Everything on the Internet is a lie: @Horse_ebooks was a “conceptual art” piece all along

Everything on the Internet is a lie: @Horse_ebooks was a “conceptual art” piece all along

If we can’t trust randomly generated yet intentionally Dadaist Twitter accounts anymore, then who can we trust?

For two years now, the Internet has been smitten with the spam Twitter feed @Horse_ebooks, which spits out Dadaist poetry seemingly drawn from the cut-out bin of diet books and get-rich-quick manuals. It’s spawned Tumblr accounts and T-shirts. People have written fan fiction about it; they’ve turned…


Wes Anderson’s Worlds by Michael Chabon

Wes Anderson’s Worlds by Michael Chabon | NYRblog | The New York Review of Books

The things in Anderson’s films that recall Cornell’s boxes—the strict, steady, four-square construction of individual shots, by which the cinematic frame becomes a Cornellian gesture, a box drawn around the world of the film, as in Moonrise Kingdom’s dressing room scene, with the little bird-girls framed by strips of light bulbs; the teeming, gridded, curio cabinet sets at the heart of The Life Aquatic, The Darjeeling Limited, and Fantastic Mr. Fox—are often cited as evidence of his work’s “artificiality,” at times with the implication, simple-minded and profoundly mistaken, that a high degree of artifice is somehow inimical to seriousness, to honest emotion, to so-called authenticity. All movies, of course, are equally artificial; it’s just that some are more honest about it than others. In this important sense, the hand-built, model-kit artifice on display behind the pane of an Anderson box is a guarantor of authenticity; indeed I would argue that artifice, openly expressed, is the only true “authenticity” an artist can lay claim to.