Aram Zucker-Scharff

“”This guy, who until 30 seconds ago was the target of an anti-terror raid (and who you can just waste in the head, if you feel like it, to the chagrin of your superiors), is suddenly flitting between Occupy movement rhetoric (“Ever wonder by the big car companies pay 2 per cent tax, while the guys on the assembly line pay 40 per cent?”) and pro-Wikileaks soundbites (“Did you ever ask what it’s for? The surveillance? The police? Is that freedom?”). Besides the boxy, 4:3 ratio TVs back at counter-terrorist HQ, there’s not a thing in the thematic nature of DX1’s opening mission that’s aged a day.””

– How Deus Ex Predicted the Future.

“”It is dangerous to be a woman anywhere in the world. But in some ways, it is even more dangerous to be a Cool Girl, because in order to be a Cool Girl, you completely subsume yourself in the world of men, thus putting your trust in their hands. […] I have learned the dangers of putting your trust in men.””

– In Defense of the Cool Girl.

“”It’s true that the game can twist relationships, usually by forcing a leap to a higher degree of intimacy, but this can be a positive development. “Really what we’re doing,” Luke says when I ask him why he plays, “is trying to use the weird medium of texting to create new ways of interacting with people.” In this view, Damage Control turns texting into something more than a mode of communication. It is texting as a new art form. “It can be transcendent,” Luke says. “But mainly it’s just terrifying.”””

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women-in-music:

Nerina Pallot – ‘No Harm Done’