Stop Talking About “The Media”

Stop Talking About “The Media” – For the love of God, just stop.

If you follow media Twitter, you should get help. There’s something seriously wrong with you. I’m not sure whether you have some twisted fetish for chronic self-congratulation, or if there’s an evil aspect about you that enjoys watching desperate people try to build their brands through an off-putting combination of ass-kissing and precisely calculated outrage.

I apparently have something massively wrong with me.


photo by @lovetheghost
music website by @jstn

Farewell, Starlite! is incredibly beautiful and Francis’ best ever. If you haven’t yet please have a listen, it’s free!

I wanted to mention a few things about making the site.

Before building anything, we talked at great length about what it means to release an album in 2016, especially with no label and no physical record (at least at first). Can a release feel “solid” in the absence of those things? We decided emphatically that yes!, now more than ever an album has been reduced to its platonic ideal, a collection of songs and an image.

Francis is remarkably focused on removing all barriers to access his music, and that became the only design constraint. His desire was to deliver the music in the most direct manner possible, so that anyone with a web browser anywhere in the world could experience it, regardless of their platform or ability to pay.

With that in mind, I’ve done my best to mold the album out of the internet itself, using only the raw materials available, and leaving behind the old iconography of physical media. The music is the most important thing; the site doesn’t use any additional images or even specify a particular font. What it does do is play ten beautiful songs, in order, in any web browser, even in the background on a weird old Linux smartphone over 3G while you’re making dinner.

To me, this is what makes an album in 2016: not a vinyl record, not an iTunes release, simply a collection of songs that plays reliably the moment your heart desires, just the way it’s always been.

This is the most clear, poignant statement I’ve read on media and design online in awhile. It’s really important. 

Snapchat Releases First Hardware Product, Spectacles

Snapchat Releases First Hardware Product, Spectacles

The Most Pleasing Campaign of 2016

The Most Pleasing Campaign of 2016

Hood By Air’s Radically Aggressive Streetwear

Hood By Air’s Radically Aggressive Streetwear

…I would say is one of the things I’m interested in is a kind of authenticity. it’s seeing the world with fewer filters. When I did it (a photograph), that was the result of seeing the world with fewer filters. But, if you have in your mind my picture as a filter and have it as a model – “This is what a good picture should look like” – then even though the picture may look similar, your picture is the product of a filtered experience, and I suspect it will have a slightly different feeling. It won’t have the edge of immediacy, it won’t have the edge of discovery, because it really is plugging something you’re seeing into a model that’s already existing in your head.

How one designer’s vision of tech’s future embraced the black and boxy

How one designer’s vision of tech’s future embraced the black and boxy


Dan Abbe: You don’t look at the internet much?

Nobuyoshi Araki: No, I don’t have it. I don’t even own a mobile phone. Nothing like that. I don’t like being shot with a digital camera, especially a really good one. It’s too good, you know? I feel like digital cameras miss what’s most important, emotion and wetness. These things get lost in digital photography. And before you know it, you get used to that. I’m not talking about shades or shadows being lost, or anything like that. But I almost feel as if digital photography takes away the shadow of the person taking the photo. That’s why I don’t use digital cameras. 

source:  Interview With Nobuyoshi Araki , Dan Abbe for The Profile Magazine 


(via Will an MFA Make You an Art Star? | artnet News)

What’s the value of going to art school? The question has become a hot topic of late.

The charge that contemporary art has become over-academic, producing“zombie” art, is not new. “The proverbial romantic artist, struggling alone in a studio and trying to make sense of lived experience, has given way to an alternate model: the university artist, who treats art as a homework assignment,” Deborah Solomon wrote in an article about the MFA boom in the New York Times. That was 1999.

In the 2000s, the MFA was pitched as a Golden Ticket, with an ever more youth-oriented art market generating rumors of dealers snapping up artists right out of school. A degree that was originally designed to allow you to teach became seen as the pathway to a gallery career.

In more recent years, angst about art school has become entangled with the political debate about student debt’s crushing toll. Art collectives like theBruce High Quality Foundation have founded their own alternative art schools, while the group BFAMFAPhD seeks to raise awareness about the high number of art students who default on their loans. The Atlantic calls the MFA “an increasingly popular, increasingly bad financial decision.”

Is it?