[Tried adding a comment directly on Alex Gagnon's Posterous blog, but it kept stalling. So I'll post this here, which may make for a different kind of interaction. Besides, I'd like to blog a bit more.]
We seem to be finding very different answers to rather similar questions. So I sincerely hope we’ll have the opportunity to meet and discuss these things in a local café.
But still, a few thoughts, in no particular order.
Let’s be clear on what we mean by “culture.” Sounds like there’s a tension, here, between the ways the concept signifies in: “cultural industry,” “Minister of culture,” “pop culture,” “our culture,” and “nature vs. culture.” As a cultural anthropologist, I tend to navigate more toward the latter contexts, but there are significant connections through these diverse conceptual frames.
Speaking of significance… It can be a useful concept, with some links to “relevance.” Especially if we think about Relevance Theory as defined by Deirdre Wilson and Dan Sperber. Their theory is about communication and cognition, with some strange claims about semiotics. Significance can bridge the gap between their notion of relevance and what insight semiotics may provide.
Chances are, you’re not really singling out Google, right? Blekko and Bing are providing similar results for similar reasons. Google may be the target of most SEO, but current search engines share a fairly unified notion of “quality content.”
Speaking of quality… As mentioned on Twitter, we might think of quality as a social construct. Especially “now.” The modern era had a lot to do with tastemakers, which were given some “authority/influence/power” through a rather specific social process. Similar to what @ChrisBrogan and @Julien call “trust agents.” In sociology, we talk about “gatekeepers” in pretty much the same way. And Duchamp woke a few people up in showing the effects of museumization. We had similar things in music, though my courses in musical æsthetics paid relatively little attention to these.
The basic insight from most “posts” (postcolonialism, poststructuralism, postmodernism, postnationalism, postindustrialism…) is that rigid structures may crumble. Totalitarian and authoritarian regimes, of course, but also the very idea of the Nation-State with “checkbox democracy” focused on the representation of predefined “interest groups.” Self-labeled arbiters of good taste, of course, but also the notion that “quality” is an immanent feature of the art object.
And speaking of art objects… People still talk about masterpieces, great works, and cathedrals. But we may also talk about the bazaar, “the eye of the beholder,” and “life as an art form.” Life is too short for everyone to be looking at the same old “artworks.” After all, “Life, sex, and art aren’t spectator sports.”
As for our logocentrism (“language media”), it’s difficult but possible to get beyond this ethnocentric bias. Part of this was prefigured in much 20th Century philosophy (from Russell to Davidson) and popular culture (Wings of Desire). But we can have a broader approach. In anthropology, we work on several things which are directly related to this, from linguistic anthropology and the ethnography of communication to cognitive anthropology and the anthropology of senses. We may live in a “visual” society but our obsession is with language. Which has a lot to do with the fact that the Internet was set in a Euro-American context.
But “our culture” isn’t a prison. We can adopt a broader worldview.