Justin E. H. Smith for The Point — “It is one thing to target infants with material that presumes no well-constituted human subject as its viewer; it is quite another when thirty-somethings with Ph.D.s are content to debate the merits of the Marvel vs. the DC Comics universe or whatever. If I were an algorithm, and I encountered an adult human happily watching Spiderman, I would greet that human with a “You may also like…” offer to next watch “Johnny Johnny Yes Papa” on a ten-hour loop. That is how worthless and stunting I think this particular genre of cultural production is.”
Further reading: Smith’s follow-up to critics.
“What is yet unpredicted has to consolidate into something obvious, so obvious that the guest may ask: for this you really needed an architect? Which indeed is the greatest compliment possible. After all, a café is not to be noticed, but remembered. It should be precisely to the point, and not annoy by pretentious ambitions.”
—Hermann Czech, in Christoph Grafe and Franziska Bollerey (Ed.): Cafés and Bars. The Architecture of Public Display; New York-London (Routledge) 2007, p. 94-96.
“I wasn’t the only one who believed that he secluded himself and refused to see those who could have brought back memories he no longer had use for. In truth, and I easily understood it, he was racing to finish his work which was, in any case, never finished, although he understood it was necessary to write “the end” at the bottom of one of the pages of his manuscript.”
From Die fröhliche Wissenschaft — "I still live, I still think; I must still live, for I must still think. Sum, ergo cogito: cogito, ergo sum. Today everyone takes the liberty of expressing his wish and his favourite thought: well, I also mean to tell what I have wished for myself to day, and what thought first crossed my mind this year, a thought which ought to be the basis, the pledge and the sweetening of all my future life! I want more and more to perceive the necessary characters in things as the beautiful: I shall thus be one of those who beautify things. Amor fati: let that henceforth be my love! I do not want to wage war with the ugly. I do not want to accuse, I do not want even to accuse the accusers. Looking aside, let that be my sole negation! And all in all, to sum up: I wish to be at any time hereafter only a yes sayer!"
Andrea Lucchesini, piano
From Martin Krabbé’s open chess diary, 2001. Fischer is supposed to have given up chess long before 2000; rumors have circulated that Fischer secretly competed online against highly ranked opponents.
Nothing more refreshing than a change of opinions, or as a friend of mine says: "I take back everything I said and claim the opposite."
There were two candidates who could be the mysterious guest who beats masters and grandmasters with his sick openings - Fischer and a computer. In item 134, I said he couldn't be Fischer, but in the meantime, I found convincing evidence that he is not a computer.
I found this evidence in a series of twenty-five 3-minute blitz games that 'guest71' played on 24 April 2001 against 'Beber', the French IM Robert Fontaine, who had then an ICC rating of 2827, and who has now a FIDE-rating of 2452. guest71, always with absurd openings, won 20 games, lost 3, and two games were drawn.
To think that a computerized impostor would sometimes take a minute for a forced move to suggest that he's Bobby Fischer, would be too far-fetched. He must be Fischer, and he does this kind of thing to increase the odds he's already giving with his openings; he's also known to have added time to his opponents' clocks.
At 58, Bobby Fischer is frighteningly strong at blitz.
Gould takes what I think he’d perceive as enormous risks in this live performance. Some of the work on inner voices almost feels lifted from old recordings of Cortot on the late nocturnes. Beautiful and vulnerable.