MK

Social media showed that everyone has the potential to reach a massive audience at low cost and high gain—and that potential gave many people the impression that they deserve such an audience.

Here we see a really pivotal moment of change, when art must become something that does not make people uncomfortable, so that they will spend money. The kind of person who is expected to consume art is transformed in the mind of the producer. The people who might very possibly love being expanded by what they see are never given the chance.

For most, the pleasures of digital cultural consumption are uncoupled from the exertions of curatorship. Today’s digital consumers are no longer being fed a limited diet of standardized cultural products, but they are still being fed. Consumption may be personalized, but it would be a stretch, in most cases, to call it self-directed — and it is

This is also why journalists became so dependent on Twitter: It’s a constant stream of sources, events, and reactions—a reporting automat, not to mention an outbound vector for media tastemakers to make tastes.

When we dress to be photographed, we increasingly dress to be distributed as an image, and thus transformed into a kind of ad.

Community moderation works . This was the overwhelming lesson of the early internet. It works because it mirrors the social interaction of real life, where social groups exclude people who don’t fit in. And it works because it distributes the task of policing the internet to a vast number of volunteers, who provide the free labor of keeping forums

Researchers have found instead that the distribution of attention remains highly unequal across a wide range of digital contexts, ensuring the hypervisibility of a few and the invisibility or near-invisibility of the great majority. The winner-take-all (or winner-take-most) logic, sustained in part by algorithms that ratify and reinforce what is

Twitter was for talking to everyone —which is perhaps one of the reasons journalists have flocked to it.