Even ostensibly benign restrictions on freedom of expression can have significant knock-on effects
A few years ago the Russian government introduced a set of ridiculous regulations on how art can be produced in the country. It prohibited swearing in films and TV shows, and mandated that books containing LGBTQ content be sold in plastic wrappers.
Insisting that such books are packaged like this introduces a stigma. It places LGBTQ literature into the same conceptual category as pornography which makes it less likely that readers will buy the books, or that readers will have the books bought for them.
An appreciation of our planet and what it means for humans to play in it.
At the beginning of this month, the U.S. sports website SBnation.com surprised its readers with an unexpected meditation on the game of (American) football. A piece titled ‘17776: What Football Will Look Like In The Future’ was posted to the site, alongside the usual results and recaps of recent baseball and basketball games. But when curious readers clicked on the headline, they were transported fifteen thousand years into the future, and billions of miles into deep space. Over the following weeks, new chapters to the story drew readers into writer Jon Bois’s appreciation of our planet and what it means for humans to play in it.
The characters in the world are very old, possibly immortal. They use their new-found longevity to play and watch long and complex games, usually based around what we 21st century denizens recognise as gridiron football. Several far-future nationwide football games are described, all with a lineage that can be traced back to those we watch today. But all the games a far more extreme and heightened, having evolved over millennia. Just as, with biological evolution, the essential components of a given animal order, family or genus are revealed as they become more pronounced, so those aspects American football that are at the core of the sport are revealed when the future-humans iterate it to a ridiculous degree.
As well as the idea of play, Bois invites us to revel in the vastness and complexity of our planet, and the unique history of each patch of earth. In one particular sequence, I thought of the art of the Boyle Family, who pick random points on the globe and precisely reproduce the square metre of ground that they find there.
The format goes beyond what one might expect from a piece of online writing. It’s a collision of YouTube video animation, chat room text, and Google Earth renderings. One thought I had after reading a couple of chapters was that it should not be surprising that the format is surprising. Modern technology offers countless ways to render a narrative, and all Bois has done is to take a fairly well established format—a chat room script—and illustrate it with animations from a common online tool. It is not particularly radical, but the way we publish online (both the format of digital content, and it’s graphic design) has become so formulaic that even small and obvious departures from the norm suddenly feel innovative. In a Q&A, the author himself puts it very well:
I could go really, really long on this answer. I’ll keep it short: There are countless different ways to write, and things and ideas to write about. And the Internet offers a kaleidoscope of different formats, media, tools, sights, and sounds to tell your stories. And most of us are not even trying to scrape the surface of any of it. We’ve got to start thinking of the Internet as something more than a glow-in-the-dark newspaper.
On Facebook, a friend of mine writes:
it is such a brilliant piece of work, creative and touching and imaginative and smart, and it could only work here, in this medium. Is there anything else like that? I’m not sure.
There are precedents. First, in the Q&A, Bois cites Calvin and Hobbes as an influence on his writing. And there are moments in 17776 that feel exactly like Bill Watterson’s comic strip. In particular, the way in which the three narrators revel in the beauty of (in turn) the Earth, human endeavour and the game of American football, could easily be something Calvin comes out with on one of his meditative sledge rides.
I think a better comparison than Calvin and Hobbes is with the xkcd web comic. If Jon Bois is not a fan of Randall Munroe’s twice-weekly panels, I’d be astonished. xkcd characters often manifest the same geeky wonder at creation that Ten, Juice and finally Nine profess in 17776.
When ‘Click and Drag’ was first published, I wrote:
This is art that is native to the internet, and therefore still relatively rare. While most art we see online (photography, film, creative writing) can actually be viewed in other media (on a wall, in a book, on TV), this piece of art only works online. The clicking-and-dragging is inherent to experiencing of the art.
We can call 17776 ‘native’ internet art too, I think. The combination of text, GIFs and video only really work when read in a browser. I suppose it could be translated into a single YouTube video but that would be an act of adaptation, just as the ‘whole world’ images that xkcd fans have created of comic 1110 are an adaptation (and a spoiler) for the online version.
