This month marked the publication of Kim Stanley Robinson's latest novel, "The Ministry for the Future." I have a copy, but I haven't been able to bring myself to read it.
The last time I saw Stan, he told me he thought it might be his last novel. He's writing nonfiction about the Sierras now. The thought of a world with no unread KSR novels is thoroughly depressing, precisely because his books are so inspiring.
2/
But after reading his interview with @eliotpeper, I've reconsidered. No one writes optimistic novels about crises the way Robinson does, and reading about his approach to narrative is just as inspiring as the narratives themselves.
The story is structured as a kind of docudrama about the titular "Ministry for the Future," an entity that starts as a standing subcommittee of the Paris Agreement and grows into a bulwark against capitalism's Ponzi scheme, its systematic robbery from future generations.
4/
Robinson describes the book as an adventure in the "structure of feelings" - the words we use to describe and manage the emotions we have in response to events.
5/
Today, one set of structures - the comfort of a persistent order, the terror of impending crisis - is giving way to another, whatever comes after the pandemic and the election, whatever we do to confront (or deny) the permanent crisis that is upon us.
6/
Storytelling is key to this structuring, and scientists have been struggling with storytelling for 20 years, as they try to awaken the political will to address the climate emergency.
7/
"In politics, the front of good work is broad, so pick your special point of interest, but accept others have other points of special interest, and work in solidarity with them rather than arguing which point has priority." -KSR
eof/
• • •
Missing some Tweet in this thread? You can try to
force a refresh
Inside: Dystopia as clickbait; Trail of Mars; Bride of Frankenstein and the Monster; The Passenger Pigeon Manifesto; Bricked Ferrari; The Dennis Ball Show; and more!
Tonight's Attack Surface Lecture: Intersectionality: Race, Surveillance, and Tech and Its History with Malkia Cyril and Meredith Whittaker app.gopassage.com/events/cory-do…
A great hero of the copyright wars is @realdjbc, AKA Bob Cronin, creator of the amazing groundbreaking #Beastles mashups, a virtuosic combination of the Beastie Boys and The Beatles:
DRM is a system for prohibiting legal conduct that manufacturers and their shareholders don't like.
Laws like the US DMCA 1201 (and its equivalents all over the world) ban tampering with DRM, even if no copyright infringement takes place.
1/
That means that manufacturers can design products so that doing things that displease them requires bypassing DRM, and thus committing a felony. It amounts to "felony contempt of business model."
2/
The expansive language of DRM law makes it a crime to break DRM, to tell people how to break DRM, to point out defects in DRM (including defects that make products unsafe to use), or to traffick in DRM-breaking tools.
3/
In 2014, I gave a keynote at Museums and the Web on the suicide-mission of cultural institutions that had decided to sacrifice access - making their collections as broadly available as possible - for revenues (selling licenses to rich people).
I argued that rich people didn't want museums, they wanted to own the things the museums had in their collections; so if museums eschewed universal access to get crumbs from plutes, they'd end up with rich people slavering to dismantle them and no public to help them resist.
2/
Now, a group of professionals and institutions from the galleries, libraries, archives and museums (#GLAM) sector have published the "Passenger Pigeon Manifesto," in which they eloquently make the same point.
I first encountered @jmcdaid through "Uncle Buddy's Funhouse," his 1993 ground-breaking, award-winning hypertext project - one of the first CD ROMs written up in the NY Times. It was such an exciting, original, weird and artistically satisfying piece, especially the music.
1/
Later, John and I became writing colleagues, attending workshops together, and then friends - for decades now. His work remains weird, erudite, accessible, madcap and brilliant.
2/
He's just released a new album of filk/folk music: "Trail Of Mars," recorded during the plague months with an all-star set of session musicians whom John was able to contract with thanks to the unprecedented drought in musical work.