Recently rereading William Gibson's "Pattern Recognition" and I'm struck by his belief that certain art or memes are objectively good and destined for virality. I think both Gibson and this author are wrong. No content is intrinsically destined for success. There are countless amazing artists, available to anyone. Any sort of quality, insight, talent, novelty are table stakes. If someone is big, they're either extremely lucky, they got in on the ground floor, or there's marketing money behind them.
>Any sort of quality, insight, talent, novelty are table stakes
So that's why I ain't seeing much of those lately. You sayin' someone left 'em on the table?
>If someone is big, they're either extremely lucky, they got in on the ground floor, or there's marketing money behind them.
Yes. Meaning, if you're big, I simply do not wish to hear about you or what you have to express; you're simply the thing that ascribes to the money its value.
Relatedly, an ancient saying: "I do not happen to be a connoiseur of the different flavours of excrement".
The objective parts of quality (technical skill) are fairly easy to saturate, most serious artists do so, but it's not sufficient to be successful.
Objective quality is common, but it sounds like you've just defined subjective quality to exclude anything mainstream.
You're right that Gibson would not have defined quality and virality to be the same. I should have used "or" in that sentence. However, he still seems to believe that they depend on properties of the content: some things have broad appeal, some things have genuine quality, some things have neither or both, and their success depends on that. I think it's all a crapshoot.
Your definition, that most art (or even things in general) are of roughly the same quality above some bar of competency is... Difficult to defend.
There are things that are just better than others. Sometimes it's because they take much longer to make (time, materials etc). Other times it's because they go into a new direction (inventions, new genres). Not all things doing these are good. In fact generally, spending more time on something or trying new things results in overbaked garbage. It's genuinely rare and special to hit upon a combination of all three - competent, new, and with high investment put into it.
Just spend time thinking about airport novels, or the countless pop artists the music industry tries to push that get no traction. Or failed hollywood blockbusters. Quality matters.
Not of the same quality, just that the objective parts of quality have been mastered by many people. What sets art apart beyond that is individual taste. "Newness" is definitely subjective; it depends on what you've seen before (though it is correlated for people within a culture.)
I suspect that you criticize airport novels, pop music, cliched movies because they are similar to stuff you've seen before. (I hope that you've tried them, and aren't just criticizing them on the perception that they're lowbrow.) But people who hadn't seen them before could still enjoy them.
You eat at a Michelin-starred restaurant. I eat a bowl of oatmeal and I enjoy it just as much. What makes your meal better?
I understand the hypothetical argument that you could enjoy a simple meal, a simple life, etc. And there are many that do - but that doesn't mean some things aren't preferable to other things to some people. It just shows that people's preferences are different.
But generally, we see that given the choice, people do rate art differently. That people prefer certain things to other things more often than chance. Some of it is perhaps cultural, sure. But does that really undermine the point? The trick of making good art/products whatever is literally hitting a thing a large group of people like. It's not cheating to try and make people of your culture, or any specific culture or subculture, like it. That's actually kinda most of the point.
You really can distinguish between a competent but otherwise uninteresting thing and something truly special by just like... Putting it out there. Many things that were widely distributed were not especially well liked, and others remain literal classics. Why?
Lately when I watch a video on YouTube, every single one of the recommended videos is AI slop. Not sure what the next 5 years holds. It does make me question the argument that bad AI generated content is equivalent to bad human generated content. And they all have hundreds of thousands of views, another mystery.
Modern payola. Fascinating but not entirely unpredictable. I’m excited by the focus on hyper-local, authenticity is the scarce resource. Great artists are usually not the best marketers, but nothing beats “I am here, this is real”. No amount of algorithmic magic can create that experience.
It doesn't surprise me at all that this is going on. There are lots of social media fan pages that are run by real people who post real content 99% of the time but are willing to post promo material for a fee. Usually that fee is pretty high, easily $100-500 depending on the account's follower count, with different price points for how long it stays up (pay more for a permanent post, pay less and it gets deleted after X number of hours). It's really effective because those accounts already have a well-established presence and function as tastemakers.
Pieces like this all seem to be written with an unspoken assumption that anyone who wants to make a living wage from being an artist should be able to, as if it's some sort of right.
It would be nice if that were true.
