This oneirophilia of our commodity relations, huh? Escapism for mental health.
Ernie Bushmiller said that.
Is this what is meant by the internal theatres of seeing all these monopolies of traffic going by?Such is a means that will never end, of large waves of attentions economies that will move in and out with much whimsy.
Fame, Infamy, and Attention Economising. It all happens at once, performance metric hallucinations shake like winds. Commercial platforms yearn for it, long for it, and call for it.
Now, I shall quote, as we go through this circles.
@pleometric"do people watch this slop?" yes and they love it. The thing about short form is that worse is better, things are meant to be consumed, discarded and remixed into new strains. The slop is the point."
Fishing for attention, competing for it, warring for attention, for all to see.
Moral knowledge becomes falsity when the origin raises the pontificators' views the wrong way, and then they lecture.
With a product, service or policy, there's an incentive to lie, generally speaking.
Yet direct response, eliminative materialism, virality, celebrity endorsements – that stuff that I had to hide in the brand world of e-idealism.
Oh marketing, and the infinite regress of anti-marketing, how it manipulates, how it drives us. How it leads us. The lowest comprehension of a stratum.
With all the cargo culting though.This may be the limits of our meliorism, granted with our social apparatus of these platform capitalists, left to our own devices to raise consciousness.
So I can only think of connection while still at the tension of these commodity relations as an edutainment creative class owning the means of production. Then carry on.
Seeing the normalised advertising and commodifying proffesion left to us, along with the subvertisement. The only thing on these platforms is locked within. It's arguable that with all this automated white-collar work now, it's going to first to go. It's a fascinating subject that came from aristotle of plot:spectcale, Robert Mckhee's argued in one of his craft books there is no distinction.
I guess we will have to move on with commodified para-social relationships from platform to platform. Thx for the talk, been doing my best to inform my praxis while not falling into the pragmatism traps.
More on entertainment, good and bad. I've read about:
Harlen Ellison's The Glass Teat 1+2 And his speech on toilets
Byung-Chul Han's The Good Entertainment > Those are goof
Robert McKee Character
Nicolas D Villarreal a soul of a new type
David Foster Wallace talk on consumerism > mid
The Attention merchants : Tim Wu
Neil Postman on Amusing Ourselves to Death and Technopoly. ( I don't know how long those ideas have lasted) >Negative
Despite the vulgarity being on the course with the duo. This has aged generously. If not due to luck, then due to playing the improvisational game of turning what was once a sleeper hit of non-judicial spaces into a cultural touchstone.
So what can I learn? Epistemic luck and being at the right place at the right time is still a thing; you can't count on it though in the studio. Improvisation, planning, overplanning and then the curtailment.
They will always be cheaters and gamers, social media gamers and all that industry plant react stream banality at any polemical tension.
Even now though, these polemists may have become peace-makers or diplomats; I haven't checked on their body of work of the later seasons on an LS mark episode overview.
"I'll promise i will never die" anticlimantic moment.
What's with this article.
I was comfy scrolling on Substack and needed to write this. This was followed by a Kink by Not Art. A Madame Bovary, I'm going to get put out; the west has this odd, oxymoronic way of for and against.Then there's the depressed one who hits the spec, yet feels rote. These could be talents.
I mean, that's the difference; the artisan is a creative with tension in the craft.
The craft itself of the depressed feels rote and standardised. These could be tantrums as performances.
An honest hack entertainer delivers on times, understands specifications, yet can go beyond the mechanical performances of eliminative materialism and then attempt an organsim to delight with something remarkable with the client relationship,