J. H. Prynne

[constant escape]

But you would be exiting pathos as holistically as possible (which quite reasonably turns people off), in the interest of... what? Near-total mitigation of bias, enabled by unprecedented rest?

I was asking everyone, myself included, because I hardly find it articulable.

In other words, it entails a seismic, qualitative ontological shift. A shift away from the human, and toward something more sterile, more optimized to process the next tier of abstract problems. A scale up. We, as we are now, cannot process the "Ultra-large scale systems of systems" that increasingly dictate material reality ("The sheer number of human agents and computer systems connected within the global financial-markets system-of-systems is so large that it is an instance of an ultra-large-scale system, and that largeness-of-scale has significant effects on the nature of the system")

But its sort of like marketing a dopamine cleanse to a hedonist - it would involve a near-total, if not actually total, exit from all passion, pathos, etc, unless such things served a distinct and irreplicatable function (such as, say, channeling vital energy).

 

[linebaugh]

But I might buy the artist type working for google line. Im not sure all artists are born, I think quite a few are created, and those are more likely to work for google

 

[version]

A contemporary novel I am curious about, but which I've a feeling will end up being a graphic design novel, is My Year of Rest and Relaxation.

 

[luka]

whats google line sorry?

 

[linebaugh]

"i dont think the artist type is now working at google. if anything they just can't get visibility in the market. probably cant get published. probably have already committed suicide. "

I assume that was in response to my deleted post

 

[luka]

I was asking everyone, myself included, because I hardly find it articulable.

In other words, it entails a seismic, qualitative ontological shift. A shift away from the human, and toward something more sterile, more optimized to process the next tier of abstract problems. A scale up. We, as we are now, cannot process the "Ultra-large scale systems of systems" that increasingly dictate material reality ("The sheer number of human agents and computer systems connected within the global financial-markets system-of-systems is so large that it is an instance of an ultra-large-scale system, and that largeness-of-scale has significant effects on the nature of the system")

But its sort of like marketing a dopamine cleanse to a hedonist - it would involve a near-total, if not actually total, exit from all passion, pathos, etc, unless such things served a distinct and irreplicatable function (such as, say, channeling vital energy).

READ PRYNNE.

 

[luka]

"i dont think the artist type is now working at google. if anything they just can't get visibility in the market. probably cant get published. probably have already committed suicide. "

I assume that was in response to my deleted post

it was

 

[version]

Tom McCarthy was the one who said the Google thing,

The death of writing – if James Joyce were alive today he’d be working for Google

There’s hardly an instant of our lives that isn’t electronically documented. These days, it is software that maps our new experiences, our values and beliefs. How should a writer respond? Tom McCarthy on fiction in the age of data saturation

www.theguardian.com

It is not just that people with degrees in English generally go to work for corporations (which of course they do); the point is that the company, in its most cutting-edge incarnation, has become the arena in which narratives and fictions, metaphors and metonymies and symbol networks at their most dynamic and incisive are being generated, worked through and transformed. While “official” fiction has retreated into comforting nostalgia about kings and queens, or supposed tales of the contemporary rendered in an equally nostalgic mode of unexamined realism, it is funky architecture firms, digital media companies and brand consultancies that have assumed the mantle of the cultural avant garde. It is they who, now, seem to be performing writers’ essential task of working through the fragmentations of old orders of experience and representation, and coming up with radical new forms to chart and manage new, emergent ones. If there is an individual alive in 2015 with the genius and vision of James Joyce, they’re probably working for Google, and if there isn’t, it doesn’t matter since the operations of that genius and vision are being developed and performed collectively by operators on the payroll of that company, or of one like it.

 

[luka]

glib

 

[sus]

I deleted

I don't wanna talk about it

@version please delete post and bookmark

 

[version]

Is it that bad?

 

[sus]

thank you

the book is interesting as a lens into a type of person; pretty one-dimensional work otherwise

it reminds me of Persona if Persona had been made by a normie

 

[sus]

I don't know it's hard to say

I also hate everything I've done while stoned; I assume it is my true googles, like how some people smoke a fattie and recognize they're gay

 

[version]

I thought you meant you didn't want to talk about the book because it was so bad.

 

[linebaugh]

Tom McCarthy was the one who said the Google thing,

The death of writing – if James Joyce were alive today he’d be working for Google

There’s hardly an instant of our lives that isn’t electronically documented. These days, it is software that maps our new experiences, our values and beliefs. How should a writer respond? Tom McCarthy on fiction in the age of data saturation

www.theguardian.com

It is not just that people with degrees in English generally go to work for corporations (which of course they do); the point is that the company, in its most cutting-edge incarnation, has become the arena in which narratives and fictions, metaphors and metonymies and symbol networks at their most dynamic and incisive are being generated, worked through and transformed. While “official” fiction has retreated into comforting nostalgia about kings and queens, or supposed tales of the contemporary rendered in an equally nostalgic mode of unexamined realism, it is funky architecture firms, digital media companies and brand consultancies that have assumed the mantle of the cultural avant garde. It is they who, now, seem to be performing writers’ essential task of working through the fragmentations of old orders of experience and representation, and coming up with radical new forms to chart and manage new, emergent ones. If there is an individual alive in 2015 with the genius and vision of James Joyce, they’re probably working for Google, and if there isn’t, it doesn’t matter since the operations of that genius and vision are being developed and performed collectively by operators on the payroll of that company, or of one like it.

So if you want to believe this is true, this seems like the new ground to predict off from. I dont know what exactly to predict, but Im saying this is the base, if you buy this line.

I wasn't specifically thinking about this article, but it might be better than what I had in mind. I was thinking about the Israeli military reading Deleuze, cambridge analytica and etc.

 

[constant escape]

I don't know it's hard to say

I also hate everything I've done while stoned; I assume it is my true googles, like how some people smoke a fattie and recognize they're gay

Well any insecurity I feel about that is related to how kneejerk-readily the writing would be dismissed were the readers to know I was stoned. Then again, maybe my astral audience is a bit stuffy.

 

[version]

So if you want to believe this is true, this seems like the new ground to predict off from. I dont know what exactly to predict, but Im saying this is the base, if you buy this line.

I wasn't specifically thinking about this article, but it might be better than what I had in mind. I was thinking about the Israeli military reading Deleuze, cambridge analytica and etc.

Satin Island was out around that time,

When we first meet U., our narrator, he is waiting out a delay in the Turin airport. Clicking through corridors of trivia on his laptop he stumbles on information about the Shroud of Turin--and is struck by the degree to which our access to the truth is always mediated by a set of veils or screens, with any world built on those truths inherently unstable. A "corporate ethnographer," U. is tasked with writing the "Great Report," an ell-encompassing document that would sum up our era. Yet at every turn, he feels himself overwhelmed by the ubiquity of data, lost in buffer zones, wandering through crowds of apparitions. Madison, the woman he is seeing, is increasingly elusive, much like the particulars in the case of the recent parachutist's death with which U. is obsessed. Add to that his longstanding obsession with South Pacific cargo cults and his developing, inexplicable interest in oil spills. As he begins to wonder if the Great Report might remain a shapeless, oozing plasma, his senses are startled awake by a dream of an apocalyptic cityscape. In Satin Island, Tom McCarthy captures--as only he can-- the way we experience our world, our efforts to find meaning (or just to stay awake) and discern the narratives we think of as our lives.

 

[luka]

hes not very easy on the eye that lad is he version

 

[version]

hes not very easy on the eye that lad is he version

I deleted it. It was ruining the thread.

 

[constant escape]

I don't even know what you're talking about, so it couldn't have been that bad.