Projects like 17776 remind us that while the game of football may be old, the Internet is still a very new medium. It’s a delight to live in this moment of innovation, and to watch artists experiment within it.
The Doctor always subverts our assumptions. Now she will do this in new ways.
Jodie Whittaker has been cast as the next star of Doctor Who—the first woman to play the rôle. There has been much discussion about the significance of this: Of the slow but noticeable trend towards more female characters leading major science fiction and fantasy stories; and about the backlash from those men who oppose this trend in general, and the casting of a female Doctor in particular. Continue reading “The Thirteenth Doctor”
Influx are responsible for the sui generis creative non-fiction bookImaginary Cities by Darran Anderson, a sweeping take on how architecture affects our minds and how our minds affect architecture. The book is great and (with hindsight) it would have made money for whoever published it. But that was by no means apparrent before publication and it was the Influx team who took the risk. I’m supporting their funding drive so that they can put more literature like that into the world… and of course to get one of their forthcoming publications as a ‘reward’ for my support. Continue reading “I Supported These Two Publishers On Kickstarter And You Should Too”
Which led me to think, maybe we’ve been getting our fears wrong all along? What if the way technology destroys humanity is not with an uprising of robots, of toasters turning against their masters, of self-driving cars choosing a road trip less travelled, but with something as simple as a reflection? There is something so unashamedly ancient in these deaths that it almost seems gauche to point it out. The sirens singing on the rock, beckoning sailors towards their comprehensive display of filters. The boys drowning in their own image. The recording of a risk, the risk itself. …
And once you’ve learned about killfies, it’s very hard to unsee them. Every Instagram post suddenly reads a little like a suicide note.
In a report about Ayatollah Khameni’s regressive and anti-Semitic views on feminism, this nugget:
Earlier this month, Khamenei issued a speech warning that “cultural attacks by the enemy are more dangerous than military attacks”, hitting out at human rights groups and think tanks.
The speech itself concerns the Iran-Iraq war. Khameni believes that intensive discussion and celebration of the ‘Sacred Defence Era’ will culturally fortify Iranians against the pernicious influence of Iran’s enemies. His definition of ‘culture’ is of course extremely narrow. But there is nevertheless something refreshing about the idea that cultural influence is more important and effective than military force! Continue reading “Fighting the Fundamentalists: More Books Please”
How does the great work done by indies to platform more diverse voices scale to the larger publishing and production companies?
It is the Oscar’s this weekend and La La Land is favoured to win Best Picture.
In this op-ed piece for the Independent, Amrou Al-Kadhi laments the way Arab characters exist on the periphery of most Western cinema.
Stories onscreen have the rare ability to arouse empathy for diverse characters in audiences across the world, so leaving out Arab and Muslim voices in such a context of global Islamophobia is particularly damaging. With masterful directors, sublime works like Moonlight happen; now the story of gay black masculinity in the Miami ghetto has become that much more relatable and mainstream. It is my genuine belief that if the TV and film industry had been more diligent in representing Arab characters – with all our humane, complex, intersectional three-dimensionality – xenophobia would not be as pandemic as it is today.
Reading this challenge to the film industry, I naturally began to think of how the literary community measures up on the same issue. Although I don’t exactly work in the publishing industry, English PEN works closely with publishers and writers, and the debate over who gets published and what gets published is always close and loud. Continue reading “How Do We Make Diversity Scale?”
Our constant call-outs of sexism in the media are slowly having an effect
Societal progress moves at a glacial pace. Sexism didn’t go away when Margaret Thatcher became Prime Minister and it’s still with us even though Teresa May now occupies Number 10 Downing Street.
Still, it’s interesting (to me, at least) to watch our societal attitudes change, even at the quantum level. In fact, I think it is particularly worthwhile to note the most granular changes in our discourse: in this case, how we talk about women and men.