of human evil, all in the name of “entertainment.” I spent a couple days feeling ashamed of being a gamer, of playing or liking military games, of being interested in any of this disgusting bullshit at all.

This piece on Grantland and the plot of the game it’s about make a really compelling critique of video games in a way that’s definitely not preachy. The idea of a discipline calling itself into crisis is as old as, well, anything, and it’s a healthy precursor to growth. Disallowing free discourse about self-critique and crisis is like picking off and eating your own scabs — gross and probably unhealthy.

You could say that video games and I went through adolescence together. As I shed my exoskeleton of fat, Nintendo’s blocky pixels started to fuse into sleek 64-bit curves; as my voice lowered, video games’ plinky soundtracks matured into little symphonies; as my social circle expanded beyond my little clutch of sweaty and foulmouthed friends, the market for video games expanded into (or at least toward) similarly new demographics: adults, girls.

Self Help: Navigating Between Two Kinds Of Oblivion [Grimes and Bethesda Softworks]

This morning after I got up and got the dogs ready (“got the dogs ready” = how I think about feeding them and taking them out), I washed the dishes and made coffee, which is my usual routine. And then I made an inspirational message on a piece of paper, which is not a part of my routine. The paper, pictured above, has five numbers on it that are supposed to remind me about different things, and the goal is to “be inspired”.

It’s a bright, hopeful morning, and the feeling felt right.

Related to all this, I think, is that at the end of last week, I totally got Grimes, and it made listening to her music really pleasant. That all started when I watched the video for “Oblivion”, which I just really despised at the time. It was on a Thursday I think. The oft-cited “someone on Twitter”, I think, said the video was like “hipsters discover sports are cool” or something, and that seems apt to me. Sort of.

The thing about the video that drives me batty is that all the things Grimes does — listen to her discman, wear stupid clothes, have dyed hair, dance around, cause a ruckus — are all things me and my friends did in very similar circumstances when we were young. And it wasn’t cool or anything at all, and Grimes seems like she’s really cool. So the whole enterprise smells to high heaven with the stench of cultural tourism, which I’m usually OK with as long as god damnit it’s not my culture because we don’t usually issue visas what with who would want to pretend to be poor and bored and socially inept? (This is where I mention my utter contempt for every piece ever on The Gathering of the Juggalos.)

So this Grimes thing that I tried to get into three weeks ago came to a head at the end of last week, but then I got it!

It sort of occurred to me that Grimes is not being a cultural tourist, and also that Grimes is not “being” anything at all. It’s really a facile thing, I think, to think someone is “being” any way at all unless you’re willing to spend a lot of time thinking about how they’re being. So I’m not denying the existence or explanatory capabilities of ontology, but I’m saying its results get question begged in a lot of cultural hit pieces (and, to be fair, encomia), and that’s a pretty lazy way to be! It sort of occurred to me that I should just listen to Grimes and not be a jerk about it, and try to draw my own conclusions.

Read More

nybooks:

John Currin: Hot Pants, 2010 (courtesy Gagosian Gallery)

Wells Tower, Post-Darwinian Experiments in Consciousness and Other Stories

This message needed a “strong” tag because I feel so strongly about its message, which is that Wells Tower and John Currin are two of my favorite artists currently working in any media, and here’s a (sort of) fucking collaboration between the two of them: it’s great.

It also occurs to me that this image above (“Hot Pants”, 2010) is a good synecdochal representation of #menswear blogging on the internet. No judgements. Just saying.

nybooks:

John Currin: Hot Pants, 2010 (courtesy Gagosian Gallery)

Wells Tower, Post-Darwinian Experiments in Consciousness and Other Stories

This message needed a “strong” tag because I feel so strongly about its message, which is that Wells Tower and John Currin are two of my favorite artists currently working in any media, and here’s a (sort of) fucking collaboration between the two of them: it’s great.

It also occurs to me that this image above (“Hot Pants”, 2010) is a good synecdochal representation of #menswear blogging on the internet. No judgements. Just saying.