mid culture

Vigorously participatory curatorial subcultures certainly exist, but in practice, they require too much time and energy to have a broad appeal. People enjoy sharing their discoveries with friends, and they may at least occasionally rate and review items. But most people, most of the time, leave the hard work of curation to others — or to algorithm

Both share something that will define the future of our interaction with each other and machines. Algorithmic driven content, interfaces that shift from clicks and pages to a back and forth interactive volley with machines that do more and more to shape and surface deeply customized content, accomplish tasks, automate routines, and step us closer t

Many creative people think these are the only options—both for them and their audience. Either they give the audience what it wants (the entertainer’s job) or else they put demands on the public (that’s where art begins).

The fastest growing sector of the culture economy is distraction . Or call it scrolling or swiping or wasting time or whatever you want. But it’s not art or entertainment, just ceaseless activity.

Until recently, the entertainment industry has been on a growth tear—so much so, that anything artsy or indie or alternative got squeezed as collateral damage.

the system will only make the system stronger, the next generation is instead opting for radical hyperstition: constructing alternative futures that abandon

A truth specific to our time is that dissent against one level of authority is now very often driven by a deeper hegemonic force. Perhaps this is why, among many younger people (Greta Thunberg notwithstanding), there is less focus on battling current leaders and more interest in divining counter-futures