In 2009, a young man named Stephen became very upset when his mother cancelled his World of Warcraft account. Should you deride a child for being so invested in the sub-parallel world of the internet, I ask what you are doing here. His brother Jack recorded what ensued inside the former’s room, which most of you have seen. It is entropic, cathartic, and harrowing. At one point, Stephen attempts to insert a remote control “up his ass,” which is less a comment about shitty television than a residual impulse from one’s anal stage (1-3 yrs) in psycho-sexual development. I wonder what shows Stephen watches at night, the distance from the world he feels as gathered by the talking faces. This contributor will note his sculpturally toned young body; the contracted neck muscles of taut anger; the stately plant of his right arm; and the eager arch, while not exactly graceful, of his hip, as he invites the inadament object into this being. Myron’s “Discobolus” (450 BC), of grace and harmony of the human form, has been since critiqued by both art historians and athletes as a rather inefficient way to throw something — but art has never been about distance, but rather, nearness. To touch a marble body is to feel cold unflinching flesh, the timeless detached heart of mere form. To get inside a person, you may as well be a remote.