“Secondhand books are wild books, homeless books; they have come together in vast flocks of variegated feather, and have a charm which the domesticated volumes of the library lack.” Virginia Woolf (1882-1941) Author
Yes, I am, we are, artists are…
“When you come right down to it, opinions are the most superficial things about anyone.” Borges
Forgive but do not forget, or you will be hurt again. Forgiving changes the perspectives. Forgetting loses the lesson.
“For Women Who Are Difficult to Love” – written and performed by Warsan Shire
You are a horse running alone
and he tries to tame you
compares you to an impossible highway
to a burning house
says you are blinding him
that he could never leave you
want anything but you
you dizzy him, you are unbearable
every woman before or after you
is doused in your name
you fill his mouth
his teeth ache with memory of taste
his body just a long shadow seeking yours
but you are always too intense
frightening in the way you want him
unashamed and sacrificial
he tells you that no man can live up to the one who
lives in your head
and you tried to change didn’t you?
closed your mouth more
tried to be softer
less volatile, less awake
but even when sleeping you could feel
him travelling away from you in his dreams
so what did you want to do love
split his head open?
you can’t make homes out of human beings
someone should have already told you that
and if he wants to leave
then let him leave
you are terrifying
and strange and beautiful
something not everyone knows how to love.
C.S. Lewis memorably wrote that art and philosophy — in other words, the substance of what we call human culture — have no survival value but, rather, give value to survival. The kind of value he had in mind, of course, was spiritual. And yet half a century later, we’ve stifled our way into a system that assesses art and philosophy and human culture for their economic value as market commodities — they’ve been reduced to that depressingly derogatory term for cultural material: content.
As a consequence of the Internet, it is assumed that traditional gatekeepers will crumble and middlemen will wither. The new orthodoxy envisions the Web as a kind of Robin Hood, stealing audience and influence away from the big and giving to the small. Networked technologies will put professionals and amateurs on an even playing field, or even give the latter an advantage. Artists and writers will thrive without institutional backing, able to reach their audiences directly. A golden age of sharing and collaboration will be ushered in, modeled on Wikipedia and open source software.
In many wonderful ways this is the world we have been waiting for. [But] in some crucial respects the standard assumptions about the Internet’s inevitable effects have misled us.
Many of the problems that plagued our media system before the Internet was widely adopted have carried over into the digital domain — consolidation, centralization, and commercialism — and will continue to shape it. Networked technologies do not resolve the contradictions between art and commerce, but rather make commercialism less visible and more pervasive…
The pressure to be quick, to appeal to the broadest possible public, to be sensational, to seek easy celebrity, to be attractive to corporate sponsors—these forces multiply online where every click can be measured, every piece of data mined, every view marketed against. Originality and depth eat away at profits online, where faster fortunes are made by aggregating work done by others, attracting eyeballs and ad revenue as a result.
The truth is subtler: technology alone cannot deliver the cultural transformation we have been waiting for; instead, we need to first understand and then address the underlying social and economic forces that shape it. Only then can we make good on the unprecedented opportunity the Internet offers and begin to make the ideal of a more inclusive and equitable culture a reality. If we want the Internet to truly be a people’s platform, we will have to work to make it so.