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Andrew Sullivan on the Opioid Epidemic in America
This nation pioneered modern life. Now epic numbers of Americans are killing themselves with opioids to escape it.
america  culture  drugs  unitedstates  andrewsullivan  opiods  addiction  modernculture  modernlife 
april 2018 by brendanmcfadden
Writing Out Loud
Bloggers Andrew Sullivan and Ta-Nehisi Coates give readers a chance to peer into their heads—and watch them change their minds
Atlantic  AndrewSullivan  TaNehisiCoates  identitypolitics 
october 2017 by nightcrawler
The "Authentic Conservative"
My worry about identity politics is that we should indeed take into account our different experiences, but we should always also try to transcend them. Wallowing in them seems less of an overcoming than an undergoing. It's why I'm leery of hate crime laws and affirmative action, and all legal structures that put us all into separate ethnic or emotional or racial camps for ever. The argument that this comes too easily for a white guy like me is certainly valid. But I refuse to see the rule of law and judicial modesty as somehow white or male. The principles of classical liberalism have no color and gender, and are, to my mind, indispensable to getting past both.
AndrewSullivan  identitypolitics 
october 2017 by nightcrawler
Review: David Sax’s The Revenge of Analog extols the superiority of ‘real things’ - The Globe and Mail
"The key change wrought by digital is that, where scarcity was once the norm, surfeit is now our default. Digital thus represents a kind of inversion. Once, more was better: Technology was improved by more features, knowledge increased with ever more facts and greater choice. Now, it is subtraction that in fact adds to a scenario. The best digital services are those that constrain in some fashion. Netflix and Spotify have both succeeded because they have figured out how to recommend small numbers of titles from thousands of choices.

In his book, Sax outlines the many ways in which analog tech bests digital because of what it does not do. Your paperback novel cannot interrupt your reading to tell you the weather, your newspaper has a start and a finish, and your analog recording studio forces you to make decisions and just cut a track, rather than the malleability of digitally creating “a moving target of unachievable perfection.” In the face of such endlessness, it is subtraction, boundaries – less – that is the strategy for survival in the digital era.

For many, though, this upending of Western thought also represents a world gone topsy-turvy. Sax echoes Sullivan’s complaints about the relentless pace of digital, and its related psychological effects. These are real issues, not to be dismissed lightly. At this early stage of the digital era, we are still stuck on how to achieve balance, particularly now that our technology and the flood of information it brings is with us all the time. When Sax cites the tendency of even young millennials to prefer print, it is because they, like we, are seeking relief. Digital as a tool or medium seems primed to plug most directly into our receptors for pleasure, for the dopamine and serotonin centres that thrive on novelty, lust or conflict, and the unending flow can quickly turn to excess. In contradistinction to that torrent, it is the tactile, physical nature of analog that is its saving grace – its seeming permanence, it’s there-ness, its tendency, quite unlike digital, to be in one place at one time doing one thing. In his book, Sax’s lively, evocative prose conjures reminders of the physical world: Record presses spit and heave, cameras satisfyingly click, and paper crinkles and smells in ways pleasingly familiar.

But the neat line separating digital from analog is more fuzzy than it might appear. Sullivan, Sax, and I – all part of a generation who spent their formative years before the Internet and their adult ones completely saturated with it – have also grown up with plastic Nintendo controllers, button-filled digital cameras, and DVD players armed with an array of LED lights. My own home is littered with the tactile remains of no end of technology, and the chubby, reassuring thickness of the first iPhone I still keep tucked in a drawer has already taken on the same sheen of nostalgia I reserve for old school notebooks or sweaters.

As Sullivan’s piece spoke of a return from the seductive screens, Sax’s constantly extols the superiority of what the text calls “real things.” It is, however, a world cleaved neatly into two neat spheres, digital and analog – so much so that near the end of the book, Sax claims that “digital is not reality. It never was and never will be.” It’s a claim that one might generously characterize as nonsense. To assert that the almost unfathomable explosion of human creativity that fills the Internet sits somehow lower on a hierarchy of ontological realness is absurd.

It is this needless, false dualism that should make one skeptical of claims not only of the superiority of analog, but that such a neat distinction exists at all. In The Revenge of Analog, the alluring material quality of objects is always highlighted, but ignores the fetishism that has led us to revalue it, skipping over the more simple fact that analog has become appealing for the same reason you can’t put your phone down: novelty. Similarly, when speaking of Silicon Valley’s tendency to use lots of paper, Sax’s claim that “analog proves the most efficient way to run a business,” simply isn’t true. One would hardly be better served by doing one’s accounting or inventory using a pen and paper. What works better is finding the right balance between analog and digital – largely because at this moment, that is the only choice there is.


The Revenge of Analog is at its core a business book, each chapter the revenge of a new sector – retail, print, film – and is thus a work meant to uncover entrepreneurial opportunities lying in wait. It works best as polemic, as an interjection into a world that has too eagerly assumed digital is in some simple sense better, and perhaps ignored that the limitations of analog are more vital than ever. But in the eagerness to sell a marketable idea, Sax mistakes the fact that digital things cannot be touched for the fact that they are insubstantial.

It is what can be held that enthralls Sax, however, and he is most transfixed by Kevin Kelly’s Cool Tools, a thing he calls “exhibit A in analog’s revenge.” Kelly, the founder of Wired magazine, created the Cool Tools book as an homage to the Whole Earth Catalogue, a kind of how-to guide for life from the late sixties that told you how to grow food or build a home – and the sort of thing rendered quite obsolete by the Internet. Cool Tools began as a blog, and started out simply reviewing tools that you need for a dizzying array of practical endeavours – everything from milling your own grains to ways to increase the WiFi signal in your home. Kelly then made the decision to create the book, which quickly sold out on its first run.

For Sax, the book highlights what is best about analog. It lends itself to idle browsing, drawing in anyone who happens to pick it up, its catalogue of useful things evoking the possibility of a life better lived. But beyond its obvious digital origins, or even the inevitability of its creation on and through computers, Cool Tools reveals a world forever changed by the digital landscape. The book’s non-linear mishmash of ideas, the serendipity of their discovery, is a function of its digital past, now formalized by the analog. The two spheres are inextricable, indivisible, not simply in practical terms (each review has a QR code leading to an online store) but in ideological, epistemological ones, too. We cannot help but read the book from our moment in the present where there is no offline and online, but only what scholar J. Sage Elwell calls “onlife”: an existence that is always both digital and analog at once, and irrevocably so. For now, we may struggle to pay attention, but this is our lot. It is already too late for analog’s revenge – the thing to do is figure out how to be human after digital’s victory. There is no going back."
navneetalang  2016  davidsax  kevinkelly  andrewsullivan  digital  analog  less  subtraction  louismenand  jsageelwell  humans  humanity  boundaries 
november 2016 by robertogreco
Andrew Sullivan: My Distraction Sickness — and Yours
"And I realize that this is, in some ways, just another tale in the vast book of human frailty. But this new epidemic of distraction is our civilization’s specific weakness. And its threat is not so much to our minds, even as they shape-shift under the pressure. The threat is to our souls. At this rate, if the noise does not relent, we might even forget we have any."
culture  internet  technology  andrewsullivan 
november 2016 by lsouzek
I Used to be a Human
Andrew Sullivan's Essay on Distraction and the Internet
nymag  andrewsullivan  distraction 
september 2016 by jtcond13

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