Tag: las vegas
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It might feel like simple nostalgia at first, but pinball is more than that. Pinball is hyper-personal. A pinball machine invites you to shove quarters into it so that you can challenge this physical piece of hardware in a game that’s based on the best physics engine ever, physics itself.
Simon Carless of GameSetWatch discovers the wonderment of pinball at the Pinball Hall of Fame in Las Vegas, one of my favorite places ever.
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In a sense, New York / New York was “legally” no longer a condensed Manhattan. Nor was it a movie set (that would have been a different suit altogether). It was essentially a souvenir of the kind that you dropped in your beach bag; but now ballooned out into a monument the size of a casino/hotel. It stood in memoriam to tourists not quite remembering which building went where. It was a monument to condensed memorabilia.
Norman M. Klein, in The Electronic Baroque: 1955-2050. From The Vatican to Vegas, 2004 p346.
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Back in boom [sic] of 1999, there were rumors that a Vegas/Vegas hotel was to be built. The entire Strip would be condensed to 5/8 scale, like Disneyland’s Main Street at 7/8 scale; or to copy the very popular Universal Citywalk, that five years earlier had launched the next stage of the Electronic Baroque in L.A.
Norman M. Klein, in The Electronic Baroque: 1955-2050. From The Vatican to Vegas, 2004 p342.
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[Slot machines] are indeed a software chimera, the tail of a serpent attached to the head of a lion. It combines business graphics with the Internet, cinematic memory, remote-control systems – and banking, franchise capitalism at your fingertips.
Norman M. Klein, in The Electronic Baroque: 1955-2050. From The Vatican to Vegas, 2004 p341.
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Museums would map the transition toward this new Baroque, like the new Guggenheims in Las Vegas, as part of a franchise that has stopped growing in the U.S. Museums were also under the gun. Very likely, shows will look more like Baroque wunderkammers than they used to. They will overlap and sprawl more, like browsers and search engines. The pressures to make shows monumentalize the new power relations will be intense, an often under shrinking curatorial budges, with signature buildings outside, like the Electronic Baroque: gaudy outside, conservative at its core.
Norman M. Klein, in The Electronic Baroque: 1955-2050. From The Vatican to Vegas, 2004 p338.
