1,000,000 years, 1,000 likes: 250-300 (Petr Dub)

251. The medium is the message.
252. All media are extensions of human faculties.
253. The book is an extension of memory.
254. The computer is an extension of technology.
255. Technology alters the sensory balance.
256. The distortion caused by a medium’s bias is far more serious than a conscious lie.
257. Technical reproduction not only devalues the original but transforms the very perception of reality.
258. The new vision is serial, fragmented, mechanical.
259. Curation is the creation of algorithms.
260. Reproduction changes the value and perception of the artwork.
261. In art, contrary to popular belief, the medium is not merely a vehicle.
262. The artwork, in the age of its technical reproducibility, is exposed to an unprecedented risk of trivialization.
263. The passivization of the viewer, the politicization of attention.
264. Less detail, more engagement.
265. Lower the cultural threshold.
266. Access to culture is supposedly a fundamental human right, yet surprisingly rarely demanded.
267. The democratization of creation pleases only professionals.
268. The shift from ritual to politics.
269. Electricity, like Instagram, reshapes and restructures patterns of social interdependence.
270. Social networks don’t spread content – they shape our thinking, relationships, and identity.
271. The art of lukewarm media.
272. Painting referring to painting.
273. We look at contemporary art as into a rearview mirror.
274. Remix, canon, cannon.
275. Art as an idea, not an object, has been hijacked by art theory.
276. Finally, a turn away from traditional craft skills and technical virtuosity.
277. Post-craft art tastes like a boot in the eye.
278. How do we create colors, how do we distribute them, and how do we perceive them?
279. Color is no longer a bearer of meaning but a form of reproduced information.
280. Color is a code, a menu choice, a slider or a hexadecimal value.
281. The detachment of color from body, physicality, and emotion – it becomes a sign, information, a disembodied choice.
282. Our colors today are mostly electronic.
283. Electronic color is unstable, changeable, dependent on device, brightness, ambient light.
284. In digital art, all copies are inauthentically identical.
285. Vaporwave, canon, cannon!
286. The process of loading data, files, or content.
287. The icon of life in the form of a spinning wheel.
288. The buffering icon as an ironic commentary.
289. Unoriginal digital uncertainties.
290. Serial production as an aesthetic principle.
291. Petting
292. # Plot settings
293. `fig, ax = plt.subplots(figsize=(10, 6))`
294. `ax.axis(‘off’)`
295. `column_labels = [“Topic”, “Walter Benjamin”, “Marshall McLuhan”]“table = ax.table(cellText=table_data, colLabels=column_labels, loc=’center’, cellLoc=’left’)`
296. `table.scale(1.2, 2)`
297. `plt.title(“Comparison: Walter Benjamin vs. Marshall McLuhan”, fontsize=14, weight=’bold’, pad=20)`
298. `plt.tight_layout()`
299. `plt.show()`