Sublime

An inspiration engine for ideas

AllPeopleCollectionsArticlesAudioBooksFilesHighlightsImagesLinksNotesTextTweetsVideosSocial

these artworks ‘construct models of sociability suitable for producing human relations, the same way an architecture literally “produces” the itineraries of those presiding in it’ (p. 70).

Jen Harvie • Fair Play: Art, Performance and Neoliberalism (Performance Interventions)

Culture has to follow the dominant modes of perception of a given era. While a twentieth-century building might have been designed to be photographed, the twenty-first century work of art is “designed for reproducibility” through algorithmic feeds…They each contribute and conform to a generic, flattened, reproducible aesthetic. Hence the general st

This perception that culture is stuck and plagued by sameness is indeed due to the omnipresence of algorithmic feeds.

Kyle Chayka • Filterworld

The activation of negativa (of remainders, intermediate, and negative values) is perhaps the only entirely new, perhaps the most important aspect of contemporary interest in forms.

Joseph Albers • Teaching Form Through Practice (Werklicher formunterricht)

dynamic

Shaka McGlotten • Virtual Intimacies: Media, Affect, and Queer Sociality

As the realm of virtual information complexifies, it is increasingly difficult to collectively experience, let alone agree on concrete descriptions of events. The platforms we use to communicate often lack archival affordances, optimizing instead for the nonstop production of new content. So context collapses and signifiers empty their meaning. Whe... See more

Libby Marrs • How to Read the Internet

warping cultural creators’ intentions for what they put out into the feed, changing their relationship to their own work as well.

Kyle Chayka • Filterworld

dynamic beings constantly redefining themselves, their work, and the world around them

TMAY — Oratory Glory

uncaptured immanence and excess: