MK

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.

A social network is an idle, inactive system—a Rolodex of contacts, a notebook of sales targets, a yearbook of possible soul mates. But social media is active—hyperactive, really—spewing material across those networks instead of leaving them alone until needed.

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.

Compulsion had always plagued computer-facilitated social networking—it was the original sin. Rounding up friends or business contacts into a pen in your online profile for possible future use was never a healthy way to understand social relationships. It was just as common to obsess over having 500-plus connections on LinkedIn in 2003 as it is to

Spotify, for example, has invested heavily in its own curation services — both algorithmic and human — after finding that many of its listeners were baffled by superabundance, burdened by excessive choice and uninterested in charting their own paths through the digital wilderness.