Diamonds (at Random House)
We’re building 1984 themselves. We’re creating a goldmine of personal data for governments and brand marketers.
We’re asking for our data to be scraped and aggregated for personalized targeting. Social networks are an extension of your social security number. The Syrian Electronic Army phishes for our passwords.
It’s no wonder teens are using more private social tools like SnapChat to conceal their data and startups are building ways to delete your Googleability across the web.
In the next few years, more people are going to check out of public online behavior rather than checking in. They will go untraceable into the dark areas of the web, cloaked in digital camouflage. Some people will turn the web off completely to take digital sabbaths. Others will find ways to participate online through an alter ego.
We are the ads, the hunters and the hunted. Marketers dictate our identities, tailoring what we should do or consume next.
How do we engage the Internet without turning it off completely? No island is disconnected.
BuzzFeed explores the different types of social networks (mainly Facebook and Twitter) and concludes that we’re headed right back to where we started, privacy and direct messaging, “AIM.”
Message-heavy services like Snapchat, Kik and Whatsapp — are more “social” and less “network” than what came before.
For the past few months, I’ve been sending more content I might have shared on Facebook or broadcasted or Twitter to my direct audience via iMessage where I know I’ll get a response.
Google is a traditionally left-brain company now balancing analytics with the proper beauty of design with “cards.”
“The idea is that each card is a single atomic contextual piece of information; essentially, a suggestion, a prompt, a call to action,” said Duarte. “It boils down to focus: in a very constrained space, they can communicate one thing really well.”
Apple faces serious competition on hardware and software.
While searching for “world music” within Twitter one is most likely to find results about Justin Bieber’s “Around The World” track instead. A simple Google search for the same keywords brings up a variety of institutes, theaters, and World Music networks.
Pre-Internet, “World Music” fans mostly consisted of academic Westerners interested in the globe’s otherness. The music itself was essentially non-English and played with more natural, local instruments from Africa, the Caribbean, Eastern Europe, India, and the Middle East. Celtic and Russian choir music could also be classified as World Music.
World Music still sounds native, unfamiliar, and far less digitized than mainstream music: Pop, Rock, and Rap. It has its own category in the iTunes Music Store and hours of streaming on Pandora.
But today, world music either gets mixed into mainstream culture and reclassified or goes buried in the troves of mainstream music which dominate social media chatter.
Those non-Western countries that are highly connected have a greater chance to crossover.
South Korean Pop artist Psy for instance is a World Music artist whose viral video “Gagnam Style” earned him mainstream, Western Pop success. YouTube backed Psy, the same way mass radio Westernized Ricky Martin and Shakira.
Conversely, the digital divide prevents World music artists from successfully marketing themselves. Not everyone has Pro Tools, an iPhone and high speed connectivity. This is where World music becomes more of a world aid program than about the quality of the music itself.
Bob Marley, Fela Kuti, and the Buena Vista Club all demonstrated how commercialization strengthened their local culture. The problem today is that the Internet just wants to Westernize everything.
For World Music, the digital era simply means it either gets absorbed and recasted or converted into an outreach program, known as World music.
(I originally wrote this piece for Flaunt Magazine but they never got back to me.)
The busier people were less precious—you learn to fit [your creative work] in, and you don’t have these elaborate eccentric rituals if you have children or a day job. Someone like Joseph Heller wrote Catch 22 in the evenings after work. He’d write for two or three hours a night after his job as an advertising executive doing campaigns for magazines. He was not a tortured artist. He found as much joy in his day job as writing Catch 22 at night. “I couldn’t imagine what Americans did at night when they weren’t writing novels,” Heller said. Currey also notes in Daily Rituals that even when Heller quit his day job to write full-time, he still only worked on his novels for two to three hours a day.
I can’t imagine making art all day. I’d burn out. Right in line with Hugh MacLeod’s “Sex & Cash Theory.”
The people who control culture in China have no culture.
I controlled the rain yesterday at MoMA’s Rain Room.
Art is more than just staring at pictures within frames. Art is also about living with the experience and manipulating the ingredients.
The myth of the overnight success is just that – a myth.
#rainroom (at Expo 1: New York Rain Room)