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So I’ve been writing a ton this summer, and it’s not a new thing but when I write I constantly click open the rss reader to siphon it down as it fills. It is one of my many, many bad writing habits. And unlike some of my bad habits, which are a bit edge-sharpening, give me a little burst of clarity and fixity as I circle and stream along, the feeds are purely distracting. When I’m lucky, it’s a single sweep through, no links followed. When unlucky, I get caught up in it, end up leaving comments somehwhere or ordering books from Amazon etc. When I’m shit out of luck and concentration, I’ll blog about something that I’ve read. (You might notice I’ve been posting way more than usual of late…)

Addictive. I’ve always been a bit of an info-freak, newspaper fetishist, trend gnawer, whatever. But rss is a whole nother story. After, what’s it been, two years or so, my collection of feeds is heading toward some sort of tipping point where I’m provided constantly and instantaneously with everything that I have to read right now. And it takes a toll on the work…

…I mean, I guess it takes a toll. It should, right? I’ve already mentioned my complete inability to read Actual Books this summer. But I’ve written quite a lot, am relatively happy with what I”ve written, etc, etc…

Ok – the point: during my writing time, quite a bit of mental energy is spent holding the world (in the shape of these feeds) out. They have nothing to do with what I’m working on, and I’ve got this reflex developing that

A kind of banally deconstructive question: How is my current work shaped by what I spend so much effort excluding? And what would work that embraces rather than walls out distraction look like?

A few Benjamin cites to help out. On the one hand, from “The Work of Art” essay:

The painting invites the spectator to contemplation; before it the spectator can abandon himself to his associations. Before the movie frame he cannot do so. No sooner has his eye grasped a scene than it is already changed. It cannot be arrested. Duhamel, who detests the film and knows nothing of its significance, though something of its structure, notes this circumstance as follows: “I can no longer think what I want to think. My thoughts have been replaced by moving images.” (Georges Duhamel, *Scenes de la vie future*, Paris, 1930, p. 52.) The spectator’s process of association in view of these images is indeed interrupted by their constant, sudden change. This constitutes the shock effect of the film, which, like all shocks, should be cushioned by heightened presence of mind. By means of its technical structure, the film has taken the physical shock effect out of the wrappers in which Dadaism had, as it were, kept it inside the moral shock effect.

But on the other hand, from “The Storyteller”:

Every morning brings us news of the globe, and yet we are poor in noteworthy stories. This is because no event any longer comes to us without already being shot through with explanation. In other words, by now almost everything benefits information. Actually, it is half the art of storytelling to keep a story free from explanation as one reproduces it. Leskov is the master at this (compare pieces like “The Deception” and “The White Eagle”). The most extraordinary things, marvelous things, are related with the greatest accuracy, but the psychological connection of the events is not forced upon the reader. It is left up to him to interpret things the way he understands them, and thus the narrative achieves an amplitude that information lacks.

(BTW: do you see the funny turn here, so characteristic? We expect the news to be disjointed, not the story, right? But then it is the story that lacks the connective tissue that runs between events….

Written by adswithoutproducts

June 30, 2006 at 12:38 am

Posted in benjamin, blogs, distraction

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