The video for "Paramour," the new track from composer Anna Meredith—whose rework of Vivaldi's The Four Seasons was one of Andrew Womack's favorite albums of 2018—is a twisty, Lego train trip around a rehearsal space with musicians stationed along the track.
At one point, a phlebotomist got the secret shopper’s blood “all over my arm and a sheet.” There was no apology. The secret shopper said there was a stark difference between this treatment and the care she has received when fully insured and professionally attired.
It begins with echoes, before bass grounds you in space and rhythm orients you in time. Almost a minute passes before you realize this is actually a groove, and another before coalescing into a recognizable genre—reggae, or rather dub, which routes the former’s obsession with Afro-Caribbean culture and racial history through a simulacrum that manipulates roots in order to envision futures as unpredictable as echoes.
The defense of technologies like pixel-tracking has long been that they are designed to operate at scale, where they are said to be harmless. But technologies that are useful and morally permissible in that context may be harmful and unethical at the ordinary, human level.