Tag Archives: media

vast pantomimic signage

I’m not in the least convinced by this. “…Scandinavian crime dramas–their dour sensibility chimes soddenly with our rain-soaked souls.” But however hard it tries, the BBC Wallander isn’t Scandi-crime. They’ve got the landscapes right, the photography right, the direction right, the script nearly right. But they can’t do anything about the acting. Branagh can’t leave well enough alone. He cues up the crux of every occasion with his eyes or a gesture, recluttering a clean text with the vast pantomimic signage we associate with British TV drama: “This moment is so important. We are so important: us actors, you viewers, this thing we know.” In Britain our souls aren’t “soaked with rain”, they are bloated with the theatricality of denied entitlement, self pity & –wherever the arts are concerned–mutual congratulation. I’d say “mutual self-congratulation” if that bore examination.


Filed under books & reviews, media

spring cannibalism

I heard an equivalence in tone between the words “the Leveson Inquiry” & Mark Danielewski’s phrase “the Navidson Record”. Instantly, Leveson fell whole into Danielewski’s arid self-flattering maze of layered & ultimately unproductive discourses; while in return the presiding void of House of Leaves gained for a second an authentic horror it hadn’t earned. Then the pair of them rustled, shifted & vanished into one another, cannibalising mutually as they went. Discourse space was empty again & I felt free.


Filed under the horror, we live in a shit period of the world

lifestyling gadget earth

This object is rather beautiful. Realised topology. But somehow I can only envisage it as a sort of late 90s techno-pagan toy, a gadgetised Chinese lantern already heading downslope from the sublime to the banal after its fifteen minutes as an expensive Christmas present. & that’s before they crowdsource a way to use it to deliver surveillance. Which reminds me: this. Which is the most frightening: (a) little hummy birds ? (b) that this waffle was written by an adult ? (c) that we live in a world where the words “take-home pitch” have a meaning ? Oh, wow, Darpa will help us spy on everyone else from a distance! With little hummy birds! & bomb them in, what, can I believe this ?, a very short time! Wow, gosh, I have such a crush on the rocket scientist aspirational speaker.


Filed under barely believable, media

karaoke culture

Karaoke Culture is a sharp piece of commentary. As ever, Ugresic sucks you in with wit & mad charm; cheekily sandbags you with her ability to merge her observations of cultural events, venues & styles; engineers cheerful hit & run connections between media. You think it’s a rat’s nest but it develops a sly inevitable logic, & it’s probably the only way to get away with some of the things she says. Meanwhile, I wonder if this is going to be anything like as sharp & honest as These Foolish Things, the Deborah Moggach novel on which it’s based, a TLS review of which I’ll put up here if I can ever find it again in my own rat’s nest. Thinking about: Shame, which struck me as little more than a dutiful turn round the relevant sections of DSM IV-TR. I like that smelly nourishing suet of dysfunctional & chaotic behaviour, but Shame didn’t seem an especially intense slice.

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Filed under books & reviews, media

Sommer, Somerfield, Deakin

John Timberlake recommended Frederick Sommer’s photography & now I’m obsessed by this chicken. Some of John’s own work can be seen here.

Roger Deakin writes on page four of Waterlog (1999):

    “Most of us live in a world where more and more places and things are signposted, labelled, and officially ‘interpreted’. There is something about this that is turning the reality of things into virtual reality. It is the reason why walking and cycling and swimming will always be subversive activities.”

Within a decade, wholly driven by the success of Waterlog, the media cult of “wild swimming” had taken off & was well into the process of commodification & interpretation. Significant points along Deakin’s journey–easily-available pools, beaches & rivers–were becoming stations of the wild swimming cross. You could buy a wild swimming holiday, a score of wild swimming guides & DVDs. Stratification of ambition had set in: some wild swims were clearly wilder than others. Soon you could buy a logbook in which to record your wild swimming ticks. Waterlog abounds in so many sad ironies of this kind I’m not sure I can re-read it. (At date of first publication, he was already wrong about walking & cycling, which had become part of the signposted, packaged & commodified outdoors–the indoor outdoors–long before.)

Finally today, a very short story in the New Weird mode, from an observation of Claire Marshall’s: “It seems darker than other supermarkets.”


Filed under ghosts, media, the postmodernised landscape

tattoo as brand

Steve Mosby at The Left Room reacts to H&M’s new “Lisbeth Salander” range of clothing, a predictable but still somehow astonishing act of exploitation. Steve makes some excellent points about just what is being exploited here, but I don’t know what to say, because I would only be repeating myself. See here, here, here & here, & the subsequent below-the-line dialogues. & also see Empty Space.


Filed under we live in a shit period of the world

angels in the made world

Tanya Gold, the Guardian today.


Filed under media

safe from this constant obscene revelation of things

The best outcome here would be a few more glimpses then nothing. The sooner the pursuit is abandoned to loonies & internet obsessives the better; that way the mystery can slip behind its own bad reputation & vanish. Was there ever an orang pendek ? It won’t be possible to know. Only some kitschy meme will remain.


Filed under lost & found

mars is just a place

That’s the beauty of it. It’s not a myth, it’s not a dream, it’s not a story, it’s not an investment opportunity: it’s some stones. It’s a place. That’s just so restful. It’s as semiotically empty as parts of the Lisbon underground. No one is shrieking at you to buy anything on Mars, not that I can see, & I’ve studied this picture long & hard. Can I get a ticket ? I’d really love to go. The problem is, by the time you or I get there it’ll be just like it is here. Every single piece of it will be talking to your head. There will be built environment everywhere, & every single riser of every single staircase in every single structure will have its ad. Every wall will have something to say to you. & you will have plenty to say too, because on Mars, by then, surely, comment will be free.


Filed under the postmodernised landscape

what’s the story

I care so little about the content of this paragraph that, I warn you, I am just not interested in talking about it–

My reading of Brown, from talking to ministers, is that he did have a period of near-meltdown – when he realised that the wheels were coming off his premiership, and he was staring into the political abyss – but has partly recovered since. He is clearly tougher than those ministers who were plotting against him, but proved themselves serial wincers and flinchers. He has found, once again, a story to tell. [My emphasis; & the quote is from here.]

–but look at that last sentence. I feel contempt for the “story” of things. It is a horrible, patronising, 90s notion. Being told stories is precisely what led to my electoral apathy in the first place. Not to say my sense that the contemporary fourth estate, with its desperate profusion of narratives, narratives of narratives & meta-narratives of those narratives, is more trouble to the user than it’s worth.

Why would I vote for people who admit they’re selling me a story ? I would be voting to continue living in this willed dream in which everyone knows they’re a fiction supported by fictions but seems unable to do anything about it. Once she has written the last sentence of the paragraph above, the only possible response to Jackie Ashley is this: Now that, between you, you’ve fictionalised everything–now that you’ve reduced everything to what even the saddest adult-fantasy consumer would recognise as a “secondary world” –now that you’ve answered the question “What’s the story ?” by admitting that the story is the story–why should I bother ?

I’m not even angry, really. The only thing that still rankles is the damage to the reputation of my own medium. In their pursuit of “a story to tell”, the politicians, the lobbyists, the brand managers, the cultural academics, the chattering classes & the news media have done almost as much as Hollywood & Joseph Campbell to bring the entire concept of fiction into disrepute.


Filed under outright politics