taste
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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
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... See more
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
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
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.
house dysmorphia vs nostalgia:
social media might be causing a sort of “house dysmorphia”
and it’s finally more noticeable as we become more drawn to nostalgia
your home should be a sincere reflection of yourself, not a copy of someone else’s highly curated design
it has so much more value in your life when the space you spend most of your time is... See more
social media might be causing a sort of “house dysmorphia”
and it’s finally more noticeable as we become more drawn to nostalgia
your home should be a sincere reflection of yourself, not a copy of someone else’s highly curated design
it has so much more value in your life when the space you spend most of your time is... See more
Link
To put it more plainly: As you grow older, you face the interconnected questions of which parts of yourself to preserve, which parts of yourself to evolve, and which parts of yourself to abandon .
I think these are fun questions to work over, because they’re questions without easy answers and, anyway, there’s no opting out of them. You can ignore... See more
I think these are fun questions to work over, because they’re questions without easy answers and, anyway, there’s no opting out of them. You can ignore... See more
Are you even alive if you aren't confused?
But that eternal present is a lie, an illusion, a fabrication of the digital interfaces. And this not only destroys our sense of the past but also undermines our ability to think about the future.
In an environment without past or future, all we have is stasis.
So it’s no coincidence that culture has stagnated in this eternal digital now . The same... See more
In an environment without past or future, all we have is stasis.
So it’s no coincidence that culture has stagnated in this eternal digital now . The same... See more