by Richard Farr

My family jokes that I can break a computer by looking at it; God knows, I’ve tried. They also say that I hate technology, and would rather have lived two hundred years ago — wooden table, candle, quill pen — but that’s a slight exaggeration. Once in a blue moon I will acknowledge that some aspect of our vaunted progress is real. Speaking of computers: my new Chromebook has a great screen, a great keyboard, does everything I want, is more secure and more stable than any PC or Mac, and was $249. Amazing.
But my mellow is rapidly harshed when, as so often, I perceive a yawning gap between the hype surrounding a technology and its performance. Or perhaps it’s more that I’m depressed by the thirst with which so many of us guzzle the hype, unable or unwilling to countenance the possibility that a new app or gizmo we’ve been instructed to consider marvellous might actually be saving less time and trouble that it costs.
Back in the 1990s I spent an hour or three every day with this thought, because 27.9% of my productive potential and probably yours was being vacuumed up into the business of installing, uninstalling, reinstalling and then screaming at the latest iteration of ****ing Windows. Was this perhaps the single worst consumer product ever to have become unjustifiably popular? Not quite! Adding insult to injury, once the cursed Frankensoftware was up and lurching I’d typically spend most of the precious minutes before the next crash using it to support Word — which, from the viewpoint of a working writer, was even worse: a nightmare of bloat and overkill and thoughtlessness, like a ten gallon espresso cup made of wool. The free market being the miracle that it is, Microsoft managed to create enough of a monopoly with Word that using an alternative was for many years not a real option, and thus did it become the QWERTY keyboard of the modern era. Read more »







Like many other video gamers (nearly eight million, in fact), I have spent no small portion of recent weeks in the robot-infested, post-diluvian wastes of late-22nd-Century Italy, looting remnants of a collapsed civilization while hoping that a fellow gamer won’t sneak up and murder me for the scraps in my pockets. This has been much more fun than the preceding description might lead you to believe, if you are not a fan of such grim fantasy playgrounds. It has also, interestingly, afforded rather heart-warming displays of the better side of human nature, despite the occasional predatory ambush or perfidious betrayal. It helps somewhat that nobody really dies in this game; they just get “downed” and then “knocked out” if not revived in time, leaving behind whatever gear they were carrying (except for what they were able to hide in their “safe pocket”, the technical and anatomical details of which are left to the player’s imagination).
Chiharu Shiota. Infinite Memory, 2025.
S. Abbas Raza: You may have heard of 

Preparing a worksheet with negative-number calculations where all the digits are sixes and sevens. Telling myself it’s meant to take the fun out of it for them – like a sex ed teacher having their students say ‘penis’ one hundred times before starting the unit. Definitely not the whole story, but plausible: as a middle school math teacher I am more than justified in trying to tame the phenomenon. In fact, I have drawn a firm line; just seeing a 6 anywhere in an exercise is decidedly not an appropriate reason for doing the meme. Really, we need to get on with the lesson now; I will count to five.
Antonio Gramsci’s theory of hegemony helps explain how the power structure of modern liberal-democratic societies maintains authority without relying on overt force. Many definitions of hegemony point out that it creates “common sense,” the assumptions a society accepts as natural and right.




Art is dangerous. It’s time people remembered that and recognized the fullness of it. For if art is to remain important or even relevant in the current moment, then it’s long past time artists stopped flashing dull claws and pretending they had what it takes to slice through ignorance. We need them swallow their feel-good clichés and to begin sharpening their blades. We need dangerous art, and we cannot afford much more art that its creators believe is dangerous when it is not.
Emma Wilkins’ excellent piece “