It struck me that someone should've made a movie, shooting every five years or so, starring Harry Dean Stanton, James Hong and the late Richard Griffiths. The world would change around them, but they'd stay the same. It'd be so good.
There is an enormous failure of imagination among those who think that we face a jobless future. The weavers of the 1811 Luddite rebellion, who smashed the machine looms that were threatening their livelihood, couldn’t imagine that their descendants would have more clothing than the kings and queens of Europe.
What Amazon Teaches Us About AI and the “Jobless Future”
Those words [Theresa May] repeated so robotically, “strong and stable,” would ring just as hollow in the mouth of any other Conservative politician. This is a party that has plunged its country into an existential crisis because it was too weak to stand up to a minority of nationalist zealots and tabloid press barons. It is as strong as a jellyfish and as stable as a flea.
Britain: The End of a Fantasy
One of my favorite bands, Anathema, just released their latest effort, titled The Optimist. I’ve starred it on Spotify, but haven’t really had time to listen to it. (A cursory once-over got my hopes up, though.) As it happens, I’m old-school and like support the artists I like and to own my music, but what I’m not is a purist about formats. I figured I’d buy it digitally. However, once I got to their web store, I found I couldn’t. In 2017. Now, obviously there’s Amazon and iTunes, to name but two purveyors of lower-quality MP3 files, but still … why couldn’t I buy the digital edition directly from the band? Again: in 2017.
Art is now, above all, purchasable – and this commodification is apocalyptic in precisely the opposite way of the exposition. In the classic exposition we displayed objects as a means to celebrate the possible future or the material potential of the present. In the gallery, as in the auction house, we still celebrate exorbitant sales as an expression of apocalyptic insecurity, but the only recapitulation here is the affirmation of purchasing power – of the current and future investment prospects of Basquiat, of a world possibly without materials, of a world entirely composed of capital. There is no celebration of aesthetic or material potential, or a celebration of possible advance, only the grotesque spectacle of meaningless wealth reinforcing itself – the market hollowing out and infecting one of our last bastions against the market’s pull.
The Big Basquiat Sale Is Art’s Capitalist Apocalypse
In light of recent events, here is The Beautiful South with Manchester.
Dead at 52, Chris Cornell of Soundgarden (and Audioslave, I suppose) fame.