AI has exacerbated this issue. Suddenly we're faced with the uncomfortable truth that much of human artwork is "mid" as the kids would say and people aren't willing to pay for songs, writing, and/or graphics the way they otherwise might.
Anyway, I'm very curious if anyone has a good argument for why anyone who wishes to be an artist is owed a living wage for merely their desire to be recognized as economically valuable.
I'd like to know more about "Chaotic Good Projects" [1]. Isn't it fascinating that they so openly do "UGC" (user-generated content) and "Fanpages" even though they are neither users nor fans, but paid consultants. And even openly displaying the musical acts they performed these dark-pattern services for.
One day after this piece went up, Chaotic Good made significant changes to their website — including pulling the “Narrative Campaign” section completely.
I checked the Internet Archive but I cannot access any of the archived versions. Apparently the website uses JS to display its content and the IA can't deal with it. Internet searches show that the page existed, though, so I'll take the content deletion as proof.
Not sure how this is ethically different from industry plants or payola. Things which have been in the industry since the dawn of time. Astroturfing with fake fans is just the natural next step due to how easy it is. Back in the day some labels would drum up fake engagement by handing out tickets to influential people, paying certain people to go, and things like that.
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>objectively good
>destined for virality
Antonyms, in my book.
>Any sort of quality, insight, talent, novelty are table stakes
So that's why I ain't seeing much of those lately. You sayin' someone left 'em on the table?
>If someone is big, they're either extremely lucky, they got in on the ground floor, or there's marketing money behind them.
Yes. Meaning, if you're big, I simply do not wish to hear about you or what you have to express; you're simply the thing that ascribes to the money its value.
Relatedly, an ancient saying: "I do not happen to be a connoiseur of the different flavours of excrement".
Objective quality is common, but it sounds like you've just defined subjective quality to exclude anything mainstream.
You're right that Gibson would not have defined quality and virality to be the same. I should have used "or" in that sentence. However, he still seems to believe that they depend on properties of the content: some things have broad appeal, some things have genuine quality, some things have neither or both, and their success depends on that. I think it's all a crapshoot.
There are things that are just better than others. Sometimes it's because they take much longer to make (time, materials etc). Other times it's because they go into a new direction (inventions, new genres). Not all things doing these are good. In fact generally, spending more time on something or trying new things results in overbaked garbage. It's genuinely rare and special to hit upon a combination of all three - competent, new, and with high investment put into it.
Just spend time thinking about airport novels, or the countless pop artists the music industry tries to push that get no traction. Or failed hollywood blockbusters. Quality matters.
I suspect that you criticize airport novels, pop music, cliched movies because they are similar to stuff you've seen before. (I hope that you've tried them, and aren't just criticizing them on the perception that they're lowbrow.) But people who hadn't seen them before could still enjoy them.
You eat at a Michelin-starred restaurant. I eat a bowl of oatmeal and I enjoy it just as much. What makes your meal better?
But generally, we see that given the choice, people do rate art differently. That people prefer certain things to other things more often than chance. Some of it is perhaps cultural, sure. But does that really undermine the point? The trick of making good art/products whatever is literally hitting a thing a large group of people like. It's not cheating to try and make people of your culture, or any specific culture or subculture, like it. That's actually kinda most of the point.
You really can distinguish between a competent but otherwise uninteresting thing and something truly special by just like... Putting it out there. Many things that were widely distributed were not especially well liked, and others remain literal classics. Why?
It would be nice if that were true.
AI has exacerbated this issue. Suddenly we're faced with the uncomfortable truth that much of human artwork is "mid" as the kids would say and people aren't willing to pay for songs, writing, and/or graphics the way they otherwise might.
Anyway, I'm very curious if anyone has a good argument for why anyone who wishes to be an artist is owed a living wage for merely their desire to be recognized as economically valuable.
[1] https://chaoticgoodprojects.org/
>
One day after this piece went up, Chaotic Good made significant changes to their website — including pulling the “Narrative Campaign” section completely.I checked the Internet Archive but I cannot access any of the archived versions. Apparently the website uses JS to display its content and the IA can't deal with it. Internet searches show that the page existed, though, so I'll take the content deletion as proof.
it's no secret that being an artist is a tough path with little chance of success