电子设备与孤独感是个很大的话题。Olivia Laing 的 The Lonely City: Adventures in the Art of Being Alone 在讲述 Andy Warhol 的第三章 My Heart Open to Your Voice 里描述和机器产生亲密感、躲在机器（或在今天应当是电子设备）后面的事的 Andy 找到了一个独特的视角。她这样写道
The photographer Stephen Shore remembered being struck in the 1960s by the intimate role it played in Warhol’s life, ‘finding it stunning and poignant that he’s Andy Warhol, who’s just come from some all-night party or several of them, and has turned on the television and cried himself to sleep to a Priscilla Lane film, and his mother has come in and turned it off’.
Becoming a machine; hiding behind machines; employing machines as companions or managers of human communication and connection: Andy was as ever at the vanguard, the breaking wave of a change in culture, abandoning himself to what would soon become the driving obsession of our times.
Over the years, he employed a range of devices, from the stationary 16mm Bolex on which he recorded the Screen Tests of the 1960s to the Polaroid camera that was his permanent companion at parties in the 1980s.
但其实更希望、或更好奇看到一层是关于自身的回答，或者说某种程度上已经被回答了：如果 Warhol 生在机器可以被更精确地赋予人格的日子里——早些日子只是编程，今天则是加入 AI ——又会怎样。从个人体验来说（可能过于极端），编程这一语言的习得及其思维方式的养成某些程度上进一步地使得社交的欲望萎缩了——
「Turned on the television and cried himself to sleep」就仿佛 60 年代版电影《社交网络》（The Social Network）开头 Zuckerberg 在愤怒当中写出 Face Mesh 的场景了。让我想到了我也曾有过那些个自暴自弃的当下，敲打着键盘写程序控制自己唯一能稳定操作和驯服其输出的东西的日子。
2019 年的电影《深夜秀》（Late Night）中，深夜秀 Late Night with Katherine Newbury 的主播 Katherine（Emma Thompson 饰）在长期受抑郁困扰。阳光的 Molly Patte（Mindy Kalin 饰）对这种抑郁的症状表示不解、充满敌意（toxic）的工作环境表示不满，她问 Katherine 曾经在节目中透出国抑郁症的一点是否是真的
Were you really depressed? Or was it just part of the act? […] God, why can’t I express my admiration for you?
Katherine 带 Molly 看了她的一堆金球奖，她的这样回答
No. I don’t want you to take this the wrong way, but your earnestness can be very hard to be around. […] Because successful people hate their own admirers, and we’re suspicious of people who compliment us.
The term postwar art has most typically been used to describe art created in the aftermath of World War II within a North American or Western European context. The advent of the atomic age – initiated by the United States’ bombing of Hiroshima and Nagasaki in 1945-and the atrocities of the Holocaust, perpetuated by Adolf Hitler’s Third Reich, challenged artists and intellectuals to invent new languages and forms that could respond to the un-representable. The disjunction between Western ideologies and the realities of violence and devastation led many European and North American artists to embrace non-Western aesthetics and modes of thought.
In the visual arts, abstraction provided an experimental vocabulary with which to signify the magnitude of destruction caused by the war and the gravity of horrors unleashed by the nuclear bomb. It also offered artists an openended approach to envisioning other psychic or emotional states, as a respite and refuge from the harsh realities of the present. Simultaneously, figuration and performance art flourished, as artists sought to portray the radical fragmentation of the body-a result of the violence wrought against it and the environment, the cityscape, and the countryside. Art offered both a critique of and an escape from a war-weary world.
在《滚石》（Rolling Stone）杂志的编辑笔下，电视节目正变得越来越像是当代的音乐文化，每一个粉丝群体，在变得越发分裂和孤立。《滚石》2019 年 4 月刊 Editor’s Letter: Goodbye to ‘Game of Thrones’：
Game of Thrones had a global reach like nothing before it on TV. When you factor in illegal downloads and streams, the previous season was viewed by at least a billion people — meaning one of seven humans on the planet. “It does things you never expected TV to be able to do in terms of dragons flying and burning up entire armies, and zombies storming down a mountain,” says Alan Sepinwall, our chief TV critic, who has never missed an episode. “It’s viscerally thrilling in a way that almost nothing in TV has ever been before.”
When Game of Thrones debuted, back in 2011, TV was a totally different place. Netflix, Hulu and Amazon hadn’t begun to create their own programming, and the audience for great shows wasn’t splintered across niche genres and formats. It was actually possible (and enjoyable!) to keep up with GoT and other great shows like Homeland, Breaking Bad and Mad Men as they unfolded week to week. Now, dozens of original shows, docs and miniseries are dumped onto streaming services every month, and even the best of them reach smaller, fragmented audiences.
“TV is like the new music, and more than a little tribal,” says Rolling Stone entertainment editor Maria Fontoura. “Everyone has their favorite shows, and people judge each other’s taste by what they’re watching.”
李如一笔下的 Apple News+ 也在让杂志变得越来越像是音乐。《一天世界》博客 Apple News+：
苹果最落后的地方是反复讲各种「最好」和「最有创意」。汇集最好的杂志，找最好的创意人来做最好的电视节目。她们没有收到风，最好的时代已经结束了。没有最好，也没有更好，只有各种各样的好。不仅没有最好，甚至最火都已经没有了。已经不再是 for the rest of us 的苹果不懂这个。
Art history and museology traditionally fabricated histories of form as surrogates for or parallels to histories of persons or peoples: narrative stagings which served (on the model of forensic laboratory science) to illustrate, demonstrate, and delineate signiﬁcant aspects of the character, level of civilization, or degree of social or cognitive advancement or decline of an individual or nation.