Lonelygirl15: We Will Not Mention The Horrid Term That People Use To Describe William Gibson's Oeuvre
Posted by: Jon Fine on September 7, 2006
Why has nobody made the connection between Lonelygirl15 and the book Pattern Recognition, by William Gibson???
I was in [redacted] last week visiting my friend [name redacted]
We started looking into Lonelygirl15 after hearing a story about this media storm, on NPR’s Weekend Edition.
After viewing all Lonelygirl15 episodes he just said it. That’s Gibson. It’s Pattern Recognition:
‘Pollard is among a cult-like group of Internet obsessives that strives to find meaning and patterns within a mysterious collection of video moments, merely called “the footage,” let loose onto the Internet by an unknown source. Her hobby and work collide when a megalomaniac client hires her to track down whoever is behind the footage.’
—- From: Editorial Reviews at Amazon.com for Pattern Recognition. [ http://snipurl.com/w0om]
Lonelygirl15 may be “a viral marketing campaign dreamed up by some major advertiser.” That is by-and-large the guts of the book Pattern Recognition by William Gibson. Even the use of fragments of footage and speculation about the who, what, why of such footage means:
‘She seats herself in his high-backed workstation chair and clicks the transparent mouse. Stutter of infrared on the pale wood of the long trestle table. The browser comes up. She types Fetish:Footage:Forum, which Damien, determined to avoid contamination, will never bookmark.
The front page opens, familiar as a friend’s living room. A frame-grab from #48 serves as backdrop, dim and almost monochrome, no characters in view. This is one of the sequences that generate comparisons with Tarkovsky. She only knows Tarkovsky from stills, really, though she did once fall asleep during a screening of The Stalker, going under on an endless pan, the camera aimed straight down, in close-up, at a puddle on a ruined mosaic floor. But she is not one of those who think that much will be gained by analysis of the maker’s imagined influences. The cult of the footage is rife with subcults, claiming every possible influence. Truffaut, Peckinpah … The Peckinpah people, among the least likely, are still waiting for the guns to be drawn.
She enters the forum itself now, automatically scanning titles of the posts and names of posters in the newer threads, looking for friends, enemies, news. One thing is clear, though; no new footage has surfaced. Nothing since that beach pan, and she does not subscribe to the theory that it is Cannes in winter. French footageheads have been unable to match it, in spite of countless hours recording pans across approximately similar scenery.’
More to the point: Will the guessing game end?