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the more thoughtful, deliberate and contextual the curation is, the more labour is involved
curators and art directors have to be incredibly intentional with the narratives they’re weaving through objects/media
but essentially to be a curator is just to have taste, amateurs acts of curational labour go uncompensated constantly eg online
should some curators be more highly praised/paid for having a particular taste?
who discerns whose taste is ‘discerning’?
with increase of automated, passive ‘curation’ through machine learning, ‘tastes’ are homogenized and non-specific, to look actively through a particular lens you’ve hand-crafted is to resist this automisation of culture
“intertextuality as labour,”, cultural labour/meaning-making labour of marginalised ppl, queer ppl, “labours of transformative transtextuality” quickref#^9b55b2
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The need has arisen again for internet curation, as in the early days with sites of relevance or interest, it becomes necessary to ‘curate’ your own feeds, train your algorithms, or follow ‘content creators’ who you trust to produce what you’re after. This way, we are back to the cults of personality. Internet representatives who are influencing on your behalf.
with mass-saturation of ‘content’ we now become hoarders and scavengers of good material, with ad-hoc libraries and archives of varying niche and varying quality held by all sorts of people
the personal and the professional, competing personas, liability of mis/disinformation
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must be an inherently relational practise.
has a specific audience in mind, whether this is an imagined audience or a client.
if no specific client, is this more of a creative practise, archival practise, a public personal archive, regardless of ‘intended’ audience?
contemporary example, web-weaving requests on tumblr
historical example of shipping logs remixed into maps as a curational service, inherently relational, but also exchanges a mass of data as prerequisite - echoes of current big data practise (see involuntary data capture ) (Smolicki, 2017)