By Virginia Heffernan
Simply as Susan Sontag did for images and Marshall McLuhan did for tv, Virginia Heffernan (called one of many “best residing writers of English prose”) finds the good judgment and aesthetics at the back of the Internet.
Since its inception, the net has morphed from simply an extension of conventional media into its personal full-fledged civilization. it really is between mankind’s nice masterpieces—a large murals. As an concept, it competitors monotheism. all of us inhabit this attention-grabbing position. yet its deep good judgment, its cultural capability, and its societal influence usually elude us. during this deep and considerate publication, Virginia Heffernan offers an unique and far-reaching research of what the net is and does.
Life on-line, within the hugely visible, social, transportable, and worldwide incarnation rewards yes virtues. the recent medium favors pace, accuracy, wit, prolificacy, and flexibility, and its shape and services are altering how we understand, adventure, and comprehend the world.
“In melding the non-public with the more and more common, Heffernan offers a hugely informative research of what the web is—and may be. A completely engrossing exam of the Internet’s prior, present,and future.” –Kirkus, Starred Review
"Heffernan is a gleeful trickster, a semiotics fan with an unabashed candy the teeth for pop culture...MAGIC BRINGS pleasure [in this] relaxing snapshot."—The big apple Times
"Magic and Loss is an illuminating consultant to the internet...it is very unlikely to return clear of this publication with no sharing a few of [Heffernan's] awe for this courageous new world."—The Wall highway Journal
“Magic and Loss is the booklet we—or no less than I—have been looking ahead to, the e-book that net tradition, and how it’s replaced the expression and reception of paintings, language, and concepts, merits and calls for. Virginia Heffernan argues that the net, widely conceived, is a ‘massive and collaborative paintings of realist art,’ and she or he illuminates it with the simplest kind of cultural criticism—humane, own, and very clever, with a body of references that comes with St. Thomas Aquinas, Liz Phair, Richard Rorty, Beyoncé, and the pairing of Dante and Steve Jobs, ‘labile romantics.’ no matter if writing approximately how the Kindle replaced interpreting, how the iPod and iPhone replaced listening, or how the dying of landline phones replaced speaking, Heffernan is going correct to the guts of the lived experience... Virginia Heffernan prices Harold Bloom to the impression that ‘to behold is a sad posture; to watch is a moral one.’ In Magic and Loss, she observes, within the top experience of the word.”—Ben Yagoda, writer of The B-Side and the way not to Write Bad
"Goddamn, Virginia Heffernan is brilliant."—Lenny Letter
“Heffernan is a brand new species of wizard, capable of practice literary magic upon supersonic expertise. Her superpower is to take away the know-how from know-how, leaving the basic artwork. you may get an epiphany, like I did, of what a masterpiece this web factor is. Heffernan has the treatment for the small considering that daily frequently produces. She generates significant insights on the pace of sunshine, warmed up via her well-worn classical soul. it is a pleasure and revelation to be less than her spell.”—Kevin Kelly, writer of What know-how wishes and co-founder of Wired
"Virginia Heffernan spins the straw of the web into research that’s strong gold: a super book..”—Mark Edmundson, professor on the collage of Virginia, and writer of Why train? and Why soccer Matters
"Magic and Gain!"—Frank Wilczek, Winner of the 2005 Noble Prize in Physics and writer of an attractive Question
“Readers should be enthralled through Heffernan’s precise tackle this well known entity. Tech-savvy readers can be interested in this ebook, however the inspiration of expertise as inventive expression must also appeal to artwork fanatics. most crucial, readers could be inspired to understand the web not just for its skill to attach us to each other and data but additionally for its beauty.”—Library Journal
"My replica of Magic and Loss is sloppily scrawled with all-caps pencillings of phrases like 'YES!' and 'TRUTH!'"—Mark McConnell, Slate
"Her booklet (thankfully) is extra like an essay than like a treatise. Heffernan makes sense, her writing has aptitude, she will be able to refer intelligently to Barthes, Derrida, and Benjamin—also to Aquinas, Dante, and Proust—and she is familiar with much in regards to the net and its history."—The New Yorker
"This is luxurious writing, saturated with observations which are concurrently own, cultural, and strikingly original—and she’s writing approximately software program. i admire it. eventually, the artwork this is her prose style."—The New Republic
"Marrying this learn along with her personal interesting own background with the web as a pre-teen, Magic and Loss is a revealing examine how the web maintains to reshape our lives emotionally, visually and culturally."—The Smithsonian Magazine
"The most sensible writing on indignant Birds you are going to ever encounter."— stressed, number 1 summer season seashore Read
“Heffernan's rhetoric is so dexterous that even electronic pessimists like me can groove to her descriptions of ‘achingly appealing apps,’ her comparability of MP3 compression to ‘Zeuxius's realist work from the fifth century BC.’ And Heffernan is subtly much less confident than she at the start seems—she is familiar with that magic isn't the contrary of loss, yet occasionally its handmaiden. She's written a blazing and at last clever e-book, passionate in its resistance to the lazy certitudes of a cynically triumphal scientism.”—Michael Robbins, writer of the second one intercourse and Alien vs. Predator
Virginia Heffernan writes on a regular basis approximately electronic tradition for the recent York instances journal. In 2005, Heffernan (with cowriter Mike Albo) released the cult comedian novel The Underminer (Bloomsbury). In 2002, she obtained her PhD in English Literature from Harvard.
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It will never even look like a Macintosh or an iPad, which is why Apple has taken such pains since the App Store opened to distance itself from the open Web, that populist place that is in every way open-source and to which we all regularly contribute, even if just with a Facebook like or an Etsy review. 1. The Web is commercial space. The major links and sites are, of course, now paid for by advertisers, who covet click-throughs—or, better yet, taps of the “buy” button, which started to figure prominently on sites like Pinterest in 2015—and never stop fishing for attention.
This is the “deck” on a Mac. I used to know these like my own five fingers, but that’s when I only had five icons. Now there are—twenty? These represent the tips of the icebergs for the major tech players, and like ticker symbols, they all jostle uncomfortably for my attention. I used to think of Microsoft Word as the blue one, but now I see that Apple has seized various shades of what the humorist Delia Ephron disparages as “bank blue,” and the iMessage app (with cartoon talk bubbles) stands out in that shade, along with the Mail stamp-shaped icon, compass-shaped Safari, and protractor App Store.
She’s flinching to keep from touching anyone else. Then, on top of all that, she is shot through with the urgent need to get someone alone, to guide him away from the crowd. Finally she’s doing this while trying to avoid the blades of a low ceiling fan. These obscure neurological half-narrative states and others, far stranger, are cunningly evinced by Hundreds, which is a masterpiece mobile puzzle game by Greg Wohlwend and Semi Secret Software. , Monument Valley, and the marvelous blockbuster Minecraft), much of the best digital design bypasses language and can only be evoked by it, not denoted precisely.
Magic and Loss: The Internet as Art by Virginia Heffernan