>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".
If content requires a real human network for transmission, the cost of transmitting slop is your own reputation within your network. A bunch of bots circle jerking each other can't sell concert tickets or much of anything.
The idea that some artist is exceptionally talented and good and they deserve to be famous or sell out concerts is a myth. There are so many exceptionally skilled singers, songwriters, and musicians that are all unknowns. Many who are more talented than (insert famous living or dead pop star here.)
I think this is part of the reason why the AI ruins creativity is overblown. The music-art-talent pyramid always meant a tiny percent at the top walked away with all of the money. Look at the numbers from the last screen actor's guild strike, the majority of actors earn at or below minimum wage. It's a new world, and the old one people believe deserves to continue perpetually existed in but a blink of human civilization.
The mainstream platforms exist for the fake users, not for the real ones.
Before they could make "fake users" out of real people (by teaching them to enjoy the taste of mental effluvia); now they've factored out the people (since humans prefer actual nutrients).
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's a little silly to say "mainstream is crap! Why doesn't the better stuff rise to the top?" It's because people don't agree on what's better.
Or maybe, just maybe, it's because taste and discernment (which are personal values) correlate inversely with access to resources (which is a globally recognized value).
>It's a little silly to say "mainstream is crap! Why doesn't the better stuff rise to the top?"
If it's silly to ask that question, maybe it's also a bit silly to answer it - but sure, lemme throw in my own 2c:
It's because the "compromise" you speak of amounts to human society taking on the role of a half-witted hivemind.
IMO a better question to ask is what's the point of there being a "mainstream" at all? It's not like lived human experience is fungible... is it?