In the middle, all that is solid melts into sameness, such that smart home devices resemble the buildings they surveil, which in turn look like the computers on which they were algorithmically engineered, which resemble the desks on which they sit, which, like the sofas at the coworking space around the corner, put the mid in fake midcentury... See more
“Visually, blands are simple, neutral and flat. The palette is plain and pastel (with the occasional vibrant splash); the mood is upbeat and happy, or pensive and cool, but never truly real; the dress-code is smart-casual. Bland people are stock-photo attractive (or quirkily jolie laide). (...) Complex products and... See more
Today’s perma-class of renters moves more frequently than ever before (inevitably to smaller apartments), and on moving day the sidewalks are transformed into a rich bazaar of objects significant for ugliness studies. We stroll past discarded pottery from wild sip ’n’ spin nights; heaps of shrunken fast fashion from Shein; dead Strategist-approved... See more
“The Big Flat Now is the infinite space on which our culture operates today. Its frictionless surface is composed of the obsolete hierarchies that have been melted by the Internet. Its shallowness belies a seamless texture that allows for the rapid collision of ideas,” write Thom Bettridge and Lucas Mascatello in 032c. “Raised by a global chorus of... See more
In Hadley Freeman’s book Life Moves Pretty Fast, Oscar winning director Steven Soderbergh argues that this is the natural result of testing:
“If you've ever wondered why every poster and every trailer and every TV spot looks exactly the same, it's because of testing. It's because anything interesting scores poorly and gets kicked out. (...) I've... See more
How did workplace management systems, body-positive nutritional supplements, bean-forward meal kits, woman-owned sex toys, and woman-owned day-trading services all converge on the same three fonts?
To find out Adam Mastroianni analysed the top 20 grossing films in every year since 1977 and coded whether each was part of a “multiplicity” (i.e. a sequel, prequel, franchise, spin-off, reboot etc.).
What he found was surprising:
“Until the year 2000, about 25% of top-grossing movies were prequels, sequels, spinoffs, remakes, reboots, or cinematic... See more