wow
Cellphone novels, the rage in Japan, now have competition in America: Twitter fiction.
The cellphone grows more wondrous and indispensable to us every day. Talking is the least of it. We text and Tweet our heads off, send photos, watch TV shows, play video games. But in Japan, imperium of the future where all the above is old hat, the keitai (cellphone) has further spawned a wildly successful, populist fiction genre. Keitai shosetsu, the so-called cellphone novel, has been touted (in the pages of the New Yorker, among other places) and reviled (by Japanese literati) as the first narrative mode of the txt msg age -- the herald of a written-word future bent by wireless telecom's powers.
I'm the first and only American author who's written for Japanese cellphones (and with literary intentions at that). A happy lesson in old-fashioned technique, it was a sobering one about our brave new cyber-world's eternal essential: interactivity. Most of the auteurs of keitai shosetsu are Japan's vast demographic of girls and 20-something young women, who thumb out ultra-lurid, mawkish teen romances on their cellphone keypads in scraps of manga-like dialogue, skimpy action, texting slang and emoji (emoticons). They post these skeletal pseudo-confessions in installments, under cute pseudonyms, on dedicated Web sites like Magic i-land and Wild Strawberry where they can be read for a low fee.
Astronomically popular (chiefly among millions of Japanese teen girls), "thumb novels" are much decried as trash for yahori (slow learners, i.e., half-literates). And over recent years this subculture has stormed Japanese commercial book publishing. In 2007 -- keitai shosetsu's annus mirabilis --half the top 10 fiction bestsellers in the shrinking Japanese book market originated on cellphones. Overall list-topper "Love Sky," by the self-styled "Mika," has sold 2. 9 million copies in tandem with its sequel, which ranked third.
Last fall a literary grandee joined in. Jakucho Setouchi, the Marguerite Duras of Japan, revealed herself as "Purple," author of a keitai shosetsu, "Tomorrow's Rainbow," about a teen's search for love after her parents' traumatizing divorce. Delightfully, Setouchi is also a celebrated 86-year-old Buddhist nun who wrote a contemporary update of "The Tales of Genji," Japan's racy ur-novel classic.
But before the great Setouchi stooped to keitai, I beat her to it. In late 2002 I was in Tokyo my first time. Unlike Bill Murray in the Sofia Coppola movie, I'd found myself in translation. Three of my books of brief quirky tales had been very happily serialized and published in Japan. It's still where I sell most. One morning I watched a Tokyo teen Web-browsing on his cellphone. I was amazed. I'd never yet heard of i-mode, the vanguard keitai Internet service launched in 1999 by Japan's telecom giant NTT DoCoMo. I'd never even owned a cellphone. But I'd been on MTV with my surreal mini-fables; I'd adapted them into a very episodic indie film that still lives a happy second life online. My work, I always felt, fit the short-attention-span age to a T.
read the full article:
http://www.salon.com/books/feature/2009/05/14/cellphone_fiction/index.html#
From MUBI:
Synopsis:
The Meaning of Life is a 35mm animated short film, written and directed by Don Hertzfeldt in 2005. The epic twelve minute film is the end result of almost four years of production and tens of thousands of drawings, single-handedly animated and photographed by Hertzfeldt.
Like all of Hertzfeldt’s films, The Meaning of Life was photographed entirely in-camera, without the use of computers, post-production compositing, or digital tools. The special effects were created via multiple exposures, optical light effects, and trick photography. Though working with an antique camera, Hertzfeldt often had to invent new techniques to capture his visuals.
In the film, the evolution of the human race is traced from prehistory (mankind as blob forms), through today (mankind as teeming crowds of selfish, fighting, or lost individuals), to hundreds of millions of years into the future as our species evolves into countless new forms; all of them still behaving the same way. The film concludes in the extreme future, with two creatures (apparently an adult and child subspecies of future human), having a conversation about the meaning of life on a colorful shore.
The film premiered at the Sundance Film Festival and toured film and animation festivals in 2005-06. Though its abstract nature puzzled some critics, it received almost universally positive reviews. The Atlanta Journal-Constitution called the film “the closest thing on film yet to Kubrick’s 2001: A Space Odyssey.”
In 2006, The Meaning of Life was remastered and restored in high definition for inclusion on the DVD, “Bitter Films Volume 1”, a compilation of Don Hertzfeldt’s short films from 1995-2005. Special features relating to The Meaning of Life include a time-lapse documentary called “Watching Grass Grow” of Hertzfeldt animating the film (apparently over the course of a few years), another documentary about the creation of the special effects narrated by Hertzfeldt, original pencil tests, and dozens of pages devoted to Hertzfeldt’s original sketches, storyboards, notes, and deleted ideas from the film. The DVD is available exclusively from the Bitter Films website, http://www.bitterfilms.com. —Wikipedia
Visit Don Hertzfeldt’s official website at http://www.bitterfilms.com.
Paul Butler's description:
“I began exploring it in R, an open-source statistics environment. As a sanity check, I plotted points at some of the latitude and longitude coordinates. To my relief, what I saw was roughly an outline of the world. Next I erased the dots and plotted lines between the points. After a few minutes of rendering, a big white blob appeared in the center of the map. Some of the outer edges of the blob vaguely resembled the continents, but it was clear that I had too much data to get interesting results just by drawing lines. I thought that making the lines semi-transparent would do the trick, but I quickly realized that my graphing environment couldn’t handle enough shades of color for it to work the way I wanted.
Instead I found a way to simulate the effect I wanted. I defined weights for each pair of cities as a function of the Euclidean distance between them and the number of friends between them. Then I plotted lines between the pairs by weight, so that pairs of cities with the most friendships between them were drawn on top of the others. I used a color ramp from black to blue to white, with each line’s color depending on its weight. I also transformed some of the lines to wrap around the image, rather than spanning more than halfway around the world.”