How do you quantify the effects of things that don't happen to you? "The whole point of living in a culture is that much of the labor of perception and judgment is done for you, spread through media, and absorbed through an imperceptible process that has no single author." (previously; via)
Categories as fundamental as fact and fiction, news and entertainment, gender and sexuality, have eroded away. In literature and architecture, in cuisine, in music, in fashion and furnishings, everywhere, everything—it’s fusion and mix. Barack Obama emerged as a literal embodiment of this age. To educated people, especially younger people with generally progressive views, other candidates suddenly looked parochial by comparison—or simply outdated. In his ethnicity and biography and in his personality and politics, Obama, the conciliator, was above all a combiner. Because he was from virtually everywhere—Kenya, Indonesia, Honolulu, Harvard, Chicago’s South Side—he was also from nowhere. The pastiche of his persona made him “his own man” in a new sense of the term.On the Politics of Pastiche and Depthless Intensities: The Case of Barack Obama
Meditations on: the poetic and profane; on silence; death; catastrophe; Cage — and yet more strangeness and beauty from David Ralph Lichtensteiger's travels within the world of 20th C. avant garde music and postmodernism.
Nick Hornby discusses pop music in this NY Times essay: "Maybe this split is inevitable in any medium where there is real money to be made: it has certainly happened in film, for example, and even literature was a form of pop culture, once upon a time. It takes big business a couple of decades to work out how best to exploit a cultural form; once that has happened, 'that high-low fork in the road' is unavoidable, and the middle way begins to look impossibly daunting. It now requires more bravery than one would ever have thought necessary to try and march straight on, to choose neither the high road nor the low. Who has the nerve to pick up where Dickens or John Ford left off? In other words, who wants to make art that is committed and authentic and intelligent, but that sets out to include, rather than exclude? To do so would run the risk of seeming not only sincere and uncool - a stranger to all notions of postmodernism - but arrogant and vaultingly ambitious as well."