MK

Cultural production is ever more finely attuned to attention, which is ever more pervasively measured and monetized. Commerce and culture are locked in an ever-tighter embrace.

The inherent contextlessness of platforms like Twitter also works in the opposite direction, though: It’s easy to use the language of social justice to justify anything we want, and by doing so, weakens real, meaningful activism.

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.

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

Instead of being fed from above a limited diet of standardized cultural products, everyone — not just a minority of highly educated omnivores — can now craft a varied and customized cultural diet from the digital cornucopia. People create these customized diets by sharing the work of “curation” in differentiated niche taste communities. This

Hyperconnectivity in the cultural realm promises abundance, decommodification and democratization. Everyone has at their fingertips an infinitely rich and varieduniverse of cultural products. New cultural forms and innovative practices have proliferated. Much digital culture is freely shared rather than bought and sold. And ever-expanding circles

That changed when social networking became social media around 2009, between the introduction of the smartphone and the launch of Instagram. Instead of connection—forging latent ties to people and organizations we would mostly ignore—social media offered platforms through which people could publish content as widely as possible, well beyond their