It is 2:30am and I should be asleep. I am approaching my 15th hour on the computer because my mission in life is to damage my brain. And my eyes. And my sense of time. As I sit here searching rigorously for that stupid fiery fox, I wonder what kind of marketing technique apple threw onto the icon-design industry. Everything is blurry.
It is now 2:45. Finally, through the thick fluid pool of tear-ridden eye cracks and unique temporal dithering, I find the blurry blue and orange icon and perform the one true thing I know. a click for chrrissake.
At last I arrive at my home(page), which is the New York Times (I won’t get into why it is the New York Times, don’t worry). Immediately I panic, clap and drown in that far-to-familiar painting. It’s blurry but I know exactly what it is. I lose my mind and click on “Several Circles”, that crazy genius mind-sucking Kandinsky painting. It leads me to an article: The Circular Logic of the Universe. I sneer. What do they know about circles? “They” as in those perfect, employed people at the New York Times. Still, I read the article. Perhaps out of green-eyed, malicious curiosity, or perhaps because I do at the end of the day know that I’m an idiot. The article begins:
Circling my way not long ago through the Vasily Kandinsky show now on display in the suitably spiral setting of the Guggenheim Museum, I came to one of the Russian master’s most illustrious, if misleadingly named, paintings: “Several Circles”….
Those “several” circles, I saw, were more like three dozen, and every one of them seemed to be rising from the canvas, buoyed by the shrewdly exuberant juxtapositioning of their different colors, sizes and apparent translucencies….I …learned of Kandinsky’s growing love affair with the circle. The circle, he wrote, is “the most modest form, but asserts itself unconditionally.” It is “simultaneously stable and unstable,” “loud and soft,” “a single tension that carries countless tensions within it.”
Four years ago I walked into the Guggenheim on academic assignment. It was for an essay course at NYU. I don’t remember the nature of the assignment. All I remember is that I opened and closed the Guggenheim that day. And NOT because I was panting for more inspiration. I simply could not escape. The farther I walked from the entrance, the closer I got to the same side from which I started. The entrance. The landmark? A white (unpadded!) wall with one Kandinsky painting–”Several Circles”–turning this prestigious cylinder of international art into one terrifying hamster-wheel-of-an-experience. So I wrote an essay about it in Teenager, describing my “fall” which was “head first into the deep, round ravine of wild worries; the endless babble that buffers my anatomy from the painted circle. I hit middle distance and began to forget who I was, where I was and if I was supposed to go anywhere at all.”
Is that what Kandinsky meant by “simultaneously stable and unstable,” “loud and soft,” “a single tension that carries countless tensions within it”? Then I guess he must be good. I mean the man can market a circle. I give him that.
So bravo New York Times for dipping into the existential. Perhaps you’ve grasped the market’s biggest challenge: Generation Y. Or maybe its the writer. Either way, as a victim of this economic couch-potato crisis, I conclude the following from this article:
1. I have (finally) found my mind
2. When I finally get around to (or go insane and start) developing a Time Machine, I’m traveling back to the late 19th Century and marrying Kandinsky.
3. I am simply unique like everyone else; and that is, we’re all a bunch of circles, living circular lives, residing in a circle, which is in another circle, wrapped around a planet that is NOT in the center of a universe filled with orbiting spherical stars and planets.


















