“We have to stop CONSUMING our culture. We have to CREATE culture. DON’T watch TV, DON’T read magazines, don’t even listen to NPR. Create your OWN roadshow. The nexus of space and time where you are — NOW — is the most immediate sector of your universe.”
Tag Archives | Culture
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Vibrant online communities? Or cesspools of abuse? Have comments had their day?
The debate about comment sections on news sites is often as divisive as the comments themselves. Recently outlets such as The Verge and The Daily Dothave closed their comments sections because they’ve become too hard to manage. And they’re far from alone. Moderating comments is a full-time job (or several full-time jobs) at many news organisations. Officiating comments on a BBC News story requires knowledge of more than a dozen different disqualifying categories. Alongside shouting, swearing and incivility, comment sections can also attract racism and sexism. BBC Trending recently found evidence of the latter when looking at live streaming app Periscope.
That’s the downside. But it’s also worth remembering that many news organisations – including the BBC – have used comments sections to make real connections with audiences, find stories, and turn what was once a one-way street into a multi-headed conversation.
Tonya Riley via All That is Interesting:
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Although it might be easier to ignore in an age where nearly ever American carries thousands of songs in their pocket, the unmistakable sound of Muzak still haunts us all. An estimated 100 million people (nearly a third of America’s population) are exposed to Muzak’s background music each day, whether in an elevator, on hold with the cable company or elsewhere. Although the Muzak brand technically went bankrupt in 2009 and lost its name in 2013 after new owners moved in, its technology set the stage for almost a century of bland, instrumental music that became the soundtrack to postwar America and continues to this day.
Muzak was founded in 1934 by former Army General George O. Squier, who had led the U.S. Army’s communication efforts during World War I. Squier was elected to the National Academy of Science in 1919 after his patented multiplexing system allowed for multiple signals to be transferred over one phone line.
In 1957, a 21-year-old art school graduate named Don Featherstone created his second major design for the Massachusetts-based lawn and garden decoration manufacturer Union Products: a three-dimensional plastic pink flamingo propped up by two thin, metal legs that could be plunged into soft dirt.
Featherstone’s duck and flamingo ornaments sold in pairs for US$2.76, and were advertised as “Plastics for the Lawn.” They became simultaneously popular and derided in the late 1950s and remain a recognizable species of American material culture.
Featherstone died this past June, but over five decades after he submitted his design, the plastic pink flamingo continues to grace American lawns and homes. While many are quick to label the plastic ornament as the epitome of kitsch, the flamingo has actually taken a rather tumultuous flight through an ever-changing landscape of taste and class.… Read the rest
Over the Fourth of July weekend, the Grateful Dead performed a farewell series of shows at Chicago’s Soldier Field, celebrating 50 years as a band.
Reading about these final sets brought me back to the 1970s, when I attended a New Hampshire summer camp as a boy.
During those summers, I’d noticed that my counselors were steeped in the culture of the band. It wasn’t just endless discussions of shows, songs, versions of songs and surprising set lists (Would they ever play Dark Star? Would Phil ever sing again?); it was also a dedication to the ethos of understated generosity, environmental stewardship and a nonjudgmental attitude to other people’s lifestyles.
That was the spirit of the band and their fans, known as Deadheads.
Even then, the band was an outlier in a music industry that has always enjoyed a fair dose of control over artists, imaging, marketing and ticket sales. And the almost stereotypical image of the money-grubbing music executive of the midcentury rock-and-roll era (exemplified by Tom Hanks’ character in the 1996 film That Thing You Do) seems, in retrospect, quite accurate.… Read the rest
“Revenge is a dish best served cold…”
(Ancient Klingon Proverb)
This post originally appeared on Philosophical Disquisitions.
When I was younger I longed for revenge. I remember school-companions doing unspeakably cruel things to me — stealing my lunch, laughing at my misfortune and so forth (hey, it all seemed cruel at the time). I would carefully plot my revenge. The revenge almost always consisted of performing some similarly unspeakably cruel act towards them. Occasionally, my thoughts turned to violence. Sometimes I even lashed out in response.
I’m less inclined towards revenge these days. Indeed, I am almost comically non-confrontational in all aspects of my life. But I still feel the pangs. When wronged, I’ll briefly get a bit hot under the collar and my thoughts will turn to violence once more. I’ll also empathise with the characters in the innumerable revenge narratives that permeate popular culture, willing them on and feeling a faint twinge of pleasure when they succeed.… Read the rest
What is the significance of taking a selfie? Philosopher Alexander García Düttmann explores the potential of the selfie as both a feature of the culture industry and as a creative act in the work of Walt Whitman and Agnes Martin.
Alexander García Düttmann at Four by Three Magazine:
The answer is probably: no, it is unlikely that there is a self in selfies. As one gives this answer, well aware that perhaps no one cares for the kind of self one is denying to the image called selfie, a faint echo makes itself heard, the echo of an aphorism Adorno coined in the 1940s. It reads: “In many people it is already an impertinence to say ‘I’.”
But does it matter? Must one appeal to some deeper, or more authentic, sense of selfhood, to an I that escapes the selfie’s eye, and ridicule an expression that refers more to an act than to an entity, to the act of stretching out one’s arms, of using a prosthesis with a small and handy camera attached to its extremity and of catching a digital glimpse of oneself, a glimpse contained in, and forming on the surface of, the artifact’s screen, an image immediately available to viewing?… Read the rest
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“In prison, illusions can offer comfort.” – Nelson Mandela
For a magician to fool his audience his deceit must go unseen, and to this end he crafts an illusion to avert attention from reality. While the audience is entranced, the deceptive act is committed, and for the fool, reality then becomes inexplicably built upon on a lie. That is, until the fool wakes up and recognizes the truth in the fact that he has been duped.
Maintaining the suspension of disbelief in the illusion, however, is often more comforting than acknowledging the magician’s secrets.
We live in a world of illusion. So many of the concerns that occupy the mind and the tasks that fill the calendar arise from planted impulses to become someone or something that we are not. This is no accident. As we are indoctrinated into this authoritarian-corporate-consumer culture that now dominates the human race, we are trained that certain aspects of our society are untouchable truths, and that particular ways of being and behaving are preferred.
All image credits Courtesy of Christian Berst Art Brut (New York/Paris).
Melvin Way invented the Dell computer, founded collegiate and educational institutions all over the Northeastern United States, and wrote songs that were recorded and popularized by the Supremes. He had a ticket on the last Amtrak train that crashed near Philadelphia, but missed it, intentionally, because “something just wasn’t right.” Way’s enormously important intellectual and cultural accomplishments might explain the 6.2 million dollars he made last year. But what would you expect from a man who graduated high school fourteen times (ten times in South Carolina and four times in New York City) and who also happens to be “post-mortal?”
Emory Douglas was the Revolutionary Artist and Minister of Culture for the Black Panther Party. Through archival footage and conversations with Emory we share his story, alongside the rise and fall of the Panthers. He used his art as a weapon in the Black Panther Party’s struggle for civil rights and today Emory continues to give a voice to the voiceless. His art and what The Panthers fought for are still as relevant as ever.