taste

By contrast, when “everything is at our fingertips” — when art is compressed into the same omnipresent and infinite digital non-time as every random piece of internet garbage — I think that we’re left feeling incomplete on some basic human level, like we’re the practitioners of a vibey old religion whose rituals were all but erased, and whose... See more

Streaming is an affront to God

And so, when people valorize these kinds of outmoded media, and outmoded acts of endurance and devotion, I don’t think it’s just about empty nostalgia. Because these are touchstones and processes — precisely in their inefficiency — by which people can open themselves up to transformative experience, and honor the depth and fullness of what art means to us.

n this sense, Labubus do seem to be a defining moment of 2020s culture. For those interested in moving culture away from fads such as these, resistance requires much more than a refusal to consume. If fads are narratives as much as products, they need to be starved of engagement, as well. We haven't figured out how to do this yet.

W. David Marx • Only Fads: A Culture (And Economy) of Labubu

intentionality

My optimistic take is that the faux-culture ecosystem will drive more people towards small-scale, humanistic culture. But this brings us back to the “we” from Chayka’s piece. The vast majority of people on earth are going to drown in a lukewarm bath of AI gruel, and there is probably no effective means of mass resistance on their behalf. The... See more

The New Yorker Roundup

Educated people feel a duty to know these trends as part of cultural literacy. They don't buy Labubus, yet they join the "we" and descend into introspective angst about what Labubus mean for the state of "our" collective psychology.

As a general strategy for cultural consumption, omnivorism was very smart: Erecting artificial barriers against “low”... See more

The New Yorker Roundup

Logging off

It’s easy to forget that we used to find music, movies, photography, and books entirely offline. You’re more likely to discover something truly serendipitous and surprising flipping through vintage magazines at your local public library than endlessly scrolling an Instagram feed that’s already tailored to your taste. Stroll through an... See more

Escape the algorithm | Dirt

Also what I mean by a good reader is not like a good student of literature but more like a good listener. They read/listen for why something is on the page. They come to each work without a checklist of how to do something well, or what makes something a success or a failure. Their taste is unique and continually expanding with the work they turn... See more

Joanne McNeil • where do my legs go

Where I care about this stuff is, well, I wish there would be more good readers. That more people would turn to work with a sense of expansiveness rather than moral accounting. Art is created with work but our enjoyment and appreciation of it isn’t work. Well, it doesn’t have to be.

Joanne McNeil

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

Article

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.

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

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