(Kudos to the comedian who so thoughtfully paired this clip with its soundtrack, and kisses to Dusty Paik for sharing it.)
Henry Miller once said, “All growth is a leap in the dark, a spontaneous unpremeditated act without benefit of experience.”
We cannot know if Miller would be much of an AWOLNATION fan, were he still living today. There can be little doubt, however, that he’d heartily respect the chutzpah of this fine, brave feline.
Remember that bit at the beginning of The Matrix, when Neo is giving code to a bunch of strangers, and then they go party like crazy people? It turns out that’s been happening since the ’80s, except with high concept combinations of code, music, and graphics instead of viruses.
For example:
This demo was completed in two days. On a whim. In 2009. And while there are videos of the demo, like above, the demo itself is an executable file that draws each frame while you watch, from scratch. It is the difference between looking at a print of a painting, and watching the painter as the original takes shape under her brush.
The current demoscene is the product of nearly thirty years of people coming together to make art just to prove that they can. And if you are in New York, and you want to know more, then go see Demoscene – The Art of the Algorithms at the Manhattan film festival today (July 1st), at 2pm. Tickets are available here. If you can’t make it, or you decide you want to own it, you can download the documentary. However! This is only the second screening of this film in the US, so see it in a theater while you can.
Author and independent journalist Laurie Penny, aka Penny Red. Photo © Montalbetti + Campbell.
Sharp, exuberant, funny, passionate, and radically progressive, Laurie Penny (aka Penny Red) has a lot to say, and she isn’t afraid to say it… no matter what. In early 2011, at the age of twenty-three, this English writer skyrocketed into the press with her on-the-ground, heart-in-mouth coverage of the UK student protests. Later that same year, her shrewd reportage of the NYC-based Occupy protests garnered her an even larger readership around the blogosphere, on Twitter, and via various mainstream media outlets.
Since then, Penny’s been a columnist for The New Statesman and has written several articles for The Guardian and The Evening Standard. Her first two books, Meat Market: Female Flesh Under Capitalism, and Penny Red: Notes from the New Age of Dissent, were both published in 2011 by Zero Press. Currently, she and our good chum Molly Crabapple are collaborating on an ebook project called Discordia for Random House. Penny’s also spearheading a super secret video series that will “aim to challenge contemporary debate culture” by implementing a time-honored salon format. More information on that coming soon.
I’ve been keen to interview Laurie Penny for ages. Earlier this weekend, we finally got around to talking, and talking… AND TALKING, via Gchat (she at her mum’s house in the woods somewhere in England, me at my folks’ place in the chaparral somewhere in California). In fact, we didn’t shut up for several hours. What follows is the lion’s share of that conversation, minus our occasional indecipherable segues into bat country. (Well, most of them, anyway.)
Good readers, let it be known that this transcript is quite long, so we’ve broken it up into sub-headed sections in the hopes of keeping your eyeballs from bleeding. Laurie, thanks again! Always happy to put a kettle on for you here at Coilhouse. Can’t wait to see what you and your “savage red pen of justice” get up to next!
Laurie: Well, I do get a lot of attacks – people tell me I get more and more frightening trolling even than the usual barrage of hate and intimidation and slut-shaming that any woman raising her voice above a whisper on the internet has come to expect. It’s hard, sometimes. I’ve had very dark moments with it, and I don’t know how I would have coped without my friends. I’ve always been a sensitive person. I’ve had to develop a thicker skin, but at the same time I don’t want a tough hide. I think that’s a dangerous thing for a writer, particularly now. You can get to the stage where all criticism, even the legitimate, useful kind, just bounces off you, and you ossify into a little cocoon of your own prejudices. I’ve been very close to kicking it all in several times, particularly last spring, when I had some personal threats against my family on top of the rest of it, and I was also burned out from overwork. I started wondering if the toll it was all taking was worth it, the stress and exhaustion and panic attacks. When I get very low, which happens sometimes, I often think that I’d give up and shut up like these scumbags want if I didn’t hate the idea of letting them win. But spite alone is no way to work or write if you believe in doing your own small bit to change the world.
Mer: No, it’s not.
Laurie: Part of all this is particular to the British press, too. The culture of political debate in this country is toxic right now. Has been for years. And geographically as well as figuratively, it’s a very small island. Also, it’s just that some people really hate it when young women talk about things that aren’t shoes. Not that shoes aren’t important, too! In their own way.
