(The Modern Subject) removed the barriers created by enchantment and so transformed nature into material stuff that could be understood and hence made vulnerable through instrumental reason to being exploited for the sake of increased human happiness and material well-being. -James R. Currie, Music and the Politics of Negation, p. 127.
The eruption of the industrial revolution was no doubt traumatic, and generations of revival have clearly not banished its destabilizing effects. Three characteristic symptoms of trauma in particular seem deeply inscribed in the history of craft revival: repetitive behavior, false memories, and flashbacks. -Glenn Adamson, The Invention of Craft, p.185
Now I realize they used these words to capitalize on their expiration date, their nebulousness and their opacity to anyone not encountering them that day, in that year, or that decade. I have assembled these items in hopes they will become equally misunderstood—for better or for worse—as soon as possible. They were gathered around October 18, 2013, and reflect a very personal worldview—but by the time you see this, they will all be post-recent. -Lumi Tan, Post-Recently
I recently learned about the post recent from the above blog, and if you want to really get worked over I suggest you check out the Joyce-challenging artspeak produced by Tricia Collins and Richard Milazzo’s “The New Sleep: Stasis and the Image-Bound Environment“. Dating from fall of 1985, it’s a perfect internet K-Hole, and feels like a Tumblr. Lumi Tan’s wish that these things would all be buried, unearthed, and confounded is apt in its reflection on the blaze of images both in the article itself and in contemporary life, even for those not internet-enabled. The aesthetic-acceleration of contemporary life begs for a comparison, and NY Mag writer Ann Friedman has an interesting comparison:
Again, perhaps we can take a cue from teenage girls. They’re quite aware that they’re seen as frivolous and self-absorbed, but on a deeper level they know they’re engaged in an important project: figuring out who they are and what they want to be. If we took our Instagrams and Snapchats and reblogs half as seriously as they do, perhaps we’d reach some new insight about our adult selves, too. -Ann Friedman, Our Tumblrs, Our Teenage Selves
This sounds pretty legitimate, if not just apt, but the reality is that “the millennials” are among the groups of people who, perhaps as “natives” more readily see the pitfalls of these image-cycling platforms:
The “Intel Innovation Barometer” reveals millennials globally show a stark contrast to their reputation as digital natives who can’t get enough technology in their lives. A majority of millennials agree that technology makes people less human and that society relies on technology too much. –The Future of Technology May be Determined By….
Intel seems surprised by this, but anyone with a keen sense of observation of people under the age of 25 knows this already. Instead, the main supporters, and users of social technologies and associated issues were wealthier, not necessarily younger: “The research revealed that individuals with high incomes are the most willing to anonymously share personal data, such as results of lab tests and travel information. They are also the most likely to own technology devices and engage with technology on a regular basis.” This is the associated glamour of the internet. The ever-sharp Autumn Whitefield-Madrano at The Beheld describes the way objects perceived as glamorous work:
We may perceive glamorous objects as an entrée into that world (hence the desire for that shade of lipstick, that style of ring, that color on the soles of our shoes), but it’s not the object we want so much as the life it promises. “But glamour only works when it can tap preexisting discontent, giving otherwise inchoate longings an object of focus.” -Autumn Whitefield-Madrano, The Power of Glamour
Not to say that some teens don’t wan’t to emulate the silicon-valley lifestyle, but many just use them as tools to pursue their own visions, glamorous or otherwise, while still maintaining a keen sense for what it does to their selves, their self-perception and their projected image. In this they are different than many who are wealthy who by actively (over)participating in social media, want to get some of the apple-cum-facebook, instagrammed sheen. Over and over again, wealth seeks youth as a source of glamour, and what can be more so than the promise of a world not tied down to specific places, especially when the function of place, in a pre-globalized sense of the world, is mediated by the great equalizer so many try to fight, time. Matthew Battles says it better:
Time is the internet’s too-cheap-to-meter cultural resource, and it’s only just begun burning through it, generating a storm of atemporal media traces that pile up before us as our wings beat furiously. -Matthew Battles, The Past Will Not be Flat
But the kids, per usual, are alright, and they know this better than those seeking wealth. They might be plastering their walls and tumblrs with images, but they’re not looking for the glamour of platforms, they seek glamour in content, and project it back out into the post-current world at a rate Lumi Tan would appreciate as being post-recent:
Finally (but never finally), this: history is not another country, not the not-even-past, not even that which we are condemned to repeat. History is everywhere, rather; you’re soaking in it. And yet we’re not angels: our faces are turned away, and we’re trailing history in our wakes. -Matthew Battles, The Past Will Not be Flat