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poptimism has intertwined with a variety of cultural omnivorism that encourages people to embrace the most popular fare from all genres. And this is where the algorithm comes in: it feeds people a steady drip of the most popular things and assures you you’re good for enjoying a diverse array of sameness.

But, and this is important, taste distinctions still matter. Social rank demands fealty to certain ideals of taste, even if artistry isn’t the taste that matters. “Omnivorism, for all of its rejections of ‘taste,’ still presupposes that cultural choice can change society,” Marx writes. “Consumerism can support allies, shame enemies, and deny prestige and financial support to oppressors.”

In the modern cultural landscape, “the hipster” has been replaced by what might be called “der kommisar,” and der kommisar has a few general rules for how to appreciate culture:

1.     Artists should create content that promotes progressive political views and reveals unconscious biases against oppressed groups.2.  Gatekeepers should work to represent minority voices by elevating minority artists.3.     Consumers should only buy artworks and goods with progressive values that are created by upright individuals.4.     Majority groups should never profit on styles or stories that originate within minority groups.5.     Critics should decanonize antiprogressive artists and their works, and question aesthetics associated with high-status distinction.*

“art should avoid being for art’s sake when social equity is at stake.” The quality of artistry matters less than supporting artists who think the right things and say the right things

I don’t think you can really understand much of the last decade or so of cultural writing—or, for that matter, cultural production—if you don’t understand this dynamic and how poptimism, omnivorism, and identity politics have all spun together to change, at the very least, how people talk publicly about the art they consume

Imagination is the capacity to make associations among all these bits of information and to synthesize them into patterns and concepts.

When you walk, say, into a coffee shop you don’t see an array of surfaces, lights and angles. Your imagination instantly coalesces all that into an image: “coffee shop.”

Neuroscientists have come to appreciate how fantastically complicated and subjective this process of creating mental images really is. You may think perception is a simple “objective” process of taking in the world and cognition is a complicated process of thinking about it. But that’s wrong.

Perception — the fast process of selecting, putting together, interpreting and experiencing facts, thoughts and emotions — is the essential poetic act that makes you you.

For example, you don’t see the naked concept “coffee shop.” The image you create is coated with personal feelings, memories and evaluations. You see: “slightly upscale suburban coffee shop trying and failing to send off a hipster vibe.” The imagination, Charles Darwin wrote, “unites former images and ideas, independently of the will, and thus creates brilliant and novel results.”

Imagination helps you perceive reality, try on other realities, predict possible futures, experience other viewpoints. And yet how much do schools prioritize the cultivation of this essential ability?

“A fool sees not the same tree that a wise man sees,” William Blake observed.

Can you improve your imagination? Yes. By creating complex and varied lenses through which to see the world

A person who feeds his or her imagination with a fuller repertoire of thoughts and experiences has the ability not only to see reality more richly but also — even more rare — to imagine the world through the imaginations of others.

This is the skill we see in Shakespeare to such a miraculous degree — his ability to disappear into his characters and inhabit their points of view without ever pretending to explain them.

Different people have different kinds of imagination. Some people mainly focus on the parts of the world that can be quantified.

it often doesn’t see the subjective way people coat the world with values and emotions and aspirations, which is exactly what we want to see if we want to glimpse how they experience their experience.

Furthermore, imagination can get richer over time. When you go to Thanksgiving dinner, your image of Uncle Frank contains the memories of past Thanksgivings, the arguments and the jokes, and the whole sum of your common experiences. The guy you once saw as an insufferable blowhard you now see — as your range of associations has widened and deepened — as a decent soul struggling with his wounds.

What happens to a society that lets so much of its imaginative capacity lie fallow? Perhaps you wind up in a society in which people are strangers to one another and themselves.

avant-garde composer John Cage. When Cage presented his discordant orchestral piece “Atlas Eclipticalis” at Lincoln Center in 1964, many patrons walked out. Members of the orchestra hissed at Cage when he took his bow; a few even smashed his electronic equipment. But Cage’s work inspired other artists, leading “historians and museum curators to embrace him as a crucial figure in the development of postmodern art,” which in turn led audiences to pay respectful attention to his work

“There was a virtuous cycle for Cage: His originality, mystery and influence provided him artist status; this encouraged serious institutions to explore his work; the frequent engagement with his work imbued Cage with cachet among the public, who then received a status boost for taking his work seriously,” writes Marx.

The internet, Marx writes in his book’s closing section, changes this dynamic. With so much content out there, the chance that others will recognize the meaning of any obscure cultural signal declines

in the age of the internet, taste tells you less about a person. You don’t need to make your way into any social world to develop a familiarity with Cage — or, for that matter, with underground hip-hop, weird performance art, or rare sneakers.

people are, obviously, no less obsessed with their own status today than they were during times of fecund cultural production.

the markers of high social rank have become more philistine. When the value of cultural capital is debased, writes Marx, it makes “popularity and economic capital even more central in marking status.”

there’s “less incentive for individuals to both create and celebrate culture with high symbolic complexity.”

It makes more sense for a parvenu to fake a ride on a private jet than to fake an interest in contemporary art. We live in a time of rapid and disorientating shifts in gender, religion and technology. Aesthetically, thanks to the internet, it’s all quite dull.