Same Difference
“Graffiti artists are hired by real estate firms to bring a safe level of grittiness to a neighborhood. Ebay asks us to choose between passing on a valuable collectable to a relative or finding the highest bidder.” “But since something truly new or different is unassimilable to capitalism’s techniques for value extraction — economies of scale, interchangeable workers, mass production — much of creativity under capitalism is, as Mould argues, “newness to maintain more of the same,” rather than the development of new ways of being.”
Camille Fournier on Twitter: "This reminds me that I have a half-written blog post about being mid-career in tech that has no conclusion because, well, as you can see, it's unclear to me how to best use this time"
“This reminds me that I have a half-written blog post about being mid-career in tech that has no conclusion because, well, as you can see, it's unclear to me how to best use this time”
Andy Baio on Twitter: "I’m expecting a few days where I have to keep my eyes closed. I’d love your suggestions for audio escapism — podcasts, audiobooks, games, and other non-visual projects that don’t require intense concentration and are easy to
“I’m expecting a few days where I have to keep my eyes closed. I’d love your suggestions for audio escapism — podcasts, audiobooks, games, and other non-visual projects that don’t require intense concentration and are easy to lose yourself in.”
In Praise of Mediocrity
“But there’s a deeper reason, I’ve come to think, that so many people don’t have hobbies: We’re afraid of being bad at them. Or rather, we are intimidated by the expectation — itself a hallmark of our intensely public, performative age — that we must actually be skilled at what we do in our free time. Our ‘hobbies,’ if that’s even the word for them anymore, have become too serious, too demanding, too much an occasion to become anxious about whether you are really the person you claim to be.”
Da Art of Storytellin’
All my English teachers talked about the importance of finding “your voice.” It always confused me because I knew we all had so many voices, so many audiences, and my teachers seemed only to really want the kind of voice that sat with its legs crossed, reading the New York Times. I didn’t have to work to find that cross-legged voice—it was the one education necessitated I lead with. What my English teachers didn’t say was that literary voices aren’t discovered fully formed. They aren’t natural or organic. Literary voices are built and shaped—and not just by words, punctuation, and sentences, but by the author’s intended audience and a composition’s form.