Artists have always had to contend with influence; every generation has always wished it could birth itself, instead of being born. But the contemporary world is burdened with the biggest glut of influences and models ever available to any people in history. It may seem paradoxical to claim, but nothing proves this essential paralysis more clearly than our era’s massive cultural overproduction, than those creative industries that churn out books and television shows and movies yet always remain fixated on contemporary trends, on context-free content, with little or no connection to any deep tradition. The paradox makes some sense psychologically: one symptom of paralyzing anxiety is compensatory overactivity. Bloom himself had suggested that artists deal with this overabundance by choosing the right influences (or being chosen by them), then redescribing, misreading them creatively—hoping to come up with a radical enough revision to push forward with their own transformed material.
Rather than conventional job applications, Petersson crafted a personalized outreach methodology. His formula was straightforward: concise self-introduction, authentic interest in the organization, and crucially—presenting customized work samples.
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