David Weir

David Weir is a journalist and the founding editor of 7x7 magazine.

A former editor of Salon, Mother Jones, and Rolling Stone, Weir has authored three books and hundreds of articles for The New York Times, The Economist, The Nation, and worked as a content executive at Wired Digital, KQED, and a series of startups.

A long-time journalism professor and media consultant, Weir has taught at UC Berkeley, Stanford University, and San Francisco State University. His 7x7 technology blog features stories of up-and-coming startups, some of which are shared with you here.

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“The Painter of Modern Life” (
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The dandy, in short, is blasé—“for reasons of policy and caste.” The comment about caste becomes clear when Baudelaire explains that the dandy necessarily possesses an “aristocratic superiority of mind.” By this point in the essay, it is clear that Baudelaire is really talking about himself as the painter—or the poet—of modern life, and that modern life is really a form of decadence, because “dandyism appears above all in periods of transition, when democracy is not yet all-powerful, and aristocracy is only just beginning to totter and fall.
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Vienna is another nineteenth-century capital of modernity that makes up part of the urban geography of decadence, and so is Berlin. But the political and social conditions most conducive to the culture of decadence do not coalesce in the case of Berlin until the twentieth century, during the period of the Weimar Republic (1919–1933)
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