Blank sheets

19 February 2010

Rod’s been exploring writing fiction with Twitter, exploring its “office-desk rather than kitchen-sink realism“. He goes on:

Or rather: I wanted to start from that realism, because no-one, when they write “running” on Twitter, is actually running. They’re reporting after the fact, announcing an intention, or fabricating. Which is the second interesting thing – Twitter’s performativity. Twitter is as much theatrical performance as conversation. Un-realism.

So: a story empty of character and reasonable plot, and a blank-sheet MacGuffin. A story for an audience of 85, and a tentative use of direct messages that only a few of the audience will receive.

I didn’t know it was happening until it was, if you get my drift; messages from a commute slowly turning into narrative as the day went on. Seeing it all joined together is both a revelation and a dilution: a story laid out, but divorced from the trickle that made it so compelling.

(Rod also tips a hat to my Twit 4 Dead bots, which is very kind of him. I’ve slowly been poking at a new set of zombie-hunting narrative bots; the new ones have a few new features to enable better storytelling – notably, the ability to have responses specific to one another, rather than only specific to the situation. The main use is so that they can tell Ellis to shut up, but I’m thinking I’d like to apply the acting framework to an original work. That might be a long way off, though. But: thoughts worth jotting down).

  • "Trace Holden Caulfield's perambulations around Manhattan in "The Catcher in the Rye" to places like the Edmont Hotel, where Holden had an awkward encounter with Sunny the hooker; the lake in Central Park, where he wondered about the ducks in winter; and the clock at the Biltmore, where he waited for his date." Lovely.
  • "Dreamed up by American and European SF writers in the late 19th and early 20th centuries — at a time when Lamarckian evolutionary philosophy, which posits a tendency for organisms to become more perfect as they evolve (because such change is needed or wanted, e.g., by “life”), remained popular — many of the first fictional supermen were portrayed by their creators as examples of a more perfect species towards which humankind has supposedly long aimed. Radium-Age superman was, that is to say, homo superior, an evolved human whose superiority was mental, physical, or both." Lovely essay; a nice bit of SF history (and originally published on IO9, I believe).
  • "I saw these two videos of Rock Band Network tracks over at RBDLC and couldn’t resist sharing them. The first is a serious jazz tune: “Footloose and Fancy Free” by Bill Bruford’s Earthworks. The thing that’s interesting about this is that the “guitar” track is actually piano — something Guitar Hero has done in the past but Rock Band has generally shied away from. But what’s even neater is that the “vocal” track is actually a sax line, intended (one would assume) to be played with a sax or other horn; the “lyrics” are simply the notes being played." There's no question that building tunes for RBN is hard wokr, but god, this Bill Bruford video is stonking, and the sax-as-vocal idea is cracking.