TikTok is not an internet phenomenon I would recommend. Its notoriously juvenile reputation is well-founded. Apart from what is preposterously entertaining (everything from exploding beverages to prolonged swan dives from mountainous precipices) there is a good deal of what captures youthful narcissism and plainly lascivious piety. Among those extensions are navigations to websites for Low Cost Dental Implants.

What I hadn’t counted upon was the undeniable artistic depth of many of the momentary images. Granted often the aesthetic attraction of the photos is entirely chance. On other occasions the dances or staged perambulations are utterly talented. This is a compliment extended even to the most vain posing (apparently something common and indeed expected in the muscle-bound universe).

One has to wonder what future curiosity will replace the TikTok interruption. I ask because I am convinced that the enduring repetition of this predominantly meaningless enterprise is doomed. Even youth – or perhaps I should say youth in particular – is not easily restrained by the currency of anything. Keeping the youthful audience in check is equivalent to distracting a 2-year old. Such is the only durable feature of fashion.

Catching a glimpse of art in la condition humaine (which I hasten to remind viewers of any age is the ultimate definition of this worldly enterprise) is a mixture of insight and speculation.

Man’s Fate (French: La Condition humaine, “The Human Condition”) is a 1933 novel written by André Malraux about the failed communist insurrection in Shanghai in 1927, and the existential quandaries facing a diverse group of people associated with the revolution. Along with Les Conquérants (1928 – “The Conquerors”) and La Voie Royale (1930 – “The Royal Way”), it forms a trilogy on revolution in Asia.

As a confessed researcher for random coincidence it pleases me to interject what is probably already well-known; that is, the derivation of TikTok.

TikTok, known in China as Douyin (Chinese: 抖音; pinyin: Dǒuyīn), is a short-form video hosting service owned by Chinese company ByteDance. It hosts a variety of short-form user videos, from genres like pranks, stunts, tricks, jokes, dance, and entertainment^]with durations from 15 seconds to ten minutes. TikTok is an international version of Douyin, which was originally released in the Chinese market in September 2016. TikTok was launched in 2017 for iOS and Android in most markets outside of mainland China; however, it became available worldwide only after merging with another Chinese social media service, Musical.ly, on 2 August 2018.

The novelty of expression on TikTok opens the way to what some may characterize the evolution of art. My personal favour is to celebrate whatever in nature and my daily encounter provokes the singular – and admittedly personal – artistic response. Unless one is an art dealer the often vulgar preoccupation with retail value is entirely superfluous and quite irrelevant. I have besides a history of consumption of local artistic works which naturally means the inquiry into provenance borders on foppish.

It quickly becomes apparent when skipping through the endless pages of TikTok that many of the members are themselves awakening to the “Photo Booth” character of the platform. As such it translates into a vehicle for conveyance of one’s artistic proclivities; and as a result a patent alteration from merely provocative expedition.

The translation is however as predominantly muted as it is arising. On the TikTok platform the government of both adequacy and meaningfulness is undeniably connected to the almost unseemly adherence to approbation by an unseen public. By incremental stages the erstwhile repetitive nature of most TikTok members develops the refinement and uniqueness which we frequently associate with art rather than mere bottom-drawer collections of paraphernalia. It is soon evident who among the publicists are directing their attention to more than an exhibition of their cat or dog doing something “cute”.

Many of the TikTok members evoke a moderate artistic interest by displaying what are often egregious ink tattoos covering their entire bodies. I reckon the exhibition is for some creative and poetic though for me it is primarily abusive. I put it up there with what I consider the equally yawning conviction to showing off one’s buttocks is peach-like format.

Yet another circle of conviction is that centred upon jewellery, a showcase which causes me to question whence derives the capital. Most of the stuff is either fake or of limited quality and expression.  But of some of the stuff – combined frequently with the background images of mansions and exclusive yachts or resorts – leads one to query the whole.

Finally there are the Wannabe Actors, those who adopt Superman get-ups or cowboy hats and dungarees. Invariably the underlying dominance of the costumes is a well-tuned corpus. And I have to say most of the adherents to these and similar exhibitions are worthy of praise. I’m guessing they don’t eat a lot and probably haven’t had to confront repeated alcohol abuse on a Saturday night. I cannot however imagine that there is much beyond their armpits and groin which entertains them. The absorption is far beyond libidinous; rather it is unparalleled egotism.

One final comment, if I may. What’s with all this flapping of hands and waving of arms?  Is there some foreign vocabulary yet unannounced? Or are they just studying to be pole dancers? Maybe they should consider getting another preoccupation besides staring at oneself in the morning bathroom mirror and eliciting a painfully strategic smile. Just saying.