The Clockwork Penguin

Daniel Binns is a media theorist and filmmaker tinkering with the weird edges of technology, storytelling, and screen culture. He is the author of Material Media-Making in the Digital Age and currently writes about posthuman poetics, glitchy machines, and speculative media worlds.

Tag: science fiction

  • Orbital mechanics

    “A MIND is a sort of star-chart in reverse: an assembly of memory, conditioned response, and past action held together in a network of electricity and endocrine signaling, rendered down to a single moving point of consciousness.”

    Arkady Martine, A Memory Called Empire

    I’m a little way in to A Desolation Called Peace, the second and final (I think!) part in Arkady Martine’s duology that began with A Memory Called Empire. Incidentally, I was reading the first book around the same time last year. It was the first fiction book I’d read in some time, and I was finding it difficult to get through.

    There are all sorts of reasons this can be true of any reading experience, but after getting through three other books in record time at the beginning of the year, I’ve slowed down once again for Desolation. It’s an odd sensation, like the mental equivalent of slogging through wet sand.

    This has nothing to do with the plot of the novel, which is multi-layered and surprising; nor the characters, most of whom are wonderfully idiosyncratic, deep and engaging; nor Martine’s writing, which is lyrical and free and so alive, a tiny diamond glittering in what is often a staid and immovable boulder of a genre.

    I think it has more to do with where I am meeting this book, this series, this writing. Like near everyone on the planet, I’ve had a Big Few Years(tm). Throw multiple health issues into the mix, add a dose of grief, your basic burnout, and you’ve got a lovely thick batter to play with. I don’t think that’s necessarily it, though. It’s just where I am, what I’m doing, the byways and backstreets around which my thoughts often careen.

    Martine’s writing feels like a foil for my current state of mind; a fitting opposite; yin to yang; boy I’m really stretching the old metaphors this time aren’t I.

    Sometimes it’s not up to the reader as to how long something takes to read. Sometimes it just takes as long as it takes. It might be a page or two here and there; it might be a hundred pages in a sitting.

    At a time when everything feels accelerated, truncated, made more homogenous and shallow, where the maxim is more, more, more, but never deeper, never stopping, never allowing thoughts to wander, connections to be made, boredom to set in… at a time like this, it’s nice to meet a thing, a story, that literally stops me in my tracks.

  • A day of catching up

    Not exactly emptying the Netflix queue, or making a dent in the Letterboxd watchlist, but still productive, I think. I also half-watched Mad Max: The Road Warrior and A Year In Champagne, which I’ll try to knock over by the end of the week.

    Primer (2004)

    I’m still not entirely sure what to make of this film. I didn’t quite get it. But I really think that’s exactly the point. The dialogue is so obscure, so layered, so full of scientific jargon, but not at all in a deliberate, dramatic-concealment kind of way. If two dudes stumbled across time travel in a garage, I pretty much think this is how things would turn out. Give or take. I’ll let you know when I watch the film earlier tomorrow.

    Seven Days in May (1964)

    I expected something of a Cold War countdown, similar to Fail Safe, or its comic attache, Dr Strangelove. Instead I got a tensely-wound political thriller, quite simply detailed despite its tentacle-like story threads. Lancaster and March hold this up — and I say this in spite of the presence of Martin Balsam and Edmond O’Brien in supporting roles.

    What struck me most of all today (and you may be sensing a pattern today) is the cinematography. The framing in some of the scenes of this film is phenomenal. Some of the editing, on the other hand (I speak for the sequence where Douglas watches Lancaster’s speech) is akin to proper ’70s paranoia films (I’m looking at you, Parallax View).

    But this had me hanging, which is an achievement for films of this ilk. [cross-posted from Letterboxd]

    Pandora’s Promise (2013)

    Just to top off a day of science and paranoia, I finished up with this rather optimistic view of what nuclear power might offer a world aching for a clean and safe source of energy. I enjoyed this, despite its sometimes feeling a little like a Kickstarter promo video. [cross-posted from Letterboxd]

Her language contains elements from Aeolic vernacular and poetic tradition, with traces of epic vocabulary familiar to readers of Homer. She has the ability to judge critically her own ecstasies and grief, and her emotions lose nothing of their force by being recollected in tranquillity.

Marble statue of Sappho on side profile.

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