Saved by Luciana Ponte and
Stephanie Yue Duhem: Only Bad Poems Go Viral
Eichhorn uses the potent term “content capital”—a riff on Pierre Bourdieu’s “cultural capital”—to describe the way in which a fluency in posting online can determine the success, or even the existence, of an artist’s work.
“Cultural producers who, in the past, may have focused on writing books or producing films or making art must now also spend con... See more
“Cultural producers who, in the past, may have focused on writing books or producing films or making art must now also spend con... See more
Kyle Chayka • How the Internet Turned Us Into Content Machines
Swept up in the Instagramization of the 2010s, the contemporary poetry world saw an exaltation of ‘honesty’ as an aesthetic priority. Poetry not as craft, but as ‘outlet,’ with the goal not of developing ourselves and enriching our understanding of the world, but of sitting more comfortably with how we already were and what we already believed. Wat
... See moreDirt • Dirt: The Decay of Lying...
As Nguyen points out, the sharing of these posts is more about people showing off their prompts than it is the text. The reason they’re interesting to anyone at all is due to what a human did, not a robot.
Kate Lindsay • I don’t care what the AI wrote
a human can write a poem about his experience and post it online, thereby enriching the global data-processing system.
Yuval Noah Harari • Homo Deus
Virality isn’t always a bad thing, but it chips away at this once-valued notion of authenticity, of discovering a music or fashion scene first.