Sunday, January 9, 2022

flowers of the machine, part 3: gamelon of the floating world (II)

In case you missed our last episode (and I don't see how a 6000-word blog post about the evolving phenomenology of the art-object shouldn't be at the top of everyone's reading list), we're scrutinizing the techno-sociological paradigm which the Zelda CDi Reanimated Collab instantiates. Excogitations upon the trivial can sometimes illuminate more of our world than an enquiry into a grand figure or theme, and while I can't promise that will be the outcome here, maybe we'll get lucky.

For the ReAnimated Collab version, see here.


A decade ago we all assumed, or at least hoped, that the net would bring so many benefits to so many people that those unfortunates who weren't being paid for what they used to do would end up doing even better by finding new ways to get paid. You still hear that argument being made, as if people lived forever and can afford to wait an eternity to have the new source of wealth revealed to them.
—Jaron Lanier, You Are Not a Gadget (2010)

Who makes art?

An unusual feature of the modern epoch is the new inequivalence between this question and the more generic "who makes things?".