Brian Thomas Clark
@btc
Strategist/Producer/Collector
Digital Experience Director @risd
Brian Thomas Clark
On a recent episode of Marc Maron’s WTF podcast, James Murphy of LCD Soundsystem was talking about reading Harold Bloom’s The Anxiety of Influence early on and how unconcerned he is now with being new or original. He recalled a speech he heard by Brian Eno about his early ambient work:
It’s hard to explain, but it was very easy to be new at that... See more
Article
making-meaning and
We celebrate the fact that most artists today have a huge portion of humankind’s output at their fingertips at any given moment, but we rarely think about the fact that exposure and abundance can also become a paralytic. Eno said he wanted to hear a certain kind of music, so he had to invent it for himself. Who feels the need to make new music, when you can almost always call up music that is completely new to your ears?
Sometimes when I watch my 8-year-old making music, I note how unencumbered he is by musical history and how free he is of any need to be original. He is happy, for now, to make music that is a parody of what he’s heard, and in the parodying, he comes up with his own thing. It’s new to him and that’s what’s important.
In fact, this is the great gift of children: everything is new to them, and so it can become new to you, if you let it.
I can’t stop thinking about how objects hold me. How they alter the way I carry myself in a new room. Or hug me when surrounded by strangers. Clothes keep teaching me valuable lessons of tenderness and repair–of repetition, and the importance of returning to things that are worthy of love. This is not to encourage anxiety or hyper-attachment to our... See more
Objects of Affection
Now in his mid-30s, Chayka questions whether the nearly endless availability of cultural content to younger generations has made them value it less, compared to the effort it once took to discover what you might love. But a decade or more ago, I was wondering the same thing about people his age. Before that, perhaps older people thought the same... See more
bookforum.com • Kyle Chayka Looks at Our Supposedly Flat New World
making-meaning and
In fact, Chayka treats the concept of “taste” throughout with a preciousness I doubt he actually is unsophisticated enough to hold. He cites contradictory definitions, mobilizing Voltaire one moment to say that taste must be cultivated and effortful, and then Montesquieu and Agamben the next to say that taste works by rules we do not (cannot?)... See more
bookforum.com • Kyle Chayka Looks at Our Supposedly Flat New World
taste and
I stand alongside Chayka in looking for strategies to pushing in the other direction. But I can’t help rolling my eyes when he talks as if it’s any kind of novelty for artists (much less “influencers”) to find their visions stymied by commercial demand. Again, one advantage of the algorithmic version may be that it’s externalized in ways that become easier to spot and critique.
As much as I share his concerns, this book repeatedly made we want to yell back at him for willfully underplaying obvious exceptions and counterarguments.
Chief among these is to what degree Chayka’s “flattening” is anything new. When he writes, “If anything, mass culture lately appears more aesthetically homogenous than ever,” he seems to forget... See more
Chief among these is to what degree Chayka’s “flattening” is anything new. When he writes, “If anything, mass culture lately appears more aesthetically homogenous than ever,” he seems to forget... See more
bookforum.com • Kyle Chayka Looks at Our Supposedly Flat New World
subcultures and
I get the impulse to recover a more democratic online world compared to the top-down dictates of Silicon Valley. But in seeking a more humane tech future, nostalgia is more hindrance than help; the alternatives will need to be legible to new generations weaned on social-media feeds.
bookforum.com • Kyle Chayka Looks at Our Supposedly Flat New World
Decades ago, friction was what made a subculture. You had to figure out what punk or goth was about, learn its codes, seek out compatriots, and then maybe go to Hot Topic or a hardcore show. Friction is lower online and visibility is higher. We are all constantly performing our preferences in public. “Subcultures,” in the sense of aesthetic niches,... See more
One Thing • 🟧 Does subculture still exist?
What we get instead is what Byung-Chul Hanmhas described as an "overheating of the ego." Pure individuality through momentary identification of yourself with an aesthetic, which exhausts us by depriving us of any real conflict or difference. What we consume online amounts to a cheaply reproducible set of vague designs. There is only an endless hall of shiny standees, of potential versions of yourself you can pop your face into as you go. Take the photo. And move on. The problem with this "aesthetic," as Silcoff so candidly shows, is that it is entirely a product of the internet’s selfie culture. Offline, these relations – the social construction of identity — were once mediated by something with a bit more give and a sense of reality.
When we are grieving record stores, mixtapes, old-school romance, and friends goofing around in ‘90s high schools, what are we actually grieving? Delayed gratification. Deeper connection. Play and fun. Risk and thrill. Life with less obsessive self-scrutiny. These are things we can reclaim—if we remember what they are worth and roll back the... See more
